(Born at Cadiz, November 23, 1876)
THE SUITE derived from de Falla's "choreographic fantasy," Love, the Sorcerer, does not suffer so much by its separation from the theatrical situations, action, and stage settings as other suites arranged from ballets. There are many pages that are enjoyable as pure music without thought of a plot and the evolutions of a ballet, without the question of whether this number or that is illustrative of an episode in the ballet. If de Falla expresses the wildness of Spanish gypsy music in a fascinating manner, he is equally fortunate in the expression of gentle emotions. There is little that is sensuous or voluptuous in the suite. The music for the scene of the appearance of a ghost which cools the amorous ardor of Candelas when her new lover would approach her—here one is reminded of the chief theme of Anatole France's amusing and satirical Histoire comique—is, perhaps, imbued with passionate fervor for performance on the stage.
This Gitaneria (Gypsy Life) in one act and two scenes, a choreographic fantasy with voice and small orchestra, book by Gregorio Martinez Sierra (known in this country by the plays A Romantic Young Lady, Cradle Song, The Kingdom of God), was produced at the Teatro de Lara, Madrid, April 15, 1915, with the Señora Pastora Imperio assisting. A concert version was performed at Madrid in 1916,