Roberto Gerhard

Abstract: There is a general perception that Gerhard’s late, modernist, style was due to a radical change of direction around the time of his First Symphony. This thesis argues that in fact several important elements integral to this ’new’ style are traceable in works as early as Dos apunts and Seven Haiku of 1921-22, and that during the intervening years Gerhard was exploring, expanding and accumulating the techniques which eventually enabled him to realise the potential of his sonic imagination. The first part of the thesis will discuss Gerhard’s origins in early twentieth century Catalonia, during the Catalan revival, with its modernisme and noucentisme, and the way in which these factors are reflected in his attitudes. In the second section the works selected will be placed in a biographical and musical context and analysed in order to demonstrate three aspects of his works. The first is that Gerhard approached each one as a separate exercise, using different methods in the most appropriate manner and disregarding questions of dogma. The second, that many of these techniques originate in the practices of the preceding generation, particularly Schoenberg, Stravinsky, Pedrell and Bartok, in addition to absorbing and applying significant elements from Catalan and Spanish traditional music. Comparators will be cited to demonstrate these facts. The final intent is to show that as the methods are applied they are explored and expanded to meet his own particular requirements and the resulting synthesis equipped him to realise their potential in his late style, fully exploited for the first time in the first movement of the First Symphony. This thesis deals with compositions preceding this work in order to demonstrate that despite the apparently disparate nature of Gerhard’s output between 1921 and 1953 there is a consistent attitude in his approach extending into the later stages of his life.

Abstract: Contents: Preface Introduction, Monty Adkins and Michael Russ Early works and life of Roberto Gerhard, Mark E. Perry 'Unquestionably decisive': Roberto Gerhard's studies with Arnold Schoenberg, Diego Alonso Tomas 'Promoting and diffusing Catalonian musical heritage': Roberto Gerhard and Catalan folk music, Julian White Roberto Gerhard's ballets: music, ideology and passion, Leticia Sanchez de Andres Roberto Gerhard, Shakespeare and the Memorial Theatre, Samuel Llano Music as autobiography: Roberto Gerhard's Violin Concerto, Michael Russ Two men in tune: the Gerhard-Camus relationship, Belen Perez Castillo Roberto Gerhard's serial procedures and formal design in String Quartets Nos 1 and 2, Rachel E. Mitchell Composing with sets: Roberto Gerhard's Concerto for Piano and String Orchestra, Michael Russ Roberto Gerhard the serial symphonist, Darren Sproston In search of a 'third way', Monty Adkins The influence of electronic music on Roberto Gerhard's Symphony No 4 'New York', Carlos Duque Roberto Gerhard's BBC sound compositions, Gregorio Garcia Karman Select bibliography Index.

Abstract: This essay takes as its starting point the involvement of exiled Spanish composers Salvador Bacarisse and Roberto Gerhard with the public radio broadcasters of the countries to which they were exil...

Abstract: Since his death in 1970 Roberto Gerhard's posthumous reputation has suffered from precisely the kind of neglect that seems to follow the death of many a major artist. For those admirers in Britain and Spain expecting to have to wait for the centenary of his birth in 1996 for any kind of reassessment, 1992 provided an unexpected, and very welcome, interim bonus.