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“Un Català Mundial”: Catalan Nationalism and the Early Works of Roberto Gerhard

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“Un Català Mundial”: Catalan Nationalism and the Early Works of Roberto Gerhard “UN CATALÀ MUNDIAL”: CATALAN NATIONALISM AND THE EARLY WORKS OF ROBERTO GERHARD By Mark E. Perry Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Paul Laird ________________________________ Dr. Roberta Freund Schwartz ________________________________ Dr. Alicia Levin ________________________________ Dr. Scott Murphy ________________________________ Dr. Thomas Volek Date Defended: August 12, 2013 The Dissertation Committee for Mark E. Perry certifies that this is the approved version of the following dissertation: “UN CATALÀ MUNDIAL”: CATALAN NATIONALISM AND THE EARLY WORKS OF ROBERTO GERHARD ________________________________ Chairperson Dr. Paul Laird Date approved: August 12, 2013 ii ABSTRACT The early works of Roberto Gerhard reflect the shifting cultural discourse within Catalan nationalism at the beginning of the twentieth century. As a means of fostering cultural independence from the rest of Spain, Catalan national sentiment gradually switched to the promotion of modernist ideologies, which were previously rejected in the defense and preservation of traditional culture. This paradigm shift in Catalan nationalism manifests in the music of Gerhard. Branded as “un català mundial” (an international Catalan), Gerhard sought to participate in the greater world of modern music. While in Switzerland studying commerce, the young Gerhard switched to the study of music. The events of World War I forced Gerhard, then studying in Germany, to return to Spain. In Barcelona, Gerhard studied with Felipe Pedrell from 1916 to 1921. Gerhard received his earliest musical successes with public performances and publication of a number of his works; however, unconvinced of his abilities, Gerhard traveled to Andalusia in a failed attempt to study with Manuel de Falla. Seeking out a new musical direction, Gerhard once again left Spain. He began his studies with Arnold Schoenberg in Vienna in 1923, following his teacher to Berlin. Gerhard’s first atonal works appeared during this period, applying modernist techniques even in his overtly Catalan works. In 1929, he returned to Barcelona, and controversy quickly ensued after an all-Gerhard concert was held to celebrate his homecoming. A debate in the press following the concert took place between the conservative Lluís Millet, whose works conventionally incorporated traditional music, and Gerhard, a disciple of Schoenberg—each arguing for their visions of Catalan music. Gerhard’s works from this period reflect an advanced iii synthesis of Catalan elements and modern music. While Gerhard utilized obvious markers of Catalan national identity (Catalan poetry, traditional music, choral singing, and the sardana), ultimately, what served to foster a stark contrast with the rest of Spain was the universality of his works. His musical activities in composition, research, and criticism echoed the shifting cultural dialogue within Catalonia; however, all was cut short in 1939 as a result of the Spanish Civil War, forcing Gerhard into exile. iv ACKNOWLEDGEMENTS The writing of this dissertation would not have been possible without the assistance and support of numerous individuals. I would like to begin by thanking my advisor, Paul Laird, for his numerous readings of the document, his attention to detail, and his encouragement when I needed it the most. In addition, I want to thank Roberta Freund Schwartz, Alicia Levin, Scott Murphy, and Thomas Volek for serving on my committee. While conducting fieldwork in Barcelona on the sardana, Ramon Vilar introduced me to the music of Roberto Gerhard, which ultimately led to this dissertation. My research in Spain was made possible through a grant from the Program for Cultural Cooperation between Spain’s Ministry of Education, Culture, and Sports and United States Universities. I would like to thank the following institutions: University of Kansas, Biblioteca Nacional de España, Institut d’Estudis Vallencs, Biblioteca de Catalunya, Centre de Promoció de la Cultura Popular i Tradicional Catalana, University of Huddersfield, and Cambridge University. I appreciate the early assistance of Jeremy Wild. I would like to thank Rosemary Summers for granting access to Gerhard’s materials for my research. I also want to recognize the current community of Gerhard scholars for their support and friendship: Frank Harders-Wuthenow, Paloma Ortiz-de-Urbina, Julian White, Carlos Duque, Diego Alonso Tomás, Leticia Sánchez de Andrés, Trevor Walshaw, Gregorio García-Karman, Michael Russ, Rachel Mitchell, Samuel Llano, and Monty Adkins. ¡Visca Catalunya! v TABLE OF CONTENTS Abstract iii Acknowledgements v Introduction 1 Chapter 1: Catalan Nationalism 14 Chapter 2: Catalan Culture 23 Catalan Poetry: Renaixença, Modernisme, & Noucentisme 23 “Música i poesia” (Music and Poetry) 35 Arxiu d’etnografia i folklore de Catalunya 40 Choral Tradition 47 Sardana 51 Chapter 3: Early Works and Life of Gerhard 67 Lied [Still! Mitternacht, ein losgelassner Wind] (c. 1913) 68 Sonatine à Carlos (1914) 72 Chapter 4: Study with Felipe Pedrell 74 Felipe Pedrell 74 Andalusia: Federico García Lorca and Manuel de Falla 78 Trio No. 1 (1916-17) 84 Verger de les Galanies (1918) 86 L’infantament meravellós de Schahrazada (1918) 89 Trio No. 2 (1918) 99 vi Dos apunts (1921-22) 103 Sept hai-kai (1923) 106 Chapter 5: Study with Arnold Schoenberg 115 Schoenberg: Vienna & Berlin 115 Divertimento (1926) 127 Suite for Winds, Strings, and Piano (1927) 128 String Quartet No. 3 (1927) & Concertino for Strings (1927-28) 130 Sonata for Clarinet and Piano (1928) 132 Andantino (1928) 133 Wind Quintet (1928) 135 Sardana I (1928) 136 Sardana II (1928) 137 14 Cançons populars catalanes (1928) 138 Chapter 6: Gerhard in Barcelona 140 Millet-Gerhard Controversy 140 Amics de l’art nou & Compositors independents de Catalunya 150 Schoenberg in Barcelona 156 Institute of Catalan Studies & the Biblioteca de Catalunya 159 I.S.C.M. Festival in Barcelona 160 L’alta naixença del rei en Jaume (1932) 166 Madrigal a Sitges (193?) 170 Llasa mesquina (193?) 171 vii Ventall (193?) 172 Ariel (1934) 173 Albada, interludi i dansa (1937) 176 Conclusion 179 Appendix: Incipits of Gerhard’s Early Works 182 Bibliography 209 viii INTRODUCTION Prior to the premiere of his first Symphony in 1955—even before immigrating to England in 1939 following the Republican defeat by the Nationalists in the Spanish Civil War— Roberto Gerhard had already gained international accolades for such works as his overtly Catalan L’alta naixença del rei en Jaume (The Noble Birth of the Sovereign Lord King James), a modernist work which won first prize at the 1933 International Society for Contemporary Music (I.S.C.M.) festival celebrated in Amsterdam.1 Nonetheless, the oeuvre of the Catalan composer predating the close of the war remains among the least appreciated body of his works by musicians, public, and scholars alike due largely to circumstances of war: Gerhard’s initial musical study was cut short by World War I, the Spanish Civil War forced the composer to flee from Spain, and British nationalistic sentiments during and immediately after World War II drastically delayed due recognition of the composer in favor of British-born composers. In the evaluation of the Catalan-born composer’s total output, the early works of Gerhard reflect the shifting cultural discourse within Catalan nationalism at the beginning of the twentieth century. As a means of fostering cultural independence from the rest of Spain, Catalan national sentiment gradually switched to the promotion of modernist ideologies, which were previously rejected in the defense and preservation of traditional culture. During this period under investigation, Gerhard was “un català mundial” (an international Catalan), longing to 1 At the 1933 I.S.C.M. festival, Gerhard earned first prize in the Universal Edition contest. Alban Berg, Ernst Krenek, and Anton Webern served as judges for the competition. 1 participate in the greater musical world of the avant-garde.2 His musical activities in composition, research, and criticism echoed the shifting cultural discourse within Catalonia— Barcelona in particular—were unfortunately cut short as a result of the Spanish Civil War. Roberto Gerhard i Ottenwaelder was born on 25 September 1896 in Valls (Catalonia), Spain to Swiss-born Robert Gerhard and Alsatian-born Maria Ottenwaelder, who operated a wine business in this small Catalan town. Roberto, the eldest of three siblings, briefly studied commerce in Switzerland before dedicating himself to music. Carles, the middle child, later served in the Catalan autonomous administration of the Monastery of Montserrat during the Spanish Civil War before being exiled to Mexico, and the youngest, Ferran, continued with the family business in Valls. Roberto Gerhard’s earliest musical studies in Switzerland and Germany were interrupted by the outbreak of World War I—foreshadowing the impact of subsequent European conflicts upon the life and career of the Catalan composer. Returning to Spain in 1914, Gerhard began his study of composition in 1916 with Felipe Pedrell, an influential Catalan composer, scholar and teacher. In addition to composition, Gerhard studied piano with Enrique Granados, and eventually with Frank Marshall after Granados’ premature death when the Germans torpedoed the passenger ship Sussex.3 In 1916, Gerhard also began his participation in
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