Music Criticism and Music Critics in Early Francoist Spain Ii

i Music Criticism and Music Critics in Early Francoist Spain ii WALTER CLARK, SERIES EDITOR Nor- tec Rifa! Electronic Dance Music from Tijuana to the World Alejandro L. Madrid From Serra to Sancho Music and Pageantry in the California Missions Craig H. Russell Colonial Counterpoint Music in Early Modern Manila D. R. M. Irving Embodying Mexico Tourism, Nationalism, & Performance Ruth Hellier- Tinoco Silent Music Medieval Song and the Construction of History in Eighteenth- Century Spain Susan Boynton Whose Spain? Negotiating "Spanish Music” in Paris, 1908–1929 Samuel Llano Federico Moreno Torroba A Musical Life in Three Acts Walter Aaron Clark and William Craig Krause Agustín Lara A Cultural Biography Andrew G. Wood Danzón Circum- Caribbean Dialogues in Music and Dance Alejandro L. Madrid and Robin D. Moore Music and Youth Culture in Latin America Identity Construction Processes from New York to Buenos Aires Pablo Vila Music Criticism and Music Critics in Early Francoist Spain Eva Moreda Rodríguez iii Music Criticism and Music Critics in Early Francoist Spain Eva Moreda Rodríguez 1 iv 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. © Oxford University Press 2017 This volume is published with the generous support of the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging- in- Publication Data Moreda Rodríguez, Eva, author. Music criticism and music critics in early Francoist Spain / Eva Moreda Rodríguez. pages cm Includes bibliographical references. ISBN 978– 0– 19– 021586– 6 1. Musical criticism— Spain— History— 20th century. 2. Music critics— Spain. I. Title. ML3785.M67 2015 781.1′7— dc23 2014026406 9 8 7 6 5 4 3 2 1 Printed by Edwards Brothers Malloy, United States of America v CONTENTS Acknowledgments vii Abbreviations ix Introduction 1 1. How to Be a Music Critic in 1940s Spain: Expectations and Restrictions 15 2. Reviewing Contemporary Music 43 3. The Sound ofHispanidad: Reviewing Early Music 75 4. Reviewing Traditional Music: Toward Unity of the Men and the Land of Spain 103 Conclusion 131 Appendix I: Publications, 1939– 1951 135 Appendix II: Music Critics 149 References 157 Index 175 vi vii ACKNOWLEDGMENTS When I first started research for this book in 2006, I considered the subject of my research to be a corpus of music criticism writings. At some point during the following years, while still interested in the writings, I became more interested in the men (and the few women) who penned them. I am grateful, first and foremost, to these men and women for many moments of stimulat- ing, if sometimes challenging, reading, thinking, and writing over the past eight years. Other people and institutions crucially contributed to this pro- cess too. A work of this nature requires extensive archival work; I am grateful to the staff of the Archivo Histórico del Seminario de Loyola, Biblioteca Nacional de Catalunya, Biblioteca Nacional de España, British Library, Institut d’Estudis Vallencs, National Library of Scotland, Senate House Library, and Westminster Music Library for making me always look forward to my stints of archival research. Travel to archives was financially supported by Royal Holloway’s Dame Margaret Duke Travel Bursary, two Carnegie Trust small research grants, and an award from the Open University’s Associate Lecturers’ Development Fund. I am also grateful to the School of Culture and Creative Arts at the University of Glasgow for hosting me and my research and providing logistical support as this manuscript was completed. My thanks go as well to colleagues who have encouraged, inspired, and challenged my thinking, especially Erik Levi and Rachel Beckles- Willson during the first life of this book as a Ph.D. thesis, and, more recently, my colleagues at the University of Glasgow. Over the years, sections of this book were presented at various conferences and seminars. I am grateful for all the feedback I received on those occasions, and I would like to give special thanks to Teresa Cascudo and María Palacios for organizing the first meeting of the research group Música e Ideología in Logroño in 2008, which crucially shaped my thinking on music criticism and ideology in Spain. Thanks also to Suzanne Ryan, Adam Cohen, and Lisbeth Redfield at Oxford University Press, and to the anonymous reviewers for their valu- able feedback. Through the last eight years, my family has been a source of constant support and encouragement; to them I would like to express my most heartfelt thanks. viii ix ABBREVIATIONS AHSL Archivo Histórico del Seminario de Loyola BNC Biblioteca Nacional de Catalunya BNE Biblioteca Nacional de España FJM Fundación Juan March x 1 Introduction panish music of the 1940s has often been defined by opposition to Seither the period preceding or the period following that decade—and the verdict has often been that the 1940s were not as significant, interest- ing, or prosperous as the two other periods.1 Preceding the 1940s, there stands the Edad de Plata (Silver Age) of Spanish culture, an era that many have described as one of almost unprecedented development in the arts and sciences, starting in the early twentieth century and reaching its peak under the Second Republic, fostered by the Republic’s democratic and progressive ideals.2 Musically, the Edad de Plata ideals are typically thought to be embodied by the Grupo de los Ocho (Group of Eight), an association of composers modeled on the French Les Six.3 Under the influence of music critic Adolfo Salazar, the Grupo de los Ocho attempted to renovate Spanish music by absorbing some of the innovations of European modernism, namely, Stravinsky’s neoclassicism, Debussy’s impressionism, and Falla’s cosmopolitan approach to Spanish nationalism. The dissemination, from the 1980s onward, of the term Generación del 27 (Generation of ’27) to refer to the Grupo de los Ocho and other composers and musicians in their periphery has further emphasized the perceived prestige and innovativeness of such generation. The term was indeed modeled on the literary Generación del 27, which included celebrated authors such as Rafael Alberti, Luis Cernuda, and most prominently Federico García Lorca.4 In the last few years, however, Spanish musicology has started to point out some of the issues with this picture of music and musical life in the Edad de Plata: the Grupo de los Ocho itself was a loose association of composers who had come together mainly as a strategy to promote their music and not so much on the basis of shared aesthetic and artistic ideals5; 2 the Grupo can hardly be regarded as a product of the progressive influences of the Second Republic, since most of their innovative work was composed under the dictatorship of Miguel Primo de Rivera, during the 1920s6; and Salazar did not really support the Grupo in its entirety, but he dedicated most of his attention and efforts to Ernesto Halffter instead.7 The period following the 1940s, by contrast, still remains a milestone in the historiography of Spanish music. It was in the 1950s, it has often been claimed, that the Generación del 51 (Generation of ’51)8 put an end to the alleged isolation of Spanish music during the 1940s and definitely integrated Spain into the post- Webernian international avant- garde.9 The assumptions about the history of music as progress and historical inevita- bility that underpin narratives about the Generación del 51 have received less critical attention than the Edad de Plata, and are still to be examined in depth.10 With the 1940s invariably paling by comparison, it was only from the mid- 1990s, and even more so in the 2000s, that Spanish scholars started to turn their attention to the music of this decade. Such studies have tended to focus on political control of music and musical life rather than on the music per se.11 More specifically, in doing so, some studies have adopted a somewhat narrow perspective, focusing on very visible factions of early Francoism, such as the Falange (short for Falange Española y de las J.O.N.S., a fascist party founded in 1933 and the single party through- out the dictatorship) or, more generally, those aspects more closely related to Italian and German fascism. 12 With the precedent of studies of music under the Nazi regime13 and, more generally, the scholarly interest or even fascination that authoritarian control of the arts tends to stimulate, this should hardly come as a surprise. Nevertheless, the starting point of this book is not the belief that we should focus more on the elusive category of the music per se14 and less on the political, but rather that the categories of the political should be expanded.

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