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Spanish Music in the Twentieth Century Hardcover – January 1, 1993

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Product Details

  • Hardcover: 261 pages
  • Publisher: Harvard University Press (January 1, 1993)
  • Language: English
  • ISBN-10: 0674831020
  • ISBN-13: 978-0674831025
  • Product Dimensions: 1 x 6.2 x 9.4 inches
  • Shipping Weight: 1.5 pounds
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #546,741 in Books (See Top 100 in Books)

Editorial Reviews

From Library Journal

Marco, a Spanish composer and music critic, demonstrates an impressive knowledge of Spain and its often neglected art music in this detailed evaluation. Marco has written several books in Spanish on contemporary music. His intriguing evaluations of many obscure works may send serious students and scholars in search of music scores and recordings not readily available in American libraries. A more comprehensive index would have helped readers locate information on performers, composers (even Marco himself), and titles of individual works. Still, with the 20th century drawing to a close, this up-to-date volume should remain an authoritative guide to the century's Spanish music. Recommended for larger music collections and for collections with a strong emphasis on Spain.
- James E. Ross, Seattle P.L.
Copyright 1993 Reed Business Information, Inc.

Language Notes

Text: English (translation)
Original Language: Spanish

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2 of 3 people found the following review helpful By scarecrow VINE VOICE on April 17, 2000
Format: Hardcover
Marco a composer himself is equipped to deal with the expressive richness of Spanish composers. It's fascinating that he divides the book into two halves, claiming the Spanish Civil War,(1936 to 1939) as a moment which divided Spain. I would have gone farther into the Fifties,for Franco had kept a repression of the arts well past the official end of the Civil War. Spain had its grandfathers Manuel de Falla,Albeniz, and Granados,all here amply discussed as to their influence on future generations. The conservative side seemed to dominate Spanish music up to the Fifties, interests in a national voice with past nostalgia, composers of the Zarzuelas,and the Generation of 1927 are focal points. But composers here were quick to absorb the innovations of European modernity of Bartok and Stravinsky. The Generation of 1951 Marco refers is the post World War 2 generation, composers like Luis de Pablo who we see(almost exclusivily) on Europes most rigorous festivals. Spain has had a cultural distance an isolation from the power centers of Europe, and like embarking into the regions to acquire knowledge and wealth like colonialists, is a fascinating perspective here.It seems how the only Spanish composers who gained recognition in the capitals in Europe are those composers who fostered close ties with composer power brokers, like Italian composer Franco Donatoni,Pierre Boulez, or Stockhausen. The second half here of this book, is all about splinter groups it seems again a convenient way to describe different expressive interests, So we have The Associates,The Moderates,composers like Abril,who search for a meeting place of the conservative voice and innovation, The Independents.Spain still remains isolated in that we seldom have a chance to hear this music only read about it.
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Format: Hardcover
Though I tend to read a lot of books of music history and musicology for fun and interest, I don't often think of commenting on them. The reason is wrapped-up in the current musicological tendencies, which at best are fascinatingly recondite, or at worst factionally leading. Music is such a great thing in my own life that I don't often want to muddy my enjoyment with critiquing extremes of interpretation as to understanding. I know what I think about music, and am interested what others think, but I don't want to get too serious about the latter. Frankly, it would take some of the fun of it out of it for me. But this book has moved me to feel the need to comment. There is a lot in it about composers I am guessing many will never have heard of, and if I may say so, probably will never again. But about many famous Spanish composers the odd ideological preconceptions of the author lead to very blinkered interpretations. The author, who is an avante-garde composer himself, seems to have had a very heavy layer of pre-judgment about many of his fellow composers of the past. Of course he has to say some good things about Grandos, Albeniz and De Falla. But slightly less well known composers like the Halffters, Ernesto and Rudolfo, are treated very cursorily, given their importance. And what amazed me most is that in discussing Rudolfo Halffter's imprtance as a piano composer he fails to even mention Padre Soler. This seems like a ridiculous omission in a book on Spanish music. Rudolfo Halffter's and Ernesto's works in the Soler vein are such a striking homage across the centuries, and one of the few true examples of successful updating of an antique form in musical history generally, that surely it deserved to be brought in to the discussion.Read more ›
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