Pub Date : 2021-08-09DOI: 10.1080/17526272.2021.1950964
K. Bowan
When writing on the Spanish Civil War for the Guardian in 2007, Eric Hobsbawm remembered it was the artists, writers and poets who documented it by means of ‘the pen, the brush and the camera’. Absent in Hobsbawm’s recollections is any mention of music or musical performance. Taking Alan Bush’s 1939 Popular Front spectacle, Festival of Music for the People as a point of departure, this article explores some of the myriad musical responses to the Spanish Civil War, including a commission for the young Benjamin Britten, Frida Stewart’s work with the Basque refugee children’s choirs and the activism of the celebrity singer Paul Robeson. These responses involved music in fundamentally different ways, from the creation of new art music for a political cause to the use of music in social action. Taken together they provide a glimpse of Britain’s diverse and multifaceted musical response to the question of Spain.
埃里克·霍布斯鲍姆(Eric Hobsbawm)在2007年为《卫报》撰写有关西班牙内战的文章时记得，是艺术家、作家和诗人通过“笔、笔和相机”记录了这场战争。霍布斯鲍姆的回忆中没有提到音乐或音乐表演。本文以艾伦·布什(Alan Bush) 1939年的“人民阵线”(Popular Front)盛典“人民音乐节”(Festival of Music for the People)为出发点，探讨了对西班牙内战的无数音乐回应，包括年轻的本杰明·布里顿(Benjamin Britten)的委托、弗里达·斯图尔特(Frida Stewart)与巴斯克难民儿童合唱团的合作，以及名人歌手保罗·罗伯逊(Paul Robeson)的激进主义。这些回应以完全不同的方式涉及音乐，从为政治事业创造新的艺术音乐到在社会行动中使用音乐。把它们放在一起，我们可以一窥英国对西班牙问题的多元和多方面的音乐回应。
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Pub Date : 2021-08-09DOI: 10.1080/17526272.2021.1950962
J. Rossi
From 1936 to 1939, the Spanish Civil War gave several film directors the opportunity to stand side by side with Republican soldiers by filming them in combat. Henri Cartier-Bresson first movie Victoire de la vie (Victory of Life, 1937), then, one year later, as the nationalist side was gaining ground, L’Espagne vivra (Spain shall live, 1938). The music for Cartier Bressons’s two films follows two contrasting strategies: for Victoire de la vie, French composer Charles Kœchlin composed an original soundtrack in a relatively homogeneous style, whereas in L’Espagne vivra, Louis Saguer made use of a compilation of pre-existing symphonic pieces. This article intends to analyse how these two musical approaches align themselves with the contrasting but complementary analyses of the Spanish Civil War provided by Cartier-Bresson's two films.
从1936年到1939年，西班牙内战为几位电影导演提供了与共和党士兵并肩作战的机会，拍摄了他们的战斗场景。亨利·卡蒂埃-布列松的第一部电影《生命的胜利》(Victoire de la vie, 1937年)，然后，一年后，随着民族主义一方取得进展，《西班牙将永存》(L 'Espagne vivra, 1938年)。卡地亚·布列松的两部电影的音乐采用了两种截然不同的策略:在《生活的胜利》中，法国作曲家查尔斯·Kœchlin以一种相对同质的风格创作了原创配乐，而在《幸福的espagne vivra》中，路易斯·萨格则使用了已有交响乐作品的汇编。本文旨在分析这两种音乐方法是如何与卡蒂埃-布列松两部电影对西班牙内战的对比分析相结合的。
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Pub Date : 2021-08-09DOI: 10.1080/17526272.2021.1950957
Carol A. Hess
Several scholars have discussed the impact of the Spanish Civil War on the Black singer, actor, and activist Paul Robeson, including his brief 1938 tour of Republican Spain. Yet none has considered the tour in musical terms, nor taken into account Spanish reaction. Drawing on coverage in the Republican press, along with recent work on vocality and identity, I argue that the tour challenged prior notions of blackness in Spain. Spanish journalists addressed Robeson’s singing from the standpoint of the ‘suspect whiteness of Spain’ (to borrow Fra-Molinero’s apt description) while Robeson himself linked blackness and flamenco and reformulated the ‘sorrow song,’ as W. E. B. Du Bois called the spiritual. I also analyse Robeson’s performances of ‘Ol’ Man River’ from the musical Show Boat in terms of Republic ideology. In sum, Robeson challenged Franco’s vision of ‘blood purity’ (limpieza de sangre) while calling for racial justice worldwide.
几位学者讨论了西班牙内战对黑人歌手、演员和活动家保罗·罗布森的影响，包括他1938年对共和党西班牙的短暂访问。然而，没有人从音乐的角度考虑这次巡演，也没有人考虑西班牙的反应。根据共和党媒体的报道，以及最近关于声乐和身份的研究，我认为这次巡演挑战了西班牙黑人的传统观念。西班牙记者从“西班牙可疑的白人”(借用Fra-Molinero的贴切描述)的角度来评论罗布森的歌唱，而罗布森本人则将黑人与弗拉门戈联系起来，并重新定义了W. E. B. Du Bois称之为精神的“悲伤之歌”。我还从共和国意识形态的角度分析了罗布森在音乐剧《Show Boat》中对《Ol’Man River》的表演。总之，罗布森在呼吁全球种族正义的同时，挑战了佛朗哥的“血统纯洁”(limpieza de sangre)观点。
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Pub Date : 2021-08-09DOI: 10.1080/17526272.2021.1950963
Diego Alonso
A unique figure within Spanish music circles of the 1930s, the Berlin-born Jewish musicologist Otto Mayer-Serra was a central figure in a transnational network of communist musicians actively engaging with musical propaganda in support of the Republic during the Spanish civil war. Hanns Eisler, Ernst H. Meyer, Ernst Busch, Grigori Schneerson, Ferencz Szabó and several members of the Union of Soviet Composers belonged to this network. The article’s first section examines Mayer-Serra’s attempts to introduce in Spain a number of propagandistic musical practices that had been central in the communist splinter group of the German Workers’ Music Movement before 1933. In the second section I discuss Mayer-Serra’s intensive promotion in wartime Spain of the genre of overtly propagandistic ‘battle songs’ composed by members of this network. These practices and repertoires are also studied as part of the powerful movement of Catalan nationalism in 1930s Spain.
出生于柏林的犹太音乐学家Otto Mayer-Serra是20世纪30年代西班牙音乐界的一个独特人物，他是共产主义音乐家跨国网络的核心人物，在西班牙内战期间，他积极参与音乐宣传，支持共和国。hans Eisler, Ernst H. Meyer, Ernst Busch, Grigori Schneerson, Ferencz Szabó以及苏联作曲家联盟的几位成员都属于这个网络。文章的第一部分考察了迈尔-塞拉试图在西班牙引入一些宣传性的音乐实践，这些实践在1933年之前一直是德国工人音乐运动的共产主义分裂团体的核心。在第二部分中，我讨论了Mayer-Serra在战时西班牙的大力推广由该网络成员组成的公开宣传的“战斗歌曲”类型。这些做法和曲目也被研究为20世纪30年代西班牙加泰罗尼亚民族主义强大运动的一部分。
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Pub Date : 2021-08-09DOI: 10.1080/17526272.2021.1950956
Grant Olwage
During the time Paul Robeson lived in Britain he became a global star: a singer, film and stage actor, and in due course a political activist. It is to this time that scholars attribute his political awakening, which entailed, a broadening of his outlook to encompass an internationalist perspective. The Spanish Civil War galvanized the singer to action. His involvement in the war, which included regular appearances at rallies in Britain and singing to the troops in Spain in early 1938, was, by the singer’s own estimation, a turning point in his life, and a catalyst for the singer’s turn to activism. The claim I make is that Robeson’s internationalist politics was not only expressed in song but emerged through it. I identify several strands to Robeson’s musical internationalism, showing how the field of war provided a platform for the song strands to coalesce into a meaningful statement.
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Pub Date : 2021-07-13DOI: 10.1080/17526272.2021.1950965
G. Kopytova
In this article I examine the theatre production of Salute, Spain! by A. Afinogenov, in Leningrad, 1936, with music by Shostakovich. Afinogenov's heroic and romantic piece was a response to the struggle of the Spanish people against fascism, and was perceived by the ideologues of Soviet culture as a gift to the Extraordinary VIII All-Union Congress of Soviets of the USSR, which approved the new (‘Stalin’) constitution. I show how the play was then removed for ideological reasons in connection with the persecution of Afinogenov and his exclusion from the Party. Inspired by the ideological attitudes of the political system, this work about the opposition of the Spanish people to fascism was banned and never returned to the stage. Finally, I examine the fate of Shostakovich's musical score, returned to him from the Drama Theater upon his request in 1964, and suggest that his revived interest in his music, written 30 years earlier, coincided with a wave of information in the Soviet press about political events in Spain in the mid-1960s.
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Pub Date : 2021-06-11DOI: 10.1080/17526272.2021.1938840
H. Hughes
This article traces the ways in which RAF Bomber Command has been memorialized in the UK since the 1940s, focusing on those who have organized memorials and associated commemorations. Distinct phases can be identified. Until the 1970s, the Command was accorded a prominent role in official memorial and ceremonial activities. Veterans’ activities reflected this acknowledgement. From the 1980s, in the face of debates about the morality of area bombing of German cities, however, veterans’ organizations and families began to articulate the view that Bomber Command’s wartime contribution had been overlooked. In consequence, they embarked upon activities to revise official memory. This included distinctive forms of memorial activity on the part of veterans and the postmemory generation, including the widespread appearance of ‘small memorials’ and, in the twenty-first century, two large-scale memorial sites, in London and in Lincoln.
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Pub Date : 2021-06-01DOI: 10.1080/17526272.2021.1930701
Daniel Fitzpatrick
This article examines two major rituals of contemporary national life in the UK: association football and military commemoration. It explores the ways in which remembering is enacted and performed within UK football and how these processes are related to issues of power, agency and identity in Britain today. Employing the concepts of collective memory and spectacle, this article argues that ‘memory entrepreneurs’ have sought to embed football as ‘site of memory’ in the performance of military commemoration. It concludes that this has contributed to the transformation of military commemoration, from a ritual that is observed to a spectacle that is consumed. This paper thus contributes to emergent debates on the militarization of civilian space, the shifting nature of civil–military relations in the twenty-first century, and the role of military remembrance in the reproduction of Britishness.
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Pub Date : 2021-05-17DOI: 10.1080/17526272.2021.1928384
Georgia Vesma
President Ford’s announcement of ‘Operation Babylift’, a plan to airlift over 2,000 Vietnamese ‘orphans’ from South Vietnam to the United States in March 1975, prompted a wave of interest in adoption of Vietnamese children by American families. This was the culmination of years of growing interest in adopting Vietnamese ‘orphans’. Contemporary newspaper reports credited television and photographs with motivating potential adopters. Adding to scholarship which explores how photographs create discourses of ‘rescue’ and ‘responsibility’ in humanitarian contexts, this article examines how arguments for transnational adoption as a solution to Vietnam’s ‘orphan problem’ developed in the years leading up to Babylift. It notes stark differences in depictions of white-Amerasian and black-Amerasian children in keeping with racial discourses of early 1970s America. The work of female journalists in Vietnam has historically been marginalized; this article redresses this, arguing that American women photographers offered a specific perspective on the ‘orphan problem’.
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Pub Date : 2021-04-03DOI: 10.1080/17526272.2021.1887578
Benjamin S. Walton
Absolute war, total war, world revolution: the nature and scale of the global conflicts that took place around 1800 have been explored (and contested) both at the time and ever since, and recent scholarship has begun to resituate the literary, visual, and theatrical art of the period within this landscape of perpetual conflict. Opera historians, though, have until recently largely steered clear of the operatic mediation of war beyond its most local manifestations. My article returns to the subject of opera and war, to reflect on how an expanded understanding of wartime, in reaching beyond the actual war event (Favret, 2010. War at a Distance: Romanticism and the Making of Modern Wartime. Princeton: Princeton University Press), can provide new insights into the recent scholarly work on opera’s transnational mobility (and malleability), its articulation of modernity and its framing of cross-cultural encounters.
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