Homenaje (An Analysis of Manuel de Falla’s Le Tombeau de Claude Debussy) By Du!an Bogdanovi "
Whenever I die, bury me with my guitar beneath the sand. Memento, Memento, Federico García Lorca1 The Genesis of Homenaje 2
Described in 1926 as a “melodically “ melodically rather insignificant worklet” , barely three minutes long, Manuel de Falla’s Homenaje remains one o ne of the masterpieces of the guitar repertoire. Originally written for the 1920 issue of La of La Revue Musicale, Musicale, this little piece was a Tombeau dedicated Tombeau dedicated to the memory of Claude Debussy, one of Falla’s dear friends and supporters during his stay in Paris (1907-1914), be fore the outbreak of the World War I. The two composers were connected by more than just stylistic affinity: as much as Falla owed to the Impressionist treatment of harmony and orche stral color, Debussy did to Iberian folk music idiom- and not only in his works that had overt Spanish influences. The more obviously Spanish pieces (such as Puerta as Puerta del vino or vino or Iberia Iberia)) reveal even more influence of the folk idiom, particularly in their rhythmic profile and “oriental” modal approach. Manuel de Falla himself pronounced one of Debussy's “Spanish” pieces (La Soirée dans Grenade) the best pianistic reflection of Spain, this distinction being even more remarkable considering Debussy had never really been to Spain (except for one trip to San Sebastian)3. 1
Cuando yo me muera, enterradme con mi guitarra bajo la arena. Memento , from Vigñetas flamencas, Collected Poems (edited by C. Maurer), Farrar, Straus Lorca, F. G., Memento, and Giroux, 2002, p.145 2
Istel E., 1926, p.503
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In his inimitable poetic language, this is how Garcia Lorca describes Debussy’s first encounter with the cante jondo: “At the Spanish Pavilion of the great Paris Exhibition of 1900, a group of Gypsies sang deep song in all its purity. They caught the attention of the whole city, but especially a young musician who was then engaged in the fight all of us young artists must carry on, the fight for what is new and unforeseen, the treasure hunt, in the sea of thought, for inviolate emotion. Day after day that young man went to hear the Andalusian cantaores. His soul was wide open to the four winds of the spirit, and he was soon made pregnant by the ancient Orient of our melodies. He was Cl aude Debussy.” (Lorca, G. In Searc h of Due nde, A New Directions Bibelots, 1998, New York, p.9)
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If Debussy had a cosmopolitan aesthetic outlook and interests, Manuel de Falla was very ve ry narrowly focused on the Spanish folk tradition, notably cante jondo (the deep song), as opposed to the later “civilized” and “westernized” versions of the Iberian folk song form. Dating from the end of the 800-year Arab rule in Spain, cante jondo (as jondo (as well as cante 4 flamenco) flamenco) are primarily derived from East Indian, Arabic and European Gypsy music . Some of the characteristics of cante jondo are: jondo are: the microtonal modulations of the voice; melodic ambit rarely passing the sixth; repeated usage of the same note (with upper and an d lower appoggiaturas) as sorcery formula; ornaments, especially used in the melodic peaks, and the public cries to encourage and excite the performers5. We shall return to some of these characteristics later in the text when dealing with the structure of Homenaje. of Homenaje. For For the moment, it might suffice to point out that Falla’s involvement in the study and revival of this ancient folk song also resulted in organizing of the first competition of cante jondo in jondo in Granada in1922, with the help of Garcia Lorca, as well as many other notable Spanish musicians, artists and writers, such as J. Turina, F. Mompou, A. Segovia, J. R. Jiménez, I. Zuloaga et al. A similarly impressive collection of composers, but of international stature, was gathered for the 1920 issue of La of La Revue 6 Musicale to Musicale to contribute to the memory of o f Claude Debussy . th
With the help of the great guitarist M. Llobet, Falla composed Homenaje between 27 th July and 8 August of 1920 in Granada. Alongside the guitar version of the Tombeau, Tombeau, Falla subsequently arranged the piece for piano, and later made an orchestral version entitled Elegia entitled Elegia de la guitarra, guitarra, as the second movement to the Homenajes the Homenajes Suite. Suite. The guitar piece itself went through several editions, beginning with Llobet’s, and ending with J. Duarte’s and R. Purcell’s versions. Here is a sketchy timeline of the piece.
1920- July 27- August 8, Falla wrote Homenaje wrote Homenaje in in Granada. 1920- December 1, La 1, La Revue Musicale published Musicale published the piece in Tombeau de Claude Debussy issue. Debussy issue. 1921- Homenaje 1921- Homenaje arranged arranged for piano, was published by Chester. 1921- January 24, the composition co mposition was premiered in Paris, performed on the harp-lute by Marie-Louise Henri Casadesus. 1921- February 13, the piece had its guitar premiere by Llobet in Burgos. 1923- The piece was reissued by La by La Revue Musicale.
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More specifically: the Punjabi singing of Northern India, the Persian Zyriab song form, the Classical Andalusian Orchestras of the Islamic Empire, the Jewish Synagogue Chants, Mozarabic forms such as Zarchyas and Zambra , Arabic zayal (the foundation for the Fandango), Andalusian regional folk forms, as well as West African influences as seen in the cantes de ida y vuelta (songs that were brought back from Latin America) which include the Rumbas , Garotin and Colombianas (from wikipedia.org). 5
Lorca, G. In Searc h of Due nde, A New Directions Bibelots, 1998, New York, p.5
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Revu e Musicale Musica le were B. Bartok, I. Besides Falla, other composers that contributed music for La Revue Stravinsky, M. Ravel, P. Dukas, E. Satie, A. Rousell, among others.
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1926- M. Llobet’s version was published by Chester. 1938/39- Falla completed the orchestral version Elegia de la Guitarra, as the second movement of Homenajes Suite for symphonic orchestra. 1984- J. Duarte’s version was published by Chester. 1989- R. Purcell’s version was published by Chanterelle, as part of The Complete Works of Llobet . I have so far focused only on the most essential information crucial for understanding of the historical and stylistic context of the piece. Fo r more exhaustive and detailed information about the piece and the composer, I refer diligent reader to an excellent article on the subject published by the Italian magazine Guitart , which includes biographical material, an in-depth analysis of the piece as well as detailed bibliography and discography7. The Textual Sources
There is no doubt that Debussy’s extraordinary musical instincts absorbed and integrated cante jondo into his compositional approach and his aesthetics. Although the earlier generation of Spanish composers (Albeniz, Granados) had an unmistakable flavor of the deep song, their music was massively filtered through classical formal and aesthetic formulas. Debussy’s rendition of the Spanish folk idiom, although dressed up in “Impressionist clothing”, is more raw and closer to the structure and expression of the actual folk art than that of his Romantic predecessors. Falla’s own research of and closeness to the folk material is even more so- as evidenced in Homenaje. The very structure, the use of rhythm and modes in the piece is perhaps as revolutionary to the Spanish classical idiom as was Stravinsky’s in the compositions from his “Russian period”. Manuel de Falla’s Omenaje, in that sense, holds a special and unique place in the whole output of the twentieth century guitar music written by Spanish composers, including works of “Segovia composers” such as Turina, Torroba, and even Joaquin Rodrigo. In his homage to Debussy, Falla relies on specific compositions perhaps less than he does on the grammar of the French composer’s compositional and poetic technique. Thus, the main motif of Homenaje seems to be rather synthetic than specific to a particular piece. La sérénade interrompue provides an obvious reference to the melody of the piece, but not to the rhythmic pattern upon which it is built. It is also not accidental that Falla uses this Prelude as the melodic “prime mover” for the piece (note the quasi guitarra indication at the very beginning of the piece) (Ex. 1.).
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Manuel de Falla e la Chitarra, Guitart, February/April 1996, pp.18-53
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Ex. 1.
The dance of habanera, on the other hand, provides a rhythmical impetus for the piece. Imported from Cuba, habanera became a popular dance form in Europe during the 8 beginning of the twentieth century . Among Debussy’s examples of the form, perhaps the most relevant are La puerta del vino (Ex. 2.) from the first volume of his Preludes for piano and La soirée dans Grenade from his piano collection Estampes. Ex. 2.
Although it is not the purpose of this article to delve deeper into the origins of the habanera pattern, it might be useful to point out its close kinship to the West African rhythmic profile. The gankogui cowbell pattern from Gahu (the percussion ensemble music of the Ewe speaking people from West Africa) for example, demonstrates the same 9 rhythmic profile as the habanera dance (Ex. 3.) . Given the influence of African music on Cuban music folk idiom, it does not take a great leap of imagination to connect this pattern to the habanera dance formula. Ex 3.
Homenaje then, is perhaps even deeper in its origins than cante jondo claims it to be. Be that as it may, the first four measures of Homenaje already show a synthesis at work (Ex. 4): it is an amalgam of both repetitive melodic pattern of La sérénade interrompue and the habanera rhythm, which amplified by the arpeggio, remains one of the constant important features of the piece.
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Havanera- from Havana.
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Cited from Locke, D., Drum Gahu, 1998, Tempe, Arizona, White Cliffs Media, p. 19.
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Ex. 4.
Here is another example of an analogous phrase between another habanera, La soirée dans Grenade and Homenaje (meas. 3-4). Ex. 5.
Ex. 6.
The one literal quote in Falla’s piece is from La soirée dans Grenade. Brought towards the end of the work, the quote appears as an illuminated “flashback” onto Debussy’s work in an otherwise dreamy and opaque composition (Ex. 7-8.). Ex.7.
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Ex. 8.
The Rhythmic Structure
While looking at the following table of the variants of rhythmic motif A (Ex. 9.), two apparent types of motivic metamorphosis are easily discernible even at first site. One is the process of motivic transformation by addition (for example, the patterns 4 and 5), the other, transformation by subtraction (for example, the patterns 5 and 6). Ex. 9.
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While this type of transformation elongates or shortens the motifs, the process of commutation varies motivic cells, while preserving their respective places in the overall 10 structural metric framework . Here is a typical commutative cell exchange (Ex. 10.) cited from work by Simha Arom in his African Polyphony and Polyrhythm11. Ex. 10.
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For more information concerning motivic metamorphosis, please refer to my work Ex Ovo , ( A Guide for Perplexed Composers and Improvisers), 2006, Doberman Editions, Saint-Nicolas, Canada. 11
Arom, Simha, 1991, !"#$%&' )*+,-.*', &'/ )*+,#.,0.1 , Cambridge University Press, Cambridge, p. 258.
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In Homenaje, the patterns 1, 2, 4 and 5 (Ex.9.) preserve the motif, while transforming the second cell, whereas the patterns 3 and 8 transmute the motif into a rhythmic pattern, while preserving the structure of the seco nd cell. Ex. 11. shows similar processes at work. The seed of the “arpeggio motif” B (1.), which is already contained in the first bar of the piece (see Ex. no.4.), becomes “spelled-out” as a quintuplet motif in the second bar (2.), then further elongated (3.) or varied (4. and 5.) in its subsequent incarnations. Although the patterns 6, 7 and 8 belong to the middle section of the piece, on closer inspection, they seem to be derived from the same “arpeggio motif”, but in slower rhythmic values and continuous movement. Ex. 11.
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The final example of the rhythmic structure of Homenaje shows motifs C, D and E. The motif C is the rhythmic pattern upon which both the ostinato bass of the theme and the subsequent theme of the middle section are based (Ex.12.). Although motif E is derived from the “arpeggio motif” B, I have designated it as a separate pattern because of its structural difference (scale-wise passage instead of an arpeggio).
Ex.12.
Note the coherence of the motivic material Falla used in building of the piece: the motifs A, C and D are all based on the same rhythmic skeleton. As seen in Ex.13, the motif C is simply an augmented version (2:1) of motif A. Ex. 13.
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The Melodic Structure
One of the most accepted contemporary theories of human evolution is known as the mitochondrial Eve hypothesis. According to this model, the origins of humankind can be traced (via tiny organelles called mitochondria) to a female who lived in Africa some 150,000 years ago12. Although lacking in mitochondrial analogy in music, we can see that some of the rhythmic patterns and transformative processes of Homenaje can be traced back to their African roots (see Ex. 3, and Ex. 10.). Besides rhythmic structure, it is also apparent that the melodic and harmonic roots of the piece are entirely modal, which points to ancient sources of cante jondo’s melodic content as well (as does most folk music throughout the world). We shall first approach the task of classifying motifs according to their structural kinship. The principal skeleton of a motif is based on a synthesis of two simple (essential) 13 parameters: rhythm and melody, thus permitting it to stand on its own . The following microanalysis of the motif A shows this synthesis at work. Ex. 14
Careful “detective work” shows four rhythmic cells (a, b, c, d), with the cell b commutating with the b1 variant (see also Ex. 10). On the level II, it is possible to strip down the structure to only one melodic cell built on interval of the second, with two transformed figures: the inversion, a1, and the transposed original, a2 . The level III however, shows melodic structure interpreted by the rhythmic p rofile of the motifs. The resultant phrasing contour outlines a slightly different pattern. On this level, motif b (consisting of three notes) is alternating with motif c (the “shadow image” of motif a). On yet another level, it is possible to reconfigure the pattern to include motif b1, which is an 12
Leakey, R. The Origin of Humankind , 1994, Basic Books, New York, p. 96
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In my work Ex Ovo , I have developed a theory of motivic metamorphosis. In the introductory section, I have defined motifs according to their parametric constitution. The simple (essential) motif is based on a) rhythm and b) melody. Complex (derivative) motif is based on c) harmony, d) counterpoint, and the descriptive, on e) articulation, f) dynamics and g) timbre. work Ex Ovo , ( A Guide for Perplexed Composers and Improvisers), 2006, Doberman Editions, Saint-Nicolas, Canada, p. 84-5.
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inversion of motif b. In the second phrase, the last three-note motif b2 turns out to b e a transposed version of the initial motif b. It is particularly interesting to see the rhythmic reconfiguration of melodic cells in the beginning of the phrase (from four notes to five). Although this analysis might seem too “pregnant” with possibilities, I think that it is precisely this wealth of alternative interpretations that makes this composition so creative and intricate. Following is a table of melodic motifs classified according to their structural characteristics. Ex. 15.
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Ex. 16.
Note that the motif B1 (Ex. 16) is built on descending arpeggios, whereas the motif B2 is built on its ascending form (inversion). The motif B3, although not used for the same purpose, is obviously related to the previous two. Through gradual transformation (B2-6), the “arpeggio motif” becomes “emancipated” into an accompanying full-blown ostinato pattern, on which the whole middle section is built. As mentioned previously in the “Rhythmic Structure” segment, motif C is a rhythmic augmentation of the motif A, but melodically built on interval of the fourth and its inversion, the fifth (Ex. 17.). It is primarily used as a bass line of the initial section (C) and it is also closely related to guitar tuning (open strings A and E). The motif D, on the other hand, is based on the melodic cell A, but in continuous eight-note patterns and is prominent in the middle section of Homenaje
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Ex. 17.
The final example (Ex.18) shows the relationship between the “arpeggio” motif, the thirty-second-note scale-wise passage and the principal motif (D4/E3) of the middle section. It is plausible that this motif is a synthesis between motif A and the scale-wise passage (E1). In any case, we are again confirmed in our assumption that all the motifs of
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this piece are very closely related and present very unified and coherent building blocks of the composition. Ex. 18.
The Harmonic Structure
As can be seen from Ex. 19, the essential harmonic structure of Homenaje is mode-based. Since there is no consensus (to my knowledge) as far as these types of modes are concerned, I have used the North Indian Th!ta classification, expounded by N. A. 14 Jairazbhoy in his work on North Indian r ! ga systems . Th!tas are heptatonic protomodes according to which the r ! gas are built and classified. In contrast to the latter, th!tas show only approximate tuning and use the same structure for both ascending and 15 descending forms . Nevertheless, even a cursory glance will reveal that some of the descending forms of the melodies somewhat differ from the ascend ing (c, e and g), which again points to Indian (and perhaps North African) origins of the roots of cante jondo. In contrast to North Indian music, which always remains b ound to the same Tonic, Falla transposes the modes thereby creating modulatory shifts in the ha rmonic structure of the piece. The example h then, shows a transposed version of the mode 2C (example d ), from C to Db. Another notable melodic device that Falla uses in this piece is transformation of upper and lower tetrachords of the mode with the same Tonic. The modes 1D and 3D, for example, change lower tetrachord, while 1D/3D and 1C change the upper. Consequently, one of the most original and interesting features of this piece is the synthetic aspect of its genesis: while relying on Eastern modal systems, Falla introduces Western technical devices, such as transposition, modulation and exchange of lower and upper tetrachordal
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Jairazbhoy N. A. The R! gs of North Indian Music, 1971, Faber & Faber, London.
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I have slightly modified Jairazbhoy’s list of th!tas, in order to make an easier classification model. According to my model all the modes with the same upper tetrachord are classified under the same letter (A - D); all the modes with the same lower tetrachord are classified under the same cardinal number (1 - 9). It is, therefore easy to obtain its designation, as can be seen from the table of Appendix no.1.
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structural characteristics. No doubt, these are also used to create Impressionist idiomatic features (harmony used as color and texture). Ex. 19.
In the following example (Ex. 20.) I will further refine the analysis of the processes of melodic development in the piece. One of the characteristics of formal development in r !ga (as well as other Eastern forms, such as Turkish taksim) is building of melody through addition. Often the music starts out with melodic ce lls that include only part of the mode, to be further developed through additional inclusion of the whole scale.
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Something very similar occurs in Homenaje. As is apparent from the following example, we have little clue as to the nature of the mode the piece starts with; it is revealed only gradually note-by-note, until it eventually becomes clear what particular scale we are dealing with. Although the piece starts with the low register of the instrument, the melody is built on the upper tetrachord, instead of the lower - which is not the case in r !ga or 16 taksim . Ex. 20.
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Ex. 21 sums up all the types of upper and lower tetrachords we have seen so far .
As mentioned earlier, the descending and ascending forms of the modes sometimes differ. As in Indian r !ga, the descending form here is not a scale (as in melodic minor, for 16
The upper tetrachord is designated as u.t., the lower, as l.t.
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All of the modes in this example start on Tonic A, regardless of their actual pitches in the composition.
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example), but rather a collection of melodic patterns. I have therefore designated the descending form in the piece as note échappée, because of its similarity to this type of 18 ornamental resolution of this non-harmonic figure . The next segment from the piece shows the chordal structures that Falla built Homenaje on. While some chords derive from guitar tuning and idiomatic use of guitar in Flamenco and cante jondo tradition, others are structured according to modal, a nd occasionally, tonal reference systems. The beginning chord, for example, is based on the sixth and fifth bass strings which are then reiterated as an ostinato bass line (Ex. 22, a). The following arpeggiated chord (motif B) adds two upper open strings (E and B). It is interesting to note that the first chord of the next section (b) uses the same notes, but in inversion (the bass note E is transposed two 8ves higher) therefore putting the mode onto a new Tonic (A). Besides these types of chords, other chordal structures, also typical for Debussy’s music and Impressionism in general, abound. Quartal and quintal harmonies show up very often. Examples of chords built on fourths are in following examples: c (ms. 2), e (ms. 1); examples of chords built on fifths, in: d (ms.1), e (ms. 1), g (ms.1). Triadic chords, such as the dominant thirteenth in f (ms.1) seem to be used for the sake of its color, rather than function. On the other hand, the quartal harmony in d (ms.3), reinterpreted as a dominant seventh chord with a diminished fifth, has a very mundane tonal function in C (V7b5). More ambiguously, the augmented sixth chord in third inversion (B, Db, F, Ab) inh (ms.1), seem to have two simultaneous roles: one, of a substitute (VII2) of a dominant of 19 V in F, as well as tonic of Db mode 2C (Ex. 19, h) . Since the mode has a minor seventh (Cb), the resultant chord on tonic winds up a dominant instead of a major seventh chord.
18 As can be seen from example 21, the note échappée (escape note) digresses from the direction of melodic movement and then returns by a skip, as a form of compensation. 19
Since the mode has a minor seventh degree (Cb), the resultant chord on tonic winds up a dominant instead of a major seventh chord.
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Ex. 22
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The Form
In much of this text so far, I have already dwelled on principles that generate the form of Homenaje. Nevertheless, even if we clearly understand the transformative nature of Falla’s compositional process, it will take another effort to get to the level of larger structure of the piece. As I have explained earlier, the process of transformation and commutative principle account for much of the composition’s structure. There is however, a larger-scale formal accretion that makes the piece architecturally sound. The overall basic form of Homenaje follows a tripartite ABA form, which is characteristic of much funeral march formal outline (See Appendix no.2). The rough contours of the piece then are: section A ms.130, section B ms.31-49 and the recapitulation section, A1 ms.50-71. The section A though, contains within itself another tripartite segment, which could be designated as: a (2+2+3) b (2+3+3) and a1 (2+1) (ms. 1-19). The section a, and a1, based on the upper tetrachord of the mode D, are almost identical, except for their lengths. The section b reveals the entire 1D mode. The next section (3+2) is a sort of development of previous material, transposing the mode to C. The final fragment of the section A returns to the tonic A, but in mode 1C (with the major third instead of minor). The ending figures of this section (ms. 28-30) return to the original mode. The middle section B brings in contrasting material, although the building blocks remain derived from the same source. The “arpeggio motif” is used as a connective tissue between the two major sections, and it represents a bridge that is fragmentary and intermediary in its character (ms.31-37). The actual contrasting section (ms.38-43) is constructed out of both the emancipated “arpeggio” motif and a synthesis of motif A and the scale-wise passage (motif D). At the ending of this section there is a return to the initial mode, with a somewhat digressing “flirtation” with Db (ms. 46-49). The recapitulating section A1 is a truncated version of the section A (note the shorter initial section of 2+2+2 instead of 2+2+3). A quote from La soirée dans Grenade in this guitar version presents a ”flashback” motif from this piece by Claude Debussy. As it were a sudden conscious realization in the middle of a dream, this fragment reminds us of the reality of Debussy’s life and work. It is perhaps a reminder of a life gone-a life that is nevertheless as present as the actual fact of composer’s death. The piece ends with a rhythmically augmented version of the principal motif of Homenaje. Here is, then, the form of the piece. Ex .23
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Other Considerations
Given not only the two main editions for guitar (Llobet and Duarte), but also the two other versions of the piece (piano and orchestra), we can reconstruct what was the composer’s intention, as far as the articulations and the timbre are concerned. Ex.24
The above example (Ex.24) shows five different versions comparatively: a) Llobet’s, b) Duarte’s, c) the piano version, d) the orchestral version (clarinet in Bb), and e) my own synthetic version. While Duarte takes into account most of the articulations of the piano
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version, he does not use the slur between the sixteenth-note and the eight-note (in measure no.1), which is particularly clearly spelled-out in the clarinet part. The little extra effort required to master the difficulty of playing the slur (E, F) simultaneously with the bass (A), might be paid off by the elegant and dance-like quality of the articulation. It is also interesting to see different characterization of slight slowing down of eight-notes ( x) at end of the first measure and beginning of the second. While the indications for guitar and piano remain the same, they slightly differ in the case of the orchestra. Obviously, the whole orchestra cannot control what an individual player can, and to make it easier for the performance, Falla indicates the slowing down in the clarinet part as “appena pesante”(the indication x is lacking on the downbeat of the next measure as well, presumably because of the difficulty of its performance). In the next segment shown in example 25 (which is based on the same choices as the previous), I have included the fingering as well, because I think that it is quite revealing of editors intentions. Duarte’s choice of fingering, for example, reflects more reliance on piano in terms of both sound and articulations, while Llobet, on the other hand, uses fingering typical for the Romantic interpretation of his generation (the Tarrega school). He also seems more sensitive to the guitar timbre and uses almost exclusively the third string for the melody in this segment. Since Falla’s orchestral version came after the guitar and piano versions, it is up to the individual performer to consider whether to imply orchestral color on the guitar or not. Thus, as can be seen from the following example, in the orchestral rendition (d ), the phrase is split between violins and oboe. While this gives a strong clue about the performance of the melody, it could also be used to build different timbres for the segments of the phrase. The performer could, for example, use Duarte’s fingering choice for the first three notes of the melody (open string position) and Llobet’s for the remainder (the third string mostly). Similarly, the performer has several choices for the performance of the bass. Falla himself chose slightly different lengths of the first bass note; the piano version gives a quarter note followed by an eight-note rest, whereas the guitar and the orchestral versions give a dotted quarter-note, without a rest. Be that as it may, I think that it is obvious that in situations like this, other available textual sources and v ersions give one a wide 20 territory on which to build an enlightened performance .
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Other goods examples for this kind of “detective study” would be Frank Martin’s Quatre pieces breves, which also exists in a piano version entitled Guitare or, say, Maurice Ohana’s Tiento, which is also available in a harpsichord version.
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Ex. 25
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In conclusion, Manuel de Falla’s Homenaje remains a unique gem of the guitar repertoire-a masterfully executed composition, wealthy in its content and poetic implications. As expressed by Angelo Gilardino in his Manuale di storia della chitarra: “In no other moment of the music for guitar, this peculiar ‘universal Andalusianism’ –the spiritual and artistic matrix of Falla and his poet friend Fede rico Garcia Lorca- will find the elevated and perfect expression as in Homenaje, in which, among other, we find synthesized the most refined wisdom of guitar writing.21”
Bibliography
Arom, Simha, 1991, African Polyphony and Polyrhythm, Cambridge University Press, Cambridge Bogdanovic D. Ex Ovo, ( A Guide for Perplexed Composers and Improvisers), 2006, Doberman Editions, Saint-Nicolas, Canada Gilardino, A. Manuale di storia della chitarra, 1988, Berben, Ancona Istel, E. "Manuel de Falla: A Study", The Musical Quarterly, 12 no. 4, October 1926 Jairazbhoy N. A. The R! gs of North Indian Music, Faber & Faber, 1971, London Leakey, R. The Origin of Humankind , 1994, Basic Books, New York Locke, D., Drum Gahu, 1998, White Cliffs Media, Tempe, Arizona Lorca, G. In Search of Duende, A New Directions Bibelots, 1998, New York Lorca, F. G., Memento, from Vigñetas flamencas, Collected Poems (edited by C. Maurer), 2002, Farrar, Straus and Giroux , New York “Manuel de Falla e la Chitarra”, Guitart , February/April 1996, Ancona
© 2008 by Dusan Bogdanovic
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“In nessun altro momento della musica per chitarra quel peculiare sentimento di ‘andalucismo universal’che era la matrice spirituale ed artistica di Falla e del suo amico poeta Federico Garcia Lorca- troverà espressione alta e perfetta comme nell’ Homenaje in cui, oltretutto, è sintetizzata una rafffinatissima sapienza di scrittura chitarristica.” ( Gilardino, A. Manuale di storia della chitarra, 1988, Berben, Ancona, p. 39).
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Appendix no. 1
From North Indian Th!ta classification according to N. A. Jairazbhoy (this version by D. Bogdanovic)
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