Joaquín Turina, a leading Spanish composer of the first half of the 20th century, composed and published Danzas Gitanas (Gypsy Dances) Book I, Op. 55, which was released in 1930. Following this, he published Danzas Gitanas (Gypsy Dances) Book II in 1934. Like Book I, Book II also consists of five pieces.

Around the same period, Turina composed works such as Violin Sonata No. 2 "Española" and the seven-song cycle Canto a Sevilla, indicating a time when he was increasingly enthusiastic about writing works with Spanish themes.

The term "Gypsy" in the collection's title refers to a people who migrated from Northern India to Europe in the 15th century, well-known for their music and performing arts. Because the term "Gypsy" carries discriminatory connotations, they are now often referred to as "Roma" or "Rom."

While Flamenco is representative of Roma (Gypsy) music in Spain, just as Roma (Gypsies) in other European regions like Eastern Europe adapted and developed their music to suit their local environments, Spanish Roma (Gypsies) also formed Flamenco music by fusing their original music with Arab music from the period when the Iberian Peninsula was under Islamic rule.

In Book II, similar to Book I, Flamenco (Roma music) is incorporated as a theme. However, Book II further focuses on aspects beyond music, including Roma life, customs, and traditions, making it a more ethnically "Gypsy-colored" and folk-inspired work compared to Book I.

Let us now examine each piece in detail.

No. 1 "Fiesta de la Caldera"

Andante, 3/4 time.

The title "Caldera" is Spanish for pot or cauldron.

Roma (Gypsies) have long been skilled in metalworking and have a traditional history of working as blacksmiths.

In Act 2 of G. Verdi's famous opera Il Trovatore, set in early 15th-century Spain, there is a piece called the "Anvil Chorus" where Roma (Gypsy) men sing while striking anvils during their blacksmithing work. In reality, Roma (Gypsies) would sing about the hardships of daily life and their lamentations to life, accompanied by the rhythm of striking anvils called "yunque."

This labor song, performed without guitar or other accompaniment during blacksmithing, eventually evolved into "Martinete," a genre of Flamenco. Through unique melodic turns and free rhythm, it conveyed the grief and sorrow of being forced into harsh blacksmithing labor amidst severe discrimination against the Roma (Gypsies).

Music permeated Roma (Gypsy) life in both joyful and sorrowful times, indicating its profound closeness to them, a fact that can be gleaned from this piece.

The piece opens pianissimo with heavy bass notes in the left hand. From the third bar, the right hand joins, depicting the mysterious and dim scene of a Roma (Gypsy) blacksmith's workshop.

From the ninth bar, a melancholic phrase, resembling a Roma (Gypsy) song, appears with a sforzando. The right-hand phrase extensively uses 64th notes, making it technically challenging.

Upon entering the Allegretto, the time signature changes to 2/4. Sharp dotted rhythms appear in the left hand, powerfully expressing the Roma (Gypsies) working in the blacksmith shop, singing while striking the anvil to the rhythm of the "yunque."

The right-hand phrases are highly ornamented. The cante (song) of "Martinete" often features many melismatic ornaments, known as "redoblaos."

Returning to Andante, from bar 83, the piece reverts to 3/4 time, and the opening song phrase is repeated. After a cediendo, the Allegretto returns, pianissimo, with a small reproduction of the blacksmith's "yunque" rhythm, bringing the piece to a close.

No. 2 "Círculos Rítmicos"

Allegro, 6/8 time.

This is the most Flamenco-like piece among all 10 pieces in Turina's Danzas Gitanas Books I and II.

One key element contributing to its Flamenco character is "rhythm," as indicated by the original title "Círculos Rítmicos" (Rhythmic Circles).

"Compás" is the rhythmic system that shapes Roma (Gypsy) Flamenco music. It is a rhythmic framework where 12 beats are considered one unit (one compás). Depending on where the accents are placed, it is categorized into various rhythmic forms such as Soleá, Alegrías, and Bulerías.

The Roma (Gypsies) viewed the 12 beats of the compás as something akin to a "clock," a fundamental basis for human life. Just as the hands of a clock move in a circle, repeating round after round, the 12-beat compás rhythm creates "rhythmic circles," marking time perpetually.

This concept of compás not only represents the rhythmic system of Flamenco but also reflects the Roma people's view of life: "life is a continuous cycle of joy and sorrow within an unending time (compás)."

The opening section of this piece features accents on the 3rd, 6th, 8th, 10th, and 12th beats, written in rhythms characteristic of Soleá or Alegrías.

The left-hand phrase "A-G-F-E" in bars 3-4 is a common melodic pattern in Flamenco music. This is the "Mi mode" (or Phrygian mode in Flamenco, a scale similar to the Phrygian mode with semitones between the 1st-2nd and 5th-6th degrees). Its sometimes sensual, sometimes melancholic, exotic sound plays a role in enhancing the Flamenco character.

From bar 19 and bar 71, a hemiola rhythm appears, introducing the canto jondo (deep song) part. Canto jondo means "deep song," and it expresses emotions of lamentation, such as the pain of tragic love or life's despair.

In these canto jondo sections, no harmony or accompaniment is written; only the melody in octave unison for the right and left hands is present. By deliberately making it unaccompanied and playing only the vocal melody, a more raw Flamenco character is emphasized.

As the piece enters the coda, it builds from forte with a crescendo, concluding with a grand fortissimo chord. The piece is energetic and full of momentum from beginning to end.

No. 3 "Invocación"

Andante, 4/4 time.

The original title "Invocación" can be translated as both "Prayer" and "Incantation" or "Spell." Many Roma (Gypsy) women make a living through fortune-telling, such as tarot card reading, and this piece seems to depict that mystical world.

Unlike the Flamenco-like music of No. 2 "Círculos Rítmicos," this piece is enveloped in fantastical harmonies reminiscent of French Impressionism.

Turina studied composition with Vincent d'Indy at the Schola Cantorum in Paris for about 10 years. During this time, he also deepened his friendships with Debussy, Ravel, Paul Dukas, and Florent Schmitt, absorbing their compositional techniques. Turina's extensive network of acquaintances contributed to the breadth of his compositional style; he mastered all musical genres, drawing from Impressionist and late Romantic traditions, and created Spanish national music with his unique approach.

This piece is written with Turina's characteristic complex Impressionistic harmonies. Furthermore, it constantly alternates between 4/4 and 3/4 time, employing difficult and advanced musical techniques, yet it beautifully expresses the Roma (Gypsy) "prayer" with a delicate touch.

No. 4 "Danza Rítmica"

Allegro animato, 2/4 (6/8) time.

At the beginning of the score, two time signatures are indicated: 2/4 and 6/8. The piece opens in 6/8 time, followed by bars 9-12 in 2/4 time, thus developing two distinct rhythms.

The 6/8 section evokes "taconeo," a Flamenco technique of striking the heels of shoes, which is a crucial element contributing to Flamenco rhythm.

From bar 9, the 2/4 section develops a vocal phrase with swirling melismas, conveying a Flamenco-like emotion even at a fast tempo. From bar 27, the instruction "Cantando" (singing) is given, and a light and powerful cante (song) part unfolds. From the sforzando at bar 39, the range expands, and both the dance and song intensify. At bar 73, the "Cantando" melody is reproduced softly on the piano, then grows further in range and volume, concluding grandly with a fortissimo.

No. 5 "Seguidilla"

Allegro vivo, 3/8 time.

The title "Seguidilla" (also spelled "Siguiriya") refers to one of the most important forms in Flamenco.

The prototype of "Siguiriya" is said to be "Plajera," a song of sorrow and lamentation performed at funerals. Over time, "Siguiriya" gradually evolved to express life's lamentations and dark fate.

The piece opens with the melancholic cante (song) melody of the "Siguiriya." The 16th-note accompaniment in the left hand evokes the mournful sound of a Flamenco guitar.

The phrases from bar 14 and bars 18-19 utilize the same Flamenco "Mi mode" (Phrygian mode) as in No. 2 "Círculos Rítmicos." Furthermore, from bar 40, a phrase reminiscent of No. 2 "Danza de la Seducción" from Book I appears, making it a fitting conclusion to the entire Danzas Gitanas collection of 10 pieces across Book I and II.

Both Book I and Book II of this collection were premiered by José Cubiles.

Cubiles taught piano at the Madrid Royal Conservatory, where Turina was a professor of composition, and he premiered almost all of Turina's major piano works.

Turina and Cubiles shared a deep friendship. Cubiles even appears as "Pepe, el pianista gaditano" (Pepe, the pianist from Cadiz) in Turina's Rincón Mágico, Op. 97, a work that expresses the personalities of Turina himself and his friends.