With the beginning of the war de Falla left France for his native land. He launched _La Vida Breve_ in Spain with some success and on April 15, 1915, his second opera, _El Amor Brujo_, was produced at the Lara Theatre in Madrid. Aubry tells us that this work was a failure. However, the composer suppressed the spoken and sung parts, enlarged the orchestration, and made of it a symphonic suite, "semi-Arabian" in style. Pastora Imperio, too, has used this music for her dances. Aubry pronounces de Falla's _Nocturnes_, produced in Madrid in 1916, the most important orchestral work yet written by a Spaniard. The Spanish title reads: _Noches en los Jardines de España_. There are three parts described by these subtitles: _En el Generalife_, _Danse Lejana_, and _En los Jardines de la Sierra de Córdoba_. The piano plays an important part in the orchestration but is never heard alone. "The thematic material is built, as in _La Vida Breve_ or in _El Amor Brujo_ on rhythms, modes, cadences, or forms inspired by but never borrowed from Andalusian folk-song." When the Russian Ballet visited Spain Serge de Diaghilew was so much interested in the work of de Falla that he commissioned him to write a ballet on the subject of Alarcón's novel, "El Sombrero de tres Picos." Joaquín Turina is another important figure in the modern school. Debussy compared his orchestral work, _La Procesión del Rocio_, to a luminous fresco. In an article in "The Musical Standard," January 6, 1917, Guilhermina Suggia writes: "This work, composed in 1912 and dedicated to Enrique Fernández Arbós, depicts one of those striking processions in honour of the Blessed Virgin Mary of which Richard Ford writes in such picturesque fashion in the old edition of Murray's 'Handbook of Spain' (1845)." Every year in the month of June, _la procesión del rocio_ takes place, and all the grandees in the town of Seville come out in their carriages to take part in the festivity. Turina has also composed an opera, _Fea y con Gracia_ (1905), a string quartet, and numerous works for piano, among which may be mentioned _Trois Danses Andalouses_ (_Petenera_, _Tango_, and _Zapateado_), _Sevilla_, a suite, and _Recuerdos de mi rincón_ (_Tragedia cómica para piano_). José María Usandizaga, one of the most promising of the younger composers, died in 1915. He was born in 1888 at San Sebastian and died therefore at the age of 27, one year after his opera, _Las Golindrinas_, was successfully produced at Madrid (February 4, 1914) with the tenor Sagi-Barba in the leading rôle. Usandizaga was a man of exceedingly frail physique, weak and lame, and he died of tuberculosis. He was a pupil, I believe, of Vincent d'Indy. His posthumous opera, _La Llama_, was produced at San Sebastian and Madrid during the winter of 1917-18. Gregorio Martínez Sierra, one of the foremost writers of the younger generation, furnished the books for both his operas.