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Formación Y Profesionalización De Los Violinistas En Madrid (1831-1905)

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Formación Y Profesionalización De Los Violinistas En Madrid (1831-1905) UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE GEOGRAFÍA E HISTORIA Departamento de Musicología TESIS DOCTORAL Formación y profesionalización de los violinistas en Madrid (1831-1905) MEMORIA PARA OPTAR AL GRADO DE DOCTORA PRESENTADA POR Ana María del Valle Collado Directora Cristina Bordás Ibáñez Madrid, 2019 © Ana María del Valle Collado, 2018 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE GEOGRAFÍA E HISTORIA Departamento de Musicología TESIS DOCTORAL Formación y profesionalización de los violinistas en Madrid (1831-1905) MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Ana María del Valle Collado Directora Cristina Bordas Ibáñez Madrid, 2018 ©Ana María del Valle Collado, 2018 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE GEOGRAFÍA E HISTORIA Departamento de Musicología FORMACIÓN Y PROFESIONALIZACIÓN DE LOS VIOLINISTAS EN MADRID (1831-1905) Tesis doctoral presentada por Ana María del Valle Collado Realizada bajo la dirección de Dra. Cristina Bordas Ibáñez Madrid, 2018 A mis padres y a mis hijos, por todo lo vivido y por todo lo que ha de venir AGRADECIMIENTOS Son muchas las personas a las que me gustaría dar las gracias. Todas ellas han influido, a su manera, en la elaboración de este trabajo. Mi primer agradecimiento va para a mi directora Cristina Bordas, quien, aún en los momentos más difíciles, en ningún momento ha cejado en su apoyo, su ayuda y su sabido consejo, siempre desde la amistad y muchas veces también desde la paciencia. Es gracias a ella que esta tesis ha podido llegar a completarse. Son muchas, así mismo, las instituciones que he visitado en la búsqueda de documentación, información o incluso una pequeña pista que sirviera de pieza en la confección de este puzle. Y debo decir que en todo momento me he encontrado con personas que me han ayudado bien sea localizando un documento, bien sea facilitándome un dato clave que me abría nuevas puertas. La Biblioteca Nacional de España, la Biblioteca del Real Conservatorio de Música de Madrid, el Archivo General de Palacio, la Real Biblioteca, Biblioteca Musical del Ayuntamiento de Madrid “Víctor Espinós” o la Bibliothéque Nationale de France son algunos de los lugares donde he recibido ayuda y, en algunos casos, algún guiño de aquellos que comparten la pasión por la investigación y la música. A todos mis compañeros de la facultad y profesores, por todas las sugerencias, intercambio de opiniones y consejos. A mis padres, por enseñarme que con tesón y honestidad se llega a la consecución de los propósitos. A mi familia, a quienes debo todo lo bueno que hay de mí en este texto. A mis hijos, que con su amor y su alegría, hacen que cada día me parezca nuevo y lleno de posibilidades. Este trabajo les pertenece a todos ellos. Abreviaturas Archivos, bibliotecas y otras instituciones AGP: Archivo General de Palacio BNE: Biblioteca Nacional de España BNF: Biblioteca Nacional de Francia OSM: Orquesta Sinfónica de Madrid RCSMM: Real Conservatorio Superior de Música de Madrid Bibliografía DMEH: Diccionario de la Música española e hispanoamericana. (1999). dir. E. Casares Rodicio. Madrid: SGAE. MGG: Die Musik in Gestichte und gegenwart: Allgemeine Enzyklopädie der Musik. (1989). Munich: Bärenreiter Metzler. TNGD: The New Grove Dictionary of Music and Musicians, (2001). Ed. S. Sadie, London: Macmillan. Otros Cap.: Capítulo Ed.: Edición Ed. rev.: Edición revisada Ed. (Eds.): Editor (es) Ms: Manuscrito Núm.: Número P. (pp.): Página (páginas) S. f.: Sin fecha Trad. (Trads.): Traductor (es) Vol. (Vols.): Volumen (Volúmenes) ÍNDICE RESUMEN EN CASTELLANO E INGLÉS………………………………………………………………………………………. 1 INTRODUCCIÓN…………………………………………………………………………………………………………………… 3 1. Justificación del tema y objetivos………………………………………………………………………………………... 5 2. Estado de la cuestión……………………………………………………………………………………………………... 9 3. Metodología y fuentes…………………………………………………………………………………………………… 14 4. Estructura del trabajo…………………………………………………………………………………………………….. 20 I. PROCESOS DE APRENDIZAJE: LAS ESCUELAS INTERNACIONALES DE VIOLÍN Y SU DIFUSIÓN Y RECEPCIÓN EN MADRID………………………………………………………………………………………………………….23 1. Concepto de “Escuela”………………………………………………………………………………………………….24 1.1. Definición del término……….……………………………………………………………………………….24 1.2. Particularidades en torno al uso del vocablo “Escuela”………………………………………………………28 2. Los inicios. El Conservatorio de París y los métodos de violín más influyentes en España………………….……..32 2.1. Giovanni Batista Viotti como “ilustre fundador de la escuela de violín moderna”…………………………...32 2.1.1. Los conciertos de Viotti, una imaginativa fusión de elementos italianos, franceses y alemanes……………………………………………………………………………………33 2.1.2. La transmisión de un estilo. El legado pedagógico de Viotti…………………………………….38 2.2. El Conservatorio Superior de Música de París como ideal y modelo centralizador………………………… 43 2.3. Los métodos pedagógicos del Conservatorio de París: expresión escrita de una tradición…………………. 50 2.4. Michel Woldemar, la transición entre Viotti y Baillot. Influencia y recepción de los arcos de Tourte……… 54 2.5. Las bases de la moderna escuela francesa de violín: Méthode du violon (1803) de Baillot, Rode y Kreutzer, y L'Art du violon (1834) de Baillot………………………………………………………………………………….64 2.5.1. Aspectos técnicos: escalas, scordatura y posibilidades tímbricas……………………………….69 2.5.2. Arco en cuádruples cuerdas y la huida del efectismo……………………………………………74 2.5.3. Paganini y Lafont. El duelo entre dos estilos……………………………………………………77 2.5.4. Sobre la expresión y el estilo propios. El buen gusto que repugna todo exceso………………...80 2.5.5. Metrónomo y expresividad………………………………………………………………………83 2.5.6. Per ben suonare bisogna ben cantare. El canto como modelo………………………………….83 2.5.7. Sobre el arco como característica técnica de la escuela francesa………………………………..85 2.5.8. Indicaciones sobre luthería: sordinas, almohadillas, violines y cuerdas………………………...86 2.5.9. Integración del violinista en el mundo profesional……………………………………………...95 2.6. Del método a la práctica musical a través de tres autores: Pierre Baillot, Pierre Rode y Rodolphe Kreutzer.97 2.6.1. Pierre Baillot (1771-1842). El justo equilibrio entre tradición e innovación…………………....97 2.6.2. Pierre Rode (1744-1830). El valor de un estilo y una obra pedagógica………………………..103 2.6.3. Rodolphe Kreutzer (1766-1831). ¿Instinto o escuela?…………………………………………106 2.7. Jacques-Féréol Mazas (1782-1849). Corrección postural y defensa de los sonidos armónicos en su Méthode de violon (1830)………………………………………………………………………………………………….110 2.8. Los principios técnicos y de estudio del violín de Viotti en el Méthode théorique et practique de violon (1842) de François-Antoine Habeneck (1781-1849)………………………………………………………….....117 2.9. El método más influyente en la pedagogía española del violín: École du violon. Méthode complète et progressive à l'usage du conservatoire (1844) de Delphin Alard (1815-1888)…………………...……………..127 3. La escuela franco-belga como gran referencia para los violinistas españoles………………………………………133 3.1. Charles de Bériot (1802-1870), la creación de la escuela belga de violín y su influjo en Jesús de Monasterio y los violinistas españoles………………………………………………………………………………………….133 3.2. Los inicios: el Conservatorio Superior de Música de Bruselas……………………………………………..135 3.3. La influencia en la práctica: Méthode du violon (1857) de Charles de Bériot: la brillantez técnica de Paganini y la sutileza de estilo de la escuela de París……………………………………………………………………...138 3.3.1. La misión del violín: la expresión de los sentimientos sobre cualquier exhibición………….…145 3.3.2. Postura de sujeción y primeras noticias sobre la almohadilla…………………………………..147 3.3.3. Medidas a tener en cuenta respecto a la afinación……………………………………………...148 3.3.4. Sobre la correcta ejecución de los acordes……………………………………………………..149 3.3.5. Digitación técnica vs digitación expresiva……………………………………………………..149 3.3.6. Controversia en cuanto al pizzicato…………………………………………………………………….150 3.3.7. La perfección de estilo………………………………………………………………………….151 4. La otra inspiración: la pedagogía alemana…………………………………………………………………………..156 4.1. Un alemán en Madrid: la Violinschule (1832) de Louis Spohr como texto oficial del Conservatorio de Madrid…………………………………………………………………………………………………………...156 4.1.1. El método para violín de Louis Spohr y el uso de la barbada………………………………….160 4.1.2. Spohr, el espíritu conservador………………………………………………………………….164 4.1.3. Formación del violinista como parte de un conjunto…………………………………………..168 4.2. Un enlace alemán con el estilo franco-belga: la Violinschule (1863) de Ferdinand David…………………170 4.2.1. Violinschule (1863). Progresividad y características de los contenidos………………………..173 4.2.2. Se vislumbra el uso de la almohadilla………………………………………………………….177 4.2.3. Posición de la mano izquierda. El “agarre de Geminiani”……………………………………..177 4.2.4. Fisionomía y cambios de posición………………………………………………………….…..179 4.2.5. Más allá de la sobriedad de Louis Spohr…………………………………………………….…181 4.3. Enrique Fernández Arbós en el Conservatorio de música de Berlín. Sobriedad y fidelidad a la partitura…184 4.3.1. Centros alemanes de enseñanza del violín……………………………………………………..184 4.3.2. Españoles en Berlín. Enrique Fernández Arbós………………………………………………..187 4.3.3. Joseph Joachim y el culto al autor. Su influencia en Enrique Fernández Arbós………………….191 4.4. Joachim epítome de la pureza de estilo: el Geschichte des Violinspiels (1905)…………………………….193 4.4.1. Joseph Joachim (1831-1907), una vida consagrada al “ideal”…………………………………193 4.4.2. La Violinschule (1905), el legado violinístico…………………………………………………197 4.4.3. El fomento de una cultura artística
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