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Manuel De Falla on Romanticism: Insights Into an Uncited Text Michael Christoforidis

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Manuel De Falla on Romanticism: Insights Into an Uncited Text Michael Christoforidis Manuel de Falla on Romanticism: Insights into an uncited text Michael Christoforidis How colossal is the subject-matter that forms the notion of Romanticism! Whole worlds of an- the journal, reads as follows: tagonistic feelings and ideas, a multitude of I wish to apologise for the delay in responding to formal problems! Our generation knows the the survey by Muzyku. Please believe me, I Romantic period well; from the historical per- would wholeheartedly like to take part in it, and spective, the proximity of this great epoch is too this is why I am writing to you, despite being close, and the bonds between the experiences certain that my response will not be included and creations of that era and our times are too among those which have reached the editor on smg,to forget about Not only do we marvel at time. 3 the achievementsof the masters of those days,or deeply admire their works, but we view many Muzyka's director, Mateuse Glinski, wrote to issues relating to the Romantic style with a Falla on 14 June 1928 asking him to contribute to critical perspective which cannot overlook the their survey. It was directed to the most illustrious serious impediments in the Romantic trend. composers worldwide, and solicited 'opinions and It seems to me that the influence of Romanticism attitudes with regard to Romanticism in music' as upon the Spanish School is often overstated. In well as an analysis of their works according to Romanticism, insofar as the art-work is con- whether they 'approach or diverge from Romantic cerned, the genuine and potent emotional ten- ideology'.' Falla's reply on 5 July indicates his sion must not be identified with the improvisa- willingness to contribute though saying that he tional freedom of form, which was surrounded by so much uncertainty during the Romantic would not be able to do so before the end of the Period in music. month due to problems with his eyes? Glinski asked after the article in a letter dated 13 August As far as my work is concerned, it seems to me 1928 stating that it would not have to be long and that it is only in my symphonic impressions could consist of general lines which could be Noches en 10s jardines de Espaiia, and some theatrical works that one could fmd certain developed by the editors. This is followed by resonances of Romanticism. My recent works another request on 3 October referring to contact (e.g. Concerto for harpsichord) are totally free of made between the editors and Falla at the ISCM such influences; they rather approach the pre- festival in Siena, where he hadreiterated his prom- classical style.' ise of a reply." Finally, the receipt of Falla's The above text by Manuel de Falla appeared in contribution is acknowledged by Glinski, on 22 a special number of the Polish journal Muzyka, October 1928, who promises to forward a copy of Romanryzm w Muzyce, devoted to Romanticism, the volume. A draft of Falla's reply, dated 4 which was published towards the end of 1928. It January 1929, expresses his thanks upon receiving remains uncited among the numerous collections, the journal. supposedly complete, of Falla's writings on music Throughout the period of the correspondence and musicians? Though fairly general in its con- Falla had applied himself on numerous occasions tent, a study of the drafts made by Falla helps to to the task of drafting a reply to the survey by clarify and expand on the issues broached, relate it Muzyka. The practice of making sketches of his to his other contemporaneous writings and to dem- writings is evident in the four surviving drafts onstrate the nature of his work habits. which can be placed in a progressive order.' There The four main articles in Muzyka, on Romanti- is however no copy of the final version and early cism fiom a historical perspective, are followed by drafts differ widely from the definitive one, yet a related survey of 45 leading composers of the they are of use in interpreting it. Something akin to period, including such noted figures as Delius, self-censorship is applied by Falla in attempting to Dukas, Elgar, Honegger, Korngold, Krenek, disguise or tone down his antipathy towards Ro- Prokofiev and Ravel. Falla's contribution is the manticism, giving rise to a more aseptic final last to be listed and there are grounds for supposing version in its published form. that it only just made the deadline. The paragraph Draft one consists of a rough sketch in pencil on preceding the initial quotation, and published in three pages, the last one corresponding to the back 26 Context 6 (Summer1993-94) of Glinski's letter of 14 June 1928, and probably pride in this music which we could label as free- dates from that period. thinking', thus providing a clue to his use of the An extensive lecture would be necessary to term. Last century's musical expression is seen as address such a matter. I will therefore skip from a 'consequence of the general predominating at- one subject to another, concentrating on what is mosphere'. Mendelssohn is omitted fiom the list most essential. and Berlioz is added as anexus between Beethoven Expression of the nineteenth century, though its and Wagner. A pencil annotation absolvesLisztby influence persists more or less in certain nation- indicating that he is 'saved at times by the good- alities, especially in those of the North. ness of his heart'. Chopin's music, the majority of Schubert's and Weber's, as well as Schumann's Chopin is for me the purest representation of piano music and lieder, are defined as illustrious Romantic music. He is also the only composer, of the Romantics, who used their aesthetic and cases which would 'suffice to save the whole of the procedures in a constant though no less effective Romantic output in the severest of examinations', manner. while claiming that: 'in these we find expansive sentiments, exempt of all proud intentions, and The same could be said of Schumann had he not simple, natural and balanced expression'. composed more music than that for piano and the lieder. I do not of course forget Weber, Also unfinished and in ink, draft three consists Beethoven, Wagner. Mendelssohn and Liszt. of two pages and is basically an earlier version of But with the exception of the first (an excep- draft two in prose form. It contains the first signs tional case because of his application of folk of Falla qualifying his remarks on Beethoven and music and Beethoven and Mendelssohn who Wagner by referring to their works with 'great applied it to classical forms), we can lament, that in their final periods as in Liszt and in Wagner, conviction and admiring respect'. Falla begins two the excess which, in my understanding was sentences on the relationship of Romanticism to disastrous for the music of their time, and its his own work by stating it to be 'opposed to my consequences. predilections' . The final existing document, draft four, written This music, which we could term as freethink- ing, could only lead to chaos insofar as its in ink over four pages, contains numerous correc- equilibrium,proportions, frenetic expression and tions. It is in letter form, signed, and dates from rhythmidtonal structure are concerned. October 1928. Of course, in saying this I exclude the evocative In spite of the great desire to comply with my power of these men: a force that suffices to save offer from Siena, I was not able to find a favour- and mitigate the memory not only of their errors, able occasion to do so; given that the rehearsals, but also, and above all, those that were commit- concerts, etc. etc. completely filled up my time. ted because of them.* Upon my return, my intentions have again been frustrated by a bout of flu I am still suffering Obvious variations from the published text exist from and which has completely impeded me in the enumeration of preferred composers and from applying myself with the effectiveness redemption in the guise of applying folk music to required by a question of such interest and importance, and if these difficulties were not classical forms. References to persisting Romantic enough one must add to them the lackof sympa- trends in northern countries along with those of thy inspired in me by the subject, so removed excess, chaos and freethinking are progressively from what concerns me at present. eradicated. It is possible that draft two was written in the I want, however, to demonstrate to both yourself and your journal, not only my cordial sympathy, light of Glinski's letter of 13 August as it is a point- but also my good faith corresponding at the form version of draft one with minor alterations. same time to the honour which you bestow upon Consisting of one page written in ink and left me with your reiterated offer. This is why I will unfinished, its margins are filled with numerous try, even though it be briefly and in this episto- afterthoughts scribbled in pencil which comment lary form, to say part of what would be required by a complete reply to the most interesting on or modify sections. The title 'Romantic Music' enquite by Muzyka. is described (in pencil) as 'the rambling' and followed by 'the frenetic expression, the latent 11 It seems superfluous to affm that the unmis- Manuel de Falla on Romanticism takable musical expression pertaining to the composers, especially those whom he knew, proc- nineteenth century, especially in its fmt two- lamations on Spanish and modern music, along thirds, was solely due to the widespd Roman- tic atmosphere which was predominant in that with isolated articles and interviews.
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