Abstract
The article examines the introduction to the ballet “The Three-Cornered Hat” by outstanding 20th century Spanish composer Manuel de Falla from the point of view of its timbral organization and the idea of implementing a sense of national unity into music by means of synthesizing together the genre sources of the music of Andalusia, Castile, Catalonia and Murcia. Being the youngest representative of the Spanish Renacimiento in music, he turned out to be the only composer who was able to combine in an organic way the features of traditional flamenco with the new artistic trends of the previous century (Impressionism and Neoclassicism). The composer’s ubiquitous turning to the genres and strata of overall Spanish and regional folk music, as well as his tendency toward creating syntheses of folk and academic musical timbres led to the recreation in de Falla’s musical-theater compositions of the most widespread folk custom in Southern Spain – the tablao flamenco, practically in its traditional form, in particular, in the introduction to the ballet “The Three- Cornered Hat.” Thereby, the maestro’s ideas, which present an organic timbral unity between the sound of a symphony orchestra and folk musical colors, have displayed a broad spectrum of new coloristic solutions for composers of the younger generation and various national music schools. Keywords: timbre, Spain, flamenco, tablao, ballet, cante jondo, tradition, Manuel de Falla.