Federico Moreno Torroba
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Fine Arts and Teatro Zarzuela. His enduring contributions as a composer include copious amounts of guitar music composed for Andres Segovia and several highly successful zarzuelas which remain in the repertoire today.
Written by two leading experts in the field, Federico Moreno Torroba: A Musical Life in Three Acts explores not only his life and work, but also the relationship of his music to the cultural milieu in which he moved. It sheds particular light on the relationship of Torroba's music and the cultural politics of Francisco Franco's dictatorship (1939-75). Torroba came of age in a cultural renaissance that sought to reassert Spain's position as a unique cultural entity, and authors Walter
A. Clark and William Krause demonstrate how his work can be understood as a personal, musical response to these aspirations. Clark and Krause argue that Torroba's decision to remain in Spain even during the years of Franco's dictatorship was based primarily not on political ideology but rather on an
unwillingness to leave his native soil. Rather than abandon Spain to participate in the dynamic musical life abroad, he continued to compose music that reflected his conservative view of his national and personal heritage. The authors contend that this pursuit did not necessitate allegiance to a particular regime, but rather to the non-political exaltation of Spain's so-called 'eternal tradition', or the culture and spirit that had endured throughout Spain's turbulent history.
Following Franco's death in 1975, there was ambivalence towards figures like Torroba who had made their peace with the dictatorship and paid a heavy price in terms of their reputation among expatriates. Moreover, his very conservative musical style made him a target for the post-war avant-garde, which disdained his highly tonal and melodic espanolismo. With the demise of high modernism, however, the time has come for this new, more distanced assessment of Torroba's contributions. Richly
illustrated with figures and music examples, and with a helpful discography for reference, this biography brings a fresh perspective on this influential composer to Latin American and Iberian music scholars, performers, and lovers of Spanish music alike.
Forlag: Oxford University Press Inc
Format: 24 x 16 cm
Lists of Illustrations and Musical Examples
INTRODUCTION: "The Eternal Tradition"
ACT I: 1891-1932
Scene i: 1898, The End
Scene ii: Madrileno
Scene iii: Analysis of works: La Virgen de mayo, La marchenera, Luisa Fernanda; Suite castellana, Sonatina, Piezas caracteristicas (selections)
ACT II: 1932-1960
Scene i: 1936, Anarchy
Scene ii: Navarro
Scene iii: Analysis of works: Azabache, Xuanon, La chulapona, Monte Carmelo, La Caramba; Madronos, Romance de los pinos
ACT III: 1960-1982
Scene i: 1975, The Beginning
Scene ii: Espanol
Scene iii: Analysis of works: El poeta; Castillos de Espana (selections), Puertas de Madrid (selections), Dialogos entre guitarra y orquesta, Concierto iberico
FINALE: The Legacy of Torroba
2: Works List
of the Center for Iberian and Latin American Music at the University of California, Riverside.
William Craig Krause began his research on Moreno Torroba in 1988, resulting in a presentation at the International Musicological Society conference in Madrid in 1992 and the completion of his dissertation in in 1993. Since that time he has authored or co-authored articles on this and related subjects in The Revised New Grove Dictionary of Music and Musicians, Diccionario de la Musica Espanola e Hispanoamericana, Die Musik in Geschichte und Gegenwart and Encuentros. While primarily a
professor of musicology at Hollins University, he also has an extensive background in the field of arts administration and recently has developed a secondary area of interest in the music of Appalachia.