The Romantic Legacy

late nineteenth to early twentieth century

(Classical Music Map)


I. History of Classical Music  (by John Stanley)
The great composers and their masterworks in MP3 format
Albeniz Borodin Donizetti Hindemith Prokofiev Schutz
Albinoni Brahms Dowland Janacek Puccini Scriabin
Allegri Britten Dvorak Kodaly Purcell Sibelius
Arne Bruckner Falla Leoncavallo Rachmaninov Smetana
Auber Busoni Field Liszt Rameau Strauss J.S.
Bach Byrd Gabrieli Lully Ravel Strauss R.
Barber Carissimi Gershwin Mahler Respighi Stravinsky
Bartok Charpentier Gesualdo Mendelssohn Rimsky-Korsakov Tallis
Beethoven Cherubini Glinka Meyerbeer Rossini Tchaikovsky
Bellini Chopin Gluck Monteverdi Saint-Saens Telemann
Bernstein Clementi Gounod Mozart Scarlatti Verdi
Berwald Corelli Grieg Mussorgsky Schoenberg Victoria
Berlioz Couperin Handel Pachelbel Shostakovich Villa-Lobos
Bizet Debussy Haydn Paganini Schubert Vivaldi
Boccherini Delibes Hildegard Palestrina Schumann Wagner
Orff  "Carmina Burana"
II. History of Jazz

Manuel de Falla



Manuel de Falla was Spain's first major nationalist composer. Horn in Cadiz. Andalusia, he received his first piano lessons from his mother. He was torn between a literary and a musical career, but having decided on music, he proceeded to work hard at both the piano and composition. In 1902 he went to study with the Spanish composer and musicologist Felipe Pedrell, who was known for his belief that a country's music should draw on its native folk culture, and who impressed this on his pupils. He found a kindred spirit m Falla, whose first major work, the opera La vida breve (The Short Life, 1905). made copious use of local folklore.

In 1907 Falla travelled to Paris, where he was befriended by musicians such as Debussy and Ravel. At the outbreak of World War I, he returned to Spain and entered his most creative period. In 1915 he composed El amor brujo (Love the Magician), a ballet inspired by Spanish folk art. and the following year wrote one of his most beautiful and moving works. Noches en los jardines de Espana (Nights in the gardens of Spam). This suite of three symphonic impressions for piano and orchestra integrates Spanish folk music with colourful orchestration reminiscent of Rimsky-Korsakov. Of the three movements the first is the most atmospheric and makes use of shimmering, drifting harmonies, while the second and third arc more exuberant and dancelike.

Falla's reputation was firmly established in 1919 with the ballet El sombrero de tres picos (The Three-Cornerecl Hat). Full of humour and panache, it was received rapturously at its premiere in London. The enthrallingly vital and dramatic last movement can hardly fail to excite as the music sweeps the listener along. It shows Falla's music at its most witty and ebullient, rhythmical and lyrical in turn, and treating the orchestra almost as a giant guitar.

Given his interest in Spanish nationalism it is not surprising that Falla chose to set parts of Cervantes' Don Quixote. The resulting chamber opera, El retablo de Maese Pedro (Master Peter's puppet show), was first performed in 1 923 and consolidated Falla's reputation as a composer of Hair and dexterity. His last major work was a Harpsichord concerto, written in 1 926 for the Polish virtuoso Wanda Landowska. After this Falla became less productive musically. The traumas of the Spanish Civil War (1936—9) nearly crushed him, so delicate was his state of health. In 1939 he accepted an invitation to visit Argentina, where he lived until his death in 1946.

Although no revolutionary, Falla successfully shaped elements of traditional Spanish music and created a colourful musical style distinctly his own.


Manuel de Falla



Manuel de Falla (1876-1946)



"El amor brujo"
Sergio Calligaris
Ritual Fire Dance: To Chase Away the Evil Spirits (Danza ritual del fuego)

"La Vida Breve"
Washington Symphonic Brass

Spanish Dance

Kaila Rochelle
Fantasia Baetica
Piezas espanolas
Robyn Carmichael

Patricia Kopatchinskaja
Suite populaire espagnole





















Strauss Richard



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