The two existing manuscripts (1915 and 1926) of these extracts 'arranged' by Falla himself correspond to the very beginning and end of a long period during which El Amor Brujo can be seen in a series of differentstates.They demonstrate the care which the composer generally brought to the task of instrumentation, and more particularly the aptness and validity of this piece in his own eyes as chamber music.

It is clear that Falla'sart oforchestration (and notably his feeling for ins...