Una mirada a la escuela clavecinística española en la generación musical del 27la recepción de las "dos sonatas de El Escorial" de Rodolfo Halffter, 1928-1936

Resumo

The musical production of the Group of the Eight followed the path of Neoclassicism initiated in Spain by Manuel de Falla —1876-1946— when trying to evoke the forms and sounds of the previous centuries, especially the eighteenth century. Within Neoclassicism, harpsichordism was a movement that sought to recover the harpsichord in discourses and musical practices. Rodolfo Halffter —1900-1987—, with his «Dos sonatas de El Escorial» —1928—, offered an approach to the Spanish harpsichord school when recreating the sonic world of Domenico Scarlatti´s —1685-1757— and Antonio Soler’s sonatas —1729-1783—. Along with the use of formal and compositional procedures that remember of these authors, Halffter used elements of the avant-garde language associated with New Music. This article analyzes the reception of the «Dos sonatas de El Escorial» trying to verify if the public and critics found in them a continuity with the Spanish tradition of the Keyboard and what was the perception of the vanguardist elements present in this composition. To achieve this, we will analyze the reviews of the interpretations of the work that appeared in the press at the time.