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La Recepción De Chopin En España En El Siglo XIX

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La Recepción De Chopin En España En El Siglo XIX UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE GEOGRAFÍA E HISTORIA TESIS DOCTORAL La recepción de Chopin en España en el siglo XIX MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Eduardo Chavarri Alonso Directora María Nagore Ferrer Madrid 2019 © Eduardo Chavarri Alonso, 2018 La recepción de Chopin en España en el siglo XIX Tesis doctoral realizada por EDUARDO CHÁVARRI ALONSO Directora: Dra. MARÍA NAGORE FERRER Madrid, 2018 Programa de Doctorado en Musicología RD99/2011 FACULTAD DE GEOGRAFÍA E HISTORIA A mis padres AGRADECIMIENTOS Esta tesis doctoral es el fruto de mucho esfuerzo y no hubiese sido posible sin la gente que me ha acompañado a lo largo de este camino. Las experiencias vividas y las nuevas amistades han sido innumerables. Lamentablemente siento que al escribir estas líneas me dejo a mucha gente en el tintero. En primer lugar quiero agradecer a María Nagore Ferrer, directora de este trabajo, todos y cada uno de los consejos que me ha dado durante estos años. Sus sugerencias y correcciones me han servido para mejorar mi labor como investigador. Quiero agradecer también la ayuda proporcionada por parte del personal encargado de instituciones como la Biblioteca Nacional de España, en especial a los trabajadores de la Sala Barbieri, la biblioteca del Real Conservatorio Superior de Música de Madrid, la Biblioteca de Catalunya, etc. Doy las gracias a todos mis compañeros y amigos por ser una fuente inagotable de apoyo y motivación. Desde mis amigos más cercanos, a mis compañeros de la Banda de Música de Haro, de Rioja Filarmonía, profesores y amigos de la carrera y el doctorado y todas aquellas personas que he ido conociendo en congresos y jornadas. Gracias a todos por despertar en mí el amor y el entusiasmo por la música y la musicología. Mis últimas palabras de agradecimiento son para toda mi familia. Gracias por los ánimos recibidos y por comprender que con pasión, esfuerzo y dedicación todo lo que nos propongamos puede ser posible. ÍNDICE ÍNDICE RESUMEN ................................................................................................................... 9 ABSTRACT ................................................................................................................ 11 INTRODUCCIÓN ...................................................................................................... 13 1. Justificación ......................................................................................................... 13 2. Objetivos .............................................................................................................. 15 3. Fuentes y metodología ......................................................................................... 15 4. Estado de la cuestión ........................................................................................... 19 5. Marco teórico ....................................................................................................... 26 6. Estructura del trabajo ........................................................................................... 30 CAPÍTULO I. CHOPIN Y ESPAÑA ..............................................................................33 1. El viaje a Mallorca ............................................................................................... 37 2. Influencia española en la música de Chopin: El Bolero op. 19 ........................... 45 3. Chopin y los españoles en París .......................................................................... 52 3.1. Santiago de Masarnau .................................................................................. 55 3.2. Juan María Guelbenzu .................................................................................. 60 CAPÍTULO II. CHOPIN Y EL SALÓN ROMÁNTICO ESPAÑOL ............................63 1. El «refugio del buen gusto» ................................................................................. 63 2. El salón burgués .................................................................................................. 73 2.1. Chopin para las «señoritas» ......................................................................... 79 2.2. La música de Chopin en el discurso de la decadencia interpretativa en el salón ...................................................................................................................... 82 CAPÍTULO III. CHOPIN Y LA ENSEÑANZA DEL PIANO EN ESPAÑA ...............85 1. La música de Chopin en los métodos para piano y en los planes de estudio de los conservatorios ............................................................................................................. 85 1.1. Conocido pero poco presente ....................................................................... 85 1.2. Relevante en los últimos cursos de la carrera de piano ................................ 92 2. La música de Chopin a través de las interpretaciones de los alumnos ................ 98 2.1. Conciertos de los alumnos ........................................................................... 98 2.2. Concursos y oposiciones ............................................................................ 104 3. La música de Chopin en la enseñanza privada .................................................. 108 CAPÍTULO IV. LA DIFUSIÓN DE LA MÚSICA DE CHOPIN A TRAVÉS DEL COMERCIO Y EDICIÓN DE PARTITURAS .............................................................111 1. Comercialización de la música de Chopin ........................................................ 111 7 LA RECEPCIÓN DE CHOPIN EN ESPAÑA EN EL SIGLO XIX 2. Ediciones completas .......................................................................................... 116 CAPÍTULO V. LA INTERPRETACIÓN DE LA MÚSICA DE CHOPIN EN EL CONCIERTO PÚBLICO ..............................................................................................125 1. La aparición de las obras de Chopin en los escenarios españoles (1844-1873) 125 2. El auge de la interpretación de la música de Chopin ......................................... 136 2.1. Los nuevos espacios ................................................................................... 139 2.2. La música de Chopin en la Sociedad de Cuartetos y la Sociedad de Conciertos ............................................................................................................. 146 2.3. Un nuevo modelo de concierto: el recital para piano ................................. 153 3. Protagonistas en la difusión de la música de Chopin ........................................ 163 3.1. José Tragó .................................................................................................. 165 3.2. Otros discípulos de Mathias: Mario Calado y Genaro Vallejos ................. 175 3.3. Isaac Albéniz y Carlos G. Vidiella ............................................................. 176 3.4. Juan Bautista Pujol ..................................................................................... 181 3.5. Teobaldo Power ......................................................................................... 184 3.6. Anton Rubinstein, Sophie Menter, Francis Planté y otros virtuosos extranjeros ............................................................................................................. 185 3.7. Pilar Fernández de la Mora y María Luis de Chevallier ............................ 195 3.8. Enrique Granados, Joaquín Malats y otros pianistas ................................. 199 4. Obras más difundidas del repertorio chopiniano ............................................... 201 CAPÍTULO VI. CHOPIN FUERA DEL PIANO .........................................................215 1. Adaptaciones de la música de Chopin para otros instrumentos ........................ 215 2. Arreglos para otros instrumentos solistas .......................................................... 227 CAPÍTULO VII. IMÁGENES DE CHOPIN ................................................................235 1. La imagen romántica ......................................................................................... 235 1.1. El poeta del piano ....................................................................................... 235 1.2. Personaje de leyenda .................................................................................. 243 1.3. El Chopin más célebre ............................................................................... 248 2. La imagen canónica ........................................................................................... 257 2.1. El discurso del canon de la música germana .............................................. 257 2.2. El reto de todo buen pianista ...................................................................... 262 CONCLUSIONES .................................................................................................... 271 FUENTES ................................................................................................................. 277 BIBLIOGRAFÍA ...................................................................................................... 281 ANEXOS .................................................................................................................. 289 8 RESUMEN RESUMEN Esta tesis doctoral pretende arrojar luz sobre la importancia que tuvo la música de Chopin en la España del siglo XIX a través del estudio de la recepción de su música y las diferentes imágenes que de él se proyectaron. Este proceso de recepción se divide fundamentalmente en cinco aspectos
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