Publication: Conrado del Campo y la definición de la nueva identidad lírica española: El final de don Álvaro (1910-1911) y la Tragedia del beso (1911-1915)
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2020-10-14
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McCreless, Patrick
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Universidad Complutense de Madrid
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Abstract
El compositor madrileño Conrado del Campo (1878-1953) está considerado a día de hoy como una de las personalidades más importantes e influyentes en el panorama musical español de la primera mitad del siglo XX. Sin embargo, la mayor parte de su catálogo permanece injustamente olvidada, tanto por estudiosos como por intérpretes. Entre todas las razones de esta desatención–las cuales comentaremos en la tesis–, queremos destacar una: Del Campo no se va a adscribir en el plano estético a la línea nacionalista trazada por Pedrell-Falla-Salazar, sino a una corriente que bebe de la cultura musical germana que, tras el estallido de la Primera Guerra Mundial en1914, acabó siendo denostada y situada en un segundo plano. Como consecuencia, Conrado del Campo –y otros compositores con un perfil estético similar– acabaron siendo relegados por la historiografía española, la cual no solo ha escrito sus discursos en base a la música afrancesada y simbolista representada por Manuel de Falla y sus seguidores, sino que también ha ignorado una parte trascendental de la identidad musical de nuestro país...
The Madrilenian composer Conrado del Campo (1878-1953) is nowadays considered to be one of the most important and influential personalities of the Spanish musical milieu during the firsthalf of the 20th Century. However, most of his catalogue remains unfairly forgotten, and not only by musicologists, but also by performers. Among the reasons of this inattention—all of them explained throughout the dissertation—I would like to highlight one: Del Campo did not subscribe to the nationalistic aesthetic line defined by Pedrell, Falla and Salazar, but to another trend more linked to the German musical culture that, after the outbreak of the World War I in 1914, was repudiated and situated in a secondary plane. Consequently, Del Campo—and other composers with the same aesthetic profile—ended up being considered second-class by Spanish scholars, who wrote their histories based on the Frenchified and symbolistic music represented by Manuel de Falla and his followers; but also, being left out of the story of the transcendental element of the musical identity of our country...
The Madrilenian composer Conrado del Campo (1878-1953) is nowadays considered to be one of the most important and influential personalities of the Spanish musical milieu during the firsthalf of the 20th Century. However, most of his catalogue remains unfairly forgotten, and not only by musicologists, but also by performers. Among the reasons of this inattention—all of them explained throughout the dissertation—I would like to highlight one: Del Campo did not subscribe to the nationalistic aesthetic line defined by Pedrell, Falla and Salazar, but to another trend more linked to the German musical culture that, after the outbreak of the World War I in 1914, was repudiated and situated in a secondary plane. Consequently, Del Campo—and other composers with the same aesthetic profile—ended up being considered second-class by Spanish scholars, who wrote their histories based on the Frenchified and symbolistic music represented by Manuel de Falla and his followers; but also, being left out of the story of the transcendental element of the musical identity of our country...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Musicología, leída el 20-12-2019