"Ritual Fire Dance" by Manuel de Falla

[matterintospirit]

https://soundcloud.com/classical-soul-pianist/ritual-fire-dance

This is Spanish composer Manuel DeFalla's own piano arrangement of a movement from his electrifying orchestral suite for the ballet, "El Amor Brujo" (The Bewitched Love.) The story behind this music is that of a young Andalusian Gypsy girl named Candela who is haunted by the ghost of her dead husband. To get rid of him, all the Gypsies make a large circle around their campfire at midnight. Candela then performs the ritual fire dance. This causes the ghost to appear with whom she then dances. As they whirl around faster and faster, the ghost is drawn into the fire, making it vanish forever.

[piulento]

I love this piece, but it always seemed so difficult to play well. There's a video I love of Rubinstein playing it - he's such a master. Listen to it, it can really give you some ideas:

Anyway, I'll start by complimenting the sound of the piano and the quality of the recording. Also, kudos for actually studying this, this seems like such a nightmare to learn.

I think my main comment on your playing is that you should pay more attention to the rhythm. The melody is important, naturally, but I think 90% of each phrase's "power" come from the rhythm. It's really important that you stress the beat and use the left hand accompaniment to put emphasis on it.
This is, as you said, a ritual dance. So it should have a sense of frenzy. That's another reason to put more emphasis on the rhythm (because that's what people do when they dance, especially if it's a ritual dance). Also, maybe play faster, especially near the end (considering what's happening in the scene).
You'll see that once you do that, it'll sound a lot better (because at some points the rhythmical center of mass isn't that clear in your playing).
Good luck

[matterintospirit]

Thanks for your thoughtful feedback. I understand what you are saying and I've played it more in the manner that you describe. I've heard the Rubinstein recording and many others. I was "wowed" by Rubinstein's interpretation at one time. But now I am hearing the piece differently-- not so fast and percussive as is traditional for this piano version. For me, that way lacks sensuality. I am seeing it as more graceful and lyrical  (and "sexy") like the ballet movements that I have observed in various performances. So right or wrong this is my intention and it works for me.

[kalospiano]

awesome piece and very good performance, congrats

[matterintospirit]

Thanks! My interpretation is closer in feeling and sound to de Falla's original symphonic version, than it is to how de Falla's piano transcription is traditionally played. I'm glad you enjoyed it. That's what is important when all is said and done.

[indianajo]

I've loved this for years and had no idea it was ever arranged competently as a piano solo.
Your version does in fact remind me greatly of seeing Wein Phil perform it on television at the Sommernacht performance. 
Thanks for recording this. 

[matterintospirit]

Thanks glad you enjoyed it. The piano version was arranged by de Falla in 1921.

[lostinidlewonder]

I feel you need a lot more articulation, it is not a ballet dance, it's much more wild, exhausting, possessed.

[matterintospirit]

In some parts I articulate the rhythm and in some parts I the emphasize the lyrical line or "waves of sound" if you will, as in the symphonic version. Unfortunately in the recording, the base line articulation in the opening and similar sections can't be heard very well. Anyway, I've seen the ballet performed - a combination of classical ballet and Flamenco dancing. Here, I am respecting de Falla's own metronome marking on the score, which is not particularly fast. The main thing is everyone is entitled to their opinion--this is my interpretation and I stand behind it. I hear the piece as more sensual and sexual thing (very Spanish,) rather than utterly mad.There certainly are other ways of playing it. I personally enjoy putting old "war horses" in a new light as long as they are within "bounds" of the original musical conception, which I believe it is. My music friends in Spain like it which for me is a real vote of confidence! That's about the size of it. PS: there was a time when I would have jumped to my feet after hearing Rubinstiens performance, but now it sounds to me like taking a chainsaw to the piano, and I happen to love his interpretation of Spanish music in general, who doesn't)