|OPERA : Medea; Uguale.|
|BALLET : The Good-Humored Ladies.|
|ORCHESTRA : Chiari di Luna; Il Beato Regno; Paesaggi Toscani; Prelude, Fanfare and Fugue; Carnival of Venice; Two Melodies for Voice and Orchestra; Napoli; Concerto for Violin and Small Orchestra.|
|CHAMBER MUSIC : First String Quartet; Second String Quartet; Trio; Sonata for Violin and Piano.|
|CHORAL : Four Melodies for Mixed A Cappella Voices.|
Important recordings of music by Vincenzo Tommasini:
Chesterian 29:133February 1923; Revue Musicale 8:68March 1927.
|VICTOR : Suite from The Good-Humored Ladies.|
JOAQUIN TURINA, who with Manuel de Falla is the leader of the modern school of Spanish composers, was born in Seville on December 9, 1882. Preliminary musical study was pursued in his native city with Evaristo García Torres, the organist and choirmaster of the Seville Cathedral. The rapidity of his musical growth convinced him that his future lay with music. Leaving for Madrid, he continued his musical study with great industry, taking piano instruction from José Tragó. However, he did not remain in Madrid very long. Beyond the horizon there gleamed that musical metropolis--Paris--and there Turina headed in 1905, already equipped with a splendid musical background. Entering the Schola Cantorum he resumed piano study with the celebrated Moritz Moszkowski, and completed theoretical work under Vincent D'Indy. The influence of Vincent D'Indy on his musical outlook was enormous and when, during his Paris sojourn, he wrote a small Spanish encyclopedia of music, it embodied the principal teachings of his master.
He remained in Paris for ten years, keeping very close touch during that period with the work of the younger French school. His intimacy with the music of these young composers had a noticeable result upon his technique, which became firmer and more subtle; it also enriched his intellectual background. He did not permit exotic influences, however, to affect his Spanish idiom very radically, and, altho in the music Turina composed in Paris a foreign speech occasionally asserts itself, it occupies a secondary position to the more assertive, broad, smiling Spanish language.
His long stay in Paris brought him full maturity as an artist. In 1907, his importance as a creator was first suggested when a very distinguished Quintet was performed by the Quatuor Parent; four years later another interesting performance of his music took place when the Quatuor Touche presented his String Quartet. It was not until 1912, however, that Turina's full significance in the world of modern music became unmistakably apparent, when his most famous work to date, the Procesión del Rocio, for orchestra, first saw the light of day. The Procesión del Rocio profoundly impressed the leading musicians of Paris ( Debussy likened it to a luminous fresco), who now began to regard Turina as a creator of first importance.
When in 1914, Turina returned to Madrid to make it his permanent home, he was generally accepted by France as one of the leading composers of the modern Spanish school. His Margot performed at the Teatro de la Zarzuela the same year of his return to Madrid brought him the same prestige in Spain that he enjoyed in Paris. This prestige was to grow enormously with ensuing years, with the performances of his principal orchestral works, particularly the Sinfonia Sevillana which, in 1920, was awarded first prize in a competition by the Grand Casino of San Sebastian.
Pedro Morales, often referred to as the "father of modern Spanish music," has subdivided Turina's music into three____________________