Conceptos de lo español en la música rusa: de Glinka a Manuel de Falla
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2017
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16/03/2016
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Universidad Complutense de Madrid
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La tesis doctoral Conceptos de lo español en la música rusa: de Glinka a Manuel de Falla explora la atracción musical que manifestaron los rusos hacia España desde finales del siglo XVIII hasta los albores del siglo XX. A lo largo de este trabajo hemos concluido que no fue un hecho casual que los compositores rusos sintieran afinidades con España. El análisis de los artículos de prensa, la literatura y la música realizados conduce a que fue el resultado de la posición de ambas naciones en el mapa: en la periferia de Europa, es decir, en la frontera entre lo «civilizado» y lo «salvaje», en esa puerta hacia el desconocido Oriente. Demostramos, además, que esa noción comenzó en el siglo XVIII, como han confirmado los recientes estudios de Inna Naroditskaya1 y Richard Wortman.2 Y es que la evolución del nacionalismo ruso e hispano deriva del nacimiento de la idea de Europa y su periferia. Hemos establecido las guerras napoleónicas como punto central de este progresivo hermanamiento que tuvo su mayor reflejo en la música. Sólo en Rusia se dio un tipo particular de identificación entre ambos países, guiada por Pushkin y traducida en música por Glinka, Verstovski y Dargomyzhski, evitando la cita intencionalmente orientalista de lo francés tan difundida durante estos años. Hemos identificado una narrativa particular, identificada con el liberalismo ruso, reconociendo por primera vez una función distinta del Orientalismo: aquella que masculiniza en lugar de femineizar, bien demostrado por un estudio inédito del género del bolero. Glinka era consciente de todo este bagaje en el momento en que emprendió su viaje a España, y tras su regreso incluso identificó similitudes entre la música popular rusa e hispana. Uno de los grandes mitos que desmontamos a lo largo del trabajo es el del supuesto gran contacto de Glinka con los estratos más bajos de la sociedad, lo que habitualmente se define de manera muy etérea como «lo popular». Por el contrario, los rincones españoles de donde extrajo la música estaban más conectados con las clases medias que con las clases más bajas o «populares». Pasó la mayor parte del tiempo con estudiantes, entre los que se encontraban figuras tan relevantes como José Ortega y Zapata, abuelo del conocido filósofo Ortega y Gasset, o Víctor Balaguer, que jugó un papel esencial en la música española en sus colaboraciones con Felipe Pedrell...
My PhD thesis, Concepts of ‘Spanishness’ in Russian Music: From Glinka to Manuel de Falla, explores Russian composers’ strong musical attraction to Spain during the 19th century and the opening years of the 20th century. The main argument is as follows. I establish that it was no coincidence that Russian composers were drawn to Spain; I consider this to be the consequence of both nations’ being peripheral areas in Europe: a mixture between the civilized and the ‘barbarian’, a door to the unknown Orient. We demonstrate that this notion took hold in the late 18th century, as recent studies led by Inna Naroditskaya5 and Richard Wortman6 have demonstrated. The evolution of Russian and Spanish nationalism is intertwined with the formation of the notion of Europe and its periphery. Our thesis reinforces the notion that it was not until the Napoleonic wars that the relationship between Russia and Spain grew stronger. By then, Spanish musical forms had spread all around Europe. However, only in Russia did a particular type of cultural identification between both countries, guided by Pushkin and translated into music by Glinka, Verstovski and Dargomyzhski, avoid the ‘Oriental’ French paraphrase. Instead of this, we found out a bolero form masculinized and sometimes identified with Russian liberalism. Glinka had this notion of Spanish brotherhood in mind when he travelled to Spain. Upon his return, he even claimed similarities between Spanish and Russian popular music. Against the traditional point of view we ascertain that in Spain, the places where he collected ‘popular’ music were associated more with the middle classes than with the ‘popular’ classes. He spent most of his time with students, including such prominent figures as the grandfather of philosopher Ortega y Gasset, José Ortega y Zapata, and Víctor Balaguer, known for his forthcoming collaboration with Felipe Pedrell...
My PhD thesis, Concepts of ‘Spanishness’ in Russian Music: From Glinka to Manuel de Falla, explores Russian composers’ strong musical attraction to Spain during the 19th century and the opening years of the 20th century. The main argument is as follows. I establish that it was no coincidence that Russian composers were drawn to Spain; I consider this to be the consequence of both nations’ being peripheral areas in Europe: a mixture between the civilized and the ‘barbarian’, a door to the unknown Orient. We demonstrate that this notion took hold in the late 18th century, as recent studies led by Inna Naroditskaya5 and Richard Wortman6 have demonstrated. The evolution of Russian and Spanish nationalism is intertwined with the formation of the notion of Europe and its periphery. Our thesis reinforces the notion that it was not until the Napoleonic wars that the relationship between Russia and Spain grew stronger. By then, Spanish musical forms had spread all around Europe. However, only in Russia did a particular type of cultural identification between both countries, guided by Pushkin and translated into music by Glinka, Verstovski and Dargomyzhski, avoid the ‘Oriental’ French paraphrase. Instead of this, we found out a bolero form masculinized and sometimes identified with Russian liberalism. Glinka had this notion of Spanish brotherhood in mind when he travelled to Spain. Upon his return, he even claimed similarities between Spanish and Russian popular music. Against the traditional point of view we ascertain that in Spain, the places where he collected ‘popular’ music were associated more with the middle classes than with the ‘popular’ classes. He spent most of his time with students, including such prominent figures as the grandfather of philosopher Ortega y Gasset, José Ortega y Zapata, and Víctor Balaguer, known for his forthcoming collaboration with Felipe Pedrell...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Musicología, leída el 16-03-2016