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City Research Online City Research Online City, University of London Institutional Repository Citation: Miranda- Perez, R. (1992). Jose Rolon: a study of his life and music. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/7978/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] JOSER0LONr ASTUDY0FHIS L1 FE AND MUS 1C RicardoMirand a- P6r ez MA. PhD. Dissertation, City University Department of Music April, 1992 0 2ý'-'252503 To Nelly. To Enrique But flowers distill'd, though they with winter meet, Leese but their show; their substance still lives sweet W. Shakespeare Contents ListofDiagrams4 &MusicalExamples Acknowledgements 8 Dec1aration. 11 Abstract. 12 INTR0DUCT10N 13 I .-THEEARLYYEARS. 21 II .-THEB0UNDARIES 35 0F RMANTICISM.0 III 61 .-THESEARCHF0R 11 L0PR0P10". IV -"L L' IGN0RANCE 83 ACQUISE". 104 V .-SKETCHESIN SOUND. VIa .-THEEXPERIENCEOF 124 "L0PR0PI O" . VIb .-THEEXPERIENCE0F 150 "LOPR0PI 0". VII .-FURTHEREXPERIENCES 164 &THEFINALYEARS. VIII. -AMUSIC0FESSENCE 191 Appendix I. - On the differing scores of 210 Roldn's Piano Concerto. Appendix II. - Rolön as Pianist. 218 Appendix III. - On Repetition. 224 Chronology. 227 CatalogueofWorks. 230 Bibliography& 238 References. Discography. 242 3 List of Diagrams & Musical Examples (all works by Jose Rolon unless otherwise stated) 2.1. Excerpt from Bosguelos. 39 2.2. Excerpt from Canzonetta. 40 Two passages from Robert Schumann's 40 Traümerei (Kinderscenen). 2.3. Excerpt from Valse Intime. 41 2.4. Excerpt from Prelude (Five Pieces 42 for Piano). 2.5. Excerpt from Mazurka (Five Pieces 44 for Piano). 2.6. Excerpt from Manuel M. Ponce's 44 Mazurka XXVII 2.7. Excerpt from Piano Quartet 49 (1st. movement). 2.8. Excerpt from Piano Quartet 49 (first movement). -50 2.9. Excerpt from Piano Quartet. 52 2.10. Excerpt from Piano Quartet. 52 2.11. Excerpt from Piano Quartet. 52 2.12. Excerpt from Obertura dg Concierto. 57 2.13. First page from Valse Caprice. 58 2.14. Excerpt from Valse Caprice. 59 3.1. Opening of ZaQotlan. 65 3.2. Excerpt from Zapotlan. 66 3.3. Excerpt from ZaQotlan. 67 3.4. Excerpt from Zaootlan. 68 3.5. Ingrata (folk song) from Zaootlan. 69 3.6. Excerpt from ZaQotlan. 70 3.7. Excerpt from ZQotlan. 71 4 3.8. Los Enanos (Mexican folk song). 74 3.9. KI Festin d. log Enanos (beginning). 75 3.10. Excerpt from Festin d. 1 Q. Enanos. 75 . 3.11. Excerpt from K1 Festin jig_ j_q& Enanos. 76 3.12. Excerpt from Festin dg 1= Enanos. 78 . 3.13. Excerpt from j Festin dg Enanos. 78 4.1. Excerpt from Consentement. 87 4.2. Excerpt from Consentement. 89 4.3. Excerpt from Cloches. 89 4.4. Excerpt from Iberia. 91 4.5. Passage from Danza Indiaena 94 Jaliciense (no. 2). 4.6. Passage from Danza Indiaena 95 Jaliciense (no. 2). 4.7. Passage from Danza Indigena 96 Jaliciense (no. 1). 4.8. Excerpt from Cuauhtemoc. 99 4.9 Excerpt from Cuauhtemoc 99 (Danza de los Cuchillos). 4.10. Excerpt from Cuauhtemoc. 101 (Spoken Choir). 4.11. Excerpt from Cuauhtemoc. 102 5.1 Excerpt from Ingrata. 106 5.2. Excerpt from Ufrasia. 107 5.3. Rolon's transcription of an 109 Indigenous song. 5.4. Excerpt from Nocturne. 111 5.5. Excerpt from Simple Conte. 112 5.6. Faro" from Dibulos Sobre 118 Sln. .Puerto. 5.7. Excerpt from E, Segador. 119 5.8. Excerpt from KI Segador. 119 5 5.9. Excerpt from Sembrador. 121 . 5.10. Excerpt from KI Sembrador. 121 5.11. Excerpt from No le hableis de Amor. 122 6.1. Structure of Rolon's Piano Concerto 125 (1st Movement). 6.2. Phrase structure of Rolon's Piano Concerto (Exposition, 1st. mov. ). 135 6.3. Rhythmical groups and variations, 137 (Piano Concerto, 1st. mov. ). -138 6.4. Glissandi from 1st and 3rd movements 153 of Piano Concerto. 6.5. Excerpt from the 2nd movement of the 155 Piano Concerto. 7.1. Theme from Prelude & Fugue for Strings. 173 7.2. Subject from Prelude & Fugue for Strings. 173 7.3. Excerpt from String Quartet 175 (1st mov. ). 7.4. Excerpt from String Quartet 175 (1st mov. ). 7.5. Excerpt from String Quartet 177 (2nd mov. ). 7.6. Excerpt from String Quartet 177 (2nd. mov. ). 7.7. Excerpt from String Quartet 178 (3rd mov. ). 7.8. Excerpt from String Quartet 178 (4th mov. ). 7.9. Excerpt from String Quartet 178 (4th mov. ). 7.10. Excerpt from Estudio en Seaundas. 182 7.11. Excerpt from Estudio = Seaundas. 182 7.12. Excerpt from Estudio = Quintas. 182 7.13. Excerpt from Estudio gp, Quintas. 183 7.14. Glissandi from Piano Studies. 184 6 7.15. Excerpt from j, os Gallos. 186 7.16. Opening from Pifatas. 188 7.17. Maiden's dance from Piffatas. 188 7.18. Prelude from Suite all'Antica. 189 A2.1. Excerpt from Piano Concerto. 215 A2.2. Excerpt from Piano Concerto. 216 A2.3. Excerpt from Piano Concerto. 217 Please note that the poor reproduction of some of the material listed above is due to the precarious state of the originals. This applies in particular to Cuauhtemoc and Zaootlan, -whose text is taken from a microfilm- as well as for some of the songs, which are mostly in manuscript form. For the purpose of reference to the text of the Piano Concerto (chapters VIa and VIb), the reader may consult the copy held at Skinner's library (ref. RRL 4262). 7 Acknow1edgements. When I first decided to study Jose Rolon's work not only did I know that the help of many persons would be required but also, that its success was in direct relation to the help received. Thus I would like to express my gratitude to those who have made this work possible. First of all to my supervisor at City University, Professor Malcolm Troup, whose advice, support and always stimulating comments proved an invaluable guide. At City University I also had the advice of Richard Langham Smith, who kindly initiated me into the mysteries of musicological research in Paris. My thanks also go to Mr. Leslie R. Baldwin, of the City University Library who helped me with all the requests I had. During the time I spent in France researching on Rolon's years in Paris I received the help of M. Roland Quilici, Annette Courtenay-Mayers and Max Eschig Editeurs who allowed me free access to their archives and presented me with some of Rolon's original editions. My gratitude also goes to the following persons whose help during my research in Mexico City was crucial. To Isolda Acevedo, from Ediciones Mexicanas de Musica, to 8 Maura Bober from the CENIDIM library, to Karl Bellinghausen from the National Conservatory, who showed me around its library, to Francisco Jimenez who located for me important material on Rolon and to Jorge Suarez, principal of the National School of Music. The pianist Miguel Garcia Mora helped me in approaching some aspects of Rolon's life and music. The composer Blas Galindo kindly offered me a morning to talk about his teacher, Nationalism and music in Mexico. Eduardo Hernandez Moncada was kind enough to talk about Rolon's music, particullarly about his revision of the Piano Concerto. Finally, I would like to thank Sefiora Malu Martinez Sotomayor de Torres Izabal, grandaughter of the composer, who unreservedly allowed me free access to Rolon's personal archive. Neddless to say, her help was crucial. In London, Raul Ortiz, Cultural attache of the Mexican Embassy, not only showed interest in my work and helped me to resolve some of the problems I encountered, but also contributed to it with the wonderful translations of poetry by Jose Gorostiza used in Rolon's Dibulos. I am also grateful to Vartoug Gulbenkian and Nicole Exortier who were always ready to help me in many different forms. In Philadelphia, the efforts of Frederick James Kent of the E. Fleisher Collection at the Free Library of 9 Philadelphia secured me a copy of Rolon's most important orchestral works deposited there. I am particularly grateful to my wife Claudia, whose unreserved support and assistance throughout the time this work was done, took many different forms. My deepest appreciation also goes to my parents Armando and Esperanza for their constant enthusiasm for my work. Finally, I would like to take this opportunity to express my sincere gratitude to Professor Tilo Ulbricht and Adam Nott for their contribution to my development. In dedicating this work to Nelly Ben-Or, I wish to acknowledge her precious guidance as a teacher as well as her friendship and enthusiasm for my work, all of which I have been fortunate to enjoy for the past six years. Unfortunate circumstances move me to offer this work as well to the memory of Enrique Perez Diaz, an irreparable loss to my life. London, 1992. 10 I grant powers of discretion to the University Librarian to allow this thesis to be copied in whole or in part without further reference to me.
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