학술논문
La canción de concierto en gallego durante el franquismo: la labor de promoción de Antonio Fernández-Cid (1951-1967)
Document Type
Dissertation/Thesis
Author
Source
TDX (Tesis Doctorals en Xarxa)
Subject
Language
Spanish; Castilian
Abstract
El presente trabajo doctoral propone la investigación en profundidad del repertorio de canción de concierto en lengua gallega impulsado por el crítico orensano Antonio Fernández-Cid a lo largo de casi dos décadas (1951-1967) y que se concretó en tres iniciativas: el encargo / publicación de los volúmenes Doce canciones gallegas dedicadas a Antonio Fernández-Cid (1951), Veintidós canciones sobre textos de poetas orensanos dedicadas a Antonio Fernández-Cid (1958), y, por último, la organización de las ocho ediciones del Festival de la canción gallega de Pontevedra (1960-1967). Todo ello supuso no solo la gestación de un nuevo repertorio (alrededor de unas cien canciones), sino también su difusión (estreno, interpretación, edición y grabación), y la aparición de nuevos espacios culturales (el festival). La iniciativa implicó a lo más granado de la composición española de aquel momento– Joaquín Rodrigo, Eduard Toldrà, Frederic Mompou, Jesús Guridi o Xavier Montsalvatge por citar algunos–así como algunos autores portugueses y latinoamericanos, que pusieron música a versos de los poetas más importantes de la literatura gallega de los siglos XIX y XX: Rosalía de Castro, Otero Pedrayo, Vicente Risco, Ramón Cabanillas o Celso Emilio Ferreiro. Además, en los festivales pontevedreses colaboraron como conferenciantes personalidades destacadísimas de la intelectualidad gallega como Álvaro Cunqueiro, Otero Pedrayo, Uxío Novoneyra o Xosé María Álvarez Blázquez. No menos importantes fueron los intérpretes del repertorio en sus estrenos y recorrido posterior, con figuras bien posicionadas como la catedrática de piano del Conservatorio Superior de Madrid Carmen Díez Martín o cantantes con una trayectoria todavía incipiente pero que llegaron a desarrollar una fructífera carrera posteriormente como María Teresa Tourné o Dolores Cava. Asimismo, la aparición de este repertorio, parece que no constituyó una aportación circunscrita al ámbito local gallego, como en principio podría pensarse, sino que estaría relacionada en mayor o menor medida con algunos de los elementos, instituciones y personalidades más importantes que conformaron la escena musical de aquellos años en España: compositores de renombre (autores en activo, miembros del jurado o galardonados del Concurso Nacional de Música, directores de las principales agrupaciones sinfónicas españolas, como la ONE, la Banda Municipal de Madrid, la Orquesta Municipal de Bilbao o la Orquesta Municipal de Barcelona); salas destacadas como el Ateneo de Madrid, el Palau de la Música de Barcelona, el Conservatorio de Madrid o el madrileño Instituto Ramiro de Maeztu; iniciativas oficiales o semioficiales como los Cursos de Música en Compostela o los Festivales de España; y, con personalidades de la crítica musical, empezando por el impulsor, Antonio Fernández-Cid, siendo también objeto de crónicas de otros muchos como Federico Sopeña, Enrique Franco o Espinós Orlando. El estudio se enfoca desde una perspectiva interdisciplinar, que aborda a un tiempo cuestiones musicológicas, literarias, históricas, culturales, sociolingüísticas o identitarias, aportando de este modo una visión mucho más amplia de lo que supuso este fenómeno.
This doctoral thesis proposes the in-depth investigation of the repertoire of concert songs in the Galician language promoted by the critic from Ourense Antonio Fernández-Cid over the course of almost two decades (1951-1967) and which resulted in three initiatives: the commission / publication of the volumes Twelve Galician Songs dedicated to Antonio Fernández-Cid (1951), Twenty-two songs on texts by poets from the Orensan region dedicated to Antonio Fernández-Cid (1958), and, lastly, the organization of the eight editions of the Galician Song Festival of Pontevedra (1960-1967). All this meant not only the creation of a new repertoire (about 100 songs), but also its dissemination (premiere, performance, editing and recording), and the emergence of new cultural spaces (the festival). The initiative involved the greatest Spanish composers of the time – Joaquín Rodrigo, Eduard Toldrà, Frederic Mompou, Jesús Guridi and Xavier Montsalvatge to name a few – as well as some Portuguese and Latin American authors, who set to music the verses of the most important poets of Galician literature of the 19th century and XX: Rosalía de Castro, Otero Pedrayo, Vicente Risco, Ramón Cabanillas or Celso Emilio Ferreiro. In addition, prominent personalities of Galician intellectuals such as Álvaro Cunqueiro, Otero Pedrayo, Uxío Novoneyra and Xosé María Álvarez Blázquez collaborated as lecturers at the Pontevedres festivals. Not less important were the performers of the repertoire in its premieres and later stages, with well-positioned figures such as the piano professor of at the Conservatorio Superior de Madrid Carmen Díez Martín or singers with a still incipient trajectory but who later developed a fruitful career such as María Teresa Tourné or Dolores Cava. Likewise, the appearance of this repertoire seems to have been not only a contribution confined to the local Galician sphere, as one might think, but would also be related to a greater or lesser extent to some of the most important elements, institutions and personalities that made up the music scene of those years in Spain: renowned composers (active authors, members of the jury or winners of the Concourse). National Music Course, conductors of the main Spanish symphonic groups, such as ONE, the Banda Municipal de Madrid, the Orquesta Municipal de Bilbao or the Orquesta Municipal de Barcelona); outstanding venues such as the Ateneo de Madrid, the Palau de la Música de Barcelona, the Conservatory of Madrid or the Madrid Ramiro de Maeztu Institute; official or semi-official initiatives, such as the Music Courses in Compostela or the Festivals of Spain; and, with personalities of music criticism, starting with the promoter, Antonio Fernández-Cid, being also the subject of chronicles by many others such as Federico Sopeña, Enrique Franco or Espinós Orlando. The study is approached from an interdisciplinary perspective, which addresses musicological, literary, historical, cultural, sociolinguistic or identity issuesat the same time, thus providing a much broader vision of what this phenomenon entailed.
Universitat Autònoma de Barcelona. Programa de Doctorat en Història de l'Art i Musicologia
This doctoral thesis proposes the in-depth investigation of the repertoire of concert songs in the Galician language promoted by the critic from Ourense Antonio Fernández-Cid over the course of almost two decades (1951-1967) and which resulted in three initiatives: the commission / publication of the volumes Twelve Galician Songs dedicated to Antonio Fernández-Cid (1951), Twenty-two songs on texts by poets from the Orensan region dedicated to Antonio Fernández-Cid (1958), and, lastly, the organization of the eight editions of the Galician Song Festival of Pontevedra (1960-1967). All this meant not only the creation of a new repertoire (about 100 songs), but also its dissemination (premiere, performance, editing and recording), and the emergence of new cultural spaces (the festival). The initiative involved the greatest Spanish composers of the time – Joaquín Rodrigo, Eduard Toldrà, Frederic Mompou, Jesús Guridi and Xavier Montsalvatge to name a few – as well as some Portuguese and Latin American authors, who set to music the verses of the most important poets of Galician literature of the 19th century and XX: Rosalía de Castro, Otero Pedrayo, Vicente Risco, Ramón Cabanillas or Celso Emilio Ferreiro. In addition, prominent personalities of Galician intellectuals such as Álvaro Cunqueiro, Otero Pedrayo, Uxío Novoneyra and Xosé María Álvarez Blázquez collaborated as lecturers at the Pontevedres festivals. Not less important were the performers of the repertoire in its premieres and later stages, with well-positioned figures such as the piano professor of at the Conservatorio Superior de Madrid Carmen Díez Martín or singers with a still incipient trajectory but who later developed a fruitful career such as María Teresa Tourné or Dolores Cava. Likewise, the appearance of this repertoire seems to have been not only a contribution confined to the local Galician sphere, as one might think, but would also be related to a greater or lesser extent to some of the most important elements, institutions and personalities that made up the music scene of those years in Spain: renowned composers (active authors, members of the jury or winners of the Concourse). National Music Course, conductors of the main Spanish symphonic groups, such as ONE, the Banda Municipal de Madrid, the Orquesta Municipal de Bilbao or the Orquesta Municipal de Barcelona); outstanding venues such as the Ateneo de Madrid, the Palau de la Música de Barcelona, the Conservatory of Madrid or the Madrid Ramiro de Maeztu Institute; official or semi-official initiatives, such as the Music Courses in Compostela or the Festivals of Spain; and, with personalities of music criticism, starting with the promoter, Antonio Fernández-Cid, being also the subject of chronicles by many others such as Federico Sopeña, Enrique Franco or Espinós Orlando. The study is approached from an interdisciplinary perspective, which addresses musicological, literary, historical, cultural, sociolinguistic or identity issuesat the same time, thus providing a much broader vision of what this phenomenon entailed.
Universitat Autònoma de Barcelona. Programa de Doctorat en Història de l'Art i Musicologia