It was Diaghilev who persuaded Falla of the opportunity involved in making a great ballet from the material of "El Corregidor y la Molinera", not being satisfied with that farce which, moreover, delighted the public of his time. However, it should be emphasised, that the pantomime involved a formula particularly favoured by Falla as it was based on a silent performance, both in terms of dialogue and incident. Today we can return to "El corregidor y la molinera" not as a mere attempt at "El sombrero de tres picos", but, from our own perspective, as a more faithful testimony to Falla's proverbial wish, still outside the spectacular dimension of Massine and Diaghilev. Falla, on his side later separated "Le Tricorne" from it's scenic nature by transforming the score into two orchestral "suites", which gave birth to "El sombrero de tres picos" as a symphonic creature, without transitions and with a much less relevant vocal contribution. These "suites" are in fact the most widely disseminated and best-known version of the work.
4 Tableau I: El Fandango: Danza de la Molinera [02:31]
5 Tableau I: El Corregidor (The Corregidor) [01:16]
6 Tableau I: Las Uvas (The Raisins) [03:07]
7 Tableau I: Fandango and Finale [00:25]
8 Tableau II: Le Cena (The Dinner): Seguidillas [03:03]
9 Tableau II: La Espera Galante (Sweet Expectations) [02:29]
10 Tableau II: Los Alguaciles (The Alguazils) [02:21]
11 Tableau II: La Copla Del Cuco (The Song of the Cuckoo) [05:01]
12 Tableau II: El Chapuzón (The Plunge) [01:31]
13 Tableau II: El Asalto (The Assault) [02:00]
14 Tableau II: El Alguacil (The Alguazil) [03:52]
15 Tableau II: El Molinero (The Mi Ller) [02:41]
16 Tableau II: También la Corregidora Es Guapa (The Corregidor's Wife Is Pretty Too) [01:13]
17 Tableau II: El Corregidor (The Corregidor) [01:35]
18 Tableau II: La Pelea Final (The Final Battle) [00:30]
19 I. Introduction [01:34]
20 II. Afternoon (La Tarde) [05:35]
21 III. the Corregidor - the Miller's Wife [03:30]
22 IV. the Grapes [04:11]
23 I. the Neighbour's Dance: Sequidillas [ 03:43]
24 II. the Miller's Dance: Farruca [07:24]
25 V. Minuet (Danza Del Corregidor) [06:44] 26. Final Dance (Jota) [06:04]
It was Diaghilev who persuaded Falla of the opportunity involved in making a great ballet from the material of "El Corregidor y la Molinera", not being satisfied with that farce which, moreover, delighted the public of his time. However, it should be emphasised, that the pantomime involved a formula particularly favoured by Falla as it was based on a silent performance, both in terms of dialogue and incident. Today we can return to "El corregidor y la molinera" not as a mere attempt at "El sombrero de tres picos", but, from our own perspective, as a more faithful testimony to Falla's proverbial wish, still outside the spectacular dimension of Massine and Diaghilev. Falla, on his side later separated "Le Tricorne" from it's scenic nature by transforming the score into two orchestral "suites", which gave birth to "El sombrero de tres picos" as a symphonic creature, without transitions and with a much less relevant vocal contribution. These "suites" are in fact the most widely disseminated and best-known version of the work.
