Comradely Criticism

Ataulfo Argenta, Spain's No. 1 conductor (TIME, July 13), was in hot water. At the invitation of Madrid's literary magazine Ateneo, he had written out his views on the state of modern music in Spain--and candidly compared two highly delicate periods, 1922-36 (before Franco) and 1939-53 (after Franco).

In pre-Franco days, said he, such composers as Falla, Turina and Oscar Espla "kept their windows open to the outer world," and wrote fine, arresting stuff. Now: "Our composers are living with their backs turned to current musical trends . . . Our standing is just about nil . . . There is only one alternative: renovation or death."

Madrid's political and art circles were shaken. Any comparison between "before" and "after" should conclude with words of praise for "after" in today's Spain. Infuriated composers were only too happy to plunge the matter headlong into politics. Even blind Maestro Joaquin Rodrigo, the only Falangist composer esteemed by Argenta, wrote: "Argenta is definitely wrong. A good Spaniard has the duty as a musician and comrade to keep faith in the music of his country."

Faced with the loss of a hard-earned position, i.e., conductorship of Spain's National Orchestra, Argenta composed a second declaration. He was distressed. He apologized. He humbly affirmed that he was a musician and no writer. Perhaps, he explained, this accounted for the fact that he wrote something he really did not mean. His only aim had been to push and incite Spain's composers towards better production. Moreover, he had always been a convinced Falangist who "owes his personal peace, the peace of his family and the peace of his country to Franco and the Falangist movement." Concluded Argenta: "Far be it from me to dare criticize the musical activities of the regime I serve with my whole heart."

Last week Arriba, Madrid's official Falange newspaper, absolved Ataulfo, expressed satisfaction that "we are able to remain Ataulfo's friends and comrades."

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