{"id":121650,"date":"2025-06-02T14:33:10","date_gmt":"2025-06-02T12:33:10","guid":{"rendered":"https:\/\/www.iemj.org\/camondo-isaac-de-1850-1911\/"},"modified":"2025-06-03T14:36:25","modified_gmt":"2025-06-03T12:36:25","slug":"camondo-isaac-de-1850-1911","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/es\/camondo-isaac-de-1850-1911\/","title":{"rendered":"Camondo, Isaac de (1850-1911)"},"content":{"rendered":"\n\n\n\n\n

Nacido en el seno de una ilustre familia italiana de banqueros instalados en Constantinopla, Isaac de Camondo hered\u00f3 el banco familiar con su primo Mo\u00efse, adem\u00e1s de ser coleccionista de arte, mecenas y compositor. \u00c9l y su familia se trasladaron a Par\u00eds en 1867; su padre Abraham construy\u00f3 un hotel en el n\u00famero 61 de la rue de Monceau, junto al de su hermano Nissim, que se levantaba en el emplazamiento del actual Museo Camondo.<\/p>\n\n\n\n

Apasionado por el arte y la m\u00fasica, Isaac recibi\u00f3 clases de piano de Henri Ravina (1818-1906) y de composici\u00f3n de Gaston Salvayre (1847-1907), que gan\u00f3 el Gran Premio de Roma en 1872 y con quien mantuvo la amistad hasta su muerte.<\/p>\n\n\n\n

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A partir de los treinta a\u00f1os, Camondo colecciona objetos de arte, cuyos sucesivos legados enriquecen varios departamentos del museo del Louvre; sus cuadros impresionistas, en particular, constituyen la colecci\u00f3n principal del museo de Orsay, desde el Fifre <\/em>de Manet a las Danseuses de Degas, sin olvidar los cuadros de la sala Monet.<\/p>\n\n\n\n

Entre 1870 y 1889, Camondo public\u00f3 una quincena de piezas para piano, principalmente polcas y valses, as\u00ed como dos melod\u00edas, La chanson du berger<\/em> y Laisseras-tu mignonne<\/em>, basadas en textos de su amigo Paul Choudens. Pero, ardiente wagneriano -fue a Bayreuth en cuanto se inaugur\u00f3 el teatro en 1876, y volvi\u00f3 en 1882 con L\u00e9o Delibes (1836-1891) y Gaston Salvayre para asistir al estreno de Parsifal<\/em>-, busc\u00f3 un nuevo camino y permaneci\u00f3 en silencio de 1889 a 1903.<\/p>\n<\/div>\n\n\n\n

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El piano Erard de Camondo en la sala Degas de su casa, 82 avenue des Champs-Elys\u00e9es<\/strong><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

Durante estos 14 a\u00f1os no public\u00f3, pero se dedic\u00f3 al mecenazgo: a partir de 1898 se convirti\u00f3 en el principal mecenas (por cerca del 10% del capital) de la Op\u00e9ra-Comique, dirigida por su amigo Albert Carr\u00e9, as\u00ed como, desde 1901, de la \u00d3pera. Sobre todo, permiti\u00f3 a Gabriel Astruc (1864-1938), hijo del rabino Aristide Astruc, crear en 1904 la Soci\u00e9t\u00e9 musicale -editorial y agencia de conciertos-, a la que se asoci\u00f3 financieramente. En 1908 se convirti\u00f3 en accionista de la Soci\u00e9t\u00e9 du th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es, pero su muerte le impidi\u00f3 asistir a la inauguraci\u00f3n del teatro en 1913.<\/p>\n\n\n\n

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El estreno de Pelleas et M\u00e9lisande<\/em> de Debussy en la Op\u00e9ra-Comique en 1902 pudo incitarle a volver a componer; entonces trabaj\u00f3 activamente, adoptando un lenguaje arm\u00f3nico decididamente moderno, incluso experimental. Astruc public\u00f3 cerca de 80 obras, en su mayor\u00eda para cuarteto de cuerda u orquesta. Las present\u00f3 en un concierto que organiz\u00f3 en la Sala Pleyel el 10 de marzo de 1904, con Lazare-L\u00e9vy al piano y Camille Chevillard, director de los conciertos Lamoureux, a la batuta. En abril de 1906, represent\u00f3 en el Nouveau-th\u00e9\u00e2tre la \u00abnovela musical\u00bb Le Clown<\/em>, con libreto de Victor Capoul, cuyo estilo recitativo recordaba a Pelleas<\/em>. La obra se reestren\u00f3 en la Op\u00e9ra-Comique en junio de 1908, as\u00ed como en Marsella, Vichy, Amberes y Colonia entre 1909 y 1912.<\/p>\n<\/div>\n<\/div>\n\n\n\n

La vuelta a la composici\u00f3n no le impidi\u00f3 continuar con sus actividades de mecenazgo: en 1904 fund\u00f3 la Soci\u00e9t\u00e9 des artistes et amis de l’Op\u00e9ra, destinada a prestar apoyo financiero a la Association philanthropique de secours mutuel des artistes de l’Op\u00e9ra, que ya no pod\u00eda proporcionar a sus miembros una pensi\u00f3n decente.<\/p>\n\n\n\n

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Tambi\u00e9n particip\u00f3 activamente en la vida musical: tras ingresar en 1909 en la Soci\u00e9t\u00e9 fran\u00e7aise des amis de la musique, cuyo objetivo era propagar el gusto y el estudio de la m\u00fasica y permitir a los artistas pobres que su m\u00fasica fuera interpretada, ayud\u00f3 a la condesa Greffulhe, presidenta de la Soci\u00e9t\u00e9 des grandes auditions musicales de France, a patrocinar la temporada de ballet ruso en 1910 y apoy\u00f3 a la Soci\u00e9t\u00e9 musicale ind\u00e9pendante (SMI). Camondo, que compart\u00eda su vida con Lucie Berthet, soprano de la \u00d3pera, siempre estaba dispuesto a ayudar a los m\u00fasicos, entre ellos a Wanda Landowska, que hab\u00eda llegado a Par\u00eds en 1900, y al joven Lazare-L\u00e9vy. Muri\u00f3 s\u00fabitamente en 1911 en su apartamento, justo cuando su \u00f3pera Le clown<\/em> iba a representarse en Colonia al a\u00f1o siguiente.<\/p>\n<\/div>\n\n\n\n

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De izq. a dcha.: G. Salvayre, Camondo y los pianistas Lazare-L\u00e9vy (1882-1964) y Ernest Schelling (1876-1939) en la sala Degas hacia 1904<\/strong><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

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