Part 1 CreditsPart 2 Musical Examples and TablesPart 3 Titles of Musical Works (Spanish-French-Latin-English)Part 4 Abbreviations and Useful AddressesPart 5 AcknowledgmentsPart 6 ChronologyPart 7 IntroductionPart 8 Part I: BiographyChapter 9 1 Cádiz (1876-1897)Chapter 10 2 Madrid (1897-1907)Chapter 11 3 Paris (1907-1914)Chapter 12 4 Back to Madrid (1914-1920)Chapter 13 5 Granada (1920-1939)Chapter 14 6 Argentina (1939-1946)Part 15 Part II: Facets of Falla's Life and WorksChapter 16 7 Falla in His ReligionChapter 17 8 Falla as EducatorChapter 18 9 Falla and the PianoChapter 19 10 Bach-Scarlatti-Chopin-Beethoven-RomanticismChapter 20 11 Louis LucasChapter 21 12 From Folksong to Plainchant: Musical Borrowings and the Transformation of Manuel de Falla's Musical Nationalism in the 1920sChapter 22 13 Falla in Europe: Relations with His ContemporariesChapter 23 14 Alexandre Tansman Remembers Manuel de FallaChapter 24 15 Manuel de Falla's Personal Library and Insights into the Composer's AnnotationsPart 25 Part III: WorksChapter 26 16 Youthful Period (1896-1904)Chapter 27 17 Period of Consolidation of Musical Language (1905-1914)Chapter 28 18 Andalusian Period (1915-1919)Chapter 29 19 Period beyond Nationalism (1920-1926)Chapter 30 20 Period of Research for a Universal Synthesis (1927-1946)Part 31 Genealogical Record of Manuel de FallaPart 32 BibliographyPart 33 IndexPart 34 About the Author and Contributors
Harper aims to provide readers with a deeper, more accurate understanding of Falla's creative process by drawing from a complete array of rare, authentic sources including Falla's own personal library, valuable sketch material, and the more than 20,000 pieces of correspondence maintained in Granada, Spain by the Manuel de Falla Archive. The book is arranged in three sections. The first part of the book, organized according to Falla's geographical stays, attempts to clarify certain aspects of Falla's life that have to date been ambiguous or unknown. The second section engages various prominent aspects of Falla's character, such as his relationship with his European contemporaries. In this second section, significant collaborations with prestigious Falla specialists - Louis Jambou, Michael Christofordis, and Chris Collins - have greatly enhanced the dimension of the topics addressed. The book's final section attempts to introduce readers to the most recent information available. It is generously illustrated with manuscript examples and is organized according to the stylistic classifications of the Manuel de Falla Archive's Musical Director, which greatly assist in clarifying the development of Falla's creative process. A chronologically-arranged photo section rounds out this offering that will be of great significance to music students and teachers, as well as those with an interest in Spanish culture.