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 different states. 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's art of orchestration (and notably his feeling for instrumental idiom) gives his score a profound sense of balance.

String parts only. Piano player reads from full score, available separately.