Music criticisM 1900-1950

Institut d’Estudis CatalansBarcelona, Carrer del Carme 4717-19 October 2016

Centro Studi oper a omni a Luigi BoCCher ini

www.luigiboccherini.org

Organized by

international conference

Music criticisM 1900-1950

Organized by

Centro Studi Opera Omnia Luigi Boccherini, LuccaSocietat Catalana de Musicologia, Barcelona

Institut d’Estudis CatalansBarcelona, Carrer del Carme 47

17-19 October 2016

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scholarly coMMittee:Jordi Ballester (UAB / Societat Catalana de Musicologia)

teresa CasCudo (Universidad de La Rioja)Germán Gan Quesada (Universitat Autònoma de Barcelona)

roBerto illiano (Centro Studi Opera Omnia Luigi Boccherini)massimiliano loCanto (Università degli Studi di Salerno)

Gemma Pérez zalduondo (Universidad de Granada)luCa lévi sala (New York, NY)

massimiliano sala (Centro Studi Opera Omnia Luigi Boccherini)

PrograMMe coMMittee:Jordi Ballester (UAB / Societat Catalana de Musicologia)

imma CusCó (Societat Catalana de Musicologia)Xavier daufí (UAB / Societat Catalana de Musicologia)

roBerto illiano (Centro Studi Opera Omnia Luigi Boccherini)fulvia moraBito (Centro Studi Opera Omnia Luigi Boccherini)

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invited sPeakers

teresa CasCudo (Universidad de La Rioja)Germán Gan Quesada (Universitat Autònoma de Barcelona)

luCa lévi sala (New York, NY)

MONDAY 17 OCTOBER

8.30-9.30: Welcome and Registration

Room 1: 9.30-9.50: Opening • JoandomenèC ros (President Institut d’Estudis Catalans)• Jordi Ballester (President Societat Catalana de Musicologia)

9.50-10.10: A New Network on Music & Criticism • massimiliano sala (Vicepresident Centro Studi Opera Omnia Luigi Boccherini),

Presentation of the New Network <www.music-criticism.com>

Room 1: 10.15-11.15 – Invited Speaker 1• Germán Gan Quesada (Universitat Autònoma de Barcelona), «Germanic Fogs» and «Southern

Sunny Skies» in an Aesthetic Struggle: Spanish Music Criticism Facing Paul Hindemith’s Work (1920-1936)

Room 1: Music Criticism in Spain: Civil War and Early Francoism 11.30-13.30 (Chair: Germán Gan Quesada, Universitat Autònoma de Barcelona)• Gemma Pérez zalduondo (Universidad de Granada), La música en la prensa de la España “nacional”

durante la Guerra Civil (1936-1939): la construcción de la nueva identidad colectiva, de la imagen de la vida cotidiana y del aparato simbólico

• Yolanda f. aCker (Australian National University), Zarzuela and Lyric Music in the Madrid Press during the Spanish Civil War (1936-1939)

• alBano GarCía sánChez (Universidad de Córdoba), Nemesio Otaño y la crítica musical española en tiempos de guerra (1936-1939): entre la religión y la milicia

• Pedro ordóñez eslava (Universidad de Granada), Paradojas de la ópera flamenca durante el primer franquismo (1935-1955): teoría, crítica, estética y política

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Room 1: Music Criticism in Spain15.00-16.30(Chair: Jordi Ballester, UAB / Societat Catalana de Musicologia)• ruth PiQuer (Universidad Complutense de Madrid), La crítica musical en la revista «Alfar» (1923-

1929): el caleidoscopio estético de la renovación artística española• José iGnaCio suárez (Universidad de Oviedo), Un crítico olvidado: la actividad de Rogelio Villar en el

diario «El País» (1910-1918) • maría CáCeres-Piñuel (Universität Bern) José Subirá y el debate sobre la gestión pública de la música

durante la Segunda República Española (1931-1939)

17.00-18.30• Consuelo Pérez Colodrero (Universidad de Granada), Entre lo local y lo internacional: la recepción

de «Venganza gitana» (1899- 1902) de Ramón Montilla Romero (1872-1943) en Italia y España • armando Gómez rivas (Conservatorio Nacional de Música / UNAM), «Zulema». Una mirada

al oriente de Ernesto Elorduy • miGuel lóPez fernández (Conservatorio Superior de Música ‘M. Castillo’ de Sevilla), Textos

literarios sobre música como aproximaciones críticas a la cultura (1900-1950). El caso de la literatura generada en torno al «Miserere» de Eslava como vía para la exploración de identidades

Room 2: Music Criticism in Portugal15.00-17.00 (Chair: Teresa Cascudo, Universidad de La Rioja)• isaBel Pina (CESEM – FCSH/Universidade Nova de Lisboa), The Writings of Luís de Freitas

Branco of the 1920s and 1930s: The Collaboration in the Portuguese Periodic Press• mariana Carvalho Calado (CESEM – FCSH/Universidade Nova de Lisboa), The Composer

and his Critics: Music Criticism in Portugal in the 1920/30s• Paulo f. de Castro (CESEM – FCSH/Universidade Nova de Lisboa), Music against the Grain:

Composer-critics in Portugal (1930-1955) • rosa Paula roCha Pinto (CESEM – FCSH/Universidade Nova de Lisboa), Nazionalismo e

Modernismo nella critica musicale portoghese nello Stato Nuovo: la Compagnia di Balletti Portoghesi “Verde Gaio” (1940-1950)

Room 2: Music Criticism in France17.30-18.30 (Chair: Luca Lévi Sala, New York, NY)• ChristoPher moore (University of Ottawa/OICRM), Music Criticism in «L’Humanité» during the

French Popular Front• viCent minGuet (Universidad de Valencia), Olivier Messiaen’s Journalism (1936-1939): Between

Surrealism, French Catholic Revival and Nonconformism. The Understanding of Music as an Act of Faith

TUESDAY 18 OCTOBER

Room 1: Music Criticism under Italian Fascism09.30-11.30 (Chair: Roberto Illiano, Centro Studi Opera Omnia Luigi Boccherini)• Johannes streiCher (Conservatorio ‘Claudio Monteverdi’, Bolzano), Nazionalismo e (anti?)

fascismo: il caso di Raffaello de Rensis (1879-1970), del giornale «Musica» (1907-1915) e dell’Istituto Italiano per la Storia della Musica

• davide Ceriani (Rowan University, NJ), «Under the Florentine Sky, with the Clarity of Latin Thought»: Italian Music Critics and the 1934 Meeting of the International Society for Contemporary Music (ISCM)

• niColetta Betta (RIPM) – Cristina trinChero (University of Turin), «We Left no Stone Unturned»: Joint Efforts of Patronage and Music Criticism to Open a Window on Modernity under the Fascist Regime. The Teatro di Torino (1925-1930)

• niColò Palazzetti (École des Hautes Études en Sciences Sociales – CRAL), The Bartók Myth. Modernism and Resistance in Italian Music Criticism

Room 2: Writings on Music and Cultural Identity10.00-11.30(Chair: Emilio Ros-Fábregas, CSIC / Societat Catalana de Musicologia)• BeatriX darmstaedter (Kunsthistorisches Museum Wien), The Revival of Early Music in Austrian

Music Criticism• miChael Christoforidis – elizaBeth kertesz (University of Melbourne), Writing about Spanish

Music in New York (c. 1915-1930)• Belén veGa PiChaCo (Universidad de Oviedo), Las aventuras y desventuras de «un raro Quijote

eslavo» en La Habana: la recepción de Igor Stravinsky en Cuba (1924-1946)

Room 1: 12.00-13.00 – Invited Speaker 2• luCa lévi sala (New York, NY), «Il Musicista» and the National Fascist Musicians Union: A Survey

on Fascist Musical-Press Propaganda

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Room 1: Music Criticism in Latin America15.00-16.30 (Chair: Gemma Pérez Zalduondo, Universidad de Granada)• lia tomás (Universidade Estadual Paulista – Instituto de Artes, São Paulo), Musicología en la «Era

Vargas» y la construcción del nacionalismo brasileño • móniCa vermes (Universidade Federal do Espírito Santo, Brazil), Music in the Theaters of Rio de

Janeiro (1902-1906) and the Remodeling of the City and of the City’s Cultural Life• diósnio maChado neto (Universidade de São Paulo), «Poucos entendem essa música, mas seu

público está cada vez maior»: el periodismo cultural y el embate entre nacionalismo e vanguardia (1932-1977)

17.00-18.30• José roBerto de Paulo (Universitat Autònoma de Barcelona), Mário de Andrade y la crítica

musical: un proyecto didáctico de gran amplitud• vera WolkoWiCz (University of Cambridge), Identidades en construcción: la crítica musical en la revista

cultural «Nosotros» de Buenos Aires (1907-1934 y 1936-1943)• marita fornaro Bordolli (Universidad de la República, Uruguay), Music Criticism in the

“Centennial Country”: The Construction of a Nationalist Discourse in Uruguay from 1930 to 1950

Room 2: Music Criticism in the East (1)15.30-17.30 (Chair: Massimiliano Locanto, Università degli Studi di Salerno)• ivana vesiC (Institute of Musicology SASA, Belgrade), Reflections of All-Slavic Political Ideals in

the Narratives on Music: The Case of Yugoslav Music Journals in the Interwar Period • stefanka GeorGieva (Trakia University, Stara Zagora), «The Vague Time», or: How the Music Criticism

Started the Propaganda of the New Socialist Ideology in Bulgarian Musical Culture (1944-1950)• ferenC János szaBó (Institute of Musicology, Hungarian Academy of Sciences), Between the

Music Academy and «Herbstmanöver»: Emmerich Kálmán’s Operatic Reviews (1904-1909)• ádám iGnáCz (Institute of Musicology, Hungarian Academy of Sciences), The Dawn of Socialist

Realist Music Critique in Stalinist Hungary (1948-1951)

Room 2: Music, Media and Criticism (1)18.00-19.00 (Chair: Luca Lévi Sala, New York, NY)• Benedetta zuCConi (Universität Bern), Where Is Recorded Music in early Twentieth-century Italian

Periodicals? Material and Cultural Explanations for the Emergence of a Belated Discourse• david hurWitz (Indipendent Scholar, Brooklyn NY), “Acidy” Cassidy and the Birth of the Modern

Record Review: 1942-1950

WEDNESDAY 19 OCTOBER

Room 1: Modernism and Nationalism9.30-11.30 (Chair: Teresa Cascudo, Universidad de La Rioja)• katY romanou (University of Athens / European University of Cyprus), An Introvert Society

Protected by Music Criticism• GeorGia Petroudi (European University Cyprus), The Re-emergence and Evolution of Western Music

in Cyprus in the Early Twentieth Century through the Critical and Literary Lenses of the Journal «Kypriaka Grammata»

• kristin van den BuYs (Vrije Universiteit Brussel), Brussels, Crossroads of French, Germanic and Russian Musical Modernism in the Interwar Period (1919-1940)

• mark Pinner (Indipendent Scholar, NSW Australia), Criticism in the Antipodes: Gerald Marr Thompson, and the ‘Melba Grand Opera Season’ of 1911

Room 2: Music Criticism and Political Issue10.00-11.30 (Chair: Massimiliano Sala, Centro Studi Opera Omnia Luigi Boccherini)• Christa BruCkner-harinG (University of Music and Performing Arts Graz), The Reception of

Jazz in Austria after World War i

• PatriCk BeCker (Humboldt-University, Berlin), Reception of Contemporary Music by Right- and Left-wing Political Movements during Weimar Republic

• stePhanie rizvi-steWart (Texas Tech University, Lubbock, TX), Cold War Convergence: Shostakovich, the World Peace Conference, and the Press

Room 1: 12.00-13.00 – Invited Speaker 3• Teresa CasCudo (Universidad de La Rioja), Los términos modernismo y modernista en la crítica musical

madrileña de principios del siglo xx

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Room 1: Writings on Music15.00-16.30 (Chair: Germán Gan Quesada, Universitat Autònoma de Barcelona)• morGan riCh (University of Florida, FL), Theodor Adorno’s Musical Monographs: Challenging the

Genre and Creating Historical Narratives• marina hervás muñoz (Universitat Autònoma de Barcelona), Adorno, Music Critic: The Hindemith

Case• lorenzo de donato (State University of Milan), Jankélévitch, Critic and Philosopher of Music:

Interpreting Debussy and Ravel

17.00-18.30• matthias PasdziernY (Universität der Kunste, Berlin), From Berlin to the World? The Early Postwar

Writings of Hans Heinz Stuckenschmidt • ewa sChreiber (Adam Mickiewicz University, Pozna�), The Composers and their Alter Ego. The

First Half of the Twentieth Century in the Mirror of Contemporary Composers’ Writings• dario van Gammeren (The Open University, UK), Music Criticism in the Interwar Netherlands:

Identity and Patriotism in the Writings of Dutch Composer-critics

Room 2: Music Criticism in the East (2)15.30-17.30 (Chair: Massimiliano Locanto, Università degli Studi di Salerno)• bianCa T iPlea temes (‘Gheorghe Dima’ Music Academy, Cluj-Napoca), Folk Heritage in the

Countries of the Communist Bloc: Ligeti’s Romanian Concerto – Beating the Regime at its own Game• CrisTina s uteu (‘Gheorghe Dima’ Music Academy, Cluj-Napoca), Musical Criticism from Romania

(1916-1950): A Cultural or Political Instrument?• miloš ZapleTal (Institute of Ethnology of the Czech Academy of Sciences), Zdeněk Nejedlý

and his Critical Conception of the Great Czech Composer• KaTer ina nová (Museum of Antonín Dvořák – National Museum, Prague), Music Criticism in

the Protectorate of Bohemia and Moravia

Room 2: Music, Media and Criticism (2)18.00-19.30 (Chair: Massimiliano Sala, Centro Studi Opera Omnia Luigi Boccherini)• maria fuChs (Universität für Musik und darstellende Kunst Wien), Art or Not Art. Cinema Music

in the Light of Criticism in Germany during Weimar Republic • marida riZZuTi (IULM University, Milan), What Were Composers Saying about Film Music?• helena martín nieva (Universitat Ramon Llull – La Salle), «Dau al set» Deciphered in Sound,

1948-1956

abstracts

Keynote Addresses

Teresa Cascudo (Universidad de La Rioja)Los términos modernismo y modernista en la crítica musical madrileña de

principios del siglo xx

Una parte de la historia de los términos “modernismo” y “modernista” aplicados a la música está vinculada con el uso que se les dio a ambos en los medios periodísticos a partir de finales del siglo XiX y durante las primeras décadas del siglo XX. Por supuesto, podemos suponer que, en cada comunidad lingüística, adquirieron significados diferentes, dependiendo de las referencias específicas de cada entorno cultural y de cómo fueron utilizados por parte de la crítica, en particular en contextos de polémica. Esto justifica la pertinencia de los estudios de carácter local, siempre y cuando no pierdan de vista los procesos de transferencia cultural en los que se suele enmarcar la crítica musical. Los derroteros por los que transcurrió el «medio siglo modernista» que va desde 1880 a 1940, parafraseando lo que escribió el crítico literario Ricardo Gullón en 1971, aun siendo minoritarios, se pueden seguir en la prensa local de varias ciudades españolas. La “visión cambiante” que se tuvo durante aquellas décadas del modernismo fue sintetizada hace algunos años por Mary Lee Bretz (v. Encounters Across Borders: The Changing Visions of Spanish Modernism, 1890-1930, Lewisburg, Penn., Bucknell University Press, 2001). A pesar del trabajo de autores como los mencionados, entre otros muchos, hasta ahora, son términos que se siguen relacionado casi siempre con el entorno barcelonés y cuya presencia en los medios madrileños suele pasar bastante inadvertida. Además, cuando se han estudiado fuera de Barcelona, ni se han analizado en una perspectiva específica propia del estudio de la prensa – es decir, se han abordado como parte de un discurso de carácter estético y no periodístico – ni tampoco se han abordado en el ámbito específico de la crítica musical. En esta conferencia, me propongo presentar los primeros resultados de una investigación en curso que pretende establecer, no sólo cómo se introdujeron ambos términos en el vocabulario de la crítica musical publicada en la prensa española, especialmente en la madrileña, y cuáles fueron los significados que se les asociaron, sino, sobre todo, atendiendo al marco cronológico de esta conferencia, analizar la “cambiante” función discursiva que asumieron durante los primeros años del siglo XX.

Germán Gan Quesada (Universitat Autònoma de Barcelona)«Germanic Fogs» and «Southern Sunny Skies» in an Aesthetic Struggle: Spanish

Music Criticism Facing Paul Hindemith’s Work (1920-1936)In November 1921, while staying at Barcelona, Hindemith composed his piano piece In

einer Nacht… Träume und Erlebnisse Op. 15. The positive appraisal of the music of his music in Spain was, however, not such “a one-night” task… Hindemith’s works were, indeed, performed for Spanish audiences throughout the decade of 1920s, he visited the country, as a member of the Amar Quartett, and even the most authoritative Spanish critic of the period, Adolfo

Salazar, qualified him as the third “person” of an “H-trinity” in Avant-garde music, along with Arthur Honegger and Ernesto Halffter, in spite of his deep prevention towards German, “foggy”, music.

Nevertheless, only well into the 1930s, the championship for his music by Fernández Arbós and his Madrid Symphony Orchestra, the presence of his brother Rudolph as a conductor of the Madrid Philharmonic Orchestra (February 1933) and, above all, the Spanish premiere of the Symphony “Mathis der Maler” (April 1935), gained for Hindemith a wide, often discussed renown, also supported by Spanish music journals through covers, analytical and aesthetical essays and reviews of his premieres abroad.

This key-note aims to examine this process of reception into the broader context of the divergent attitudes of Spanish music criticism on Modern(ist) Music, wherein Hindemith’s works were often considered as an alternative way to French Neoclassical and Atonalist trends until 1936, when the outbreak of Spanish Civil War shook the political and cultural landscape and plunged into silence, for a long time, the possibilities of a large diffusion of international Avant-garde repertoire further down the Pyrenees.

Luca Lévi Sala (New York, NY)«Il Musicista» and the National Fascist Musicians Union: A Survey on Fascist

Musical-Press PropagandaIn the years 1937-43 the MinCulPop was the frontline administrative instrument for

imposing the rabid rhetoric of Italian racism on the subordinate Enti lirici and the related duties carried out by officials and intellectuals. Serving more often than not both as bureaucrats and as representatives of Italian music and theater, officials of the regime performed a by no means negligible role in cultural propaganda. Fascism ensured universal consensus by channeling power through a corporate system whereby official adherence to peripheral government organs guaranteed more ready access to central authority; for example, the first steps in a teaching or artistic career were achieved by means of prizes for artists, the participation of trade unions in audition juries, the stipulation of contracts with public entities. The most favored channel was participation in the musical exhibitions held by the National Fascist Musicians Union (which had local branches throughout the country), as well as participation in festivals, enrollment in the PNF, and so on.

Beginning in the 1930s Italian Fascism detained music within a complex propaganda system, hitherto not fully revealed nor examined in musical circles. MinCulPop intervention in programming and organizing events, controlling artists hiring and firing was pressing and continuous. The composers included in the bureaucratic apparatus were actively collaborating with every ministerial disposition and closely involved in political issues, showing that the ideological ground that the regime was cultivating had entered into the mindset of these “representatives” of the state.

The present paper will concentrate on the study of Il Musicista, Journal of the National Fascist Musicians Union. Investigate the meaning of propaganda in Musical Press and Musical Institutions will foster the role of the composers in quality of officials of a cultural institution and their responsibilities in according and approving power social actions of fascist propaganda.

Participants

Music Criticism in Spain: Civil War and Early FrancoismGemma Pérez-Zalduondo (Universidad de Granada)La música en la prensa de la España “nacional” durante la Guerra Civil (1936-

1939): la construcción de la nueva identidad colectiva, de la imagen de la vida cotidiana y del aparato simbólico

La utilización de los medios de propaganda ha sido una de las singularidades que han conducido a los historiadores a considerar la Guerra Civil española (1936-1939) como la primera guerra moderna (José Luis de Micheo Izquierdo, 2015). En el bando de los sublevados en julio de 1936, el Servicio de Prensa y Propaganda fue la institución encargada de implantar un sólido aparato de propaganda. Controlada por el único partido permitido, Falange Española Tradicionalista y de las JONS, fue la encargada de elaborar las consignas y establecer la censura de toda la prensa publicada en la denominada España “nacional”. FET también organizó una importante red de periódicos propios que, junto a los asociados a ideologías católicas, monárquicas y tradicionalistas, legitimaron el golpe de estado, erradicaron la herencia cultural republicana e implantaron la ideología oficial del nuevo estado. Tal y como han señalado recientemente los historiadores de la cultura, dichas publicaciones formaron parte esencial de la propaganda y de la denominada “cultura de guerra”, puesto que fue en sus páginas donde las experiencias de la población se tradujeron y transformaron en formas de identificación e interdependencia social (Sevillano Calero, 2014). Los aun escasos estudios sobre música y Guerra Civil no han utilizado la prensa de manera extensiva, a pesar de lo cual ha sido fuente fundamental para documentar y constatar la existencia de algunas constantes de la vida musical en la retaguardia. Si bien ni el repertorio ni los intérpretes ofrecieron novedades radicales respecto a los de preguerra, dichos eventos, una vez transformados en críticas y crónicas musicales, fueron uno más de los argumentos – y no el menor – sobre los que se articuló la propaganda en torno a la “normalidad” de la vida cotidiana en la retaguardia, idea fundamental durante el conflicto tanto para el interior como para el exterior. Esta propuesta pretende analizar cómo el procedimiento basado en la alianza entre el hecho musical con las ideas, lemas, héroes o acontecimientos vinculados con la guerra permitió transformar las crónicas y las críticas musicales en discursos que intervinieron activamente en la construcción de la nueva identidad colectiva y del aparato simbólico de la España sublevada durante el conflicto bélico. La prensa que se utilizará será la de carácter general asociada tanto a Falange como a ideologías de orientación católica y tradicionalista editada en distintas ciudades españolas.

Yolanda F. Acker (Australian National University)Zarzuela and Lyric Music in the Madrid Press during the Spanish Civil War

(1936-1939)Although the Spanish lyric genre had already fallen into crisis by the beginning of the

1930s, a significant number of operas and zarzuelas still formed part of the vast array of stage works on offer in Madrid during the Civil War. Some of the leading theatres in Madrid bore witness to works from the repertory and re-stagings of pieces composed by some of the most important zarzuela composers of the nineteenth and twentieth centuries – from Barbieri to Sorozábal, a key figure in the capital’s musical at the outset of the conflict, together with Arrieta, Serrano, Bretón, Chapí and Vives – as well as numerous local and world premieres. Although

the objectives of these productions were varied, ranging from acts of propaganda to benefit concerts or those that were simply intended as a means of evasion or as pure entertainment, they were often greeted by large audiences, who filled the theatres and showed their enthusiasm for the works, their creators and performers. Although the most prominent music critics no longer wrote for the Madrid press, many details about stage music can still be learned from press announcements, the entertainment section of daily newspapers and sharp, informed theatre (and music) reviews, full of praise and criticism for all the parties involved. This paper – based on research still in course about music in Madrid during the Civil War – will document the works performed and examine the reviews that were published in the most important periodicals published in Madrid at the time, helping to further our knowledge of this genre and of stage-music criticism in the Republican press during the war period.

Albano García Sánchez (Universidad de Córdoba)Nemesio Otaño y la crítica musical española en tiempos de guerra (1936-1939):

entre la religión y la miliciaTras una serie de conferencias-concierto sobre música militar española protagonizadas a

principios de 1937 por Nemesio Otaño, miembros del bando de los sublevados lo invitarían a Salamanca, ciudad donde por aquel entonces se ubicaba el cuartel general, para proponerle varias cuestiones: que se responsabilizara de la inspección de todo lo referente a la música en la “zona nacional”, que profundizara en sus investigaciones sobre la música militar histórica, con especial atención al pasado español del Himno Nacional (antigua Marcha de Granaderos), que elaborara un cancionero patriótico y que asesorara al Gobierno en aquellas cuestiones relacionadas con este arte que surgieran en la política exterior. Estos cometidos, que en un primer momento no conllevaron ningún nombramiento oficial, ni tampoco remuneración económica, posibilitarían pocos meses después que el jesuita obtuviera un cargo oficial. Esto fue debido a que en enero de 1938, fecha de la constitución en Burgos del Primer Gobierno Regular de Franco, se creó dentro del Servicio Nacional de Prensa y Propaganda el inoperante Departamento de Música con el fin de reactivar la vida musical en la zona franquista. En cualquier caso, esta nueva obligación no impediría que continuara con sus actividades ulteriores, ni tampoco que las ampliara responsabilizándose asimismo de la asesoría musical de Radio Nacional de España. Fue precisamente esta intensa labor propagandística, fruto de los numerosos cargos de responsabilidad ocupados, lo que a buen seguro propició que Nemesio Otaño terminara desempeñando durante los primeros años de la Dictadura un papel relevante dentro de los distintos ministerios en los que la música tuvo cierta influencia. De esta forma iba a convertirse en uno de los principales adalides del férreo control que sobre esta disciplina se planteó ejercer el Estado durante el proceso de reorganización de los organismos e instituciones musicales, con especial atención a la reforma de las enseñanzas musicales de los Conservatorios y a la creación del Instituto Español de Musicología. Con la presente comunicación pretendemos mostrar que Nemesio Otaño, a través de conferencias, charlas radiofónicas, artículos en prensa, conciertos, grabaciones discográficas y edición de partituras, ejerció un papel destacado durante la Guerra Civil en la difusión del ideal franquista de religión y milicia, convirtiéndose de esta forma en el máximo referente del sentido marcadamente identitario que tuvo la crítica musical en esas fechas. Para ello nos serviremos principalmente de sus composiciones y armonizaciones sobre música militar, de sus estudios sobre este tema publicados en Razón y Fe, Radio Nacional. Revista semanal de radiodifusión o Ritmo,

de algunos programas de mano de sus conferencias-concierto, de la información que sobre estas cuestiones se conserva en el Archivo del Ministerio de Asuntos Exteriores y, por último, de la correspondencia que mantuvo tanto con amistades como Victoriano Larrañaga, José Izurrátegui o Valentín Ruiz-Aznar como con personalidades de la talla de Manuel de Falla o Higinio Anglès.

Pedro Ordóñez Eslava (Universidad de Granada)Paradojas de la ópera flamenca durante el primer franquismo (1935-1955): teoría,

crítica, estética y políticaConsiderada, al mismo tiempo, causa del decaimiento de los cafés cantantes y reacción

empresarial a su declive, la ópera flamenca surge, como un nuevo género artístico – resultado de una mera estrategia empresarial – a mediados de los años veinte. Gracias a un gran éxito, conseguido a través de formatos teatrales espectaculares que hicieron uso de nuevos espacios, con dimensiones mucho mayores que las de los cafés y propuestas musicales livianas, vinculadas a las formas flamencas más ligeras – fandango, tanguillo y copla –, la ópera flamenca alcanzó una audiencia inusitada. Este éxito estuvo acompañado, obviamente, de una gran notoriedad para sus protagonistas. Artistas como José Torres Garzón “Pepe Pinto” (Sevilla, 1903-1969), José Tejada Martín “Pepe Marchena” (Marchena, Sevilla, 1903-Sevilla, 1976) o Pastora Pavón “Niña de los peines” (Sevilla, 1890-1969) alcanzaron una enorme popularidad en el mundo artístico español durante los años treinta, cuarenta y cincuenta del pasado siglo XX. Sin embargo, dicho éxito comercial fue proporcionalmente inverso a lo que sería su consideración teórica y artística posterior. Ya desde mediados de los años cuarenta, crece un afán por recuperar un patrimonio flamenco en aparente peligro de extinción. El nuevo movimiento neojondista, amparado por un considerable apoyo institucional, alcanza su primera etapa de consolidación con la publicación de Flamencología. Toros, cante y baile (1955) de Anselmo González Climent y la celebración del Concurso Nacional de Cante Jondo en Córdoba (1956). Dicho movimiento promueve el restablecimiento y la defensa de conceptos como verdad, pureza o raza; conceptos hipotéticamente perdidos durante los años de mixtificación, heterodoxia y divergencia que trajo consigo la ópera flamenca, cuyas cualidades artísticas y técnicas son objeto de un ataque furibundo. En este trabajo, nos detenemos a analizar parte de la considerable producción teórica, escrita tanto por artistas flamencos como por escritores y críticos de diversa procedencia ideológica y estética, publicada entre 1935 y 1955, es decir, durante una segunda etapa de la ópera flamenca. Con ello, pretendemos mostrar una historia social del flamenco diversa a la comúnmente aceptada, alejada de la imagen estereotípica que aún afecta a este periodo de la historia contemporánea del flamenco.

Music Criticism in SpainRuth Piquer (Universidad Complutense de Madrid)La crítica musical en la revista «Alfar» (1923-1929): el caleidoscopio estético de la

renovación artística españolaEn las páginas de la revista Alfar (1922-1929) convergieron una serie de intelectuales,

críticos, artistas, literatos y músicos volcados en dar a conocer las vanguardias europeas y en construir la noción de una avanzada artística netamente española. Dicha publicación recogió el testigo de las revistas creacionistas, futuristas y ultraístas anteriores (Prometeo, Grecia, Vltra y Horizonte, entre otras) ya que era la antigua revista de la Casa de América-Galicia, promovida por el escritor Casal, afín al ultraísmo. Las críticas de Manuel Abril, Adolfo Salazar, César M.

Arconada o Guillermo de Torre entre otros, contienen numerosas disquisiciones sobre música, en el marco de la idea de “arte nuevo” que se asentó en las dos primeras décadas del siglo XX. En las críticas se observa una visión caleidoscópica de la vanguardia, que incluye reductos del cubismo, el mencionado ultraísmo, el simultaneísmo o el futurismo; pero que al mismo tiempo señala cómo se fue consolidando la tendencia del retorno al orden y el nuevo clasicismo, así como la construcción de nuevas visiones sobre el arte en la segunda mitad de los años veinte, como el surrealismo. Aunque me centraré en los comentarios propiamente musicales, observaré en ellos los aspectos sinestésicos y de conexión con otras artes, a la luz de los círculos artísticos alrededor de la revista y las revistas afines. La crítica de la revista Alfar muestra además valoraciones de críticos y músicos franceses e italianos, que permiten observar las conexiones con la vanguardia de dichos países y su influencia en la conformación de una noción muy específica de vanguardia musical europea. A través del análisis de dichas críticas observaré además las cuestiones relativas a las identidades regionales y nacionales, con el fin de valorar su importancia en las posturas sobre conceptos estéticos. Si bien existen ya trabajos sobre algunos críticos musicales y literarios que participaron en Alfar, no se ha realizado una visión de conjunto sobre la trayectoria de la misma y cómo los discursos sobre música impulsaron un entorno de renovación artística. Tampoco se ha analizado el recorrido global de la revista, teniendo en cuenta las corrientes ideológicas y el contexto político de la España de los años veinte, aspectos que tendrán relevancia en esta comunicación.

José Ignacio Suárez (Universidad de Oviedo) Un crítico olvidado: la actividad de Rogelio Villar en el diario «El País» (1910-1918)Rogelio Villar (1875-1937) es una de las figuras centrales en la verdadera revolución

experimentada por la música española en el periodo que va del cambio de centuria al estallido de la Guerra Civil. No obstante, el protagonismo otorgado a las generaciones denominadas “de los Maestros” y “del 27” en este sentido, ha hecho que no se haya valorado en su verdadera dimensión a la generación anterior, del ’98, como origen del espíritu reformista del que precisamente se nutrieron los hombres de la República. A este olvido general se suma, en el caso de Villar, otra circunstancia fundamental, que fue su férrea defensa de la tradición romántica y su oposición al Impresionismo francés, siendo considerado como uno de los máximos responsables del retraso de España en su incorporación a las nuevas tendencias de la música. Sin embargo, el ideario regeneracionista de Villar se basa en algunos pilares básicos que tendrán gran proyección de futuro, cuales son la reestructuración de la educación musical, el estudio del folclore y de la música histórica española, la preparación intelectual del músico o la creación de una infraestructura que posibilitase el nacimiento de una verdadera escuela musical propia. Republicano y progresista en lo ideológico, Villar fue un activista infatigable que participó desde sus inicios en la Universidad Popular (1904) y propuso, en 1911 y por primera vez, la creación de una Sociedad Nacional de Música, cuya idea central era fomentar la música española organizando conciertos con obras de compositores (y con intérpretes) españoles, adelantándose así al pensamiento que algunos años más tarde se encargaría de poner en práctica Miguel Salvador con la creación de la citada sociedad en 1915. Partidario de una crítica técnica y depurada, ejercida por especialistas de sólida formación, Villar fue codirector, junto a Adolfo Salazar, de la Revista Musical Hispano Americana (entre 1916 y 1917) y, también, director de la revista Ritmo desde su fundación hasta 1936. Además colaboró esporádicamente con publicaciones como La Esfera, La Ilustración Española y Americana, Nuevo mundo, Arte musical, Lira española, Mundo gráfico, Ecos musicales, Por esos mundos, Revista de libros y el álbum-revista Música, entre otras. Dado su

profusa y larga trayectoria, pretendemos centrar nuestra comunicación en el análisis de los aspectos apuntados a través, fundamentalmente, de sus escritos en El País, periódico dónde ejerció de forma continuada la crítica musical entre 1910 y 1918.

María Cáceres-Piñuel (Universität Bern)José Subirá y el debate sobre la gestión pública de la música durante la Segunda

República Española (1931-1939) En esta comunicación se considera crítica musical a todo discurso narrativo, no

especializado, en torno a la música ejercido en la esfera pública. Esta amplia acepción incluye actividades híbridas, como el periodismo, la publicística, la divulgación y el activismo, a las que el musicólogo José Subirá (1882-1980) se dedicó durante toda su vida adulta. De la vastísima producción crítica de este autor, nos ocuparemos de aquella relacionada con sus facetas de intelectual comprometido con el socialismo durante la Segunda República, tanto en el período de paz como durante la Guerra Civil. A través de sus textos en el periódico generalista El Socialista (1931-1934, 1936, 1938-1939) y en las revistas especializadas Musicografía (1933-1936) y Música (1938), se analizará tanto su militancia estética y política, como el impacto que la crítica musical tuvo en la visibilidad y construcción del nuevo campo disciplinar de la musicología, que en aquel entonces estaba en proceso de profesionalizarse y no contaba con instrumentos especializados de difusión científica en España. El objetivo de esta investigación es reconstruir una de las voces protagonistas en el debate sobre la gestión pública de dos de las más importantes instituciones musicales estatales de la época: la Junta Nacional de Música y Teatros Líricos (1931-1933) y el Consejo Central de Música (1937-1939). Todo ello nos permitirá evaluar el papel de la crítica musical en el debate intelectual sobre la gestión científica, educativa y estética de la música en España durante la Segunda República y la Guerra Civil Española.

Consuelo Pérez Colodrero (Universidad de Granada)Entre lo local y lo internacional: la recepción de «Venganza gitana» (1899-1902) de

Ramón Montilla Romero (1872-1943) en Italia y EspañaLa Restauración Borbónica (1874-1923), uno de los periodos históricos más relevantes para

la definición y modernización de nuestro país, la actividad musical desplegada en torno a la ópera fue especialmente relevante, pues dicho repertorio fue constituido como símbolo de la independencia de la ‘escuela española’ o del grado de actualización o retraso de ésta en el contexto europeo. Durante dicha etapa, uno de los pocos músicos españoles que consiguió estrenar una ópera en el Teatro Real de Madrid, baluarte de la ópera nacional, fue el andaluz Ramón M.ª Montilla Romero (1871-1921), que en 1902 presentaba Venganza gitana en el coliseo regio después de haber cosechado el éxito con la misma partitura en el teatro Andreani de Mantua. Pese a este mérito y a la cálida acogida que su producción y actividad siempre tuvo para la crítica contemporánea, su figura ha quedado silenciada por la historiografía musical posterior. A la luz de lo expuesto, esta propuesta pretende: (1) estudiar la recepción, nacional y extranjera, de la producción de Ramón M.ª Montilla Romero, para así (2) profundizar en las razones que, desde el punto de vista de la historiografía musical, pudieron estar en la base de su olvido posterior. A este efecto, se ha vaciado una selección de la prensa local española e italiana, cruzando los datos resultantes con los provenientes de la historiografía musical contemporánea más relevante y con publicaciones científicas sobre el particular. Las conclusiones obtenidas arrojan luz sobre el complejo proceso de construcción nacional e historiográfica en torno a la música que atravesó España en el periodo de tiempo indicado.

Armando Gómez Rivas (Conservatorio Nacional de Música / UNAM)«Zulema». Una mirada al oriente de Ernesto Elorduy En los años finales del siglo XiX, la actividad artística se concentró en el exotismo como

una vertiente del romanticismo. Dentro de la producción artística que siguió está tendencia en México, el compositor Ernesto Elorduy (1855-1913) logró consolidar, a través de la zarzuela oriental Zulema, una de las críticas más severas al régimen del general Porfirio Díaz (1830-1915). El libreto de Zulema, escrito por el poeta, folclorista y crítico musical Rubén M. Campos (1871-1945), describe el amor prohibido entre Muley y Zulema, esclavos del harem de Selim-Pachá. El texto, con las implicaciones de la sublevación en un régimen autoritario, encuentra un reflejo en el gobierno corrompible de la época. En un espacio reservado para la óperas conservadora, la postura estética de Ernesto Elorduy llevó a la escenificación de Zulema con bayaderas semidesnudas que objetaban la moral de la época. Pero más importante, el atrevimiento de realizar la representación con recursos financieros del erario público llevó a establecer una ideología con tintes políticos evidentes. Así, “Zulema. Una mirada al oriente” se encarga de interpretar la prensa mexicana, en ocasión de la escenificación de la zarzuela oriental Zulema en 1903. La línea de investigación se centra en fuentes hemerográficas y se desarrolla a partir de la crítica musical y la reseña de la presentación. Por consiguiente, la propuesta reúne el análisis crítico de autores como Gustavo E. Campa (1863-1934), colaborador y amigo cercano de Felipe Pedrell (1841-1922), la valoración de la recepción y la evaluación analítica de la composición como una referencia que busca la interpretación compleja de la zarzuela oriental Zulema.

Miguel López Fernández (Conservatorio Superior de Música ‘M. Castillo’ de Sevilla)Textos literarios sobre música como aproximaciones críticas a la cultura (1900-1950).

El caso de la literatura generada en torno al «Miserere» de EslavaEl Miserere que Hilarión Eslava compuso para la catedral de Sevilla en 1835 se convirtió,

por mor de un proceso cuyas claves están aún por descifrar, en un fenómeno social de gran relevancia. Aunque fraguado intramuros del templo catedralicio, rebasó con creces los límites del espacio eclesiástico y religioso para penetrar en todos los ámbitos de la vida ciudadana, tanto pública como privada. Esta trascendencia así como su condición adquirida de símbolo de la ciudad atrajo la atención de numerosos escritores, quienes aprovecharon su potencia como manifestación cultural y lo incorporaron a sus relatos literarios. Más allá de su naturaleza esencialmente artística y del valor estético que poseen, estas obras nos interesan por cuanto desarrollan discursos críticos sobre la cultura de la época tomando como eje narrativo el salmo compuesto por Eslava. Las adscripciones estéticas de sus autores; sus orígenes, personalidades y trayectorias; así como los puntos de vistas y las bases sobre las que descansaron sus formas de observación son diversas, y proporcionan aproximaciones a la obra eslaviana entendida como acontecimiento cultural desde diferentes ángulos. Mediante un ejercicio de análisis de textos literarios dedicados al Miserere, pretendemos, por un lado, introducirnos en los entresijos de un universo simbólico que deviene en, y se consolida como identidad, y por otro, tratar de observar la evolución del gusto y su relación con los comportamientos sociales. Nuestro planteamiento implica, en consecuencia, una aproximación a la música más que como un objeto o una práctica como una forma de representación ideológica y un discurso cultural. El estudio de los textos literarios de tema musical como discursos críticos culturales constituye, creemos, otra vía por la que transitar en el estudio de las funciones de la música en la sociedad junto al análisis de la crítica musical vertida en revistas especializadas, prensa generalista, obras eruditas o teóricas, etc.

Music Criticism in PortugalIsabel Pina (CESEM – FCSH/Universidade Nova de Lisboa)The Writings of Luís de Freitas Branco of the 1920s and 1930s: The Collaboration

in the Portuguese Periodic PressBeing one of the most recognized Portuguese personalities of the XX century by the

national and international historiography of music, Luís de Freitas Branco (1890-1955) is more often simply reminded as a composer and particularly as the introducer of the musical modernism in Portugal, despite all his other activities related to the musical field. During most of his life, Freitas Branco was equally a pedagogue, one of the introducers of musicology in Portugal (establishing, together with Viana da Mota [1868-1948], the disciplines of History of Music, Aesthetics and Acoustics in Lisbon National Conservatory, and publishing the Elementos de Sciências Musicais in three volumes, História da +, Acústica and Estética), a speaker, a writer, and a music critic. Freitas Branco began his activity in music criticism with only seventeen years old, publishing his critic of Amor de Perdição, a portuguese opera composed by João Arroio (1861-1930), in Diário Illustrado on 26 March 1907. After that, his wide activity is visible in his participation in several journals and newspapers of his time. Luís de Freitas Branco was, during decades, a well-known critic of daily newspapers and general journals, such as Diário de Notícias (1864-), Diário de Lisboa (1921-1990), O Século (1881-1983) and Seara Nova (1921-), writing as well for political journals, for instance A Monarquia: diário integralista da tarde (1917-1925) and Acção Realista: diário da tarde (1926), being these two colaborations mainly related to the participation of Luís de Freitas Branco in portuguese monarchic groups during the 1910s and 1920s. However, one of the most relevant events of his career was the foundation, in 1930, of his own musical journal, following the example of Michel’Angelo Lambertini (1862-1920), who published, between 1899 and 1915, A Arte Musical. Luís de Freitas Branco will be the director of the new Arte Musical until 1947, propagating in his writings the ideals of a new classicism and musical nationalism.

Mariana Carvalho Calado (CESEM – FCSH/Universidade Nova de Lisboa)The Composer and his Critics: Music Criticism in Portugal in the 1920/30sFrancine Benoît’s review of the opera Inês de Castro, published on 19 January 1927,

wasn’t well received by the composer Ruy Coelho. In the next editions of the newspaper Diário de Lisboa, the readers followed an exchange of letters written by Benoît and Coelho in defense of their remarks and work. If at first the main point of disagreement was the idea that the prelude of the opera was “monotone”, without harmonic variations, as Benoît described it, the letters quickly crossed the line of a musical discussion and the composer accused the critic of not having enough qualifications to express a valid opinion. The public reaction of the composer against the judgement of the music critic arises questions on the use of the public sphere, on the authority of the critic and of the composer, and on the functions of the music criticism. It also allows us to observe the relations between artists and critics. In this paper I will look at some reactions (sometimes polemics) maintained between composers like Ruy Coelho (who was a music critic too) and critics like Francine Benoît and Fernando Lopes-Graça (who were also composers). In the end, these situations may contribute to better understand the general panorama of the practice of music criticism in Portugal in the 1920/30s.

Paulo F. de Castro (CESEM – FCSH/Universidade Nova de Lisboa)Music against the Grain: Composer-critics in Portugal (1930-1955)Music criticism in Portugal from the 1930s to the mid-1950s was dominated, to a large

extent, by composer-critics Luís de Freitas Branco (1890-1955) and Fernando Lopes-Graça (1906-1994), the latter an ex-pupil of the former. The two composers were close associates in a number of publications, from the journal De Música to the much later Gazeta Musical. In the pages of these and other periodicals, Freitas Branco and Lopes-Graça could often be seen to express similar beliefs in their common role as catalysts of Portuguese musical life. There were also political affinities between them: although a monarchist formerly associated with Integralismo Lusitano, Freitas Branco veered towards a more left-wing position in the 1930s, whereas Lopes-Graça became actively involved in the political opposition, eventually becoming a member of the Portuguese Communist Party. There were also differences between Freitas Branco and Lopes-Graça in aesthetic and cultural-political matters, as shown in a number of articles in which Lopes-Graça dared to challenge some of the most dogmatic views of the elder composer, with regard to the alleged rationality of polyphony and counterpoint as opposed to harmony, the value of racialist thinking in art, or the existence of a true organic tradition in Portuguese music. These controversies reflect wider debates in the Portuguese intellectual context, spurred by conflicting conceptions of modernism, national identity and the social role of the artist, as well as by the metamorphoses of the idea of “classicism” throughout the 1930s and 40s. In this paper, I trace a number of continuities and discontinuities in the critical production of Freitas Branco and Lopes-Graça, drawing on a selection of texts. In particular, it will be my purpose to analyse the textual and rhetorical strategies used by Lopes-Graça in his more polemical writings, testimony to an ‘anxiety of influence’ towards Freitas Branco that would also find a counterpart in his own work as a composer.

Rosa Paula Rocha Pinto (CESEM – FCSH/Universidade Nova de Lisboa)Nazionalismo e Modernismo nella critica musicale portoghese nello Stato Nuovo:

la Compagnia di Balletti Portoghesi “Verde Gaio” (1940-1950) Il rapporto tra la critica e la compagnia di balletti portoghesi “Verde Gaio” (BPVG) si è

rivelato particolarmente stretto fin dal debutto di quest’ultima, avvenuto nel Teatro da Trindade di Lisbona nel Novembre del 1940. I BPVG hanno svolto, infatti, un importante ruolo di connessione fra produzione artistica, critica, e la propaganda di regime, assumendo particolare rilievo nel progetto di costruzione di un discorso musicale politicizzato di carattere nazionalista associato, in questo caso, alla musica per balletto. Tra il 1940 e il 1950, ovvero nella prima decade di attività della compagnia in cui essa si vide commissionare e si impegnò a mettere in scena più di una decina di balletti originali, furono pubblicati all’incirca un migliaio di articoli, annunci, interviste e recensioni in periodici nazionali e internazionali, sia di carattere critico che apologetico. Concetti come “spirito”, “nazione”, “razza”, “propaganda”, “rivoluzione”, “modernismo”, “tradizione” venivano utilizzati più volte nei testi prodotti e riprodotti dalla stampa evidenziando così l’obiettivo nazionalista incorniciato in una “immaginazione internazionale” quale si trova alla base della creazione dei BPVG e più in generale della “politica dello spirito” di Antònio Ferro, all’epoca direttore della Segreteria della Propaganda Nazionale dello Stato Nuovo (“Estado Novo”) di Salazar. Le particolari modalità con cui gli intellettuali hanno tradotto gli obiettivi e le ideologie ufficiali, di come il regime ha risposto alle loro proposte e di come la stampa ha interpretato le loro iniziative, fanno dei BPVG un laboratorio privilegiato per lo studio delle

interazioni fra politica, produzione, diffusione e critica. In questa comunicazione si propone un’analisi di queste fonti e delle questioni da loro sollevate: della complessa rete di relazioni venutasi a creare al tempo tra la Segreteria della Propaganda Nazionale e la critica; di come il discorso intorno alle produzioni della compagnia venga progettato e concepito anche dalla critica; di quale sia stato il rapporto tra la ricezione della critica musicale e l’accoglienza del pubblico in generale; di come la stampa abbia interagito con compositori, artisti, pittori, ballerini, coreografi; di come la critica interpreti questo prodotto artistico “modernista” come un soggetto rappresentativo di una ben definita ideologia politico-culturale.

Music Criticism in FranceChristopher Moore (University of Ottawa/OICRM)Music Criticism in «L’Humanité» during the French Popular FrontPrior to 1935, French newspapers that expressed Communist editorial sympathies

provided very little critical coverage of music. With the establishment of the political coalition of Communists and Socialists known as the Popular Front, however, this situation began to change. Seeking to establish solidarity between workers and members of France’s intellectual elite, the French Communist Party (PCF) initiated a cultural program that was articulated through the activities of various institutional structures as well as within the pages of its most highly-read daily publication, L’Humanité. This presentation will summarize the ways in which music was incorporated into this cultural program by outlining the musical values expressed by L’Humanité during the years of the Popular Front. I will examine the complexities inherent in the publication’s project of valorizing music of the “classical” tradition in relationship to Communist cultural ambitions with special attention given to the attitude of L’Humanité with regard to popular musics and musical modernism. Examining the music criticism for L’Humanité written by Henry Sauveplane, Pierre Kaldor, Elsa Barraine and Charles Koechlin I will highlight their critical strategies and the ways in which they sought to legitimize discussions of classical music in a publication devoted to working-class social and political concerns. In a conscious attempt to compete with right-wing critical discourses, especially those of L’Action française, the music criticism in L’Humanité also makes important, albeit tendentious, claims about French musical traditions and composers and their relationship to left-wing ideology. This presentation will examine how L’Humanité proposes a leftist musical canon stretching back to the French Revolution and which incorporates, among others, some of the most important French composers active during the late 1930s.

Vicent Minguet (Universidad de Valencia)Olivier Messiaen’s Journalism (1936-1939): Between Surrealism, French Catholic

Revival and Nonconformism. The Understanding of Music as an Act of FaithIn an article entitled De la Musique sacrée (“On sacred Music”), written for the French

Journal Carrefour in 1939, Olivier Messiaen (1908-1992) declared that without faith it was not possible to touch hearts, calling at the same time for a music that should touch all subjects without ever ceasing to touch God. Messiaen’s understanding of music as an act of faith was for the first time given away in a very utterance. During the three previous years he had collaborated with several French and Belgian musical and catholic journals. An active young composer advocating for a musical language that should push back the boundaries, Messiaen was clearly engaged in the

aesthetic debates of the 1930s, as proved by his initial support of the 1936 manifesto of La Jeune France and his rejection of neoclassicism as a normative aesthetic principle. He was also a devoted teacher with responsibilities to fulfill at the Schola Cantorum and at the École Normale, and he performed on a regular basis as the organist of La Trinité. His early writings could scarcely draw the attention of the Parisian musical scene. However, a close examination of his journal criticism and articles published between 1936 and 1939 allows us to trace Messiaen’s actual bonds to the surrealist literary movement, the renouveau catholique, as well as the nonconformist movement of the interwar period in France 1930s. The focal point of the present paper is to clarify Messiaen’s relationship to the above-mentioned artistic, spiritual and sociopolitical movements throughout the ideas, quotes and debates found throughout his writings and music criticism, with a particular emphasis on Messiaen’s belief of music as essentially being an expression of faith.

Music Criticism under Italian FascismJohannes Streicher (Conservatorio ‘Claudio Monteverdi’, Bolzano)Nazionalismo e (anti?)fascismo: il caso di Raffaello de Rensis (1879-1970), del

giornale «Musica» (1907-1915) e dell’Istituto Italiano per la Storia della MusicaRaffaello de Rensis (1879-1970) fondò nel 1907 a Roma Musica. Rivista della cultura

e del movimento musicale, che egli avrebbe diretto fino al 1915. Tra i collaboratori del periodico, uscito dapprima a scadenza bisettimanale, poi settimanale, si trovano Giannotto Bastianelli, Arnaldo Bonaventura, Alfredo Casella, Oscar Chilesotti, Benedetto Croce, Andrea D’Angeli, Alberto Gasco, Guido Gasperini, Guido M. Gatti, Matteo Incagliati, Gian Francesco Malipiero, Ildebrando Pizzetti e Giovanni Tebaldini. Musica costituisce una fonte preziosa per saggiare gli inizi dell’avventura dell’Associazione dei Musicologi Italiani (dal 1908), di cui de Rensis fu primo segretario, e la presa di coscienza della ricerca musicologica. Comune denominatore di una moltitudine di interventi fu la rivendicazione del ruolo preminente dell’Italia nella storia della musica, secondo dei criteri talvolta meramente nazionalistici, talvolta di effettiva ricerca delle fonti. Raffaello de Rensis, divenuto successivamente critico musicale dei quotidiani Il Messaggero (dal 1915) e Il Giornale d’Italia (dal 1926), voce autorevole della stampa del consenso al regime, perse il posto di critico musicale presso Il Giornale d’Italia nel 1934; ritiratosi dalla critica militante, si concentrò nuovamente sulla ricerca, che poté promuovere in seno all’Istituto Italiano per la Storia della Musica (iism), fondato su sua iniziativa “presso l’Accademia di Santa Cecilia” di Roma nel 1938. Sotto la presidenza di Pizzetti si diede allora inizio alla pubblicazione delle Opere complete di Giovanni Pierluigi da Palestrina (“per cura e studio di Raffaele Casimiri”, dal 1939, poi di Lino Bianchi, conclusasi nel 1999) e di altri classici, sicché de Rensis, paradossalmente, pur ‘caduto in disgrazia’ presso alcuni potenti gerarchi, si riscattò come spiritus rector dell’iism e promotore di imprese musicologiche, che in ultima analisi scaturirono da una carriera di critico forzatamente troncata. Le sue posizioni di nazionalista (pubblicò un volumetto Rivendicazioni musicali, Roma, s.a. [1916/1917]) in quest’ottica assumono un altro significato, rivelando l’intraprendenza di un personaggio finora spesso sottovalutato.

Davide Ceriani (Rowan University, NJ)«Under the Florentine Sky, with the Clarity of Latin Thought»: Italian Music Critics

and the 1934 Meeting of the International Society for Contemporary Music (ISCM)In 1934 the city of Florence hosted the twelfth annual meeting of the ISCM. The event

provided a forum for Italian music critics to comment on three crucial issues: the relationship

between music and politics under the Fascist regime, the recent achievements of Italian composers, and the “death” of dodecaphony. Mussolini’s decision to concede his patronage became an excuse to praise Fascism as an enlightened form of government open to contemporary music. The Italian critics displayed a strong nationalist agenda by positively commenting on their compatriots (Franco Alfano, Gian Francesco Malipiero, Ildebrando Pizzetti, and the young Luigi Dallapiccola) without attempting a serious analysis of their works. On the contrary, they repeatedly praised the supposed “Italian” qualities of those pieces, such as clarity of form, consistency of thematic development, and the use of tonal harmony, no matter whether the works exhibited these features. The critics also seemed relieved that the number of twelve-tone works presented annually at the prescreening for the ISCM meeting was declining, reaching its lowest point in 1934; Casella, for example, went as far as declaring that “Italians have always been immune to atonality”. By drawing on unexamined materials in the Archivio Centrale dello Stato, I argue that the critics’ comments were not solely the result of an independent judgment about the pieces they were supposed to review. On the contrary, these materials show that members of the regime exerted indirect pressure on the reviewers in order to present Italian works in a positive light. This glance into this important, yet little-discussed music festival suggests that the regime was highly invested in this event and aware – even more than historians have assumed so far – of the importance that modern music had in shaping the image of Fascist Italy both at home and abroad.

Nicoletta Betta (RIPM) – Cristina Trinchero (University of Turin)«We Left no Stone Unturned»: Joint Efforts of Patronage and Music Criticism to

Open a Window on Modernity under the Fascist Regime. The Teatro di Torino (1925-1930)The Teatro di Torino is an example of close, ideologically motivated collaboration among

music critics, private patronage and cultural institutions. Founded by the Società Amici di Torino, a group of scholars and art lovers, financially sustained by the businessman Riccardo Gualino, the Theatre was the starting point of musicologist Guido M. Gatti’s career as a music impresario, before the foundation of Maggio Musicale Fiorentino. The purpose was to bring to Italy the artistic renewal which took place in Europe since the end of the XiX century. Its music proposal was polarized around two main themes: contemporary Italian and French music, the rediscovery of eighteenth-century repertoire. Stravinsky, Honegger and R. Strauss were executed; Vivaldi’s Le Stagioni were played again promoting a Vivaldi renaissance. Prose theatre was represented by directors such as Pitoeff, Copeau,Tairov, Pirandello and innovative companies from Paris and Moscow. Representatives of “free dance” were invited: Mary Wigman and the Jaques-Dalcroze school. As for new forms of art, the Theatre gave an early representation of Brecht/Weill’s Threepennyopera. In 1929 a cycle of Rossini’s operas was held in Paris, Théâtre des Champs-Élysées; modernity of scenographies together with the excellent performance originated a Rossini revival in France. The international communication strategy disseminated the Theatre fame throughout Europe, the US and Latin America, in more than 270 music journals and newspapers, and stimulated debates about the newest tendencies of music: new genres (jazz, spirituals), new technologies (Martenot), Surrealist and Dada movies (Man Ray, Painlevé), at the opposite of contemporary Fascist cultural policies. The story of this theatre is intertwined with the growth of Fascism, through the vicissitudes of Gualino’s life. Politically ambiguous, considered alternatively as Mussolini’s hidden financial consultant, or as a member of antifascist intelligentsia, he was exiled; this caused the interruption of his affairs and the end of his Theatre.

Nicolò Palazzetti (École des Hautes Études en Sciences Sociales – CRAL)The Bartók Myth. Modernism and Resistance in Italian Music Criticism From a moral standpoint, Béla Bartók is considered one of the greatest composers of the

twentieth-century musical canon: he is depicted as an anti-fascist hero who resisted totalitarian regimes through his moral coherence and then his exile in the USA. When did the Bartók myth originate? Why is it so persistent? In this paper I address these questions by focusing on the “acute bartókitis” (Massimo Mila) that “affected” Italian culture after the Second World War, i.e. a far-reaching artistic movement that prioritised the moral values of Bartók’s music and elected his figure as a symbol of anti-fascist resistance. The Italian Bartókian Wave provides a deep insight into the nature of the Bartók myth by bonding together the faith in the political power of modernist music and the hope in the cultural resistance of the people against tyranny. This paper consists of four sections. Firstly, I analyse the discourses on Bartók developed by Italian post-war musicians, in order to illustrate how the close relationship between the Bartók myth and the Italian resistance movement was not based on the composer’s own outspoken anti-fascism. In fact, as shown in the second section, there were many performances of Bartók’s modernist music in Fascist Italy and his pieces were even played in the Third Reich. However, as demonstrated in the third section, at the apex of their military alliance the musical policies of Hitler and Mussolini considerably diverged: in the early 1940s, all the compositions banned in Germany were increasingly performed in Italy. This phenomenon of cultural divergence culminated in the Italian premiere of Bartók’s The Miraculous Mandarin at La Scala. In the last section, I argue that the oppositional character of Bartók’s music, developed during the final years of the Fascist regime, was emphasised by Italian intellectuals after 1943 as a symbol of the anti-Nazi resistance and political renewal of the nation.

Writings on Music and Cultural IdentityBeatrix Darmstaedter (Kunsthistorisches Museum Wien)The Revival of Early Music in Austrian Music Criticism The Early Music movement arrived in Austria and its former Habsburg crownlands at the

fin-de-siècle. In newspapers, journalists broached the issue of historic musical instruments from a more academic, historico-cultural point of view than with regard to performance practice. In their essays, they described outer forms, construction and function of keyboard actions, as well as sound and tone colours of long-forgotten instruments. When Wanda Landowska gave a solo recital in 1904 at the Musikverein on her Pleyel-harpsichord, music critics paid for the first time attention to the aspect of playing historic instruments respectively copies. Her performance initiated a debate on the use of historic and newly built historicized instruments with the effect that renowned Austrian musicians like Gustav Mahler, who already were acquainted with historical instruments and performance practice, called more loudly for harpsichords and fortepianos in their orchestras. Initially, journalists discussed the use of historic instruments critically – partly, with an ironical undertone. The opening of the Collection of Historic Musical Instruments in 1916 and the exhibition of the Gesellschaft der Musikfreunde in 1930 directed – by means of newspaper articles and radio programmes – broad interest towards the Early Music. Music critics reported on the one hand on a growing circle of music loving scholars and on the other hand on professional musicians who consecrated themselves to historic musical sources and instruments. According to music critics of that time concerts on historic instruments ranked

among the most exclusive events joined by music enthusiasts and connoisseurs. During the totalitarian National Socialist period, regime-conformist journalists maintained the topos of exclusivity and expanded it through the reversion to the old German music tradition and through the idea of a certain domesticity – the term “domestic music” appeared in a new sense within the educated classes. Prominent musicians who started their careers even before the NS-takeover got irreversible into the channel of political motivated propaganda. Retrospectively, the names of Victor Luithlen, Isolde Ahlgrimm, Josef Mertin and other meritorious musicians, whose life’s work was inseparably connected with the revival of Early Music in Austria, occur until today in disgraceful light.

Michael Christoforidis – Elizabeth Kertesz (University of Melbourne)Writing about Spanish Music in New York (c. 1915-1930)Outside of Paris, New York was one of the most lively cities in the consumption of

a rage Spanish musics and musics tinged with a “Spanish” flavour during World War i and through the 1920s. With the acquisition of Spanish colonial territories following victory in the Spanish-American War of 1898, there was growing recognition in the United States of Spain’s contribution to the “civilization” of the New World. Early twentieth-century New Yorkers – including a sizeable Hispanic population – must have felt that Spain greeted them at every turn, as they were at the vanguard of North America’s fascination with the Hispanic, which embraced architecture, art and theatre alongside music and dance. The range of forums in which Spanish music was performed ranged from opera to popular musical theatre and cinema, as well as in a variety of concert platforms, radio and in recordings. This proliferation of Spanish music (and music composed in “Spanish” styles) in New York was set against the city’s enduring fascination for Carmen. Georges Bizet’s opera both informed critical reactions of Spanish music and was itself shaped by a number of Spanish musicians and artists in its American productions. This paper will examine aspects of the critical engagement with musical and theatrical representations of Spain in New York from around 1915 to 1930, bookmarked by the arrival of Enric Granados and the early concerts of Andrés Segovia. In doing so it will explore the evolution of critical ideas of what constituted Spanishness in music, particularly in the writings of Carl Van Vechten and Olin Downes, authors who repeatedly engaged with these themes. It will also be argued that over the course of this period a range of Spanish musics and musicians – from the works of Manuel de Falla to the performances of Raquel Meller – became increasingly equated with musical and theatrical modernity, in contrast to the Romantic exoticism associated with much of the Hispanic music performed prior to World War i.

Belén Vega Pichaco (Universidad de Oviedo)Las aventuras y desventuras de «un raro Quijote eslavo» en La Habana: la

recepción de Igor Stravinsky en Cuba (1924-1946)Como «un raro Quijote eslavo, siempre en pos de nuevas aventuras» describía, en 1924,

Alejo Carpentier a Stravinsky en la revista habanera Social. Desde entonces, el musicólogo y novelista cubano se ocupó de manera recurrente de la obra stravinskiana en diferentes medios nacionales. Pero, sin duda, los escritos que revisten mayor interés son aquellos enviados desde París (en donde se encontraba exiliado a causa de la dictadura machadista desde 1927), en los que establece términos de comparación con la vanguardia musical afrocubanista integrada por

Amadeo Roldán y Alejandro García Caturla, compositores con los que colaboró en diversas ocasiones. Cuando Carpentier se servía de la autoridad de la producción stravinskiana para ensalzar la música nacional, como con la provocativa pregunta «¿sabéis que los negros de mi tierra compusieron Las Bodas antes de Stravinsky?» (Social, 1927) lo hacía con la garantía de que la reputación internacional del músico era también reconocida en la isla, entre otras cosas, gracias a su labor y a la de María Muñoz de Quevedo (directora de Musicalia y de la Sociedad de Música Contemporánea de La Habana) como programadores de su música. La multiplicidad de “aventuras” estéticas stravinskianas, sumada a la ambigüedad de su discurso ideológico, le valieron, no obstante, la admiración de sectores antagónicos de la crítica cubana a lo largo de los años 20 y 30. Así, mientras Carpentier destacaba el carácter revolucionario de La consagración de la primavera (su admiración confesa tomó forma de novela con tintes políticos ya en 1978), Eduardo Sánchez de Fuentes, compositor y crítico caracterizado por su férrea oposición a la vanguardia afrocubanista, establecía con ella una suerte de genealogía del “romanticismo heroico” (Beethoven – Wagner – Stravinsky). Durante los años 40, el Afrocubanismo como estética de vanguardia se vio desplazado por el Neoclasicismo de la mano del compositor español José Ardévol, quien aprovechó los escritos stravinskianos, fundamentalmente la Poética Musical – tomada en palabras de Carpentier como «una especie de tabla de la ley» –, para imponer a sus discípulos (el Grupo de Renovación Musical) su propia ideología, que pasaba por el rechazo a la incorporación del folklore de origen africano en la música cubana. 1946, año de la primera visita de Stravinsky a La Habana, supuso paradójicamente para Ardévol la superación del Neoclasicismo en favor de una nueva etapa “neonacionalista”, en la que al fin se integraban los elementos afrocubanos antes denostados. En este viraje creativo tuvo mucho que ver la relectura que se efectuó de la trayectoria stravinskiana y en particular de su Sinfonía en do (1940), así como la influencia de Carpentier. Si bien la recepción de Stravinsky en España (Germán Gan) y Argentina (Omar Corrado), entre otros países hispánicos, ha sido bien documentada, hasta el momento no existe un trabajo que aborde el caso cubano, para lo cual se parte de fuentes críticas y hemerográficas que muestran la poliédrica recepción de las diversas “aventuras” y “desventuras” de este «raro Quijote eslavo» y su impa cto en la vanguardia musical cubana.

Music Criticism in Latin AmericaLia Tomás (Universidade Estadual Paulista – Instituto de Artes, São Paulo) Musicología en la Era Vargas y la construcción del nacionalismo brasileño En la primera mitad del siglo XX, la construcción del nacionalismo y de la musicologia

brasileños se relaciona con el período conocido como la Era Vargas (1930-1945), período de 15 años continuados de la gestión del presidente Getulio Vargas. Bajo la égida de ese gobierno marcadamente populista y dictatorial, la consolidación del pensamiento musical se basa en la publicación del Ensaio sobre a Música Brasileira (1929) del escritor Mário de Andrade (1893- 1945). Ese libro, que marcó durante décadas la dirección de las prácticas musicales y estudios sobre esas prácticas en Brasil, tenía la intención de discutir y sentar las bases de lo que sería la “música nacional”, establecer conceptos técnicos musicales, y también de prescribir directivas políticas y ideológicas para la implementación de esas prácticas. Aunque no había ningún compromiso político con el Getulismo por parte del autor, el Ensaio, debido a su contenido, fue adoptado prácticamente como libro de base por ese régimen populista, habiendo sido aun utilizado como un manual para la formación musical en escuelas y conservatorios, además de ser aprovechado en la promoción de grandes eventos corales.

Mónica Vermes (Universidade Federal do Espírito Santo, Brazil)Music in the Theaters of Rio de Janeiro (1902-1906) and the Remodeling of the

City and of the City’s Cultural LifeRio de Janeiro was a city of intense musical activity in late nineteenth and early

twentieth centuries. Several musical events enlivened the cultural life of the city and they were interconnected by the transit of both musicians and public. Among the privileged places for musical performances were the approximately twenty theaters operating in Rio de Janeiro in that period. At the end of the nineteenth century, there were presentations in all theaters, many of them fully loaded. The programming of such theaters was primarily composed by works of light musical theater; revues, féeries, operettas, vaudeville and zarzuelas. In the eyes of a significant part of the press and to theater and classical music professionals, these were minor genres and there was a need to promote reforms in order to develop a more serious theatrical-musical repertoire. Later on, during and after the deep urban reform to which the city was submitted by mayor Pereira Passos (1902-1906), this sense of necessary adjustment was heightened. Passos’ reform included both the physical transformation of the city (demolition of buildings, redesign of streets) and the transformation of urban practices, through creation of legislation that directly affected the soundscape of the city and practices related to music-making. This paper is a preliminary result of a research project that continues the analysis of Rio de Janeiro’s music life through the examination of the daily Arts and Theatre sections published in newspapers. We tabulated the repertoire presented in each theater and analyzed the reception of this repertoire by the press. After an overview of the theatrical activity of Rio de Janeiro between 1890 and 1900, we now propose an analysis of the connections between the transformation of the city landscape and law with its musical life during mayor Passos administration years (1902-1906).

Diósnio Machado Neto (Universidade de São Paulo)«Poucos entendem essa música, mas seu público está cada vez maior»: el

periodismo cultural y el embate entre nacionalismo e vanguardia (1932-1977) A partir de 1932 el debate estético en la prensa escrita cambió la crítica musical en el eje

Rio-São Paulo. Delante de la predominancia ideológica-musical del nacionalismo, compositores que proclamaban la “apertura” a nuevos universos musicales, como los signatarios del Movimiento Música Viva y, posteriormente, los músicos del movimiento Música Nova, asumieron labores periodísticas haciendo un contrapunto a los críticos y compositores nacionalistas. Los objetivos de la acción periodísticas eran, en suma: (1) la formación de una crítica anti nacionalista; (2) su proyección como ideario de renovación y presentación de la música de vanguardia como una arte “accesible”. En este espacio de embates destacaron-se, entre otros, compositores como Hans-Joachim Koellreutter y Gilberto Mendes. Dos textos de Koellreutter son las balizas temporales: el Manifiesto de 44 y un texto de 1977 en el diario O Estado de São Paulo, donde el mismo compositor declaró la incapacidad estética de la vanguardia en el mundo contemporáneo. La percepción de la degradación del gusto estético de la población era la justificativa para los actos de resistencias forjados en la idea de ruptura de sentidos con los parámetros de la tradición, incluso con el discurso mítico que alababa figuras como Villa Lobos. Esta era la base para proclamar una racionalidad consecuente con en el mundo industrializado, donde las nuevas realidades sonoras eran inherentemente antagónicas a la idea de la música como “pulsar de la naturaleza nacional”. Otrosí, emergía el elogio a la opción do “nuevo” como signo de una acción de cambios estructurales por un ideal de irreverencia

juvenil. En síntesis, el texto trata de averiguar el papel del compositor ampliando su tela de discursos, completando el ato de componer con el ato de inducir directrices de escucha y, así, salvaguardar su derecho crítico delante de una sociedad juzgada como cada día más apta a la masificación del arte.

José Roberto de Paulo (Universitat Autònoma de Barcelona)Mário de Andrade y la crítica musical: un proyecto didáctico de gran amplitudUno de los principales articuladores de la Semana de Arte Moderno de 1922 en São Paulo,

el escritor Mário de Andrade (1893-1945), aliaba diversas actividades alrededor del arte; y una de ellas era la crítica musical en diversos periódicos de la ciudad de São Paulo. Diferentemente de la crítica musical que hasta entonces se hacía en Brasil, Andrade propone una dirección constructiva en su pensamiento crítico, pues sería una tentativa de orientar estéticamente los “criticados”, cuando estos eran compositores. Andrade veía en la crítica musical una manera de enseñar (mismo que públicamente) a los posibles interesados en trabajar por una música artística brasileña y por otro lado, suscitar en los lectores una admiración por la música de concierto que buscaba una identidad autóctona. Andrade aprovechó sus críticas para divulgar las obras de los compositores más actuantes desde los que tenían una trayectoria consolidada como Lorenzo Fernández (1897-1948) y Francisco Mignone (1897-1986) e internacional como Heitor Villa-Lobos (1887-1959) o iniciantes como Camargo Guarnieri (1907-1993). En las críticas, Andrade no se limitaba a hacer informes de la ejecución de una obra para los lectores del periódico o hacer un análisis superficial de las mismas, pero sí valoraba los aspectos estéticos de la composición, el lenguaje musical moderno y comentaba los errores y aciertos en las elecciones de los compositores. Verdaderamente existía una especie de enseñanza del mentor estético del Nacionalismo Musical Brasileño para con los compositores que en aquel momento estaban caminando para la creación de la música brasileña de concierto: era un método didáctico en formato de crítica musical. Además de un plan didáctico para los compositores, Andrade parece que buscaba una manera de insertar en la población el gusto musical hacia el moderno y la música de sabor local: creaba así un proyecto de gran amplitud en favor del Nacionalismo Musical Brasileño y contribuiría para su consolidación.

Vera Wolkowicz (University of Cambridge)Identidades en construcción: la crítica musical en la revista cultural Nosotros de

Buenos Aires (1907-1934 y 1936-1943)Durante la primera mitad del siglo XX la revista Nosotros editada en la ciudad de Buenos

Aires, fue una de las plataformas en donde intelectuales de distintos ámbitos de la cultura, principalmente argentina pero también latinoamericana, expusieron sus ideas, posibilitando la creación de lazos entre diferentes pensadores del continente. La música también tuvo su rol en la revista, a través de artículos y una sección fija titulada “Crónica Musical”. Varios críticos participaron de esta columna, algunos por poco tiempo, otros por varios años consecutivos. En el presente trabajo focalizaré sobre aquellos que colaboraron por períodos regulares y por largos períodos de tiempo, como lo fueron Juan Pedro Calou, Gastón Talamón y Mayorino Ferraría. Los artículos incluyen desde los conciertos del Teatro Colón a los ofrecidos por distintas asociaciones musicales. Estos textos también revelan la fascinación de los críticos porteños por Wagner, el interés por las músicas nacionales como la rusa, y fundamentalmente la pregunta por la música nacional. En este último punto los críticos comparten ciertas ideas acerca de la utilización del folklore argentino como fuente de inspiración para los compositores nacionales,

como también el problema de la “imitación” del estilo europeo. Sin embargo, el límite entre lo que para ellos representaba la “imitación pura” frente a una “música nacional” eran borrosos, y es allí donde cada crítico expone de manera diferente o coincidente su modo de juzgar este tipo de obras. El propósito de este trabajo será entonces intentar desentrañar, a través de la crítica musical, las diferentes líneas de pensamiento que la misma revista revela. En un período en donde no sólo la Argentina, sino cada país de Latinoamérica se encuentra definiendo su identidad, por un lado nacional y por otro continental, la revista propone y problematiza estas identificaciones, en donde la música puede ser entendida como un símbolo fundante más.

Marita Fornaro Bordolli (Universidad de la República, Uruguay)Music Criticism in the “Centennial Country”: The Construction of a Nationalist

Discourse in Uruguay from 1930 to 1950In the decades from 1930 to 1950, Uruguayan musical activity constitutes one of the

expressions of a country that is maturing its own invention. Following a XiX century where predominated foreign artists and repertoire, in the early decades of the XX century there was an assertion of the production of national works; imitation of Italian and French models derived to its application in a “musical nationalism” with a rural inspiration, and the programs of the major theaters include Uruguayan soloists. It is the “Centennial Uruguay”, which celebrates the 100th anniversary of its first Constitution; a country strengthened by its cattle wealth. The first generation of intellectuals, including pioneers of music criticism, gave way to a new perspective on music and identity of the country. There were no longer Romantic and late-Romantic writers: Montevideo Musical, the first specialized newspaper, closed in 1952; “Modern” actors emerged, establishing themselves on the daily press and preparing the brilliant musical scenario of the 1950s. Two figures stand out in criticism of the 1930s and 1940s: Lauro Ayestarán, one of the founders of Musicology in Uruguay, and Washington Roldán, critic for the newspaper El País, perhaps the most prestigious professional critic in the history of this discipline in the country. To their writings should be added the work of the German-Uruguayan musicologist Francisco Curt Lange, who spreaded from Montevideo his movement of “Musical Americanism”. We analyze how these activities led to a moment of special intensity in different musical disciplines during the 1950s, which included the foundation of Clave magazine (1952), with the participation of Roldán, Ayestarán, and the most prominent composers and performers (Héctor Tosar, Hugo Balzo, among others). Clave, “Voz de la juventud musical uruguaya” [“The voice of the Uruguayan musical youth”], constructed a specialized discourse and addressed music criticism beyond Montevideo, the macrocephalic capital. Its early editorials summarize the way these intellectuals conceive the different musical disciplines; several of these personalities would eventually become responsible of their development at a national level during the second half of the XX century.

Music Criticism in the East (1)Ivana Vesić (Institute of Musicology SASA, Belgrade) Reflections of All-Slavic Political Ideals in the Narratives on Music: The Case of

Yugoslav Music Journals in the Interwar Period The field of music in the Kingdom of Serbs, Croats and Slovenes/Kingdom of

Yugoslavia went through a thorough transformative processes that affected not only music production and performance but also music journalism. Beside the fact that the musical

phenomena gained attention in the popular newspapers and magazines of that time, the need for more specialized publications dedicated solely to diverse problems of music profession manifested continuously through various initiatives for the foundation of different types of music journals. Thus, the interwar period in Yugoslavia was marked by the huge increase in the number of music periodicals especially in its eastern regions (Serbia) compared to pre-WWi period. Among the several ones that were published in this part of the country, two were based on the dissemination of the idea of all-Slavic cultural unification popular in the intellectual and political circles of that time – journal Muzika (1928) and Slavenska muzika (1939-1941). Their editors and main contributors were deeply involved in the realization of political platform of dominant social groups, constantly expanding their sociopolitical activism to the sphere of music (composing, performance, journalism, ethnography of music, etc). As a result, they inaugurated a specific sort of “engaged” music journalism both through above-mentioned journals and other publications. In this paper I will focus on the political and cultural dimensions of writings on music in the Yugoslav interwar periodicals Muzika and Slavenska muzika. While pointing to the main characteristics of the narrative reproduced in these publications, I will investigate its correlation with the influential political and social tendencies of that time. The aim of the analysis is to show the embeddedness of the narratives on music mediated thorough these journals in the political ideals of elite groups of interwar Yugoslavia.

Stefanka Georgieva (Trakia University, Stara Zagora)«The Vague Time», or: How the Music Criticism Started the Propaganda of the

New Socialist Ideology in Bulgarian Musical Culture (1944-1950) The subject of the material is focused on a very short historical period of time – the early

years after the so-called “socialist revolution” in Bulgaria, an event crucial to its historical fate, which impacted also the development of Bulgarian musical culture. The presentation follows the processes of musical life institutional reorganization which led to its total centralization, as well as the affiliation of the creative elite to the politically established standards for culture. (1944-1947). During this “vague”, “buffer” time the newly created music magazine – the semi-official edition Music (1948) became a socialist ideology propaganda tribune. Under the slogan “music from the people – music for the people”, a limited circle of critics, loyal to the political authority, put forward new criteria for the evaluation of musical works, which literally replicated Stalin’s model of cultural policy in the Soviet Union. Their main pathos was directed to denial of the historical achievements in Bulgarian music works and contemporary Western European music defined as “decadent” art. Music genres were hierarchised according to their ideological purpose in socialist society. Songs and marches dedicated to the communist leaders Stalin and Dimitrov, heroic overtures, cantatas and symphonies whose titles were in fact programme labels of the new “progressive” music. The euphoria of the new symbols which the music criticism imposed resulted in an entirely non-symbolic ideological terror: first of all to its very self – Music magazine was closed down (1949), but “resurrected” again in 1951, named Bulgarian Music. The socialist cultural propaganda notably influenced the creative fate of the “second” composers’ generation, but expecialy to the youngest generation of composers who pursued the modern trends in European music. Their works were rehabilitated after the 80s of the XX century.

Ferenc János Szabó (Institute of Musicology, Hungarian Academy of Sciences)Between the Music Academy and «Herbstmanöver»: Emmerich Kálmán’s

Operatic Reviews (1904-1909)Emmerich Kálmán’s juvenile years are mainly unknown. In the first chapter of his Kálmán

monograph (1988), Rudolf Oesterreicher quotes the composer’s autobiography, without any reflections on Kálmán’s statements. Although Oesterreicher argues that the composer himself might be the best testifier of these years, there are some oversights and omissions in this chapter. Between the end of his studies at the Music Academy in Budapest and the international success of his operetta Herbstmanöver, Emmerich Kálmán worked mainly as a music critic of the Hungarian journals Pesti Napló and Új Ido k. He informed the Hungarian readers about concerts and operatic performances not only from Budapest, but also, occasionally, from abroad (Bayreuth, Munich, etc.). Since Kálmán was highly interested in musical theatre, he reviewed almost all of the operatic premieres of the Royal Hungarian Opera and other theatres of Budapest between 1904 and 1909, including the Hungarian premieres of Tiefland by Eugen d’Albert, La Bohème and Madama Butterfly by Giacomo Puccini, and Salome by Richard Strauss. The notion of “national music” was extremely important to him; consequently he reviewed the premieres of the new Hungarian operas thoroughly. Although Kálmán wrote mainly about operatic performances, it is obvious on the basis of his reviews that he knew the contemporary operetta scene of Budapest. A manifold impact of the genre of the operetta can be detected in his operatic reviews. In my presentation I intend to discuss three main topics: (1) Kálmán’s attitude to the contemporary opera; (2) his principles concerning the notion of “national opera”; and (3) the traces of Kálmán’s turn from classical music to operetta in his operatic reviews.

Ádám Ignácz (Institute of Musicology, Hungarian Academy of Sciences)The Dawn of Socialist Realist Music Critique in Stalinist Hungary (1948-1951)As the Sovietization of Eastern Europe accelerated, the Soviet Union had a growing

stake to “help” with the “cultural revolutions” conducted by the local communist parties and to supervise the expected changes. Music played an important role in the intervention. Soviet musicians and musicologists frequently reached the satellite states to announce the suggestions of the Soviet leadership how to purify musical life from unwanted Western influences and adopt the new aesthetic principles of socialist realism. Hungary was no exception to that. The general secretary of the Association of Soviet Composers, Mihail Chulakhi who gave a talk at the Hungarian Academy of Music on postwar Soviet music on 24 February 1949, led the first musical delegacy to Budapest. In his presentation, Chulakhi emphasized, the importance of “truthful and direct criticism” in the musical discourse as well as acquisition of the socialist realist music critical jargon, and set them forth as major guarantees of the required transformation according the principles laid down in the infamous musical resolutions of the Communist Party of the Soviet Union in 1948. The revision of the music critical tradition had already become a perennial topic in Hungarian musicology by 1948. However, Chulakhi’s talk gave a new impetus to the issue. This inspired a new slew of articles as well as regular discussions, both public and private, about the mission of music criticism in the major musicology journals and during the debate sessions in the newly established Associations of Hungarian Musicians. Relying on archival data and contemporary media coverage, in my paper I will try to reconstruct the above mentioned debates on the issues of Hungarian socialist realist music criticism, and then analyze some contemporary concert-reviews. I would also examine briefly whether Stalin’s death (1953)

and the October Revolution of 1956 brought about any significant changes in the history of music criticism in Hungary.

Music, Media ans Criticism (1)Benedetta Zucconi (Universität Bern)Where Is Recorded Music in early Twentieth-century Italian Periodicals? Material

and Cultural Explanations for the Emergence of a Belated DiscourseIf someone looked for traces of a phonographic discourse on Italian periodicals from

the first half of the twentieth century, he would be quite disappointed. Articles on recorded music were published only occasionally until the end of WWii. Also phonographic columns and journals remained a rare phenomenon, and they often lacked a deep reasoning. In fact, for a long time no cultural value was attached to recorded music, and almost no debate emerged about it. The absence of an interested public for the phonographic debate delayed the creation of specific places devoted to this topic on printed media. On the other hand, the lack of these publications prevented the development of a phonographic consciousness among the population. As Colin Symes argued, «[Magazines] have also been the main mechanisms through which the phonographic “laity” has acquired the “epistemology” of recording, its vocabularies and values, jargon and ideas» (Symes 2004). In this paper, I will focus on the reasons for this peculiar Italian situation. Among economic factors such as the lack of a local music market and the persistence of an antiquated music economic system, a substantial cause will be identified in the rise of neo-idealistic philosophy by Benedetto Croce, which was focused on the total supremacy of the humanities over technology and scientific thought. This position tended to inhibit any critical discourse about recorded music, due to the impossibility of separating the artistic elements from the complexity of the whole phenomenon, strictly influenced by technical and scientific factors. Idealistic thinkers considered technology as a necessary evil: the less cumbersome technology was, the closer art would go to an ideal of perfection in the final product. This substantial contradiction was indeed a significant obstacle for the development of a phonographic debate in Italy at that time. Even if external impulses to a phonographic discourse came later from different disciplines (such as ethnomusicology), I will try to track a change of direction within the idealistic milieu. The article ‘Le delizie del grammofono’ by Giuseppe Prezzolini, published in 1929 on the literary magazine Pegaso, can be considered a first symbolic attempt to find a mediation between idealism and the requests of the contemporary world concerning recorded music. This article will represent my starting point to discuss some issues related with idealism and recorded sound and, furthermore, to find a “third way” for a coexistence of these two apparently incompatible elements.

David Hurwitz (Indipendent Scholar, Brooklyn, NY)“Acidy” Cassidy and the Birth of the Modern Record Review: 1942-1950The period from 1942-1950 was momentous for the recording industry. Technological

advances led to the invention of the long-playing record (“LP”), and the medium became the primary means of music consumption in the home, a true mass-market product. Adapting to this trend, music critics at major newspapers began devoting increasing time and attention to reviewing recordings. None did this more enthusiastically or successfully than the Chicago Tribune’s theater, opera, and music critic Claudia Cassidy (1900-1996). Cassidy joined the staff of Chicago’s premier daily in 1942, immediately establishing herself as a force to be reckoned

with. Of all the American critics at major city newspapers, perhaps none was as feared (and reviled) by performers, yet beloved by her readers, as Cassidy. Her acerbic wit and “take no prisoners” style quickly earned her the nickname “Acidy Cassidy.” A Cassidy review could make or break a career, as playwright Tennessee Williams discovered to his delight when her timely appraisal rescued his now iconic masterpiece “The Glass Menagerie”, and with it his reputation. Indeed, as a drama critic Cassidy was as respected and admired as she was feared. It is only in the world of classical music that she has been consistently maligned, her work dismissed in the hagiographic biographies of the artists she disparaged. Cassidy’s reviews, in fact, when one takes the time to read them, reveal her as a consummate professional with a genuine gift for crafting a memorable phrase. This ability appears most tellingly in her record reviews – short pieces where she conveys information swiftly, entertainingly, and emphatically in just a few lines. Blunt she could be; ignorant she most definitely was not. She had the true popular touch, and this made her an ideal exponent of recordings at a time when the newly invented LP forever changed the way listeners experienced music.

Modernism and NationalismKaty Romanou (University of Athens / European University of Cyprus)An Introvert Society Protected by Music CriticismThe readership of music criticism, at the time it is published, is limited; it is part of

a closed community where the critic himself belongs. A music critic represents as a rule his readers, sharing with them the same experiences, as well as the same taste, which, according to the situations, he may himself shape. A number of facts and events during the first half of the XX century in Athens did lead to such a situation. Most Greek musicians famous during the first half of the XX century, studied abroad, as a rule in France and Germany. Some were already graduates of the Athens Conservatory of Music, the Western European professors of which outnumbered Greeks, during the first three decades of the XX century. Completing their studies abroad, Greek musicians had to choose between returning home and working for the progress of music in Greece, or pursue an international career assimilated in contemporary developments of Western music. Combining the two was impossible, due to the country’s isolation, and its shallow and unstable infrastructure in music culture. Staying in Greece meant belonging to an introvert society; working abroad meant a cosmopolitan uprooted existence. The composer Manolis Kalomiris (1883-1962), who had studied in Vienna, chose to live in Greece. A man of unusual vitality, self-assurance and optimism, he was a dominant figure in Greek music from 1910 that he settled in Athens, to the 1950s, when the Cold War’s cultural politics overturned nationalistic ideology and aesthetics. Kalomiris established his own music conservatory with annexes to many cities, and a music printing house, and was crucial in the foundation of organisations for the professional protection of composers. A sociable and generous character, he managed to be well related to both state officials and promising young musicians. In fact, he built by himself an “introvert society” that permitted his ideology and aesthetics to dominate. His achieved aim was to lead a Greek national school of composition, combining the tradition of 19th century German art music with Greek traditional music. He publicised his ideas and protected the world around him, acting as a music critic from 1926 to 1958 in the daily Ethnos. In his reviews, he refutes all Greek music which is either italianate, or music following Western contemporary trends. This paper focuses on Kalomiris’ texts and actions that protected the introvert society he had built, from

modernism. It relates his role in the attempt of the composer Nikos Skalkottas (1904-1949), living in Berlin from 1921 to 1933, to have a foot in Athens as well, and ends with Skalkottas’ “criticism of music criticism” that sealed the failure of his attempt.

Georgia Petroudi (European University Cyprus)The Re-emergence and Evolution of Western Music in Cyprus in the early Twentieth

Century through the Critical and Literary Lenses of the Journal «Kypriaka Grammata» When Cyprus fell under the British towards the end of the nineteenth century it had next

to nothing to show regarding an active musical scene. The preceding centuries of the Ottoman rule had led to the draining and eradication not only of the Cypriots’ idea of wellbeing, but also of any indication of urban culture. Any musical activity, on a local level, was restricted in churches, religious feasts and weddings. During the first years of British colonisation the inhabitants felt a surge of relief with the abolishment of the harsh Ottoman rule and the more lenient governance of the British. With the geographical shift of the ruling power, however, from East (Ottoman) to West (British) came a cultural shift as well, with the introduction of western European music. Gradually, by the end of the first decade of the twentieth century, the burst of musical activity led to the organisation of events of a high artistic value, in which local Cypriot artists were involved as well. This burst of activity was not limited only to music, but other literary expressions as well. Among such literary journals, this paper will specifically concentrate on the journal Kypriaka Grammata. The main aim of its publishers was to provide a “voice” to poets, authors, novelists, philosophers, and other Cypriot scholars to present their works and discuss current issues. The journal also proved a valuable vehicle for all contributors towards the preservation of language, idiom, folklore and identity. A careful study of the journal’s volumes and content provides an insight and in-depth information with articles and essays written by musicians (or even non musicians) on musical activities in Cyprus and abroad (!), not only by merely reporting them, but most importantly by critically discussing and elaborating on them, signifying the emergence of yet unknown fields – musicology and music criticism.

Kristin Van den Buys (Vrije Universiteit Brussel)Brussels, Crossroads of French, Germanic and Russian Musical Modernism in

the Interwar Period (1919-1940)In the end of 1920s and the 1930s Brussels became an important centre of musical

modernism. For example, the world premieres of Strawinsky’s Psalm Symphony (1930), Prokofiev’s Le joueur (1929) and Alban Bergs Wozzeck in a French translation (1932) serve as testimonies of the city’s high status comparable to other major European centres of modernistic music. Brussels created a unique platform for French, German and Russian modernism. This research on modernistic music in Brussels between 1919 and 1940, is based on a quantitative and qualitative analysis of historical data sources collected and centralized in a relational database with ca. 5000 records. In this paper I will focus on Modernism and Nationalism. Following research questions will be answered. What is the concept or definition of “New or Modern Music” music critics developed in the interwar period? How does this concept evolve? Which international composers are considered as “the leaders of the avant-garde”? Do critics use nationalistic rhetoric? Belgian critics divide modernistic music of the interwar period into two poles: the Latin and Germanic, with Stravinsky and Schoenberg as the most extreme exponents. Following the cultural elitism of Jean Cocteau in the twenties, most Belgian music critics consider the French culture as superior to the

Germanic: the “decadent” and “anarchist” Germanic style is giving way to the Latin style (1924) and the German-Austrian supremacy belongs to the past. From 1927 on Belgian critics are more nuanced about the Germanic music: Paul Hindemith, who “detoxified” Germanic music (1927) by “converting himself ” to the French neoclassicism and Alban Berg (1930) were recognized as very important composers. In 1932 the declared French hegemony of contemporary music was definitively over in Belgium. In 1935 Bela Bartok was considered in Brussels as the new exemplar of the modernistic scene, combining the German expressionism and the French Neo-Classicism.

Mark Pinner (Indipendent scholar, NSW Australia)Criticism in the Antipodes: Gerald Marr Thompson, and the ‘Melba Grand Opera

Season’ of 1911Until the last decade of the nineteenth century, music and dramatic criticism in Australian

newspapers was, to say the least, ad hoc. Most early reporting was the domain of staff reporters with some interest in music and theatre. Although founded in 1831, Australia’s oldest continuous masthead, The Sydney Morning Herald, did not appoint a specialist musical reporter, Englishman Austin Brereton–formerly of the St. Stephen’s Review, and The Stage – until 1889. After a short tenure, Brereton left to take up a position with The Illustrated American, and was replaced by another Englishman, Gerald Marr Thompson, who remained the Herald ’s music and theatre critic nearly thirty-four years. Marr Thompson’s first assignment was to cover 1891 tour of French ingénue, Sarah Bernhardt and, in relatively short time, he was given a weekly Saturday column, “Music and Drama”, as well as contributing other articles. His columns are marked by an accessible writing style aimed at the general public, rather than an educated elite. They are part chronicle, containing local and international musical and theatrical happenings; and part educational, nurturing local interest in the European musical and operatic canon. Another of Marr Thompson’s most important assignments was to cover the 1911 Melba Grand Opera Season, presented by local impresario James Cassius ( J.C.) Williamson. Melba’s international career was a source of national pride and, again through the agency of the cable telegraph, and critics such as Marr Thompson, the public were well acquainted with Melba’s international success. Her 1911 return to Australian shores, with a hand-picked opera company, was eagerly anticipated by the Australian theatre-going public. This tour was important as it marked the return of Grand Opera to the colonial stage, which had long been dominated by melodrama.

Music Criticism and Political IssueChrista Bruckner-Haring (University of Music and Performing Arts Graz)The Reception of Jazz in Austria after World War iThe period after the First World War was marked by fundamental changes in Austria,

impacting all aspects of life. Despite the immense financial, economic and political problems created by the collapse of the Austro-Hungarian Empire, the arts and culture continued to play a vital role in Austrian society. In music, a special link between tradition and modernity became evident, combining nostalgia for the country’s rich classical music tradition with an interest in new music and foreign cultures – including American jazz. This paper examines the reception of jazz music in Austria after World War i, analyzing the roles played by news media, promoters, venues and audiences, as well as the attitudes of religious communities and classical musicians. Negative criticism from the Catholic Church and conservative newspapers failed to dampen the increasing enthusiasm for jazz culture, which spread via theaters, clubs, and cafes, as well as

dance schools and printed music. Foreign musicians invited to perform in Austria, particularly the Syncopated Orchestra, Sam Wooding & His Chocolate Kiddies, and the trumpeter Arthur Briggs, also influenced the local scene. At the same time, classical composers and musicians began showing an interest in jazz: early “crossover” projects, such as Viennese composer Ernst Krenek’s jazz opera Johnny spielt auf and the Vienna Philharmonic musician Karl Gaudriot’s leadership of Austria’s first radio jazz orchestra, sparked a discussion on the distinction between “high” and “low” art. The results of this investigation will provide insight into cultural, social, political, and artistic aspects of early-period jazz in Austria, contributing to the understanding of European jazz history as a whole.

Patrick Becker (Humboldt-University, Berlin)Reception of Contemporary Music by Right- and Left-wing Political Movements

during Weimar RepublicAs recent research has shown, the controversies concerning contemporary music in

Germany in the late 1940s and early 1950s were rather conducted by journalists and writers and part of a conflict of generations than based on scientific research or academic judgements coming from musicology. This contribution elucidates the position of contemporary music in Weimar Republic and its reception by right- and left-wing political movements, in order to show the continuities and breaks to its reception in the GDR, on the one hand as well as how criticism of contemporary music in Weimerian Germany had shaped the vocabulary of National Socialistic propaganda and prepared the ban of progressive music during Adolf Hitler’s reign. Based on diverse sources, such as the more popular journals like Anbruch, monographs like the work by Paul Bekker, party newspapers and other documents from the political circus, the different ways how right- and left-wing parties reacted contemporary music can be explained and included in a greater history of music criticism that does not only contain the time of Weimar Republic, but also explains its mechanisms during long parts of the XX century – especially the interplays of politics and music.

Stephanie Rizvi-Stewart (Texas Tech University, Lubbock, TX)Cold War Convergence: Shostakovich, the World Peace Conference, and the PressAs the Cold War intensified at the end of the 1940s, culture and music became weapons

in what would become the Cultural Cold War. Composers on both sides became emblems of the political sides, and this impacted their reception. The Cultural Cold War meant that a Soviet composer’s reception in the West might be tied to the perceived political position of the composer. As one of the most well-known Soviet composers of the XX century, Shostakovich experienced the fluctuations in reception based on political issues. This variation is reflected in the newspapers of record, specifically the New York Times and Los Angeles Times. Additionally, the extent to which politics influenced reception is particularly evident in the shifts in evaluative language between coverage of the 1948 Anti-Formalist Campaign in Russia and the 1949 World Peace Conference in America. While the events of 1948 resulted in a wave of sympathy for Shostakovich and his plight, the 1949 campaign absolutely reversed the sympathetic tone. In this paper, I will argue that the sudden shift in evaluative language is indicative of the extent to which politics, rather than music and art, were the determiners of a composer’s reputation in the American press.

Writing on MusicMorgan Rich (University of Florida, FL)Theodor Adorno’s Musical Monographs: Challenging the Genre and Creating

Historical NarrativesTheodor Adorno’s monographs on Wagner, Mahler, Beethoven, and Berg give insight

into how Adorno approached and transformed the idea of a monograph, a genre so important to the discipline of musicology. Yet these monographs are often regarded separately, in the secondary literature, analyzed for the philosophical and sociological concepts. They are frequently criticized by musicologists for their style or lack musical analysis. His four books, naturally, have different approaches to the musicological genre. While he does address the life and works aspects, traditional to musicological monographs, in each book Adorno presents a historical narrative, through philosophical analysis, that develops a sense of continuity for each composer. In this paper I will, for the first time, examine all four works together to understand how Adorno’s music criticism challenged the genre of musical monograph while retaining traditions of the genre. I argue that in Adorno’s musical monographs philosophical analysis serves as the method by which Adorno creates historical narratives. For each composer he orients their life and works in time, often by a given composers’ relationship to other styles. This approach serves to develop a sense of continuity within the composers’ oeuvre, stabilizing their given respective identities. Crucial to Adorno’s musical aesthetics is understanding any given work, or composer, for their own sake, not in relation to others. These monographs further that agenda, while providing new narrative models for musicological texts. Adorno’s monographs are critical to the changing perceptions of what a monograph, and musicological inquiry, could be in the middle of the twentieth century and beyond.

Marina Hervás Muñoz (Universitat Autònoma de Barcelona)Adorno, Music Critic: The Hindemith Case Th. W. Adorno (1903-1969) devote himself to the music criticism his whole life. In his

maturity, he collected critically the five articles he wrote in several magazines on Paul Hindemith. The collection was called «Ad vocem Hindemith» (Gesammelte Schriften 17). There we find his articles between 1922 and 1962. In these texts, Adorno states explicitly that he has drifted away from some of his opinions and rejects absolutely his initial enthusiastic opinion about Hindemith. By doing this collection, he mean to show the evolution of his thoughts, that is to say, they have for him just a testimonial value. In this paper, we seek to explore the steps of Adorno’s criticism of Hindemith. We will consider that some of his claims are not really musically justified, even when he defended his whole life a model of critic based on the direct contact with the musical works. The arguments against Hindemith’s production are, therefore, sometimes weak. This paper is divided into two: on the one hand, it will be exposed the main lines of Adorno’s theory on criticism and, on the other, we will show the most polemic aspects of the first four articles (written between 1922 and 1939), where Adorno analyzed briefly some of the works of Hindemith and reflect on his theoretical work Unterweisung in Tonsatz. In the first text, Adorno reveals a cautious enthusiasm for a ‘talented’ young Hindemith, and finds specially interesting Nushi-nushi Op. 20 y Sancta Susanna Op. 21 and his breaking with the sonata-form in Kammermusik No. 1 Op. 24. His doubts about the talent of Hindemith appears in the second article, in which some of his criticism connects with Adorno’s late writings on Stravinsky, especially in Philosophie der neuen Musik (GS 12). Here, he considers the archaic element of Hindemith’s music and his

“mechanic objectivity”. Time and repetition are the main topics of the third one, and Adorno develops some aspects which also appear in Kritik des Musikanten (GS 14). In the fourth one he deals with the theoretical work of Hindemith from a political perspective.

Lorenzo De Donato (State University of Milan)Jankélévitch, Critic and Philosopher of Music: Interpreting Debussy and RavelThe French philosopher Vladimir Jankélévitch (1903-1985) stands out in the intellectual

landscape of twentieth-century European philosophy not only for the intrinsic eccentricity of his philosophical thought, but also and especially for the multiple connections of his work with the musical field. He dealt with music in his life at least in three different ways: in a practical and performative sense, since he was also a pianist; in a theoretical and philosophical sense, given the significant weight that the musical phenomenon exerts in his writings (between those of musical inspiration, the most significant is surely La Musique et l’Ineffable, 1961); and in a critical and musicological sense, since several of his articles, essays and monographs are devoted to the analysis of modern composers such as Debussy, Ravel, Fauré (to a lesser extent, Jankélévitch also worked on Chopin, Liszt, Rachmaninov, Satie, Bartók, Stravinsky, Albéniz, Falla and others). In the musicological works dedicated to the aforementioned composers, it happens that the philosopher leaves the place to the critic and the musicologist. I will discuss the analysis that Jankélévitch elaborated towards the French composers Claude Debussy and Maurice Ravel, emphasizing his interest in the musicians of the so-called Musical Impressionism and for French music in general. I will focus in particular on the French philosopher’s work during the 30s and the 40s. His work Maurice Ravel dates back to 1939, the only, but extensive study that Jankélévitch dedicated to the composer of Boléro. Regarding Debussy, Jankélévitch began to work on his music in 1946, publishing in 1949 his first book on the musician from Saint-Germain-en-Laye, Debussy et le mystère. I will try to show the particular philosopher’s writing skills in this type of essays, midway between criticism, musicology, aesthetics and philosophy: it is a way of writing about music that can definitely be compared to the criticism itself, but it has also a very strong and fascinating aesthetic setting and a powerful philosophical connotation.

Matthias Pasdzierny (Universität der Kunste, Berlin)From Berlin to the World? The Early Postwar Writings of Hans Heinz

Stuckenschmidt In the aftermath of the so-called ‘Zero Hour’, music played a decisive part in the

intellectual rebuilding of Germany. Art music in particular, most notably its supposedly apolitical West German manifestation, was conceived of as one of the very few cultural assets that had not been compromised by the “rupture in civilization” (Dan Diner) invoked by the Nazi regime. After 1945, the West German music scene was confronted with a variety of pressing questions: How could musical life be rebuilt and which aesthetic discussions (and compositions) from the Weimar modernity should be revitalised? How could international networks be reinstalled and with whom should West Germany cast its lot when being faced with the turmoils of the Cold War? Amidst these complex situations music critics acquired great significance as both catalysts and severe judges of Germany’s musical rebuilding process. One of the most prominent figures in postwar German music criticism was Hans Heinz Stuckenschmidt. As an advocate of Weimar modernism he fled Berlin and sought refuge from the terrors of the Third Reich in occupied Prague. Almost immediately after the end of the war, he returned to Berlin and soon became one

of the most influential West German music critics. Within the scope of my paper, I will discuss those writings of Stuckenschmidt that emerged during the early postwar years. For this purpose, I will pursue the following questions: How did Stuckenschmidt return to Berlin, who were his local and international allies and, most importantly, which issues occupied him in his writings? Consequently, I will scrutinise a selection of articles taken from three different publications, namely from Die Neue Zeitung, a newspaper with the meaningful subtitleEine amerikanische Zeitung für die deutsche Bevölkerung, from the Tagesspiegel, a newspaper for the Berlin bourgeoisie, and not least from Stimmen, a periodical concerned with modern music that was edited by Stuckenschmidt himself. Ultimately, my analysis will not only unveil Stuckenschmidt’s aesthetic stance and his manner of dealing with and talking about the Nazi past, but will furthermore draw attention to the political impetus of his work as well as to his role as networker and intermediary between the West German and the international art music scene.

Ewa Schreiber (Adam Mickiewicz University, Poznań)The Composers and their Alter Ego. The First Half of the Twentieth Century in

the Mirror of Contemporary Composers’ Writings.«Within the confines of his own development the composer really has only two critics

[…]: his own work and his alter ego – his self-critical activity», wrote Elliott Carter. In this self-criticism an essential role is played by the descriptions of other music. Especially in the twentieth century, when the public concerts became dominated by works from the past, the composers aspire to a permanent musical repertoire and to define themselves in relation to the tradition and to each other. The artists are usually searching both for their “patrons” and “rivals” in order to confirm the sense of their individual place in the history. In such way they create specific vision of musical past and present. Unlike the critics, they have also the power to influence the future with their own creative output. In my paper I will examine the writings of several contemporary composers, associated with modernist ideas, such as Jonathan Harvey, Elliott Carter, Witold Lutosławski, György Ligeti and Helmut Lachenmann, in order to show in what ways do they assimilate the composers of the first half of the twentieth century into their own world of self-criticism. I will discuss the choice of particular artists (such as Arnold Schoenberg, Alban Berg, Edgard Varèse, Claude Debussy and Igor Stravinsky) and particular works. I will also try to show how these composers-critics reinterpret the music of their predecessors in terms of their own aesthetic approaches. From this point of view the first half of the twentieth century proves to be very influential and challenging period, especially in the context of new musical currents and the changes in the composer’s social status. The contemporary composers’ writings provide important and underestimated evidences of this fact.

Dario Van Gammeren (The Open University, UK)Music Criticism in The Interwar Netherlands: Identity and Patriotism in the

Writings of Dutch Composer-critics Dutch musical culture at the dawn of the twentieth century was dominated by Teutonic

traditions. Composition in the Netherlands revealed a strong preference for German Romanticism, and in performance practice the Dutch were equally influenced by their Eastern neighbours. The appointment of Willem Mengelberg (1871-1951) as director of the Concertgebouw Orchestra in 1895 contributed significantly to the overwhelming Austrian and German traditions in Dutch

musical culture. His pro-German stance and lack of sympathy towards a Dutch cultural heritage proved a key point of discontent among many Dutch composers and critics who recognised a general lack of interest in Dutch music of the past and present. Composers with strong patriotic sentiments included Matthijs Vermeulen (1888-1967) and Willem Pijper (1894-1947), both strongly influenced by the composer and essayist Alphons Diepenbrock (1862-1921), and both active as music journalists and critics for a range of Dutch newspapers and magazines. For these composer-critics, the pen often proved mightier than the tuning fork, and their substantial literary apparatus often ventured beyond musical aesthetics to reveal their patriotic and political ideals. In addition to a call for recognition of a genuine Dutch cultural heritage, the writings by composer-critics in the early-twentieth-century Netherlands often reveal a strong preference for the clarity and restraint that characterise the works of the French impressionists. Such preference not only reveals aesthetic ideals but also political ones, as many artists in the Netherlands felt compelled to clarify their cultural allegiance during and following the First World War. This paper examines the role and cultural impact of the composer as journalist and critic in the interwar Netherlands. By way of a critical study of the writings of Dutch composer-critics, the paper investigates the extent to which patriotic ideals expressed in their writings contributed to a musical culture that would see an increase in expression of national identity and Dutch cultural heritage.

Music Criticism in the East (2)Bianca Ţiplea Temeș (‘Georghe Dima’ Music Academy, Cluj-Napoca)Folk Heritage in the Countries of the Communist Bloc: Ligeti’s Romanian

Concerto – Beating the Regime at its own GameAfter the Congress of Prague in 1948, the wheels of terror had been set in motion

behind the Iron Curtain and were meant to keep the entire Eastern European bloc in political and ideological synchrony. Romania and Hungary were, without a doubt, two of the most affected countries, where the strictures were imposed with the new regime´s “specific” tools, which meant also physical torture. A richly revealing collection of press articles clearly reflects how culture harnessed itself to the objectives of the new ideology, forcing the artists toward ever more absurd aesthetic goals. Folklore was considered an important part of communist propaganda and, if approached in a politically correct way, provided a new socialist rationale. A more sophisticated means of employing folk heritage by composers of the Eastern bloc was harshly sanctioned and the communist press allowed a reconstruction of the past, providing a vivid contextual snapshot. Ligeti’s Romanian Concerto stands as an intriguing case study, as well as the clever means by which the author managed to avoid the new aesthetic guidelines, beating the regime by apparently obeying its rules. Employing a series of folk melodies he transcribed in 1949 from wax cylinders in Bucharest, the piece was sanctioned by the Hungarian critique of his time right after its premiere and blacklisted for performance.

Cristina Şuteu (‘Georghe Dima’ Music Academy, Cluj-Napoca)Musical Criticism from Romania (1916-1950): A Cultural or Political Instrument?The Muzica journal, the only one specialized romanian journal from the first half of

the XX century, offers remarkable intervals of value for romanian musical criticism research. An examination realized from three temporal perspectives: ante-war (1916), inter-war (1919-1921) and post-war (1950), will unfold fields of activity which has influenced music in the context of totalitarian regime. Thus, in the numbers from 1916 there exists critical remarks regarding the

german artists who were exempted from the First World War or about the Eroica symphony and La Marseillaise performed on the french front. Between 1919-1920, the Muzica journal will present to the readers fragments from the work Art and Socialism publish first in 1912 in the French Socialist Journal. And in 1950, together with the homages brought to some soviet personalities like “the great Stalin” and “unforgettable Zhdanov”, the communist composer and president of UCRPR (Composers Union from Romanian Popular Republic), Matei Socor, established the aim of the journal: «critical and theoretical handbook of the musical composers and public». Also the soviet composer Tikhon Nikolayevich Khrennikov published the article: About the Actual Situation and the Tasks of Musical Criticism. Musical criticism from the Muzica journal was conceived as an instrument in public education and information. The fragments with concrete examples, archive documents, pictures and diagrams are signs in finding the answer to the key question: musical criticism – a cultural or political instrument?

Miloš Zapletal (Institute of Ethnology of the Czech Academy of Sciences)Zdeněk Nejedlý and his Critical Conception of the Great Czech ComposerZdeněk Nejedlý (1878-1962) was the only Czech musical critic or musicologist of the

period of development of modern Czech music (ca. 1860-1918) who created comprehensive and coherent critical/historical conception of this process. By the word “comprehensive”, I mean that this conception includes, evaluates and explains all of the major composers of the period; the word “coherent” expresses a formal internal unity and cohesion of his conception, which preserved its main features in its partial concretizations. Drawing on a theoretical approach known as “metahistorical analysis”, created by Hayden White, I have uncovered a hidden mythological imaginative model in Nejedlý’s critical discourse. According to White, the purpose of existence of such latent narrative structure in the background of literary discourse is to make a representation of certain “field” more trustworthy. By the subconscious identification of an archetypal, mythical narrative model in the background of critical discourse, reader gets an emotional relationship to that particular interpretation and easily succumbs to its ideological implications. Based on a previous analysis of Nejedlý’s main critical texts from the period 1901-1921, the paper presents results of a deconstruction of Nejedlý’s conception of the Great Czech Composer. This conception is based on concepts of common ideal character traits, common martyr-like destiny, and common “Smetanian” or “Czech” spirit, shared by all great Czech composers (B. Smetana, Z. Fibich, J. B. Foerster). On the other hand, “reactionary”, “obscurant” composers (A. Dvořák, J. Suk, V. Novák and L. Janáček) lack the ideal character traits as well as the “Czech” spirit. The narrative mechanism of Nejedlý’s critical texts uses systematic referring to the conception of ideal Christian saint and was probably influenced or transmitted by the essential nineteenth-century conceptions of genius (Kant, Schopenhauer, Nietzsche) as well as by the representations of great personae of Czech history ( Jan Hus, Karel Havlíček) in the two most important texts of Czech philosophy of history (František Palacký’s History of the Czech Nation and T. G. Masaryk’s Czech Question).

Kateřina Nová (Museum of Antonín Dvořák – National Museum, Prague)Music Criticism in the Protectorate of Bohemia and MoraviaDespite the hardships of the Protectorate of Bohemia and Moravia (1939–1945), Czech

music life was enjoying its noontime. “National culture is the granite foundation that we want to build on in the future”, that was the slogan of patriotically-minded Czechs. Music was ascribed

a number of extra-musical functions – ranging from an expression of patriotism and resistance to collaboration with the Nazi occupiers and the Protectorate administration. The diversity of these circumstances was also reflected by music criticism, both on the pages of specialised music magazines and in the daily press. Music criticism constitutes an invaluable source of information for music historians, not just about the concert scene and the quality of musicians, but also about contemporary opinions on music’s status in the life of a nation, on its purpose and social functions. However, Czech music magazines were in a complicated situation during the occupation – the magazines changed their titles, they appeared and disappeared after brief moments of existence, they merged. Music criticism on the pages of music journals and daily newspapers highlighted the efforts to unite the music scene and thus to bolster the music scene’s position in the public. It emphasised the history and richness of Czech music, the patriotism of its composers. However, there were also some voices that tried, in the spirit of the Germanisation attempts of the occupying power, to depict Czech music as being dependent on its German counterpart. Czech music, or, Czech culture in general, thus became a means both of resistance and of active collaboration. For example, the works of Antonín Dvořák were regarded, on the one hand, as expressions of national pride, while on the other hand, emphasis was placed on Dvořák’s German friends and their impact on the composer’s success. Bedřich Smetana would not have achieved such artistic prowess without Richard Wagner, and so on. Music criticism reflected the issues that were debated by the music scene, whether by amateurs or by experts, matters which it considered crucial and those that it did not. It is thus possible to reconstruct Czech music life during the occupation through the prism of music criticism, with regards both to ideology and to everyday events. How did Czech music criticism work? Were there varying ways of approaching the functions of Czech music under totalitarianism? What schools of thought were there, and who championed them and why? This conference paper attempts to answer these questions based on research of the sources, it presents the circumstances of Czech music magazines and Czech music criticism and highlights the trends and ideas that dominated music criticism in the days of the Protectorate of Bohemia and Moravia. It also presents major figures of the period and their opinions on what music should be to a person in those difficult times.

Music, Media and Criticism (2)Maria Fuchs (Universität für Musik und darstellende Kunst Wien)Art or Not Art. Cinema Music in the Light of Criticism in Germany during

Weimar RepublicIn this paper I adress the criticism of silent film accompaniment in Germany’s trade

press throughout the 1920s. As well as the new film media itself, silent film accompaniment hurried ahead a bad reputation. Musical illustration, respectively musical compilation, was one of the most commonly used mode of silent film accompaniment during those years. So called Kinomusikbibliotheken (cinema music collections) comprised preexistent art music pieces of the late 19th century like opera fragments or program music that were classified under specific categories in order to be used for certain types of film scenes. This techique was criticised from different aesthetic and ideological stand points of view. The value of music illustration has been among others widely discussed by representative modern composers like Paul Hindemith or Kurt Weill in relation to original film scores as well as “mechanical music”, an aspect, which is to be understood against the background of the so called “Neue Sachlichkeit” during Weimar Republic. By using a wide range and variety of publications in film press, contemporary music

press and daily papers of the 1920s and on the basis of discourse analysis I will point out the aesthetic and political standpoints of views. The paper aimes for a description of the employed discoursive strategies for the stabilization of cultural dominance.

Marida Rizzuti (IULM University, Milan)What Were Composers Saying about Film Music?Between February 1924 and Autumn 1946 the quarterly Modern Music has played a key

role for the development of modern music; the purpose of the journal was to inform and update American composers, as well as American and European audience about new languages and twentieth-century music styles. Modern Music has been a reference point for the debate on new forms of music, especially what film music concerns; through articles and reviews, the journal has become a forum for discussing on contemporary music events. The focus on film music, and generally speaking on the sound film, is attested by the column “on the Film Front”, which concerned the film music compositional techniques and strategies, as well as scores for films produced in the United States, Europe and the Soviet Union. The reviews were primarily written by George Antheil and Paul Bowles. Also Aaron Copland has played a central role in the development of Modern Music, especially for his focusing on composers such as George Antheil, Charles Ives and Darius Milhaud, as well as for having faced jazz structures, and the music produced by Hollywood composers. This research is limited to the theoretical writings, because this issue is still under-examined by the current literature. Through the analysis of the reviews I will emphasize new ways of looking at the work of composers for film and I will observe how their approach to composing music for cinema has changed the way they conceived music and the act of composition per se. The original point is that the music critic is himself a composer, and therefore the act of music criticism includes different parameters – so far – relegated to the background.

Helena Martín Nieva (Universitat Ramon Llull – La Salle)«Dau al set» Deciphered in Sound, 1948-1956The pages of the magazine Dau al set chirp, chatter and croon. Its manifestly oneiric staves

of words alongside verses that portray almost imperceptible rumours and contents concerning the “blues” compose the palpitations of a tightly packed creature: graphic, literary, but also sonorous. Because Dau al set endeavours to waken all of the reader’s senses despite the limitations of the printed medium, that prevents the emission of sound. The magazine Dau al set has been extensively studied by Lourdes Cirlot (1986), Enrique Granell (1998, 2000) and Concepción Gómez González (2010), and reviewed by many of its protagonists, such as Joan Brossa, Antoni Tàpies, Juan Eduardo Cirlot, Arnau Puig, Joan Josep Tharrats or Víctor Castells. Although, mostly, an estimation of the literary or plastic arts, punctually it has highlighted the link of the publication with the atonal proposals of Arnold Schoenberg or the jazz of Louis Armstrong. It has also explored Juan Eduardo Cirlot’s facet as critic and composer, together with the numerous musical allusions contained in the work of the poet of the group, Joan Brossa. Dau al set is a publication “of a movement”, “a manifesto”, that expresses the avant-garde ideas shared by a group of artists seeking a springboard from which to project themselves during the grey post-war scenario of Franco’s regime. Include as it does items reflecting the personal view of its authors, it is not really a magazine that criticizes art, since it exceeds the form of criticism established through the exercise of the radical critique. Our aim, then, is to redeem the musical key that lies silent in the pages of “Dau al set” and put them to sound.