Manuel de Cyberpsychologie

Playing Falla in date order makes an odd-shaped recital: the tail is at the front. But it gives a graphic portrait of an explorer. The Spanish presence steadily insinuates itself until it grows fiercely concentrated, finally almost aphoristic. Baselga, an individual pianist in this very personal music, plays the Piezas españolas intensely, with plenty of staccato and a free pulse, scorning easy charm to find strength. In the stupendous Fantasía bética he lets the rhythms take hold gradually and locates the full gypsy-like restlessness of the ultra-ornamented melody at the centre. His ear for balance and virtuoso control of pace are compelling, but short of the ultimate physical exultation. Around these peaks he browses rewardingly, with more warmth and more pedal for the early pieces, relieving the often dry piano tone. It’s the mature and late works that awaken his interest most, and these include the quirkiest of them. Imagine the ‘Song of the Volga Boatmen’ in the style of Pictures at an Exhibition and you’re halfway there: an improbable political commission that Falla met at full power.

The music of Spain has exercised an exotic fascination, but often in forms adapted by foreign composers. Manuel de Falla is representative of a group of Spanish composers who won international recognition. He was born in 1876 in Cádiz, where he first studied, moving later to Madrid and then to Paris, returning to Madrid when war broke out in 1914. Strongly influenced by the traditional Andalusian cante jondo, he settled in Granada, where his friends included the poet Federico García Lorca.

Works of Manuel de Falla - widely regarded as the most distinguished Spanish composer of the early twentieth century - are strongly influenced by Spanish folk music in which the guitar is central. Although he composed only one piece for that instrument his inspiration was flamenco and early Spanish music, including the guitar works of Gaspar Sanz. The guitar also features in Falla‘s first great success, the opera ‘La Vida Breve’. For this recording, we have selected and transcribed works in which the influence of the guitar was dominant thus translating these pieces back to their original source of inspiration.

There is no shortage of recordings of Manuel de Falla's El sombrero de tres picos (The Three-Cornered Hat) and El amor brujo (Love, the Wizard), with more on the way, thanks to the centenary of the former in 2019. Even casual listeners may reflect that this delightful work has never, despite plenty of changes in taste in music of the interwar period, fallen out of style. It was on the cutting edge when it was premiered, and yet its fusion of flamenco influences with growing French neoclassicism is irresistible for general symphonic audiences.

The sultry warm atmosphere of an Andalusian night is almost palpable in Falla’s spellbinding Noches en los jardines de España. With its shimmering, sensuous harmonies, exquisite orchestral colours and exuberant melodies and rhythms, it’s perhaps Falla’s most impressionistic work. Using a large orchestral canvas on which he paints with deft, luminous strokes, Falla skilfully integrates a virtuoso piano part to create lovingly evocative music, full of captivating beauty.

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