Paul Groussac en la crítica musical argentina (acusación y defensa)

Abstract

 The diversity of subjects approached by the french-argentine writer Paul Groussac and the impressive volume of his production, between books and periodistic articles, impede that the analysis and interpretation of this extraordinary writer could be done by a unique scholar. This means that the revalorization of that gigantic production, should be done by different approaches. Only in that way it should be demostrated to which extent the thematic diversification didn't impeded him to go deep into each matter, accompanying the thinking men of his time -those of the Eigthinth's Generation- in the most varied spirit's concems. This article proposes to show a virtually unknown aspect: Groussac as musical critico Is that, with exception of the few lines that José Piñero (son) dedicates him in Nosotros review (Buenos Aires, nQ 65, july 1929) and except of his musical periodistic writings's titles included in the notably Juan Canter's bibliography, it doesn't exist a study about that part of his labour, to which he dedicated almost ninety works. It could be objeted that in taking a fewer representative aspect, it partializes the work and the man's visiono Far of it, we are convenced that in his critics or studies about musical subjects it is present the whole Groussac: historian, traveller, polemist, imaging writer, científic, artist and, naturally, professional critico Groussac wrote about music for forty years. The first article that we have notices is referred to Beethoven and it is dated in 1878. It is also Beethoven who closes that aspect of his production: it's a poetry, written in French, published in La Nación of Buenos Aires, on 27th march 1927. Its title 'From Paul Groussac to Beethoven" pays homage to the musician, in his death's centenary. Between that and this, ninety critic articles and a aesthetic musical study about Bizet, bind his name to the argentine musicography.