PERÍODES MUSICALS: Finals Del Segle XIX I Segle XX ‘Del Postromanticisme Fins a L’Avantguarda Eclèctica’

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PERÍODES MUSICALS: Finals Del Segle XIX I Segle XX ‘Del Postromanticisme Fins a L’Avantguarda Eclèctica’ PERÍODES MUSICALS: Finals del segle XIX i segle XX ‘Del postromanticisme fins a l’avantguarda eclèctica’ Recull i desenvolupament: Vicent Lluís Fontelles [PhD - Universitat de València - Facultat de Magisteri - Departament de Didàctica de l’Expressió Musical, Plàstica i Corporal] 1 Vicent Lluís Fontelles-UV 2 Períodes musicals: finals del s.XIX i s.XX --- Del postromanticisme fins a l’avantguarda eclèctica - ÍNDEX - POSTROMANTICISME MUSICAL [1887-1930] ............................................ 7 ---[Antecessors]: Richard Wagner i Johannes Brahms [enllaços entre romanticisme i postromanticisme]. Anton Bruckner; Gustav Mahler; Richard Strauss; Max Reger i Ernö Dohnányi NACIONALISMES MUSICALS [1857-1930] ................................................ 23 Rússia [pàg. 25]: ---[Antecessor]: Mikhaïl Glinka [germen fundacional del ‘Grup dels Cinc’] Aleksandr Borodín [1833-1887]; Cèsar Cui [1835-1918]; Mili Balàkirev [1837-1910]; Modest Mússorgski [1839- 1881] i Nikolai Rimski-Kórsakov [1844-1908] ---[a banda] Piotr Ilitx Txaikovski [mai reconegut com a membre del ‘Grup dels Cinc’] Bohèmia: Bedřich Smetana; Antonín Dvořák i Leóš Janáček ........... 39 Escandinàvia: Edvard Grieg i Jean Sibelius ............................................... 45 Espanya: Isaac Albéniz; Enrique Granados; Manuel de Falla; Joaquín Turina; Jesús Guridi; Joaquín Rodrigo i Jesús Arámbarri............................................................................... 49 Regne Unit: Edward Elgar; Frederick Delius; Vaughan Williams; Gustav Holst; George Butterworth i William Walton ......... 61 Hongria: Béla Bartók i Zoltán Kodály ................................................ 71 ALTRES PAÏSOS: ................................................................................................... 77 Argentina- [Juan José Castro; Alberto Ginastera] Brasil- [Carlos Gomes; Heitor Villa-Lobos; Francisco Mignone] Cuba- [Manuel Saumell; Ignacio Cervantes] 3 Estats Units- [Edward Mac Dowell; Arthur Farwell; Charles Ives; Charles Cadman; Horatio Parker; Aaron Copland] Mèxic- [Manuel Ponce; Silvestre Revueltas; Carlos Chàvez; Salvador Contreras] Polònia- [Stanislaw Moniuszko] Romania- [George Enescu] Veneçuela- [Antonio Estévez] Xile- [Pedro Allende Sarón ] IMPRESSIONISME MUSICAL [1890-1925] ........................................................... 95 Gabriel Fauré [conciderat anterior al moviment]; Erik Satie [també va pertànyer al Grup dels Sis]; Claude Debussy i Maurice Ravel NEOCLASSICISME MUSICAL [1918-1939] .......................................................... 105 Ferruccio Busoni; Albert Roussel; [Maurice Ravel]; Ottorino Respighi; Ígor Stravinski; Gian Francesco Malipiero; Alfredo Casella; Serguei Prokófiev i Paul Hindemith GRUP DELS SIS [França,1920-1956] ....................................................................... 123 Louis Durey; Arthur Honegger; Darius Milhaud; Germaine Tailleferre; Francis Poulenc i Georges Auric ATONALISME: Música Dodecafònica [Serial]; Música Aleatòria; Música Concreta i Dodecafonisme Post-serial.......................... 131 DODECAFONISME - SERIALISME .................................................................... 135 Arnold Schönberg; Anton Weber; Alban Berg i Luigi Dallapiccola Vicent Lluís Fontelles-UV 4 Períodes musicals: finals del s.XIX i s.XX --- Del postromanticisme fins a l’avantguarda eclèctica MÚSICA ALEATÒRIA [també Serialisme Integral] ............................................ 143 [Alberto Ginastera, ja desenvolupat a ‘Altres nacionalismes: Argentina’]; John Cage; Witold Lutosławski; Bruno Maderna; Luigi Nono; Luciano Berio; Pierre Boulez; Franco Donatoni; Karlheinz Stockhausen i Luis de Pablo MÚSICA CONCRETA ........................................................................................ 159 Edgard Varese; [Arthur Honneger]; Olivier Messiaen; Pierre Schaeffer; [Pierre Boulez]; Pierre Henry; Jean Barraqué i [Karlheinz Stockhausen] AVANTGUARDES POST-SERIALS .................................................................... 167 Iannis Xenakis; György Ligeti; Mauricio Kagel i Krzysztof Penderecki AVANTGUARDA ECLÈCTICA: Dmitri Xostakóvitx i Benjamin Britten ............................... 175 ÍNDEX ALAFABÈTIC dels PEUS DE PÀGINA ............................................. 183 BIBLIOGRAFIA i WEBGRAFIA ..................................................................... 199 5 Vicent Lluís Fontelles-UV 6 Períodes musicals: finals del s.XIX i s.XX --- Del postromanticisme fins a l’avantguarda eclèctica PERÍODES MUSICALS: finals del s. XIX i s. XX ---Postromanticisme musical [1887-1930] POSTROMANTICISME MUSICAL [1887-1930] Moviment artístic que es desenvolupà a Europa entre 1887 i 1930. Estil musical que portà al cim expressiu el romanticisme ja desenvolupat abans i que dona com a resultat una música simfònica grandiloqüent i d’allò més expressiva, música hereva de Richard Wagner1 [a qui caldria considerar com el darrer gran romàntic i, al costat de Brahms, com a enllaç entre dues tendències musicals] i música que evoluciona progressivament vers l'expressionisme musical. Si volem contextualitzar el període i assenyalar un punt de sortida del postromanticisme [també anomenat romanticisme tardà] hauríem de fer esment de Johannes Brahms2 com a veritable enllaç entre un moviment i d’altre. Així doncs, cal considerar Brahms com ‘el darrer romàntic i el primer postromàntic’ atés que la seua obra tardana el situa dintre d’ambdós paràmetres estilístics. El postromanticisme desenvolupa llargues melodies fent ús de cromatismes i aprofita fins el màxim els recursos de l’orquestra. Dintre de la seua literatura predomina la música instrumental profana i programàtica3. El postromanticisme musical seria com un desig de perllongar el romanticisme dintre d’un període de canvis força significatius i convulsos, època socialment complexa i envoltada de nombrosos moviment literaris i culturals. Podríem definir els músics postromàntics com a éssers entestats en dur més enllà el ideari romàntic fins les darreres conseqüències: L’experimentació musical és una constant. Cercaran acords d’allò més refinats, combinacions tonals oblidades des del Barroc i dissonàncies rebutjades decennis abans. El contingut preval davant la forma musical. Cal carregar de significat les obres del postromanticisme. El veritable canvi entre romanticisme i postromanticisme el trobarem en la forma i no en l’essència. 1 Wilhelm Richard Wagner [Leipzig, 22 de maig de 1813 - Venècia, 13 de febrero de 1883] 2 Johannes Brahms [Hamburg/ALE, 7 de maig de 1833 - Viena/ÀUS, 3 d'abril de 1897] 3 Música programàtica: té per objectiu evocar idees o imatges no musicals en la ment de l'oient, representant auditivament un estat d’ànim, una escena o una imatge. És allò oposat a la música absoluta, la qual s'aprecia per ella mateixa, sense cap referència particular al món exterior. Aplicat a la tradició de la música clàssica europea, el terme tingué ressò, sobretot, al període musical romàntic del segle XIX [1820-1910] encara que abans ja s’havien composat peces de caràcter descriptiu. Així, doncs, el terme es reserva per a les obres amb carés orquestral [sense veus ni text] i no cal emprar-lo dintre del gènere operístic ni tampoc amb els ‘lieder’. 7 El postromanticisme serà més popular popular i menys idealista tot sent conseqüent amb els moviments naturalista i realista del període. De tota manera, les avinences i lligams culturals i musicals dels romàntics seràn més profundes que no aquelles dels músics postromàntics. Tret de la forma, la música d’Anton Bruckner4 no se sembla massa a la de Gustav Mahler5 i, la d’aquest, té poc ideari comú amb l’obra de Richard Strauss6. Compositors significatius del postromanticisme musical: ---[Antecessors]: Richard Wagner [1813-1883] i Johannes Brahms [1833- 1897], enllaços entre romanticisme i postromanticisme] Anton Bruckner [1824-1896] Gustav Mahler [1860-1911] Richard Strauss [1864-1949] Max Reger [1873-1916] Ernö Dohnányi [1877-1960] [Antecessor] RICHARD WAGNER [1813-1883] Wilhelm Richard Wagner [Leipzig/Saxònia, 22 de maig de 1813 - Venècia, 13 de febrer de 1883] Compositor, director d’orquestra, poeta i teòric musical alemany. Qualificà les seues òperes i els avenços que a elles desenvolupà com a ‘drames musicals’. Va establir les bases d'una òpera alemanya en la qual l'acció dramàtica preval sobre el virtuosisme vocal. A diferència d’altres compositors, Wagner assolí diversos papers a més del de compositor: llibretista i escenògraf. La família de Wagner es trasllada a Dresden [1817]. Wagner xiquet es decanta pel teatre. Primeres representacions com actor: Les vinyes de les vores de l'Elba amb música incidental composta per Carl Maria von Weber7. Primeres lliçons de piano [1822]. 4 Josef Anton Bruckner [Ansfelden/AUS, 4 de setembre de 1824 - Viena, 11 d’octubre de 1896] 5 Gustav Mahler [Kaliště/Bohemia/TXÈ, 7 de juliol de 1860 - Viena, 18 de maig de 1911] 6 Richard Georg Strauss [Munic, 11 de juny de 1864 - Garmisch/Partenkirchen, 8 de set., de 1949] 7 Carl Maria von Weber [Eutin/ALE, 18 de novembre de 1786 - Londres/UK, 5 de juny de 1826] Vicent Lluís Fontelles-UV 8 Períodes musicals: finals del s.XIX i s.XX --- Del postromanticisme fins a l’avantguarda eclèctica PERÍODES MUSICALS: finals del s. XIX i s. XX ---Posromanticisme musical [1887-1930] Al 1828 comença a escriure influït per William Shakespeare8, Heinrich von Kleist9 i Johann Goethe10. Estudis de teoria de la música amb Johann Bernhard Logier11 i harmonia amb Christian Gottlieb Müller12. Al 1931 accedeix a la Universitat de Leipzig per a continuar
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