For much of the mid-twentieth century, Roberto Gerhard found himself an outsider. He was airbrushed from much writing on contemporary music in Spain during the Franco regime, and was known in England more for his 'commercial' music for theatre, film and radio than his concert works. However, his significance as a musical innovator in developing serial technique and in the field of electro-acoustics is now being gradually recognised in both Spain and England, as well as further afield. The volume explores an extensive range of Gerhard's work from the early Wind Quintet and the Spanish ballets Pandora and Don Quixote with their overt political overtones, through to the late period Metamorphoses and a newly discovered chance-based composition Claustophilia written in response to a request by John Cage for his book Notations. One of the key themes presented throughout the book is Gerhard's innovative use of serialism. Gerhard's development of Schoenberg's technique led him to explore the serialization of both pitch and time. This volume suggests evidence for the first time that situates Gerhard's idiosyncratic experiments alongside rather than after the total serialist works of his European counterparts Pierre Boulez, Olivier Messiaen and Karlheinz Stockhausen.
- Cambridge Scholars Publishing
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Michael Russ (Editor)
Michael Russ holds degrees from the Universities of Sheffield, Belfast, and Ulster, and studied the clarinet at the Royal Academy of Music. Before taking up an appointment at the University of Huddersfield, UK in 2002, he lectured at the Universit...
Monty Adkins (Editor)
Monty Adkins read music at Pembroke College at Cambridge University, where he specialised in French mediaeval and Italian Renaissance music. Adkins then studied electronic music with Jonty Harrison at the University of Birmingham, UK, where he per...