Premiere Of New Cantata By Falla

Press, Volume CI, Issue 29734, 30 January 1962, Page 9

Premiere Of New Cantata By Falla

Manuel de Falla died in 1946, one oC bis targes’ works was performed for the first time in Bametana re* center. It was the cantata, "La Atlantida,’’ a setting of poems dealing with the mythical coniinenit of Atlantis.

Falta had composed threequarters of the work when he died, and it was completed from sketches by his pupil, Ernesto Halfflter. so well that experts were unable to detect any difference between Ins and Falta’s portions. Only a

Shortened verst on of the work was heard art Barcelona. The first complete, three-hour performance will be at La Scala, Milan.

The conduotorrfrip of the Barcelona pertfoanances was offered to Drnest Ansennet, but he declined on account of advancing age, and the premiere was directed by the regular conductor of the Barcelona Municipal Orchestra. Eduardo Toldra. Four Barcelona choirs with 200 singers took part and the soloists were Raimundo Torres (baritone) and Victoria de los Angeles (soprano). The whole project was financed by the Spanish Government and Mme. de los Angeles received £l5OO for each of the three performances, reports- "The Times.”

A correspondent of "The Times” says the general impression of “La Atlantida” is one of great persuasive power.

He says: “it is not unusual for the posthumous work of a great musician to fail to attain the artistic level of his earlier works. Happily, ‘Atlantida’ does not fall within this category. Here is a new Falta. Here is a Falta whose music has little connexion with has earlier works in which he composed in characteristic Andalusian accents, the fiery rhythms and sensual colours so admired in his compositions from ‘La Vida Breve,’ through ‘EI Amor Brujo’ up to ‘EI Sombrero de Tree Picos.’ “Nor does it resemble, except in a small degree, the later Falla who concerned himself with Castilian atmosphere in ‘EI Retable de Maese Pedro’ and the harpsichord concerto, his last work before ‘Atlantida.’ ” "Atlantiida.” he says, consists of three main phases—“the concentrated, restrained, almost aesthetic feeling expressed in the prelude,” a tender, calm approach and passages of massive choral strength.