Ponce y la invención del barroco

This article presents a preliminary study of a new manuscript by the guitarist Santiago de Murcia recently discovered in Chile. The manuscript is entitled Cifras selectas de guitarra and is dated 1722. Among the c.80 works it contains, whether as single items or grouped together in suites, most are sets of variations on Spanish dances such as the villano, vacas and canarios, though French dances and even pieces of probable American origin, such as the cumbé, are also found. The article is divided into four sections: the first outlines Santiago de Murcia's importance and the previously known sources for his music (the Resumen de acompañar, printed in 1714, and the manuscripts ‘Passacalles y obras de guitarra’ and the ‘Códice Saldívar N°. 4′, copied c.1732); the second analyses the structure of the Cifras selectas de guitarra, the circumstances surrounding its discovery and its contents; the third studies the concordances between this manuscript and others by Murcia as well as other collections; and the fourth presents some hypotheses on the context for its production and reception, putting forward evidence to suggest that it was not intended for Madrid and surrounding regions, but possibly for Spanish America, and even specifically for Chile. All this necessitates revision of some of the received ideas about Murcia and reveals the wide circulation of guitar music in the 18th century.

The purpose of the work. The study is devoted to revealing the baroque traditions of the guitar music of the Spanish composer Gaspar Sanz in Joaquin Rodrigo’s «Fantasia para un gentilhombre». The research methodology is based on the use of phenomenological, comparative, structural-functional methods that provide more in-depth and versatile study of the chosen musical phenomenon. Scientific novelty of the study lies in the introduction of the well-known guitar opus of the Spanish composer of the 20th century into circulation of analytical musicology, as well as the involvement of baroque sources – the guitar music of Gaspar Sanz in the context of its contemporary artistic implementation. Conclusions. The conducted analytical experience reveals the semantic links of the guitar work with its original sources – baroque dances from the manuscript of G. Sanz (villano, ricercar, espanoleta, canarios and others). Their neoclassical restoration is recreated thanks to the methods of citing old dance tunes in new artistic-style conditions, as well as the use of national traditions of guitar playing. Keywords: Joaquin Rodrigo, Gaspar Sanz, baroque traditions, Spanish guitar music.

1993

December, 1993, 169 pp., 5 tables, 65 illustrations, bibliography, 124 titles. The study comprises an examination of late Spanish baroque guitar style as represented in the Saldivar Manuscript. the recently rediscovered companion volume to Santiago de Murcia's five-course guitar tablature Passacalles v obras de cmitarra of 1732. The musical content of the manuscript is discussed according to the chronology and origin of the diferencia ground plans (which include genres imported from France, Italy and the New World as well as Spanish popular songs and dances), their harmonic, melodic and metric characteristics, and the resulting confluence of galant and national style. The major portion of the study is given over to an analysis of Murcia's guitar style. This includes detailed discussions of rascmeado and runteado variation technique, the technical and musical (pharaseological and articulative) implications of his fingerings for the left hand, campanela technique, national a...

2005

Plainsong and Medieval Music , 2015

José López-Calo, La música en las catedrales españoles, Música Hispana, Textos: Estudios 17. Madrid: ICCMU, 2012. xii + 214 pp. €45. ISBN 978 84 89457 48 5.

Preface by Raúl Zambrano from the critical edition of Manuel M Ponce’s A minor Suite – attributed to Silvius Leopold Weiss – translated by Jaet Garibaldi and published as part of the Manuel M Ponce Editorial Project by the UNAM Faculty of Music. Review of the Segovia – Ponce letters in order to establish the origin and lost of the autograph manuscript, and also a plausible way to rewrite it based in Ponce’s guitar repertoire, Segovia’s 1930 recording, and an historical review of the published editions of this Suite. English translation: Jaet Garibaldi For more information about the Manuel M Ponce Editorial Project: http://www.fam.unam.mx/difusion/publicaciones.php www.raulzambrano.com UPDATE In 2008 the Italian guitarist Luigi Attademo published the musical catalogue of the Segovia Foundation (Luigi Attademo, El repertorio de Andrés Segovia y las novedades del archivo, Roseta, Revista de la Sociedad Española de Guitarra, No.1 Octubre 2008, p. 85), in which Attademo refers to a manuscript with the title “Suite Weiss” from the handwriting of Emilia Segovia with some notes from AS. No date is indicated in Attademo’s paper; nevertheless it should be posterior to the marriage of Segovia with Emilia, in 1962.

2023

Illustrations 1.1. Example of the Catalan cifra of the 'Tabla para saber cual dedo ha de tocar la cuerda y en qué traste' (Table to know which finger has to play in which string and fret), in Joan Carles Amat, Guitarra española de cinco órdenes (Gerona: Joseph Brò, 1761-1766), 16. Biblioteca Nacional de España, M.FOLL/422/11 (Reproduced by permission). 1.2. Example of Castilian cifra in Luis de Briceño, Método muy facilísimo para aprender a tañer la guitarra a lo español (Paris: Ballard, 1626), not paginated. Bibliothèque Nationale de France, RES VM8 U-1 (Reproduced by permission). 1.3. 'Canarios', in Gaspar Sanz, Instrucción de música sobre la guitarra española (Zaragoza: Diego Dormer, 1697), 8. Biblioteca Nacional de España, M/1884 (Reproduced by permission). 2.1. Excerpt from 'Fantesia 1. er tono de Monteyro', in M. M. 97, title page, fol. 1, recto. Reservados, Biblioteca Geral da Universidade de Coimbra (Reproduced by permission). 2.2. Several short pieces in O livro do Conde de Redondo, Biblioteca Nacional de Portugal (Reproduced by permission). 3.1. Four-course guitar as illustrated in Guillaume Morlaye, Le premier livre de chansons, gaillardes, pavannes, branfles, almandes, fantaisies (Paris, 1552), title page. Kantonsbibliothek Vadiana, St. Gallen, Sammlung der Ortsbürgergemeinde, VadSlg P 3050 (Reproduce by permission). 3.2. 'Alfabetto', in Girolamo Montesardo, Nuova inventione d'intavolatura per sonare li balletti sopra la chitarra spagnuola senza numeri (Florence: Christofano Marescotti, 1606), n.p. Gesellschaft der Musikfreunde in Wien, 1843/10 (Reproduced by permission). 3.3. Extract from 'Corrente', in Giovanni Paolo Foscarini, I quatro libri della chitarra spagnola (c1635), 19. Biblioteca Nacional de España, R/5669 (Reproduced by permission). 3.4. Extract from 'Chacona', in Francesco Corbetta, Varii scherzi di sonate per chitarra spagnola was published (Brussels, 1648), 28. Bibliothèque Nationale de France, VM7-6217 (Reproduced by permission).

Soundboard Scholar 7, 2021

Suite goivos by Francisco Lacerda (1869–1934) stands out not only as one of the first examples of symbolist literature for guitar but also as the first work written for guitar by a Portuguese non-guitarist composer. So far, however, it has remained in relative obscurity. In this article, I first explore the suite’s context and history: its origin in meetings and correspondence between Lacerda and the work’s dedicatee, Andrés Segovia; its place among new works commissioned by Segovia from non-guitarist composers; and available manuscript sources for the work. I then argue for the work’s importance as music, highlighting its innovative features, from Lacerda’s use of the guitar to his incorporation of musical symbolist elements. This analysis has enabled a modern performance edition of the suite, allowing it to take its place in the concert repertoire.

Geografias Culturais da Música, do Som e do Silencio, 2020

Musical transcreation of El poncho: The Uruguayan nativism of Fabini & Silva Valdés in Rapat and Carlevaro Guitar’s. «El poncho» is the title of a work by the Uruguayan composer Eduardo Fabini (1882-1950), whose original score for singing and piano, from 1928, takes as its lyrics the homonymous poem by Fernán Silva Valdés (1887-1975), published in 1921. In the verses musicalized by Fabini are depicted the meditations of a gaucho who speaks with his poncho, somewhere in the interior of Uruguay. It was found that there was interaction between several artists to produce an effective score of El poncho on classical guitar, and that it was possible to disseminate Fabini's music in an alternative way. The procedure for obtaining a functional guitar score from a piece written for another instrument is usually called an adaptation, arrangement, transcription, or version; however, for us, the guitar score of «El poncho» should be considered a transcreation. This concept, that comes from the field of advertising, implies a deep look at the work, a creative and appropriate adaptation to the cultural context of arrival, without losing the intention, meaning, and style of the original content. It is important to highlight that the musical piece transcreated for guitar by Atilio Rapat (1905-1988), was published in 1993 thanks to whom it was dedicated, the guitarist Abel Carlevaro (1916-2001), who performed it in a lot of concerts, recorded it on his latest album, and boosted its international diffusion, thus making «El poncho» in yet another musical piece more of the guitar repertoire. Resumo El poncho é o título de uma canção do compositor uruguaio Eduardo Fabini (1882-1950), cuja partitura original para canto e piano, de 1928, leva como letra o poema homónimo do poeta conterrâneo Fernán Silva Valdés (1887-1975), publicado em 1921. Nos versos musicalizados por Fabini são retratadas as meditações de um gaucho que fala com o seu poncho, algures no interior do Uruguai. Constatamos que houve interação entre vários artistas para produzir uma partitura de El poncho exequível na guitarra clássica, que serviu para viabilizar a divulgação da música de Fabini de uma forma alternativa. O procedimento para obter uma partitura funcional para guitarra a partir de uma peça escrita para outro instrumento ou conjunto musical é normalmente chamada de adaptação, arranjo, transcrição ou versão; no entanto, tendo em conta o grau real de intervenção criativa do guitarrista Atilio Rapat (1905-1988) na elaboração da partitura para guitarra de El poncho, seria melhor considerar este processo de transformação do material como uma transcriação. Este conceito, que provém da área da publicidade, implica um olhar minucioso sobre um produto com o fim de o transformar, adaptando-o a um novo contexto de forma criativa, sem que este perca o estilo nem a intenção do conteúdo original. Neste sentido, é de salientar que a transcriação de El poncho para guitarra realizada por Rapat foi exitosa, pois se tornou mais uma obra do repertório guitarrístico internacional. O seu dedicatário, o concertista e pedagogo Abel Carlevaro (1916–2001), teve um importante papel no sucesso da transcriação de El poncho para guitarra solo, pois impulsionou a sua publicação em 1993. Além disso, Carlevaro divulgou amplamente esta obra, pois a interpretou em numerosos concertos e a gravou no seu último CD.

2012

The neoclassical movement in France influenced Spanish composers whose classical musical culture had been exhausted and overplayed. The Spanish composers of the early Twentieth Century were looking for new and fresh ideas to include in their musical works. Although some Spanish composers had great success composing in late Romantic and impressionist styles, French neoclassicism was the new concept they needed in order to transform their compositions from having only local significance into works which would have an artistic impact outside of Spain. Joaquín Rodrigo was influenced by this new trend, and, in turn, created his own style of Spanish neoclassicism known as neocasticismo. Apart from composition, Rodrigo was also interested in musicology, which he studied while in Paris in the mid 1930s. He presented these interests through various media. As a musicologist, he wrote a paper about the vihuela and vihuelist composers of the Sixteenth Century, which he presented in 1936 at an event celebrating the works of the sixteenth-century Spanish composer Luis de Milán. In his music, Rodrigo incorporated in his guitar works the forms and compositional techniques commonly found in Renaissance, Baroque, and Classical music. Moreover, he quoted several works by prominent sixteenth-and seventeenth-century composers. This thesis illustrates how Joaquín Rodrigo's interest in musicology influenced what and how he composed for guitar, and demonstrates how Rodrigo contributed to Spanish musicology by revealing the importance of sixteenth-century vihuelist composers. The paper Rodrigo wrote is transcribed in its original Spanish along with an English translation, followed by a brief analysis of the paper. This thesis also elucidates the importance of Rodrigo's guitar compositions within a musicological and historical context. Finally this research essentially shows how Rodrigo combined his musicological studies and interests along with his knowledge of composition to create guitar works that led him to worldwide fame and popularity. Analysis of three guitar concertos provides evidence of the use of musicological research as a tool, resource, and influence in these works.