Fig. 1. Los toros del Puerto (mm.1-8) compared to S695c (mm. 37-45) Fig. 2. Los toros del Puerto (mm.9-18) compared to S695c (mm. 51-60) Fig. 3. Los toros del Puerto (mm.23-28) compared to S695c (mm. 82-86) Fig. 4. Portrait of F.M.L6pez by Vicente Lopez Portafia (Museo del Prado, Madrid) Soriano seem to have struck a certain complicity during his stay. Fig. 7 Mariano Soriano Fuertes by the time he met Liszt in Cérdoba*® In Figs. 8, 9, and 10 we will compare two of the three subjects and the refrain in Liszt’s work with the materials from the Vals by Soriano that inspired them. As the reader will note, the case with Feuille Morte is quite different from the Romancero Espagnol. If the latter is a Paraphrase on three clear themes which Liszt quotes literally and are then reworked and varied throughout the piece, Feuille Morte is a free Fantasy which bears a more general resemblance with the piece which inspired it. TI themes from the Soriano Vals Funebre are not quoted literally but in a free style which nevertheless respects some of the characteristics of the original. All in all, Liszt manages to turn what was only a clumsy, insignificant bagatelle into quite a thrilling piece. It is also interesting to note that the genesi: of Feuille Morte and Romancero Espagnol seem to be quite different from one another as well. S42 probably had its origin in Liszt’s improvisation in Cérdoba, subsequently reworked and written out; th Romancero appears in Liszt's concert programs (in the form of a Fantasia a Capricho) already as a written-out composition instead, which leads us to think that it was probably not the consequence of an improvisation. an improvisation. Fig. 8. Vals Funébre (Soriano) (mm.1-11) compared to $428 (mm. 7-19) Romancero appears in Liszt's concert programs (in the form of a Fantasia a Capricho) already as a Fig. 9. Vals Funébre (Soriano) (mm. 17-24) compared to $428 (mm. 25-35) of the Vals’ second section, turning it into a sort of insistent distress call to great effect. Fig. 11. The fandango in Le nozze di Figaro (in Cramer’s piano transcription) compared to the one in the Grosse Concert-Phantaise tiber spanische Weisen (mm. 1-7). Whether the fandango he used was or was not one of these examples remains an open question. Fig.12 Fanny Elssler as featured in Une vie de danseuse : Fanny Elssler, Plon-Nourrit, Paris, 1909. name to a genre in itself, jumping from street to stage and cultivated by the ‘escuela bolera’. different words. The dance associated with it became, too, a great hit in Spain, to the point of giving It was thus as a dance genre that it became well known in Paris in 1836 when Fanny Elssler (see fig. yrics supporting their cause’. Its fame subsequently spread all over the country, sometimes set t Fig. 13. A cachucha melody and the rhythmic pattern characteristic of the genre. They even refer to a melodic example of cachucha — which does not match the song used by Liszt — Our recent research, however, without contradicting these assertions, tends to confirm Parakilas et al. Fig. 14. La Cachucha (mm. 1-4) compared to $253 (mm. 188-193). definitive conclusion can be drawn and further research is needed on this matter.
