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Música Española Fuera De España

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Música Española Fuera De España Música española fuera de España: Olallo Morales (1874-1957) Francisco J. Giménez Rodríguez MÚSICA ESPAÑOLA FUERA DE ESPAÑA: OLALLO MORALES (1874-1957). Francisco J. Giménez Rodríguez 2 MÚSICA ESPAÑOLA FUERA DE ESPAÑA: OLALLO MORALES (1874-1957). Francisco J. Giménez Rodríguez 3 Ilustración de Portada: Zelmica y Olallo Morales en un retrato en Marstrand. Temporada Real, 1893. MÚSICA ESPAÑOLA FUERA DE ESPAÑA: OLALLO MORALES (1874-1957). Francisco J. Giménez Rodríguez 4 Para Ana, que es el Mar de mis olas MÚSICA ESPAÑOLA FUERA DE ESPAÑA: OLALLO MORALES (1874-1957). Francisco J. Giménez Rodríguez 5 Agradecimientos Este estudio ha sido posible gracias a la colaboración de diversos centros de investigación, como el Centro de Documentación Musical de Andalucía, el Archivo Manuel de Falla, Kungliga Biblioteket (Estocolmo), Statens Musikbibliotek (Estocolmo), así como numerosas bibliotecas de Universidades suecas. También ha recibido la ayuda de diversas instituciones, como la Dirección General de Relaciones Culturales y Científicas del Ministerio de Asuntos Exteriores, Kungliga Musikaliska Akademien (Estocolmo) y el Departamento de Cultura de la Embajada española en Estocolmo. Sin embargo, las colaboraciones más valiosas han venido de personas que se han tomado un especial interés en este proyecto: Mona y Christer Morales, hijos del músico, que han ofrecido con ilusión toda la documentación que poseían; Mª del Mar Cruz, que ha aportado con gran atención datos, documentos gráficos y sonoros de su familia; Francisco Moya, que realizó la edición musical y solucionó problemas informáticos; Hans Åstrand, Secretario de la KMA, maravilloso guía en el panorama musical sueco; y muy especialmente el Dr. Antonio Martín Moreno, al que agradezco la propuesta de este apasionante tema, así como su certera dirección y estímulo constante. Por último, creo que este estudio hubiera sido imposible sin el apoyo de mis padres, sin la infinita ayuda de mis maestros Javier Herreros y Ramona Herrero y sin la existencia y el amor de mis hijos y de mi mujer, Ana, que es el Mar de mis olas, a la que dedico este trabajo. MÚSICA ESPAÑOLA FUERA DE ESPAÑA: OLALLO MORALES (1874-1957). Francisco J. Giménez Rodríguez 6 MÚSICA ESPAÑOLA FUERA DE ESPAÑA: OLALLO MORALES (1874-1957). Francisco J. Giménez Rodríguez 7 Introducción El enfoque de este estudio está motivado por la elección como tema de investigación del músico almeriense de nacimiento Olallo Morales (1874-1957) que, entre otras actividades, compone una serie de obras de claro referente español en Suecia. Al intentar profundizar en el contexto adecuado para enclavar la producción de Morales, se constata la inexistencia de un criterio homogéneo en la escasa historiografía musical que lo trata, incluyéndolo entre los compositores de la misma generación o del mismo origen geográfico, ya sea en Suecia o en España. No obstante, la peculiaridad de su trayectoria biográfica y de su obra musical plantea la necesidad de definir un contexto específico que arroje luz sobre su propia concepción y asimilación de la música española, pues ésta difiere significativamente de los planteamientos estéticos vigentes en España durante el mismo período. Probablemente, el conocimiento de la música española adquirido por Morales, deriva de la imagen de España y de su música que se había venido configurando desde hacía varios siglos, fundamentalmente en el resto de Europa. La existencia de este fenómeno, que denominamos con el amplio título de Música española fuera de España, ya había sido puesta de manifiesto por Adolfo Salazar en El siglo romántico (1936) al tratar la fascinación del romanticismo europeo por España, y más recientemente por Francisco Calvo Serraller en La imagen romántica de España (1995), cuando afirma que en las primeras décadas del siglo XIX “una verdadera hispanofilia recorre Europa”. En el plano musical, la relevancia de la imagen de España en otros países ha sido reivindicada únicamente en algunos artículos divulgativos de Federico Sopeña, entre ellos el que aparece en el catálogo de la exposición La imagen romántica de España (1981), en el que reconoce la existencia de “dos historias paralelas de la música española”. Por tanto, parece necesario establecer una perspectiva distinta para estudiar los fenómenos derivados de esa imagen de la música española fuera de España. La complejidad del tema aumenta considerablemente, si tenemos en cuenta la escasez y el carácter de la bibliografía sobre el mismo. No existen fuentes bibliográficas específicas sobre la imagen de la música española fuera de España, pues los protagonistas de este proceso son personajes completamente olvidados en la actualidad, debido a que su “doble nacionalidad” los hace escapar de los MÚSICA ESPAÑOLA FUERA DE ESPAÑA: OLALLO MORALES (1874-1957). Francisco J. Giménez Rodríguez 8 intereses de la investigación musicológica de su país de “origen” y de su país de “adopción”. Todo lo más que encontramos son breves trabajos recientes que abordan algún aspecto puntual que nos interesa tratar, como la influencia de la música española en algún país o compositor, la difusión de la música de determinado autor español en un país concreto, los hallazgos puntuales sobre la música de ciertos autores fuera de España, o la imagen de España en determinadas obras literarias. Junto a estos trabajos, una fuente importante para nuestro estudio han sido las obras de autores extranjeros que tratan la historia de la música española, pues representan la vertiente historiográfica de la música española vista a través del prisma de otros países. Por tanto, hemos prestado especial atención a las obras de Jean-Aubry, Henri Collet, Gilbert Chase y Rafael Mitjana (ésta última escrita y publicada fuera de España), así como a las obras de autores extranjeros sobre personajes estrechamente relacionados con España, pues nos interesa analizar la imagen de la música española que se difunde en otros países. Esta bibliografía ha sido completada con algunos estudios españoles, especialmente sobre el siglo XIX, que prestan atención a la imagen de España en Europa, y también se han consultado los escritos sobre el tema de los propios músicos de la época. La heterogeneidad de las fuentes, primarias y secundarias, con sensibles diferencias cronológicas, dificulta en ocasiones el enfoque de este estudio, que no es posible mantener unitario en todo momento. Asímismo, esta heterogeneidad hace confusos los límites de la perspectiva que pretendemos trazar. El perfil conceptual de la imagen de la música española en otros países no es claro, ni, por tanto, de fácil aislamiento. Así, esta investigación se centra en la imagen romántica de España y sus consecuencias musicales, que cristalizan en el último cuarto del siglo XIX y se prolongan hasta las primeras décadas del siglo XX, período en el que desarrolla su actividad compositiva Olallo Morales. Nuestra intención, por tanto, es realizar un primer análisis de los factores que determinan la presencia y creación de la música española fuera de España, sin pretensiones enciclopédicas de exhaustividad, para situar en el contexto apropiado nuestra investigación sobre el perfil biográfico, la actividad profesional y la obra musical de Olallo Morales. Al iniciar nuestro estudio, nos cuestionamos los criterios de pertenencia a la historia de la música española de un compositor de orígen español que desarrolla toda su actividad formativa y creativa en Suecia. Probablemente, éste es uno de los casos que pone en tela de juicio la definición y los límites del concepto de música española, y exige, por tanto, una revisión del mismo a través la MÚSICA ESPAÑOLA FUERA DE ESPAÑA: OLALLO MORALES (1874-1957). Francisco J. Giménez Rodríguez 9 bibliografía sobre el tema. Así, sin ánimo de adoptar un enfoque esencialista, estudiamos brevemente las delimitaciones que la historiografía musical española ha realizado de su objeto de estudio, las características del “estilo español”, e incluso, los criterios legales que definen el patrimonio musical español. Una vez delimitado el perfil conceptual del tema, realizamos una aproximación histórica a la configuración de la imagen de la música española, que resulta un fondo necesario para tratar la figura de Olallo Morales y situar en el contexto adecuado su producción musical. No pretende esta investigación ser un tratado exhaustivo de toda la música española que cruzó nuestras fronteras, sino que intenta vislumbrar cómo se va conformando una imagen común de nuestra música fuera de España, en absoluto anacronismo con la evolución interna. El estudio de este proceso parece estar íntimamente relacionado con el concepto de nacionalismo musical que se va fraguando en España desde el siglo XVIII. La conformación de un substrato ideológico nacionalista puede determinar hasta cierto punto la imagen de la música española que se proyecta hacia el exterior en cada época y, en algunos momentos, también el propio concepto de nacionalismo musical en España se ve influido por ese estereotipo de la música española fundamentalmente europeo. Así, al tratar la influencia del nacionalismo musical, pretendemos poner de manifiesto las complejas interacciones entre los más diversos planteamientos nacionalistas y las influencias o amenazas foráneas, que van a condicionar la proyección exterior de la música española. Por lo tanto, en la primera parte de este trabajo analizamos los principales factores que conforman la imagen de la Música española fuera de España, proporcionándonos así una perspectiva que parece más adecuada para abordar el estudio
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