Falla, Manuel de. (1876–1946). "Retablo" - Autograph Musical Quotation. Autograph musical quotation from the influential Spanish composer, who has penned two measures from his puppet-opera El retablo de maese Pedro, identified as "Retablo," signed below and dated 1931. One staff, two measures (3/4 or 6/8), marked Lento, mounted on cardboard. Oblong format, 3.75 x 4 inches (9.7 x 10.5 cm). Mounted to rigid backing with remnants to verso and identification to upper edge, else in very good condition. Together with a period sepia postcard photograph of the composer.
El retablo de maese Pedro ("Master Peter's Puppet Show") is a puppet-opera in one act with a prologue and epilogue, composed by Manuel de Falla to a Spanish libretto based on an episode from Don Quixote by Miguel de Cervantes. The libretto is an abbreviation of chapter 26 of the second part of Don Quixote, with some lines added from other parts of the work. Because of its brief length by operatic standards (about 27 minutes), its very challenging part for a boy opera performer (who has by far the most lines), and its use of puppets, it is not part of the standard operatic repertoire.
Falla, Manuel de. (1876–1946). "Retablo" - Autograph Musical Quotation. Autograph musical quotation from the influential Spanish composer, who has penned two measures from his puppet-opera El retablo de maese Pedro, identified as "Retablo," signed below and dated 1931. One staff, two measures (3/4 or 6/8), marked Lento, mounted on cardboard. Oblong format, 3.75 x 4 inches (9.7 x 10.5 cm). Mounted to rigid backing with remnants to verso and identification to upper edge, else in very good condition. Together with a period sepia postcard photograph of the composer.
El retablo de maese Pedro ("Master Peter's Puppet Show") is a puppet-opera in one act with a prologue and epilogue, composed by Manuel de Falla to a Spanish libretto based on an episode from Don Quixote by Miguel de Cervantes. The libretto is an abbreviation of chapter 26 of the second part of Don Quixote, with some lines added from other parts of the work. Because of its brief length by operatic standards (about 27 minutes), its very challenging part for a boy opera performer (who has by far the most lines), and its use of puppets, it is not part of the standard operatic repertoire.