Gerhard, Roberto [Gerhard Ottenwaelder, Robert](b Valls, 25 Sept 1896; d Cambridge, 5 Jan 1970). Catalan composer, active in England. The most significant figure of the generation after Falla, he continued and extended the folkloric vein of his predecessors, while also internationalizing it through his firm commitment to an altogether more broadly based European modernism, and through his relocation to Britain after the civil war. Establishing a wider reputation only in the 1950s, he displayed an increasingly radical and exploratory outlook and until his death contributed energetically to the development of serial and electronic composition, and to timbral and textural innovation.

1. Beginnings.2. Catalonia and the Spanish Civil War.3. Exile.4. Final years.WORKSWRITINGSBIBLIOGRAPHY

MALCOLM MacDONALD

Gerhard, Roberto

1. Beginnings.

Gerhard's family origins (German-Swiss father, Alsatian mother) produced a polyglot European conversant in several cultural traditions; nevertheless he identified strongly with the region of his birth, considering himself a Catalan. In Catalan as in German his given name was Robert; he assumed the Castilian form ‘Roberto’ in exile, after the defeat of the republic and Franco's suppression of Catalan autonomy, language and culture. The Spanish Civil War marked the great fissure in Gerhard's life, around which so much of his music resonates with irony, longing and defiance.

Though Gerhard displayed an early aptitude for music his father, a wine exporter, discouraged aspirations in that direction and sent him in 1908 to study commerce at Lausanne, where he contrived to take lessons in harmony and counterpoint with Hugo Strauss. He next enrolled at the Musikhochschule in Munich, but after four months his studies were terminated by the outbreak of world war. Gerhard returned to Catalonia and began to take piano lessons in Barcelona from Granados; after the latter's death in the mid-Atlantic in 1916 lessons continued with Granados's disciple Frank Marshall.

He also became the last composition pupil of Pedrell – mentor to Albeniz, Granados and Falla, and advocate of a Spanish national style which would apply the methods of central European symphonism to a creative blend of the many regional idioms of

Iberian folk music. Under Pedrell's patronage Gerhard achieved public performances of his early works and came to assist the distinguished Catalan folklorist Joan Amadés in notating and editing folksongs collected with a phonograph, in the manner of Bartók. He became part of the still vibrant intellectual circle of Catalan modernisme, and absorbed Parnassian, symbolist and surrealist influences through associating with the poets Josep Carner (whose noucentisme movement was dedicated to combining the arts and sciences), Josep Vincent Foix and J.M. Lopez-Picó. His musical companions included Mompou, Frederic Longas and Adolfo Salazar; he began a lasting friendship with the soprano Concépcio Badia, who was to champion his vocal works.

Nevertheless Gerhard's ‘Catalanism’ (Catalanitat) was always tempered by an international perspective. He concentrated at first on chamber, piano and vocal music. Among the earliest scores the surviving Piano Trio shows a remarkably assured and sophisticated assimilation of French instrumental technique (Ravel's Trio of 1914 seems a specific model) combined with allusion to Spanish folkloric idioms, rather in the Franco-Andalusian manner so successfully developed by Falla. But the intense, if not overheated, chromaticism of the song cycle L'infantament meravellós de Schahrazada had few precursors in Spanish music (apart from Pedrell's Wagnerian enthusiasms) and suggests an engagement with contemporary German and Russian trends that required careful development.

Ceasing his apprenticeship with Pedrell in 1920, Gerhard sought to broaden his artistic horizons, visiting Paris (where he considered studying with Koechlin), Berlin and London. After Pedrell's death in 1922 he besought Falla for further tuition, but was rebuffed. His two most recent works – the aphoristic Dos Apunts for piano and the Sept Haïki for voice and ensemble, which attests knowledge of Pierrot Lunaire – signalled a radical reorientation of creative outlook. Their sparse textures and disciplined, almost ‘proto-serial’ handling of chromatic cells pointed in a direction where the Spanish nationalist tradition offered no guidance. In October 1923 Gerhard wrote to Schoenberg, sending these scores. After an interview he was accepted as a student and remained with Schoenberg as pupil and assistant until 1928, first in Vienna – where Gerhard met his future wife, Leopoldina (‘Poldi’) Feichtegger, and was befriended by Berg and Webern – and from 1925 in Berlin, where Schoenberg took over Busoni's masterclass at the Preussische Akademie der Künste.

The numerous chamber and vocal works written during these years of strict tutelage have remained virtually unknown, for the only scores Gerhard released for performance were the last two, a Concertino for strings and the Wind Quintet. They show a thorough assimilation of cardinal Schoenbergian precepts: clarity and concision of form, intricate contrapuntal working, textural variety and a unified harmonic idiom. The Quintet, especially, is clearly

composed in the context of Schoenberg's own contemporary chamber music, with its neo-classical formal preoccupations and exploration of the potential of the serial method. Gerhard deftly articulates total chromaticism through serial principles – though he bases the work on a row of only seven notes, deployed with increasing freedom and admitting more quasi-diatonic reference than Schoenberg would have allowed himself at this period.

Among such references, significantly, are stylized evocations of Spanish folktunes: even after his Second Viennese ‘finishing school’, Gerhard had no intention at this stage of putting an unbridgeable gulf between himself and his musical roots. Shortly afterwards he celebrated the end of his Schoenbergian studies, and his return to Barcelona, with works of an almost defiantly nationalistic character: the 14 cançons populars catalanes and two sardanas (in the measure of the Catalan national street dance) scored for the traditional ensemble of folk wind instruments, the cobla.

Gerhard, Roberto

2. Catalonia and the Spanish Civil War.

Simultaneously a member of the predominantly conservative Associació Compositors Independents de Catalunya (CIC) and a founder – with Miró, Josep Lluis Sert and Dali – of the radical Agrupación d'Amics de l'Art Nou (ADLAN), Gerhard closely identified with the Catalan artistic heritage and his compatriots' cultural aspirations, yet became a propagandist for the best in contemporary European music, both as a writer and as an initiator and conductor of new music concerts in Barcelona. In 1930, the year he married Poldi Feichtegger, he presented an all-Gerhard concert which provoked the now elderly but widely respected Luis Millet, conductor of the Orfeó Català and leading representative of an older generation of folklorists, to severe criticism in the pages of Revista musical catalana. Gerhard's retorts to Millet inaugurated a regular column in the weekly arts journal Mirador, through which he campaigned tirelessly on a wide range of topics. A perennial theme, naturally, was the need for a wider reception and understanding of Schoenberg, for whose first visit to Barcelona – to conduct Pierrot Lunaire in 1925 – Gerhard had been partly responsible. In 1931–2 Schoenberg and his wife spent eight months in the city as guests of the Gerhards: it was during this time that the bulk of Moses und Aron was composed, and Gerhard, in association with Casals, arranged for Schoenberg (and later Webern) to conduct concerts with Casals's orchestra. But loyalty to Schoenberg did not blind Gerhard, – as it did some of his fellow pupils – to the importance of Bartók and Stravinsky. His journalism attests a deep admiration for both composers, and the conviction that their handling of the motivic cells of folkloric material was a discipline Spanish composers must acquire.

In 1931 Gerhard became professor of music at the Escola Normal de la Generalitat in Barcelona. When it was merged the next year with the Biblioteca de Catalunya, he headed the music department until 1938, producing editions of 18th-century Catalan composers. With the establishment of an autonomous Catalan Government in 1932, Gerhard also became a member of the advisory council to the Ministry of Fine Arts. Working as a translator, he made available Catalan versions of several (mainly German) theoretical texts. The climax of his internationalist advocacy, however, was the 16th ISCM festival, held in Barcelona in 1936. Gerhard had belonged to the ISCM since its 1932 Vienna Festival, where Concépcio Badia, conducted by Webern, had introduced some of the Cançons populars catalanes. He was the principal organizer and moving force behind the Barcelona ISCM festival, in which Berg's Violin Concerto received its world première, as did, in the same concert, Gerhard's ballet Ariel.

A short cantata and two ballets (both originally conceived as collaborations with Massine and Miró for Colonel de Basil's Ballets Russes de Monte-Carlo) constitute Gerhard's chief works of the 1930s. All three examine issues of Catalan identity, though from different perspectives. The cantata L'alta naixença del rei en Jaume, drawn from a poetic novel of Carner, veils a slightly indelicate national myth in mock-religious form. It deploys the free-tonal harmony of the folksong arrangements in much more complex and sophisticated structures, but despite the 11-note kernel of a 15-note passacaglia ground, concerns itself little with serial procedures or the total chromatic. Ariel, a surrealist reinterpretation (scenario by J.V. Foix) of Shakespeare's The Tempest in the imagery of the ‘Patum de Berga’ and other Catalan folk festivals, was in fact rejected by Massine as ‘too symphonic’, and remains unstaged. Perhaps uneasily, certainly uncharacteristically, it blends generalized ‘Spanish-style’ gestures and neo-classical rhythms with a broodingly intense Bergian chromaticism.

Shortly after the concert première of Ariel in 1936 Gerhard obtained a commission from de Basil's company for a full-scale ballet based directly on the traditional Catalan dances and festival folklore – with fire, fireworks and masks – surrounding the summer solstice. The scenario was by Gerhard's friend Ventura Gassol, arts minister in the Catalan government. Less than a month later the nationalist insurrection touched off the Spanish Civil War; Catalonia was a principal centre of Republican resistance, and Barcelona, where Gerhard remained throughout, saw street battles and bombings. Though elevated in 1937 to the Central Music Council of the Republican government, he steered clear of direct political involvement; his brother Carles, however, a member of the Catalan parliament, had care of the defence of the great monastery of Monserrat, where Manuel Azaña, president of the Spanish republic, took up residence for the war's duration. Gerhard's creative energies were channelled into the new Catalan ballet; in it

he put his Stravinskian-Bartókian precepts into practice by combining the folksongs, patriotic songs and ritual dances of his native region into a monument of the Catalan culture menaced by Franco's forces.

In January 1939 he flew to Perpignan en route to an ISCM meeting in Warsaw; within days Barcelona fell to the nationalist offensive of General Yagüe. Compelled to remain in France, Gerhard continued work on the ballet score, now entitled Soirées de Barcelone, but it was definitively abandoned some months later, largely orchestrated but with its final sections only partly scored and in variant drafts. Whether penned in the closing months of the civil war, or from beyond the Spanish border, the ‘Dawn’ music of the ballet's last tableau, with its heroic-elegiac brass statement of ‘Els segadors’ (‘The Reapers’) – Catalonia's national hymn and a communist marching song in the civil war – is clearly a tragic meditation on the region's fate.

Gerhard, Roberto

3. Exile.

In France the Gerhards, with Miró and Sert, resorted to Paris and an artists' colony in Meudon. However, in June Gerhard accepted a one-year fellowship at King's College, Cambridge, arranged by E.J. Dent and J.B. Trend. In Cambridge he was to remain, supporting himself precariously after 1940 as a freelance composer. In England his Catalan and Schoenbergian roots meant equally little, and no audience existed for his principal works. Ironically, his ‘Spanish’ identity was his most useful passport to remunerative work. He wrote and presented Spanish-language features for the BBC's overseas service, and developed a fruitful association with the BBC Concert Orchestra through copious arrangements of, and fantasias on, Spanish light music and zarzuela melodies, under the pseudonym of ‘Juan Serralonga’ (a 17th-century Catalan fighter against Castilian oppression).

Gerhard (who only assumed British citizenship in 1960) must initially have hoped for the fall of Franco and the restoration of Spanish liberty as the likely outcome of a world war against fascism. From 1940 on he composed much more copiously; the major works of the decade maintain and extend his involvement with Spanish culture even as, by a subtle osmosis, they become ever more deeply infused with a developing view of post-Schoenbergian serial practice. In 1941, Pedrell's centenary year, he produced two commemorations of his former master. Like the orchestral homage which Falla, unknown to Gerhard, was writing in Argentina, the Symphony (‘Homenaje a Pedrell’) is based on themes from Pedrell's unperformed opera La celestina. Only the finale (‘Pedrelliana’) was heard in Gerhard's lifetime, but Cançionero de Pedrell, songs from different regions of Spain arranged from Pedrell's monumental collection, has become one of his best-known works.

More important was the substantial Don Quixote ballet, composed for chamber orchestra to Gerhard's own scenario in 1940–41. Further developed through his score for an extended BBC radio dramatization of Cervantes's novel, the music was reshaped in a ‘symphonic suite’ before being re-cast, in a new and shorter form, for the Sadler's Wells production which finally took place in 1951 with choreography by Ninette de Valois and décor by Edward Burra. This personal interpretation of the emblematic figure of Spanish literature as ‘the knight of the hidden images’, the major project of the war years, remains a central achievement. Meanwhile two further ballets had been composed and staged – Alegrías, a ‘divertissement flamenco’ in Andalusian style for the Ballet Rambert, and Pandora, an anti-fascist fable for the Ballets Joos, saturated with Catalan musical symbolism.

In Don Quixote and the bravura Violin Concerto he composed for the Catalan virtuoso Antonio Brosa (the slow movement, a tribute to Schoenberg on his 70th birthday, includes chorale-like writing on the 12-note row of Schoenberg's Fourth Quartet), Gerhard perfected, as far as was possible in a tonal context, a freely serial handling of Hispanic and diatonic materials. His last major work of the decade, the comic opera The Duenna after Sheridan's comedy of money and marriage in old Seville, expands this to recreate elements of the zarzuela and the Spanish Baroque tonadilla escenica along with a near-perfect mating of Spanish musical idioms to English speech-rhythms. The result, the summatory masterwork of his first 50 years, remained unstaged in Gerhard's lifetime, though a BBC studio broadcast (1949) led to a concert performance at the 1951 ISCM festival in Wiesbaden – where its idiom was criticized, doubtless predictably, as passé.

In fact Gerhard had already moved into closer engagement with traditional serial technique in the flute Capriccio, the piano Impromptus and above all the Piano Concerto, whose movement titles refer to Renaissance Spanish keyboard music and whose searing slow movement, ‘Differéncias’, based even yet on a Catalan folk melody, is his darkest elegy for Spain. Having at last embraced strict 12-note writing he began at once to transcend it.

‘A composer’, Gerhard once wrote, ‘needs grace (inspiration), guts, intellect, madness; and systems are a sine qua non, because the intellect can only work, only take grip, when confronted by a system’. His lifelong fascination with (and distrust of) systems co-existed with an unusually acute awareness of music as an art of sound, not paper, and a fascination with sound as such. In the music of his last 20 years he sought to extend and develop serialism in new directions – not, though he closely studied the work of his younger contemporaries, those of Darmstadt – while treating it where necessary with quixotic freedom (the epithet is his). Part of the quixotry, and certainly an intuitive counterbalance to serialism's intellectual structures, was his delight in producing vibrant, almost tactile sonic structures with both conventional and

unconventional means. This quest for new sounds and tone-colours made him the first important composer in Britain to embrace electronic techniques, still in their infancy. Working largely with reel tape recorders in a tiny home studio, Gerhard collected raw sounds of all kinds for electronic manipulation, evolving his own brand of musique concrète, which he termed ‘sound composition’.

Even in Spain his works were rarely played or published before 1939; after that date they were proscribed there, and hardly better accommodated in Britain until the late 1950s. From 1949 (when he began an enduring collaboration with the Shakespeare Memorial Theatre, Stratford-upon-Avon) right up to his death, Gerhard earned his living principally through incidental scores for radio, stage and screen – some of them the test-bed for radical sonic innovations. His music for Bridget Boland's The Prisoner was probably the first in Britain involving tape, and Gerhard's electronic music was one notorious aspect of Peter Brook's controversial 1955 Stratford production of King Lear.

Gerhard, Roberto

4. Final years.

With the première that year of the Symphony no.1 in Baden-Baden, and a 60th birthday issue of The Score devoted to Gerhard in 1956, his major works came to command wider attention. They were more frequently programmed by the BBC, where his friend William Glock became Controller of Music. Gerhard appeared as a teacher, lecturer and broadcaster: his deep humanity and extremely wide general culture, added to his creative interest in the other arts, in science, mathematics, and philosophy, infused an elegant prose style. At Glock's request he taught at several Dartington Summer Schools; in 1960 he was visiting professor of composition at the University of Michigan and in 1961 he taught at the Berkshire Music Center, Tanglewood. The BBC commissioned the Symphony no.2, the cantata The Plague after Camus (with whom Gerhard collaborated on an unrealized operatic treatment of L'étranger), and the Concerto for Orchestra: the latter, specifically for the BBC SO's American tour, was premièred in Boston. Further commissions came from the Koussevitzky Foundation (Symphony no.3), the New York PO (no.4), the London Sinfonietta (Libra) and the Fromm Foundation (Symphony no.5, never completed).

This international recognition coincided with a highly productive and boldly exploratory ‘late style’. By the time he wrote the First Symphony, while recuperating from the first onslaught of the heart condition that eventually killed him, he had already seized on what he considered the central paradox of 12-note technique. Schoenberg had sought to make the principle of thematicism all-pervasive; in his 1956 article ‘Developments in 12-Tone Technique’ Gerhard responded that ‘where literally everything is thematic, nothing is’. The series, he reasoned, should rather ‘be understood

as a “code”, i.e. stripped of any concrete motivic-thematic obligations’ (p.68). In the First Symphony's ‘athematic’ sound-world, texture and recurrent interval groups constitute powerful unifying factors, even though (as in the First Quartet and the Harpsichord Concerto) analogies with traditional forms lurk beneath the surface. Maintaining that ‘twelve-tone technique is in fact a new formulation of the principle of tonality’, Gerhard developed aspects of Schoenberg's own practice (e.g. in Von Heute auf Morgen), tending to divide 12-note series into two hexachords (occasionally three tetrachords) within which the notes could be reordered to form what, when reads upward amounted to scale-like figurations that retained their shapes through all other transpositions and permutations. But the cardinal unifying force was Gerhard's vital and energetic rhythmic sense, linked to his fascination with pulsation and resonance, which carried over from his folkloristic works into the radical utterances of his last decade.

He was always acutely aware of music as drama: a phenomenon ‘bound to the peripetie of a given temporal cycle or life-span’ with ‘a beginning, a period of growth and an end’, like ‘the life-cycle of a blade of grass, the course of an avalanche, the impact of a drop of rain on a sheet of water’. The drama, he would add, was of course in the mind of the beholder; but clearly for Gerhard ‘sound’ and ‘time’ constituted the double essence of musical experience. From the early 1950s his aim was to discover forms that articulated the temporal dimension of structure. He began to combine the interaction of the 12-note pitch series, governing intervallic relations, with a 12-step time series determining durations and proportions – from note values and metronome markings, through rhythm, metre and phrasing, to the length of paragraphs, of movements and ultimately of the entire piece. The first work wholly articulated by such a time series was the Symphony no.2, achieved with difficulty; those that followed were polymorphic single-movement structures, no two alike but each fluidly expressive of its very essence in purely musical terms, i.e. as sound. Increasingly unwilling to discuss his methods and intentions in articles or programme notes, Gerhard evolved a credo encapsulated in his remark ‘I stand by the sound of my music. It is the sound that must make the sense’.

In their violent gestures and vibrant colours, their intricate, virtuoso percussion writing, their alternations of fleet, furious activity with mysterious, almost visionary stasis (which he likened to ‘action in very slow motion … the magic sense of uneventfulness’), the works of Gerhard's final decade justify that stance and reveal a kinship with the music of Varèse, whom he had known in Catalonia in 1933. Like that other lonely pioneer in tape composition, Gerhard found the experience of electronic music enlarged and enriched his approach to conventional instruments. Though he continued to create short tape compositions into the early 1960s, his most significant electronic works came in 1959–60, with the García Lorca setting Lament on the Death of a Bullfighter for recitation and

taped sound, partly created with the resources of the recently-established BBC Radiophonic Workshop, and in the Symphony no.3 (‘Collages’) for orchestra and tape. The latter, which reflects the experience of transatlantic flight, may be regarded as the spiritual successor to Varèse's Déserts, but whereas Varèse's taped and instrumental sounds are discretely juxtaposed, Gerhard's are polyphonically combined.

Subsequent major works dispensed with any electronic component, yet many of their unusual sonorities – timpani glissandos, cymbal harmonics obtained with a well-resined cello bow, piano clusters, clustered string harmonics and percussive attacks on the body of the instrument, the shrill exhalations of an accordion – surely evoke sine tones, white noise and other electronic phenomena. Some scores include a carefully calculated aleatory element, such as the improvised percussion-ensemble breaks of Epithalamion or the graphically represented string glissandos of the late ‘astrological’ works.

Even these innovative and forward-looking scores do not deny their composer's national roots. Spanish idioms and points of reference recur with almost surreal effect: a folktune in the Nonet, flamenco allusions and rasgueado guitar strummings in Concert for 8, Fallaesque fanfare in the Symphony no.4 and, in the coda of that work, a long and deeply nostalgic oboe duet alluding to the Catalan song of a condemned man, El Cotiló, which had haunted several of Gerhard's tonal scores as a tragic leitmotif. However, the pentatonic clarinet tune which casts its spell over the ostinato-coda of Libra – a coda reprised and enriched at the end of Leo, Gerhard's last completed work – seems to symbolize a universal folklore, the essential contact with the earth and land that nourishes the creative imagination.

Gerhard was made a CBE in 1967, and the following year was awarded an honorary DMus by King's College, Cambridge, and a fellowship at University College, London. After 1965, his health was precarious, though he continued to work until the end. He died at his Cambridge home at the age of 73. Not until the end of the century did Gerhard's achievement become more widely understood. Recognition as probably the most important Spanish composer after Falla (and, as a leading Catalan musician wrote in his centenary year, ‘Catalonia's most important composer in four centuries’) had perforce to await the restoration of democracy in Spain and the reassertion of Catalan regional identity. With the triumphant 1992 stage premières of The Duenna at the Teatro Lirico Nacional in Madrid and the Gran Teatre del Liceu in Barcelona, given by the British company Opera North under a Spanish conductor, Antoni Ros Marbà, the two halves of Gerhard's career began to be understood as a creative unity and his long spiritual and cultural exile came to an end.

Gerhard, Roberto

WORKS

stage

Ariel (ballet, Gerhard and J.V. Foix, designed J. Miró), 1934, unperf.; concert perf., cond. Scherchen, Barcelona, ISCM Festival, 19 April 1936Soirées de Barcelone (ballet, 3 tableaux, V. Gassol), 1936–9, unperf., inc.; perf. edn orchd M. MacDonald, 1995–6Don Quixote (ballet, 1, Gerhard, after M. Cervantes), 1940–41, unperf.; 2nd version (choreog. Valois, designed E. Burra), 1947–9, cond. R. Irving, London, CG, 20 Feb 1950Alegrías (ballet, Gerhard, choreog. E. Brunelleschi), 1942, Birmingham, Theatre Royal, 16 July 1943Pandora (ballet, 1, scenario and choreog. K. Jooss, designed H. Heckroth), 2 pf, perc, 1943–4, Cambridge, Arts, 24 Jan 1944; version with orch, 1944–5, London, 1945The Duenna (op, Gerhard and C. Hassall, after R. Sheridan), 1945–7, concert perf., London, Camden, 23 Feb 1949; rev. 1950s, inc., perf. edn D. Drew, incorporating arrs. by D. Smirnov, 1991, staged Madrid, Lirico Nacional, 21 Jan 1992

orchestral

Concertino, str, 1927–8 [version of Str Qt, ?1927–8]; Albada, interludi i dansa, 1936; Vn Conc., 1940, inc., destroyed; Sym. ‘Homenaje a Pedrell’, 1940–41, [3rd movt performable separately as ‘Pedrelliana (En memoria)’]; Don Quixote, suite no.1, small orch, 1941 [based on ballet]; Soirées de Barcelone, suite, 1940s, inc. [based on ballet]; Alegrías, suite, 1942 [based on ballet]; Vn Conc., 1942–3; Pandora, suite, 1944–5 [based on ballet]; Don Quixote, sym. suite, 1947 [based on ballet]; Pf Conc., 1951; Sym. no.1, 1952–3; Hpd Conc., 1955–6; Lamparilla Ov. 1956 [based on themes by F. Barbieri]; Sym. no.2, 1957–9; reworked as Metamorphoses, 1967–8, last movt inc., perf. edn arr. A. Boustead, 1973; Dances from Don Quixote, 1958 [from ballet]; Sym. no.3 ‘Collages’, orch, tape, 1960; Conc. for Orch, 1964–5; Epithalamion, 1965–6, rev. 1968; Sym. no.4 ‘New York’, 1967, rev. 1968; Sym. no.5, 1968–9, inc., unperf.

vocal

L'infantament meravellós de Schahrazada (song cycle, J.M. López-Picó), S/T, pf, 1916–17; Verger de les galanies (2 songs, J. Carner), S, pf, 1917–18, unpubd; Lied (Ger., anon.), 1v, pf, ?1918, unpubd; 3 cançons (Catalan, anon.), 1v, pf, ?1918, unpubd; Cante jondo (4 songs, Andalusian folk texts), 1v, pf, ?1918; 7 Haïki (J. Junoy), S/T, fl, ob, cl, bn, pf, 1923, rev. 1958; 14 cançons populars catalanes, S/T, pf, 1928, 6 orchd 1931 as 6 cançons populars catalanes; L'alta naixença del rei en Jaume (cant., Carner), S, Bar, chorus, orch, 1932, rev. 1933; Lassa, mesquina, que faré puix mon amant se'n vol partir (P. Serafi), 1v, pf, c1932, unpubd; El ventall (V. Gassol), S, pf, 1930s, unpubd; Madrigal a Sitges (Carner), S, pf, 1930s, unpubd; Cançons i arietes, S, pf, 1936, lost; Cançionero de Pedrell (after folksongs coll. Pedrell), S/T, pf, 1941, arr. S/T, 13 insts, 1941; La fulla i el nuvol, 1v, pf, ?1942; Sevillanas, S/T, pf, 1943; The Akond of Swat (E. Lear), Mez/Bar, 2 perc, 1954; Cantares (Sp. folk texts), 7 songs, S/T, gui, 1956; Interlude and Arias from The Duenna, Mez, orch, 1961 [based on op]; The Plague

(cant., Gerhard, after A. Camus), spkr, chorus, orch, 1963–4

chamber and solo instrumental

Sonatine a Carlos, pf, 1914, unpubd; Pf Trio no.1, 1918 or before, lost; Str Qt, 1918, lost; Pf Trio no.2, 1918; 2 apunts, pf, 1921–2; 3 Pf Trios, c1923–4, unpubd, one inc.; Divertimento, wind qnt, 1926, 2 versions, unpubd, inc.; Suite, wind, str, pf, 1927, unpubd, lost; El conde sol, tpt, hn, bn, vn, vc, pf, ?1927, unpubd [possibly part of Suite, 1927]; Str Qt, ?1927–8, inc.; Sonata, cl, pf, 1928, unpubd, inc.; Wind Qnt, 1928 [with opt. t sax part, inc.]; Andantino, cl, vn, pf, ?1928, unpubd; Sardana no.1, cobla (12 insts), 1928–9, arr. brass band, 1940, arr. 11 wind, perc, 1956; Sardana no.2, cobla, insts, 1928–9; Sevillana, fiscorn, bn, str trio, ?1936, unpubd; Alegrías, suite, 2 pf, 1942 [from ballet]; Pandora, suite, 2 pf, perc, 1944 [from ballet]; Dances from Don Quixote, pf, 1947 [from ballet]; Sonata, va, pf, 1948, withdrawn, reworked for vc, pf, 1956; Capriccio, fl, 1949; 3 Impromptus, pf, 1950; Str Qt no.1, 1950–55; Sardana no.3, 8 wind, perc, 1951, unpubd [from film score Secret People, 1952]; Sonata, vc, pf, 1956; Nonet, wind qnt, tpt, trbn, tuba, accdn, 1956–7; Fantasia, gui, 1957; Chaconne, vn, 1959; Soirées de Barcelone, suite, pf, 1950s [based on ballet]; Str Qt no.2, 1961–2; Concert for 8, fl, cl, mand, gui, accdn, perc, pf, db, 1962; Hymnody, fl, ob, cl, hn, tpt, trbn, tuba, 2 perc, 2 pf, 1963; Gemini (Duo concertante), vn, pf, 1966; Libra, fl + pic, cl, gui, perc, pf, vn, 1968; Leo, fl + pic, cl, hn, tpt, trbn, 2 perc, pf + cel, vn, vc, 1969

tape

Audiomobiles I, II ‘DNA’, III, IV, c1958–9 [II is version of film score DNA in Reflection]; Lament on the Death of a Bullfighter (F. García Lorca), spkr, tape, 1959; 10 Pieces, c1961 [extracts from Audiomobile II]: Asyndeton, Bubblecade, Campanalog, Dripsonic, Meteoroids, Speculum, Stridor, Suspension, Telergic, Uncle Ned; Caligula, 1961 [version of radio score]; Sculptures I–V, 1963 [II–V assembled 1963 but probably never edited]

incidental music

Films: Secret People (dir. T. Dickinson), 1952; War in the Air, 5 films for BBC TV, 1952; All Abroad, 1958; Your Skin, 1958; DNA in Reflection, 1963 [version for concert perf. Audiomobile II, tape, c1961]; This Sporting Life (dir. L. Anderson), 1963Theatre (by W. Shakespeare unless otherwise stated): Romeo and Juliet, Stratford, c1949; Cymbeline, Stratford, 1949; The Taming of the Shrew, Stratford, 1954; A Midsummer Night’s Dream, Stratford, 1954; The Prisoner (B. Boland), London, Globe, 1954; King Lear, Stratford, 1955; Pericles, Prince of Tyre, Stratford, 1958; Coriolanus, Stratford, 1959; The Cherry Orchard (A. Chekov), Stratford, 1961; Macbeth, Stratford, 1962Radio: The Adventures of Don Quixote (E. Linklater), 1940–41; Cristobal Colón (S. de Madariaga), 1943; Conquistador (A. McLeish), 1953; L'étranger (A. Camus), 1954; A Leak in the Universe (I.A. Richards), 1955; Good Morning Midnight (J. Rhys), 1956; Maria Stuart (F. von Schiller), 1956; The Revenge for Love (W. Lewis), 1957; The Unexpected Country (Wymark), 1957; Asylum Diary (C. Lavant), 1959; Don Carlos (Schiller), 1959; Caligula (Camus), 1961; The Overcoat (N.V. Gogol), 1961; Woyzeck (G. Büchner), 1961; The Tower (H. von Hofmannsthal), 1962; The World's

Great Stage (P. Calderón), 1962; The Philosopher's Den (Z. Herbert), 1963; The Anger of Achilles (R. Graves), 1964; Funnyhouse of a Negro (A. Kennedy), 1964; For whom the Bell Tolls (E. Hemingway), 1965; The Man Born to be King (D.L. Sayers), 1966; Background Patterns I and II, lostTV: You Know what People are (J.B. Priestley), 1955; The Count of Monte Cristo (A. Dumas), 1964; Macbeth (Shakespeare) 1964

EDITIONS

D. Terradellas: Merope (Barcelona, 1935–6)A. Soler: Six Quintets, org, str (Barcelona, 1938)J. Plá: Sonata no.3, 2 ob, vns/fls, continuo, 1930s (Barcelona, 1986)Numerous unpubd edns (1930s – early 1950s, some lost) Spanish madrigals and theatre music from the 16th – 18th centuries

arrangements

L. de Milán, D. Pisador, E. de Valderrábans, J. Vasquez: 7 Canciones de Vihuela, S/T, pf, 1942Esteve, Laserna and others: 6 tonadillas, 1v, pf, 1942Por do pasaré la sierra (folksong), S/T, pf, 1942F. Schubert: Rondo from Sonata, D.850; Marche militaire, D.733, no.1; Marche characteristique, D.886, no.1, small orch, c1943, unpubd [arr. for radio score Cristobal Colón, 1943]6 chansons populaires françaises, S/T, pf, 1944Anon.: Jacara a solo, 1v, mixed chorus, pf, 1940sBoleras, S, orch, 1940s, lostEl trebole, S, chorus, orch, 1940s, lostF. Barbieri: El barberillo de Lavapiés, orch, 1954 [Lamparilla (operetta, P. Knepler and F. Tisch, after L.M. de Larra)], 1955–6 [based on arr. of El barberillo de Lavapiés with additional arrs. of music by Barbieri and ov. by Gerhard]6 French Folksongs, S/T, pf, 1956Several other titles, lost

pseudonymous works

written under the name of Juan Serrallonga

Engheno novo, S/Mez/T/Bar, orch, c1943Gigantes y cabezudos, orch, c1943 [free fantasia after Caballero]3 canciones toreras, Mez/Bar, pf/orch, c1943La viejecita, orch, c1943 [free adaptation after Caballero]Cadíz, orch, 1943 [free fantasia after F. Chucca and J.F. Valverde]Arr. F. Barbieri: Segiduillas and Tirana from El barberillo de Lavapies, orch, 1943Arr. R. Milán: Cancion y Fado from El Pajaro Azul, orch, c1943MSS in GB-Cu, GB-Cfm (Vn Conc.), GB-Lbl (Conc. for Orch), US-Wc (Sym. no.3), Institute for Valls Studies, Valls

Principal publishers: Belwin-Mills, OUP, Prowse

Gerhard, Roberto

WRITINGS

‘L'obra de Felip Pedrell’, Revista musical catalana, xix (1922), 231–2

Dictado musical (Barcelona, 1928) [trans. of H. Riemann: Handbuch der Musik-Diktats: (Systematische Gehörsbildung), Berlin, 7/1923]

Compendio de armonia (Barcelona, ?1928) [trans. of H. Scholz: Harmonielehre, Leipzig and Berlin, 1920]

Composición musical (Barcelona, 1929) [trans. of H. Riemann: Katechismus der Kompositionslehre, Leipzig, 1889]

Musica bizantina (Barcelona, 1930) [trans. of E. Wellesz: Byzantinische Musik, Breslau, 1927]

Articles in Mirador (1930–36); some repr. in J. Homs: Robert Gerhard i la seva obra (Barcelona, 1991)

La melodía (Barcelona, 1931/R) [trans. of E. Toch: Melodieletire, Berlin, 1923]

La orquesta moderna (Barcelona, 1932) [trans. of F. Volbach: Das moderne Orchester, Leipzig, 1919–21]

El arte de dirigir (Barcelona, 1933, 2/1988) [trans. of H. Scherchen: Lehrbuch des Dirigierens, Leipzig, 1929]

Historia de la musica (Barcelona, 1934) [trans. of J. Wolf: Geschichte der Musik, Leipzig, 1925–9]

‘Música i poesia’, Quaderns de poesia, i/2 (1935), 18; repr. in J. Homs: Robert Gerhard i la seva obra (Barcelona, 1991)

‘English Musical Life: a Symposium’, Tempo, no.11 (1945), 2–3; repr. as ‘England, Spring 1945’, Tempo, no.100 (1972), 4–8

‘On Music in Ballet’, Ballet, xi (1951), no.3, pp.19–24; no.4, pp.29–35

‘Tonality in 12-Tone Music’, The Score, no.6 (1952), 23–5 ‘Reply to George Perle’, The Score, no.9 (1954), 59–60 ‘Pau Casals, símbolo de la nacionalidad catalana’, Libro blanco de

cataluna (Buenos Aires, 1956) ‘The Contemporary Musical Situation’, The Score, no.16 (1956), 7–

18 ‘Developments in 12-Tone Technique’, The Score, no.17 (1956),

61–72 ‘Twelve-Note Technique in Stravinsky’, The Score, no.20 (1957),

38–43 ‘Apropos Mr Stadlen’, The Score, no.23 (1958), 50–57 ‘Don Quixote’, The Decca Book of Ballet, ed. D. Drew (London,

1958), 153–6 ‘Concrete and Electronic Music Composition’, Hinrichsen Music

Yearbook (1959), 30 Is New Music Growing Old?, University of Michigan Official

Publication, lxii/18 (Ann Arbor, 1960) ‘Some Lectures by Webern’, The Score, no.28 (1961), 25–8 ‘Thoughts on Art and Anarchy’, The Listener (23 March 1961) ‘Reluctant Revolutionary’, Sunday Telegraph (Dec 1961); repr. in

The London Sinfonietta: Schoenberg/Gerhard Series (London, 1973), 43

‘Musa y música, hoy’, Shell (1962), 64; repr. in J. Homs: Robert Gerhard i la seva obra (Barcelona, 1991), 225–38

‘Composer's Forum: The Plague’, Musical Events, xxi/4 (1964), 6–8

‘Schoenberg Reminiscences’, PNM, xiii (1974–5), 57–65 ‘Apunts’, Cultura [Barcelona], no.29 (1991); no.42 (1993) [extracts

from journals] M. Bowen, ed.: Gerhard on Music: Selected Writings (London,

2000) Unpubd BBC radio talks: The Heritage of Spain, 1952; Twelve-

Note Composition Explained, 1955; Sound and Symbol, 1957; Introduction to Symphony no.2, 1958; Introduction to ‘Lament on the Death of a Bullfighter’, 1960; Irrelevant Art, 1961; Primitive Folk Music, 1963; Sound Observed, 2 parts, 1965

Gerhard, Roberto

BIBLIOGRAPHY

J. Trabal: ‘Una conversa amb Robert Gerhard’, Mirador, no.47 (1929), 5

L. Millet: ‘A en Robert Gerhard’, Revista musical catalana, xxvii (1930), 110–13

R. Llates: ‘La tècnica de Robert Gerhard’, Mirador, no.126 (1931), 5

R. Llates: ‘Els compositors independents’, Mirador, no.127 (1931), 5

R. Llates: ‘Un català mundial: Robert Gerhard’, Mirador, no.229 (1933), 5

J. Pahissa: ‘La música de Robert Gerhard’, Mirador, no.231 (1933), 5

B. Selva: ‘Evocacions d'art VI: a Robert Gerhard, músiques modernes, músiques antigues … música!’, Revista musical catalana, xxxiii (1936), 225–34

E. Sackville-West: ‘The Music of Roberto Gerhard’, The Arts, no.2 (1947), 19–27

D. Drew: ‘Gerhard's Wind Quintet and the Dilemma of Spanish Music’, New Orpheus Review, i/1 (1952), 4–5

The Score, no.17 (1956) [Gerhard number incl. articles by D. Drew, J. Gardner, N. Del Mar, D. Mitchell, L. Picken, R. Vlad]

C. Mason: ‘Roberto Gerhard's First Symphony’, MT, ciii (1962), 99–100

C. Mason: ‘Chamber Music in Britain since 1929’, Cobbett's Cyclopedic Survey of Chamber Music, ed. C. Mason, iii (London, 2/1963/R), 82–122

C.M. Mason: ‘Roberto Gerhard’, Music in Britain (London, 1965) A. Whittall: ‘England, Italy and Spain’, MO, lxxxix (1965–6), 663–8 H. Keller: ‘Roberto Gerhard's Two Ears’, The Listener (24 July

1969) J. Buller: ‘Roberto Gerhard: Leo’, Tempo, no.91 (1969–70), 27–9 N. Kay: ‘Late Harvest’, Music and Musicians, xviii/7 (1969–70), 44

only, 71 only D. Drew: ‘Roberto Gerhard’, MT, cxi (1970), 307–8

J. Homs: ‘Record de Robert Gerhard’, Serra d'Or, no.125 (1970), 69–71

A. Orga: ‘Roberto Gerhard; 1896–1970’, Music and Musicians, xix/2 (1970–71), 36–46, 62–3

C. Ballantine: ‘The Symphony in the 20th Century’, MR, xxxii (1971), 219–32

C. MacDonald: ‘Sense and Sound: Gerhard's Fourth Symphony’, Tempo, no.100 (1972), 25–9

K. Potter: The Life and Works of Roberto Gerhard (diss., U. of Birmingham, 1972)

K. Potter: ‘Gerhard's Metamorphoses’, Music and Musicians, xxi/9 (1972–3), 8–10

The London Sinfonietta: Schoenberg/Gerhard Series (London, 1973) [with essays by D. Drew, A. Orga, K. Potter, S. Smith, list of works, MS facs. of ‘The Akond of Swat’]

Tempo, no.139 (1981) [Gerhard issue; incl. articles by P.P. Nash, G. Walker, D. Drew, C. MacDonald, S. Bradshaw, L. Anderson, H. Davies, M. Donat]

B. Casablancas i Domingo: ‘Recepció a Catalunya de l'Escola de Viena i la seva influència sobre els compositors catalans’, Recerca musicològica, iv (1984), 243–80

E. Martínez Miura: ‘Roberto Gerhard, creador de la vanguardia musical española’, Ritmo, no.542 (1984), 95–6

C. MacDonald: ‘Rugged Individual’, The Listener (2 Aug 1985) Revista musical catalana, new ser., no.23 (1986) [Gerhard issue;

incl. articles by P. Artís, J. Casanovas, A. Lewin-Richter] J. Homs: ‘Robert Gerhard, primer introductor de la música de

Schönberg a Catalunya’, L'Avenc, no.119 (1988), 38–41 R. Paine: Hispanic Traditions in Twentieth-Century Catalan Music

(New York, 1989) D. Drew: ‘Gerhard's Duenna and Sheridan's’, Opera, xlii (1991),

1393–8; xliii (1992), 40–47 J. Homs: Robert Gerhard i la seva obra (Barcelona, 1991) [incl.

bibliography] A. Ros Marbà: ‘La Dueña, una obsessió de Robert Gerhard’,

Cultura [Barcelona], no.25 (1991) Scherzo, no.61 (1992) [Gerhard issue; incl. articles by J. Alfaya, S.

Bradshaw, E. Colomer, D. Drew, S. Martín Bermudez, V. Pablo Pérez, E. Rincón]

M. Albet: ‘Robert Gerhard, de nou’, Revista de Catalunya, 2nd ser., no.59 (1992), 75–89

J. White: ‘National Traditions in the Music of Roberto Gerhard’, Tempo, no.184 (1993), 2–13

D. Drew: ‘Notes on Gerhard's Pandora’, ibid., 14–16 D. Sproston: ‘Thematicism in Gerhard's Concerto for Orchestra’,

ibid., 18–22 Faig ARTS, no.36 (1996) [Gerhard issue; incl. articles by M. Albet,

J. Noguero, L. Calderer, D. Padros, J. Vilar, O. Pérez] J. Busqué i Barceló, ed.: Centenari Robert Gerhard (1896–1996)

(Barcelona,1996)

J. White: ‘Catalan Folk Sources in Soirées de Barcelone’, Tempo, no.198 (1996), 11–21

C. MacDonald: ‘Soirées de Barcelone: Towards a Performing Version’, ibid., 22–6

I. Cholij: ‘Gerhard, Electronic Music and King Lear’, ibid., 28–32 J. White: ‘Symphony of Hope: Gerhard's Secret Programme’, MT,

cxxxix (1998), 19–28