María Rodrigo in the Mirrors of Madrid Criticism (1915-1917)
Abstract
The year 1915 was a turning point in the development of Spanish musical culture due, among other circumstances, to the return to Spain of composers who at that time were completing their training in different European countries. María Rodrigo (1888-1967) was one of them, and since then her name has burst into the Spanish musical press. Based on newspaper sources, this article aims to analyse not only the critical discourse on María Rodrigo's first premieres in Madrid, but also the strategies used by the composer herself to enter a world dominated by men, not without first assessing the background that allowed her to occupy these musical spaces.
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