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Torroba: Piezas caracteristicas (6). This page lists our only recording of Piezas caracteristicas (6), by Federico Moreno Torroba (1891-1982) on SACD. Piezas Caracteristicas, - Moreno- Torroba, Federico. Federico Moreno Torroba. Download as PDF File (.pdf), Text File (.txt) or read online. Scribd is the world's.

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Federico Moreno Torroba (1891–1982) was one of the most prolific composers in twentieth-century Spain. Mit Erfolg Zur Dsh Pdf Writer here. As composer, conductor, impresario, President of the General Society of Authors, and director of the Royal Academy of Fine Arts of San Fernando, his work had a great impact on many facets of Spain’s musical culture. Walter Aaron Clark and William Craig Krause are the first to undertake a broad biographical survey of Torroba, and in the process begin to reverse the unfortunate neglect of his life and work. Torroba’s traditional and Romantic style was surprisingly consistent throughout his lengthy career, and as a composer he made successful contributions to a diverse variety of musical genres. He is best known for his compositions for the theatre and for the guitar (Segovia justifiably claimed he was the first non-guitarist to compose for the instrument).

While much of Torroba’s lasting appeal now rests upon his many solo guitar pieces, he also produced a substantial body of staged works mostly in the form of the Spanish zarzuela, a light operatic genre that alternates between spoken dialogue and musical numbers influenced by popular song and dance, which has fallen into obscurity in recent decades. The book is founded on an abundance of historical documents, archival material, interviews, and musical scores. Clark and Krause first question why scholarship on Torroba has languished despite his ample contributions, and ask whether writing about Torroba is ‘an idea whose time is long overdue in coming, or simply a bad idea’ (p. With this seemingly unorthodox approach, they establish the means [End Page 673] not only to understand Torroba himself, but also to unravel reasons behind the scholarly neglect of one of twentieth-century Spain’s most influential composers, and the neglect of Spain’s music as a whole in the general discourse of Western musical history. This book was developed largely from Krause’s pioneering doctoral research on Torroba.

Clark’s role is to take this research and give it ‘a consistent authorial voice’ (p. Clark’s influence cannot be understated, given his profound grasp of Spanish history and Torroba’s place within it. Related in structure to the zarzuela, the book is divided into 3 ‘acts’, which sensibly portion Torroba’s life into digestible segments punctuated by dramatic events that were key to his output. Each ‘act’ is further divided into ‘scenes’, an effective technique in which the authors increasingly narrow their focus from broad social, political, and cultural trends, to how these affected Torroba, and to their specific influences upon his work. As each ‘act’ begins with general historical discussion pertaining to the respective periods of Torroba’s life, Clark suggests that those already familiar with Spanish history might ‘choose to go directly to the biographical scenes’ (p. However, in my opinion, those who do so would miss out on delightfully concise insights regarding Torroba’s place in nine decades of history spanning Romanticism to Minimalism.

These included years of unrivalled violence where ‘Fascism, Capitalism, Socialism, Communism and Anarchism—not to mention Catholicism, Protestantism, Existentialism, Atheism, Nihilism—all competed for influence and control’ (p. Krause and Clark lay out the forces shaping Torroba’s early career in Act One, which begins in the year of his birth against the backdrop of the restoration of the Bourbon monarchy and the rumblings of the Spanish- American War. During these early years of Torroba’s life, Spain experienced political and social turbulence on a scale perhaps not seen since the Moorish conquest at the end of the previous millennium.

Amid family protestations about a career in musical theatre, Torroba entered professional life at the Teatro Lara in 1915. During the same period, his introduction to Segovia led to the breakthrough Danza in E Minor of 1920 and his subsequent and lifelong affiliation with the guitar. Within this first act, Clark and Krause focus on Torroba’s zarzuelas, which formed.