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El Clarinete En Inglaterra: Frederick Thurston (1901-1953)

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El Clarinete En Inglaterra: Frederick Thurston (1901-1953) ESCUELA DE DOCTORADO Facultad de Formación de Profesorado y Educación Programa de Doctorado en Educación TESIS DOCTORAL EL CLARINETE EN INGLATERRA: FREDERICK THURSTON (1901-1953) Autora: Cristina María Strike Campuzano Directores: Dr. Enrique Muñoz Rubio Dr. Carlos Javier Fernández Cobo FEBRERO DE 2018 Agradecimientos A los directores de tesis, el Dr. Enrique Muñoz Rubio y el Dr. Carlos Javier Fernández Cobo por el apoyo recibido y por guiarme en este proyecto. A la familia Davis: Howard, Rachel, Rachel-Emily, Theo, Timothy, Phillip, Thomas y el recién nacido Leo, por su hospitalidad desbordante y por hacerme pasar varios de los mejores meses de mi vida. A la Dra. Helena Gaunt y Kate McNamara, por permitirme sin condiciones la estancia académica en Londres. A los entrevistados: Colin Bradbury, por su ayuda constante, su generosidad y por posibilitarme todos los documentos de los que él disponía sobre Frederick Thurston; Michael Harris por su amabilidad; Janet Hilton por su experiencia; Colin Lawson por su tiempo; Julian Farrell por enseñarme tanto; y Joy Farrall y Neil Black por su amor hacia Thea. A la British Library por hacerme descubrir múltiples posibilidades de conocimiento en la investigación. A la biblioteca de la Guildhall School of Music & Drama: Knut, Kate, Ainara, Rebecca y Adrian, por la inmensa ayuda recibida; a Paul Campion y David Herbert de la Worshipful Company of Musicians; a Margaret Jones del departamento de música de la biblioteca de la Universidad de Cambridge; a Martin Holmes y Juliet Chadwick de la facultad de música de la Bodleian Library de la Universidad de Oxford; a Jenny Nex del Museo de Instrumentos de la Universidad de Edimburgo; a Peter Horton, Maira Rosaria Canzonieri y Michael Mullen de la biblioteca del Royal College of Music; a Adam Taylor de la biblioteca de la Royal Academy of Music; a Helen Bader de la biblioteca del Royal Welsh College of Music & Drama; a The Barracks Whittington; a Rebecca y Lilley de The Lutyens Trust: a Mortlake Crematorium; a Miranda del Festival Internacional de Edimburgo; a Rob Barnett y Len Mullenger de Music Web; a D.C. Thomson & Co Ltd y a Johnston Press. A Harold Manuel Gomez1 por su visita y por la maravillosa correspondencia mantenida; a Donald y Nigel Westlake; a Celia y Colin Frank; a Nicola Lefanu; a Michael Bryant; a Paul Harris; a Albert Rice; a mi padre por su gran colaboración con las traducciones y transcripciones de las entrevistas; a mi madre por su exhaustiva revisión del texto; a mi hermano; a José Luis Turina; a Sandra Borg; a Veda Lin; a Marta Torres; a Adela Benítez Muñoz; a Eusebio Alonso; a Jessica Tse; a Simon Wills; a Mathew Lloyd; a Besheer Abbaro; y a Marian Gomez2. En especial a mi familia y amigos, por su ayuda, por su ánimo y por entender mis ausencias y mi silencio. Y a Rubén, por estar siempre a mi lado. 1 Harold Manuel Gomez. Nacido en Cánada y por ello la omisión de la tilde diacrítica en Gomez. 2 Marian Gomez. Nacida en Gran Bretaña y por ello la omisión de la tilde diacrítica en Gomez. ÍNDICE Abreviaturas, siglas y signos utilizados ...................................................................... 13 ÍNDICE DE ILUSTRACIONES ................................................................................. 15 ÍNDICE DE TABLAS .................................................................................................. 19 CAPÍTULO I ................................................................................................................ 21 1.1. Introduction ........................................................................................................... 21 1.1. Introducción ........................................................................................................... 21 1.2. Justification ............................................................................................................ 22 1.2. Justificación ............................................................................................................ 24 1.3. Estado de la cuestión ............................................................................................. 26 1.3.1. Publicaciones que hacen referencia a Frederick Thurston .......................... 27 1.3.2. Artículos biográficos sobre Frederick Thurston en revistas de interés científico ...................................................................................................... 29 1.3.3. Artículos conmemorativos a la persona de Frederick Thurston................. 30 1.3.4. Otras publicaciones relacionadas directamente con Frederick Thurston .... 31 1.3.5. Estudios focalizados en Frederick Thurston no obtenidos .......................... 32 1.3.6. Publicaciones sobre la historia y evolución del clarinete en Inglaterra ...... 33 1.3.7. Tesis doctorales relacionadas con el clarinete en Inglaterra ....................... 35 1.3.8. Fuentes primarias ........................................................................................ 37 1.4. Objetivos e Hipótesis ............................................................................................. 37 1.5. Metodología ............................................................................................................ 38 1.6. Criterios de citación y traducción documental ................................................... 44 CAPÍTULO II: VIDA DE FREDERICK THURSTON ........................................... 47 2.1. Infancia y primeros contactos con la vida musical del país ............................... 47 2.1.1. Niñez ........................................................................................................... 47 2.1.2. Oxford ......................................................................................................... 49 2.1.3. Hugh Allen y Adrian Boult ......................................................................... 50 2.1.4. Primeros encuentros entre Frederick Thurston y Adrian Boult .................. 52 2.2. Royal College of Music, Londres.......................................................................... 54 2.2.1. Estudiar en el RCM ..................................................................................... 54 2.2.2. Concierto para clarinete y orquesta en la menor op. 80 de Charles Villiers Stanford........................................................................................................ 59 2.3. Los principios del “Broadcasting” (1922-1924) .................................................. 61 2.3.1. Primeras retransmisiones: la emisora 2LO, Marcony Company y la British Broadcasting Company ................................................................................ 61 2.3.2. The Wireless Orchestra. Comienzo de la carrera profesional the Frederick Thurston ....................................................................................................... 70 2.4. Consolidación de Frederick Thurston en el panorama musical inglés del momento (1925-1930) ................................................................................................... 73 2.4.1. El sistema de sustitución y la British Broadcasting Corporation ................ 75 2.4.2. El bajo nivel musical de la orquesta ............................................................ 79 2.4.3. La British Broadcasting Corporation, Henry Wood y los Proms ............... 79 2.4.4. Hacia una orquesta permanente .................................................................. 82 2.5. Frederick Thurston y los comienzos de la BBC SO (1930-1939) ...................... 87 2.5.1. Debut de la BBC SO ................................................................................... 91 2.5.2. Personalidad de Frederick Thurston............................................................ 93 2.5.3. La fama........................................................................................................ 96 2.5.4. Primeros años de la BBC SO ...................................................................... 98 2.5.5. Método de clarinete de Frederick Thurston .............................................. 108 2.6. La Guerra (1939-1944) ........................................................................................ 110 2.6.1. Inicio de la Guerra ..................................................................................... 110 2.6.2. Despedida de Bristol y llegada a Bedford ................................................. 115 2.6.3. Final de la Guerra y despedida de Thurston.............................................. 123 2.6.4. Regreso de la orquesta (1945-1946): periodo de inestabilidad ................. 124 2.6.5. Philharmonia y Walter Legge ................................................................... 126 2.7. Frederick Thurston: últimos años (1946- 1953)................................................ 127 2.7.1. “Freelancing”: 1946-1948 ......................................................................... 127 2.7.2. NYO de Gran Bretaña ............................................................................... 133 2.7.3. Philharmonia Orchestra ............................................................................. 138 2.7.4. Reunión con Benny Goodman .................................................................. 142 2.7.5. Mediados de siglo ..................................................................................... 145 2.7.6. Enfermedad ............................................................................................... 155 2.7.7. Conclusiones del capítulo ........................................................................
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