Rodolfo Halffter

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Rodolfo Halffter
1928-01-01, El Sol, La redaccion de ''El Sol'', vista por Bagaria (cropped) Rodolfo Halffter.jpg
Halffter caricatured by Bagaria in El Sol (1928)
Born30 October 1900 [1]
Madrid, Kingdom of Spain [1]
Died4 October 1987(1987-10-04) (aged 86) [1]
Mexico City, Mexico [1]
Occupations
  • Composer
  • music critic
  • professor
[1]

Rodolfo Halffter Escriche (30 October 1900 – 14 October 1987) [1] was a Spanish composer, music critic, and professor with Mexican citizenship (from 1939). He wrote in a style always informed by his early engagement with the modernist aesthetics of Madrid's Grupo de los Ocho , finding inspiration in the music of Claude Debussy, Manuel de Falla, and Arnold Schoenberg.

Contents

Halffter came from a musical family. Though largely self-taught as a composer, he studied Schoenberg's Harmonielehre and was advised by Falla. His music has been compared to Domenico Scarlatti's in its neoclassicism and to Falla's in its mild polytonality.

Like others in his milieu, Halffter chose to leave Francoist Spain at the end of the Spanish Civil War. He emigrated to Mexico in 1939 and taught there for more than three decades, enjoying increasing recognition. Several notable composers are among his students. Starting in 1953, he became the first composer to use twelve-tone technique in Mexico.

Halffter returned to Spain beginning in the 1960s, where he also taught, and received its Premio Nacional de Música in 1986. He was also honored in Mexico, where he died. He wrote music in many genres and for many films.

Biography

Early years

Born in Madrid to a family of musicians, Rodolfo Halffter was the older brother of composer-conductor [2] Ernesto Halffter and uncle of composer Cristóbal Halffter. [3] His father Ernest Halffter Hein was from Königsberg, Germany.[ citation needed ] His mother Rosario Escriche Erradón was of Catalan heritage and gave her children their first music lessons.[ citation needed ]

Spain

Halffter was largely self-taught as a composer and influenced by Debussy and Schoenberg, having read the latter's Harmonielehre. [1] He was also advised by Manuel de Falla, whom he met through composer-critic Adolfo Salazar, [1] [a] and whose music then owed much to Igor Stravinsky's neoclassical style. [10] [b] Halffter also met artists like Salvador Dalí and Federico García Lorca at the Residencia de Estudiantes , and he set the poems of Rafael Alberti to music in Marinero en tierra (1925). [1] Halffter became counted among the composers of the 1930s Grupo de los Ocho, or Grupo de Madrid.[ citation needed ] [c]

He worked first as a bank clerk and later as a music critic for Madrid's El Sol , El universo gráfico, [13] and La Voz  [ es ]. [14] In the last, he praised Joaquín Rodrigo's Zarabanda lejana y Villancico  [ es ] as "the exquisite product of a refined musician". [14] He cofounded the Alianza de Intelectuales Antifascistas in 1936 and was also Head of the Department of Music at the Undersecretary of Propaganda in the Second Spanish Republic. [15] His brother Ernesto, by contrast, supported Francisco Franco. [16]

After the Spanish Civil War (1936–1939), Halffter chose to leave Francoist Spain for Mexico, [17] as only Mexico and the Soviet Union had supported the Republican faction. [18] He was among many Spanish Republican exiles who did so, [18] including Falla,[ citation needed ] Salazar, Rosa García Ascot, Jesús Bal y Gay, and María Teresa Prieto. [18]

Mexico

Halffter arrived in Mexico in 1939, [19] where he was welcomed by Carlos Chávez and Blas Galindo in Mexico City. [20] He first taught at the Escuela Superior de Música  [ es ] (1939–1940) and then at the Conservatorio Nacional de Música for 30 years. [20] Joaquín Gutiérrez Heras  [ es ], Federico Ibarra Groth  [ es ], Mario Lavista, and Rocío Sanz Quirós studied music with Galindo and Halffter here before continuing their education at major institutions in Europe or the United States. [21]

In 1946, he became editor of Nuestra música and director of Ediciones Mexicanas de Música. [20] The same year, violinist Samuel Dushkin gave the premieres of Halffter's Violin Concerto, helping to establish Halffter's growing international reputation. [20] Halffter may have participated in the 1954 and 1957 Festivales de Música in Caracas, perhaps placing him in the company of Roque Cordero and René Leibowitz. [19]

Later career

Halffter returned to Spain on many occasions after 1962. [22] He taught in Granada and Santiago de Compostela and participated in music festivals. He published a catalogue of Chàvez's music in 1971 for the composer's seventieth birthday and updated it after Chàvez's death. [23] Halffter died in Mexico City on October 14, 1987. [1]

Music

Halffter wrote the majority of his most important works while in the Grupo de los Ocho.[ citation needed ] They are typified by their mild polytonality, asymmetric rhythms, and clear melodic writing after Falla, [22] and their neoclassical style has been compared to the musical idiom of Domenico Scarlatti.[ citation needed ] [d]

Halffter began to use twelve-tone technique, as the first composer to do so in Mexico, [26] in Tres hojas de album (1953). [22] This was at a time when the technique was becoming mainstream and had already become respected as somewhat antifascist. [27] He maintained the melodic orientation of his prior style. [22]

Reception

The Spanish government honored him with a concert in his later career, and he received further honors from the Real Academia de Bellas Artes de San Fernando and the Mexican Academia de Artes. [22] In 1986, he was awarded Spain's highest award for composition, the Premio Nacional de Música .[ citation needed ] He has been remembered as a composer working in the style established by Falla [22] and as the first composer of twelve-tone music in Mexico. [26] Galindo honored him in music with Homenaje a Rodolfo Halffter (1989). [28]

Compositions

Ballet suites

Chamber

Films

Orchestra

Piano

String orchestra

Vocal

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References

Notes

  1. ↑ By comparison, Halffter's younger brother Ernesto was also guided by Adolfo Salazar, who had taught and praised him as the successor to Manuel de Falla. [4] (For this Salazar was accused of favoritism and opposed by Eduardo López-Chávarri  [ es ].) [5] By contrast, Roberto Gerhard found the autodidactic approach less fruitful and went to Vienna to study with Schoenberg in 1924. [6] Likewise, Arturo Dúo Vital  [ es ] and Joaquín Rodrigo, among many international composers, went to study with Paul Dukas at the École Normale de Musique de Paris. [7] Manuel Ponce reported that Dukas emphasized Bach, Mozart, and especially Beethoven but largely excluded opera despite some awe of Wagner. [8] Dukas rejected "ignorant" music no matter its innovations, Ponce wrote, and insisted on counterpoint and economy of means. [9]
  2. ↑ Musicians after World War I preferred Stravinsky to "Debussyan softness", Rodrigo recalled in 1949. [11] Ponce disparaged some 1920s composers as "Stravinskyists incapable of harmonizing a chorale". [12]
  3. ↑ This group was influenced by Adolfo Salazar, who encouraged its members to innovate.[ citation needed ] Salazar introduced the group to the avant-garde music of the time, including that of Claude Debussy, Arnold Schoenberg, Maurice Ravel, and Béla Bartók.[ citation needed ]
  4. ↑ Falla, E. Halffter, and Rodrigo also sometimes wrote in a Scarlattian idiom. [24] In fact, hemiola and Phrygian half cadences are common in both Baroque music and the music of Spain. [25]

Citations

  1. 1 2 3 4 5 6 7 8 9 10 Iglesias and Orrego-Salas 2001, ¶1.
  2. ↑ Suárez-Pajares and Clark 2024, Ch. 2, Sc. "When Trains Collide: López-Chavarri versus Adolfo Salazar", ¶2; Ch. 2, Sc. "Falla in Valencia, 1925", ¶1.
  3. ↑ Iglesias and Orrego-Salas 2001, ¶1; López Gómez 2024, 54n22.
  4. ↑ Suárez-Pajares and Clark 2024, Ch. 2, Sc. "When Trains Collide: López-Chavarri versus Adolfo Salazar", ¶2; Sc. "Manuel de Falla in Paris: Une heure de musique espagnole", ¶9.
  5. ↑ Suárez-Pajares and Clark 2024, Ch. 2, Sc. "When Trains Collide: López-Chavarri versus Adolfo Salazar", ¶6.
  6. ↑ Suárez-Pajares and Clark 2024, Ch. 3, Sc. "Long Live Paris! (1927–1931)", ¶3.
  7. ↑ Suárez-Pajares and Clark 2024, Ch. 3, Sc. "Long Live Paris! (1927–1931)", ¶3; Ch. 3, Sc. "Dukas and the École Normale de Musique", ¶1.
  8. ↑ Suárez-Pajares and Clark 2024, Ch. 3, Sc. "Dukas and the École Normale de Musique", ¶2, quoting Manuel Ponce's February 1928 "Paul Dukas" in La Correspondencia de Valencia 27(4).
  9. ↑ Suárez-Pajares and Clark 2024, Ch. 3, Sc. "Dukas and the École Normale de Musique", ¶2–3, quoting Manuel Ponce's 1928 "Paul Dukas" in La Correspondencia de Valencia 27(4).
  10. ↑ Suárez-Pajares and Clark 2024, Ch. 2, Sc. "The Curtain Goes Up ... and 'Now Rodericus is disinfecting the piano'", ¶8.
  11. ↑ Suárez-Pajares and Clark 2024, Ch. 2, Sc. "The Alhambra, Falla, and the Guitar", ¶31 n97, quoting Joaquín Rodrigo's 27 July 1949 "Aspectos de la vida musical contemporánea".
  12. ↑ Suárez-Pajares and Clark 2024, Ch. 3, Sc. "Dukas and the École Normale de Musique", ¶2–3, quoting Manuel Ponce's February 1928 "Paul Dukas" in La Correspondencia de Valencia 27(4).
  13. ↑ Iglesias and Orrego-Salas 2001, ¶1–2.
  14. 1 2 Suárez-Pajares and Clark 2024, Ch. 3, Sc. "Contests of 1934: Composing to Earn a Living", ¶15 incl. n68, quoting Halffter's 1934 "Información Musical. Varios conciertos".
  15. 1 2 López Gómez 2024, 52–53.
  16. ↑ López Gómez 2024, 54n22.
  17. ↑ Heile 2024, 100; Iglesias and Orrego-Salas 2001, ¶1–2.
  18. 1 2 3 Hess 2023, 741.
  19. 1 2 Heile 2024, 100.
  20. 1 2 3 4 Iglesias and Orrego-Salas 2001, ¶2.
  21. ↑ Hess 2023, 752, 761.
  22. 1 2 3 4 5 6 Iglesias and Orrego-Salas 2001, ¶3.
  23. ↑ Hess 2023, 776–777, 786.
  24. ↑ Suárez-Pajares and Clark 2024, Ch. 7, Sc. "Academician of Fine Arts", ¶10.
  25. ↑ Suárez-Pajares and Clark 2024, Ch. 2, Sc. "The Curtain Goes Up ... and 'Now Rodericus is disinfecting the piano'", ¶7.
  26. 1 2 Heile 2024, 100; Iglesias and Orrego-Salas 2001, ¶3.
  27. ↑ Heile 2024, 100, 102.
  28. 1 2 3 4 Hess 2023, 739.
  29. 1 2 3 4 5 6 7 8 9 Hess 2023, 739; Iglesias and Orrego-Salas 2001, §Works.
  30. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 Iglesias and Orrego-Salas 2001, §Works.
  31. ↑ Hess 2023, 751, 780n63.
  32. ↑ Iglesias and Orrego-Salas 2001, ¶1, §Works.

Bibliography

Further reading

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