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Apreciacion 4 - Plan 4 PDF
Apreciacion 4 - Plan 4 PDF
Iniciacin a la
HISTORIA de la
Regin de Murcia
Consejera de Educacin y Cultura Regin de Murcia
Direccin General de Formacin Profesional e Consejera de Educacin y Cultura
Innovacin Educativa
Direccin General de Formacin Profesional e
Innovacin Educativa
Murcia 2006
Regin de Murcia
Consejera de Educacin y Cultura
Colaboracin: Margarita Muoz Escolar, Pablo Dez Gmez, Jos Antonio Martnez Meca,
Alejandro Muoz Clares, Ignacio Ortuo Zafrilla.
Maquetacin e Impresin:
ISBN
N de Registro.
Depsito Legal.
INICIACIN A LA HISTORIA DE LA MSICA
PRLOGO
Desde milenios el placer de la msica se halla profundamente arraigado en el hombre.
Junto a la religin, se cuenta entre las necesidades espirituales ms primigenias del
ser humano y en nuestro mundo tecnificado esta necesidad sigue absolutamente
vigente.
Los comienzos de la msica se desconocen. Segn los mitos de los pueblos, la msica
es de origen divino. En la poca primitiva, la msica perteneca al mbito del culto,
su sonido era el conjuro de lo invisible. La idea occidental de la msica se remonta a
la Antigedad griega, as como a las culturas avanzadas antiguas de las regiones de
Asia Menor y del Lejano Oriente.
Es de resaltar que algunos instrumentos parecen haber existido en todos los tiempos,
incluso en los prehistricos. Entre este patrimonio primitivo se cuentan los percutores,
como golpeteo rtmico de pies y palmadas; las sonajas; raspas y maderas vibradoras;
tambores; flautas; cuernos de animales y arcos musicales que son el comienzo de
todos los instrumentos de cuerda. Resulta notable que slo los instrumentos electrnicos
del siglo veinte aportan novedades fundamentales al repertorio instrumental.
Monjes, trovadores, juglares, damas y religiosas ilustradas nos hacen revivir la compleja
Edad Media. Ms tarde sern las cortes del Renacimiento, del Barroco y del Clasicismo
con sus excelsos compositores las que elevarn la msica a niveles nunca conocidos
y que continuarn durante la poca romntica.
Esperamos que esta publicacin sea til al profesorado y grata y provechosa a los
alumnos para que suponga un paso ms en favor del conocimiento de la msica y las
lenguas de nuestro entorno cultural europeo.
PRESENTACIN
En una sociedad intercultural y plurilinge como la actual, se hace evidente que todo
ciudadano de la Unin Europea debe conocer al menos dos lenguas, adems de la
propia.
La Consejera de Educacin y Cultura, consciente de esta demanda social, tiene como
uno de sus objetivos prioritarios fomentar la enseanza de idiomas extranjeros entre
el alumnado, tanto de Educacin Primaria como de Secundaria, de la Regin de Murcia.
Adems, se ha pensado en la importancia que este manual puede tener para las
Secciones Bilinges de Espaol- Ingls y Espaol- Francs repartidas por toda nuestra
Regin, ya que la asignatura de Msica se imparte en bilinge en muchos de estos
centros como disciplina no lingstica y la msica es un vnculo hacia los idiomas que
atrae la atencin y aumenta la motivacin del alumnado por aprender idiomas.
TEMA 1
- Msica Medieval. El Romnico. Msica religiosa: el Canto Gregoriano...2
- Msica profana del Medioevo..................3
- Msica en el Gtico. La Polifona...................4
- La msica y las Mujeres en la Edad Media.............5
TEMA 2
- La msica en el Renacimiento...............7
- La Escuela Franco-Flamenca ................7
- Renacimiento en Italia.....................8
- Renacimiento Espaol...................9
- Msica profana en el Renacimiento Espaol.........10
- Alemania. El Coral Protestante.............11
- Renacimiento en Inglaterra y Francia................................11
TEMA 3
- La Msica en el Barroco..................13
- Formas musicales Barrocas................13
- Formas vocales profanas: la pera..................15
- Formas vocales religiosas: oratorio y cantata ...........16
- El Barroco alemn ......................16
- Johann Sebastin Bach .................17
- El Barroco Ingls: Purcell y Haendel...............20
- El Barroco Francs....................21
- El Barroco Espaol ..................23
- Transicin del Renacimiento al Barroco....................................23
TEMA 4
- El Clasicismo ..........................................................26
- Joseph Haydn .....................27
- Wolfgang Amadeus Mozart ..................28
- Ludwig Van Beethoven.....................30
TEMA 5
- El Romanticismo.......................32
- 1 Generacin Romntica: Paganini y Weber.............32
- Compositores destacados de la 1 generacin romntica: Schubert y Berlioz.....33
- 2 Generacin Romntica: Mendelssohn, Schumann y Listz.....35
- Johannes Brahms...................40
- Pianistas Romnticos...................42
- Frederic Chopin .....................42
TEMA 6
- La pera Romntica ..................44
- Richard Wagner .....................44
- La pera francesa: la Opereta................47
- La pera Italiana: Rossini y Verdi.. .....................47
- La Msica Lrica Espaola...................49
INICIACIN A LA HISTORIA DE LA MSICA
NDICE
TEMA 7
- Las Escuelas Nacionalistas: Rusia y el Grupo de los Cinco....51
- Piotr Tchaikovsky .................52
- Sergei Rachmaninoff...............53
- Bohemia: Smetana y Dvorak...............53
- Escandinavia: Edgar Grieg...............53
- Gran Bretaa, Estados Unidos y Hungra....53
TEMA 8
- La Msica del siglo XX. El Impresionismo..........56
- Claude Debussy..................56
- Maurice Ravel.................57
TEMA 9
- El Nacionalismo Espaol............59
- Isaac Albniz...................59
- Enrique Granados.................61
- Manuel de Falla..............62
- Joaqun Turina................64
TEMA 10
- La Msica hasta la Segunda Guerra Mundial: Mahler y Strauss66
- 1 mitad del siglo XX: Stravinsky y Schoenberg....66
- La Segunda Escuela de Viena.........................68
- El futurismo.................68
- Nuevas tendencias en la 2 mitad del siglo XX....68
-Msicos con estilo propio...........69
ANEXO I
- La msica y las TIC................71
- Clsicos populares del siglo XX: Los Beatles, Los Rolling Stones y U2....73
ANEXO II
- COMPOSITORES DE LA REGIN DE MURCIA........................78
CUESTIONES
AUDICIONES MS INTERESANTES
FICHA DE AUDICIN
BIBLIOGRAFA Y FUENTES
INTRODUCTION TO THE HISTORY OF MUSIC
INDEX
CHAPTER 1
Medieval music. The Romanesque Period. Gregorian Chant...................................2
Secular medieval music................................................................................................................3
Music of the Gothic Period. Polyphony............................................................................................4
Women and Music in the Middle Ages.............................................................................................5
CHAPTER 2
The Music of the Renaissance.............................................................................................................7
The Franco-Flemish School..................................................................................................................7
The Renaissance in Italy........................................................................................................................8
The Renaissance in Spain......................................................................................................................9
Secular Music of the Spanish Renaissance..................................................................................................10
The protestant choir in Germany..........................................................................................................11
The Renaissance in England and France...............................................................................................11
CHAPTER 3
Baroque Music............................................................................................................13
Forms of Baroque Music............................................................................................................13
Secular vocal forms............................................................................................................15
Religious vocal forms............................................................................................................16
German Baroque...................................................................................................................................17
Johann Sebastian Bach........................................................................................................................20
English Baroque: Purcell and Handel......................................................................................................21
The French Baroque Period..................................................................................................................23
Spanish Baroque............................................................................................................23
CHAPTER 4
The Classic Period....................................................................................................................................26
Joseph Haydn.............................................................................................................................................27
Wolfgang Amadeus Mozart.................................................................................................................28
Ludwig Van Beethoven..........................................................................................................................30
CHAPTER 5
The Romantic Period..................................................................................................................................32
The first generation of the Romantic Period: Paganini and Weber..........................................32
The most notable composers of the Romantic period: Schubert and Berlioz................................33
The second generation of the Romantic Period: Mendelssohn, Schumann and Listz...................35
Johannes Brahms...................................................................................................................................40
Pianists of the Romantic Period.................................................................................................................42
Frederic Chopin.....................................................................................................................................42
CHAPTER 6
The Romantic opera.............................................................................................................................44
Richard Wagner.....................................................................................................................................44
French opera: the operetta.................................................................................................................47
Italian opera...........................................................................................................................................47
Spanish lyrical music...........................................................................................................................49
INTRODUCTION TO THE HISTORY OF MUSIC
INDEX
CHAPTER 7
National music schools............................................................................................................51
Piotr Tchaikovski...............................................................................................................52
CHAPTER 8
Twentieth century music. Impressionism.........................................................................56
Claude Debussy..............................................................................................................56
Maurice Ravel.................................................................................................................57
CHAPTER 9
Spanish nationalism...............................................................................................................59
Isaac Albniz.................................................................................................................59
Enrique Granados...............................................................................................................61
Manuel de Falla.................................................................................................................62
Joaquin Turina...............................................................................................................64
CHAPTER 10
Music up to the Second World War. Mahler and Strauss...........................................66
First half of the twentieth century. Stravinsky and Schoenberg..................66
The Viennese School............................................................................................................68
Futurism..............................................................................................................................68
New trends in the second half of the twentieth century..................................68
Composers with their own style..........................................................................................69
ANNEX I
Music using technology for information and communication (TIC)...............71
Popular classics of the twentieth-century......................................................................73
The Beatles..............................................................................................................................73
The Rolling Stones............................................................................................................75
U2................................................................................................................................................76
ANNEX II
Music from the Region of Murcia in Spain.......................................................................78
QUESTIONS
INITIATION L HISTOIRE DE LA MUSIQUE
TABLE DES MATIRES
THME 1
- La Musique mdivale. Lpoque Romane. Le Chant Grgorien..............................2
- La Musique profane du Moyen-ge..................................................................3
- La Musique lre gothique. La Polyphonie...............................................................4
- La femme dans la musique au Moyen-ge................................................................5
THME 2
- La Musique la Renaissance.................................................................................7
- Lcole Franco-flamande..................................................................................7
- La Renaissance en Italie........................................................................................8
- La Renaissance Espagnole..................................................................................9
- La Musique profane pendant la Renaissance Espagnole.........................................10
- LAllemagne.Le Choral Protestant...........................................................................11
- La Renaissance en Angleterre et en France..............................................................11
THME 3
- La Musique du Baroque......................................................................................13
- Formes musicales baroques.................................................................................13
- Formes musicales profanes :lopra...........................................................................15
- Formes vocales religieuses: loratorio et la cantate................................................16
- Le Baroque Allemand.........................................................................................16
- Johann Sebastian Bach.......................................................................................17
- Le Baroque Anglais: Purcell et Haendel.....................................................................20
- Le Baroque Franais...........................................................................................21
- Le Baroque Espagnol............................................................................................23
- Passage de la Renaissance au Baroque.......................................................................23
THME 4
- Le Classicisme.........................................................................................................26
- Joseph Haydn........................................................................................................27
- Wolfgang Amadeus Mozart.................................................................................28
- Ludwig van Beethoven.......................................................................................30
THME 5
- Le Romantisme......................................................................................................32
- Premire Gnration Romantique: Paganini et Weber............................................32
- Compositeurs de la 1re gnration romantique: Schubert et Berlioz...........33
- Seconde Gnration Romantique: Mendelssohn , Schumann et Liszt............35
- Johannes Brahms....................................................................................................40
- Les Pianistes Romantiques.................................................................................42
- Frdric Chopin.........................................................................................................42
THME 6
- L Opra Romantique.............................................................................................44
- Richard Wagner......................................................................................................44
- L Opra Franais: lOprette.................................................................................47
- L Opra Italien: Rossini et Verdi................................................................................47
- La Musique Lyrique Espagnole..................................................................................49
INITIATION L HISTOIRE DE LA MUSIQUE
TABLE DES MATIRES
THME 7
- Les coles Nationalistes:La Russie et Le Groupe des Cinq.......................................51
- Piotr Tchakovsky................................................................................................52
- Sergei Rachmaninoff..........................................................................................53
- La Bohme:Smetana et Dvorak..................................................................................53
- La Scandinavie: Jean Sibelius et Edgard Grieg.........................................................53
- LAngleterre, Les Etats-Unis et la Hongrie...........................................................53
THME 8
- La Musique du XXe sicle. LImpressionnisme..........................................................56
- Claude Debussy........................................................................................................56
- Maurice Ravel...........................................................................................................56
THME 9
- Le Nationalisme Espagnol..................................................................................59
- Isaac Albniz..............................................................................................................59
- Enrique Granados..........................................................................................................61
- Manuel de Falla...........................................................................................................62
- Joaqun Turina............................................................................................................64
THME 10
- La Musique jusqu la Seconde Guerre Mondiale: Malher et Strauss..................66
- Premire moiti du XXe sicle: Stravinsky et Schoenberg...................................66
- L cole de Vienne...................................................................................................68
- Le Futurisme...........................................................................................................68
- Nouvelles Tendances dans la seconde moiti du XXe sicle.................................68
- Musiciens ayant un style personnel........................................................................69
ANNEXE I
- La Musique et les TIC..........................................................................................71
- Les classiques populaires du XXe sicle.................................................................73
ANNEXE II
- Compositeurs de la Rgion de Murcie.........................................................................78
QUESTIONS
INICIACIN A LA HISTORIA DE LA MSICA
TEMA 1
MSICA
MEDIEVAL
PORTADA TEMA 1: Escultura de Alfonso X El Sabio en Murcia
INICIACIN A LA HISTORIA DE LA MSICA
MSICA MEDIEVAL TEMA 1
PERIODO
ROMNICO
MSICA RELIGIOSA DEL a Dios y su origen es una conse-
MEDIEVO cuencia de la confluencia de la
msica greco-romana y la juda,
Si definimos como msica clsica ya que en el cristianismo se fusio-
a aquella que es imperecedera- nan estas tres culturas.
mente bella a lo largo del tiempo,
el Canto Gregoriano, tan tpica- El nombre de Canto Gregoriano se
mente medieval como espaol, debe a que lo mand ordenar y
es indudablemente una gran joya recopilar San Gregorio Magno, Pa-
musical. Fue difundido y salmo- pa en el ao 590, cuando reinaba
diado por los monjes benedictinos en Espaa Recaredo; Los cristianos
del pequeo monasterio de Santo lo cantaban desde haca varios
Domingo de Silos, ubicado en las siglos y estas melodas fueron re-
alturas de la meseta castellana copiladas tomando de l su nom-
cerca de Burgos. bre. Este canto de origen monacal
era conocido por los peregrinos
Con el Canto Gregoriano o Canto que hacan parada y descanso en
Llano la Iglesia Cristiana se sirve su camino de devocin hacia San-
de la msica para dirigirse tiago de Compostela.
Representacin de monjes tocando el clavicordio
Elementos del
Canto Gregoriano
Una serie de elementos lo diferencian de la msica posterior ya que se
basa en escalas diferentes de las actuales, reducidas a las de tono menor
y mayor, y tiene adems ocho escalas especiales que lo hacen sonar a
nuestros odos de una manera diferente. Estas escalas se llaman modos.
1. El ritmo es libre, reducido a una especie de lnea ondulante y muy flexible.
2. Es mondico y a capella, es decir, a una sola voz y sin acompaamiento de instrumentos.
3. Se canta en latn y est determinado por la forma de este idioma; es el canto de la Iglesia
Catlica Romana.
4. Es una msica ligada a un texto religioso y sin el cual no tiene sentido.
5. El Gregoriano se escribe en tetragramas (posteriormente en notacin cuadrada) y con unos
signos llamados neumas, como una especie de gua para recordar.
El Gregoriano es una msica que pretende aproximar el alma del creyente a Dios y es fruto
de una sociedad religiosa convencida de que el hombre vive para Dios y para la eternidad.
A partir de Cantate Domine, es salmdico ya que introduce el salmo.
MUSICA PROFANA
DEL MEDIEVO LAS
Si consideramos al canto gregoria- Se acompaan normalmente de
CANTIGAS
no como la msica religiosa por
excelencia del Medioevo, no menos
instrumentos musicales como vio-
las, arpas, lades o instrumentos
DE
importante fue la labor desarrolla-
da por trovadores y juglares y la
de percusin para marcar el ritmo.
Crean tipos de danzas como el ALFONSO X
aparicin de las Cantigas. Rondeau o la Pastoral.
EL SABIO
El gregoriano es casi la nica
msica que se ha conservado an-
terior al siglo IX, pero llega un Alfonso X el Sabio (Toledo
momento en que se dan una serie 1230- Sevilla 1284), enton-
de cambios en la civilizacin que ces rey de Castilla y Len,
provocan la prdida de importancia recopila en las Cantigas
de este estilo, al introducirse 2 de Santa Mara 417 melo-
nuevas formas de msica que ya das de muy diversos tipos,
existan antes pero que ahora ad- tomadas de los trovadores
quieren ms relieve: la msica pro- provenzales, viejos romances
fana y la polifona. espaoles y cantos de clara
influencia rabe y juda.
El nacimiento de la msica profa- Trovadores.
na viene unido a la economa mo-
netaria y el comienzo de las len- Dentro de la msica espao-
guas vulgares que hacen surgir la del momento destacan
una humanidad ms consciente 2. Los juglares cantan para el vul- Las Cantigas de Amigo (de
de lo subjetivo e individual. go, van por las ciudades difundien- amor) del juglar de Vigo
do temas musicales provenientes Martn Codax, del siglo XIII,
1.Los trovadores (siglo XIII) son de la tradicin popular; ellos no recientemente descubiertas
aristcratas, autores e intrpretes, componen, tan solo son intrpre- y que como las cantigas, se
msicos profanos, poetas msticos tes. Tuvieron mala fama y fueron escribieron en gallego.
que cantan ya todos los sentimien- despreciados por el clero y la no-
tos humanos, y sobre todo a un bleza. Los propios trovadores les
acusaban de desvirtuar sus obras. Las Cantigas son un elemen-
tema fundamental: el amor; con to bsico para la organolo-
ellos la msica pasa de la iglesia a ga o estudio de los instru-
la corte o el castillo.
Florecen principalmente en las vas mentos musicales y nos
comerciales o guerreras, como el transmiten en sus miniatu-
camino de Santiago, el de Roma o ras un documento insupe-
las rutas de las cruzadas. rable para conocer los ins-
trumentos de la poca, pues
aparecen ms de 35 instru-
Destacan Adam de mentos musicales.
Halle, Rimbaut de
Vaqueira y Raimar
el Viejo.
Juglares
1.ARS NOVA
La polifona llega a resultados ms
LAS MUJERES Y LA MSICA
perfectos con el ars nova, perodo
que se extiende desde comienzos
MEDIEVAL
del siglo XIV hasta el Renacimiento. La mujer tambin tiene su pre- LEONOR DE AQUITANIA
Es un perodo revolucionario en la sencia y aportacin en esta poca (1122- 1204)
msica, de ruptura con el pasado, a travs de dos figuras destaca-
y el arte musical busca elementos das como Hildegard Von Bingen Naci en Poitiers, hija primog-
totalmente nuevos como son: el y Leonor de Aquitania. nita de Guillermo X, duque de
efecto puramente sonoro, el gozo Aquitania. Al morir su nico her-
sensual de la msica y, buscando mano varn se convierte en he-
esto, hace evolucionar y enriquecer redera de su padre y toma pose-
los ritmos y armonas. sin del inmenso ducado de
Aquitania. A los 15 aos de edad
Supone la expresin del genio in- contrajo matrimonio con Luis,
dividual, de los afectos particulares futuro rey Luis VII de Francia.
a travs de la msica en la misma Leonor de Aquitania trajo consi-
poca en que San Francisco de Ass go a los poetas y msicos de su
trata de llegar a Dios a travs del tierra natal. Los troveros (poetas
goce de la naturaleza. Retrato de HILDEGARD VON BINGEN de la Francia medieval) empeza-
ron por copiar y adaptar las obras
GUILLERMO DE MACHAUT HILDEGARD VON BINGEN de los trovadores y ms tarde
(1300- 1377)
(1098/99- 1179) desarrollaron un gnero propio,
similar al de los trovadores, aun-
Naci en Alemania y proceda de que de carcter ms pico.
Es el msico ms importante de Gracias a su proteccin hacia la
esta poca. Compone obras decisi- una familia noble. Entr en un
convento Benedictino donde es- msica, se conservan cerca de
vas en el campo religioso, como su 1400 melodas y 4000 poemas
Misa de Notre Dame (1 misa a cua- tudi latn griego, liturgia,
msica, oracin y ciencias natu- escritos por los troveros.
tro voces) y que contiene Agnus
Dei, as como en el campo profano. rales.
MEDIEVAL
MUSIC
PORTADA TEMA 1: Escultura de Alfonso X El Sabio en Murcia
INTRODUCTION TO THE HISTORY OF MUSIC
MEDIEVAL MUSIC CHAPTER 1
THE ROMANESQUE
PERIOD
RELIGIOUS MEDIEVAL its origins in the confluence of
MUSIC three traditions of Greco-Roman
and Jewish music which
If we define classical music as that Christianity brought together.
which never ceases to be Gregorian Chant owes its name to
considered beautiful with the Pope Saint Gregory the Great, who
passing of time, Gregorian Chant in 590, (when King Reccared
is undoubtedly one of these great reigned in Spain) organised the
musical jewels. Gregorian Chant, compilation of these melodies
as typically medieval as it is which had been sung by Christians
Spanish, was performed and for many centuries prior to this.
spread by the Benedictine monks Pilgrims who stopped to rest on
of the small monastery of Santo their devotional trail to Santiago
Domingo de Silos, located in the de Compostela encountered this
heights of the Castilian plateau chant of monastic origin.
near Burgos.
Gregorian Chant or Plainsong, was
the music by which the Christian
Church could address God. It has
COMPONENTS OF
GREGORIAN CHANT
A series of elements distinguishes Gregorian chant from later music as it is based on different
scales reduced to major and minor tones, and it also has eight special scales which can sound
strange to modern ears. These scales are called modes.
Gregorian chant is music which seeks to draw the believers soul to God and is the product of
a society which is convinced that man lives for God and for eternity. After Cantate Domine, it
becomes psalmodic, that is to say, it is based on the psalm.
SECULAR
MEDIEVAL MUSIC THE
If we consider Gregorian chant as They were normally accompanied
CANTIGAS OF
the religious music par excellence
of the medieval period, no less
by musical instruments such as
violas, harps, lutes, and percussion
ALFONSO X
important was the work developed
by troubadours and jongleurs (or
to mark the rhythm. They also
created new dances such as the THE WISE
minstrels) and the emergence of Rondo or the Pastoral.
the Cantigas or troubadour poems. Alfonso X the Wise (Toledo
Gregorian chant is almost the only 1230-Seville 1284) then king
music which has been preserved of Castille and Leon, collected
from before the ninth century. Then together in the Cantigas de
came a series of changes in Santa Maria 417 melodies of
civilisation that reduced the various types (a cantiga is a
importance of this style. This was song), taken from the
the rise of two new forms of music provincial troubadours,
which had already existed but including old Spanish
which were acquiring more romances and songs with a
prominence: secular and polyphonic clear Arabic and Jewish
music. influence. Worthy of note in
Spanish music of the
The birth of secular music is thirteenth century were the
associated with a monetary Cantigas de Amigo (Songs for
economy and the growing use of 2) The jongleurs sang for the a Friend) about love by Martin
the vernacular, both of which arose common people, travelling round Codax, a jongleur from Vigo,
as humanity became more towns spreading musical themes which were recently
conscious of the subjective and derived from popular tradition. discovered and which, like the
individual world. They only performed and did not cantigas, were written in
compose. They had a poor Galician.
1) The troubadours (thirteenth reputation and were scorned by
century) were aristocrats, writers the clergy and nobility. The Cantigas are an important
and performers, secular musicians troubadours accused them of resource for organology or
and mystical poets who sang about ruining their work. the detailed study of musical
the whole spectrum of human instruments. As more than
feeling, and especially the thirty-five instruments appear
fundamental theme of love. With in them, they provide us with
them the music passed from an invaluable source of
church, to court, to castle. They information on the musical
flourished principally on the trade instruments of the period.
and war routes, such as the roads
to Santiago de Compostela and
Rome or those of the Crusades.
The most prominent
were Adam de Halle,
Rimbaut de Vaqueira
and Raimar el Viejo.
MUSIC OF THE
GOTHIC
PERIOD:
POLYPHONY
The third musical phenomenon of
importance in the Middle Ages is
Polyphony, which means many vo-
ices singing simultaneously. It be-
gan to gain importance in the ninth
century and seems, like gothic art,
to originate from northern Europe.
As it is not monodic, implicit in
polyphony music is a clearly vertical
conception of art; gothic tends to Music compositions are not anon- emerged during this period:
point upwards towards elevated ymous any more and two important clausula, conductus and motet.
structures. composers become renowned: mas- The motet is the most well known
ter Lonin and master Protin.The with two or three voices in
Periods: latter being considered superior by counterpoint with the unusual
1. Birth of Polyphony his master and was called Protin feature that each voice sings
2. Ars Antiqua. (Latin, 'Old Art') The Great who provided the oldest different texts making the music
3. Ars Nova. (Latin, 'New Art') polyphonic music texts in the ver- lively and contrasting.
nacular language.
1. BIRTH OF POLYPHONY Both conducted the music Chapel Even religious and secular
of Ntre Dame in Paris. texts could be mixed and
This period is from the ninth to the Discantus technique was specially they were performed in both
beginning of the twelfth century. relevant at the Limoges Music
School and the Santiago de Com- religious and secular
The first polyphonic expressions
are the Organum and the Discantus postela Music School. gatherings. The motet was
which were quickly accepted by invention of the Paris
the Church and introduced into the 2. ARS ANTIQUA School.
liturgical chant to make it more OR VETERA
solemn. At around this time a new form of
In the evocative medieval Paris notation was developed using five
Organum: This is a form of harmony staves or pentagram in which a
in which to a Gregorian melody there were two different trends,
later known worldwide by the note was placed on or between
called cantus firmus is added a each line. The notes were designated
second voice, called Vox Organalis names of ars antiqua or old art
and ars nova or new art. names based on the Hymn to Saint
which moves in fourths and fifths. John the Baptist, written by Guido
Discantus: The two voices move in d'Arezzo. Each note was named
opposite directions, so that when This period was from the seventh
to the eighth century in which were after the first syllable of each verse:
the pitch of the principal voice rises ut queant laxis / resonare fibris /
the second voice falls. From this founded the famous Paris School
and Santiago School with its Codex mira gestorum / famuli tuorum /
comes the term countermelody sin- solve polluti / labii reatum, Sancte
ce the two voices sing note against Calixtus. The first collection of
Spanish polyphonic works can be Joannes however ut was
(opposing) note or melody against susbtituted by do in time.
melody. Later on it was written found in this book.
with three or even more voice parts. Three new polyphonic forms
3. ARS NOVA
Polyphony reached new heights of
WOMEN AND MUSIC IN
perfection with the arrival of the
ars nova. This period was from the
THE MIDDLE AGES
beginning of the fourteenth century Women were also relevant in the LEONOR OF AQUITAINE
to the Renaissance. This was a medieval period, especially Hil- (1122- 1204)
revolutionary period for music. It degard Von Bingen and Leonor
was a break with the past, seeking of Aquitaine. She was born in Poitiers and
totally new qualities such as: the first-born child of William X,
effect of pure sound, the sensual Duke of Aquitaine. When his only
enjoyment of the music and, in the male son died, Leonor becomes
pursuit of this, developing and the heiress of the huge duchy of
enriching rhythms and harmonies. Aquitane. At the age of 15 she
It involved the expression of married Louis, the future king
individual genius, of the personal Louis VII of France.
experience of music, during an age
in which Saint Francis of Assisi She brought along with her poets
tried to reach God through the love and musicians from her
of nature. HILDEGARD VON BINGEN hometown. Medieval French
poets began to copy and perform
HILDEGARD VON BINGEN works from trobadours and later
GUILLAUME DE MACHAUT (1098/99- 1179) developed their own genre,
(1300- 1377) similar to the one from the
She was born in Germany from trobadours but much more epic.
Was the most important musician a noble family. She became a There are nearly 1400 melodies
of this period. He composed member of a Benedictine convent and 4000 poems written by the
significant secular works and where she studied Latin, Greek, French trobadours thanks to her
religious works such as Mass of Liturgy, Music, Prayers and Na- support and help.
Notre Dame (the first mass in four tural Science. In 1136 Hildegard
voices) which includes Agnus Dei. was the main authority in the
convent.
Ars nova is a period that paves the She wrote books about personal
way for the Renaissance and experiences, Mysticism, Ethics,
involves the consecration of Theology, Medicine and certain
Western music over Eastern, that knowledge of Botany and Biolo-
is, polyphony over monody whose gy.
maximum representation was However, she not only devoted
Gregorian Chant of eastern origin. herself to writing but she also
Since then man has experienced composed music, that is, seventy-
music as polyphonic and has seven songs and the opera Ordo
expressed himself polyphonically. Virtutum.
It can be interesting to quote her
An example of the Spanish ars nova in order to know her conception
is the Llibre Vermell from Catalonia. of music:
Every element has got a sound
due to Gods will. When words
flow, they are like empty shells
without music. They are only
useful if they are sung. Words
are the body and music is the
Fragmento del manuscrito spirit Leonor de Aquintana
PRIODE
ROMANE
MUSIQUE RELI- Dieu et lon doit son origine la
confluence de la musique grco-
GIEUSE DU romaine et juive, tant donn que
ces trois cultures se fusionnent
MOYEN-GE. dans le Christianisme.
Si lon entend la musique classique On doit lappellation Chant Grgo-
comme tant ternellement belle rien Saint Grgoire le Grand,
au cours des sicles, le Chant Pape en lan 590, lpoque o
Grgorien, aussi typiquement Rcarde rgnait sur lEspagne ; les
mdival quespagnol, est, sans chrtiens le chantaient depuis plu-
aucun doute un des grands joyaux sieurs sicles et ces mlodies furent
de la musique. Il fut rpandu et compiles sous son nom. Ce chant
psalmodi par les moines bndic- dorigine monacal tait connu des
tins du petit monastre de St Do- plerins qui se reposaient sur le
mingo de Silos, situ sur les hauts- pieux chemin de St Jacques de
plateaux de la meseta castillane Compostelle.
proximit de Burgos.
lments du Chant
Grgorien.
Toute une srie dlments formels le distinguent de la musique postrieure puisquil sappuie sur des
gammes diffrentes des ntres, rduites en ton mineur ou majeur ; par ailleurs, il possde huit gammes
spciales qui le font vibrer nos oreilles dune faon diffrente. Ces gammes sont appeles modes.
1. Le rythme est libre, limit une sorte de ligne ondulante et trs souple.
2. Il est monocorde et a capella, cest--dire dune seule voix et sans accompagnement instrumental.
3. On le chante en latin et il est dtermin par la structure de cette langue ; cest le chant de lglise
Catholique Romaine.
4. Il sagit dune musique lie un texte religieux sans lequel il na aucun sens.
5. Le Chant Grgorien est transcrit sous forme de ttragrammes (plus tard grce une notation
carre) et laide de signes appels neumas , l quivalant une sorte de guide-mmoire.
Le Chant Grgorien est une musique qui prtend rapprocher lme du croyant de Dieu et il savre tre
le produit dune socit religieuse convaincue que lhomme vit pour Dieu et pour lternit.
A partir du Cantate Domine, il devient psalmodi car cest alors quil incorpore le psaume.
LA MUSIQUE
LRE
GOTHIQUE. LA
POLYPHONIE.
Le troisime phnomne musical
le plus important au Moyen-Age
est la Polyphonie, qui correspond
un chant plusieurs voix inter-
prtes simultanment. Elle sem-
blerait provenir du nord de lEurope,
tout comme lart gothique, et ac-
quiert une certaine importance
partir du IXe Sicle. Comme il ne
sagit pas dune musique monocor- A la fin du XIIe S.les productions les premires polyphonies espagno-
de, la polyphonie suppose une con- musicales ne sont plus anonymes les.
ception de lart nettement ascen- et lhistoire recueille les noms les
dant : le gothique slve vers les plus importants de la rnovation Trois nouveaux systmes polypho-
cieux. artistique : Matre Lonin et Matre niques apparaissent alors : les
Protin.Tous les deux ont dirig la clausulas , le conductus et le
PRIODES : chapelle musicale de Ntre Dame. motet.
1. Naissance de la Polyphonie Le Discantus sest surtout dvelo-
2. Ars Antiqua pp lcole musicale de Limoges Le motet est le systme le plus
3. Ars Nova et dan celle de Saint Jacques de important, deux ou trois voix, se
Compostelle. basant sur le contrepoint ; en effet,
Matre Lonin fut consider com- chacune dentre elles interprte un
1. NAISSANCE DE LA me optimus organiste; son succes- texte diffrent, il en ressort une
POLYPHONIE. seur, Protin le Grand,fut considr musique trs vivante et qui joue sur
comme suprieur Lontin et cest le contraste.
Elle stend du IXe S. au dbut du lui qui nous a transmit les textes On mlange mme dans le motet
XIIe S. Les premires expriences les plus anciens de la musique po- les paroles sacres aux profanes et
polyphoniques sont lOrganum et lyphonique non lithurgique en lan- il est utilis aussi bien dans les
le Discantus ; bientt lglise les gue vulgaire. milieux religieux que profanes. On
accepte afin de rendre plus solennel doit le motet lcole de Paris.
le chant lithurgique.
Organum : il consiste rajouter Cest partir de ce moment-l que
une mlodie grgorienne, appele 2. LARS ANTIQUA OU nat la nouvelle transcription musi-
cantus firmus, une seconde voix, VETERA. cale avec le pentagramme, qui per-
une distance de quarte ou de quin- met de situer une note sur chaque
te, dnomme Vox Organalis. Paris au Moyen-ge,deux ligne (= la porte) ou interligne.
Discantus : les deux voix courants musicaux se sont mani- Guido d Arezzo attribue un nom
sopposent ; ainsi, si la voix princi- fests avec un sicle dintervalle: chaque note, utilisant la premire
pale monte, lautre voix doit des- lArs Antiqua et lArs Nova. syllabe de chaque vers de lHymne
cendre et vice-versa. de St Jean- Baptiste: ut queant
De cette modalit surgit le terme Il correspond la priode comprise laxis / resonare fibris / mira ges-
contrepoint, tant donn que les entre le XIIe et XIIIe Sicle durant torum / famuli tuorum / solve polluti
deux voix ont t composes note laquelle naissent la clbre Ecole / labii reatum, Sancte Joannes ce-
contre note. Plus tard, on en crivit de Paris et celle de Saint -Jacques pendant, lusage fit que ut fut rem-
trois voix et mme davantage. dont le Codex Calixtinus recueille plac par do.
EL RENACIMIENTO EN ITALIA
El Renacimiento musical en Italia comienza en el siglo XV con la
msica profana, con formas como el madrigal y la frotolla y la
llegada de msicos flamencos; pero llega a su cumbre con el
Concilio de Trento y la figura de Palestrina.
Destacan Thomas
Morley y Thomas
Weelkes.
THE MUSIC OF
THE RENAISSANCE
PORTADA TEMA 2: Baptisterio, Duomo y Campanille. Santa Maria de las Flores (Florencia)
INTRODUCTION TO THE HISTORY OF MUSIC
THE MUSIC OF THE RENAISSANCE CHAPTER 2
THE
MADRIGAL thinking and lay class of the
Renaissance. It took place in courtly
settings as exaltation of affection
This was the most important and sensuality; in places such as
musical form of the Renaissance, Venice and England where the
the epitome of secular music which secular world was strongest. It
reached its peak in the fifteenth comprises of very difficult and
century. It was born within the sophisticated musical language, for
spirit of the poetical movement cultured minorities, using the
initiated by Petrarch and linked to
his poetry.
The madrigal is a
descriptive form of perfected and encouraged their
development. The most prominent
polyphony that attempts, composer was Claudio Monteverdi
through the union of text who wrote eight books of madrigals.
and music, to express mans From the fifth book onwards his
feelings. music is clearly baroque.
Claudio Monteverdi
It usually consists of four or five
voices and is a capella although it chromatic scale and in the
can be accompanied. It uses the vernacular.
language of a select class, the It was the Flemish in Italy who
THE
PROTESTANT
CHOIR IN
GERMANY
Luther highly valued music. For him
it was second only to theology in
importance. In his choir the singing
was uncomplicated: no
counterpoint or discords, the
rhythm was very pronounced and
the melody simple and beautiful so
as to bring out the text which was
sung in German not Latin. The music
followed rigorously the secular and
religious texts in existence which
were popular among the people.
La musique de la Renaissance
possde les caractristiques sui-
vantes :
LA RENAISSANCE EN ITALIE
La Renaissance de la musique en Italie commence au XVe Sicle, grce
la musique profane, avec le madrigal et la venue de musiciens flamands ;
elle arrive son apoge lors du Concile de Trente et grce la personnalit
de Palestrina.
LA RENAISSANCE ESPAGNOLE.
Les caractristiques de la Renai-
ssance espagnole peuvent
sexpliquer par la situation sociale CARACTRISTIQUES
et politique et par limportance que
revt la religion. - Il se produit une grande closion de la musique vers le milieu du
XVIe S..
Ainsi, la polyphonie espagnole : - LEspagne suit les nouveaux principes qui surgissent du Concile
de Trente.
- Est concentre, presque renferme - Les cathdrales se convertissent en berceau de musiciens espagnols.
sur elle-mme, contrairement la - Dans toutes les cathdrales, il existe le matre de chapelle, la
polyphonie franaise, extrmement chapelle de la Mancanterie, et un orchestre de mnestrels ou
extravertie et brillante. instrumentalistes.
- Les moyens dexpression sont vo-
lontairement limits, do une mu-
sique austre et ascte.
- Le mysticisme est sa qualit la
plus dterminante, grce sa pro-
fonde expressivit. Nous pouvons parler de trois gnrations dans la musique
- La musique reste toujours fidle de la Renaissance espagnole :
au texte. Ces besoins expressifs
amnent nos musiciens composer 1. Elle est reprsente par Juan del Enzina (1469-1529) ayant une
abondante uvre profane et religieuse, qui puise dans la musique populaire
de lpoque. Il fut au service du Duc dAlba. Contemporain de Machiavel
et de Luther, de Colomb et St Ignace, de Lonard de Vinci, Michel-Ange
et de Titien, Juan del Enzina rsume dans ses villancicos , qui ne sont
pas des chants de Nol mais des sortes de madrigaux populaires, tout
un art musical qui va de la plus haute expression amoureuse la picaresque
et au dvergondage.
Limportance de cette musique est reflte dans les recueils de lpoque
comme celui du Palais Royal de Madrid, dit dUpsala, car le seul exemplaire
connu se trouve dans cette ville sudoise.
LALLEMAGNE.
LE CHORAL
PROTESTANT.
Luther estime que la musique est
ce quil existe de plus important
aprs la thologie ; le Choral est
un chant trs simple, utilisant des
voix non pas en contrepoint mais
en harmonie, o le rythme trs
soutenu et la mlodie trs belle et
simple servent allger le texte
chant en allemand et non en latin.
La musique suit rigoureusement les
vers du texte, ce sont des musiques
profanes ou religieuses qui exis-
taient dj et plaisent au public
B. LA SONATA.
Sonata significa msica para ser sonada; como en la suite el origen de
la sonata est en la contraposicin de movimientos, que se reducen
normalmente a cuatro; en su pleno apogeo Corelli ordena sus movimientos
as:
- Grave
- Allegro en estilo fugado
- Moderado
- Vivo en estilo fugado u homofnico.
C. EL CONCERTO.
Es una forma orquestal barroca que suele constar de 3 movimientos:
allegro-adagio- allegro.
Puede ser Concerto Grosso si es para un grupo de solistas y la orquesta,
o Concerto Solo si es para un solista y orquesta.
La sonata se hace concierto cuando pasa a la orquesta, y su nombre
viene de la palabra concertare, es decir, tocar varios instrumentos al
mismo tiempo.
En el concierto se ven mejor las cualidades barrocas, por la contraposicin
entre los diversos planos de la orquesta completa e incluso el solista
nico.
Ilustracin de un violonchelista
CARACTERSTICAS DE SU OBRA:
-Es ante todo un hombre religioso y protestante convencido, por tanto, la mayor parte de su
obra es religiosa.
-Lleva a un gran equilibrio principios que parecen contrapuestos: armona y contrapunto,
monodia y polifona.
-Deja una produccin musical difcil de mejorar tanto en cantidad como en calidad.
En su obra podemos distinguir:
LA PASIN
Los personajes de la Pasin son: un LA FUGA GEORG
evangelista que narra, los persona-
jes que cita el evangelio y el pueblo
alemn, que interviene en este dra-
Es una de las formas ms
importantes del barroco, elevada PHILIPP
ma expresando sus sentimientos.
A diferencia de la pera, no hay
por Bach a un arte insuperable,
tanto en su msica vocal como TELEMANN
representacin, slo se canta. Bach instrumental.
La fuga es una composicin musical
(1681- 1767)
compone dos pasiones: La Pasin
segn San Mateo y La Pasin segn instrumental o voclica en un solo
tiempo y que se realiza a partir de Es la gran personalidad del ltimo
San Juan. barroco alemn, que ofrece una
un solo tema; este tema es el que
engendra y produce las msica no tan dependiente del fac-
peculiaridades rtmicas. tor religioso (pese a sus 44 pasio-
Las partes de una fuga son: Tema nes), forma que hace evolucionar
o sujeto- Respuesta- Contrasujeto- influenciado por el pietismo.
Contra exposicin- Divertimentos En Telemann est presente la in-
o episodios- Estrechos- y Pedal fluencia francesa, lo que contribuye
y cadencia. a dar a su msica un carcter ms
alegre; para l la msica es una
forma de felicidad.
Paradjicamente, los hijos de
Bach tienen en vida ms xito
que su padre, siendo portadores
Portada de una grabacin de La Pasin
de su gran herencia musical.
LA PERA
Los sucesores de Lully no siguen su
sistema operstico y crean otras
formas que mezclan con el ballet;
as surge el gnero pera- ballet.
MSICA PARA
TECLADO
La msica francesa para clavecn
caracteriza uno de los momentos
ms lgidos del Rococ francs,
pensada para tocar en salones aris-
tocrticos. Esta variedad tiene dos
intrpretes: Couperin y Rameau.
El primero deja cuatro libros de
piezas para clavecn.
TRNSITO DEL
RENACIMIETO
AL BARROCO
En Espaa el Barroco comienza con
la policoralidad y la monodia acom-
paada al igual que en Italia y otros
pases.
En realidad la policoralidad se da
ya en nuestros ltimos msicos del
Renacimiento; as, se puede ver en
el Magnificat y en el salmo Laeta-
tus Sum de Toms Luis de Victoria,
donde hay claros efectos de bico-
ralidad.
A partir de mitad de siglo comien-
zan a surgir toda una serie de Representacin de una Zarzuela
B.
LA TONADILLA
Es una obra escnica que termi-
na con danzas de carcter es-
paol. Tiene gran xito entre el
pueblo y prcticamente todos
los msicos espaoles hacen
obras de este estilo.
MSICA INSTRUMENTAL
Dentro de la msica para instrumentos hay que destacar:
- LA GUITARRA
- EL RGANO
- LA MSICA ORQUESTAL, en la que sobresale EL PADRE SOLER
El Padre Antonio Soler sobresale como compositor del barroco espaol, es discpulo de Scarlatti y
trata de modernizar nuestra escuela de tecla que comenzara con Antonio Cabezn.
Son fruto de ella sus Seis Conciertos para rgano obligado, sus Quintetos con cuerda y rgano o
clave, y centenares de sonatas para clave.
Hay que destacar del Padre Soler la transformacin de la sonata barroca (a 4 partes) en sonata
bipartita (2 partes). Esto significa que es un hombre de trnsito hacia el Clasicismo.
BAROQUE
MUSIC
PORTADA TEMA 3: Fachada Barroca de la Catedral de Santa Mara de Murcia
INTRODUCTION TO THE HISTORY OF MUSIC
BAROQUE MUSIC CHAPTER 3
CHARACTERISTICS OF
BAROQUE MUSIC: PERIODS OF BAROQUE
In contrast to Renaissance music, MUSIC
baroque music did not attempt
merely to serve the text, but to
embellish and go beyond it. A. Early Baroque (1580-1630). Music was used to
give strong emotional force to the words. There was a
- A harmonic system was greater use of dissonance. Beginning of the
established which was as it were differentiation between vocal and instrumental music.
'vertical', a hierarchy in which there
was one principal voice and the
rest served as harmonic B. Middle Baroque (1630-1680). Epoch of the opera
accompaniment. This is called and the cantata and with it the distinction between
accompanied monody and this aria, arioso and recitative.
accompaniment was provided by
the Basso Continuo C. Late Baroque (1680-1750). The forms acquire
- It required a very marked rhythm, lavish dimensions. The concertato style appears.
known as mechanical rhythm,
because of its strong repetitive Instrumental music dominates vocal.
beats. Through this the rhythm or
movement (tempo), became one of
the vital elements of baroque music
- At this point in history different
types of music were not
FORMS OF BAROQUE
interchangeable; instrumental
music could not be sung and vice
MUSIC
versa - INSTRUMENTAL FORMS: SUITE, SONATA AND CONCERTO
- In this period of both economic
and spiritual crisis (as a result of - VOCAL FORMS: - SECULAR: OPERA
the schism in the Church) appeared - RELIGIOUS: CANTATA, ORATORIO
in all the arts what is known as AND PASSION
expressionism, where reality is
exaggerated or distorted (Cervantes, With the Baroque came the
Gracin or Quevedo) blossoming of instrumental music,
- Expressionism could be found in producing pure music. The
music by the dramatic and enormous improvements in quality
expressive meaning given to the of instruments such as the violin
sound; so that there was a kind of contributed towards this.
conflict between the orchestra
(tutti), the soloists (concertino) and During this period we see the rise
the soloist of the greatest instrument makers
- The concertato style which arose, of all time, such as STRADIVARIUS,
involved contrasting of choir, AMATI and GUARNERI. The
orchestra, soloists and even instruments had to be capable of
between several choirs being played at great speed. With
- There was counterpoint in slow the help of these new instruments
and fast tempo music achieved great virtuosity and
- Words were given more emotional perfection.
intensity in what we call recitative
or recitativo, arioso and aria styles
B. THE SONATA.
Sonata means music to be sounded. As in the suite, the origin of the
sonata is in the counterpoint of movements, which normally amount to
four. In his heyday Corelli ordered his movements thus:
GRAVE
ALLEGRO FUGATO
MODERATO
VIVO FUGATO OR HOMOPHONIC
One of the greatest composers of this style was Arcangello Corelli (1653-
1713) of the Italian school. He lived in Rome where he composed his
celebrated 12 Sonate de Chiesa, and 12 Sonate per Violino. He was also
an accomplished violinist and had many pupils.
C. THE CONCERTO.
A baroque orchestral form which usually consists of 3 movements;
allegro-adagio-allegro. It can be Concerto Grosso if it is for a group of
soloists and orchestra, or Concerto Solo if it is for a soloist and orchestra.
The sonata becomes a concerto when it is played by the orchestra and
its name comes from the word concertare, meaning to play various
instruments at the same time. In the concerto the qualities of baroque
can best be seen through the contrast between different parts of the
full orchestra and even the single soloist.
GERMAN BAROQUE
tato style, monody and orchestral
INTRODUCTION TO accompaniment etc. Italian music
GERMAN BAROQUE was very influential, especially Co-
relli and Monteverdi; German mu-
sicians always looked to Italy.
The driving force of this music was
religion. To serve this need, it emer-
ged the most important musicians
THE BEGINNINGS
of the day. OF GERMAN
The importance which Luther had
given to music acted as a great BAROQUE
stimulus.
In every town there was a Heinrich Schtz (1585-1672)
He stands out amongst the musi-
Kantorei or choir which per- cians of the first period. He was
formed in the church and educated by the Italian musician
whose organist was paid by Gabrielli and later by Monteverdi
the local community. himself. His Psalms of David were
written in Italian, with great choirs,
Organs of great value were cons- soloists and instruments in concer-
tructed and the congregation be- tato, achieving a sonority typical
came accustomed to singing in of colossal baroque. He also com-
church. The foremost musical genre posed the first German opera Da-
of the Protestants continued to be phne.
the chorale, upon which undertaken The organ, as an instrument for the
the reforms which the baroque liturgy, is essential in Protestantism.
aesthetic demanded, which is to One of the foremost organists of
say the application of the concer- this period was Johann Pachelbel.
THE
LUTHERAN INSTRUMENTAL AND
CANTATA ORGAN WORKS
Among Bachs instrumental
This highest expression of Luthera- works, the suite and the
nism had emerged a century before concerto reached their peak
Bach. It is a musical work based on with the famous six
a religious Lutheran text for soloists, Brandenburg Concertos.
choir and instruments, comprising
of six or seven pieces of different He produced many works for
character such as recitations, ario- the keyboard such as The Well-
sos, arias, concerted choirs and Tempered Clavichord and the
always ending in a grand chorale Goldberg Variations.
for four or more voices.
Bachs organ works are of
Bach composed more than fundamental importance, in
200 cantatas. The most im- particular his fugues, which are
portant and unifying element essentially baroque in style, and
his chorales which are like
of the cantata is the chorale, instrumental meditations of the
which embodies the spirit of text from which it is based.
Lutheranism.
THE PASSION
The performers in a Passion are: an
evangelist who is the narrator, the THE FUGUE GEORG
characters whose story the narrator
tells and the German people, who
The Fugue is one of the most
important expressions of the PHILIPP
interrupt the drama to express their
views. In contrast to the opera,
there is no acting, it is just sung.
baroque, elevated by Bach to an
unmatchable art, both in its TELEMANN
Bach composed two passions: the
instrumental and vocal form. (1681- 1767)
Passion According to St Matthew The fugue is an instrumental or
and the Passion According to St. vocal composition in one tempo George Telemann was the great
John. which emerges from one theme. personage of late German baroque
This theme engenders and produces whose works were not influenced
its own rhythmic peculiarities. The so much by religion (apart from his
parts of a fugue are: 44 passions under the influence of
the theme or subject, the pietism). Telemann represents the
French influence, which gives his
response, countersubject, music a lighter character, since for
the counterexposition, him music is a form of happiness.
divertimentos or episodes,
stretto and pedal and
cadence.
FIRST PERIOD
This was during the reign of Louis
XIV with the following features:
OPERA
Lully's successors did not follow his
operatic style, instead they created
other forms that included ballet;
from this evolved the opera-ballet
genre. This style was inaugurated
with La Europa Galante by Campra.
The genre brought about a period
of decadence in French opera.
It was not until the arrival of Jean
Phillipe Rameau that the situation
improved. He gave opera a dynamic
unity, mixing the French language
with operatic music. His best works
are: Hipolitus and Acacia, Platea
and Pygmalion.
B. THE
TONADILLA
(THE LITTLE
TUNE OR
DITTY)
This is a stage performance which
ends with typical Spanish dancing.
It was very popular and practically
all Spanish musicians composed
works in this style.
INSTRUMENTAL MUSIC
These mediums stand out during this period:
- the guitar
- the organ
- orchestral music whose greatest exponent was Father Soler
FATHER SOLER
A follower of Scarlattti, he was the greatest exponent of instrumental music. He continued with
the modernisation of the Spanish school for keyboard instruments that began with Cabezn. Fruit
of this work were Six Concertos for Organ Obligato, his Quintets for stringed instruments, organ or
harpsichord, and hundreds of sonatas for the harpsichord. Father Soler stands out as having
transformed the tour- part baroque sonata into two parts. This demonstrates that he was associated
with the transition to the classical era.
QUALITS DE LA MUSI-
QUE BAROQUE : PRIODES DE LA MUSIQUE
Contrairement la Renaissance, la
musique ne cherche pas servir le
BAROQUE.
texte mais elle le surpasse.
A. LE HAUT BAROQUE (1580-1630)
- Le systme harmonique simpose, On commence attribuer cette valeur affective et violente aux
on le dnomme vertical, car les voix paroles travers la musique ; on recherche la dissonance. La
possdent une importance diffren- diffrence entre la musique vocale et instrumentale commence
te ; on distingue une voix principale stablir.
de toutes les autres qui, elles, jouent
le rle daccompagnement harmo- B. LE BAROQUE MOYEN (1630-1680)
nieux, ce que lon appelle une poque de lopra et de la cantate, o lon distingue entre laria,
monodie accompagne et cet larioso et le rcitatif.
accompagnement est ralis par la
Basse Continue . C. LE BAROQUE TARDIF (1680-1750)
- On recherche un rythme plus mar- Les formes deviennent de plus en plus longues, apparat alors le
qu, appel rythme saccad cause style concertado ; la musique instrumentale prdomine sur la
de ses pulsations fortes et rptes, musique vocale.
voil pourquoi le mouvement
devient un des lments-cls de la
musique baroque.
B. LA SONATE .
Le mot Sonate signifie musique qui doit tre sonne ; comme pour
la suite, lorigine de la sonate se situe dans le contraste entre les
mouvements , se limitant normalement quatre ; au moment de son
apoge, Corelli organise les mouvements de la manire suivante :
- Grave
- Allegro en style fugu
- Modr
- Vif en style fugu ou homophone
C. LE CONCERTO.
Forme orchestrale baroque qui comprend normalement 3 mouvements :
allegro-adagio-allegro. Ce peut tre Concerto Grosso sil est compos
par un groupe de solistes et orchestre ou Concerto solo dans le cas
dun soliste et un orchestre.
La Sonate devient concerto lorsque cest lorchestre qui interprte, et
son nom provient du mot concertare , ce qui signifie jouer de plusieurs
instruments la fois.
Les qualits baroques se peroivent mieux dans le concerto, de par le
contraste entre les diffrents niveaux de lorchestre tout entier par
rapport au soliste.
LE BAROQUE ALLEMAND
La musique italienne exerce une
INTRODUCTION AU grande influence, en particulier,
BAROQUE ALLEMAND. Corelli et Monteverdi ; les musiciens
allemands sintressent lItalie.
A quinze ans, il entra lcole de toute la contribution magistrale En 1717, il alla Cthen o il entra
Saint -Michel en Lnebourg tant de Bach .Entre autres compositions au service du prince Anhalt, qui lui
donn sa passion pour la musique y figurent : Tocata et Fugue en r confia la direction de son orchestre.
et sa voix de soprano, il y resta mineur et le prodigieux Passacaille Dbuta pour Johann Sebastian une
pendant trois ans et exera mme en do mineur. des priodes les plus heureuses de
la fonction de Prfet de Chur sa vie : il crivit la premire partie
et put travailler non seulement cette poque, il ralisa aussi son du Clavecin bien tempr , les
comme organiste mais galement importante tourne artistique Concertos brandebourgeois, de la
comme directeur de chur. Dresde o il fut convi concourir musique de chambre et des uvres
En 1703, il devint matre de chapelle avec Jean -Louis Marchand, qui quil intitula Sonates , pour vio-
Arnstadt, o il eut le temps de non seulement exaltait la suprio- lon, flte, violoncelle, etc.
sadonner lorgue et la compo- rit de lart franais mais prtendait
sition, et en 1707, il sinstalla tre lui-mme le meilleur organiste, En 1720, mourut son pouse, nan-
Mulhausen, comme organiste de ajoutant cela que personne en moins lanne suivante il se maria
lglise de Saint Blas ; le 17 octobre Allemagne ne pouvait se comparer en deuximes noces avec Ana Mag-
de la mme anne, il pousa sa lui. dalena Wlken quil connut Ham-
cousine Maria Barbara Bach. Il accepta, aprs avoir cout en bourg : alors quil jouait de lorgue
Lanne suivante, il retourne Wei- cachette lorganiste franais et dans lglise, elle fut envoute par
mar comme organiste et musicien arriva lheure dite mais Marchand la mlodie qui sen dgageait.
de chambre de Monsieur le Duc . sabsenta ce jour-mme donnant En 1723 Bach part pour Leipzig afin
Son sjour se prolongea jusquen ainsi implicitement la victoire au doccuper le poste quil gardera
1717 et cest ce moment-l de matre allemand, ce qui rendit Bach jusqu sa mort : Chantre de
sa vie que le rpertoire dorgue et clbre et reconnu dans diffrents lglise St Thomas et directeur de
de diffrents instruments reoit pays. musique de lUniversit .
LA CANTATE
LUTHRIENNE UVRE INSTRUMENTALE ET
POUR ORGUE
Elle reprsente lexpression suprme
du culte luthrien et elle tait dj Dans luvre instrumentale de
apparue un sicle avant Bach. Il Bach, la suite atteint son apo-
sagit dune uvre musicale com- ge, il en est de mme pour le
pose partir dun texte religieux concerto, quand il compose les
luthrien pour solistes, chur et 6 clbres Concertos Brande-
instruments ; elle est constitue de bourgeois.
6 ou 7 pices varies : rcitatifs, Il a crit de nombreuses uvres
ariosos, arias, churs concerts, se pour clavecin comme par exem-
terminant toujours par un grand ple, le Clavecin Bien Tempr
chur quatre voix ou davantage. ou les Variations Goldberg .
Luvre organistique de Bach
Bach composa plus de 200 canta- est dune grande importance,
tes ; llment le plus important et surtout toutes ses fugues, un
unificateur de la cantate en est le style essentiellement baroque,
chur, qui incarne lesprit luthrien. et ses churs, qui sont autant
de mditations instrumentales
sur le texte chant dans le Cho-
ral , dont il sinspire.
LA PASSION
Les personnages de la Passion sont :
un vangeliste qui raconte l his-
toire, les personnages cits dans
lEvangile et le peuple allemand, LA FUGUE GEORGES
qui apparat dans ce drame et y
exprime ses sentiments. Cest une des formes les plus im- PHILIPPE
portantes du baroque, qui avec
Contrairement lopra, il ny a pas
de reprsentation,on se limite
Bach atteint un niveau difficile
surpasser, aussi bien sa musique
TELEMANN
chanter. Bach en compose deux : vocale que linstrumentale. (1681-1767)
la Passion selon Saint Mathieu et
la Passion selon Saint Jean. La fugue est une composition Cest la grande personnalit du ba-
musicale, instrumentale ou vocale, roque tardif allemand, qui offre une
en un seul temps et qui se ralise musique moins dpendante du th-
partir dun seul thme ; ce th- me religieux (malgr ses quarante
me engendre et produit les parti- quatre passions), une forme quil
cularits rythmiques. fait voluer vers le pitisme.
Les diffrentes parties de la fugue Linfluence franaise est prsente
sont : le Thme ou sujet la chez Telemann, ce qui donne sa
Rponse le Contre-sujet la musique un caractre plus joyeux ;
Contre-exposition les Divertis- selon lui, la musique est une forme
sements ou pisodes les Strettes de bonheur.
la Pdale et la Cadence.
De leur vivant, les fils de Bach
seront plus clbres que leur pre.
PREMIRE POQUE
Il possde sous le rgne de Louis
XIV les qualits suivantes :
- Le got classique.
- La musique majestueuse pour les Jean-Baptiste Lully
crmonies de la Cour. DEUXIME POQUE : RO-
- Versailles est le centre musical
et artistique. JEAN- COCO
- La musique perd ses qualits
dramatiques, elle devient lment
dcoratif.
BAPTISTE Il sest dvelopp pendant la Rgen-
ce et le rgne de Louis XV. Cest
LULLY lpoque du Style Galant ou Rococo,
savoir, un style qui recherche une
(1632- 1672) sorte de dcoration extrieure la
musique.
Cest un musicien dorigine italien- Il sagit de lpoque de transition
ne, qui francise le style italien, au Classicisme ; la musique essaie
composant une musique claire et de reflter un monde fictif et stylis
ordonne. dont les qualits sont :
- Chute du contrepoint en faveur
- Son uvre est essentiellement de la musique harmonieuse.
scnique, ses dbuts, il sagit de - Mlodies et thmes mineurs qui
ballets et dintermdes. se rptent souvent.
- Plus tard, il sintresse lopra, - Abondance dornements qui
en collaboration avec Corneille et touffent presque la mlodie elle-
Molire. Il compose Perse et mme.
son chef-duvre Armida . - Accords harmoniques pauvres.
- Ces uvres, appeles Tragdies Le musicien franais recherche et
lyriques , nous parlent de thmes offre une musique aimable, grce
mythologiques ; il adapte le chant des rptitions de danses comme
italien enjoliv aux paroles franai- le menuet, la gavotte travers
ses. lesquelles il souhaite plaire cette
- Il cre un style spcifique de aristocratie frivole.
louverture, appel Ouverture A cette priode appartiennent la
franaise qui comprend trois musique dopra et la musique pour
Luis XIV temps : lent rapide - lent. clavecin.
TROISIME POQUE DU
BAROQUE
Elle comprend le rgne de Louis
XVI jusquau Classicisme et du point
de vue musical, elle est plus pauvre Cristoph W. Gluck.
que les poques prcdentes.
PASSAGE DE LA
RENAISSANCE
AU BAROQUE
En Espagne, le Baroque dbute avec
les Choeurs Harmoniques et la mo-
nodie accompagne, tout comme
en Italie et dans dautres pays.
En ralit, les choeurs harmoniques
sont prsents chez nos derniers
musiciens de la Renaissance, ainsi,
on peut voir dans le Magnificat
et dans le psaume Laetatus Sum
de Tomas Luis de Victoria, les
effets vidents de la prsence de
deux churs.
Dans le milieu du sicle, apparat
toute une kyrielle de musiciens
comme Mateo Romero, matre de
B.LA TONADILLA
Il sagit dune uvre scnique qui
se termine par des danses espagno-
les. Elle jouit dun grand succs
auprs du peuple et tous les musi-
ciens espagnols pour ainsi dire com-
posent des uvres de ce style.
LA MUSIQUE INSTRUMENTALE
A souligner :
- La guitare
- Lorgue
- La musique orchestrale : Le Pre Soler sy distingue.
Le Pre Soler est un disciple de Scarlatti et il essaie de moderniser notre cole de clavecin qui voit
le jour avec Antonio Cabezn.
Ses Six Concerts pour orgue oblig, ses Quintettes pour corde et clavecin ou orgue ainsi que des
centaines de sonates pour clavecin.
Il faut souligner la transformation de la sonate baroque (en 4 parties) en sonate en 2 parties et ce,
grce au Pre Soler ; cela signifie quil savre un homme de transition vers le Classicisme.
Orquesta Sinfnica
B. LA SINFONA
Es como una gran sonata para
orquesta, cuyo origen est en la
obertura de la pera, que tena
tres movimientos.
JOSEPH HAYDN
(1732 1809)
Se le considera el padre de la sinfona, porque la hace
protagonista en la msica clsica. Este viens es el compositor
oficial de la aristocracia aunque se inspira en temas populares.
Compone 104 sinfonas.
(1756- 1791)
Es uno de los mayores genios que
ha producido la msica, nacido en
Salzburgo, nio prodigio, a los 4
aos de edad toca el piano, entre
los 6 y 7 compone varias obras y a
pesar de su corta vida, tiene una
abundante produccin, cerca de 800
obras.
Fue su padre, Leopold Mozart, quien
lo inici en la msica ya que traba-
jaba para el arzobispo de Salzburgo
y, orgulloso de sus capacidades,
comenz a llevar al nio por las
cortes de Europa donde empez a
conseguir fama y causar admiracin.
THE CLASSIC
PERIOD
PORTADA TEMA 4: Pintura de Watteau Mezzetin
INTRODUCTION TO THE HISTORY OF MUSIC
THE CLASSIC PERIOD CHAPTER 4
B. THE SYMPHONY
This is a kind of grand sonata for
orchestra which has its origins in
the overture in opera in three
movements.
JOSEPH HAYDN
(1732 1809)
He is considered to be the father of the symphony because he made
it the principle feature of classical music. This Viennese was the
official composer of the aristocracy although he took his inspiration
from folk- like themes. He composed 104 symphonies.There are
three stages in his stylistic development:
Joseph Haydn
(1756- 1791)
Mozart is one of the greatest ge-
niuses in the world of music. Born
in Salzburg, he was a child prodigy;
at the age of four he could play the
piano. Between the ages of 6 and
7 he composed several works. Des-
pite his short life he produced an
extraordinary number of composi-
tions - nearly 800 in all.
It was Mozarts father, Leopold Mo-
zart, who gave Mozart his early
musical training. Leopold worked
for the Archbishop of Salzburg and
proud of his sons musical accom-
plishments began to take his son
around the courts of Europe where
the child received much acclaim
and admiration.
He continued performing and com-
posing all his life, the majority of
the works being commissioned. He
got married at the age of 20 to
Constanze Weber. They were pla-
gued by debt until his premature
death at the age of 35.
Mozart's works can be divided into
instrumental and vocal.
Mozart
DON GIOVANNI
This is another supreme masterpie-
ce. The first fragment is the famous
aria of the catalogue in which Le-
porello, manservant of Don Giovan-
ni, explains to Doa Elvira (a lady
who had been seduced and aban-
doned by Don Giovanni) that she is
by no means an exception. He shows
her the book in which Don Giovanni
keeps account of his numerous lo-
vers and the countries in which he
met them.
The "Mi tradi quell' alma ingrata"
enables us to see into the heart and
of the yearning, passionate, and a
Dorabella, profess towards them.
MOZARTS OPERAS To prove the contrary, the old man
little tiresome of Doa Elvira, always
willing to forgive this heartless man
has the youths pretend that they if he repents.
THE MARRIAGE OF FIGARO are going away to war and then
The Countess of Almaviva, while Another nave lover is the old Don
come back disguised as Albanians Octavio. The Dalla Sua Pace is a
preparing with her servant Susana with the intention of seducing each
the complicated and entangled fi- pure song of love for his beloved,
others lovers. The aria Come sco- Doa Ana, who always treats him
nale, asks herself with a melody of glio inmoto resta is the last decla-
trembling tenderness, where had with certain disdain. In the next
ration of the undying fidelity of aria she tenderly asks him to forgive
gone the beautiful moments of the already compromised Fiordiligi
gentleness and pleasure she had her for the abuse she had been
who despite the fervour with which hurling at him from the beginning
once enjoyed with the Count. What she sings (typical of serious opera),
had happened to the vows that had of the opera.
does not take long to fall into the
been given by her husband who arms of the false Albanian.
was now mature like her and set LA CLAMENZA DI TITO
on chasing after other women. This serious opera was written in
THE MAGIC FLUTE the 1791 (the year of Mozart's dea-
This is the last opera Mozart wrote th) and was commissioned to cele-
COSI FAN TUTTE and it can be said that it is the only
(All Women Do So) brate the coronation of Leopold II
opera in history that no one has as King of Bohemia. To give us some
This is surely the most malevolent, ever been able to fully understand.
cruel and impeccably structured idea of the importance given by
In essence it is an allegory for the Mozart to this aria of the Emperor
Mozart opera. stage about the ideas and secrets
Two youths Guglielmo and Ferran- Titus Vespasianus, one only has to
of the Masons with whom both say that the opera was written in
do, have a bet with an old friend Mozart and the librettist were
of theirs, Don Alfonso, to demos- 18 days! And a large part of it was
members. The aria of Sarastro, as written in haste accompanied by
trate the unbreakable faithfulness supreme priest of wisdom, confirms
that their betrothed, Fiordiligi and his wife on their way to Prague for
the pure ideals of brotherhood and its first performance.
B. LA SYMPHONIE
Cest comme une grande sonate
pour orchestre, dont lorigine se
situe dans louverture de lopra et
qui possde trois mouvements.
En ce qui concerne lorchestre
classique, pour que la symphonie
soit possible, lorchestre volue
partir de lorchestre baroque grce
3 changements :
- Disparition du Clavecin et de la
Basse Continue.
- Incorporation de la trompette et
de la clarinette.
- Augmentation du nombre
dinstruments cordes.
HISTOIRE DU CLASSICISME
Le Classicisme est reprsent par
les uvres de trois grands
musiciens : Haydn et Mozart, et un
troisime : Beethoven qui est
galement un musicien romantique.
JOSEPH HAYDN
(1732 1809)
Il est considr comme le pre de la symphonie, car il lui donne une
place de choix dans la musique classique.Ce viennois est le
compositeur officiel de laristocratie mme sil sinspire de thmes
populaires.
Il composa 104 symphonies.
Son style comporte quatre priodes :
Joseph Haydn
(1756- 1791)
Cest lun des plus grands gnies de
la musique; il naquit Salzbourg.
Enfant prodige, il joue du piano ds
lge de 4 ans ;il compose diffren-
tes uvres lge de 6 et 7 ans et
malgr une vie brve, sa production
musicale est trs importante, prs
de 800 uvres.
Ce fut son pre, Lopold Mo-
zart,musicien au service de
larchevque de Salzbourg,qui linitia
la musique et, conscient de son
gnie, prsenta son fils dans les plus
importantes cours dEurope o il
remporta demble un norme suc-
cs et suscita ladmiration de tous.
Mozart interprta et composa sans
cesse de la musique ;dans la plupart
des cas, il sagissait de commandes.
Il se maria lge de 20 ans avec
Constance Weber et ils vcurent
ensemble harcels par les dettes
jusqu sa mort survenue tt.
Dans luvre de Mozart, nous
pouvons distinguer luvre instru-
mentale et la vocale.
Mozart
El temperamento intelec-
tual y racionalista de
Schumann le permite ga-
nar esa dura batalla con-
tra la enfermedad mental
que acabara devorndolo,
y de la negatividad de to-
do el proceso emerge in-
vestido de su faceta ms
Robert Schumann extraordinaria: la de com-
positor.
por lo que se matricul en De-
ROBERT recho en la universidad de Lei- Pero el renacimiento de Schu-
pzig. mann y la excepcional obra que
SCHUMANN producir de all en adelante no
(1810-1856) Su relacin con la msica tam- hubiese sido posible sin la pre-
bin fue compleja, ya que em- sencia en su vida de Clara Wiek,
pez como crtico y deseaba ser la hija de su profesor, por cuyo
Hijo del escritor y librero August pianista antes que compositor; amor luchar empeosamente
Schumann y de la brillante Jo- su encuentro con el profesor durante aos y cuya compaa
hanna C. Schnabel, cuya inteli- Fiedrich Wiek, que le animaba ser el punto de referencia que
gencia e hipersensibilidad mar- a dejar sus estudios y dedicarse lo mantendr unido a la realidad
caran su futuro. al piano, es decisivo para su en su lucha contra las tinieblas;
Robert Schumann dud entre futuro, pero un par de aos des- la historiade amor de Robert y
diversas vocaciones antes de pus pierde el uso de su tercer Clara es la ms representativa
decidir su destino; en principio dedo de la mano derecha por de los ideales del romanticismo.
crea ser poeta pero tambin le el excesivo empleo de un dispo- A la muerte del msico Clara
tentaba el camino de su padre sitivo que haba inventado para tena slo 37 aos, pero no volvi
como editor y amaba las leyes, ejercitarse, y este accidente ani- a casarse nunca y dedic el resto
-La msica es un medio de eva- Llega un momento en que ciertos La forma ms importante dentro
sin para el hombre romnti- msicos de este periodo se liberan de la msica programtica es el
co, para huir de la realidad del cors que supone la sinfona Poema Sinfnico: composicin or-
tras el fracaso de las revolu- con lo que llamamos Msica Pro- questal, normalmente de un tiem-
ciones gramtica; la sinfona resulta insu- po, que se inspira en elementos
-Es tambin un modo de expre- ficiente para muchos romnticos poticos y descriptivos.
sin de sentimientos ya que los sujeta demasiado. Es Franz Listz el creador de este
-Es el modo favorito para entrar gnero con sus Doce Poemas Sin-
en un mundo imaginario La Msica Programtica es un tipo fnicos.
-Es un vehculo de transmisin
de todo lo subjetivo
-Se busca ms el contenido
que la forma, en contra del
Clasicismo
-Libertad en cuanto a la for-
ma, predominio de la fan-
tasa
-nfasis en lo lrico, ricas mo-
dulaciones, armonas, croma-
tismos y fuerte uso de la
disonancia
-Textura compleja y densa, no
clara
-Enorme crecimiento de la
orquesta, sobre todo en la
seccin de viento
-Riqueza y variedad de tipos
de piezas, sobre todo pe-
queas piezas de piano que
huyen de la forma perfecta
clsica
-Bsqueda de la unidad de la Hector Berlioz
obra con nuevos sistemas
como la Idea Fija o Leitmotiv, de msica sinfnica que sigue un Este gnero es muy seguido, sobre
es decir, una idea musical que tema o programa literario o arts- todo por compositores nacionalis-
se repite cclicamente tico en general, que es el que con- tas del segundo romanticismo, da-
-Bsqueda del virtuosismo (en duce la obra. Nace como una ne- do que les permite describir o narrar
piano y violn) cesidad para relajar formas. gestas nacionales, tal es el caso de
-Nacimiento de nacionalismos Smetana, Rimsky- Korsakov o Mus-
musicales El compositor al que se atribuye sorgski.
-Siguiendo las huellas de Bee- esta gran novedad es el francs Ya en el siglo XX esta forma tiene
thoven casi todos los msicos Hector Berlioz, quien con su Sin- una vida especial a travs del com-
de este periodo se expresan a fona Fantstica inicia esta ten- positor Richard Strauss (1864-
travs de la sinfona dencia; es un gran reformador de 1949) quien compone obras de
la orquesta, agrandndola, creador gran belleza: Don Juan, La Vida de
composition.
Neither the period of travel or wor-
king in institutions interrupted his
creative endeavours. During this
time he wrote a great part of his
most well known works: The Reform
Symphony, The Hebrides, The Italian
Symphony, The Beautiful Melusina,
Songs Without Words, etc
In 1842 king Frederick IV appointed
him General Director of Music for
Prussia and made him his personal
chapelmaster. Although he was not
able to decline the honour of this
position, he could not bring himself
to give up the centre he had created
in Leipzig and carried out his duties
in the court sporadically.
Between 1829 and 1835 he trave- musical director of the Gewand- Tributes came from all over Europe
lled continuously around Europe haus Orchestra. He not only totally after his death recognising the
(Germany, Italy, England, Switzer- reformed it but widened its scope exemplary life of this even tempe-
land with a long stop in Paris), by the setting up the Leipzig Con- red, well -balanced man who had
publicising and livening up the servatory that was to become the put his vast knowledge to the ser-
musical environment wherever he centre of German music. vice of the time, to the point where
went and standing out as a soloist he has been called the most classi-
and a conductor. With this orchestra he gave the cal of the romantic composers and
After mid 1835 he embarked on first performance Symphony in C the most romantic of the classical
the last stage of his intensive mu- Major by Schubert. He also found composers.
sical career when he settled in a post for Schumann in the con-
Leipzig and accepted the post of servatory as professor of piano and
(1810-1856) cher Friedrich Wiek who encoura- Friedrich Wiek was fiercely opposed
to any alliance between Schumann
ged him to drop his studies and
become a pianist. This was decisive and Clara. He thought that his
Son of the writer and book seller daughter had the makings of a
August Schumann and the brilliant for his future. However two years
later he lost the use of the third concert pianist and he did not want
Johanna C. Schnabel whose intelli- a marriage to hinder her chances.
gence and hypersensitivity would finger of his right hand after the
excessive use of a device that he This forced separation and the need
have a great influence on him. to be loved spurred Schumann on
Robert Schumann had great diffi- had invented for exercising his
fingers. This accident destroyed to write the majority of his master-
culty in deciding his career. At first pieces for the piano, of these the
he believed himself to be a poet his career as a concert pianist.
Schumann was at that time over Carnival Opus 9 and the Fantasy
but at the same time he was Opus 17 are considered the pinna-
tempted to follow his father's twenty years old and found himself
at a critical point in his life. This cle of the romantic piano. Other
footsteps as an editor. He also loved works include The Symphonic Stu-
law and enrolled in this subject at misfortune plunged him into a
depression exacerbated by the dea- dies.
The beginning of the end began Robert Schumann con su esposa Clara
in no small way towards this series Lola Montes) began the decade of
of mistakes but it is no less certain great fame for the musician. He
that behind the faade of his most was acclaimed throughout Europe
famous works (the wonderful as the greatest pianist ever, making
Hungarian Rhapsodies, the majestic like Paganni, his concerts a great
Preludes, the brilliant Sonata) are event.
hidden little jewels nowadays rarely He travelled tirelessly and during
if ever performed such as the this time laid down the foundations
symphony Faust, the for his reputation as a romantic
Transcendental Etudes, his hero. He was successively a zealous
symphonic poem From Cradle to atheist, a passionate convert (he
Grave, and Years of Pilgrimage that took higher orders, but did not as
foreshadow the impressionist a consequence abandon his lovers,
movement. nor became a priest), a royal adviser
in Hungry, canon of Albania and
A child prodigy, he made his debut secret agent for Napoleon III.
as a soloist at the age of 9 having When he was forty he moved to
learnt the piano from his father, Weimar and was appointed
who was a good musician and chapelmaster for the court. Here
Franz liszt worked as manager of the he began his great period as
properties of Prince Esterhzy. Later disseminator of the best works of
he studied piano with Czerny and the moment and his most intense
the composer Salieri in Vienna. creative phase as a composer. At
FRANZ LISZT But the decisive years of his musical
the same time he embarked on the
greatest and longest love affair of
(1811- 1886) development were between 1823 his life with Princess Carolina Sayn-
and 1833, between the ages of 12 Wittgenstein, a fascinating person,
Liszt and the Pole Frederick and 33, when he settled in Paris great proponent of esoteric
Chopin are considered the and from where he made numerous philosophies and unorthodox
trips around France and to England theology.
greatest pianists of the and Switzerland, but always
nineteenth century. returning to the capital. He was After 1870 the couple moved to
However Liszts ability as a there when Paganini was all the the Piazza di Spagna in Roma and
rage and was extremely amazed a short time after Listz was
pianist has been so strong by Paganini's virtuosity. He joined appointed director of the Academy
that it has unjustly Chopin's circle of friends (Victor of Music of Hungary, his native
overshadowed the Hugo. Lamartine, Heine, Berlioz) land.
enormous volume of his and in the Pole's salons met Marie
D'Agoult, the writer, who although After the age 50 he became a kind
works as composer. older than Listz later left her of roving ambassador of the most
husband and children for him. representative music of the century,
Like the great violinist Paganini with permanent residences in
who in a similar way has been Between 1833 and 1840 he lived Rome, Weimar, Paris and Budapest
subject to speculation, both are with Marie in Switzerland and Italy. and frequent visits to many other
the great stars of the romantic He had three children by her: cities.
musical movement. The injustice Blandine, Daniel, and Csima who
is greater in the case of the would become the future wife of But this frenetic life style would
Hungarian as of his 700 works H. von Bulow and later of the be the direct cause of his death;
many figure among the composer Wagner. he caught a chill while travelling
masterpieces of the romantic on a night train and died a week
period. It is true that the When the couple separated (due later just before his seventy-fifth
exaggerated life of Liszt contributed to Listz's affair with the Spaniard birthday.
Le temprament intellectuel
et rationaliste de Schumann
lui permet de gagner cette
dure bataille contre la folie
qui finira par le dvorer. Et
le ct ngatif de tout ce
processus va dvoiler sa
qualit la plus
extraordinaire : celle de
compositeur.
Mais le renouveau de Schumann
et lexceptionnelle uvre quil
produira dornavant naurait pu
tre possible sans la prsence dans
sa vie de Clara Wiek, la fille de son
professeur, dont il sera amoureux
Robert Schumann durant plusieurs annes et dont la
compagnie sera la rfrence qui le
pour laquelle il sinscrivit en Droit maintiendra face la ralit dans
ROBERT luniversit de Leipzig. sa lutte contre les tnbres ;
lhistoire damour entre Robert et
SCHUMANN Sa relation avec la musique aussi
fut complexe, puisquil dbuta
Clara est la plus reprsentative de
lidal romantique. A la mort du
(1810-1856) comme critique et dsira tre musicien Clara n avait que 37 ans,
mais ne se maria plus jamais et
pianiste plutt que compositeur ;
sa rencontre avec le professeur ddia le reste de sa vie la diffusion
Il est le fils de lcrivain et libraire des uvres de son mari.
August Schumann et de la brillante Friedrich Wiek, qui le poussa
Johanna C. Schnabel dont dlaisser ses tudes et se
consacrer au piano, fut dcisive Lopposition acharne du professeur
lintelligence et lhypersensibilit Wief la relation entre Schumann
marqueront son avenir. pour son avenir. Mais 2 ans aprs
leur rencontre, il perdit lusage du et Clara se basait sur le principe
doigt majeur de sa main droite que sa fille avait les conditions
Robert Schumann hsita entre requises pour tre une grande
diverses vocations avant de dcider cause de lemploi excessif dun
appareil quil avait invent pour pianiste et il ne voulait pas que ce
de son destin ; au dbut, il pensa mariage conventionnel gna
tre un pote mais la vocation de sentraner et cet accident lui fit
perdre toutes ses possibilits de lvolution de sa carrire artistique.
son pre en tant quditeur le tenta
et il aimait les lois, cest la raison devenir concertiste.
Stimul par la sparation et le
En 1853, il fait la
connaissance du jeune
Brahms, que dune certaine
Robert Schumann et Clara
CARACTRISTIQUES DU
mateur de lorchestre quil largit,
crateur de sonorits nouvelles et
surtout rformateur avec des
LA PERA
ROMNTICA
Es en el Romanticismo cuando
la pera alemana se indepen-
diza de la italiana. Esta nueva
pera nace con el Fidelio de
Beethoven, en los inicios del
Romanticismo, pero es un con-
temporneo de este msico
CARL MARIA VON WEBER
(1786- 1826) el que crea ple-
namente este gnero.
-Hace de la orquesta el punto cru- Para ello necesita un teatro espe- la corte de Dresde.
cial de sus peras, enriqueciendo cial que le es facilitado por su ami-
el lenguaje musical con nuevas go Luis II de Baviera, en Bayreuth, Las peras del propio Meyerbeer
armonas ciudad que desde entonces se cons- ensearon a Wagner cmo conver-
tituye como el centro del wagne- tir las inverosmiles tramas y los
-Crea un elemento orquestal, el rismo. personajes de leyenda de cartn
leitmotiv, que es la idea unitaria piedra en poderosos dramas esc-
de la pera; caracteriza a los prin- Wagner, en medio de esta tetraloga nicos.
cipales personajes de las peras y compone obras tan importantes Lohengrin, El Holands Errante y
los anuncia y describe. Es el ele- como Tristn e Isolda, historia de Tanhauser fueron escritas a la
mento unificador de sus peras amor, Los Maestros Cantores de sombra de Meyerbeer, y se cuentan
Nuremberg, de carcter cmico, y entre las mejores y ms ostentosas
termina con un drama religioso, peras romnticas del repertorio.
PERIODOS: Parsifal, en 1882. Llegado este punto, cuando la
vida profesional de Wagner pareca
Wagner se sinti ms estable, su vida privada se
1. Entre sus peras pri- atrado desde la infancia
desmoron. Era un hombre intole-
rante, testarudo en sus opiniones,
meras estn Las Hadas por el teatro, pero antes convencido de ser un genio sublime,
y Rienzi. A partir de El de cumplir los 20 aos un artista superdotado, y de que
los dems existan, principalmente,
Buque Fantasma co- asisti a una representa- para su conveniencia.
mienza a usar leyendas cin de Fidelio de Beetho-
Tuvo muchas amantes, vivi ms
germnicas. ven y decidi dedicarse a all de sus posibilidades, pidiendo
componer peras. dinero prestado y trasladndose de
una ciudad a otra para no pagar
2 Con su Tanhuser, Era un poeta de talento y en sus sus deudas. Hizo afirmaciones
en 1845, trata las leyen- libretos combinaba el melodrama pblicas sobre poltica tan violentas
romntico del siglo XIX con las que fue tachado de revolucionario
das del medioevo y el arcaicas expresiones y los senti- y expulsado de Alemania. Primero
tema del amor; a partir mientos heroicos de las sagas nr- se refugi en Weimar, junto a Listz,
de aqu es cuando busca dicas y las leyendas germanas cuyas y luego en Suiza, en casa de un
historias adapt. rico comerciante cuya hospitalidad
la obra total, con otra agradeci seduciendo a su esposa.
pera de paso que es El estilo favorito de Wagner (ms
prximo a Beriloz que a Bellini o Aparte de Meyerbeer, Listz y su
Lohengrin. Rosinni, unos compositores que amante de Suiza Matilde Wesen-
hacan furor en aquel tiempo), pro- dock, fueron las influencias ms
voc que los empresarios fueran cruciales en la vida de Wagner.
3 Surge por fin la te- reacios a aceptar sus obras. En Haba planeado durante mucho
traloga El Anillo de los 1839, Wagner conoci a Meyerbeer, tiempo una obra escnica basada
compositor de grandes peras para en las leyendas heroicas de Alema-
Nibelungos: (4 partes): el Teatro de la pera de Pars, y en nia (La Saga de los Nibelungos), y
El Oro del Rhin, La Wal- l encontr un modelo a seguir y haba intuido que el estilo opers-
un padrino. tico de Meyerbeer, con sus recar-
kiria, Sigfredo y El Ocaso gados coros, sus arias ostentosas
de los Dioses. Gracias a las recomendaciones de y su armona sin ambages, no era
Meyerbeer, fueron representadas el adecuado. Necesitaba una tex-
Rienzi y El Holands Errante, por tura ms parecida a las sagas, con
cuyo xito le ofrecieron a Wagner constantes cambios de nimo y en
un cargo directivo en la pera de la que la voz del narrador fuera
LA OPERA
FRANCESA: LA
OPERETA
La pera francesa de este perodo
est relacionada con el II Imperio
o Imperio de Napolen III, cuyo
espritu en msica se refleja en
la opereta (v.g. Orfeo en los
Infiernos): obra escnica en la
que se combinan pasajes hablados
con otros cantados, de tema
frvolo y humorstico, reflejo de
la sociedad de la poca.
Destaca Jacques Offenbach.
CUALIDADES DE SU
OBRA: GIACOMO
- Parte de una larga
PUCCINI
(1858-1924)
tradicin operstica
Es el ltimo italiano
italiana importante dentro del mundo
- Escoge temas de in- operstico; es en gran parte
verista, pero no totalmente,
Retrato de Guiseppe Verdi
ters para el pueblo dado que muchas de sus obras
son de ambiente fantstico y
italiano
GIUSEPPE - Predominio de la
se salen del mundo real.
ESPAOLA
En Espaa la influencia de la msica
italiana es enorme, como ya lo fue
en el Barroco; en este perodo los
msicos espaoles tratan de crear
una pera nacional siguiendo la
lnea italiana, hasta tal punto que
la escriben en italiano, el fracaso
es total, por supuesto.
THE ROMANTIC
OPERA
PORTADA TEMA 6: Castillo de Neuchwanstein ( Munich. Alemania )
INTRODUCTION TO THE HISTORY OF MUSIC
THE ROMANTIC OPERA CHAPTER 6
THE
ROMANTIC
OPERA
It was during the romantic
period that German opera be-
came independent from Ita-
lian opera. This new opera
was born with Beethoven's
Fidelio at the beginning of
the romantic era. However it
was a contemporary of Bee-
thoven's Carl Maria Von We-
ber (1786 - 1826) who fully
developed this genre.
- he made the orchestra central to A special theatre was needed for implausible plots and the legendary
the opera, enriching it with new these works which was provided characters of paper mach into
harmonies by his friend Luis II of Bavaria in powerful stage dramas. Lohengrin,
- He created the orchestral Bayreuth, a town which hereafter Hollnder and Tanhaser were
element, the leitmotiv, which is the became the centre for Wagnerism. written under Meyerbeer's
unifying principle of the opera by During the composing of this influence, and are numbered
associating specific musical themes tetralogy he wrote other important among the best and most
with characters, concepts and works such as Tristan und Isolde (a ostentatious romantic operas of
emotions love story), Die Meistersinger (a his repertoire.
comic piece) and finishing with the
religious drama Parsifal in 1882. It was just when Wagners
PERIODS: professional life seemed to be
Wagner felt attracted to becoming more stable that his
private life fell apart. He was
1) The first period was the the theatre since his intolerant, stubborn in his opinions,
interval between his first childhood, but just before convinced that he was an
operas The Fairies and his twentieth birthday he extremely gifted sublime genius,
attended a performance of and that people existed purely for
Rienzi. After The Ghost his convenience. He had many
Ship he started to base Beethovens Fidelio and this lovers. He lived above his means,
made him decide to borrowing money and then moving
his music on German compose operas. to other towns to avoid his
legends. creditors. He made such fierce
He was a talented poet and his public proclamations that he was
branded a revolutionary and was
2) The second period. librettos combine the romantic
driven out of Germany. First he
melodrama of the nineteenth-
With his Tanhuser in century with the archaic took refuge in Weimar with Listz
1845 he explored expressions and heroic sentiments then he went to Switzerland to the
house of a rich merchant whose
medieval legends and of the Nordic sagas and German
hospitality he "returned" by
legends whose stories he adapted.
love. From here on he The favourite style of Wagner was seducing the merchants wife.
began to look for the nearer to Beriloz than Bellini or
"complete work of art" Rosinni. These composers created
a great deal of hostility towards Meyerbeer, Listz and his Swiss lover
with another him which meant that businessmen Matilde Wessendok were the
people who had the greatest
"transitional" opera where reluctant to take on his
influence on his life. Wagner had
Lohengrin. works.
planned for many years to write
In 1839 Wagner met Meyerbeer, an opera based on the heroic
legends of Germany (The Nibelung
3) The third period. Finally composer of grand operas for the
Sagas) and felt that operatic style
Paris Opera House, in whom he
he produced his tetralogy found a patron and a model to of Meyerbeer, with its elaborate
Der Ring des Nibelunge f o l l o w. O n M e y e r b e e r ' s choruses, its ostentations arias and
aimless harmony was not adequate
(The Ring of Nibelung): recommendations Rienzi and
for his needs. He needed a texture
Hollnder were performed. These
Das Reingold (Rhine were a great success and resulted more like that of the sagas with
Gold), Die Walkre, in him being offered the post of constant changes of mood in which
chapelmaster (a kind of conductor) the voice of the narrator was as
Siegfried and in the Royal Court Theatre of important as the characters.
Gotterdammerung (The Dresden.
It was Listzs symphonic poems
Twilight of the Gods). Meyerbeer's own operas showed
which gave him the idea that
Wagner how to convert the
FRENCH
OPERA. THE
OPERETTA
The French opera of this period
is linked to Second Empire or the
Empire of Napoleon III whose
spirit for music can be found in
the operetta. The operetta is a
stage performance which
combines spoken with sung
passages with frivolous and comic
themes reflecting the society of
the time. Offenbach was the most
notable composer.
Third Period
GIACOMO
During this last period he wrote
Aida, Othello symbol of the tragic
PUCCINI
genre, and Falstaff a comic opera (1858-1924)
which culminated his great
contribution to the musical theatre. He is the last great Italian
composer of opera. He is
mostly a verist but not
CHARACTERISTICS completely given that a great
number of his works were set
OF HIS WORKS: in an imaginary world, and
leave the real world behind.
- It is rooted in a long His greatest work is Turandot
tradition of Italian opera. an example of a mythical
Guiseppe Verdi legend. Other important works
- He chose popular themes include: La Boheme, Tosca, and
GIUSEPPE for the Italian audience.
- The human voice
Madame Butterfly.
LOPRA
ROMANTIQUE
Cest pendant le Romantisme
que lopra allemand
smancipe de lopra italien.
Ce nouvel opra nat avec Fi-
delio de Beethoven, aux dbuts
du Romantisme, mais cest un
contemporain de ce musicien
Carl Maria Von Weber (1786-
1826) qui cre dfinitivement
ce genre.
Pa r m i s e s u v r e s s e
distinguent Le Braconnier,
Obron et Eurynance . Ces
trois uvres reprsentent
diffrents lments comme
lusage du surnaturel et du
merveilleux et toutes nous
offrent les grandes arias des
protagonistes ainsi que des
romances en ce qui concerne
les personnages secondaires.
LOPRA
FRANAIS :
LOPRETTE
Lopra franais de cette poque
est li au Second Empire, celui
de Napolon III, dont lesprit en
musique se reflte dans
loprette (v.g. Orphe aux
Enfers): uvre scnique dans
laquelle sintercalent des passages
parls avec dautres chants au
thme frivole et empreint
dhumour, reflet de la socit de
lpoque. A souligner Jacques
Offenbach.
2.Cette poque est couronne par Avec lui se termine la grande prio-
les uvres Rigoletto, Le Trouvre de de cration romantique italienne
et La Traviata, utilisant un langage dans lopra, galement reprsente
presque parfait. par Pietro Mascagni, avec des
En Espagne, linfluence de la
musique italienne est norme,
comme elle le fut dj pendant le
Baroque; cette poque-l, les
musiciens espagnols essaient de
crer un opra national selon le
modle italien, tel point quils
crivent en italien; lchec est total,
bien videmment.
Se distinguent sp-
cialement Toms Bre-
tn avec Le Bal popu-
laire de la Colombe;
Fernandez Caballero
avec Petits Nains et
Gants, Ruperto Cha-
pi avec La Tavernire
NATIONALISTIC
MUSIC
PORTADA TEMA 7: El grito de Munch
INTRODUCTION TO THE HISTORY OF MUSIC
NATIONALISTIC MUSIC CHAPTER 7
Two years later he heard the opera most notable works are: the six
Don Juan by Mozart and from then symphonies written between 1865
on Mozart became his idol and and 1893 of which stand out Man-
model. fred (1885) and the Pathtique
(1893); the symphonic poem Fatum
At the age of 23 he decided to (1869) and the overtures Romeo
devote himself entirely to music. and Juliet (1869) and The Tempest
He enrolled at the Conservatory of (1873) as well as three concertos
Saint Petersburg and finished his for piano and orchestra (1874-93).
first symphony. Other important works are the ope-
In 1866 Anton Rubinstein appoin- ras The Maid of New Orleans,
ted him Teacher of Harmony at the
Conservatory of Moscow where he
composed various operas as well
as Symphonies 2 and 3.
Bela Bartok
HUNGARY
It was here that appeared the most
progressive music of Europe with
the nationalistic stamp with two
great composers: Kodaly and Bela
Bartok.
LA HONGRIE
Cest de cette nation que surgit le
nationalisme au caractre le plus
progressiste de toute lEurope grce Bela Bartok
deux grands musiciens: KODALY dans son opra Le Chteau de
Barbe-Bleue, il fait preuve dun
langage trs personnel.
Ses Six quatuors pour cordes sont
George Gershwin avec Fred Astaire au piano les plus originaux aprs ceux de
Beethoven. Luvre par laquelle
amricaine revt un caractre il sublime les lments folkloriques
spcial au moment mme o lon est Musique pour instruments
commence explorer le Jazz, bien cordes et clesta.
quil sagisse l plus dune question Aprs son exil volontaire en
dexotisme que de nationalisme, Amrique du Nord, fuyant le
tant donn que le jazz est une nazisme, il compose le Concerto
musique noire. pour orchestre, lune de ses uvres
les plus importantes.
De cette influence, on remarque
surtout le musicien George
Gershwin (1898-1937). Il cre un
opra sur le thme noir Porgy and
Bess et deux uvres symphoniques
importantes: Rhapsody in Blue
et Un Amricain Paris; toutes Zoltan Kodaly
deux sont imprgnes du rythme
et de la mlodie propres la et BELA BARTOK.
musique de jazz qui commence La musique de lcole hongroise se
influencer les europens. caractrise par une emphase du
rythme, mise en valeur par la
percussion et linstabilit
tonale.Bela Bartok dcouvre des
El impresionismo musical
es un movimiento estils-
tico que surgi en Fran-
cia a finales del siglo XIX
y se extendi a principios
del XX. Lo encabez el
compositor francs Clau-
de Debussy.
El piano, durante el impresionismo,
exigi de los intrpretes un gran
esfuerzo, debido al uso de los pe-
dales para otorgar resonancia y
color a las nuevas sonoridades.
MAURICE
RAVEL
(1875- 1937)
Hijo de madre vasca, es un msico
muy ligado a Espaa, con varias
obras inspiradas en nuestro pas.
El impresionismo de Ravel no es
tan claro como el de Debussy; en
l hay igualmente tendencias sim-
bolistas y exticas muy peculiares
como cuando acepta elementos
espaoles o sobre todo de jazz de
moda en Europa.
TWENTIETH-CENTURY
COMPOSERS
PORTADA TEMA 8: Las bailarinas de Degs
INTRODUCTION TO THE HISTORY OF MUSIC
TWENTIETH-CENTURY COMPOSERS CHAPTER 8
IMPRESSIONISM
The impressionist movement was
the fruit of the French school of
painting that developed out of a
reaction against academic art. At
the beginning of the twentieth-
century Paris was the centre of the
world, the capital of art, where
numerous artists lived attracted by
the bourgeoisie eager for culture.
MAURICE
RAVEL
(1875- 1937)
His mother was Basque, making
him a composer very much
associated with Spain, with various
works inspired by this country. The
impressionism of Ravel is not as
clear as that of Debussy. In his
works can also be found symbolist
tendencies and very peculiar exotic
elements, for example his use of
Spanish themes and particularly Maurice Ravel
that of jazz then all the rage in
Europe. fashionable in the eighteenth-
c e n t u r y. R a v e l ' s Bolero
He has such characteristic works constituents a masterpiece of
as Pavone pour une Infante Dfunte orchestration.
and others where he uses the
orchestra majestically such as The Impressionism spread to other
Waltz or The Bolero. Other countries with composers such as
important works are L'Heure Frederik Delius in England, Manuel
Espagnole and Rhapsodie de Falla and Frederic Mompou in
Espagnole. Spain, although these composers,
like nearly all composers of the
The Bolero is not he best t w e n t i e t h - c e n t u r y, a l s o
composition of Ravel but it is the experimented with other
most well known. It is based on a techniques and styles.
traditional Spanish dance of the
same name which was very
Limpressionnisme musi-
cal est un mouvement
stylistique qui surgit en
France la fin du XIXe
sicle et stend jusquau
dbut du XXe sicle. Le
compositeur franais
Claude Debussy en est le
chef de file.
Le piano, durant limpressionnisme,
exigea de la part des interprtes
un gros effort, d lutilisation des
pdales dans le but de donner aux
nouvelles sonorits davantage de
rsonance et de tonalit.
On doit la naissance de
limpressionnisme musical en gran-
de partie Eric Satie (1866-1925), Claude Debussy.
compositeur trs discut, antiwag- compositeurs post-romantiques,
nrien, radical dans sa pense ar-
tistique, non-conformiste, surra- DEBUSSY donnant prpondrance aux
accords qui, partir de ce moment,
liste et antibourgeois. (1862- 1918) auront leur propre valeur; un accord
ne doit plus tre dcompos
Il inventa un langage spcial, obligatoirement en un autre, mais
dessence mdivale, qui influen- Ce compositeur rcupra de Satie
lusage des modes anciens et des peut dornavant,soit rester en
cera beaucoup Debussy, surtout suspension, soit se rpter ou bien
dans lusage des modes mdivaux rythmes libres et flexibles du chant
grgorien; il y rajouta lutilisation nous mener un autre accord tout
et des gammes anciennes, an- fait diffrent.
trieures la formation des tona- des gammes orientales et dautres
lits classiques. moyens exotiques crs par les
nouveaux nationalistes, trs en Il est le grand promoteur de
vogue alors Paris. lImpressionnisme et son uvre
est, par ailleurs, influence par les
CLAUDE Ainsi, il chappa au legs de Wagner courants littraires symbolistes de
Mallarm, son ami, ce que lon peut
tant surexploit par les
MAURICE
RAVEL
(1875- 1937)
Fils de mre basque cest un
musicien trs li lEspagne,
composant de nombreuses uvres
inspires de notre pays.
Limpressionnisme de Ravel nest
pas aussi clair que celui de Debussy; Maurice Ravel
il y a aussi chez lui des tendances
symbolistes et exotiques trs
particulires: il intgre en effet
dans sa musique des lments de ses oeuvres bien que ce ne soit
espagnols et surtout le jazz, trs pas une des meilleures. Elle est
la mode en Europe. base sur la danse populaire
espagnole du mme nom, trs en
Il possde des uvres trs vogue au XVIIIe sicle, et cette
caractristiques telles que: Pavane oeuvre constitue, par ailleurs, un
pour une infante dfunte et trait exemplaire dorchestration.
dautres dans lesquelles il utilise
magistralement lorchestre comme Linfluence impressionniste auteurs, comme la plupart au XXe
dans La Valse ou Le Bolro. Lheure stendit galement dautres sicle explorrent aussi dautres
espagnole et Rhapsodie Espagnole pays, chez des auteurs comme techniques et dautres styles.
sont galement souligner. Frederik Delius en Angleterre ou
Manuel de Falla et Frederic
Le Bolro (1928) est la plus connue Mompou en Espagne, mme si ces
NACIONALISMO ESPAOL
ELEMENTOS DEL NACIONALISMO ESPAOL
(1882- 1949)
Busca su inspiracin en Andaluca,
con una serie de obras como:
-Sinfona Sevillana,
-La Procesin del Roco
-Danzas Fantsticas
SPANISH
NATIONALISM
PORTADA TEMA 9: Bailaora por fandangos.
INTRODUCTION TO THE HISTORY OF MUSIC
SPANISH NATIONALISM CHAPTER 9
SPANISH NATIONALISM
ELEMENTS OF SPANISH NATIONALISM:
- Awareness of the richness of music and ballet. for a music that was intrinsically
Spanish folklore. - Nationalist sentiments were Spanish.
- Influence of Andalusian music. given prominence and the music
- Special importance of the guitar. shared the ideals of the
- Restoration of instrumental Generation of 1898; the search
The adventures of the young disorganised character changed his cottage in the Atlantic Pyrenees
Albniz are as spectacular as the completely. He married her, decided and after a few months died in
success which his talent brought to study with Felipe Pedrell and mid-May 1909, two days before
him (at 13 years old he ran away focused his researches on the his 49th birthday.
from home and managed to reach popular roots of Spanish national
Puerto Rico with the intention of music. Embarking on his career as a
getting to the United States), but composer at the age 30, Albniz
the interest which the royal house Between 1885 and 1888, Albniz succeeded, from the beginning, in
took in the little prodigy helped and his wife lived in Madrid, after finding the path which he needed
him to avoid major disasters. He which they went to Paris for two to travel; the pursuit of popular
was given a royal scholarship to years (entering into friendship and Spanish music, one of the richest
folklores of the world and little
explored by the musical world until
this point in history.
First Period
La Vida Breve (Life is Short), is one
of his first works, based particularly
on elements of folklore raising their
artistic status. On the same level
are Cuatro Piezas Espaolas and
Canciones Espaolas.
Second Period
This includes important works such
as:
Third Period
Starting from El Retablo de Maese
Pedro (Master Peters Puppet Show)
(1923) and, more importantly,
Conicerto de Clave (Harpsichord
Concerto), we can identify Falla
who has moved on from the
folklore of the old Andalusia to
one who uses themes from old
Manuel de Falla Castilian music in search of the
represented by his Harpsichord asceticism that so enthused the
Concerto. Generation of 1898.
SECOND PERIOD: His last work, written when he was
FALLA AND TURINA Falla was born in Cdiz and in 1898
and at the age of 22 he was ideally
in Argentina, was La Atlntida, a
mixture of opera and oratorio. It
placed to absorb the full impact was completed by his pupil, Ernesto
of the spirit of crisis and revival Halffter.
which characterised the Generation
MANUEL DE of 98. FALLAS LIFE
Most music critics agree that the
FALLA There are a whole series of qualities
which characterises him such as
Andalusian Manuel de Falla (born
in Cadiz and died in Cordoba in
(1876- 1946) individualism, the search for the Argentina) was the greatest
Spanish landscape through folklore, Spanish musician of all time.
Manuel de Falla is the most notable the attempt at Europeanize and so It was as if he was predestined to
of the group; in him we can see on. take on the task of fusion and
the essence of Spanish musical synthesis of the different strains
nationalism. He went through all Fallas work can be divided into of Hispanic music which are pre-
the phases of Spanish musical three stages of development: sent in his music. Falla was an
nationalism from his initiation with Andalusian by birth and calling,
the zarzuela, to his most evocative but he would always acknowledge
the Levante (Eastern Spain) influen- and during one of these he decided gravely ill and this is when his
ce which he inherited from his to go into exile) Falla settled in obsession with cleanliness began
Valencian father and Catalan mo- Paris between 1907 and 1914, cul- to lead him to shower twice a day
ther. His mother was an excellent tivating the friendship of Ravel, and wash his hands constantly.
pianist who was keen to take char- Debussy and his compatriots Alb-
ge of his musical training during niz and Picasso, who would later When he was nearly 40 he returned
the difficult years of his infancy paint his well-known portrait of to Madrid and here he composed
and adolescence. The nervous Falla. another two masterpieces (Magi-
breakdowns which afflicted him cian Love, Nights in the Gardens of
from that time were a portent of Spain). By the time he was 43 the
the tormented life which awaited second of his brilliant ballets, The
him and led to his spending a great Three-Cornered Hat, was perfor-
deal of time locked away in his med in London with scenery by
house, where the comfortable fi- Picasso.
nancial position of his parents allo-
wed him to receive a meticulous After three years of searching and-
education. mental confusion and by now living
Falla was 20 when he decided to in Granada, he attained the pinna-
venture out into society, attending cle of his achievement with the
the classes of Felipe Pedrell, who puppet opera El Retablo de Maese
taught him the principles of musi- Pedro (The Altarpiece of Maese Pe-
cal nationalism and encouraged dro), and produced other wonderful
him to devote himself to composi- works rounding off this highly crea-
tion. Nevertheless, it was not until tive period, with compositions such
29 years later (when he won first In the French capital he composed as the Concerto para Clave y Cinco
prize at the competition overseen Four Spanish pieces for Piano and Instrumentos (Concerto for Harpsi-
by the Academy of Fine Arts of San the Three Songs of the Poems of chord and Five Instruments). These
Fernando, with the opera La Vida Gautier, and after the tremendous were the last flashes of brilliance
which his nervous disorders allo-
wed him and by 1930 he was in-
creasingly confined to Granada
despite two visits for therapy to
Mallorca which brought him no
relief.
The Spanish Civil War with the
assassination of his friend Garcia
Lorca, finally unhinged him and he
decided to move to Argentina whe-
re one of his sisters lived. In the
little farming village of Alta Gracia
he spent the last years of his life,
repeatedly returning to the work
which remained unfinished at his
death, La Atlntida. He was increa-
singly beset by his fastidiousness
on which he spent all the little
money he possessed until a heart
Breve, his first master work) that success of La Vida Breve (The Short attack killed him in 1946, one week
Falla decided to embark on his Life) in the pera Comique, the Se- before his seventieth birthday.
career as a concert musician in ven Popular Spanish Songs in which Embalmed on the instructions of
various Spanish cities. he managed to provide a universal his Argentine admirers, his body
Plagued by tics and strange obses- musical idiom for popular traditio- was brought to his native Cadiz
sions (he believed that his life was ns. Nevertheless his phobia increa- and interned in the crypt of the
divided into periods of seven years sed in strength. In 1912 he fell Cathedral on 9 January 1947.
Consejera de Educacin y Cultura. 63
D. Gral. de Formacin Profesional e Innovacin Educativa
INTRODUCTION TO THE HISTORY OF MUSIC
CHAPTER 9 SPANISH NATIONALISM
LE NATIONALISME ESPAGNOL
ELMENTS DU NATIONALISME ESPAGNOL
-Symphonie Svillanne.
-La Procession du Roco.
-Danses Fantastiques.
MUSIC UP TO
THE SECOND WORLD WAR
PORTADA TEMA 10: El guitarrista de Picasso
INTRODUCTION TO THE HISTORY OF MUSIC
MUSIC UP TO THE SECOND WORLD WAR CHAPTER 10
Three piano pieces Opus 11, five Viennese School can be defined as compositions were for voices and
orchestral pieces Opus 16 and par- that which was established by the majority for the stage. His style
ticularly his three short operas Schoenberg and his followers, Berg is unique; he combines melodies
Ewartung (Anxiety), the Lucky Hand and Webern. This group was very and harmonies from nursery
and the crowning work of expres- important given that they rhymes with vigorous pulsating
sionism Pierrot Lunaire. associated with a series of painters rhythms and orchestration as
such as Kandinsky, Kokoschka, the brilliant as a sound track of a film.
The Twelve-Tone System writer Kafka and the psychoanalyst Some composers of popular music
After exhausting expressionism as Freud. They created a circle of have had similar results coming
an aesthetic form, Schoenberg de- artists which had many ideas in from different points of departure.
veloped the twelve-tone system or common to the point where Orffs works are more serious.
serial music which he defined as Schoenberg painted many great (The lyrics are often in Latin,
"a composition of twelve tones works and was not sure for a long Ancient Greek and Medieval French
with not relationship between time whether to dedicate himself as much as German, his own
them". The twelve tones are strung to music or painting. language). But the dramatic
into a series and undergo three strength of his music and melodies
are immediately evident. His
FUTURISM masterpiece Carmina Burana
(Songs of Beuron, 1936) consists
Futurism was an Italian movement of twenty one medieval poems (the
that began in 1910 and attempted majority in Latin) for soloists, choir
to incorporate into music a new and the grand orchestra. Despite
sonorous world: noise. Mayor its rather dry sonority, Orff's themes
composers of this style were (spring, wine, sex), marvellous
Russolo and Pratella. melodies and his absorbing
However in Germany there was a rhythms have made it one of the
reaction against these preceding most acclaimed compositions of
movements. They called their music the twentieth-century. It is,
utilitarian music which tried to however, vital to understand the
produce a language that could be words.
understood by the people and be
"usable".
following the tradition of the in Paris which had recording integralists of the serialist school
Viennese School and particularly equipment, microphones and themselves; the other American
Anton Webern, a number of apparatus for manipulating which was much more innovative
composers of the second half of magnetic tape. The sounds were and whose most popular
the twentieth-century advanced recorded from real life (starting representative was the American
the study of dodecaphonic series, with the sounds of trains) onto John Cage (1912-1992).
that is to say, to be able to magnetic tape, then cutting the
predetermine exactly the end of tape and splicing the pieces in
the composition. In integral different ways and even running
serialism all the parameters of the them backwards. Schaeffer called
musical discourse, not only the the results of these manipulations
pitch but the duration, the intensity
and the timbre are derived from
musique concrt. COMPOSERS
an initial series. Another innovation of the second
half of the Twentieth-century is WITH THEIR
The greatest exponent of integral
serialism is Pierre Boulez in whose
electroacoustic music created by
means of electronic equipment. OWN SYTLE
compositions can be seen the During the seventies there was a
application of this technique in its
purest form. One of his most There are a number of composers
notable works is Structures for Two who resist being categorised.
Pianos (1952). Despite often having recognizable
elements from other established
forms, they have a style of their
own.
LOS SINTETI-
ZADORES
En la dcada de los sesenta apa-
recieron los primeros sintetizadores
susceptibles de ser empleados para
interpretar msica en directo, ya
que permitan generar msica con-
trolando todos los elementos del
sonido.
Disco de vinilo
Software utilizado para componer msica negativo para realizar copias en
discos de caucho, as aparecan los
los sonidos, a travs del ordenador, de la msica grabada, partiendo primeros discos; presentaban el
se convierten en nmeros que pue- del fongrafo hasta el sonido digi- inconveniente de estropearse con
den formar parte de operaciones tal. el uso continuado.
matemticas. Por el contrario, el Uno de los pioneros en el registro A mediados del siglo XX surgi otro
procedimiento analgico (mediante de las ondas electromagnticas fue tipo de soporte, la cinta magneto-
cintas) slo permite pegar y copiar Thomas A. Edison, quien invent fnica (casete), que poda utilizarse
rudimentariamente partes de la un primitivo fongrafo que patent en reproductores de tamao redu-
pista sonora. en 1878, pero despus se centr cido, pero con los mismos inconve-
A partir de los aos sesenta, prc- en otras ideas que consideraba ms nientes que los discos de vinilo:
ticamente todos los autores aplican tiles y no perfeccion el invento, ruidos de fondo y prdida de la
la tcnica digital y actualmente no obstante, en 1880 Bell y Tainter calidad del sonido por el desgaste
que casi todos los compositores mejoraron el mecanismo ideado del uso.
utilizan ordenadores, una de las por Edison.
ltimas novedades es el programa La grabacin digital elimin los
de composicin EMI (Experiments inconvenientes que hemos seala-
in Musical Intelligence), programa do: los sonidos no se graban por
que es capaz de componer una medio de agujas sino que se con-
obra musical a partir de los datos vierten en nmeros, dgitos, que
de obras musicales de un mismo pueden manipularse por ordenador.
autor, por lo que la obra resultante
podra pasar por obra original del Al ser cdigos numricos, la calidad
autor escogido. no se deteriora con el uso. El so-
porte de este tipo de grabacin es
el CD o disco compacto que todos
EL SONIDO utilizamos actualmente con diver-
sos fines.
GRABADO
Estudio de Grabacin digital
El siglo XX experimenta grandes
avances tecnolgicos en el campo
U2
Grupo de rock irlands que alcanz
fama mundial durante los aos
ochenta y noventa. El grupo, creado
en 1976, estaba formado por cua- pos de msica rock ms populares mismo, causando un gran impacto
tro estudiantes de un instituto de y admirados a escala mundial. en el pblico y en la crtica al re-
Dubln: el vocalista Paul Hewson Canciones como Where the Streets lacionar una autocrtica humors-
(Bono), el guitarrista David Evans, Have No Name y I Still Havent tica y una msica ms compleja.
el bajo Adam Clayton y el percu- Found What Im Looking For tienen
sionista Larry Mullen. En 1978, este un estilo grandioso e introspectivo En sus ltimos temas, los compo-
grupo al ganar un concurso escolar donde destacan la caracterstica nentes de U2 han emprendido la
de talentos, comenz a tocar en voz de Bono y el peculiar sonido bsqueda de un espectculo total
clubes locales y public en 1980 de la guitarra de The Edge. Ms que trascendiera los lmites del
su primer lbum: Boy. El grupo tarde el grupo U2 adquiri notorie- escenario, con la seguridad de ha-
dad por su compromiso con causas berse convertido en una superban-
polticas como el apoyo a las cam- da que logra cifras millonarias y
paas internacionales a favor de llena los estadios gracias a un in-
los derechos humanos. menso despliegue de luz y sonido.
El lbum Rattle and Hum (1988), U2 ha obtenido numerosos premios
ttulo asimismo de un documental Grammy, ya establecido como un
sobre el grupo, se caracteriza por grupo importante, cohesionado por
la inclusin de temas de msica el carisma de su lder Bono y su
folk y blues. seductora imagen.
Con Achtung Baby (1991) y Zooro-
pa (1993), U2 se reinvent a s
U2
SYNTHESISERS
In the seventies the first
synthesisers appeared capable of
producing live music and allowing
the musician to have total control
of all the elements of the
composition. With a synthesiser it
is possible by means of a keyboard
to produce and control all the
qualities of sound with a precision
The Beatles
stage in the development of the directed by Richard Lester. It
band. When they returned to portrays a day in the life of the
England they had reached a much group. The following year their
higher level of maturity both second film Help! was released
personally and in their music. Here directed again by Lester.
they soon achieved certain level
of popularity but they still could From 1964 to 1966 they combined
not find a record company that tours of nearly the whole world
would take them on. with recording sessions producing
music of increasing complexity
Finally, when they were becoming with the use of new instruments
produce what is
considered their best
album, Abbey Road.
In April 1971 Paul
McCartney took the
group to court to
officially disband it.
Each member
continued as solo
artists with varying
degrees of success.
John Lennon was
murdered in 1980.
Between 1994 and
1995 the three
remaining members
of the group took a
demo recording of
John Lennon and
superimposed their
voices and
instruments on to it.
These songs were
released under the
Beatle imprint
together with a
and innovative recording methods. However, differences both personal collection of
At this point it was becoming and musical between the members unreleased numbers and a
increasingly difficult to classify of the group were much in documentary about the history of
their music, being a mixture of evidence and the recordings were the group narrated by the members
pure rock and roll, soul, electronic not made public until April 1970. themselves.
jazz, blues and Indian music. The most popular songs
In the summer of 1969, they
In 1966 they gave up giving live of the Beatles can now be
performances owing to the
difficulty of performing their obtained in CD, some of
complex music on stage and the best known being: She
devoted their time to composing Loves You, And I love Her,
more elaborate compositions in
the studio. As a result in June 1967 Help!, With a Little Help
they released their famous from My Friends, Ticket to
Sergeant Peppers Lonely Heart Ride, All You Need is Love,
Clubs Band, which was a
culmination of all their Here Comes the Sun,
experimentation with different Yellow Submarine,
instruments and recording systems.
Michelle.
In 1969 they recorded, while they
were being filmed in the studio, John Lennon
the White Album which attempted returned to the studios to make
recreate the style of their old live their last recordings together.
music, without having to depend Despite the great animosity
on sophisticated studio equipment. between them they managed to
U2
This Irish Group achieved world
fame during the eighties and nine-
ties. The group was formed in 1997
by four students from a high school
in Dublin: vocalist Paul Hewson
(Bono), guitarist David Evans (The
Edge), bass player Adam Clayton;
and drummer Larry Mullen. In characteristic voice and the pecu- style of music.
1978 this group won a school ta- liar sound of Edges guitar. Later
lent competition. They began pla- the band became famous for its In their last compositions the mem-
ying in clubs and released their involvement in political causes bers of U2 have started looking for
first album, Boy. The group started such as supporting international a spectacle that transcends the
touring internationally the follo- campaigns in favour of human rig- limits of stage with the assurance
wing year. Their inroads into the hts. of having become a super band
American market enabled them to with millions of fans, and able to
record October (1981) and in 1983 The album Rattle and Hum (1988), fill stadiums thanks to an immense
their third album, War, was released (also the name of a documentary display of light and sound. U2 have
about the group) was marked by won numerous Grammy Awards
an incursion into folk and blues and have established the group an
styles. important place in the history of
music, held together by its charis-
With the release of Achtung Baby matic leader, Bono and his seduc-
(1991) and Zooropa (1993), U2 re- tive image.
invented itself having a great im-
pact on the public and the critics
by combining a self-critical sense
of humour with a more complex
U2
making them internationally suc-
cessful.
With the albums The Unforgettable
Fire (1984) Under a Blood Red Sky
(1985) and especially The Joshua
Tree (1987), U2 became one of the
most acclaimed and popular groups
worldwide.
Songs such as Where the Streets
Have No Name and I Still Havent
Found What Im Looking For have
both a grandiose and introspective
style in which stand out Bonos Bono
LES
SYNTHTISEURS
Dans les annes 60, apparurent les
premiers synthtiseurs susceptibles
dtre employs pour interprter
une musique en direct, vu quils
permettaient de crr une musique
tout en contrlant tous les
paramtres du son.
permit de travailler avec plusieurs Des groupes comme les Pink Flyd
synthtiseurs de faon simultane. ou The Beatles introduisirent dans
Grce MIDI, tous les paramtres leurs chansons les nouveaux effets
du son sont transmis dun que produisaient les guitares
synthtiseur lautre, de telle sorte lectriques.
quun seul musicien est mme Le grand essor de la musique
de contrler tous les claviers depuis lectronique ces dernires
une console de mixage. dcennies est d lutilisation
De plus, il favorise la importante quen ont fait le pop-
communication entre le rock et la musique pour bandes
synthtiseur et lordinateur. La sonores de films.
Grce au synthtiseur, il est dernire gnration correspond
aux synthtiseurs virtuels, ce qui
possible de produire et de contrler
partir dun clavier toutes les signifie qu partir dun clavier
connect lordinateur, il est
LES
qualits du son, avec une prcision
que les instruments traditionnels possible de diriger un grand
nombre de synthtiseurs virtuels.
ORDINATEURS
ne permettent pas datteindre. Le
fonctionnement des synthtiseurs Utiliser lordinateur pour compo-
se perfectionnera rapidement et ser des oeuvres musicales prsente
des modles comportant des sons des avantages illimits par rapport
THE
BEATLES
The Beatles
Ce groupe musical britannique
des annes 60 rvolutionna la George Martin, producteur suivante, aux ordres du mme
musique rock et pop. Il tait ayant reu une formation clas- directeur, ils tournrent Help!.
form par quatre jeunes garons sique, et qui savra tre une Entre 1964 et 1966, ils conci-
de Liverpool : John Lennon personne fondamentale dans la lirent leurs tournes dans pres-
(1940-1981) la guitare ryth- carrire venir du groupe. que le monde entier avec des
mique, Ringo Starr (1940) la Leurs premiers enregistrements sances denregistrement o
batterie, Paul Mc Cartney (1942) correspondaient pour la plupart leur musique devenait de plus
la basse et George Harrison au rpertoire jou en direct, en plus complexe grce
(1943-1997) la guitare solo. cest dire du rhythm and blues lutilisation de nouveaux instru-
derniers enregis-
trements, le 33
To u r s i n t i t u l
Abbey Road qui,
pour beaucoup
dadmirateurs,
constitue la mei-
lleure oeuvre du
groupe malgr les
tensions existant
entre eux. En Avril
1971, Paul Mc
Cartney trana ses
compagnons de-
vant les tribunaux
afin de dissoudre
lgalement le
groupe.
Chaque membre
poursuivit sa ca-
rrire en solo, et
russit plus ou
moins bien selon
le cas. John Lennon
fut assassin en
ments et de nouvelles mthodes lide de saisir leurs premires 1980.
denregistrement. Parvenu ce chansons en direct, sans avoir Entre 1994 et 1995, les trois
niveau-l, leur style tait dj recours aux moyens dun studio membres restants travaillrent
difficile classer car il compre- denregistrement. Cependant, sur les maquettes de chansons
nait le rock and roll le plus pur, les dsaccords sur le plan per- de Lennon, superposant les ins-
le soul, le jazz lectronique, le sonnel et musical devinrent vi- truments aux voix. Ces mlodies
blues ou la musique hindoue. ont t dites comme chansons
Pendant lt 1966, face du groupe, ainsi quune collec-
limpossibilit dexprimer sur tion de compositions indites
scne leur musique, ils mirent et un documentaire sur lhistoire
un terme leurs concerts. Le du groupe raconte par chacun
rsultat de cette exprience fut de ses membres.
lapparition de leur fameux al- Les chansons du groupe les plus
bum Sgt. Peppers Lonely Hearts connues du public peuvent
Club Band, dans lequel les Bea- sacqurir actuellement graves
tles culminrent toutes leurs sur un support CD; certaines
exprimentations, aussi bien dentre elles sont particulire-
pour ce qui est des instruments ment connues: She loves you,
que des systmes And I Love Her, Help !, With a
denregistrement. John Lennon Little Help from My Friends, Tic-
En Janvier 1969, alors quils dents et ces enregistrements ne ket to Ride, All You need is Lo-
taient films en studio, ils en- parurent quen Avril 1970. ve,Here Comes The Sun,Yellow
registrrent ce qui deviendra le Pendant lt 1969, ils revinrent Submarine,Michelle,etc .
33 Tours intitul Let It Be, dans au studio pour raliser leurs
ma par la suite. posait de quatre tudiants dun causes politiques, telles que leur
En Aot 1997,le groupe reprit lyce de Dublin : le chanteur soutien aux campagnes interna-
lannonce dun nouveau dis- Paul Hewson (Bono), le guitaris- tionales en faveur des droits de
que, Bridges to Babilon (le pre- te David Evans, le bassiste Adam lHomme.
mier enregistr en studio depuis Clayton et le batteur Larry Mu- Lalbum Rattle and Hum (1988),
trois ans), et dune tourne qui llen. En 1978, aprs avoir rem- titre galement dun documen-
dbuterait le 23 Septembre port un concours scolaire la taire sur le groupe, se caractrise
Chicago. Mick, Keith, Charlie et recherche de jeunes talents, ce par linclusion de thmes musi-
Ronnie avaient enregistr groupe commena jouer dans caux folks et blues.
lalbum Los Angeles. Les Ro- des clubs locaux et dita en Avec Achtung Baby, (1991), et
lling Stones voulaient se mettre 1980 son premier album : Boy. Zooropa (1993), U2 se renouvela
la page et, mis part le Rock Le groupe entreprit une tourne provoquant un effet impactant
classique, lternel Rhythm and internationale lanne suivante, sur le public et la critique. En
Blues, ils flirtrent galement et fit son entre dans le monde effet, U2 faisait dans cet album
avec les nouveaux sons lectro- de la musique amricaine ce qui une autocritique de leur musi-
niques. les amena enregistrer October que sur le ton de lhumour et y
Parmi leurs albums les plus (1981) et plus tard, en 1983, interprtait une musique bien
significatifs se trouvent Out of parut leur troisime album War, plus complexe.
Our Heads (1968), Beggars Ban- leur assurant une place de choix Dans leurs derniers titres, les
sur le march international. membres de U2 se sont mis
la recherche dun spectacle total
Grce la parution de leurs qui dpasserait les limites de la
albums The Unforgettable Fire scne, certains dtre devenus
(1984), Under a Blood Red Sky une super bande rapportant des
(1985) et plus particulirement millions de chiffres daffaires et
The Joshua Tree (1987), U2 de- remplissant des stades entiers
vint lun des groupes les plus grce un dploiement impor-
populaires et les plus admirs tant de lumire et de son. U2 a
lchellon international. remport de nombreux Prix Gra-
Des chansons telles que Where mmy, reconnu ds lors comme
the Streets Have No Name et I tant un groupe important, en
Still Havent Got What Im Loo- parfaite union grce au charis-
king For possdent un style me et limage de marque
grandiose, empreint dune sduisante de Bono.
U2
rflexion inti-
me, do se
quet (1968), Let It Bleed (1969), distinguent la
Exile on Main Street (1972), So- voix carac-
me girls (1998), Undercover tristique de
(1983), Vodoo Lounge (1994) Bono et la so-
ainsi que Stripped (1995). norit trs
personnelle de
la guitare dans
U2 The Edge.Plus
tard, le groupe
Groupe de rock irlandais qui U2 devint trs
obtint une renomme mondiale clbre grce
pendant les annes 80 et 90. Le son engage-
groupe, cr en 1976, de com- ment aux
Bono
76 Consejera de Educacin y Cultura.
D. Gral. de Formacin Profesional e Innovacin Educativa
INICIACIN A LA HISTORIA DE LA MSICA
ANEXO II
COMPOSITORES
DE LA REGIN DE MURCIA
PORTADA ANEXO II: Escultura de Fernndez Caballero en la plaza del Romea de Murcia
INICIACIN A LA HISTORIA DE LA MSICA
COMPOSITORES DE LA REGIN DE MURCIA ANEXO II
COMPOSITORES DE LA REGIN DE MURCIA
No podemos dejar de mencionar mos Regionalistas o nacionalis- dencias aunque no abandonan
la aportacin de los compositores tas, ya que se distinguen por el folklore como fuente de inspi-
murcianos dentro del panorama buscar la inspiracin en el folklore racin.
musical espaol, encuadrados murciano, destacando la perso-
para su estudio en cuatro grupos: nalidad de Bartolom Prez Ca- - Las ltimas vanguardias que
sas. encabezan las nuevas generacio-
- Compositores relacionados con nes de compositores murcianos.
la Catedral de Murcia -Compositores Progresistas o
innovadores, que se caracterizan
- Compositores que denominare- por la bsqueda de nuevas ten-
otro socio de los 40.000 que figuran Gobierno del 17 de julio de1942 im-
en la nmina de la Sociedad General pona que volviera a sonar como him-
de Autores de Espaa (SGAE). Aunque no nacional el que lo fue hasta el 14
las cifras varan. Los dueos del Him- de abril de 1931. El decreto franquista
no nacional no se aproximan ni de precisaba que al paso de la bandera
lejos a lo que se embolsan los dos y al entonarse el himno se deba per-
autores ms taquilleros: el maestro manecer en posicin de saludo, deta-
Joaqun Rodrigo y el compositor del llando, incluso, la posicin: "Con el
grupo Mecano, Jos Mara Cano. brazo derecho extendido en direccin
al frente".
Mara vive desde que falleci el ma-
trimonio con su sobrina, que es pro- A partir de ah se oficia-
pietaria de un bar en la madrilea
calle de Sanjenjo. Por los derechos liza la utilizacin de su
de autor del himno Mara ha cobrado msica. Bartolom Prez
lo bastante como para ir tirando, no
Mara Benito parece que sea millonaria y su sobri- Casas fue el primer di-
los aos cincuenta los derechos
na Juana dice que no cobra ms pen- rector de la Orquesta
sin que "lo del himno".
del himno nacional que le cedi Nacional tras la guerra
su 'seorito'. La propia Mara se habra muerto en
el anonimato si Miguel ngel Aguilar,
civil. El compositor, que
La historia de Mara Benito, una an- conductor de un informativo en Tele no tuvo descendencia,
ciana de pelo blanco de 86 aos, es
como la de un cuento con final feliz,
5, no hubiera descubierto que la par-
titura del Himno nacional era de pro-
registr en la SGAE el 7
pero sin perdices. A los 11 aos aban- piedad privada. La situacin, pese a de octubre de ese mismo
don la localidad toledana de Vera
para irse a servir a Madrid. En el pue-
lo sorprendente, no es del todo ex-
traa. "Todos los himnos tienen un
ao la partitura, que le-
blo, trabajando en el campo, queda- autor y les pertenece a ellos o a sus g a Jos Andrs Gmez,
ban sus padres y sus seis hermanos. herederos hasta 60 aos despus de su amigo y albacea, y a
Al poco de llegar a la capital entr su muerte. Transcurrido ese plazo, la
de interna en casa del compositor obra pasa a ser de dominio pblico", Mara Benito.
Bartolom Prez Casas: "Yo tena que argumenta Eduardo Bautista, vice-
estar all como una estatua, sin decir presidente de la Sociedad General de
nada ni de lo que vea ni de lo que Autores de Espaa.
oa. Me queran, pero, claro, cada uno
en su puesto", asegura Mara al refe- Hasta el ao 2002, los herederos de
rirse al msico y a su esposa. Por su- Bartolom Prez Casas percibirn
puesto, luca uniforme y cofia. Toda- beneficios por los derechos de crea-
va hoy, y fallecieron en 1956, se le dor. Ser entonces cuando el himno
llenan los ojos de lgrimas cuando de Espaa pase a ser de dominio
habla del matrimonio. Y como premio pblico. Su origen se remonta al siglo
a una fidelidad, cada vez ms en des- XVIII. La meloda original no fue, co-
uso, el compositor le dej en herencia mo se crey popularmente, un regalo
un 50% de los beneficios reportados de Federico de Prusia a Carlos III. La
en concepto de derechos de autor marcha granadera fue compuesta
por la meloda del Himno nacional. por el msico Manuel Espinosa de los
Monteros (Andjar, 1725-1810).
Desde 1956, fecha de la muerte del
"seorito", como ella todava le llama, La primera referencia escrita que se
cada vez que la composicin suena conoce de los arreglos que Bartolom
en un acto oficial, que no se realice Prez Casas hizo de La marcha gra-
dentro de una iglesia o en el interior nadera data del 27 de agosto de
de un cuartel, Mara y el otro herede- 1909. Fue Alfonso XIII el que le en-
ro Jos Andrs Gmez, cobran por carg adaptarla como Marcha real.
derechos de autor como cualquier Un Decreto-Ley de Presidencia del
Jos Sandoval Nacido en Jumilla el 15 de Enero Una vez acabado el servicio militar,
y en plena guerra civil se traslada
de 1908 en el seno de una familia
Bernal de msicos, muere en la misma
localidad el 8 de Julio de 1983,
a Murcia donde compone la Zar-
zuela todava indita, El Fantasma
de la Tercia (1940) en colaboracin
(1900- 1967) dejando un legado de ms de cua-
trocientas obras, habiendo obtenido con el escritor Joaqun Garca. Du-
Natural de Molina de Segura a lo largo de su carrera numerosos rante este periodo realiza numero-
(Murcia), nace el 25 de Diciembre laureles como compositor, pianista sas actuaciones en el Teatro Romea
de 1900 y fallece en 1967 en su y director. Comienza su carrera de Murcia, en colaboracin con
localidad natal. El padre de este musical a los cinco aos sustitu- otros msicos como el violinista
compositor era sacristn y haca yendo en ocasiones a su padre, D. Antonio Salas o el Maestro Antonio
de organista por tener estudios Alfredo, en el rgano de la parro- Acosta. Con Antonio Salas forman
musicales, ya que provena de quia de El Salvador de Jumilla all un do que actuaban casi todas
familia de msicos. Por ello, Jos por el ao 1913. Desde muy nio, las tardes en el desaparecido Caf
Sandoval, desde nio, vivi en un tocaba el piano, la flauta, el clari- Oriente de Murcia. Por aquel en-
ambiente artstico y conoci la nete y el violn. Una de sus primeras tonces imparte clases de piano en
msica religiosa entonces al uso. composiciones es una Misa a dos dicha localidad y dirige en el ao
1937 al Orfen Murciano Fernndez
Con Daz Cano se termina el Primer quehacer contemporneo en el y obteniendo el Primer Premio de
Grupo de compositores murcianos campo de la creacin musical. Estos Composicin en 1945. Durante la
que, por sus caractersticas, podran compositores son Mario Medina, contienda haba compuesto una
ser calificados como artistas que Antn Roch y Manuel Moreno. A Suite para saxofn y piano, dos
han mantenido una clara vocacin continuacin, situaremos cronol- Danzas para violoncello y piano,
folklrica o nacionalista. En ellos gicamente a otros dos que no son dos Noveletas romnticas, Graba-
encontraremos casi siempre que realmente renovadores, Emilio Mo- dos Medievales y un Llanto por la
sus procedimientos y tcnica esta- lina, ms bien acadmico y Grego- Muerte de Garca Lorca que luego
ban dentro de lo que llamamos rio Garca Segura, orientado al cine sera el Prlogo para las Canciones
estilo tradicional, sin atisbos de y al teatro. sobre el Poema del Cante Hondo
renovacin en el material sonoro del mismo poeta.
ni en el lenguaje, es decir, son
msicos conservadores, no adscritos En 1945 fue pensionado por el
a ninguno de los nuevos ismos
surgidos a raz del Dodecafonismo
Mario Medina Ministerio de Asuntos Exteriores
de Francia para realizar estudios
y de los movimientos que le siguie-
ron.
Segu en Pars, pero la funesta poltica
de aquel momento no le permiti
Naci en Murcia el 10 de Marzo llegar a dicha ciudad. En 1946 es-
de 1908. Era hijo del pintor Jos tren su Sinfonietta Murciana en
Medina Noguera y de Teresa Segu el Teatro Monumental de Madrid.
Monerri, siendo el segundo de tres Esta pieza haba sido premiada por
hermanos. Atrado por la msica la Diputacin de Murcia. En 1954,
desde nio, ingresa en el Conser- Narciso Yepes estrena en Viena su
vatorio de Msica de Murcia en Concierto Murciano para guitarra
1919 recibiendo lecciones de D. y orquesta, que haba sido premia-
ngel Larroca, D. Manuel Massotti do por la Diputacin murciana y
Escuder y comenzando los estudios que fue dado a conocer, en el mis-
de piano con D. Pedro Muoz Pe- mo ao en los Festivales de Estras-
drera, continundolos con D. Jos burgo. En este mismo ao compuso
Agera. Los de armona los realiz la msica de varios documentales
con el citado ngel Larroca, tam- de NO-DO. En 1958 obtiene el Pre-
bin Maestro de Capilla de la Ca- mio Samuel Ros, de msica de
tedral. cmara, con su Cuarteto N 2 que
se estrenar en Madrid por la
Simultneamente fue alumno de Agrupacin Nacional de Cmara.
la Escuela Normal en la misma En 1955 haba escrito las ilustra-
Libro de Manuel Daz Cano ciudad, estudios que termin en ciones musicales del drama calde-
1926. En 1928 obtiene por unani- roniano La hidalga del valle, que se
COMPOSITORES PROGRESISTAS midad el Primer Premio de Piano y representa en el Teatro Espaol de
O RENOVADORES en 1931 se le concede tambin por Madrid.
unanimidad el Primer Premio de
Realmente se trata de unos pocos Armona. Roberto Corts le impone Compuso mucha msica para el
compositores, no exceden de cinco. posteriormente el de contrapunto. cine, tanto para largometrajes co-
Son los msicos que trataron de En 1934 por oposicin, es pensio- mo para documentales de NO-DO.
renovar la composicin. Quisieron nado por la Diputacin de Murcia Tiene publicadas para piano Canto
estar al da o, por lo menos sinto- para proseguir sus estudios de com- de cuna, Danza murciana, Preludio
nizar con las tendencias que se posicin en el Real Conservatorio y fuga de la petenera, dedicada a
haban extendido por Europa desde de Madrid, ingresando en la clase su maestro de composicin Joaqun
haca ya bastantes aos. Aunque de Joaqun Turina y tomando lec- Turina. Sin publicar se cuentan
su esfuerzo por actualizarse ha sido ciones privadamente con el gran Siete Sonatas, Tres Danzas espao-
merecedor de nuestra gratitud, sus Maestro de piano Enrique Aroca. las, Tres Danzas nobles, Tres Danzas
obras no pueden ser calificadas Estos estudios quedaron suspendi- de buen humor, Grabados medieva-
como de vanguardia, pero si cons- dos por la Guerra Civil, reanudn- les, Dos Noveletas, Nocturno, Dos
tituyen la aportacin murciana al dolos a la terminacin del conflicto Yaraves, Dos Danzas hindes, Di-
por el Cuarteto para piano, violn, obras escribe en 2000 por encargo Comedia Musical, Premio S.G.A.E.
viola y violoncello. del CDMC Partita del silencio per- Gran Festival de Madrid, varios
dido para guitarra, y dedicada a premios de diversos festivales. Gra-
En 1956 se traslada a Italia para Gabriel Estarellas que la estrena b sus propias obras en Paris, Mji-
ampliar estudios de Composicin en la Fundacin Juan March de co, Roma y Madrid actuando como
y Direccin de orquesta en la Ac- Madrid, 7 Variaciones tonales so- arreglador-director del Teatro Real
cademia Chigiana de Siena, conti- bre el Gaudeamus igitur que se de Madrid con la Orquesta Nacional
nuando dicho estudios en el Con- estrena en el XXV aniversario de la de Espaa, en el de la Zarzuela,
servatorio Benedetto Marcello de Universidad de Alicante por el con la Orquesta Sinfnica Arbs.
Venecia. En los aos sucesivos re- Cuarteto Almus, residente de dicha Compuso la msica para multitud
cibir el Accsit al Premio Nacional Universidad y Concierto goyesco de pelculas, as como muchas
de Msica por Canciones infantiles para guitarra y orquesta de cuerda, obras de teatro y cientos de can-
para voz y piano y el Premio Na- dedicado a Gabriel Estarellas. ciones.
cional de Msica a la Suite Concer-
tante para arpa y orquesta. Se trata de un msico que maneja
con suma habilidad la paleta or-
En 1959 con motivo de un home-
naje al crtico Enrique Franco se
funda en Madrid el Grupo Nueva
Gregorio Garca questal, pero cuya lnea esttica
carece de una posicin definida.
Msica, del que forma parte junto
con Ramn Barce, Alberto Blanca-
Segura Es decir, no est adscrito a los mo-
vimientos de vanguardia que han
brotado en Espaa durante estos
fort, Manuel Carra, Fernando Em-
ber, Cristobal Halffter y Luis de (1929-2003) aos (1939-1975). Sus inquietudes
artsticas van hacia la comedia
Pablo. Nace en Cartagena y lleva a cabo musical y teatral, la cancin mo-
En 1965 Antonio y sus Ballets de sus primeros estudios musicales derna y los arreglos para los grandes
Madrid estrenan en el XIV Festival con sus padres, Encarna, excelente maestros de la cancin espaola,
Internacional de Msica y Danza pianista, y Alfredo, Profesor de vio- cupl o andaluza, tales como Qui-
de Granada el ballet Eterna Castilla. ln del Conservatorio de Cartagena. roga o Padilla.
Primer Premio de Msica Polifnica Poco despus pasara al Conserva-
torio de la ciudad y tambin reci- A los diez aos de su llegada a
del XIV Certamen Nacional de To- Madrid, llega su mayor xito hasta
rrevieja por Dos canciones amato- bira clases particulares de Ramn
Sez de Adana, a la sazn Director entonces, su cancin Un Telegrama,
rias, ocupa entre 1970 diversos interpretada por la chilena Monna
cargos relacionados con el mundo de la Banda de Infantera de Marina
y de la Masa Coral Toms Luis de Bell, que triunfa en la primera edi-
de la lrica espaola. Ser Director- cin del Festival de Benidorm.
concertador de la Escuela Superior Victoria. Sez de Adana era un
consumado pianista. Gregorio, des- Desde ese momento, el nombre de
de Canto de Madrid as como Di- los hermanos Garca Segura apare-
rector Musical de la Compaa Lri- pus de su formacin elemental
pasara a cursar estudios en el Real ce de manera regular en canciones,
ca Titular del Teatro de la Zarzuela musicales, obras de teatro y Gre-
de Madrid. La arpista Marisa Robles Conservatorio de Madrid,
convirtindose en un pianista de gorio Garca Segura se vincula al
estrenar en 1974, junto con la mundo del cine como compositor
Orquesta Sinfnica de Radiotelevi- tcnica irreprochable. Tal vez su
mejor camino hubiera sido ste: el tras Carmen la de Ronda, film para
sin Espaola dirigida por Jess lucimiento de Sara Montiel, perso-
Lpez Cobos su Suite Concertante piano. Ms las dificultades para
encontrar soluciones a su carrera na vinculada a la vida del meaestro
para arpa y orquesta. Otras obras hasta hoy. Son casi doscientas las
escritas por encargo sern Treno de concertista, le inclinaron al mun-
do de la composicin en el que ha pelculas con msica suya en todos
(1976), Phonos (1987), Concierto estos aos.
del Buen Amor (1991), Concierto desarrollado una fructfera y curiosa
Neoclsico (1994). carrera. . Gregorio Garca Segura trabaj con
Sus estudios en Madrid fueron co- directores como Juan de Ordua,
En 1999 el Excelentsimo Ayunta- Rafael Gil, Tulio Demicheli, Ladislao
miento de Murcia le encarga Sal- ronados con Premios extraordina-
rios y de honor, alcanzando adems, Vajda, Juan Antonio Bardem, Mario
zillesca para cuarteto de cuerda, Camus etc. pero sobre todo, y a
que estrena en dicha ciudad el diversos galardones, como La Copa
de Honor, Prestigio en Composicin partir de 1962, con Mariano Ozores,
Cuarteto Almus. Entre sus ltimas para el que compuso una msica
Musical, el Premio Homenaje a la
Emilio Molina
Fernndez
Naci en Blanca (Murcia), realizan-
do sus primeros estudios en el
Conservatorio de Murcia y conti-
nundolos en el Conservatorio de
Valencia en Direccin de Coros y
de Orquesta, Pedagoga Musical,
Msica de Cmara y Musicologa.
Posteriormente ha asistido a los
Cursos de Santiago y Granada,
Villafranca del Bierzo, San Sebas-
tin, Niza y Munich con los Maes- Narciso Yepes
tros Bernaola, Marco, de Pablo, en el Conservatorio. Su profesor,
Cristbal Halffter, Jord, Jaseau,
Quatrocchi, Len Ara y Celebida- NARCISO Vicente Asensio, le obliga a crearse
una tcnica propia y en 1943 de-
che. Se licenci en Filosofa y Letras buta en el Teatro Serrano de Va-
por la Universidad de Alcal de
Henares.
YEPES, lencia.
La familia se traslada de nuevo a
Como compositor ha sido premiado
en los Concursos de Ciudad de
GUITARRISTA vivir a Lorca, donde toca en pre-
sencia de Ataulfo Argenta, quien
Granada, Manuel Valcrcel de
Santander, Luis Coleman y Jos
UNIVERSAL le propone que se traslade a Ma-
drid, donde conoce a Joaqun Ro-
Miguel Ruiz Morales de Santiago
de Compostela. Sus obras han sido
(1927-1997) drigo, quien acababa de finalizar
su Concierto de Aranjuez, obra con
emitidas por Radio Nacional de Narciso Yepes naci el 14 de no- la que Yepes iniciara su carrera
Espaa, Radio 2, habindole dedi- viembre de 1927 en Marchena, como solista al interpretarla en
cado un programa monogrfico Lorca. A los 4 aos, simula tocar 1947, acompaado de la Orquesta
sobre su obra de cmara. la guitarra con un bastn y su de Cmara bajo la direccin de
padre, un modesto agricultor, le Ataulfo Argenta, en el Teatro Es-
regala una guitarra autntica en paol de Madrid.
Es Catedrtico de Repentizacin, la feria de Lorca.
Transposicin Instrumental y En 1948 toca con gran xito en
A los pocos das, el nio tocaba de Ginebra, Suiza y desde entonces
Acompaamiento del Real Conser- odo canciones populares de la
vatorio Superior de Msica de Ma- su actividad como concertista es
poca y su padre comenz a lle- imparable.
drid. Est dedicado a la investiga- varle a clases de solfeo y guitarra
cin pedaggica sobre el Bajo con su primer maestro, Jess Gue- Pese a ser grandemente elogiado,
Cifrado y a la recuperacin del vara. est convencido de que debe pro-
Consejera de Educacin y Cultura. 92
D. Gral. de Formacin Profesional e Innovacin Educativa
INICIACIN A LA HISTORIA DE LA MSICA
ANEXO II COMPOSITORES DE LA REGIN DE MURCIA
fundizar en el estudio, el trabajo y De las numerosas grabaciones de posiciones para Conciertos de Pia-
la investigacin, por lo que se tras- Narciso Yepes como intrprete, no:
lada a Pars. merece la pena escuchar: Inspiracin de Poetas, Aoranzas
y Recuerdos, Fantasas y Caprichos,
Adems, all conoce a una joven Con Toques de Romanticismo, La
de origen polaco, estudiante de - Para guitarra y orquesta: Ernesto Navidad en Concierto, Con sonidos
Filosofa en la Sorbona con quien Halffter: Concierto para Guitarra y de Cuaresma y Vida y Fe.
se casa y tiene tres hijos. Orquesta; Joaqun Rodrigo: Con-
cierto de Aranjuez y Fantasa para Tambin ha compuesto Himnos,
Su fama se extiende al un Gentilhombre, Orquesta Sinf- letra y msica: Himno a Alqueras,
componer e interpretar en nica de RTVE, Odn Alonso. Al Cristo de la Fe de Murcia, Al Cris-
1952 la msica de la pelcu- - Para guitarra sola: Albniz: Ma- to del Sagrario de Altea, Himno a
laguea, Torroba: Madroos.
la Juegos Prohibidos, Oscar la Virgen de la Dolorosa de Santo-
a la mejor pelcula extran- mera y el pasodoble Altea as
como un Pasacalle al grupo de los
jera de aquel ao.
Sus discos se venden por todo el
Enriqueta Moya Templarios de Caravaca.
after the couples death, her eyes fill origins in the eighteenth century.
with tears when Maria talks about The tune was not, as many believe,
them. As a reward for her loyalty, the a gift from Fredric of Prussia to
composer bequeathed her 50% of Charlies III of Spain. The Marcha
the rights to the royalties obtained Granadera (The Grenadier March)
for playing of the melody of national was originally composed by Manuel
anthem. Espinosa de los Monteros (Andjar,
Since 1956, the year of the death 1725 1810).
of the master, as she still calls him,
she and another benefactor, Jos The first reference to the changes
Andrs Gmez, receive a royalty every
time the anthem is played at an made by Bartolom Prez Casas to
official event or in a church or at a the Grenadier March dates from
military barracks. They receive their the 27 August, 1909. It was Alfonso
rights as do 40,000 members of the XIII who ordered a new version be
General Society of Authors of Spain. written to be made into the
Mara Benito Although the amount they receive national anthem.
varies, it is not anywhere near the
revenues received by the most A government decree from the
Below is a translation of an article successful artists, the maestro Government Presidency on 17 July,
published in El Pas newspaper whi- Joaqun Rodrigo, and the composer 1942 ruled that it would be
ch is of anecdotal interest for the group Mecano, Jose Mara reinstated as national anthem (it
Cano. had previously been the anthem
THE COMPOSER AND THE until 14 April 1931). The Franco
SERVANT Since the death of her husband Maria government ordered that when
has lived with her niece, the passing the Spanish flag and to the
Translation of article by Amelia proprietor of a bar in the street Calle sound of the national anthem one
Castilla published in the Sunday Sangenjo, Madrid. should stand to attention and
supplement of El Pas newspaper, salute, even giving details of the
21 November 1993. She receives just enough from the position of the arm: With the right
royalties to live off. She certainly does arm held up and pointing towards
Maria Benito Silva has received the not look like a millionairess, and her the forehead.
royalties for the national anthem niece says that this is her aunts only
of Spain since the 1950s which source of income.
After this, Bartolom Prez Casass
were bequeathed to her by her music was officially sanctioned and
master. Maria would have died in obscurity
had not Miguel ngel Aguilar, head he became the first conductor of
of a news department in Tele 5, the National Orchestra after the
The story of Mara Benito, now a Spanish Civil War. The composer,
white-haired lady of 86, is like a fairy the TV channel, discovered that the
rights to the score of the national who had no descendants, registered
tale with a happy ending of sorts. the score that same year on 7
When she was 11 she left her native anthem were in private hands.
October at the General Society of
town of Vera, (Toledo) to go into Authors of Spain, which his friend
service in Madrid, leaving her parents Although this might be surprising
for many people it is not unusual. and executor Jos Andrs Gmez,
and six brothers and sisters to work
the land. Soon after arriving in All anthems have an author and and Mara Benito were later to
Madrid, she got a job as a live-in their rights belong to them and inherit.
housemaid in the house of Bartolom their heirs for 60 years after the
Prez Casas. I had to stand like a authors death. After this period
statue in silence without saying a the composition becomes public
word of what I saw or heard. They domain, says Eduardo Bautista,
were fond of me, but of course, Vice President of the Spanish
everyone had their place, said Maria Society of Authors.
referring to the composer and his The beneficiaries of Bartolom
wife. Needless to say, she wore a Prez Casas will receive royalties
uniform and cap. Even today, 37 years until 2002. The Anthem has its
zuela, La Voz de la Sangre (The Voice Romeria, Nocturno Huertano and bass voices accompanied by the
of Blood) was played at the Teatro La Parranda are very well known, orchestra. He also composed quar-
Novedades, Madrid attaining 80 having been performed by nearly tets and piano pieces. His Gavota
performances. all the choirs of the Region of Mur- de Concierto (Gavotte Concert) was
cia. It is based on the folklore of published by Peters Publishing
He took the exams to become Pro- the region, and it was the composer Company.
fessor of Music for the Teacher himself who arranged the text.
Training College (Escuela Normal
de Maestros) and obtained a post
in Albacete (city to the north of Jos Prez Manuel
Murcia) where he taught for a
number of years. Although he wor- Mateos Massotti
ked in Albacete, he made Murcia
his place of residence and was
He was born in Murcia in Septem-
ber 1884 and died in the same city.
Escuder
appointed Official Pianist at the A doctor by profession, he had a Although he was born in Valencia
Casino there. He was one of the great musical and literary vocation. (4 February, 1890), he devoted his
founding members of the Conser- He was member of the Royal Aca- life to the music of Murcia, to whe-
vatory of Murcia in 1918 where he demy of Medicine of Murcia, co- re he moved when he was 22. He
taught Music Theory (solfeggio) rresponding member of the San founded the Music Academy Fer-
and Harmony. He gave up his post Fernando Academy of Fine Arts, nndez Caballero from which later
in Albacete and took the exam for and President of Alfonso X the Wise grew The Conservatory. He was
a similar post in Seville, which he Academy of Murcia. In addition to teacher, vice-principal and principal
obtained. After creating the Con- his research into hearing and the of this centre and received many
servatory of Seville he was voted language of sound (he was an ear, awards. He composed a large num-
unanimously as professor of this nose and throat specialist) and folk ber of works and conducted choirs
institute. Here he set up the Coral music, he composed a number of and orchestras, one of which was
Sevillana (Seville Choir), and his orchestral pieces. He wrote Los the Murcian Fernndez Caballero
first concert conducting this choir Cantos Regionales Murcianos (Re- Choral Society. He was also an
took place at the Reales Alczares gional Songs of Murcia) published excellent pianist and was a member
under the patronage of Princess by the Regional Government of of Beethoven Quartet. He died in
Maria Luisa de Orleans. Murcia in 1944. His Classical Sym- Murcia.
phony in four movements was pre-
In 1923 Ramrez premiered his zar- miered in Barcelona in 1909 by the
zuela Nazareno Colorao in the Ro-
mea Theatre, Murcia. This became
orchestra of that city and later by
the Barcelona Municipal Band.
Estanisla
his favourite work and is based on
popular characters who appear in Martnez
the paintings of Sobejano and Me-
dina Vera. His compilation of co- Pedro Jos Fernndez
llected songs titled Del Folklore
Murciano (Of the Folklore of Mur- Jimnez Puertas Born in Totana (Murcia) in 1893,
she was a pianist and composer.
cia) won a prize from the Regional
Government of Murcia in 1942. He
(1890 c.a- 1946) Estanisla later moved to
is author of the Murcian anthem, Cartagena and was a teacher at
He was born in the last decade of the Conservatory there for all her
a collection of songs for children the eighteenth-century and died
such as Canciones de mi Escuela life. She was a student of the
in Lorca, Murcia, in 1946. He was distinguished teacher Rita Irazu.
(My School Songs) and El Viejo Ma- a fellow student of Prez Casas,
rino y La Comba (The Sailor and the As a pianist she gave concerts at
Sarasate, and other celebrated the Ateneo Cultural Centre in
Skipping Rope). composers of his generation. He Alicante, the Carthusian monastery
was conductor of the Municipal in Valldemosa (Mallorca), the Press
His famous Cuadros Murcianos Band of Lorca, and composed much
(Portraits of Murcia) for voices and Association of Murcia, the Casino
religious music of which his famous in Cartagena and the National
orchestra and comprising of La Miserere has endured with three Radio in Madrid. She loved to
He was born in Alhama, Murcia in rita, his Sainete (One- act farce),
1906 and died in the same town and the operetta No Creo en el
in 1964. A priest, organist and com- Amor (I Dont Believe in Love) have
poser, he spent most of his life in not been performed. He was mem-
Cartagena as organist in the Cari- ber of the Murcia Symphony Or-
dad Church. There he wrote nearly chestra.
all his religious and secular works.
As a religious composer he wrote
masses, salves, prayers and hymns.
In the field of folk music his works Jos Sandoval
are amusing and skilful. He com-
posed the seguidillas Jo y Ja (Wow! Bernal Julin Santos Carrin
and Ha!), the Murcian Parranda
(musical get-together) Al Son de (1900- 1967)
la Guitarra (To the Sound of the
Guitar), the carol Aguinaldo Mur- He was born in Molina de Segura,
Murcia on 25 December 1900 and
Julin Santos
ciano (A Christmas Gift) and many
more. died in the same town in 1967. His
father was a sexton and played the
Carrin
Antonio church organ as he had studied
music. Coming from a musical fa- (1908- 1983)
Celdrn mily, Jos Sandoval, was brought
up in an artistic environment and
He was born in Jumilla (Murcia)
on 15 Feburary 1908 into a family
Rabadn was familiar with the religious mu-
sic of that period. Among his most
notable works are: a number wal-
of musicians. He died in the same
town on 8 July 1983 leaving a
legacy of over four hundred works
He was born in Murcia and died in tzes and hymns, some of which are and having received during his ca-
the same city in 1992. He was dedicated to the patroness of his reer numerous laurels as a compo-
founder and active member of the town La Virgen de la Consolacin ser, pianist and conductor. He began
Beethoven Quartet and teacher of (The Virgin of Consolation) and Ple- his musical career at the age of
chamber music at the Conservatory garia a la Macarena (Prayer to Ma- five occasionally substituting his
of Murcia. He was a composer in carena) with text by the Quintero father, Don Alfredo at the organ in
the costumbrismo style (depiction brothers, which was a great success the parish church of El Salvador,
of everyday manners and customs) when it was premiered. As a com- Jumilla. From an early age he also
within the theatrical music genre. poser of zarzuela, Sandoval is in- played the flute, clarinet and the
He was also a collector of popular teresting for exalting earthy values violin. His first compositions were
songs and airs of Murcia for the both religious and folkloric in his a mass for two voices dated 1920,
Seccin Femenina, which was later La Virgen del Rio (The Virgin of the which he composed at age of 12,
published by the publishing com- River), Fuente Milagrosa (The Mira- and the operettas Sueo de Nia
pany Francisco Salzillo and which culous Fountain) and El Amor se (The Girls Dream) and El Embrujado
stands out for its zarzuela music. Llama Dimas (Love is Called Dimas) Rey (The Bewitched King) written
In 1945 he premiered Mara Jesus all of which have libretto by Fer- at the ages of 16 and 18 respecti-
no Olvid (Maria Jesus Didnt For- nndez Shaw (the last mentioned vely. As an instrumentalist he star-
get) in the Romea Theatre, Murcia. is regarded as a variety show). He ted out in the La Lira Band of Ju-
It was later performed in Alicante has also composed pieces and dan-
Jumilla drew him back there where zarzuela Jaime Alfonso el Barbudo Julin Santos gave Music Theory
he stayed for the rest of his life. (The Bearded James Alphonso) was (Solfeggio) and piano classes for
This period is considered to be his premiered, this time with libretto most of his life in his old house in
most fruitful in which he composed by Lorenzo Guardiola which was Rico Street in Jumilla. His last
works of a high quality. To him is based on the legend of the bandit musical project was to assist in the
owed the carols and religious works Jaime Alfonso the Barbudo and his creation of the present Asociacin
composed and performed in all the adventures in the territory of Jumillana de Amigos de Msica
parishes of the region, but it was Murcia. (Jumilla Friends of Music
at the Vico Theatre in Jumilla where At the end of the forties and the Association) of which he was the
were performed most of the beginning of the fifties Julin first director. At the end of 1982
different ventures that Julin Santos composed what are without he resigned from this post for
Santos initiated. At this theatre doubt his best works: Los Gerifaltes health reasons and on 3 July 1983
the most recent version of La Moza (The Bigwigs, 1947) and La Nia he died leaving a legacy of over
de la Dehesilla was premiered on del Boticario (The Apothecarys four hundred works.
26 June 1946. It was later Daughter), both with libretto by A number of recordings have been
performed at other theatres of the Lorenzo Guardiola. The latter made of his works such as: two
region with great success. b e c a m e S a n t o s s g r e a t e s t records titled Marchas
disappointment in his musical Procesionales y Pasodobles
Nevertheless, the post-war years career as it was never performed (Marches for Processions and
were not good on the artistic level in his lifetime; he even wrote in on Pasodobles) that was recorded by
in Spain. The zarzuela sunk into the cover of the work: to be Jumilla Friends of Music
amire. Theatres in Madrid were performed after my death. He was Association; Bagatelas de Otoo
empty, and the new generation of awarded the National Zarzuela (Trifles of Autumn) which brings
composers only managed to get a Prize organised by the Radio together piano and chamber music,
foothold with the odd work by National of Spain for Los Gerifaltes played by Pedro Valero; the
Barbieri or Chap. It can be said and it was first performed at the operettas The Apothecarys
that Santos lived during the worst Apollo Theatre in Valencia on 26 Daughter and Villancicos (Carols)
period for music in Spain. January 1951. in CD; the operetta Farruca and
Confronted with this situation In later years he concentrated on the zarzuela The Phantom of the
Santos still continued to write compositions for orchestra and Tercia, recorded recently by The
concentrating mainly on band piano such as Suite Santa Elegiaca Russian Philharmonic Orchestra
music. During this time he wrote (Saint Elegiac Suite), symphonic (Moscow), conducted by Lin-Tao.
his best funeral marches: Luz poems, etudes, quartets, habaneras, Many bands, both home and
(Light), Getsemani, Llorona etc. He was awarded his third abroad, have performed his works
(Mourner) etc., and received first national prize for Montarez at the such as The Symphonic Orchestra
prize from the National Radio of Aspe Music Contest which was of Murcia, The Band of Alzira, The
Spain for pasodobles with Agareno. organised by the Zarzuela Theatre Symphonic Band of Alcasser, The
Later, in a contest in Cartagena, he of Madrid with the maestro Moreno Chamber Music Orchestra of the
won another first prize for his Torroba presiding over the jury. European Academy of Erba (Italy)
pasodoble Obsesin. The death of his wife in 1972 was and the Ural Philharmonic Orche-
In 1953 when Julin was working hard blow for the composer and stra of Russia. The great pianists
with his friend Camilo Valenzuela he dedicated the funeral march Pilar and Pedro Valero have played
he wrote his most successful work, Para Siempre (For Always) in her his works throughout the world.
Farruca. When it was premiered memory. A year later he premiered
on 13 April 1953 in the Vico Theatre his last work, Cosmos, a two-act On 23 March 2003 the town
with Liber and Fermn Navarro musical comedy which due to the council of Jumilla, presided over
playing the leading parts, the weather conditions (it was staged by Fransico Abelln Martnez,
response was extraordinary. There in the open air) had a rowdy named Julin Santos Honorary
followed 40 uninterrupted reception from the audience and Citizen of the town. The act was
performances and a new version was a failure. This and other celebrated at the Vico Theatre.
was premiered in November of the vicissitudes and musical state of
same year. affairs at that time led the
On 25 February 1956 a new composer to being ostracised.
(1915- 1999)
Maria. He composed works for
bands and some lesser pieces. So- Manuel Daz
This composer has been involved
me of his works have remained
unpublished in a family archive. Cano
For his great work for music in
a great part of the musical ventures Murcia he was given the Alfonso Born in Helln, Murcia in 1926,
of Murcia of recent years. He is a X el Sabio Award. Daz Cano began his artistic career
man of wide experience of life and in 1940. He was a concert guitarist
the academic world. With a varied for a large part of his life and he
education (school teacher, teacher
of business and lawyer) and an Jos Pagn gave some 2,000 concerts in Spain,
Morocco, various European coun-
excellent musical training, he was tries, the USA, and the Middle East.
Professor of Harmony at the Con-
servatory of Murcia (that now
Lpez In his later years he was Professor
of Guitar at the Conservatory of
bears his name) being the youngest Born in Cartagena in 1916, he went Murcia. A man of much merit, he
professor in this discipline in Spain, to Madrid at early age to finish his received numerous awards in his
and later principal of this centre. studies. He worked with Conrado country and abroad for his dedica-
In his first years he gave concerts del Campo and held a temporary tion and dissemination of Spanish
on the piano as soloist and also professorship in Cardenal Cisneros music and guitar (in the Spanish
accompanied violinists, cellists and Institute until 1944. In 1945 he Pavilion in New York alone he gave
vocalists. He was Artistic Director became professor of harmony at 500 concerts from 1964 to 1965).
of Radio Murcia from 1939 to 1940 the Seville Conservatory and began He was also a composer and pu-
and director of the Fernndez Ca- to work with the Spanish National blished some 40 works in the Spa-
ballero Choral Society of Murcia. Radio. He received a grant from nish Music Union. In addition he
Through him were premiered many SEU to study in Madrid where he composed a concerto for guitar
folkloric and polyphonic pieces, studied under Yuste, receiving first and orchestra.
and symphonicchoral works. He prizes for harmony and piano. He
was founder and driving force of was assistant professor of harmony Most notable among the many
the Conservatory Chamber Orche- of Echevarra. awards he has received are the
stra. Equally he demonstrated his Medal of Merit for Tourism, the
great ability as a composer by wri- Most of his production was for Gold Medal for Merit for the Pro-
ting several works for this orches- the sound tracks for films and do- vince of Murcia. His works have
tra. His role in the field of educa- cumentaries. He wrote the music been recorded on many records
tion was very important, being for the films Hermano Menor (The under the labels Durium of Milan,
involved in the training of a large Youngest Brother), Historia de una Decca of London and Columbia of
number of Murcian musicians and Batalla (The Story of a Battle), Vida Madrid.
those from neighbouring provinces. y Obra de Rosales (The Life and
He channelled his creative energies Work of Rosales) and El Greco y el With Diaz Cano we conclude our
mainly into Murcian folk music Indio en Ibiza (The Greek and the outline of the first regionalist com-
which he enriched with varied and Indian in Ibiza). He wrote a series posers of Murcia who can be clas-
important compositions for mixed of choral works based on the folk sified as artists that have a clearly
choir which have been sung by music of various regions of Spain. nationalistic or folkloric bias. Their
many Spanish choral groups with His arrangements of popular music methods and techniques are nearly
a national standing. Most notable for choir are very well-known of always within what we call the
are Nana Huertana (Country Lulla- which stands out the habanera, La traditional style with no indication
by), Salve de Auroros, Habanera Golondrina (The Swallow). Of equal of reforming the established forms
Divina (Divine Habanera) with interest are his religious works of music or language, that is to
words by Antonio Martinez Endi- composed for the new musical say, they are conservative and do
que, La Caa Dulce (Sweet Cane), liturgy that arose from the Vatican not ascribe to any of the new
Emilio Molina
Fernndez
Molina was born in Blanca (Mur-
cia) and studied music first at the Narciso Yepes
Conservatory of Murcia and then her Royal Conservatory) of Madrid. family moved to Valencia where
at the Conservatory of Valencia He carries out research into the he studied at a Secondary school
receiving instruction in conducting teaching of the Bass Code and the and went on with his musical
of choirs and orchestras, teaching restoration of the concerto- t r a i n i n g a l t h e Va l e n c i a
music, chamber music and musi- improvisation, a difficult and little Conservatory. His teacher, Vicente
cology. He later attended courses known speciality in Spain. Asensio, forced him to create his
in the Spanish towns of Santiago, own technique and in 1943 he
Granada, Villafranca del Bierzo, made his debut at the Serrano
San Sebastin and abroad at Nice
and Munich under the masters
NARCISO Theatre in Valencia.
Bernaola, Marco, de Pablo, Cris-
tbal Halffter, Jord, Jaseau, Qua-
YEPES His family moves again to Lorca
where he plays before Ataulfo Ar-
trocchi, Len Ara y Celebidache. genta who asks him to go to Ma-
He graduated in Humanities at the (1927-1997) drid where Yepes meets Joaqun
University of Alcal de Henares. Rodrigo, who had just finished his
As a composer he has received Narciso Yepes was born on 14th Aranjuez Concert. This composition
awards at the following music con- november, 1927, in Marchena, started his career as a soloist, pla-
tests: Cuidad de Granada (City of Lorca (Murcia). When he was four ying this concert in 1947 under
Granada), Manuel Valcrcel in San- years old his father, a humble Ataulfo Argenta as a conductor in
tander, Luis Coleman, and Jos farmer, saw him pretending to play the Teatro Espaol in Madrid.
Miguel Ruiz Morales in Santiago the guitar with a stick and soon In 1948 he played sucessfully in
de Compostela. His works have bought him a genuine guitar at Geneve, Switzerland, and since
been broadcasted by the Spanish Lorca fair. then he becomes a relentless con-
National Radio, Radio 2, which had certist.
a special programme dedicated to A few days later the child was
his chamber music compositions. playing the guitar by ear, just folk Inspite of being greatly praised he
He is professor of improvisation, songs, and his father soon took is conviced that he must improve
instrumental transposition and him to solfeggio and guitar classes. his studies and research and then
accompaniment at the Real Con- His first teacher was Jess Guevara. he goes to Paris where he meets
servatorio Superior de Msica (Hig- When the child was twelve his a young girl of Polish origin, a
Philosophy student at the Sorbon- Special beauty stems from her pia-
ne. They soon marry and have three - Guitar and orchestra: Ernesto no Concerts: Inspiracin de Poetas,
children. Halffter: Concert for guitar and Aoranzas y Recuerdos, Fantasas
He becomes more and more fa- Orchestra, Joaqun Rodrigo: Aran- y Caprichos, Con toques de Roman-
mous, especially when Yepes com- juez Concert and Fantasa para un ticismo, La Navidad en Concierto,
posed and performed in 1952 the Gentilhombre. Orquesta Sinfnica Con Sonidos de Cuaresma and Vida
soundtrack for the film Juegos Pro- de RTVE, Odn Alonso. y Fe.
hibidos, (Forbidden Games) which
won an Oscar for the best foreign - Solo Guitar: Albniz: Malaguea, As she is a hardworking professio-
film that year. Torroba Madroos. nal, she has composed Anthems
too (music and lyrics) such as: Him-
His records are sold worldwide but, no a Alqueras, Al Cristo de la Fe de
as a compulsive researcher, in 1964 Murcia, Al Cristo de la Fe de Altea,
he invents a ten- string guitar and
although he does not cease his
Enriqueta Moya Himno a la Virgen de la Dolorosa
de Santomera and the pasodoble
activity as a concertist he works
incessanty to recover and publish Gmez Altea as well as a Pasacalle for the
group of Templaries in Caravaca.
old unedited compositions from
the Renaissance, Baroque etc a (1939- ) She loves composition so she has
total sun of six thousand musical also written music and lyrics in her
works. Born in the nearby city of Orihuela lbum de Habaneras: Recordando
He plays concerts worldwide being and an adopted Murcian, Keta Mo- a Cuba and tonadillas Recordando
praised by the great audience.In ya, as everybody calls her, was the a Andaluca.
1980 his first tour in the formerly most brilliant pupil of her teacher,
Soviet Union. From there he travels Hilaria Fenoll. To commemorate the 250th anni-
to Japan where he performs 40 She soon got her degree as a pianist versary of Mozarts birth, Keta Mo-
recitals and his art is greatly recog- at the Superior Conservatory of ya has composed Homage to Mo-
nized. Music obtaining the highest mark zart, a biography of the child
As a prominent concertist and tes- and an Extraordinary Award in Mu- prodigy together with compositions
cher, he was constanty awarded: sic Theory (Solfeggio). in Mozarts style.
Favourite Son in the city of Lorca She is currently the headmistress All of her works have a touch of
(1964), Doctor Honoris Causa at of a Mucic Academy, teaching not poetic influence.
Murcia University (1977) and Ho- only Solfeggio and Piano but also
norary Academic for the Alfonso X Singing and Repertory.
Royal Academy, as well as Favourite
Son in the city of Murcia Keta Moya also trains teachers for
(1978).apart from countless Spa- their music exams to become civil
nish and foreign honours. servants for Primary Education and
she teaches Music at the Maria
In Murcia city, in his last public Dolores Moreno Dance Academy
performance, he was given a warm too.
homage in january, 1997. He died She has given several didactic lec-
on the same year in May. tures in Cajamurcia related to mu-
sical language addressing future
Of all the numerous recordings of Primary and Secondary teachers.
Narciso Yepes as a performer it is
worth to stand out: Besides, she has written scripts and
music for theatre, playing for the
theatre company Aftalia. Her most
important compositions are: Fede-
rico y su Duende and La Mirada de
un Siglo. She has also written mu-
sic for a number of poems by Gloria Enriqueta Moya
Fuertes.
Il est n Lorca le 24 Janvier 1873. derniers chants ainsi que d autres Il nous semble intressant de
Ses premires leons, il les reoit rgionaux, il composa sa Suite reproduire ici, en guise d anecdote,
de son grand-pre Juan Casas, ma terre qui remporta le Prix des l extrait dun article de journal
musicien local et directeur d une Oeuvres Symphoniques pour Or- paru en 1993 :
des fanfares de la Semaine Sainte chestre de l Acadmie des Beaux-
de Lorca. Plus tard, son oncle , le Arts de San Fernando en 1909, au
docteur D. Jos Mara Casas, moment mme o La Vie Brve de
de Jumilla que les diffrentes com- dbut des annes 50, Julin Santos
pagnies cres par Julin Santos compose celles qui seront consi-
vont le plus se produire; le 26 Juin dres sans aucun doute comme
1946, il cre loeuvre La Jeune tant ses meilleures oeuvres : Les
Fille de la Prairie qui venait tout Gerfauts(1947) ainsi que La Fille
juste dtre adapte et quil repr- du Pharmacien, toutes deux
senta dans dautres thtres de la daprs un texte de Lorenzo Guar-
rgion, obtenant un vif succs. diola. Cette dernire oeuvre occa-
Cependant, les annes daprs- sionna une grande dception pour
guerre ont t nfastes pour le pays Julin Santos car il ne put jamais
dans le domaine artistique. La zar- la faire reprsenter et inscrivit m-
zuela sombre, les thtres de Ma- me sur le manuscrit de cette
drid se vident et seule la comdie oeuvre: reprsenter aprs ma
de moeurs garde la face grce mort. Il obtint grce aux Gerfauts
quelques pices de Barbieri ou de le Prix National de Zarzuelas orga-
Chap. Nous pouvons affirmer sans nis par RNE et cette oeuvre fut et il dcde le 3 juillet 1983
lombre dun doute que Julin San- cre au Thtre Apolo de Valence, Jumilla nous lguant plus de quatre
tos a vcu lune des plus mauvaises le 26 Janvier 1951. cents oeuvres.
priodes quait traverses la musi- Il consacre les annes qui suivent
que. Malgr cette situation, le com- composer des pices pour piano Plusieurs de ses oeuvres ont t
positeur continue dcrire et et orchestre telles que la Suite enregistres, ainsi les deux disques
sintresse plus spcialement la Sainte et Elgiaque, Pomes Sym- Marches pour Processions et Pa-
musique pour fanfare; cest ce phoniques, Etudes, Quatuors, Ha- s o d o b l e s, e n r e g i s t r s p a r
moment-l quil compose ses mei- baneras, etc. Il remporte grce LAssociation des Amis de la Mu-
lleures Marches Funbres : Lumire, Sauvage le troisime prix national sique de Jumilla, Bagatelles
Gethsmani, Pleureuse,etc. et quil lors du concours lyrique de Aspe, dAutomne qui rassemble sa musi-
reoit le premier prix de Paso dobles organis par le Thtre de la Zar- que pour piano et de chambre,
de RNE grce Agaren. Plus tard, zuela de Madrid et dont Matre interprte par Pedro Valero, le CD
et lors du concours de Carthagne, Moreno Torroba est le prsident du de loprette La Fille du Pharmacien
il remporte galement le premier jury. et celui des Chants de Nol ;
prix grce au paso doble Obsession. En 1972, lpouse de Julin Santos loprette Farruca ainsi que la
dcde, ce qui fut une dure preuve zarzuela Le Fantme de la Tierce
Cest en 1953 que Julin, en colla- pour le musicien; il lui ddia la ont t rcemment enregistres
boration avec son ami Camilo Va- marche funbre A Tout Jamais. Une par lOrchestre Philarmonique Rus-
lenzuela, compose son oeuvre qui anne plus tard, il cre sa dernire se ( Moscou), toutes deux sous la
a remport le plus grand succs: oeuvre, Cosmos, caprice lyrique en direction de Lin-Tao.
Farruca. Le 13 Avril 1953, il cre deux actes, qui essuya un chec De nombreuses fanfares et orche-
cette oeuvre au Thtre Vico, Liber retentissant quant au nombre de stres trangers ont interprt ses
et Fermn Navarro interprtant les spectateurs et ce, d au mauvais oeuvres, tels que La Fanfare
personnages principaux, et il rem- temps (reprsentation en plein air). dAlzira, La Fanfare Symphonique
porte un succs extraordinaire: 40 Tout cela, quoi viennent sajouter dAlcasser, LOrchestre de Chambre
reprsentations daffile, suivies dautres circonstances et la mau- de lAcadmie Europenne dErba
dune nouvelle version de la mme vaise passe que traverse la musique, (Italie), LOrchestre Symphonique
oeuvre au mois de Novembre de la frappe le musicien dexclusion. de Murcie et la Ural Philarmonic
mme anne. Julin Santos enseigna le solfge Orchestra de Russie, ainsi que les
Le 25 Fvrier 1956, a lieu la pre- et le piano pendant pratiquement grands pianistes Pilar et Pedro Va-
mire dune nouvelle zarzuela Ja- toute sa vie, dans sa vielle demeure lero qui ont interprt ses oeuvres
cques-Alphonse le Barbu, sur un de la rue del Rico de Jumilla et sa travers le monde entier.
livret de Lorenzo Guardiola; cette dernire tche fut de collaborer Le 23 mars 2003, lHtel de Ville
zarzuela raconte la lgende du ban- la cration de lactuelle Associa- de Jumilla, sous la prsidence de
dit de grands chemins Jacques- tion des Amis de la Musique de Francisco Abelln Martnez, nomme
Alphonse le Barbu et ses aventures Jumilla quil fut le premier diri- Julin Santos Fils Illustre de la
dans la contre de Murcie. ger. Il prsente sa dmission fin 82 ville lors dune crmonie qui eut
Vers la fin des annes 40 et au invoquant des problmes de sant lieu au Thtre Vico de Jumilla.
du Premier Groupe de compositeurs vrions leur savoir gr de tous leurs llve de Joaqun Turina et quil
murciens que lon pourrait qualifier efforts- par contre, elles reprsen- suivra des cours particuliers auprs
vocation nettement folklorique tent la contribution murcienne du grand Matre de piano Enrique
ou nationaliste.Leurs mthodes et la cration musicale contempora- Aroca. La Guerre Civile lobligera
leurs techniques appartenaient au ine. Cest le cas en particulier de interrompre ses tudes quil re-
style traditionnel, sans la moindre Mario Medina, Antn Roch et de prendra la fin du conflit. En 1945,
intention de renouveller le langage Manuel Moreno.Ensuite, nous pla- il obtient le Premier Prix de Com-
ni le matriel sonore, il sagissait cerons par ordre chronlogique deux position. Il avait compos en temps
dartistes qui ne relevaient autres compositeurs qui ne sont de guerre une Suite pour saxophone
daucune cole apparue la suite pas vrai dire des rnovateurs: et piano, deux Danses pour violon-
du Dodcaphonisme et des mouve- Emilio Molina, plutt prs des nor- celle et piano, deux Petites Nouve-
ments postrieurs celui-ci. mes, et Gregorio Garca Segura, lles Romantiques, Gravures
davantage intress par le cinma mdivales ainsi quune Com-
et le thtre. plainte la Mort de Garca Lorca
qui deviendra plus tard le prologue
Mario Medina de ses Chansons sur le Pome du
Cante Jondo du mme pote.
Segu En 1945, il est pensionn par le
Ministre des Affaires trangres
(1908-) franais en vue de poursuivre ses
tudes Paris, mais la grave situa-
tion politique du moment
Il naquit Murcie le 10 Mars 1908. lempche de sy rendre.En 1946,
Fils du peintre Jos Medina Nogue- il interprta au Thtre Monumen-
ra et de Teresa Segu Monerri, il tal de Madrid sa Petite Symphonie
est le second des trois enfants du Murcienne- pice qui fut rcom-
couple. Attir par la musique ds pense par le Conseil Rgional de
son jeune ge, il entre au Conser- Murcie. En 1954, il cra Vienne
vatoire de Musique de Murcie en son Concerto Murcien pour guitare
1919; il y suit des cours auprs de et orchestre, rcompens par le
D. Angel Larroca, de D. Manuel Conseil Rgional de Murcie et pr-
Massotti Escuder et il entreprend sent cette anne-l aux Festivals
ses tudes de piano, dans un pre-
LES COMPOSI- mier temps auprs de D. Pedro
Muoz Pedrera, puis de D. Jos
de Strasbourg. Pendant la mme
anne, il composa la musique des-
tine plusieurs documentaires du
TEURS PRO- Agera. Ses tudes dHarmonie, il
les fit galement auprs de D. Angel
NO-DO. En 1958, il remporte le
Prix Samuel Ros de musique de
GRESSISTES OU Larroca, alors Matre de Chapelle
de la Cathdrale. Il tudia de ma-
chambre grce son Quatuor n2
qui sera reprsent Madrid par
RNOVATEURS nire simultane lcole Normale
de Murcie, terminant ses tudes
lEnsemble National de Chambre.
En 1955, il avait crit lensemble
en 1926. En 1928, il obtient des illustrations musicales du dra-
Il sagit en fait dun trs petit nom- lunanimit le Premier Prix de Piano
bre de compositeurs, pas plus de me caldronien La noble femme de
et, en 1931, il remporte tout aussi la valle.
cinq. Ces musiciens-l ont essay brillamment le Premier Prix
de moderniser la composition. Ils dHarmonie. Roberto Corts le dis-
prtendaient tre la page ou tout Il composa beaucoup pour le cin-
tinguera plus tard du Premier Prix ma, aussi bien pour des films que
au moins dans la mme longueur de Contrepoint. En 1934, il est
dondes que les tendances en vogue pour des documentaires du NO-
pensionn sur concours par le Con- DO.
en Europe depuis dj plusieurs seil Rgional de Murcie, dans le
annes. Leurs oeuvres ne sont pas but de poursuivre ses tudes de
proprement parler des oeuvres Ses pices pour piano ayant t
composition au Conservatoire Royal publies sont les suivantes : Ber-
davant-garde quoique nous de- de Madrid. Cest l quil deviendra
Chambre sous la direction de Avec orchestre : E.Halffter : Elle est aussi auteur de diffrents
Ataulfo Argenta au Thtre Concerto pour guitare et Hymnes et de la musique dun
Espagnol de Madrid. orchestre .Joaquin Rodrigo : album de Habaneras et loccasion
Concerto dAranjuez et Fantaisie du 250e anniversaire de Mozart
En 1948 il joua avec grand succs pour un gentilhomme, orchestre elle a crit une biographie
Genve, et depuis lors son activit symphonique de RTVE, Odon accompagne de compositions dans
comme concertiste fut imparable. Alonso .Pour guitare seule :Albeniz : le style du grand musicien.
Il se dplace Paris pour Malaguea ;Torroba: Madroos.
approfondir ses tudes et ses
recherches ; l il connat la
Sorbonne une jeune tudiante en
Philosophie, polonaise dorigine ;
ils se marient et ont trois enfants.
Enriqueta Moya
En 1952 il atteint la renomme
internationale quand il compose Gmez
et interprte la musique du film
Jeux Interdits qui obtient un (1939- )
Oscar, comme meilleur film de cette
anne.
Elle et ne Orihuela en 1939 et
Ses disques sont vendus dans le elle est murcienne dadoption.Keta
monde entier mais il aime la Moya,comme on lappelle, suit des
recherche et il invente la guitare tudes de musique avec Hilaria
dix cordes et il travaille sans cesse Fenoll et obtient le diplme
pour rcuprer et publier suprieur de piano du Conservatoire
danciennes partitures indites de de Murcie avec mention dhonneur.
la Renaissance et du Baroque.On
lui doit davoir tir de loubli plus Elle est professeur dEducation
de six mille uvres. Primaire et elle exerce galement
lAcadmie de Danse de Maria
Il est acclam comme concertiste Dolores Moreno.
dans le monde entier par le grand Elle donne des cours de didactique
public, mme en Union Sovitique musicale pour les futurs Enriqueta Moya
et au Japon. professeurs.
CUESTIONES
?
CUESTIONARIO
TEMA 1: MSICA EN LA EDAD MEDIA
1.- Cul es el Canto Llano de la Iglesia Catlica?
2.- Qu tipo de canto es el gregoriano?
3.- De qu tres culturas es origen el canto gregoriano?
4.- En qu monasterio de benedictinos se sigue cantado el gregoriano?
5.- El nombre de Canto Gregoriano se debe a que lo mand ordenar y recopilar :
6.- Lleva acompaamiento de instrumentos el canto gregoriano?
7.- Cmo se escribe el canto gregoriano?
8.- A partir de Cantate Domine Cmo es?
9.- Qu 2 nuevas grandes formas musicales (aunque ya existan antes ) se introducen despus
del gregoriano pero ahora con ms fuerza?
10.- Quines son los trovadores?
11.- Con qu instrumentos musicales se acompaan normalmente los trovadores?
12.- De estos nombres seala los que destacaron como trovadores
Dave Burley
Adam de Halle
Raimar el Joven
Rimbaut de Vaqueira
Raimar el Viejo
Jerry Lee Lewis
22.- Los maestros Lonin y Protin, fueron los mayores contribuyentes a la renovacin
artstica de:
01 Consejera de Educacin y Cultura.
D. Gral. de Formacin Profesional e Innovacin Educativa
CUESTIONARIO
TEMA 2: EL RENACIMIENTO
1.- Podras nombrar una de las cualidades de la Msica renacentista?
2.- Por medio de qu Concilio fue impulsada la msica catlica?
3.- De la escuela franco-flamenca surgen dos generaciones de msicos de gran vala.
Sabes sus nombres?
4.- El renacimiento en Italia, nos trae al hombre encargado de hacer nueva msica y que desde
entonces es llamado el primer msico de la Iglesia . Recuerdas su nombre?
5.- Cul es la forma musical ms importante del Renacimiento, smbolo mximo de la msica
profana, que nace dentro del espritu del movimiento potico iniciado por Petrarca y unido a su
poesa?
6.- Claudio Monteverdi, escribi varios libros de madrigales. sabras decir cuntos?
7.- Y a partir de qu libro de Claudio Monteverdi su msica es claramente barroca?
8.- A cuntas voces suelen ser los madrigales?
9.- Las caractersticas del Renacimiento espaol vienen dadas por:
10.- Verdadero o Falso.- La polifona espaola es:
Extrovertida y brillante
Concentrada, casi retrada
No es una msica austera y asctica
La msica permanece siempre fiel al texto
Nuestros msicos componen en un lenguaje moderno
12.- Podemos hablar de tres generaciones en la msica renacentista espaola. Podras decir las
personas que las representan o sobresalen en cada una de ellas?
13.- Adems de la msica de vihuela, la msica profana espaola se expresa de tres formas.Cules
son?
14.-Qu nombre se le da al gnero polifnico profano en el que se mezclan los diferentes estilos
del madrigal, cancin popular, villancico, romance y danza? ( un poco de todo)
15.- Antonio Cabezn (1510-1566) destaca en msica para:
16.- Luis de Milln, destaca en msica para:
17.- Cul es el canto ms popular en Alemania que se canta precisamente en alemn y no en
latn?
20.- En Francia tiene importancia una msica de tipo acordal que desembocar en el madrigal.
Sabes su nombre?
10. Qu ciudad fue especialmente importante para la msica del periodo clsico?
11. Qu tres autores son considerados como los pilares fundamentales del Clasicismo?
15. Qu acontecimientos histricos marcan el carcter del hombre y del artista clsico?
8. Qu es un lied?
15. Qu autor francs marc las nuevas tendencias dentro del mundo de la sinfona romntica?
16. Cules fueron los compositores de pera que ms influyeron en los diferentes pases europeos
durante las diferentes etapas del Romanticismo?
6.- Qu obra original de Mussorgski para piano fue orquestada por Ravel?
7.- Nombra un compositor ruso de msica para ballet (p.e. El Lago de los Cisnes).
11.- Qu compositor estadounidense, a caballo entre lo clsico y el jazz compuso Porgy and Bess?
9.- Qu msico descrito anteriormente (y por s mismo) colabor con Picasso y, a su vez, compuso
obras como las Gymnopdies o las Tres piezas en forma de pera?
11.- Sabes cual fue el msico extranjero que compuso varias obras de inspiracin espaola?
14.- Nombra dos msicos espaoles influenciados en mayor o menor medida por el Impresionismo.
4. En qu destac Sarasate?
QUESTIONS
?
MUSIC QUESTIONS
CHAPTER 1: MEDIEVAL MUSIC
1. What is the Plain Song of the Catholic Church?
2. What kind of song is Gregorian Chant?
3. What three cultures are mixed in Gregorian Chant?
4. What is the Benedictine monastery in Spain where Gregorian Chant is still sung nowadays?
5. Complete the sentence: Plain Song is called Gregorian Chant because
6. Is any instrument played in Gregorian Chant?
7. How is Gregorian Chant written?
8. After Cantate Domine Gregorian Chant is
9. What great new musical forms are strongly introduced after Gregorian Chant?
10. Who are the trobadours?
11. What musical instruments are played by trobadours?
12. Read these names and tick those of them who were trobadours.
- Dave Burley
- Adam de Halle
- Raimar the Young
- Rimbaut of Vaqueira
- Raimar the Old
- Jerry Lee Lewis
22. Masters Leonin and Perotin were the main artists to renew
3. Two generations of great musicians stand out in the Franco- Flemish School. Do you know their
names?
4. What is the name of the composer in the Italian Renaissance that was called the first musician
of the Church?
5. What is the main musical form in the Renaissance, a symbol of profane music and related to the
poetic movement initiated by Petrach?
7. True or False?
- There is a great flowering of music in the mid-16th century
- Spain does not follow the new rules from Trent
- Cathedrals become a seed bed for Spanish musicians
- In every cathedral there is a choirmaster, a chapel with boys choristers anda n orchestra of minstrels
or instrumentalists
9. Besides vihuela music, secular Spanish music expresses itself in three ways. Do you know them?
10. What is the most popular German genre sung in German language instead of Latin?
18. Name the main musicians that stand out in the field of instrumental music in Spain.
3. What are the main formal differences between symphony and sonata?
10. What is the most outstanding European city during the classical period?
11. Name three composers that are considered as the fundamental pillars of Classicism.
15. What historical events marked the way of the classical man and artist?
17. What are the names of the Italian composers that influenced Spanish Classicism?
18. Name Spanish composers that stand out in the Classical period.
19. How does social attitude change in the classical period as far as musicians is concerned?
20. In what aspect is the use of music different in the classical period?
5. What are the favourite genres and forms of expression in Romantic music?
6. What are the changes in the Romantic orchestra compared to the former classical orchestra?
8. What is a lied?
12. What German composer influenced the consolidation of the first Romantic period?
13. Who was the most influential pianist in the Romantic era?
15. Who was the French composer that marked the trends in Romantic symphony?
16. Who were the most important opera composers in Italy, Germany and France that were very
influential in other European countries?
2. What are the main differences between the so called first and second Nationalisms?
4. What country and author are intimately related to the birth of Nationalism?
11. Who was the North American musician that used classical and jazz styles and composed the
black opera Porgy and Bess?
12. Which country is considered to be the cradle of the most advanced Nationalism?
13. Name two Hungarian musicians that belong to the musical Nationalist movement.
3. What musician inspired the Impressionist movement although he defined himself as an ant
impressionist?
10. Who was the musician that wrote several works based on Spain?
11. Which Impressionist composition is considered as a model of orchestration?
12. Who composed the Left hand Concert and on what purpose?
9. What is the name of a cello player who formed a trio with Granados? Find out this musicians
biography ans write about the most important events in his musical career.
10. How many stages are there in Fallas works?
15. Who is the most remarkable composer in this period from Alicante? Name two of his works.
QUESTIONS
?
QUESTIONS
THME 1 : LA MUSIQUE MDIVALE
1. Quel est le plain-chant de lglise catholique?
2. Quel est ce genre de chant?
3. De quelles cultures procde-t-il?
4. Dans quels monastres d`Espagne continue-t-il tre chant?
5. Quel est lorigine de son nom?
6. Est ce quil est accompagn dinstruments?
7. Comment crit-on ce chant?
8. A partir de Cantate Domine , comment est-il?
9. Aprs ce chant, quelles sont les formes musicales qui se dveloppent?
10. Qui taient les troubadours?
11. Quels taient les instruments quils utilisaient?
12. De la liste suivante quels sont les troubadours ?:
Dave Burley
Adam de Halle
Raimar el Joven
Rimbaut de Vaqueira
Raimar el Viejo
Jerry Lee Lewis
13 Quelles sont les diffrentes danses qui se crent au XIIIe sicle?
14. Quelles sont les diffrences entre les troubadours et les jongleurs?
15. Combien de mlodies Alphonse X a-t-il compos dans les Cantigas de Santa Maria ?
16. Quel est la signification de Polyphonie?
17. Quelles sont les diffrentes priodes de la musique gothique?
18. Quels sont les nouveaux systmes polyphoniques qui naissent avec lArs Antique?
19. Dans quelle priode se dveloppe lArs Nova?
20. Quel est le reprsentant espagnol de lArs Nova?
21. Relie avec une ligne le nom de chaque personne avec son lieu de naissance:
Hildegard Von Bingen Espagne
Alinor dAquitaine Allemagne
Llibre Vermell Poitiers
22. Quels sont les principaux rnovateurs dans le cadre de lArs Antique?
7. Vrai on faux?
Il y a une grande closion de la musique dans la moiti de XVIe sicle.
LEspagne me suit pas les nouvelles normes du Concile de Trente.
Les cathdrales deviennent la ppinire des musiciens espagnols.
Dans toutes les cathdrales il y a un matre de chapelle, une chapelle denfants chanteurs et une
orchestre dinstrumentistes.
8. On compte trois gnrations dans le musique de la Renaissance espagnole, quels sont les principaux
reprsentants de chacune delles?
9. En plus de le musique de vihuela, la musique profane espagnole sexprime de trois faons, lesquelles?
10. Quel est le chant le plus populaire en Allemagne interpret en allemand et non point en latin?
11. Quest ce que Luther considrait comme le plus important aprs la thologie?.
12. Quel est le pays de Thomas Morley et Thomas Weelkes ?.
13. Quel est le nom de la composition musicale en France qui deviendra le madrigal?
18. Quels sont les musiciens les plus importants de la musique instrumentale en Espagne ?
6. Quelle oeuvre pour piano, originale de Mussorgski, fut orchestre par Ravel ?
7. Cite un compositeur russe de musique pour ballet (par exemple : Le lac des cygnes ).
11. Quel compositeur des EE.UU, mi chemin entre le classique et le jazz, a compos Porgy and
Bess
12. Quel est le pays qui est consider comme le berceau du Nationalisme le plus avanc ?
THME 8 : LIMPRESSIONNISME
1. Dans quel pays est n lImpressionnisme ?
3. De quel musicien, bien quil se dclara anti-impressionniste, les impressionnistes se sont ils,
inspirs ?
9. Quel musicien collabora avec Picasso et composa des oeuvres comme Gymnopdies en les
Trois pices en forme de poire ?
12. Quelle est loeuvre de ce genre qui est considre comme un modle dorchestration ?
13. Qui composa Concert pour la main gauche et avec quelle finalit ?
5. Quels sont les titres les plus importants de la musique pour piano dAlbniz ?
7. Quels sont les titres les plus importants de la musique pour piano de Granados ?
AUDICIONES MS INTERESANTES
TEMA 1 Eliot Gardiner.
- Sinfona 41. Jpiter.
- Lo Mejor del Mejor Canto Gregoriano. Coro de - Misa de la Coronacin
monjes del Monasterio Benedictino de Santo - Dentro del repertorio operstico: fragmento a elegir
Domingo de Silos. EMI. por el profesor.
- BEETHOVEN:
- Las Nueve Sinfonas. Orquesta
TEMA 2 Filarmnica de Berln. Karajan. DEUTSCHE
GRAMMOPHON.
- PALESTRINA - (a elegir:)
- Misa del Papa Marcello. Coro Abada Sonata n 14 Claro de Luna,
de Westminster. S. Preston. Sonata para Piano n23 Appassionata op.57
ARCHIV DDD. Fidelio , fragmento, nica pera del compositor.
- JUAN DEL ENZINA. - Essential Beethoven. Sir George Solti. 2 CD. DECCA.
Romances & Villancicos.
Salamanca 1496. HISPERION XX. Jordi Savall. TEMA 5
- TOMS LUIS DE VICTORIA. Cantica Beatae Virginis
(Ave Mara) LA CAPELLA REIAL DE CATALUNYA. -SCHUBERT:
HESPERION XX. Jordi Savall. - Quinteto La Trucha. C. Curzon. DECCA.
- Sinfona n9La GrandeW. Furtwngler. DEUTSCHE
TEMA 3 GRAMOPHON
- Lieder Variados D. Fischer- Dieskau (bartono).
- VIVALDI 16 lieder. Recital de Salzburgo. ORFEO.
Las Cuatro Estaciones T. Pinnock. The -BERLIOZ:
English Concert. ARCHIV DDD. - Sinfona Fantstica. C. Davis. Concertgebouw.
- BACH PHILIPS.
- Seis Conciertos de Brandemburgo PHILIPS. - Harold en Italia. C. Davis . Sinfnica de Londres.
- La Pasin segn San Mateo. Sir George Solti. RCA mono.
DECCA. - Benvenuto Cellini. C. Davis. N. Gedda. Coro de
- Tocata y Fuga en Re menor. H. Walcha. Covent Garden. Sinfnica de la BBC. PHILIPS 3.
DEUCHTSCHE GRAMMOPHON. - CHOPIN:
- El Clave bien temperado. W. Ladouska. RCK 5. - Nocturnes DEUTSCHE GRAMOPHON. Classikon.
- PURCELL: Daniel Barenboim.
Music for the Funeral of Queen Mary, - MENDELSSOHN:
Birthday Ode. Gardiner Collection. ERATO. - Concierto para violn en mi menor, Obertura El
- HAENDEL: Sueo de una Noche de Verano, Romanzas sin
Msica para los Reales Fuegos Palabras, Sinfona n4 Italiana . Basic
Artificiales, Msica Acutica. El Mesas. Chicago Mendelssohn. DEUTSCHE GRAMMOPHON.
Symphony Orchestra. DECCA. - Elas (oratorio). Sir Neville Marriner. PHILIPS.
- GLUCK: - SCHUMANN:
Orfeo y Eurdice. Von Otter. Hendricks. - Escenas de nios C. Haskil. PHILIPS.
Gardiner. EMI Digital. - Sinfona n 1 Primavera (sinfonas de la 1 a la
4). O.Klemperer. EMI 2.
TEMA 4 -Carnaval de Viena op.26. Benedetti. DEUTSCHE
GRAMMOPHON
- HAYDN: - LISTZ :
-Harmoniemesse. J. Ferencsik. I Tokody. - Rapsodias Hngaras . Kurt Masur. PHILIPS -
Coro y Orquesta Filarmnica Eslovaca. Conciertos para piano n 1 y 2. C. Davis. C. Arrau.
HUNGAROTON DDD. Sinfnica de Londres. PHILIPS.
- Cuarteto Italiano. PHILIPS. - Sinfona Fausto. L. Bernstein. Sinfnica de Boston.
- MOZART: DEUTSCHE GRAMMOPHON.
- Pequea Serenata Nocturna. W. - BRAHMS: - Danzas Hngaras ( n 1 al 21).
Boskouvsky. Conjunto Mozart de Viena. DECCA. Claudio Abbado. Filarmnica de Viena. DEUTSCHE
- Concierto para Piano n 21 (Elvira Madigan). J. GRAMMOPHON DDD.
- Conciertos para piano n 1 y 2. K. Bhm.
AUDICIONES MS INTERESANTES
Filarmnica de Viena.DECCA. - La Valse, Bolero, Rapsodia Espaola etc.
- Variaciones sobre un tema de Haydn. B. Walter. Orchestral Works. EMI CLASSICS. 2 CD.
CBS.
TEMA 9
TEMA 6
- ALBNIZ:
- WAGNER: - Suite Iberia. A. de la Rocha. DECCA 2. DDD.
-Oberturas y Preludios Kart Bhm. Otto Verdes. - GRANADOS: - Goyescas n 1 a 7. A. de la Rocha.
DEUTSCHE GRAMMOPHON. Double CD. DECCA.
- ROSSINI: - FALLA:
- El Barbero de Sevilla. C. Abbado. T. Berganza. L. - Noches en los Jardines de Espaa Daniel
Alba. Sinfnica de Londres. DEUTSCHE Baremboim. ERATO.
GRAMMOPHON. - El Amor Brujo (ballet completo) A. Argenta. T.
- VERDI: Berganza. STRADIVARIUS.
- Nabucco V. Gui. M. Callas. San Carlo de Npoles. - El Sombrero de tres Picos(ballet completo) E.
MELODRAM. Ansermet. T. Berganza. DECCA.
- Rigoletto. R. Kubelik. R. Scotto. Escala de Miln. - TURINA:
DEUTSCHE GRAMMOPHON 2 - Danzas fantsticas, Sinfona Sevillana, La
- La Traviata. F. Ghione. M. Callas. A. Kraus. San Procesin del Roco
Carlos de Lisboa. EMI 2. Danzas Fantsticas BMG Classics. RED SEAL.
- PUCCINI:
- Turandot. Z. Mehta. J. Sutherland. L. Pavarotti. M. TEMA 10
Caball. Filarmnica de Londres. DECCA 2.
- La Boheme. H. von Barajan. M. Freni. L. Pavarotti.
Filarmnica de Berln. DECCA 2. -MAHLER:
- Madame Butterfly. T. Serafn. R. Tebaldi. C. - Nueve Sinfonas. R. Kubelik. Radio de Baviera.
Bergonzi. Academia de Santa Cecilia Roma. DECCA2 DEUTSCHE GRAMMOPHON 10.
- SOROZBAL: - STRAVINSKY:
- La Tabernera del Puerto. Mara Bayo. Plcido - La Consagracin de la Primavera, El Pjaro de
Domingo. Juan Pons. Orfen Donostiarra. Orquesta Fuego etc The Great Ballets. Igor Markevitch.
Sinfnica de Galicia. Vctor Pablo Prez. AUDIVIS London Philarmonic Orchestra. PHILIPS. 2 CD.
VALOIS. -SCHENBERG:
- Noche Transfigurada. Sexteto de Viena. EMI.
- Pierrot Lunaire. P. Boulez. H. Pilarczyk (soprano).
TEMA 7 Domaine Musical. ADS.
- Carl Orff: - Carmina Burana. James Levine.
- TCHAIKOVSKY: Orquesta Sinfnica de Chicago. DEUTSCHE
- La Bella Durmiente Op. 66. NAXOS. 3 CD GRAMMOPHON.
- El Lago de los Cisnes, Cascanueces
- RACHMANINOFF:
- Piano Concertos 1-4. Double DECCA ANEXO I
- Smetana: - Ma Vlast (Mi Patria). R. Kubelik.
Filarmnica de Viena. DECCA 2. LA MSICA Y LAS TIC
- Vltava (El Moldava). V. Talich. Filarmnica Checa. CLSICOS POPULARES DEL SIGLO XX
SUPRAPHON. (Discografa citada)
- DVORAK: - Sinfona del Nuevo Mundo (n 9).
K. Ancerl. Filarmnica Checa. SUPRAPHON. ANEXO II
TEMA 8 COMPOSITORES DE LA REGIN DE MURCIA
- DEBUSSY:
- Imgenes, Preludio a la siesta de un fauno,
Nocturnos. Grandes pocas de la Msica.
PLANETA- AGOSTINI.
- RAVEL:
TTULO:
FRAGMENTO COMPLETA
AUTOR:
POCA: SIGLO:
RELIGIOSA PROFANA
VOCAL
CANTIDAD DE VOCES:
TIPOS DE VOCES:
AGRUPACIN:
IDIOMA:
TRATAMIENTO DEL TEXTO:
SILBICO
MELISMTICO
NEUMTICO
FORMA:
TEXTURA:
INSTRUMENTAL
INSTRUMENTOS:
CUERDA:
VIENTO:
PERCUSIN:
ORQUESTA
AGRUPACIN:
FUNCIN:
FORMA MUSICAL:
TEXTURA:
BIBLIOGRAFA Y FUENTES
LA INFORMACIN DE ESTE RECOPILATORIO HA SIDO TOMADA DE: