Silvestre Revueltas in Republican Spain: Music as Political Utterance

Hess, Carol A.

doi:10.2307/780398

Cited by 6 publications

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References 5 publications

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“…'Spain in our Ears: International Musical Responses in Support of the Republic during the Spanish Civil War' phrase, and it was born out of the realization that, even though the last ten years have seen a surge of interest in the music and musical life of the Spanish Civil War (Labajo, 2004(Labajo, , 2011De la Ossa, 2011, Contreras Zubillaga, 2011Giner & Porcille, 2015;Moreda Rodríguez, 2016;Iglesias, 2017;Pérez Zalduondo, 2021), studies of the international ramifications of these remained scarce. In fact, they have tended to focus on two relatively well-known composers who both visited Spain to support the Republic at war: Mexican Silvestre Revueltas (Hess, 1997;Velasco-Pufleau, 2013), who visited Madrid, Valencia andBarcelona between July andOctober 1937;and German Hanns Eisler (Alonso Tomás, 2019), who travelled in autumn 1936 to Madrid and spent time there, and subsequently in Murcia, with the International Brigades, the world-renowned military units made up of volunteers from around fifty countries who fought for the Republic and who have ever since remained a staple in the international imaginaries of the Spanish Civil War (Tremlett, 2020).…”

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confidence: 99%

‘Spain in our Ears: International Musical Responses in Support of the Republic during the Spanish Civil War’

Zubillaga

Rodríguez

2021

Journal of War & Culture Studies

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This introduction presents and sets the rationale for the special issue 'Spain in our Ears: International Musical Responses in Support of the Republic during the Spanish Civil War'. It argues that, while research into music during the Spanish Civil War has enjoyed significant advances in the last fifteen years, concern with the international dimensions of such musical responses remains scarce and circumscribed to prominent classical composers with Communist affiliations (Hanns Eisler, Silvestre Revueltas). By inviting a wide range of contributions dealing with a wide range of musics (classical music, film music, popular music), geographies (the US, the URSS, Britain, Germany) and individuals (from Paul Robeson to Dimitri Shostakovich), this special issue therefore enriches discussion of music and the Spanish Civil War with new perspectives (e.g. concerning race issues), while at the same time calling for an increased transnational approach to the study of music and war more generally.keywords Spanish Civil War, music and war, transnationalism Paraphrased from the preface to French writer Albert Camus's L'Espagne libre, 1 the phrase 'Spain in our hearts' has come to symbolize the outpouring of international solidarity in support of the Republican government during the Spanish Civil War. The first part of the title of this special issue is, self-evidently, a wordplay on this 1 'Voici neuf ans que les hommes de ma génération ont l'Espagne sur le coeur' (It is nine years that the men of my generation have had Spain in our hearts). Camus 2006: 665.

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Section: Introductionmentioning

confidence: 99%

‘Spain in our Ears: International Musical Responses in Support of the Republic during the Spanish Civil War’

Zubillaga

Rodríguez

2021

Journal of War & Culture Studies

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“… 12 For example, Elegía a la muerte de García Lorca (unfinished) by the Argentine composer Juan José Castro or Homenaje a Federico García Lorca by Silvestre Revueltas; a more recent treatment of Lorca's death is Osvaldo Golijov's 2003 opera Ainadamar . On Revueltas's activities during the Spanish Civil War, see Carol A. Hess, “Silvestre Revueltas in Republican Spain: Music as Political Utterance,” Latin American Music Review 18/2 (1997): 278–96. Other Lorca-inspired works are catalogued in Roger D. Tinnell, Federico García Lorca: catálogo-discografía de las “Canciones populares antiguas” y de música basada en textos lorquianos (Plymouth: University of New Hampshire, 1986).…”

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Competing Utopias? Musical Ideologies in the 1930s and Two Spanish Civil War Films

Hess¹

2008

J Soc American Mus

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Although literature inspired by the Spanish Civil War has been widely studied, music so inspired has received far less scholarly attention, and film music even less so. Musical ideologies of the 1930s, including the utopian thinking of many artists and intellectuals, emerge in some surprising ways when we consider two films of the era. Both The Spanish Earth (1937), an independent documentary, and Blockade (1938), produced in Hollywood, were intended to awaken Loyalist sympathies. The music for the former, consisting of recorded excerpts chosen by Marc Blitzstein and Virgil Thomson and widely understood as folkloric, embodies leftist composers' idealization of folk music. Werner Janssen's score for Blockade relies on many stock Hollywood gestures, granting it the status of a commodity. This article explores both films in light of Michael Denning's reflections of the relationship between the “cultural front” and the “culture industry,” along with Fredric Jameson's advocacy of the Utopian principle as a hermeneutic tool. It argues that the music for The Spanish Earth unwittingly subverts the Loyalist cause, whereas the score of Blockade, with its manipulation of Hollywood codes, is far more persuasive than the political whitewashing of its plot would seem to suggest.

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Música de la Independencia a la Revolución. Artes de México, 97. Mexico City: Artes de México, 2010, with compact disc. - Arias de opera para soprano. By Melesio Morales. Introduction by Karl Bellinghausen. Edited by Sonia Machorro. Mexico City: Consejo Nacional para la Cultura y las Artes, Instituto Nacional de Bellas Artes, Conservatorio Nacional de Música, 2012. - La ópera en México: De la Independencia al i

Koegel¹

2015

J Soc American Mus

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Silvestre Revueltas in Republican Spain: Music as Political Utterance

Cited by 6 publications

References 5 publications

‘Spain in our Ears: International Musical Responses in Support of the Republic during the Spanish Civil War’

‘Spain in our Ears: International Musical Responses in Support of the Republic during the Spanish Civil War’

Competing Utopias? Musical Ideologies in the 1930s and Two Spanish Civil War Films

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