How do you say dancers in spanish

dancer - Spanish translation – Linguee

He is a great warrior and owner of the Bata Drums, owner of dance and a great dancer himself; masters music and represents the need for and the joy of living; the intensity of life; the [...] [...]

beauty and virility of males; the riches and money.

reglasparasanteros.com

Dueo de los tambores Bat, del baile y la msica; representa la necesidad y la alegra de vivir, la intensidad de la vida, la virilidad y belleza masculinas, la riquezas y el dinero.

reglasparasanteros.com

There, in the middle of

[...] these hundred dancers, the only male dancer appeared.

europarl.europa.eu

All, en medio

[...] de cientos de bailarinas, apareca un nico bailarn.

europarl.europa.eu

Then there is the dancer who trained at the Ballet [...]

Rambert School.

europarl.europa.eu

Tambin est el caso de la bailarina que ensay en la escuela [...]

de balet Rambert.

europarl.europa.eu

Analysts believe voters confused

[...] him with the deceased dancer and movie star of the [. ..]

same name.

america.gov

Los analistas creen que los votantes confundieron su nombre

[...] con el del fallecido bailarn y actor del mismo nombre.

america.gov

Pea plans on dancing for years to come: "I

[...] always wanted to be a dancer, but I didn't have the [...]

support to make it happen.

aarpsegundajuventud.org

Pea planea bailar durante los aos

[...] venideros: "Siempre quise ser bailarina, pero careca del apoyo [...]

necesario para lograrlo.

aarpsegundajuventud. org

aarpsegundajuventud.org

I want to be the best actress, the

[...] best singer and the best dancer I can be," she said recently.

puertorico-herald.org

Quiero ser la mejor actriz, la mejor

[...] cantante y la mejor bailarina posible," dijo recientemente.

puertorico-herald.org

In the field of art, metal casting and making of bronze figures

[...]

developed to a speciality, an outstanding example of which is the

[...] beautiful sculpture of the Cosmic Dancer at Chidambaram.

embassyindia.es

Tambin destacaron en el campo del arte, del metal fundido del que llegaron a ser

[...]

especialistas en figuras de bronce, un excelente ejemplo de esto es la hermosa

[...] escultura de la bailarina csmica, Chidambaram.

embassyindia.es

But if I'm playing a

[...] physical character - a dancer or sportswoman for example [...]

- I have to prepare intensively well in advance.

cineuropa.mobi

Aunque si se trata de un

[...] personaje como una bailarina o una deportista s [. ..]

que hace falta una buena preparacin.

cineuropa.mobi

The screenplay of Falcons was for her but she has not made a film since Dancer in the Dark.

cineuropa.mobi

El guin de Falcons era para ella, pero despus de Bailar en la oscuridad no ha hecho ms pelculas.

cineuropa.mobi

The dancer and the tenor [...]

share a stage in a charity event against lukemia.

esflamenco.com

La bailaora y el tenor comparten [...]

escenario en una gala solidaria contra la leucemia.

esflamenco.com

On this occasion

[...] there was a performance by the flamenco dancer El Yiyo with his guitarist and various other [...]

musicians.

ssl.salvador-dali.org

En esta ocasin actu el bailaor El Yiyo, acompaado por su maestro y diversos msicos.

ssl.salvador-dali.org

She's also a poet,

[...] an artist, a dancer, a juggler, a [...]

gardener, a cat lover, and not particularly tall.

windows.microsoft.com

Tambin es poeta, artista, malabarista, [. ..]

jardinera, amante de los gatos y no muy alta.

windows.microsoft.com

Ever since your book came

[...] out, The Grass Dancer, I've noticed that [...]

at night there's peace and quiet in the hallway.

america.gov

Desde que sali tu

[...] libro, The Grass Dancer, me he dado cuenta [...]

de que hay paz y todo est tranquilo de noche en el pasillo.

america.gov

So if you want to be sure to increase your mental activity,

[...]

you'll have to compliment your dancing with a class on the history of

[. ..] salsa or a book on your favorite dancer or musician.

aarpsegundajuventud.org

De tal manera que si desea asegurarse de aumentar su actividad mental, usted

[...]

tiene que complementar el baile con una clase sobre la historia de la salsa,

[...] o un libro sobre su bailarn o msico favorito.

aarpsegundajuventud.org

Ebru's greatest dream is to receive an engagement on Broadway with her dancing partner or

[...] to work as a background dancer for Britney Spears.

ottobock.co.uk

El mayor sueo de Ebru es recibir un contrato para bailar con su pareja

[. ..] enBroadway o trabajar como bailarinaparaBritney Spears.

ottobock.com.mx

Nats Nus was

[...] founded in 1987 by dancer and choreographer Toni Mira.

artescenic.es

Nats Nus nace en

[...] 1987 de la mano del bailarn y coregrafo Toni Mira.

artescenic.es

Sylvia, a former dancer, athlete and bodybuilder, [...]

found this physically challenging form of yoga a perfect way to recover

[... ]

from a biking accident and years of athletic injuries.

holisticcoach.eu

Syvia que fu una bailadora, atleta y culturista, [...]

encontr esta forma de cambio fsico de yoga un camino perfecto para reponerser

[...]

de un accidente de bicicleta y de aos de lesiones atlticas.

holisticcoach.eu

The dancer Beln Cabanes and this [...]

chamber music quartet will be the stars of the next performance in the summer festival of Ciutadella.

artescenic.com

La bailarina Beln Cabanes y este [...]

cuarteto de msica de cmara protagonizan la prxima cita del festival de verano de Ciutadella.

artescenic.com

Where is a Gades who

[...] gives you a role as first dancer?

esflamenco.com

Dnde est un Gades

[...] que te pone de primera bailarina?

esflamenco.com

Ms. Brenner,

[...] choreographer and lead dancer, prefaced the three dances [...]

with a comment on her experiences of performing them

[...]

in different countries and continents.

wipo.int

Janis Brenner,

[...] coregrafa adems de primera bailarina, se dirigi al pblico [. ..]

antes de cada una de las tres interpretaciones

[...]

para hablar de su experiencia de interpretacin coreogrfica en diferentes pases y continentes.

wipo.int

Born in Caracas, Albornoz earned the

[...] title of professional dancer at the Dance Workshop [...]

of Caracas in 2002.

venezuela-us.org

Caraquea de nacimiento, Albornoz

[...] obtuvo el ttulo de bailarina profesional en El [...]

Taller de Danza de Caracas en el ao 2002.

venezuela-us.org

We let ourselves be caught by

[. ..] the movement, like a dancer who gives in to the [...]

rhythm, and finds in it grace and freedom.

curia.op.org

Nos dejamos envolver por el

[...] movimiento, como un bailarn que se deja poseer [...]

por el ritmo y encuentra en l gracia y libertad.

cidalc.op.org

The goal is to make full use of already learned techniques and find, liberate and further nourish the

[...] potential capacity of each dancer.

festivaldeteatroba.gob.ar

El objetivo consiste en utilizar la totalidad de las tcnicas ya aprendidas y descubrir, liberar y nutrir

[. ..] el potencial de cada bailarn.

festivaldeteatroba.gob.ar

Together with a violinist and a harpist, a dancer forms a "cuadrilla" (team) that represents a given village or community.

unesco.org

Una caracterstica constante es la representacin del ritual por mujeres y hombres, colocados unos al lado de otros.

unesco.org

Already in 1810, German poet Heinrich von Kleist had no doubts in declaring the superiority

[...] of the puppet over the dancer.

museoreinasofia.es

Ya en 1810, el poeta alemn Heinrich von Kleist no haba dudado en proclamar la superioridad de

[. ..] la marioneta sobre el bailarn.

museoreinasofia.es

In our Tradition the Goddess

[...] receives the title "The Dancer" while the God is called [...]

by "Conductor of the Spiral Dance of Ecstasy".

nemorensis.com.br

En nuestra Tradicin la Diosa recibe muchas

[...] veces el ttulo de "La Bailarina" mientras el Dios [...]

es llamado por nosotros de "El Conductor

[...]

de la Danza Espiral del xtasis".

nemorensis.com.br

How to Say Dance in Spanish

Get fluent faster with the best resource for intermediate and advanced Spanish. Learn More

Dance in Spanish is baile

Example Sentences

El viernes pasado nos fuimos a un baile.

We went to a dance last Friday. Source
Habrá un baile de etiqueta en el casino.

There will be a formal dance at the casino. Source
Este club de baile realmente va a llegar lejos.

This dance club is really going places. Source
Bailemos.

Let's dance. Source

More Examples of

Dance in Spanish

Además de eso, no sé bailar.

Besides that, I don't know how to dance. Source
Me gustaría bailar contigo.

I'd like to dance with you. Source
Le gusta cantar y bailar.

He likes singing and dancing., He likes to sing and dance. Source
No pueden bailar.

They can’t dance. Source
Yo no bailo.

I don't dance. Source
Baila conmigo.

Dance with me. Source
Él tiene miedo de bailar.

He's afraid to dance. Source
Me gusta bailar.

I like to dance. Source
Ven a bailar conmigo.

Come and dance with me., Come and dance with me! Source
Él quiere bailar.

He wants to dance. Source
Él quiere estudiar música y danza.

He wants to study music and dance. Source
La saqué a bailar.

I asked her to dance. Source
No sé bailar.

I can't dance. Source
Yo no puedo bailar.

I can't dance. Source
Quiero aprender a bailar como vos.

I want to learn to dance like you. Source

Looking for something a bit more visual? Check out our infographic on Dance in Spanish with example sentences and translations.

Have a question or comment about Dance in Spanish? Let us know!

Practice "Dance" and thousands of other words and phrases in Spanish on Clozemaster!

Studio Flamenco Bolero | Spanish dance school

Bolero.su is a member of the UNESCO Dance Committee. With us you will receive a qualitatively new level of teaching based on the international methods of the Spanish Dance Association SDS.
The SDS - Spanish Dance Society promotes Spanish dance around the world, and the Russian branch of SDS is located in Bolero.
Possibility of choreographic education and passing exams.

A completely different approach to learning flamenco! nine0003

F.A.Q.

Vacant

Always open to new people and opportunities), please contact

ELENA

TSVETAEVA

Director of the studio, teacher and choreographer, member of CID UNESCO, IWC, SDA. Member of urban and international dance projects. Partner of two foreign dance festivals and organizer of the Russian flamenco festival alRojo.

Anna Egorova

Lecturer Flmenko, in the SDS system for more than 5 years, successfully passes exams, attends master classes of such stars as a Munoz, 1st place in the Solo category ALROJO 5

La Truco

Eli -Eliite Truko Pinyos was born in 1968 in

Toledo in the family of singer Jose Truco. She studied at the Madrid Professional School of Music and Dance. Masterfully mastering the flamenco technique, Truco created her own style, emotionally rich, bright, unlike any other, sensual and exciting, strong, like herself

MEIRINO

Natalia Meirinho is one of the most famous modern flamenco performers, who conquered many countries of the world with her dance.

where she is invited with master classes as a teacher and with concerts as a flamenco dancer. As a teacher, Natalya stands out among others with a special gift to turn every lesson into a real celebration of body and soul.

SEGOVIA

The owner of a unique bright style and expressive manner of performing flamenco, Laura Segovia is known far beyond the borders of Spain. nine0003

She has danced and given master classes in venues in many countries, participated in dance projects in theaters in Rome, Madrid, Granada, Cordoba, Seville.

She is director and choreographer of the ballet "LAURA SEGOVIA".

MUNOZ

Angel Munoz is an iconic figure in the world of Spanish dance, a sought-after dancer, teacher and choreographer, called the Spanish Flamenco legend.

Was nominated in the category "Best Classical Choreography" British National Dance Awards 2015, National Festival of Dance "La Mejorana", National Contest of Flamenco Art in Córdoba and others.

nine0020

GROUPS

SDS ADULTS

Dreamed of getting to know the culture of Spanish dance better? We will help you!

SDS CHILDREN

Education according to the best foreign methods of the SDS association, which unites many schools, teachers and flamenco dancers around the world.

ADDITIONAL CHOREOGRAPHY

Unique choreography from our school teachers and guest teachers. From zero to performance! nine0003

INDIVIDUALLY

Your personal lesson plan, preparation for exams, study of individual elements of dance - all this is individual with a teacher!

Sign

more about each course you can find out here or

Reviews

Daria Terkulova

"And I want to say that whatever it happened and happened , I had a protracted (and not always easy, I must say) romance with flamenco. As expected, with breaking dishes, longing and passionate returns. For 6 years, flamenco has become my love, my pain, my laziness and my work, and most importantly, helped to refine and strengthen the inner core - something thanks to which I can not break when everything is against me (I hope it will do without it) And thanks to the Bolero studio, the girls and Lena Tsvetaeva personally for the fact that it was you who met me in my quest." nine0005 More reviews - here!

Ksenia Petrova

"And for me, the Bolero school is already my home :)) I started studying in the studio from the very beginning. My arms and legs did not move together. But thanks to the fact that Elena Tsvetaeva checked me, I began to study further:) in the classroom I recognized myself from the other side, I realized that the world of dance is very deep, and you can work on it endlessly.The Bolero School is a collection of interesting and versatile people, a sincere and creative approach to business. And all this, of course, it would not have been possible to exist without Lena and Andrey.I can’t imagine how it is possible to manage such a big business, where to get so much strength and patience to explain the movements to everyone, sew a suit, solve various financial issues and at the same time take care of your family. The work is colossal. I wish prosperity to my favorite flamenco school:)"

More testimonials here!

Elena Dobrovolskaya

"I have been studying at the Bolero studio for the 6th year and can no longer imagine my life without classes, rehearsals, concerts and my favorite and best flamenco girls, but first of all, of course , without our leader - Elena Tsvetaeva.

More testimonials here!

CONTACTS

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WANT TO ENROLL?

phone: +7 (910) 485-93-60

+7 (916) 687-69-64

tsvela@yahoo.

com

ADDRESS

Moscow, Verkhnyaya Krasnoselskaya st. 16 B building 2

from Krasnoselskaya metro station 4 min. on foot to the right and up the street, behind house 24 (Magnolia) to the left, the first lane to the right to MextoDent, on the left near the Christmas tree is the entrance to the 3-storey building

We are on the 2nd floor

Ravel. Spanish Rhapsody (Rapsodie espagnole)

Orchestra: 2 flutes, 2 piccolos, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 3 bassoons, sarrusophone, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, castanets, tambourine, snare drum, cymbals, bass drum, tom-tom, xylophone, celesta, 2 harps, strings.

History of creation

Since childhood, interested in Spain, the homeland of his mother, who loved and knew Spanish folk music, and was also interested in its embodiment in the music of Russian composers, Ravel repeatedly returned to Spanish themes in his work. At 19In 07 he wrote the opera "Spanish Hour". Then the composer turned to the Spanish Rhapsody. The original idea was for a suite for two pianos, but later the composer decided that it would be better to translate it into an orchestral sound. The rhapsody is four-part: to the three parts composed at that time - the preludes "To the Night", "Malagenje" and "Feria" - Ravel added the "Habanera" written 12 years earlier as the third part.

The first performance of the new work took place on March 15, 1908 in Paris under the direction of E. Colonna. The success was so great that Malaguena had to encore. Manuel de Falla, in an article dedicated to this concerto, wrote: “The music of the Rhapsody ... struck with a truly Spanish character, which ... in contrast to what Rimsky-Korsakov did in his Capriccio, was achieved not by the simple use of folklore material (with the exception of hota from "Feria"), but through the free use of the most essential rhythmic, modal-melodic and ornamental features of our music. nine0003

Music

The Spanish Rhapsody opens with the prelude “Towards the Night”, an image of a southern landscape at night. The finest orchestral sound recording conjures up a mysterious, full of love yearning night. Against the background of the quiet tremolo of the violins, a motif of four descending sounds is continuously heard. It passes first at the violins and violas, then is passed to the oboe, cor anglais, flute, celesta. In delicate orchestral colors, in modal, rhythmic and harmonic variability, an exquisite impressionistic picture is created. Two clarinets enter the octave with a sad melancholy tune, which is replaced by a dance motif, then a new cadenza enters - this time bassoons, which is accompanied by quiet rustles, vague echoes of the dance, fragments of tunes, mixing in the general movement. The part is closed by the return of the descending motif of the night. nine0003

"Malagueña" is a love song-dance, one of the most widespread in Andalusia. Here it is a colorful dance scene, elegant, imbued with a genuine Spanish spirit. It opens with a short (only three measures) embossed theme that sounds mysterious, even disturbing, on the cellos and pizzicato double basses. It repeats itself, bizarrely painted. A new, impulsive theme, at the trumpet with a mute, then dreamily repeated by the violins, conjures up the entrance of solo dancers, a gentleman and a lady. The increasingly lively dance is suddenly interrupted by an English horn monologue - inviting, full of passionate languor. A descending motif from the first movement bursts into its final cadenza (celesta, solo violins, violas and a cello with a mute). The movement of the dance returns briefly, with which Malagenya ends. nine0003

“Full of fiction, the poetic Habanera enchants us with its quivering and languid character, rhythm and nostalgic imagery; the charm of rich and precise orchestration gives the play timbre richness and brilliance,” writes A. Cortot about the third part of the Rhapsody. Throughout almost the entire "Habanera" one and the same sound is heard repeated in an unchanged rhythm - a kind of core, around which short motives, exquisite harmonies, full of languid bliss, wrap around. Dance melodies seem to float from afar and disappear again, dressed in a colorful, original orchestral outfit. Separate short descending intonations, conflicting with the general ascending movement of melodies, give a special lyric-dramatic tension to the music. The short bursts of the violins evoke associations with impetuous dance movements (the habanera "is danced with the whole camp and especially with the hands that fly up like birds"). nine0003

The final part, "Feria", is a vivid picture of the folk festival. One can hear flute tunes, the rumble of snare drums, the characteristic clicking of castanets, the ringing of guitars imitated by strings. Jota unfolds: starting at the flute, its theme gradually captures the entire orchestra. Genuine motives of the brightest folk dance of Spain, familiar from Glinka's Aragonese Jota, sound. There are also motifs from the previous parts of the Rhapsody. After an exciting tutti comes a sudden downturn. Against the background of barely audible "sighs" of low strings, an improvisation of the English horn sounds, as in the second part. Motifs reminiscent of the prelude "To the Night" lead to the return of the opening section. Jota unfolds brighter and more incendiary, ending in a blinding whirlwind. nine0003

L. Mikheeva

The Spanish Hour was followed by the Spanish Rhapsody, Ravel's first orchestral work, which won wide popularity. Her appearance was prepared by many events in the composer's creative biography.

Originally "Spanish Rhapsody" was written for piano four hands. Ravel played it with Viñes, and, as Falla, who was present, recalls, after several remarks from his friend that “some places are practically difficult to play distinctly on a four-hand piano”, he “had an idea that was very quickly implemented - and how well! — to orchestrate the original version of Rhapsody."

Falla was struck by the fidelity of the national color and soon found an explanation for this fact: “Ravel's Spain was the Spain mentally received from the mother. The lady's refined conversations, always in pure Spanish, gave me great pleasure when, recalling the years of her youth spent in Madrid, she spoke of a time, of course, preceding mine, but from the customs of which traces were close to me. Then I realized that from childhood my son listened spellbound to her often repeated stories, imbued with sadness about the past and, no doubt, revived by the power that the melody of a song or dance, inseparably connected with it, gives to any memory. nine0003

Violinist E. Jourdan-Morrange, a close friend of Ravel, recalls that the composer often said: “Spain is my second musical homeland”, and Spain really accompanied him from “Habanera” from “Auditory Landscapes” to “Three Songs of Don Quixote”, with which he ended his career as a composer. His first Spanish experience was followed by "Alborada", "Vocalise in the form of a habanera", not to mention the large canvas, which was a comic opera. All this led the composer directly to the symphonic development of the Spanish theme. nine0003

Another important source of impressions was meetings with Spanish musicians who lived in Paris. Although their work lay on a different plane than Ravel's, they helped him in many ways to get closer to the original source. This is how he perceived Falla's opera; much in it was unusual, including the development of elements of Andalusian music.

Ravel could, of course, have a number of other “models” in front of him, besides Chabrier, also Rimsky-Korsakov, who admired him with the “Spanish Capriccio” (which is reminiscent of the instrumentation features of the “Spanish Rhapsody” - virtuoso cadences, the character of the sound of tutti, etc. d.). But he learned from them only the mastery of orchestral writing, creating his own artistic concept, largely connected with the principles of musical impressionism, with the colorful sound inherent in this style. The four parts of the "Rhapsody", connected with each other thematically, are essentially independent, grouped around the main core, which was the "Habanera". However, it would be wrong to look here for something similar to the classical form of rhapsody, which we find in Liszt - Ravel has a different concept of the genre and, accordingly, other methods of processing the material. nine0003

The score of "Spanish Rhapsody" is rich in wind instruments (two piccolo flutes, sarrusophone) and especially percussion instruments (timpani, triangle, castanets, tambourine, snare drum, cymbals, bass drum, xylophone). Listening to the music, it is easy to notice an exceptional variety of strokes and indications of the methods of sound production, which have a purely coloristic meaning. The interpretation of the string quintet is also characteristic, in which the abundance of divisi, harmonics, etc., attracts attention.

Ravel mastered the technique of “folding” the score from a few elements, avoiding, however, the danger of fragmentation, mosaic: he preserves the integrity of the form. She marked music of the first part - "Preludes of the Night" , a typically impressionistic sound picture, full of poetic dreaminess and at the same time rationalistic in its design.

The fabric of the "Preludes of the Night" is woven from a few laconic sound elements. The first is a calm downward move (f-e-d-cis) , passing through the whole piece, colored with bright orchestral colors. There is no way to enumerate their change beat by beat. We can confine ourselves to one example - to point out the range of timbre shades in the repeated passages of the first motive, which would be monotonous without this. The second element is a major second and a four-bar melodic phrase in which Spanish intonation is clearly audible. nine0003

Alschwang notes here "generalized song and dance formulas of Spanish folk music", points to a typical move reminiscent of the parts of Carmen, Concepción (in M. de Falla's opera), Debussy's Evening in Granada, etc. Indeed, , such a turnover is common, it is used by many composers (isn't it from here - because of its typicality - that there is talk of quasi-plagiarism?). To the main elements of the "Prelude of the Night" should be added a sparingly delineated bass move, a slight development of the melodic phrase, and two small virtuoso clarinet and bass clarinet cadenzas. nine0003

That's all, quite a bit, but each element is used to the full and combined with others in the harmony of the formation of this beautiful, poetic play. The discrepancy between meter and measure, which changes the contours of the rhythmic pattern, greatly enlivens the music. Even more important is the constant change of orchestral colors: first violins and violas, then oboes join them, giving way (after an episode of pure sounding of violins and violas) to the English horn. He, in turn, is duplicated by cellos, violas play with a flute, and a clarinet with a harp. We have listed only a part of the timbre transformations of the four-sound motif. As can be seen, the principle of mixing colors prevails in them, creating an iridescence effect that overcomes the monotony of the passage and becomes an essential feature of the figurative content of the play. nine0003

Another example is the closing introduction of a theme, something like a very condensed recapitulation, or perhaps codas, where all the main thematic elements of the play reappear. The sophistication of the sound is created by the celesta (main motive), the “swinging thirds” of the harps and the transparency of the sound of the quintet with numerous divisi, where the theme is entrusted to solo instruments: violin, viola and cello, duplicating each other for three octaves.

The verbal description doesn't make it possible to feel all the beauty of the sound of the piece, but it allows you to see how well thought out the timbre structure of the score is, composed of carefully selected details. Indeed, this is the art of the “Swiss watchmaker”, as Stravinsky once called Ravel! The brilliance of the impressionistic palette is combined with the stingy precision of the drawing, everything merged into the unity of the musical overview. nine0003

In the score of "Prelude of the Night" two small wind cadenzas (two clarinets, then two bassoons tinted by violins) occupy a special place. Ravel precisely finds the moment to introduce them into the score, they enliven the beautiful picture of the southern night.

The second part is Malaguena . The composer was familiar with many variants of this dance, found in the works of his Spanish friends. However, as always, he does not repeat what has already been created and in his own way introduces Andalusian dance, its guitar tunes and the sound of castanets into the sound atmosphere, conveys the lively charm of its rhythm and melody, without resorting to folklore borrowings. nine0003

The rhythmic basis of the dance determines the general character of both the music and the orchestral texture, in which, compared to the "Prelude of the Night", sound colors and their combinations are not so sophisticated. This can be seen in the first bars (Alschwang finds only the texture of accompaniment in them), where the sound of guitar tunes is conveyed by the simplest, almost stereotyped means: pizzicato of cellos and double basses, slightly supported by brief replicas of the bass clarinet. In the future, the composer decorates the sound with chromatic passages of flutes and cor anglais, while maintaining the main contour. nine0003

The second section of "Malagueña", built on the same slightly changed rhythm intonation, transferred from the bass to the upper register, is also clear in the pattern. For the first time, drums appear in the score, their parts are filigree in decoration. Only now does the first full tutti enter, where numerous doublings create a full and brilliant sonority. In conclusion, the English horn recitative sounds, marked by all the features of Spanish pathetic chant.

It is difficult to find signs of real development in Malagenya, everything is built on a skillful combination of basic elements and contrasts of timbre dramaturgy. The colors are laid with the strictest forethought, the goal is a gradual increase in brilliant sonority. It will appear in its entirety only in the final, in the picture of the holiday, the culmination of other parts are given in proportion. In the Ravel score, everything is contained within the limits of the general idea, which determines the juxtaposition of parts, their scale and gradations of orchestral sonority. Constructiveness is expressed here much more strongly than is usually the case in works of the rhapsodic genre. nine0003

Some writing techniques of Malagenya remind one of Glinka's Kamarinskaya. So, in the first section, the theme is repeated in the bass, melodic ornaments in a high register are superimposed on it. Further, a fragment of the melody passes by various instruments, acting like the actors of a magnificent and meaningful performance. Ravel's score is convincing because everything in it is subordinated to the content of the music and at the same time the orchestration itself becomes an essence, as Rimsky-Korsakov emphasized in connection with his Spanish Capriccio. nine0003

However, the same can be said for " Habanera ". We already know that it is an orchestral version of a piano piece. But this version has new features. Comparison of the score and the clavier shows a rare ability for radical timbre transformation of the image.

Habanera attracted the attention of many French composers. Falla gives another argument explaining Ravel's appeal to her: the habanera was the most successful at the Madrid parties during his mother's youth, and he probably heard her stories about the dance more than once, listened to its melodies. Be that as it may, he created one of his brightest Spanish pages. nine0003

The “bricks” that make up the “Habanera” are as follows: the rhythmic leitmotif

, which runs through the entire on the same rhythmic basis, a four-bar phrase (in essence, a sequence of a one-bar motif) and a more active melodic element close to it, repeating several times. That, in essence, is all the material on which the music of the Habanera is based. The marginal savings of funds obligated to the rationality of their use within the framework of the general construction. This is how a well-made miniature appeared, where all the details are subordinated to one goal: to create an emotional mood, without which it is difficult to imagine the embodiment of Spanish dance. nine0003

However, the Habanera is more of a hint than a real dance. The melodic phrases from which it arises disappear before they develop. This is the originality of the Ravel play, its almost pointillistic writing. In the picture of the pointillist artist, the dots are united by a common color; the composer's timbre scale cements the sound mosaic. Ravel showed mastery of the art of hint, which becomes a symbol in the exact sense of the word, he finds an unexpected solution in the genre of dance miniature, where by that time not only traditions, but also clichés had already developed, including in the development of the Spanish theme. nine0003

All this is also true of the first (piano) version, but the score is even more convincing, where the laws of Ravel's timbre dramaturgy come into force, with its characteristic abundance of colors, which is combined with the invariable clarity, and sometimes even the graphic quality of the drawing.

In the first measures, the composer is limited to very few things - a rhythmic figure on the sound cis , on which a typical Ravelian chord is superimposed - c—d—fis—a—d . There is nothing unusual in terms of timbre sound in the main element entrusted to two clarinets. But on the other hand, the chord is orchestrated in a complex and intricate way, it is felt that the composer is striving for spice and sophistication of sound. This is a typical example of Ravel's "timbre alchemy". nine0003

Violins form the basis of a fantastic timbre: divisi à 3 first and à 2 second. Everyone plays under mutes, even-numbered parts with harmonics. Harp chords and sustained notes of flutes and oboes are superimposed on this sound. A mixture of skillfully selected timbres creates a shimmering flavor of the first chords of the Habanera. The effect is enhanced by the use of various forms of sound production, which is also typical of Ravel's orchestral writing.

The orchestration of the Habanera is based on constant timbre variation, which within a small piece could lead to a violation of unity, but the composer happily avoids danger by combining individual elements in a common color scheme. We are not talking about the accuracy of extracting all the dynamic and articulatory nuances - this was a constant concern. Everything has been worked out to the last point, and one can understand the unforgettable performer of Ravel's music V. Sofronitsky, who refused additional editorial instructions in the edition of the French composer's piano pieces. nine0003

It is known, however, that later Ravel was critical of the Habanera score. Poulenc recalls his words: "... I love this music very much, but it is so badly instrumented!!!". And further, explaining his thought: "For this number of measures, there is too much orchestra here ...". According to Poulenc, Ravel intended to write a textbook of orchestration with examples from his own works, exactly what failed. The idea is unusual, quite in the spirit of the paradoxes that the French composer loved so much! nine0003

Speaking of "Habanera", one cannot but recall the famous opera by Bizet. E. Jourdan-Morrange writes: “Ravel greatly appreciated Carmen and recognized that Bizet was one of the first to introduce habanera into French music. ” Of course, the difference between the two composers is great, but it should be noted that it was Bizet who brought Spain closer to European music, albeit without observing full folklore authenticity. The interpretation of the habanera genre by the author of Carmen continues to be classical, it reveals the features of the genre completely. In Bizet, this serves the purpose of stage specificity created by genre generalization, in Ravel - symphonization of dance, more precisely - his In addition, in "Carmen" the activity, striving of the rhythm of the habanera is emphasized, while in "Rhapsody" it is given a languid and bewitching character and the dance itself is transformed in the score in accordance with the canons of the aesthetics of impressionism. Two different approaches, two solutions , equally having the right to exist.0003

Finale - "Feria" - the most detailed part of the rhapsody, differing from others not only in scale, but also in the special completeness of images, in which not a hint is given, but reality itself, embodied in a typically Ravelian, pictorial manner. And the orchestration of the finale is somewhat different from that of the first three movements: replete with tutti, in keeping with the jubilant nature of the music. It can be said that it is more traditional than in the other parts, but it is quite in the spirit of the requirements for the virtuoso finale of the rhapsody. nine0003

The central place in the finale is occupied by a jota melody close to the one developed by Glinka and Liszt. In the main episode, she is adorned with arabesques in the upper orchestral register. The sonority is sparkling, the rhythm is clear almost to the point of deliberateness, everything is in contrast, flooded with rays of sunlight casting sharp shadows; the southern flavor, so close to the composer's heart, is conveyed in music with true penetration.

In the score of Feria, the composer recreates the picture of festive jubilation in his own way. Doubling effects are widely used in tutti, but not to obtain new shades of timbre, but mainly to enhance sonority. Crescendo arises not only as a result of strengthening the sound of individual instruments, it also depends on an increase in their number, in other words, it is inherent in the very structure of the score, carefully calculated by the composer himself (the most complete embodiment of this technique can be found later in Bolero). nine0003

There is also a lyrical episode in the music of the finale of Rhapsody, where the orchestration is marked by features of impressionistic sophistication. There are many interesting things in it, for example, the passage of parallel seventh chords entrusted to four solo violins: an unusual glissando for its time. Ravel also uses techniques that make you remember the cluster: in the final bars, an inseparable complex of sounds of wood and strings appears, creating the impression of a colorful spot. Theorists seek to find a modal basis in such complexes, but in fact these sounds belong to the field of phonic effects, which play an important role in the music of the second half of the 20th century. To a certain extent, Ravel anticipated such techniques and organically included them in his orchestral writing. nine0003

"Feria" occupies more than half of the score of "Spanish Rhapsody", it is the conclusion, which has the character of a synthetic generalization, ending with a return to the beginning: we are talking about the elements of the "Prelude of the Night" - ostinato and seconds that appear in the same episode where it sounds and glissando strings.

"Spanish Rhapsody" is an enduring success with the public. Up to the present time, Ravel's score strikes with the unity of its musical-figurative and timbre content, and the "Habanera" - with the organic orchestration of the piano source. "Rhapsody" became an important milestone for the composer on the way to wide international recognition. And yet it was not something exceptional either in French symphonic music, where Debussy's "Sea" and "Iberia" appeared around that time, or in the world - it is enough to recall Scriabin's "Poem of Ecstasy" - in Russia, "Song of the Earth" Mahler is in Austria. Nevertheless, the "Spanish Rhapsody" has taken pride of place in European music both for the independence of the implementation of the Spanish tradition, and for the courage and novelty of writing. nine0003

Speaking of genre and form. It is not by chance that the work is called Rhapsody, and it is more natural to associate its idea with the large-scale concepts of Albéniz and Granados than to draw parallels with the purely symphonic music of other composers. For Ravel, as for the Spanish masters, the main thing is genre generalization, picturesqueness, in which he is also close to the tradition of the Kuchkists. There is another common feature between the Kuchkists and the author of the Rhapsody. Russian composers were keenly interested not only in the East, but also in Spain. Ravel showed a similar aspiration later - at the beginning of our century - and paved his way in French musical Spanish studies. The significance of his achievements has been confirmed by many Spanish composers, including Falla. nine0003

It is worth quoting his words. Falla writes that "Rhapsody" "... struck with a truly Spanish character, which, in accordance with my own intentions and in contrast to what Rimsky-Korsakov did in his Capriccio, was achieved not by the simple use of folklore material (with the exception of hota from Feria), but through the free use of the most essential rhythmic, modal-melodic and ornamental features of our folk music.

"Spanish Rhapsody" was played for the first time on 15 March 1908 under the direction of E. Colonna and well received by the public, although the matter was not without an incident that violated the decorous atmosphere of the concert hall. After the performance of "Malagenya" from the gallery there was a call to repeat it again in order to make it understandable for those sitting "down there". One way or another, the listeners were satisfied, and the reviews of the press were generally favorable, even Lalo noted, albeit with reservations, the merits of the work - orchestration and completeness of the expression of feelings, constructive clarity.

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