España en la música alemana de las primeras generaciones románticas (1800-1830)
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2022
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10/05/2022
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Universidad Complutense de Madrid
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Abstract
Este trabajo tiene por objeto indagar sobre el papel de España en la música alemana, especialmente en la ópera de las primeras generaciones románticas. Durante siglos, el interés por España de determinadas naciones europeas como Francia, Alemania o Italia se había manifestado en diversos ámbitos como el de la literatura, algo muy bien estudiado desde la filología y la literatura comparada. Este interés, más allá de una mera curiosidad antropológica, se convirtió, en determinadas épocas, en verdadera pasión por lo español que inundó el teatro, la novela, pero también la ópera, como demuestra el conocido ejemplo de Carmen de Bizet. Pero en todo este fenómeno, no sólo operaba un interés superficial por los temas, las ambientaciones o los tipos españoles transmitidos por la literatura sino también una influencia profunda en las formas de arte europeo como se ha demostrado ya, por ejemplo, al relacionar el libreto de Die Zauberflöte de Mozart con El purgatorio de San Patricio de Calderón. Tras comprobar el enorme interés de los temas españoles en la ópera alemana de principios del siglo y también en la música instrumental, se pudo comprobar cómo este interés iba unido a una nueva forma de vida y de arte que era el romanticismo; puesto que se trata de un fenómeno cultural de gran magnitud y no solo una moda puntual y superficial, se ha empleado una metodología propia de la historia –y no solo de la música– para su comprensión: el método histórico de las generaciones, desarrollado por la llamada Escuela de Madrid en los años 30 del siglo XX. El método nos proporcionó la cronología de nuestro trabajo, que se corresponde con los períodos de máxima expresión artística de los primeros románticos, aquellos nacidos en torno a1770 –primera generación– y en torno 1785 –segunda generación–: así pues, el marco cronológico que este estudio abarca es el de 1800 a 1830...
The aim of this paper is to investigate the role of Spain in German music, especially in the opera of the first Romantic generations. For centuries, the interest in Spain of certain European nations such as France, Germany and Italy had manifested itself in various fields such as literature, something that has been very well studied in philology and comparative literature. This interest, beyond mere anthropological curiosity, became, at certain times, a real passion for the Spanish, which flooded the theatre, the novel, but also opera, as the well-known example of Bizet's Carmen shows. But in all this phenomenon, there was not only a superficial interest in Spanish themes, settings or types transmitted by literature, but also a profound influence on European art forms, as has already been demonstrated, for example, by relating the libretto of Mozart's Die Zauberflöte to Calderón's El Purgatorio de San Patricio. After having seen the enormous interest in Spanish themes in German opera at the beginning of the century and also in instrumental music, it was possible to see how this interest went hand in hand with a new way of life and art which was Romanticism; since this is a cultural phenomenon of great magnitude and not just a one-off, superficial fashion, a methodology specific to history - and not only to music - has been used to understand it: the historical method of generations, developed by the so-called Escuela de Madrid in the 1930s. The method provided us with the chronology of our work, which corresponds to the periods of maximum artistic expression of the first Romantics, those born around 1770 -first generation- and around 1785 -second generation-: thus, the chronological framework covered by this study is from 1800 to1830...
The aim of this paper is to investigate the role of Spain in German music, especially in the opera of the first Romantic generations. For centuries, the interest in Spain of certain European nations such as France, Germany and Italy had manifested itself in various fields such as literature, something that has been very well studied in philology and comparative literature. This interest, beyond mere anthropological curiosity, became, at certain times, a real passion for the Spanish, which flooded the theatre, the novel, but also opera, as the well-known example of Bizet's Carmen shows. But in all this phenomenon, there was not only a superficial interest in Spanish themes, settings or types transmitted by literature, but also a profound influence on European art forms, as has already been demonstrated, for example, by relating the libretto of Mozart's Die Zauberflöte to Calderón's El Purgatorio de San Patricio. After having seen the enormous interest in Spanish themes in German opera at the beginning of the century and also in instrumental music, it was possible to see how this interest went hand in hand with a new way of life and art which was Romanticism; since this is a cultural phenomenon of great magnitude and not just a one-off, superficial fashion, a methodology specific to history - and not only to music - has been used to understand it: the historical method of generations, developed by the so-called Escuela de Madrid in the 1930s. The method provided us with the chronology of our work, which corresponds to the periods of maximum artistic expression of the first Romantics, those born around 1770 -first generation- and around 1785 -second generation-: thus, the chronological framework covered by this study is from 1800 to1830...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, leída el 10-05-2022