Classical, Symphony, Works
Arriaga, who lived from 1806 to 1826, showed an early talent for a musical career. Known as “the Spanish Mozart,” he was born in Bilbao in northern Spain, and composed his only opera (Los Esclavos Felices) at the age of 14.
Arriaga’s talent so impressed Bilbao’s notables that they sent him to study in Paris in 1821, where he composed three string quartets and this symphony before his untimely death from tuberculosis at age 19.
Arriaga wrote his Symphony in D Major in 1824-5. It is a work with decided influences reminiscent of Schubert and Mozart, especially in its use of keys and harmonies. The opening adagio intersperses solo wind passages with brooding string motifs; this segues into an impassioned allegro, dramatically in the minor key. The andante is conventionally classical in form, but shows an inventive use of woodwinds and unusual string passagework. A minuetto and trio follows, the latter with solo flute and guitar-like string pizzicato effects.
The last movement opens again in the minor key, with an Italianate violin theme. A delightful second theme follows (again in the violins). A return to the major key heralds the triumphant finale.
Baroque, Suite, Works
Johann Pachelbel (1653-1706) was born in Nuremberg and served as court organist in a number of churches in central and southern Germany. He influenced many composers of his generation and later, including Johann Sebastian Bach.
Aside from his well-known Canon in D Major, Pachelbel wrote quite a few instrumental and keyboard works. The Suite in G Major is scored for 5 string parts (2 violins, 2 violas and continuo). It consists of a short, majestic overture with dynamic contrasts, followed by 5 dance movements.
20th Century, Solo Vocal, Works
The El Amor is de Falla’s best-known work, and contains his most recognizable music. He originally composed it in 1915 to accompany a two-act theatrical ballet, complete with narration, dance and song. De Falla later transformed the work into an orchestral suite interspersed with songs which keep the essence of the original ballet.
The plot centers on a gypsy girl, Candelas. While mourning her dead (but faithless) husband, she has fallen in love with Carmelo, a handsome gypsy youth. Unfortunately for Candelas, her dead husband comes back from the grave to haunt her and prevent her from consummating her love with Carmelo. With the help of her friend, Lucia, Candelas devises a ruse to trick the specter. Outwitted, the specter loses his fight, enabling Candelas and Carmelo to exchange the kiss of perfect love.
The piece is divided into ten separate sections each describing parts of the story. It combines Andalusian and flamenco motifs into a work at once lyric, mystical, and powerful. The “Ritual Fire Dance” (#5) is the most famous of the ten sections. The songs describe, in turn, Candelas’ mixed feelings of love and sorrow for her dead husband (#2); the fickleness of love, which is compared to a “will-o’-the-wisp” (#7); Candelas reproaching her dead husband, who did not merit her love (#9); and her final triumph amid the pealing bells of daybreak (#10).
Romantic, Solo Vocal, Works
Mozart composed this opera aria in 1776. The text, taken from the opera Arsace, describes the bitter parting of two lovers who wonder if they will ever see each other again. The aria is composed in rondo form, with words of tender farewell sung in the slower tempo and words of despair (railing against cruel fate) sung in the faster sections.
