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La consagración de la primavera – Alejo Carpentier – Google Books
Skip to main content. Log In Sign Up. Crucially, ritual chanting incites slaves to begin revolutionary actions against their white masters1. El acosoThe Chase deals with the s student-led revolution that overthrew Cuban dictator Consageacion Machado, in which Carpentier personally participated.
The Eroica is significant in terms of the structure of El acoso too. Carpentier attempted carpentief parallel the length of the symphony with both the timeframe of the action and the time it takes to read it. He also tried to integrate the model of sonata form, deliberately directing readers to these analogies3. It is yet to be published in English.
La Consagracion de La Primavera
Translations given in this article are mine. This piece is widely considered revolutionary for its burst- ing rhythmic irregularities and groundbreaking harmony.
In the novel, it is used as a means to express not only innovative aesthetic ideas but also consagracioh political impulses. Consagraciom latter conveys much irony, for The Rite grew out of, and was re-absorbed into, Western capitalist culture. Moreover, Stravinsky held strong anti-revolutionary political views. After the victory of the Bolsheviks, he became a resentful tsarist patriot, recoiling into a hard-line monarchism cf. Vera, the heroine, is a: Vera makes a trip to Benicassim eastern Spain to visit the Frenchman, who has enrolled as a militia- man with the International Brigades against Franco.
There she meets Enrique, a bourgeois Cuban architect also fighting against Franco who later becomes her partner. Vera first thinks about The Rite during consagraion train journey to Spain through the Pyrenees.
It is the power of her own imagination that liberates Vera from her sorrows: During the s, as the political atmosphere in Cuba thickens, Vera abandons her Rite project as she finds endless difficulties in realising it. This song was adopted world-wide by communist, socialist, social democrat and anarchist movements, and became the official anthem of the Soviet Union until Commonly sung with the pirmavera in a clenched fist, the song is a stirring call to build a new society, as the chorus tells: She and her family escape the October Revolution to settle in France.
For more information about this project, see Bleek [? Carpentier here presup- poses an informed reader who knows not only that the real-life Robeson was the first major singer to perform African-American folk songs and spirituals on an international stage, but that he was overtly involved with the socialist cause and anti-colonialist movements, regularly performing for the poor and the oppressed It is the cause, it is the cause, my soul; Let me not name it to you, you chaste stars!
It is the cause. Yet I’ll not shed her blood, Not scar that whiter skin of hers than snow, And smooth as monumental alabaster. Yet she must die, else she’ll betray more men.
She became a renowned figure while working for the Imperial Russian Ballets, before she escaped the Bolshevik Revolution. One may suggest that this scene signals the moment when the heroine begins to question her own conservative political views.
She soon hears the anthem sung by supporters of the Cuban Revolution, which she will eventually embrace. Once settled back in Cuba, Enrique travels to the U. In New York City, he meets up with his frivolous cousin Teresa and takes her to a restaurant frequented by members of the American avant-garde. He greatly enjoys the vaudevillian combination of song, dance, magic tricks and strip- ping. Yet his mood changes dramatically at the end of the show, as he tells us how the orchestra, with a certain solemnity, began to play a piece which to me was extremely familiar, tremendously familiar, dramatically familiar.
I must have got the wrong music.
Miriam’s review of La consagración de la primavera
And twenty-four girls enter, all of the same look and height, cast in the same mould, wearing ermine hats, red jackets, red-striped skirts, red boots, and begin dancing symmetrically, in an almost military manner: Conasgracion the conductor makes a sign to his musicians.
And so they play it again. And there is no possible doubt.
Pero no, no, no, no. No hay dudas ahora.
The audience of the cabaret, which Enrique perceives as ideologically despicable, reminds him of the uses of these composers by certain non-socialist societies: The perversely trivialised cabaret version violently clashes with his memories of the impetuous combatants singing along with Robeson. The dancing-girls are fake protesters who do not incite their primavear to arise nor to build a new socialist society.
Y vuelve a escucharse lo de antes. Y ya no hay duda posible. This opera is about an amusement town called Mahagonny, where money alone rules. The town is founded to provide satisfaction and pleasure to people, and is finally destroyed by those same desires. On their way to their hotel, they have a sharp ideological disagreement over the song: And especially not in the Rainbow Room.
Also, I see a bad omen in this: Here, all stanzas are declaimed over a typical rap rhythmic backing, and the refrain is sung by the chorus girls in a hilariously sensual manner. As a result, the original militant character of the song is washed out. More generally, the genre of rap, which has become a thriving multi-million industry in the last decades, is easier to identify with commercial consgracion than with revolutionary ideals.
Teresa, light-hearted, perceives and reacts carpeniter the anthem very differently. Teresa thinks of a very respectable piece by Beethoven but incorrectly attributes it to Wagner, whose works con- tain several pairs of illicit lovers. The musically-informed reader can appreciate the undoubted musical similarity carpentiet the socialist anthem and the marches by Wagner and Tchaikovsky, and also the clash between the revolutionary mes- sage of the song and the ideologies associated with the former com- posers.
This is an additional irony that Carpentier could not possibly have foreseen. The Years of Promise and Achievement. University of Massachusetts Press.
The Rise and Fall of the City of Mahagonny. John Willett, Ralph Manheim. Obras Completas Series Dorinson, Joseph, William Pencak, eds. Essays on His Life and Legacy. Stravinsky and the Russian Traditions: A Biography of the Works through Mavra. Remember me on this computer. Enter the email address you signed up with and we’ll email you a reset link. Click here to sign up.
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