|
Fernado Remacha Villar (15 December 1898 – 21 February 1984) was a Spanish composer, part of the Group of Eight which formed a sub-set of the Generation of '27.〔(【引用サイトリンク】url=http://www.biografiasyvidas.com/biografia/r/remacha.htm )〕 ==Early years== Remacha was born in Tudela, Navarre on 15 December 1898. At the age of nine he began to study the violin with the choirmaster of Tudela Cathedral, Joaquin Castellano. In 1911, Remacha travelled to Madrid for the purpose of studying to become a chartered accountant, but at the same time he continued his music studies. He took courses at the Madrid Conservatory where he passed at one time the first three courses of solfeggio, and had private violin classes with Jose del Hierro. Remacha lived in the home of his aunt, Isabel Soriano, who encouraged him to study harmony once he had completed the violin courses. That was how he began his instruction under Conrado del Campo, in whose classes he met Salvador Bacarisse and Julian Bautista, the people who formed the initial core of the Grupo de Madrid together with Remacha. During his period as a student in Madrid, Remacha also played in the Orquesta de Revista y Zarzuela, which performed at the Teatro Apolo and provided him with a wage of twelve pesetas a day. His first works, some of which already revealed a great talent, date from those times: the ballet "La Maja Vestida" ("The Clothed Maja") (1919), the symphonic poem "Alba" ("Dawn") (1922) and "Tres Piezas para Piano" ("Three Pieces for Piano") (1923). 1923 was also the year in which Remacha finished his composition studies under Conrado del Campo, and entered and won the Premio de Roma (Rome Prize) with a cantata and a motet for choir and orchestra, and an instrumental fugue. The grant obtained in the prize contest allowed him to travel to Rome, where he studied under Gian Francesco Malipiero, deepening his knowledge of Monteverdi and Vivaldi. In this way he gained a thorough acquaintance with the resources of the old masters, resources which he later put to use in his works through a modern idiom. The Premio de Roma awarded to Remacha by the Royal Academy of Fine Arts of San Fernando meant four years of studies with lodging at the Accademia di San Pietro in Montorio, at that time under the direction of the painter Eduardo Chicharro. The financial situation of the Accademia at the time of Remacha's arrival in September 1923 was precarious, but the grant was maintained. At the Accademia di Roma, Remacha lived with other grant winners who were among the artistic and intellectual promises of the Spain of those years. These people included Fernando Garcia Mercadal, an architect who, years later, was to construct the present-day building of the Pablo Sarasate Conservatory of Pamplona, the painter Pablo Pascual, and the draughtsman Emilio Moya. From the musical standpoint, the grant required that the winners prepare a set of annual works that were evaluated by a jury in Madrid. From this period date such pieces as the motet for choir and orchestra "Quam Pulchri Sunt" (1925), the "Sinfonia a tres Tiempos" ("Symphony in Three Tempos") (1925) or the "Homenaje a Gongora" ("Homage to Gongora") (1927), the latter a work in which Remacha showed his identification with the ideas of the Generation of '27. Remacha completed his Roman period in 1927. In 1928 he took part in the competition for a position as violist in the Symphonic Orchestra of Arbos, winning first place. He supplemented his work as a musician in the small orchestra of Union Radio, in which he played the viola together with his former teacher and friend Conrado del Campo. Bacarisse placed him in contact with Ricardo Urgoiti, who in 1929 had founded the firm Filmofono, a cinema production company that achieved enormous success with films of a commercial bent. Remacha's work at Filmofono evolved from the mere synchronisation of records (in the silent-film period) to tasks as the genuine manager and technical expert in musical affairs. He also composed incidental music for four Spanish films produced by Filmofono in the talking-film period: ''Don Quintin el amargao'' (''Mr Quentin the Sourpuss'') (1935). ''La hija de Juan Simon'' (''Juan Simon's Daughter'') (1935), ''¿Quien me quiere a mi?'' (''Who Loves Me?'') (1936) and ''Centinela alerta'' (''Sentinel Alert'') (1936). This was precisely the work that brought him into contact with Luis Buñuel, who acted as producer and in some cases, as in ''Centinela alerta'', as director. Remacha's cinema activity was also linked to the firm Cinematiraje Riera, engaged in copying films, which called on Remacha's services and knowledge in 1932. In a record shop of Urgoiti's company in Avenida Pi y Margall of Madrid Remacha met Rafaela Gonzalez, whom he married on 7 October 1932. 1930 was an important year in Remacha's career as a composer since it marked the presentation of the Grupo de Madrid, formed with Salvador Bacarisse, Julian Bautista, Gustavo Pittaluga, Juan José Mantecón, Rosa García Ascot, and the brothers Rodolfo and Ernesto Halffter. The works of these composers began to be appreciated in the period marked by the advent of the Spanish Republic. Remacha received his first Premio Nacional de Música (National Music Prize) in 1933 for his "Quartet for Violin, Viola, Cello and Piano". In 1938, in the midst of the Spanish Civil War, he received his second Premio Nacional de Música for the "String Quartet", composed in 1924 as a required piece under his Italian grant. The end of the Civil War found Remacha and his wife in Barcelona, and from there they took refuge across the French border. Separated from his family, Remacha did not feel up to remaining in the refugee camps that had been hastily set up by the French government, and in the security of his not having held a political office and not having been in the army, he decided to depart for Tudela. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Fernando Remacha」の詳細全文を読む スポンサード リンク
|