Thesis Chapters by Beatriz Martínez Yeste
KONRAD WALLENROD EN LA BALLADE NO.1 DE CHOPIN: UNA APROXIMACIÓN DESDE EL POEMA DE ADAM MICKIEWICZ, 2017
En 1836 Frédéric Chopin publica una obra bajo un título novedoso: “Ballade”, término que hast... more En 1836 Frédéric Chopin publica una obra bajo un título novedoso: “Ballade”, término que hasta entonces sólo había hecho referencia a composiciones narrativas o vocales. Fruto de esta publicación, Robert Schumann escribió en su revista sobre una historia que inspiró a Chopin para esta obra: un poema titulado Konrad Wallenrod de Adam Mickiewicz, poeta polaco admirado por Chopin. Ambos exiliados compartían círculos sociales en París y el amor por la tierra natal a la que no podían regresar. Así mismo, en 1855, Johanna Kinkel (compositora de la época) escribe sobre el carácter narrativo de esta obra de Chopin, poniendo incluso nombre a los temas y los motivos.
Aunque existe una corriente de pensamiento que se opone rotundamente al hecho de relacionar la obra de Chopin con cualquier idea extra-musical y con la música programática, en este trabajo de investigación se defenderá y seguirá la idea basada en lo que se dijo en la época por Schumann y por Johanna Kinkel. Autores como Cortot (1949), John Rink y Jim Samson (1994) afirman la relación de este género con un estilo narrativo, inspirado en poemas de carácter épico como los de Adam Mickiewicz. Otros como James Parakilas (1992), Karol Berger (1996) y Jonathan Bellman (2009) han ido un poco más allá relacionando directamente ambas obras y encontrando elementos, personajes y secciones comunes.
Ya que existen muchos rasgos que definen este nuevo género como algo novedoso, nos hemos cuestionado cómo se traduce el lenguaje de un poema épico, medieval, heroico y trágico al carácter musical y la técnica pianística. Luis Ángel de Benito (2007) se centra en la búsqueda de tópicos –motivos comunes que adquieren un significado perceptible para el oyente– para encontrar este estilo, que serán a su vez estudiados por Janice Dickensheets en The Topical Vocabulary of the Nineteenth Century (2012). Por lo tanto, objetivo de nuestro trabajo es analizar los tópicos que aparecen en la obra para aproximarse al carácter de esta balada con una mirada que parte del poema ya nombrado.
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In 1836 Frédéric Chopin published a work under a novel title: "Ballade", a term that until then had only referred to narrative or vocal compositions. As a result of this publication, Robert Schumann wrote in his magazine about a story that inspired Chopin for this work: a poem entitled Konrad Wallenrod by Adam Mickiewicz, a Polish poet admired by Chopin. Both exiles, shared social circles in Paris and love for the homeland to which they could not return. Likewise, in 1855, Johanna Kinkel (composer of the time) writes about the narrative nature of this work by Chopin, even naming the themes and motives.
Although there is a current of thought that strongly opposes the fact of relating Chopin's work to any extra-musical idea and to programmatic music, this research work will defend and follow the current of thought that is based on what it was said at the time by Schumann and by Johanna Kinkel. Authors such as Cortot (1949), John Rink and Jim Samson (1994) affirm the relationship of this genre with a narrative style, inspired by epic poems such as those of Adam Mickiewicz. Others like James Parakilas (1992), Karol Berger (1996) and Jonathan Bellman (2009) have gone a little further by directly relating both works and finding elements, characters and common sections.
Since there are many traits that define this new genre as something new, how does the language within an epic, medieval, heroic and tragic poem translate into musical character and piano technique? Luis Ángel de Benito (2007) focuses on the search for topics -common motifs that acquire a perceptible meaning for the listener- to find this style, which in turn will be studied by Janice Dickensheets in The Topical Vocabulary of the Nineteenth Century (2012 ). In this way the objective of this work is to approach the character of this ballad with a look that starts from the poem already named.
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Thesis Chapters by Beatriz Martínez Yeste
Aunque existe una corriente de pensamiento que se opone rotundamente al hecho de relacionar la obra de Chopin con cualquier idea extra-musical y con la música programática, en este trabajo de investigación se defenderá y seguirá la idea basada en lo que se dijo en la época por Schumann y por Johanna Kinkel. Autores como Cortot (1949), John Rink y Jim Samson (1994) afirman la relación de este género con un estilo narrativo, inspirado en poemas de carácter épico como los de Adam Mickiewicz. Otros como James Parakilas (1992), Karol Berger (1996) y Jonathan Bellman (2009) han ido un poco más allá relacionando directamente ambas obras y encontrando elementos, personajes y secciones comunes.
Ya que existen muchos rasgos que definen este nuevo género como algo novedoso, nos hemos cuestionado cómo se traduce el lenguaje de un poema épico, medieval, heroico y trágico al carácter musical y la técnica pianística. Luis Ángel de Benito (2007) se centra en la búsqueda de tópicos –motivos comunes que adquieren un significado perceptible para el oyente– para encontrar este estilo, que serán a su vez estudiados por Janice Dickensheets en The Topical Vocabulary of the Nineteenth Century (2012). Por lo tanto, objetivo de nuestro trabajo es analizar los tópicos que aparecen en la obra para aproximarse al carácter de esta balada con una mirada que parte del poema ya nombrado.
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In 1836 Frédéric Chopin published a work under a novel title: "Ballade", a term that until then had only referred to narrative or vocal compositions. As a result of this publication, Robert Schumann wrote in his magazine about a story that inspired Chopin for this work: a poem entitled Konrad Wallenrod by Adam Mickiewicz, a Polish poet admired by Chopin. Both exiles, shared social circles in Paris and love for the homeland to which they could not return. Likewise, in 1855, Johanna Kinkel (composer of the time) writes about the narrative nature of this work by Chopin, even naming the themes and motives.
Although there is a current of thought that strongly opposes the fact of relating Chopin's work to any extra-musical idea and to programmatic music, this research work will defend and follow the current of thought that is based on what it was said at the time by Schumann and by Johanna Kinkel. Authors such as Cortot (1949), John Rink and Jim Samson (1994) affirm the relationship of this genre with a narrative style, inspired by epic poems such as those of Adam Mickiewicz. Others like James Parakilas (1992), Karol Berger (1996) and Jonathan Bellman (2009) have gone a little further by directly relating both works and finding elements, characters and common sections.
Since there are many traits that define this new genre as something new, how does the language within an epic, medieval, heroic and tragic poem translate into musical character and piano technique? Luis Ángel de Benito (2007) focuses on the search for topics -common motifs that acquire a perceptible meaning for the listener- to find this style, which in turn will be studied by Janice Dickensheets in The Topical Vocabulary of the Nineteenth Century (2012 ). In this way the objective of this work is to approach the character of this ballad with a look that starts from the poem already named.
Aunque existe una corriente de pensamiento que se opone rotundamente al hecho de relacionar la obra de Chopin con cualquier idea extra-musical y con la música programática, en este trabajo de investigación se defenderá y seguirá la idea basada en lo que se dijo en la época por Schumann y por Johanna Kinkel. Autores como Cortot (1949), John Rink y Jim Samson (1994) afirman la relación de este género con un estilo narrativo, inspirado en poemas de carácter épico como los de Adam Mickiewicz. Otros como James Parakilas (1992), Karol Berger (1996) y Jonathan Bellman (2009) han ido un poco más allá relacionando directamente ambas obras y encontrando elementos, personajes y secciones comunes.
Ya que existen muchos rasgos que definen este nuevo género como algo novedoso, nos hemos cuestionado cómo se traduce el lenguaje de un poema épico, medieval, heroico y trágico al carácter musical y la técnica pianística. Luis Ángel de Benito (2007) se centra en la búsqueda de tópicos –motivos comunes que adquieren un significado perceptible para el oyente– para encontrar este estilo, que serán a su vez estudiados por Janice Dickensheets en The Topical Vocabulary of the Nineteenth Century (2012). Por lo tanto, objetivo de nuestro trabajo es analizar los tópicos que aparecen en la obra para aproximarse al carácter de esta balada con una mirada que parte del poema ya nombrado.
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In 1836 Frédéric Chopin published a work under a novel title: "Ballade", a term that until then had only referred to narrative or vocal compositions. As a result of this publication, Robert Schumann wrote in his magazine about a story that inspired Chopin for this work: a poem entitled Konrad Wallenrod by Adam Mickiewicz, a Polish poet admired by Chopin. Both exiles, shared social circles in Paris and love for the homeland to which they could not return. Likewise, in 1855, Johanna Kinkel (composer of the time) writes about the narrative nature of this work by Chopin, even naming the themes and motives.
Although there is a current of thought that strongly opposes the fact of relating Chopin's work to any extra-musical idea and to programmatic music, this research work will defend and follow the current of thought that is based on what it was said at the time by Schumann and by Johanna Kinkel. Authors such as Cortot (1949), John Rink and Jim Samson (1994) affirm the relationship of this genre with a narrative style, inspired by epic poems such as those of Adam Mickiewicz. Others like James Parakilas (1992), Karol Berger (1996) and Jonathan Bellman (2009) have gone a little further by directly relating both works and finding elements, characters and common sections.
Since there are many traits that define this new genre as something new, how does the language within an epic, medieval, heroic and tragic poem translate into musical character and piano technique? Luis Ángel de Benito (2007) focuses on the search for topics -common motifs that acquire a perceptible meaning for the listener- to find this style, which in turn will be studied by Janice Dickensheets in The Topical Vocabulary of the Nineteenth Century (2012 ). In this way the objective of this work is to approach the character of this ballad with a look that starts from the poem already named.