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Los Discos De Gentil Montaña En Los Años Sesenta: Análisis De Repertorio E Interpretación

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Los Discos De Gentil Montaña En Los Años Sesenta: Análisis De Repertorio E Interpretación Los discos de Gentil Montaña en los años sesenta: análisis de repertorio e interpretación José Fernando Perilla Vélez Universidad Nacional de Colombia Facultad de Artes Instituto de Investigaciones Estéticas Maestría en Musicología Bogotá D.C., Colombia 2018 II Los discos de Gentil Montaña en los años sesenta: análisis de repertorio e interpretación José Fernando Perilla Vélez Tesis presentada como requisito parcial para optar al título de: Magíster en Musicología Director: Egberto Bermúdez Cujar Profesor Titular Universidad Nacional de Colombia Universidad Nacional de Colombia Facultad de Artes Instituto de Investigaciones Estéticas Maestría en Musicología Bogotá D.C., Colombia 2018 III “- Lo hice todo mal –dijo– y lo entendí todo al revés. La Hija de la Luna me dio muchas cosas pero, con ellas, sólo traje la desgracia sobre mí y sobre Fantasia. Doña Aiuola lo miró largo tiempo. - No –respondió–, eso no lo creo. Seguiste el camino de los deseos y ese camino nunca es derecho.” Michael Ende, La historia interminable, Cap. XXVI. IV V Agradecimientos Agradezco al profesor Egberto Bermúdez por sus clases, escritos, comentarios y difíciles lecciones; al profesor Jaime Cortés, por el auxilio en varias de ellas, por la claridad en sus apreciaciones y enseñanzas; al profesor Carlos Miñana por su buena actitud y apertura. Agradezco a mis compañeras y compañeros, con especial aprecio por Mario Sarmiento, Doris Arbeláez y Manuel Bernal, sus comentarios y el ánimo brindado. A Camilo Vaughan por las vivencias. Agradezco a Jeniffer Montaño, Asistente de la Maestría en Musicología, por sus indicaciones y recomendaciones. A Juliana Pérez por el ánimo final. Agradezco a la familia de Gentil Montaña, a sus hermanos Raúl y Carlos, su viuda Gilma y sus hijos Johnny y Germán. Al profesor Jorge León (Fundación Artística Gentil Montaña) y al profesor Luis Fernando León Rengifo (Universidad de Los Andes). Agradezco especialmente a Mauricio Posada, miembro fundador en 1967 y director en ese entonces de la Sociedad Nacional de la Guitarra Clásica de Colombia por su tiempo, interés y por compartir su archivo personal. Agradezco el apoyo y paciencia de mi padre Manuel, mi hijo Adán, su madre Paola Puerto y su abuela Luz Marina Perdomo. A Vanessa Real y a Luis Daniel Vega, les agradezco por seguir a mi lado. VI Resumen Este trabajo aborda los dos primeros discos publicados por Gentil Montaña (1942-2011) como solista de guitarra, Gentil Montaña y su guitarra, Gentil Montaña Vol. 2. Se analiza su repertorio, las composiciones y arreglos de Montaña incluidos allí y sus interpretaciones musicales. Se pretende mostrar cómo las cuatro estancias (disco, repertorio, obra, interpretación) están articuladas y cómo en ello confluyen tanto el desarrollo del nacionalismo en Colombia, como la vinculación de Montaña con la música popular, el entretenimiento y los desarrollos de la guitarra clásica, dentro de los límites del contexto colombiano. Palabras clave: guitarra clásica, música popular, canción nacional, repertorio, arreglo, interpretación, performance, industria discográfica, nacionalismo VII Abstract This work deals with the first two records published by Gentil Montaña (1942-2011) as a guitar soloist, Gentil Montaña y su guitarra, Gentil Montaña Vol. 2. Repertoire, Montaña compositions, arrangements and his musical performances are analyzed. The aim is to show how the four stays (record, repertoire, work, performance) are articulated and how the development of nationalism in Colombia converges, as well as the connection of Montaña with popular music, entertainment industry and the developments of the classical guitar, within the limits of the Colombian background. Key Words: Classical guitar, popular music, National song, repertoire, arrangement, performance, discographic industry, Nationalism. VIII Lista de tablas y figuras Tabla 1. Obras colombianas en discos de Montaña .................................................................... 32 Tabla 2. Obras latinoamericanas en discos de Montaña ............................................................ 32 Tabla 3. Obras Canon Guitarra clásica en discos de Montaña .................................................... 32 Tabla 4. Obras Estilo internacional en discos de Montaña ......................................................... 33 Tabla 5. Porcentajes para tipo de repertorio en discos de Gentil Montaña ............................... 33 Tabla 6. Porcentajes para tipos de obra en discos de Montaña ................................................. 34 Tabla 7. Orden del repertorio en LP Gentil Montaña y su guitarra ............................................ 34 Tabla 8. Orden del repertorio en LP Gentil Montaña Vol. 2 ....................................................... 35 Tabla 9. Géneros nacionales colombianos en discos de Montaña ............................................. 39 Tabla 10. Tipo de repertorio y porcentajes en Concierto debut de Montaña ............................ 53 Tabla 11. Aires andinos – Esquema formal y tonal Secciones A y B ........................................... 61 Tabla 12. Pasillo No. 2 – Esquema armónico en A y A’ ............................................................... 61 Tabla 13. Rapsodia sueca – Percy Faith – Esquema formal y armónico ..................................... 81 Tabla 14. Rapsodia sueca – Chet Atkins – Esquema formal y armónico ..................................... 81 Tabla 15. Rapsodia sueca – Gentil Montaña – Esquema formal y armónico .............................. 81 Tabla 16. Atkins – Rapsodia sueca – Sección A – Esquema rítmico y armónico del bajo ........... 83 Tabla 17. Montaña – Rapsodia sueca – Sección A – Esquema rítmico armónico del bajo ......... 83 Tabla 18. Rapsodia sueca – Atkins-Montaña – Relaciones en frases de B, B’, B” ....................... 87 FIGURA 1. Los Trisónicos. C.1957 .................................................................................................. 6 FIGURA 2. José Morales interpreta a José A. Morales, con la guitarra de Gentil Montaña ......... 8 FIGURA 3. El cántaro y otras canciones de y por José A. Morales ................................................ 9 FIGURA 4. José A. Morales, su música y sus intérpretes – El corazón de la tierra Vol. VII ........... 9 FIGURA 5. Nuestra música .......................................................................................................... 10 FIGURA 6. Estudio 15 presenta: Ídolos de Colombia .................................................................. 12 FIGURA 7. Lyda Zamora / La fabulosa Lyda Zamora ................................................................... 13 FIGURA 8. Zorba, la danza del Sirtaki. Lyda Zamora y la Guitarra de Gentil Montaña ............... 14 FIGURA 9. Detalle Lyda Zamora y la Guitarra de Gentil Montaña .............................................. 14 FIGURA 10. Detalle contraportada LP Lida Zamora / La fabulosa Lyda Zamora ......................... 15 FIGURA 11. Ensueño .................................................................................................................... 17 FIGURA 12. María Eugenia. La voz de la canción ........................................................................ 18 FIGURA 13. Pequeños Tesoros Musicales en bandola, tiple y guitarra ...................................... 19 FIGURA 14. Detalle contraportada, LP Gentil Montaña y su guitarra. Texto de Jaime Llano ..... 25 FIGURA 15. Gentil Montaña y su guitarra. Foto: fonoteca RTVC. ............................................... 27 FIGURA 16. Gentil Montaña Vol. 2. Foto: fonoteca RTVC. .......................................................... 28 FIGURA 17. Detalle contraportada, LP Gentil Montaña y su guitarra ......................................... 29 FIGURA 18. Carátula de la partitura Rapsodie Sue’doise – S.E.M.I. ........................................... 56 IX Contenido Agradecimientos ................................................................................................................................... V Resumen .............................................................................................................................................. VI Abstract .............................................................................................................................................. VII Lista de tablas y figuras ...................................................................................................................... VIII Introducción .......................................................................................................................................... 1 1. Los discos de Gentil Montaña como solista de guitarra: 1964-1965 ............................................... 3 Educación y práctica musical de Gentil Montaña: antecedentes para sus discos como solista ............... 3 Otros discos de Gentil Montaña en la década de 1960 ............................................................................ 7 Gentil Montaña y la guitarra clásica ...................................................................................................... 20 Los discos como solista........................................................................................................................... 23 Contenido de los discos ..................................................................................................................... 23 2. El repertorio ...............................................................................................................................
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