{"id":27786,"date":"2025-05-14T08:08:14","date_gmt":"2025-05-14T06:08:14","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=27786"},"modified":"2025-05-14T08:08:56","modified_gmt":"2025-05-14T06:08:56","slug":"marta-vela-galdos-was-deeply-drawn-to-what-we-might-call-cosmopolitan-music","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/en\/marta-vela-galdos-was-deeply-drawn-to-what-we-might-call-cosmopolitan-music\/","title":{"rendered":"Marta Vela: “Gald\u00f3s was deeply drawn to what we might call cosmopolitan music”"},"content":{"rendered":"

Interview with Marta Vela: Pianist, Scholar and Educator<\/p>\n

Marta Vela: “Gald\u00f3s was deeply drawn to what we might call cosmopolitan music”<\/h1>\n
\"\"
Marta Vela. \/ Photo: Courtesy of the author.<\/span><\/span><\/span><\/figcaption><\/figure>\n

License Creative Commons <\/a><\/p>\n

\"\"<\/p>\n

 <\/p>\n

Andreu Navarra<\/strong><\/a><\/p>\n

 <\/p>\n

After several years devoted to championing the recognition of the Aragonese jota<\/em> as an Intangible Cultural Heritage of Humanity by UNESCO\u2014a campaign which gave rise to three books (La jota, aragonesa y cosmopolita<\/em> in 2022; Jotas cosmopolitas de Arag\u00f3n<\/em> in 2023; and La jota, aragonesa y liberal<\/em> in 2024)\u2014Marta Vela<\/strong> now embarks on a new path, though with the same spirit, with the publication of Beethoven y Gald\u00f3s. Vidas paralelas<\/em><\/a><\/span> (Verbum). She had previously explored the composer\u2019s legacy in the essay Las nueve sinfon\u00edas de Beethoven<\/em> (2020).<\/p>\n

 <\/p>\n

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Cover of Marta’s book<\/figcaption><\/figure>\n

Beethoven and Gald\u00f3s\u2014two such different figures. In what sense do you believe they lived \u201cparallel lives\u201d? How did the idea for the book come about?<\/strong><\/p>\n

Beethoven is often paired with Goya\u2014they were contemporaries, after all\u2014yet they scarcely intersect. Gald\u00f3s, by contrast\u2014born in 1843, sixteen years after Beethoven\u2019s death in 1827\u2014encountered the composer as a kind of sanctified presence. Thanks to the vibrant musical life of Madrid, he increasingly came to identify with Beethoven\u2019s music, which he wove into the lives of his characters and even into the plots of several novels. I see Gald\u00f3s and Beethoven as passionate defenders of Enlightenment ideals, of liberal values\u2014and, consequently, of education (in Gald\u00f3s\u2019s case, via Krausism) as the only true vehicle for social mobility among the disadvantaged. Perhaps because of this intellectual independence, both died in poverty, abandoned by officialdom, despite the crowds who turned out for their funerals. Were they alive today, I\u2019m convinced they would oppose the many fanaticisms of our time\u2014and would, for that very reason, be swiftly cancelled.<\/p>\n

“I\u2019m convinced they would oppose the many fanaticisms of our time\u2014and would, for that very reason, be swiftly cancelled”<\/p><\/blockquote>\n

What kind of music captivated Gald\u00f3s\u2014as a listener, a critic, and an amateur performer?<\/strong><\/p>\n

He\u2019s often associated with zarzuela<\/em>, and rightly so\u2014it was the dominant genre in the second half of the 19th century, and several of his works were later adapted into it. But Gald\u00f3s was deeply drawn to what we might call cosmopolitan music: above all, the great classics\u2014Mozart and Beethoven\u2014but also his contemporaries, including Wagner. Through his frequent visits to Madrid\u2019s Teatro Real, he became well acquainted with Italian bel canto<\/em> opera\u2014especially Verdi and Meyerbeer. Over time, music played an increasingly central role in his work\u2014not only in his prose fiction but in his theatrical writing too. What I find particularly striking is that, although Gald\u00f3s played the piano (modestly\u2014he never had formal lessons), in later life he sought out instruction in harmony and analysis with a military musician, Manuel Manrique de Lara. In short, Gald\u00f3s wanted to understand how the music he so loved was actually constructed.<\/p>\n

How are Gald\u00f3s\u2019s allusions and reminiscences interwoven throughout La desheredada<\/em>, Fortunata y Jacinta<\/em>, and Tristana<\/em>?<\/strong><\/p>\n

Each novel represents a very different context, as they are distinct works in themselves. Yet in Gald\u00f3s\u2019s writing, music always carries a subtle symbolic thread (though today\u2019s critics might dismiss him as outdated\u2014how ironic). In La desheredada<\/em>, which explores the downfall of its protagonist against the backdrop of the failed First Republic, Beethoven\u2019s Sonata Op. 31, No. 2\u2014linked by some to Shakespeare\u2019s The Tempest<\/em>\u2014speaks of repentance and redemption. Elsewhere, the amateur pianists\u2019 impotence in attempting to play Beethoven\u2019s works mirrors the political ineptitude of the republican era. Fortunata<\/em> is more layered still: it is that unreachable summit. It spans from the textile market of Madrid to Beethoven\u2019s stylistic revolution against Mozart, from the \u201cbetrayal\u201d of the Samaniegas to the heroes of the narrative\u2014Fortunata, of course, but also Beethoven himself. There is a magnificent scene at the Teatro Real, at the Madrid premiere of Wagner\u2019s Rienzi<\/em>, where a tribune is stoned by his own people\u2014like Amadeo of Savoy\u2014heralding the rise of a future society that Gald\u00f3s never lived to see: the middle class. In Tristana<\/em>, the underlying trauma is physical\u2014Beethoven compels himself to go on living for his art, while the orphan Tristana is a petit-bourgeois reflection of that same resignation, enduring her forced coexistence with Don Lope.<\/p>\n

“I think my favourite novel from that period is the one he never wrote: La Regenta<\/em>, which remains painfully relevant in its portrayal of the human condition”<\/p><\/blockquote>\n

Which of Gald\u00f3s\u2019s novels is your favourite, and why?<\/strong><\/p>\n

That\u2019s a difficult question. I think my favourite novel from that period is the one he never wrote: La Regenta<\/em>, which remains painfully relevant in its portrayal of the human condition. As for Gald\u00f3s, I admire many\u2014his Episodios<\/em>, or those exquisite miniatures like La de Bringas<\/em> and Tormento<\/em>. But Fortunata y Jacinta<\/em>\u2026 what can one say? What could possibly be written after such a work, with its astonishing portrait of Madrid\u2019s society\u2014from the aristocrats at the Teatro Real to the underworld around Plaza Mayor, where Fortunata lives with her uncles.<\/p>\n

It seems that Gald\u00f3s brought a certain order to his musical ideas in his article \u201cLa M\u00fasica\u201d, published in La Prensa<\/em> on 3 March 1886\u2014an article you reproduce between pages 54 and 58 of your book. Why is it so important?<\/strong><\/p>\n

Because it offers a glimpse of the music Gald\u00f3s had in his ears in 1886\u2014he was a regular concertgoer, and the article reflects the repertoire that was then accessible in Madrid. It\u2019s essential for reconstructing the cultural landscape of the time. We must remember that music\u2014unlike today\u2014was a small miracle, available only to the fortunate (and wealthy). There was no television, radio or streaming platforms; live music was the crown jewel of the arts, and it was experienced as such.<\/p>\n

Where does your passion for Beethoven come from?<\/strong><\/p>\n

His life and work have, inevitably, been mythologised\u2014but I believe Beethoven was one of the first truly modern creators: free, beholden to no one but his art, even if that meant dying in poverty\u2014as Mozart had, three decades earlier, shortly after the French Revolution. Let\u2019s not forget Beethoven\u2019s major crisis in 1802, when he realised he was going completely deaf. He did not take his own life because he held onto the idea of continuing to create\u2014of composing music that, for the most part, went unappreciated at a time dominated by the light music of Rossini.<\/p>\n

Who was Malats?<\/strong><\/p>\n

Malats was one of the great pianists of his time. He was Catalan\u2014like Vi\u00f1es or Pujol (immortalised by Fortuny in a painting)\u2014and had a career in France, where he premiered Alb\u00e9niz\u2019s Iberia<\/em> suite, which had been composed with him in mind. He was also a composer and had hoped to turn Gald\u00f3s\u2019s Marianela<\/em> into a zarzuela. <\/em>Ultimately, he was unable to carry out such an ambitious project. Nonetheless, the two became friends, and through Malats, Gald\u00f3s was able to hear some of Beethoven\u2019s less familiar works at the time, such as the Sonata Op. 111, which concludes the monumental cycle of thirty-two piano sonatas. Malats became a key interlocutor for Gald\u00f3s on Beethoven\u2019s music\u2014this is why his figure is so significant.<\/p>\n

“Gald\u00f3s was one of the few who stood up for women at the time\u2014especially in relation to the injustice of their social condition”<\/p><\/blockquote>\n

Your book features many female names\u2014Fortunata, Jacinta, Saturna, Tristana, Do\u00f1a Emilia Pardo Baz\u00e1n… You devote many pages to this topic. What place does Gald\u00f3s occupy among them?<\/strong><\/p>\n

Gald\u00f3s was one of the few who stood up for women at the time\u2014especially in relation to the injustice of their social condition, which stemmed from a lack of education and doomed them to lifelong subordination to men. (Pardo Baz\u00e1n, like George Sand before her, was the exception\u2014wealthy enough to afford independence.) Gald\u00f3s draws a comparison between the figure of the musical dilettante and that of the 19th-century woman\u2014both trapped between poor instruction and, consequently, no real future. In his novels, as in life, the petite-bourgeois woman (Gloria, Camila, Tristana, Olimpia\u2026 even Ana Ozores, who plays with a single finger\u2026) hammers away at the piano\u2014quite literally\u2014just as she rebels against the independent spirit society has denied her.<\/p>\n

If you were Minister of Education…?<\/strong><\/p>\n

(Laughs\u2026) I couldn\u2019t possibly be a minister\u2014I wouldn\u2019t comply with party discipline, and even less so with the dismal role afforded to women in today\u2019s politics. But if I could do in public education what I do in my classes, I would establish a progressive yet demanding system rooted in primary sources, equality of opportunity, and an Enlightenment spirit that sees education as a means of social mobility. But as with Gald\u00f3s and Beethoven, in striving for a free and just society, I fear we still have a long road ahead.<\/p>\n

You\u2019re famously hyperactive\u2014we know you can\u2019t sit still… What are you working on now? Concerts? New essays?<\/strong><\/p>\n

Oh, I do pause occasionally\u2014over the holidays I did absolutely nothing (laughs). But I do feel there\u2019s still so much to discover… Yes, there are projects: we\u2019re about to launch an academic journal on music and the arts; a charity concert at Madrid\u2019s National Auditorium in September in support of the Carreras Foundation; another Beethoven venture for 2027… And the presentation of Beethoven y Gald\u00f3s<\/em> in Zaragoza and Madrid, with my nephew Pepe performing Gald\u00f3s\u2019s texts at the piano\u2026 and perhaps another cosmopolitan jota<\/em> album\u2014why not?<\/p>\n

\n

Source:\u00a0educational EVIDENCE<\/strong><\/p>\n

Rights:\u00a0Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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