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Les Sardanes De Pep Ventura I La Música Popular a Catalunya Entre La Restauració Dels Jocs Florals I La Primera República (1859-1874)

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Les Sardanes De Pep Ventura I La Música Popular a Catalunya Entre La Restauració Dels Jocs Florals I La Primera República (1859-1874) ANNA COSTAL I FORNELLS LES SARDANES DE PEP VENTURA I LA MÚSICA POPULAR A CATALUNYA ENTRE LA RESTAURACIÓ DELS JOCS FLORALS I LA PRIMERA REPÚBLICA (1859-1874) Tesi Doctoral Programa de Doctorat en Història de l’Art i Musicologia Departament d’Art i de Musicologia Facultat de Filosofia i Lletres Universitat Autònoma de Barcelona 2014 Directors: Dr. Jaume Ayats i Abeyà i Dr. Francesc Cortès i Mir Als músics de festa major, d'ara i d'abans, sovint ignorats en les grans històries de la música però ben presents en la memòria col·lectiva; i especialment als músics de casa, de qui he après un ofici extraordinari. SUMARI ________________________________ Agraïments 9 Abreviacions 13 Introducció 15 Volkslieder, geni romàntic i música vulgar 17 «Músiques populars»: problemes de definició i d’anàlisi 27 La cançó popular i el catalanisme ideològic 33 Les sardanes com a símbol d’un discurs nacional 42 Estudi de les sardanes llargues de Pep Ventura: hipòtesis i metodologia 46 1. Les orquestres de ball. Transformació instrumental i nous models de gestió i de lideratge 51 Teatres d’òpera i consolidació d'orquestres públiques 53 Nous models d’orquestres de ball 58 Els músics de Pep Ventura 63 Creació i consolidació d’orquestres de gestió privada 68 Els balls de plaça es mantenen com a activitats públiques 72 Transformació de les orquestres de plaça 78 L’orquestra de Pep Ventura per als ballables de saló 83 L’orquestra de Pep Ventura per als ballables de plaça 90 La narrativa pintoresca vers la cobla «de sardanes» 97 Il·lustracions 105 6 Les sardanes de Pep Ventura i la música popular a Catalunya 2. Del teatre a la plaça. Òperes i sarsueles per ballar 115 El Teatre a Figueres o el poder de l’elit burgesa 117 La cartellera del Teatre municipal 120 Virtuosisme, fantasmagories i magnetisme animal 125 Com l’òpera italiana esdevé música popular 132 Òperes al Passeig Nou i a la Rambla de Figueres 138 L’òpera italiana en el naixement de les sardanes llargues 143 Anàlisi de les sardanes sobre temes lírics de Pep Ventura 149 La Mercè 1871 i 1872: la invenció de la festa «popular» i «catalana» 161 La Mercè 1871 i 1872: la invenció de la sardana com a ball «català» 168 Il·lustracions 177 3. El poder del cant. Cors obrers, cançons de tradició oral i música d'utilitat pública 185 Societats corals: saint-simonisme i utilitarisme 187 Pep Ventura i la fundació de La Erato 195 L’èxit d’Arre moreu 201 Sardanes corejades: un gènere modern i en català 209 La melodia i el significat referencial: un canvi de paradigma 215 El cant de tenora i el ritme «de sardana» 222 El nou cant popular inspirat en la tragèdia grega 231 Il·lustracions 241 4. (Contradanses) sardanes i (contra)danzas cubanes. Relacions musicals entre Catalunya i Cuba 259 La contradansa a Catalunya a l'inici del segle XIX 261 Les contradanses sardanes (o cerdanes) 264 L’estructura ternària de les sardanes llargues 268 La (contra)danza cubana: un altre model de transformació 275 Sardanes llargues i cors de Clavé a Cuba 280 Les sardanes-havaneres de Pep Ventura 284 Interpretació dels ballables: la partitura i el «tanguejat» 293 La nacionalització de la sardana i del danzón 301 Il·lustracions 305 Sumari 7 5. Sardanes republicanes federals durant el Sexenni Revolucionari 325 Un nou model de festa nacional: republicana, laica i a l’aire lliure 327 La Gloriosa i els tres himnes 334 Sardanes i farandoles republicanes 339 Cants del dia i La Cansó del 6 d'octubre 345 La política a l'escena i a la plaça 351 Sardana republicana versus contrapàs carlí 359 Els dos contrapassos de Pep Ventura 364 Sardanes bèl·liques i revolucionàries 368 Lo pom de flors: cant col·lectiu, sardanes i castells 372 Il·lustracions 379 Conclusions 391 Índex d'il·lustracions, taules i exemples musicals 403 Fonts i bibliografia 411 Arxius i biblioteques 413 Publicacions periòdiques 414 Bibliografia 414 Annexos 441 Annex A: Memòries de Josep Jurch i Rivas (1808-1891) 443 Annex B: Els ballables de Pep Ventura al Centre de Documentació de l’Orfeó Català 463 Annex C: Casinos i societats de Figueres i de la província de Girona 483 Annex D: Partitures hològrafes de Pep Ventura 491 Annex E: Activitat al Teatre Municipal de Figueres (1850-1874) 497 Annex F: Anàlisi comparativa entre 8 sardanes de Pep Ventura i les obres líriques de referència 505 AGRAÏMENTS ________________________________ Acabar la tesi doctoral significa tancar una etapa, finalitzar uns anys d'estudi universitari en els quals aprens uns continguts, unes metodologies i, sobretot, llegeixes molts llibres que et van confegint un esperit crític. Tanmateix, un dels valors més importants d'aquest camí són, sens dubte, les persones amb qui has construït, discutit i compartit moltes de les idees que ara et semblen ben teves. El primer reconeixement vull que sigui pels directors de tesi. Al Dr. Francesc Cortès li agraeixo tota l'ajuda en els tràmits de petició i seguiment de la beca de Formación de Profesorado Universitario del Ministerio de Ciencia e Innovación (2006-2010, AP2005- 461) i que, des de llavors, m'hagi donat la possibilitat de col·laborar en projectes de recerca que m'han obert les portes a la participació en col·loquis i congressos. Al Dr. Jaume Ayats li dono les gràcies per confiar en mi en tantes recerques i publicacions conjuntes i per ensenyar-me una manera de veure el món a través de les músiques, una mirada que qüestiona, que s'interessa pels significats i que troba respostes en els processos i no pas en els objectes. Als companys musicòlegs també els dec una part molt important d'aquest treball, perquè no només he tingut la sort de fer-hi recerca, d'escriure llibres, de descobrir paisatges, de conèixer ciutats, sinó també d'instruir-me en tot allò que només s'aprèn amb l'experiència i amb l'assossec d'una llarga sobretaula. Amb ells he entès que el treball en equip és molt més que una suma de coneixements, i que la confiança, la perseverança i la cooperació són imprescindibles per assolir les fites més interessants. 10 Les sardanes de Pep Ventura i la música popular a Catalunya També vull fer públic un agraïment especial a dues persones que han seguit de molt a prop l'elaboració d'aquestes pàgines. Al Dr. Joaquim Rabaseda, per ajudar-me a qüestionar cada nova informació, a localitzar la bibliografia més recent, a aplicar sempre la metodologia més adequada, marcant en aquest treball una empremta tan important com invisible. A la Dra. Isabel Ferrer, per haver-me ajudat en la maquetació de la tesi, una tasca formidable, pacient i minuciosa, que només reflecteix, però, la darrera hora d'un suport incondicional al llarg d'uns anys d'amistat i de col·laboració professional molt intensos. En aquest grup d'amistats, i alhora grans professionals, també vull incloure-hi la Dra. Aurélie Vialette, amb qui he pogut conversar i posar en comú diversos coneixements sobre el període històric de la recerca, especialment sobre la figura Josep Anselm Clavé, i de qui he rebut una ajuda i una amistat extraordinàries. També vull fer explícit el meu agraïment a algunes de les persones que m'han facilitat la recerca en els arxius i biblioteques que més he sovintejat. En primer lloc, a la Montserrat Bergadà, que des del primer moment va facilitar-me l'accés al fons de Pep Ventura del Centre de Documentació de l'Orfeó Català, i a la Maria Sadurní, que l'any 2006 va elaborar el catàleg provisional de les partitures. De la mateixa institució, i ja més recentment, vull donar les gràcies a la Laura Espert i a la Marta Grassot per mantenir amb tan bona predisposició l'interès vers aquest estudi. En segon lloc, m'agradaria explicar que en Jordi Gargallo, més enllà de ser una peça clau de l'Associació Musical de Mestres Directors i de la Federació de Cors de Clavé, és una persona d'aquelles a les quals el país sencer, no només jo, està en deute, sobretot per la magnífica tasca de vetllar pel coneixement i per la difusió del patrimoni musical català. No cal dir que a Figueres he necessitat l'ajuda de moltes persones, però el meu primer agraïment voldria que fos per en Rodolfo Márquez i la Núria Bassagañas de la Societat Coral Erato, per facilitar-me l'accés a una documentació valuosíssima de l'època de Pep Ventura, així com les partitures del fons de l'entitat. També vull anomenar l'Erika Serna de l'Arxiu Comarcal de l'Alt Empordà, la Nati Vilanova de la Biblioteca Fages de Climent i l'Eva Astarloa de l'Arxiu Històric Municipal de Figueres. Totes aquestes persones i institucions ja van col·laborar en l'exposició temporal que vaig comissariar al Museu de l'Empordà l'any 2009. La mostra va ser un punt d'inflexió important en l'elaboració de la tesi i per aquest motiu també vull donar les gràcies a l'Anna Capella, directora del Museu, i a tot l'equip que va fer-la possible. Agraïments 11 Diverses persones, a més, m'han obert les portes de casa seva per a documentar arxius privats. Aquest és el cas de Jordi León i de Vicenç Esteban, que m'han possibilitat la consulta de sardanes antigues, de la Marta Planella, que m'ha fet conèixer l'arxiu de la seva família de Tortellà, i de Gregori Campos a través del qual he pogut consultar l'arxiu de partitures de la Unió Excursionista de Catalunya a Olesa de Montserrat.
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