Tomás Bretón y Hernández was born in Salamanca,
the son
of a struggling baker, who died when Tomás was only two. Despite the family’s
difficult circumstances, Tomás was able to enrol as a student - aged 8
- at the Escuela de Nobles y Bellas Artes in Salamanca. His natural musical gifts,
and sheer hard work, meant that by the age of ten he was able to make a contribution
to the family finances by working as a violinist. When he, his older brother
and his mother moved to Madrid he continued to work in theatres and restaurants
to pay for his studies (in violin and composition) at the Madrid Conservatory.
An outstanding student - he graduated with the highest honours in 1872 - he was
able to study in both Roma and Vienna and began to make his way as a composer
of zarzuela and opera. In the ten or eleven years after 1875 he wrote some ten
works for the theatre, including
La Dolores (in its 1892 version a one-act
zarzuela, revised as a full-fledged opera three years later) and, most famously,
La
verbena de la Paloma (1894), one of the most enduringly attractive works
in the zarzuela tradition. Such lasting reputation as Breton has acquired has
derived from his theatrical works.
But he made other significant contributions to the renewal of Spanish music.
As director of, in turn, the Unión Artistico-Musical and the Sociedad
de Conciertos, he did much to promote performances of new works by Spanish composers
and to introduce significant foreign works to Spain. From 1901 he was Professor
of Composition at the Madrid Conservatory where, only two years later he became
Principal and was a figure of real importance in the development of Spanish music
in the early years of the twentieth century (well discussed in Victor Sánchez,
Tomás
Bretón. Un músico de la Restauración, Madrid: 2002).
There are, then, good historical reasons for paying attention to Bretón’s
music. But - happily - there are also more exciting reasons for doing so. Quite
a lot of it is rather good and still seriously neglected. While his zarzuelas
have not gone unnoticed or unadmired, his works in other forms is too little
known. These include three symphonies, a series of symphonic poems, songs - and
chamber works. (His String Quartet in D major (c.1910) is particularly fine,
a personal and ‘Spanish’ development of the Viennese tradition).
On the present well-recorded CD we are offered two compositions for piano trio.
The earlier of the two is also the more substantial. Written in 1887 (and first
published in London a few years later) the Piano Trio owes much to French examples
- perhaps particularly that of Saint-Saëns - in its rich harmonic language
(though Brahms is in the mixture too), but it also subtly signals its Spanish
origins in places, noticeably in the lyrical andante, where Spanish inflections
play an important role in creating an air of elegant melancholy. The third movement
(allegro molto) is full of sparkling rhythms and the use of pizzicato strings
makes for some striking effects. In the final allegro the rhythmic accents are
again strongly pronounced and the writing demonstrates a sensitive ear for changes
of timbre and texture. While it would be wrong to claim that this is a neglected
masterpiece, it certainly rewards attentive listening - at least as fully as
do more than a few better-known works.
The Cuatro piezas españolas carry the titles ‘Danza Oriental’, ‘Scherzo
Andaluz’, ‘Bolero’ and ‘Polo Gitano’. The first
is both graceful and dignified, its dancing rhythms dignified in their well-shaped
phrases; the ‘Scherzo Andaluz’ is initially full of energy, the interplay
of the instruments well-judged and the imitative patterns interesting, with some
more reflective passages attractively setting off the surrounding vitality. The ‘Bolero’ has
an elegant charm which is entirely decorous and polite, while ‘Polo Gitano’ is
a similarly decorous evocation of earthier folk idioms. All four pieces offer,
within the idiom of a kind of superior salon music, a more obviously nationalistic
Bretón than we hear in the Piano Trio. Whether the slighter music of the
Cuatro piezas españolas or the more ambitious writing of the Trio is preferred
may be no more than a subjective choice (or a product of the passing mood). Both
have their attractions and both show what an interesting figure Bretón
was.
Glyn Pursglove
see also reviews by Gary
Higginson and Jonathan
Woolf