Abstract
Following World War II, Rene Leibowitz, principal defender and promoter of dodecaphonism in France, became a prominent figure in the intellectual milieu, as music critic for literary reviews of the period. In October 1947 he published a polemic article entitled “Bela Bartok, or the possibility of Compromise in Contemporary Music”, which appeared in Les Temps Modernes (review founded by Jean-Paul Sartre). The postulates of this text would have an unsuspected influence on the post-War generation of composers. Through a minute examination of the text, as well as other period sources, this paper proposes two principal objectives: to analyze the reception of the article by the French biographers of Bartok and to measure the impact of the ideas of Leibowitz on his students, notably Pierre Boulez.
Highlights
Following World War II, René Leibowitz, principal defender and promoter of dodecaphonism in France, became a prominent figure in the intellectual milieu, as music critic for literary reviews of the period
In October 1947 he published a polemic article entitled “Bela Bartók, or the possibility of Compromise in Contemporary Music”, which appeared in Les Temps Modernes
Through a minute examination of the text, as well as other period sources, this paper proposes two principal objectives: to analyze the reception of the article by the French biographers of Bartók and to measure the impact of the ideas of Leibowitz on his students, notably Pierre Boulez
Summary
Más aún, el impacto de sus ideas, comienza recién a ser medido. Se visibilizará la importancia de dicha publicación, la inserción de Leibowitz en los cenáculos intelectuales del París de la época, aportando algunas ideas claves para la comprensión del artículo citado. Finalmente, tomando en cuenta un corpus de documentos de la época, evaluaremos el impacto de dicho escrito en los biógrafos de Bartók, así como su influencia en el medio musical francés de la post-guerra, en particular, en su alumno Pierre Boulez. La de aquellos que rechazan totalmente dicha forma de escritura, considerándola “nuisible à l’avenir de la création”; un segundo grupo, más conciliador, que reconoce en ella un cierto interés pero que la estima “difficile et insuffisant pour assurer le devenir de la musique”; y, finalmente, un grupo de apologistas que “l’identifient à la modernité”[3].
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