By Walter Aaron Clark
The final of the Spanish Romantics, composer, conductor, and impresario Federico Moreno Torroba (1891-1982) left his mark on nearly each element of Spanish musical tradition in the course of a profession that spanned six many years and observed great political and cultural upheavals. After Falla, he was once crucial and influential musician: as well as his artistic actions, he was once President of the overall Society of Authors and Editors and director of the Academy of good Arts. His enduring contributions as a composer contain dozens of guitar works composed for Andrés Segovia and several other hugely winning zarzuelas, which stay within the repertoire today.
Written through prime specialists within the box, Federico Moreno Torroba: A Musical existence in 3 Acts explores not just his existence and paintings, but in addition the connection of his track to the cultural milieu within which he moved. It sheds specific gentle at the courting of Torroba's track and the cultural politics of Francisco Franco's dictatorship (1939-75). Torroba got here of age in the course of a cultural renaissance that sought to reassert Spain's place as a different cultural entity, and authors Walter A. Clark and William Krause display how his paintings will be understood as a private, musical reaction to those aspirations. Clark and Krause argue that Torroba's determination to stay in Spain even throughout the years of Franco's dictatorship was once established essentially no longer on political ideology yet quite on an unwillingness to depart his local soil. instead of abandon Spain to take part within the dynamic musical existence overseas, he endured to compose track that mirrored his conservative view of his nationwide and private history. The authors contend that this pursuit didn't necessitate allegiance to a specific regime, yet really to the non-political exaltation of Spain's so-called "eternal tradition," or the tradition and spirit that had persisted all through Spain's turbulent history.
Following Franco's dying in 1975, there has been ambivalence in the direction of figures like Torroba who had made their peace with the dictatorship and paid a heavy cost when it comes to their acceptance between expatriates. in addition, his very conservative musical sort made him a objective for the post-war avant-garde, which disdained his hugely tonal and melodic españolismo. With the loss of life of excessive modernism, in spite of the fact that, the time has come for this new, extra distanced overview of Torroba's contributions. Richly illustrated with pictures and musical examples, and with a useful chronology and works record for reference, this biography brings a clean point of view in this influential composer to Latin American and Iberian track students, performers, and enthusiasts of Spanish track alike.
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Additional resources for Federico Moreno Torroba: A Musical Life in Three Acts
42 Thus, nearly all of his compositions bear programmatic titles referring to Spanish customs and localities, and incorporate traits of folk music—particularly that of Andalusia. Turina’s style remained tied to FrancoAndalusianism, featuring elegant and subtle evocations of his native Seville in the Sinfonia sevillana and Canto a Sevilla. These composers represent the musical parallel to the literary Generation of 98,43 whose influence continued to be felt throughout the first decades of the twentieth century.
Primo presented his resignation to the king on 28 January 1930 and went into exile. 26 22 Thomas, Spanish Civil War, 25. “Cultural Policy in Spain” (Madrid: Real Instituto Elcano de Estudios Internacionales y Estratégicos, 2004), 3. ” But his autocratic instincts did not serve him at all well, and he tended to take the law into his own hands. When Miguel de Unamuno criticized his governing style, the dictator exiled him to the Canary Islands. 25 Carr, Spain: 1808–1975, 566. 26 Beevor, Battle for Spain, 18.
18 For the most insightful examination in English of this ideological and aesthetic debate in Spain during the first decades of the twentieth century, see Hess, Modernism. 19 Walter Aaron Clark, Isaac Albéniz: Portrait of a Romantic (Oxford: Oxford University Press, 1999/2002) and Enrique Granados: Poet of the Piano (New York: Oxford University Press, 2006/2011). 20 So, we might reasonably expect less than feverish interest in the composer of a genre that has literally gone the way of the horse and buggy.