De Falla – La Danza ritual del fuego

Last updated Dec 24, 2020 | Published on Jan 7, 2021

Winner of a fellowship at the Bayreuther Festspiele, Mr. Griglio’s conducting has been praised for his “energy” and “fine details”. Mr. Griglio took part in the first world recording of music by composer Irwin Bazelon and conducted several world premieres like "The song of Eddie", by Harold Farberman, a candidate for the Pulitzer Prize. Principal Conductor of International Opera Theater Philadelphia for four years, Mr.Griglio is also active as a composer. His first opera, Camille Claudel, debuted in 2013 to a great success of audience and critics. Mr. Griglio is presently working on an opera on Caravaggio and Music Director of Opera Odyssey.

 

Introduction

In 1914 the famous gypsy flamenco dancer Pastora Imperio expressed to De Falla the desire to expand her repertoire with a gitanerìa: a pantomime of dance and song inspired by gypsy legends.

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Manuel De Falla – An analysis of La Danza Ritual del Fuego

In case you don’t have it at hand, here’s a quick link to the score.

La Danza ritual del Fuego – which translates to The Ritual Dance of Fire – is apparently necessary to cast off the ghost of Candela’s husband. Candela is the main female character of the ballet.
Candela performs the Ritual Fire Dance causing the ghost to appear. She dances with the ghost but as they whirl around faster and faster, the ghost is drawn into the fire, vanishing forever.

Thanks to its obsessive rhythm and charming melody, it made its way into the symphonic repertoire as a standalone piece. Structure-wise it’s A-A1 plus a coda.

Let’s look at this closely: the piece starts with little cracklings of fire in the trills of the violas and then the clarinets. The double basses color the sound with their harmonic on E; and so does the first horn, with an added closed sound on bar 4; the cellos anticipate the stomping rhythm with a single pizzicato on bar 1 and bar 4.

De Falla - La Danza Ritual del Fuego - ex 1

In the following 8 bars the crackling intensifies, letting out small flames: the cellos place their pizzicato on every downbeat, moving the dynamic from piano to sforzato underlining the crescendos of the violas and clarinets.

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