Conducted by Cristian Măcelaru, the WDR Symphony Orchestra performs El Amor Brujo (Love, the Magician), a ballet composed in 1914-1915 by Manuel de Falla to a libretto by Gregorio Martínez Sierra (6 May 1881 – 1 October 1947, the Spanish writer, poet, dramatist, and theater director). Soloist (mezzo-soprano): Ruxandra Donose. This performance was recorded live at the WDR Sinfonieorchester’s New Year’s Eve concert at the Kölner Philharmonie on December 31, 2020.
Manuel de Falla’s El Amor Brujo
“El amor brujo” (Love, the Magician) is one of the most famous works by the Spanish composer Manuel de Falla. It is a ballet composed in 1914-1915 and later adapted into several orchestral and concert suites. The piece is notable for its evocative portrayal of Spanish folk traditions, particularly those from Andalusia, blending elements of Flamenco music with classical orchestration. Here’s a breakdown of its background and musical characteristics:
Background and Creation
Manuel de Falla composed “El amor brujo” for the famous Spanish gypsy singer and dancer Pastora Imperio, a prominent figure in Flamenco at the time. Originally conceived as a gitanería, or a work featuring the Gypsy culture of Andalusia, the piece was rooted in the folklore of Spain. The ballet was first performed in Madrid in 1915, and over time, Falla revised it, condensing it into a more concise concert version.
The storyline follows the life of Candelas, a young Romani woman haunted by the ghost of her unfaithful former lover. Throughout the ballet, she seeks to rid herself of this ghost and find true love with another man, Carmelo. The plot is deeply infused with the mystical and supernatural elements of Andalusian folk traditions, including spells, rituals, and dances meant to exorcise the ghost.
Musical Style
Falla’s score for “El amor brujo” is celebrated for its ability to capture the raw, earthy passion of Flamenco while using the sophisticated techniques of classical orchestration. Some key characteristics of the music include:
Flamenco influence: The score features many elements of Flamenco, such as the Phrygian mode (a scale common in Flamenco music), cante jondo (deep song), and rhythmic patterns found in traditional Spanish dances like the tango and fandango.
Orchestration: Falla uses a relatively small orchestra for this piece, including instruments such as piano, strings, woodwinds, and brass. His orchestration, though economical, is rich in texture, often highlighting the guitar-like strumming in the string section.
Vocals: The original ballet includes sung passages, which is unusual for ballet. The most famous vocal section is “Canción del fuego fatuo” (Song of the Will-o’-the-Wisp), a haunting song representing Candelas’ connection with the ghost.
Movements
There are 13 movements:
- Introducción y escena (Introduction and scene)
- En la cueva (In the cave)
- Canción del amor dolido (Song of suffering love)
- El aparecido (El espectro) (The apparition)
- Danza del terror (Dance of terror)
- El círculo mágico (Romance del pescador) (The magic circle)
- A media noche: los sortilegios
- Danza ritual del fuego (Ritual fire dance)
- Escena (Scene)
- Canción del fuego fatuo (Song of the will-o’-the-wisp)
- Pantomima (Pantomime)
- Danza del juego de amor (Dance of the game of love)
- Final – las campanas del amanecer (Finale – the bells of sunrise)
Signature sections
“Danza ritual del fuego” (Ritual Fire Dance): This is arguably the most famous section of the entire work. The Ritual Fire Dance is performed to exorcise the ghost of Candelas’ former lover, and it is characterized by its intense, repetitive rhythms and growing intensity. It is often performed as a standalone piece in orchestral concerts.
“Danza del terror”: This dance, also known as the Dance of Terror, is an agitated and rhythmically complex piece representing Candelas’ fear of the ghost.
Gypsy Spirit: The entire work is imbued with a distinctively Spanish atmosphere, not just because of the musical elements, but also because of its depiction of the fiery, dramatic, and passionate Romani culture in Andalusia.
Themes
The central theme of “El amor brujo” revolves around love, betrayal, and redemption, with supernatural elements symbolizing inner demons or unresolved emotional conflicts. The ghostly presence in the ballet represents past pain and obsession, while the music underscores the emotional struggle of moving forward and embracing new love.
The ballet also portrays the idea of rituals and traditions as a way to deal with personal and spiritual conflicts, a reflection of the strong cultural roots found in Andalusian folk traditions.
Legacy
Manuel de Falla’s “El amor brujo” has had a lasting influence both in Spain and internationally. Its vivid evocation of Spain’s musical traditions, combined with modern classical elements, made it one of Falla’s most enduring works. The Ritual Fire Dance in particular remains popular with both orchestras and pianists, often featured in concert halls around the world.
Falla’s ability to fuse regional, folk traditions with the sophistication of classical music is a testament to his role as a leading figure in early 20th-century Spanish music, alongside other greats like Isaac Albéniz and Enrique Granados.
In addition to the ballet, the piece has been adapted into a film and various concert versions. “El amor brujo” has been performed in several formats, both as a full ballet and as an orchestral suite, continuing to captivate audiences with its dynamic storytelling and Flamenco-inspired rhythms.
Manuel de Falla’s El Amor Brujo Lyrics [text]
Spanish
CUADRO PRIMERO
Introducción y escena
(La acción tiene lugar en Cádiz. Es de noche.
Los gitanos tiran los naipes para descubrir la suerte en el amor.
Candela, triste por amor, canta)
Canción del Amor Dolido:
¡Ay!
Yo no sé qué siento
ni sé qué me pasa
cuando este mardito
gitano me farta,
¡Ay!
Candela que ardes…
¡Más arde er infierno
que toíta mi sangre
abrasa de celos!
¡Ay!
Cuando el río suena
¿qué querrá decir?
¡Por querer a otra
se orvía de mí!
¡Ay!
Cuando er fuego abrasa…
Cuando er río suena…
Si el agua no mata al fuego,
a mí er pesar me condena,
a mí er querer me envenena,
a mí me matan las penas.
Sortilegio
(Al llegar la media noche, los gitanos realizan sus rituales.
Echan incienso en un brasero y perfuman el aire mientras Candela
baila la “Danza del fin del día”. Al finalizar el baile, llega una gitana
y tomando de las manos a un gitano se marcha con él)
Escena
(cuando los enamorados salen, Candela recita)
Romance del Pescador
Por un camino iba yo
buscando la dicha mía;
lo que mis sacais miraron
mi corasón no lo orvía.
Por la verea iba yo.
A cuantos le conocían
¿le habéis visto? – preguntaba,
y nadie me respondía.
Por el camino iba yo
y mi amor no parecía.
Er yanto der corasón
por er rostro me caía.
La verea se estrechaba
y er día se iba acabando.
A la oriyita der río
estaba un hombre pescando.
Mientras las aguas corrían
iba er pescador cantando!
¡No quiero apresar
los pececillos del río;
quiero hallar un corasón
que se me ha perdío!
Pescador que estás pescando,
si has perdido un corasón,
a mi me lo están robando
a traición.
Er agua se levantó
al oír hablar
de penas de amantes
y dijo con ronca voz:
¡Pescador y caminante,
si sufrís los dos,
en er monte hay una cueva,
en la cueva hay una bruja
que sabe hechisos de amor!
Idla a buscar
que eya remedio os dará!
Esto dijo er río,
esto habrá que haser…
¡A la cueva de la bruja tengo que acudir!
¡si eya no me da er remedio
me quiero morir!
Intermedio
CUADRO SEGUNDO
Introducción
(Misteriosa cueva de la bruja)
Escena
Danza del fuego
Interludio
(Entra Candela y canta)
Canción del Fuego
Lo mismo que er fuego fatuo,
lo mismito es er queré.
Le huyes y te persigue,
le yamas y echa a corré.
¡Lo mismo que er fuego fatuo,
lo mismito es er queré!
Nace en las noches de agosto,
cuando aprieta la calor.
Va corriendo por los campos
en busca de un corasón…
¡Lo mismo que er fuego fatuo,
lo mismito es er queré!
¡Malhaya los ojos negros
que le alcanzaron a ver!
¡Malhaya er corasón triste
que en su yama quiso arder!
¡Lo mismo que er fuego fatuo
se desvanece er queré!
(Candela comienza a recitar el conjuro)
Conjuro para Reconquistar el Amor Perdido
¡Por Satanás! ¡Por Barrabás!
¡Quiero que er hombre que me ha orvidao
me venga a buscar!
¡Cabeza de toro,
ojos de león!…
¡Mi amor está lejos…
que escuche mi voz!
¡Que venga, que venga!…
¡Por Satanás! ¡Por Barrabás!
¡Quiero que er hombre que me quería
me venga a buscar!
¡Elena, Elena,
hija de rey y reina!…
Que no pueda parar
ni sosegar,
ni en cama acostao,
ni en silla sentao…
hasta que a mi poder
venga a parar!
¡Que venga, que venga!…
¡Por Satanás! ¡Por Barrabás!
¡Quiero que er hombre que me ha engañao
me venga a buscar!
Me asomé a la puerta
al salir er sol…
Un hombre vestío de colorao pasó…
Le he preguntao
y me ha contestao
que iba con los cordeles de los siete
ahorcaos…
Y yo le he dicho:
¡Que venga, que venga!
¡Pajarito blanco
que en er viento viene volando!…
¡Que venga, que venga!
¡Entro y convengo en el pacto!
¡Pa que venga! ¡Pa que venga! ¡Pa que venga!
¡Por Satanás! ¡Por Barrabás!
¡Quiero que er hombre que era mi vía
me venga a buscar!
Escena
(Al finalizar el sortilegio, llega el enamorado.
Candela baila y canta)
Danza y Canción de la Bruja Fingida:
¡Tú eres aquél mal gitano
que una gitana quería!…
¡El querer que eya te daba,
tú no te lo merecías!…
¡Quién la había de decir
que con otra la vendías!…
¡No te acerques, no me mires,
que soy bruja consumá;
y er que se atreva a tocarme
la mano se abrasará!
¡Soy la voz de tu destino!
¡Soy er fuego en que te abrasas!
¡Soy er viento en que suspiras!
¡Soy la mar en que naufragas!
Final
(El toque de campanas anuncia un nuevo día
y la reconciliación de los amantes)
¡Ya está despuntando er día!
¡Cantad, campanas, cantad!
¡que vuelve la gloria mía!
English Translation
First Scene
Introduction and Scene
(The action takes place in Cádiz. It is night. The gypsies cast their cards to discover their fortune in love. Candela, heartbroken, sings.)
Song of Wounded Love:
Oh!
I don’t know what I feel,
nor do I know what happens to me
when this cursed gypsy
is away from me.
Oh!
Candela, you burn…
But hell burns hotter
than all my blood
consumed by jealousy!
Oh!
When the river roars,
what could it mean?
Because he loves another,
he forgets me!
Oh!
When the fire blazes…
When the river roars…
If water can’t extinguish fire,
grief condemns me,
love poisons me,
and sorrow kills me.
Spell
(At midnight, the gypsies perform their rituals. They burn incense in a brazier and perfume the air while Candela dances the “Dance of the End of the Day.” At the end of the dance, a gypsy woman arrives and, taking a gypsy man by the hand, leaves with him.)
Scene
(After the lovers leave, Candela recites.)
The Fisherman’s Romance:
I walked a path
in search of my happiness;
what my eyes saw,
my heart could not forget.
Along the trail I walked.
To everyone who knew him
I asked, “Have you seen him?”
And no one answered me.
I walked the path,
but my love did not appear.
The sorrow in my heart
fell down my face as tears.
The trail narrowed,
and the day was ending.
By the riverbank,
a man was fishing.
While the waters flowed,
the fisherman sang!
“I don’t want to catch
the fish in the river;
I want to find a heart
that I have lost!”
Fisherman, what are you fishing for?
If you have lost a heart,
mine is being stolen
by betrayal.
The water rose
when it heard
of lovers’ pain
and said with a hoarse voice:
“Fisherman and traveler,
if you both suffer,
in the mountain, there is a cave;
in the cave, there is a witch
who knows love spells!
Go and find her;
she will give you the cure!”
This is what the river said,
so this is what must be done…
To the witch’s cave, I must go!
If she doesn’t give me the cure,
I want to die!
Interlude
Second Scene
Introduction
(A mysterious cave, the witch’s lair)
Scene
Fire Dance
Interlude
(Candela enters and sings.)
Song of the Fire:
Just like the will-o’-the-wisp,
love is the same.
You flee from it, and it chases you;
you call for it, and it runs away.
Just like the will-o’-the-wisp,
love is the same!
It is born on August nights,
when the heat is strongest.
It runs across the fields,
looking for a heart…
Just like the will-o’-the-wisp,
love is the same!
Cursed are the black eyes
that saw it!
Cursed is the sad heart
that wanted to burn in its flame!
Just like the will-o’-the-wisp,
love fades away!
(Candela begins reciting the spell.)
Spell to Reclaim Lost Love:
By Satan! By Barabbas!
I want the man who has forgotten me
to come looking for me!
Bull’s head,
lion’s eyes!
My love is far away…
may he hear my voice!
Let him come, let him come…
By Satan! By Barabbas!
I want the man who loved me
to come looking for me!
Elena, Elena,
daughter of a king and queen!
May he not rest,
nor find peace,
whether lying in bed
or sitting in a chair…
until he comes
under my power!
Let him come, let him come…
By Satan! By Barabbas!
I want the man who betrayed me
to come looking for me!
I looked out the door
at sunrise…
A man dressed in red passed by…
I asked him,
and he answered me
that he was carrying the ropes of the seven hanged men…
And I said to him:
Let him come, let him come!
Little white bird,
flying in the wind…
Let him come, let him come!
I enter and seal the pact!
So that he may come! So that he may come!
By Satan! By Barabbas!
I want the man who was my life
to come looking for me!
Scene
(After the spell is cast, the lover returns. Candela dances and sings.)
Dance and Song of the Fake Witch:
You are that cursed gypsy
whom a gypsy woman loved!…
The love she gave you,
you didn’t deserve!…
Who would have told her
that you would betray her with another!…
Don’t come near, don’t look at me,
for I am a consummate witch;
and whoever dares to touch me,
his hand will burn!
I am the voice of your destiny!
I am the fire that consumes you!
I am the wind in which you sigh!
I am the sea in which you drown!
Finale
(The tolling of bells announces a new day and the reconciliation of the lovers.)
Day is dawning!
Sing, bells, sing!
for my happiness returns!
Sources
- El amor brujo on Wikipedia
- “A guide to Manuel de Falla’s ballet El Amor Brujo and its best recordings” on the BBC Classical Music website
- “Manuel de Falla’s El Amor Brujo” on the L.A. Phil website
- El amor brujo on Spanish Wikipedia
