Publication: La etapa parisina de Joaquín Turina (1905–1913): construcción de un lenguaje nacional a partir de los diálogos entre Francia y España
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2019-07-08
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Universidad Complutense de Madrid
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Abstract
Joaquín Turina fue un músico andaluz polifacético de la llamada Generación de los Maestros: compositor, pianista, profesor, musicólogo y crítico, consiguió labrarse una posición importante en el panorama musical de las primeras décadas del siglo XX, dentro del conocido como nacionalismo musical español. La importancia de su figura se sustentó en el éxito obtenido como compositor y en el cargo que ostentó durante la dictadura franquista al frente de la Comisaría General de la Música. Sin embargo, la permanente comparativa con su gran amigo Manuel de Falla (con quien mantuvo una trayectoria en muchos puntos paralela) y, sobre todo, la postura política que se dedujo de su papel activo en las instituciones musicales franquistas (1940–45) no benefició al músico tras la instauración de la democracia, contribuyendo desde entonces al injusto tratamiento y valoración de su figura y obra. De las cuatro etapas que podemos diferenciar en la vida de Turina, es precisamente el periodo de formación en París (1905–1913) el que resulta más interesante: no sólo por la laguna que supone a día de hoy (pues la falta de información ha tendido, por lo general, a que las principales monografías aborden estos años del músico de manera sucinta), sino porque en estos años es cuando se gesta su lenguaje musical, a partir de la fusión de influencias y experiencias musicales que posteriormente desarrollará en su lenguaje maduro. Todos los escritos carecen de un estudio de la Schola Cantorum o su organización y de las influencias que verdaderamente esta institución ejerció sobre el músico. Tampoco se hacen eco de la música que le rodeó durante estos años parisinos, asumiendo que esta fue esencialmente scholista, y tienden a conectar al sevillano con Albéniz únicamente por el histórico encuentro que se llevó a cabo entre ambos. Los escritos no aluden a los intérpretes que contribuyeron a la difusión de las creaciones del sevillano, siendo algunos de ellos scholistas y otros alejados de la institución (hoy en día incluso olvidados en los diccionarios musicales de mayor renombre). Y, unido a estas lagunas, las más de ochocientas críticas escritas por el sevillano no han tenido, hasta de día de hoy, un estudio profundo; hecho que también se traslada a su producción compositiva...
Joaquín Turina was a multi–faceted Andalusian musician from the so–called “Generation of the Masters”: a composer, pianist, teacher, musicologist and critic, he managed to carve out a prominent position on the musical landscape for himself in the first few decades of the 20th century in what was known as Spanish musical nationalism. His importance is based on his success as a composer and his position as head of the Comisaría General de la Música (General Music Commission) during the Franco dictatorship. However, permanent comparisons with his great friend Manuel de Falla (whose career is mirrored in a number of areas) and, above all, the political position observers deduced from his active role in pro–Franco musical institutions (1940–45) did not help the musician following the restoration of democracy, fuelling the unfair treatment and assessment of Joaquín Turina as a person and of his work. Of the four periods we can differentiate in the life of Turina, it is the time he spent training in Paris (1905–1913) that is the most interesting. This is due not only to the paucity of information now available on this period (the main monographs written cover this period in his life in no more than a cursory manner), but also due to the fact that this period sees the early development of his musical language based on the fusion of musical influences and experiences that he would later develop in his mature musical language. No documents contain an analysis of the Schola Cantorum or its organisation, or of the real influence this institution had on the musician. Nor do they describe the music around him during these years in Paris, assuming that this music was essentially scholista. They also tend to connect Turina to Albéniz only through the historic meeting between them. Documents do not contain any references to the performers who helped disseminate the works of Turina, some of them being scholistas and others from outside the institution (and who have even since been forgotten in the most prominent music dictionaries). Moreover, to date there has been no in–depth study the more than 800 critiques written by Turina, or of his compositions...
Joaquín Turina was a multi–faceted Andalusian musician from the so–called “Generation of the Masters”: a composer, pianist, teacher, musicologist and critic, he managed to carve out a prominent position on the musical landscape for himself in the first few decades of the 20th century in what was known as Spanish musical nationalism. His importance is based on his success as a composer and his position as head of the Comisaría General de la Música (General Music Commission) during the Franco dictatorship. However, permanent comparisons with his great friend Manuel de Falla (whose career is mirrored in a number of areas) and, above all, the political position observers deduced from his active role in pro–Franco musical institutions (1940–45) did not help the musician following the restoration of democracy, fuelling the unfair treatment and assessment of Joaquín Turina as a person and of his work. Of the four periods we can differentiate in the life of Turina, it is the time he spent training in Paris (1905–1913) that is the most interesting. This is due not only to the paucity of information now available on this period (the main monographs written cover this period in his life in no more than a cursory manner), but also due to the fact that this period sees the early development of his musical language based on the fusion of musical influences and experiences that he would later develop in his mature musical language. No documents contain an analysis of the Schola Cantorum or its organisation, or of the real influence this institution had on the musician. Nor do they describe the music around him during these years in Paris, assuming that this music was essentially scholista. They also tend to connect Turina to Albéniz only through the historic meeting between them. Documents do not contain any references to the performers who helped disseminate the works of Turina, some of them being scholistas and others from outside the institution (and who have even since been forgotten in the most prominent music dictionaries). Moreover, to date there has been no in–depth study the more than 800 critiques written by Turina, or of his compositions...
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Tesis de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Musicología, leída el 17/01/2019