Albéniz’s Corpus Christi in Seville: Suite Iberia Analysis
Analysis of Albéniz’s “Corpus Christi in Seville” from “Iberia” Suite
Pace
The pace of this piece is determined by the air of the procession it intends to evoke. It follows a binary rhythm, regular and constant, using a two-four time signature, with the quarter note as the beat. The tempo is Allegro grazioso, moderately fast and graceful. Interestingly, the section representing the saeta (arrow-like lament) underneath is in four-four time, while above, the bells continue ringing in two-four time. This gives the rhythm a freer and more expressive quality for the saeta, further intensified by the placement of rests every two bars and a molto rubato tempo indication.
Melody
The main theme, like a march, dominates section A and is taken from the popular folk song “La Tarara.” It has a symmetrical pattern, a sixteen-bar tune divided into two eight-bar periods. The initial appearance of this melody, played staccato, gives an air of detachment, almost like an automaton, suggesting the passage of the military leading the procession. In contrast, the saeta theme, appearing in octaves, has a very solemn and expressive melody. Throughout the score, the nuance indications are very careful, acquiring the tone of stage directions (very vague, blurred, very sweet, and very distant). Tonally, the melody is harmonized in F-sharp minor but has a modal character, like most old folk songs. This modal character is particularly evident when the seventh degree is not altered.
Texture
The texture is primarily homophonic, with melodies harmoniously accompanied. In certain areas, one finds the transparency of texture that Albéniz admired in Scarlatti, with slight suggestions of counterpoint, such as in the seventh and eighth bars of the main theme. The dynamic treatment is tense, and the dissonance in this section also appears to echo Scarlatti. Some critics suggest that the accumulation of major and minor seconds in this section is intended to “paint” the raucous performance of a band parading through the streets of Seville. The appearance of the saeta introduces a different treatment of homophonic texture, based on a “harmony envelope” style reminiscent of Chopin, with long arpeggios released as waves and the tumult of bells in chords figured by the melody in octaves.
Timbre
Although this piece is orchestrated for piano, it relies on certain timbral resources of the instrument for descriptive effect. For example, the “Rataplan” represents the initial drumbeats heard as the procession approaches. The dissonances in the harmonization of the main theme describe the imperfect execution of a processional band. The beating of bells and bustle of the crowd are strongly suggested with a profusion of sixteenth-note chords, producing a timbral contrast with the powerful melody of the saeta. This melody, in turn, when played in octaves, acquires the solemn and heroic tone of trombones. In the end, a “very distant” bell sound is superimposed on an F-sharp pedal point, evoking the stillness of the Andalusian night.
Form
This piece is part of a suite for piano. It has an ABA structure with a small eight-bar introduction and a coda. However, the repetition of A is not exact but more elaborate and concludes with an exciting transformation in three-eight time (although this is not noticeable in the recording, being incomplete).
Genre
Instrumental, descriptive. Moreover, this piece is unique within the suite, describing in detail the development of the procession with its various episodes (onset of drums, entry of the military body, saeta, flight of bells, crowd). It could also be categorized as program music.
Artistic Period
Musical nationalism.
Chronology
First decade of the twentieth century.
Title
Corpus Christi procession in Seville, belonging to the suite Iberia.
Author
Isaac Albéniz.