F.G.Lorca / P.Illavsky Suite de los espejos Mirror Suite ...an unusual encounter with Spain... The mirror has an important, polyvalent meaning in our society: it symbolizes vanity, but also self-knowledge. For Leonardo da Vinci the mirror was a teacher of painters. Everyone has his own bathroom mirror and who does not know the one from 'Snow White', or the one used in Harry Potter? The mirror is often said to reflect the human soul, and that is why we cannot see vampires images in the mirror. The creation of the 'Mirror Suite' dates from April 15, 1921. 'Aware that he had made a complete departure from the style of Book of Poems, Lorca writes excitedly to his parents, later that month, that he has composed a book of extraordinarily new things...the most perfect work he has ever produced, with the advantage of being the most advanced thing that is happening in poetry (letter of April 1921).'Mirror Suite' was published by Juan Ramon Jimenez in Indice in early 1921.' (F.G.L.: Selected Poems, ed. Christopher Maurer) While writing his Suites, Lorca had a variety of musical sources in mind, including both modern composers like Debussy (whose work he explored through Falla) and Spanish Renaissance vihuelists like Alonso Mudarra and Luis de Milan. The Mirror Suite is original both in it's structure and in it's use of the language, and it is filled with vivid, nostalgic childhood memories. It's 14 variations on the theme of the mirror range from Andalusian folklore to metaphysical speculation. Each variation consequently develops the theme. Each constitutes an adventure in self-knowledge, and in each, Lorca celebrates some of his favorite Motifs: the moon, the human voice, the elements of nature, especially earth and water, and, of course, music. Hispanist Christopher Maurer writes in his essay 'Lorca and Music': 'In the early 20s, around the time of the festival, another change was taking place in Lorcas aesthetics. By 1920 or 1921, it had occurred to him that music can lend structural ideas to literature: ideas beyond the mere division of a verbal 'Sonata' into movements. On the one hand, he will demand from his own poems the brevity and thematic intensity of the flamenco lyric or of traditional lullaby, and on the other he will experiment with the idea of a musical 'suite': a sequence of short poems on a common theme, or of the theme and variations. In the Suites Lorcas tone becomes lighter and more playful, in homage, perhaps, to Debussy and to the music of Falla and what Lorca called 'Fallas distant, spectral forms'. The autor expresses his gratitude to Mr.Christopher Maurer by editing the contents and providing his essay 'Lorca and Music!'