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INTERMEZZO Editorial INTERMEZZO NÚMERO 57 - FEBRERO 2015 Editorial Sumario CENTENARIO DE LA 2 SERGUÉI PROKÓFIEV: SU NATURALEZA CLÁSICA (PARTE I) MUERTE DE ALEXANDER DIEGO PEREIRA LÓPEZ SCRIABIN (1872-1915) 5 HACIA LA DANZA MODERNA: Recibimos el nuevo año 2015 con algunas PEDAGOGÍA DE UNA FUSIÓN efemérides destacadas, entre las que señala- VERÓNICA GARCÍA PRIOR mos la del célebre compositor y pianista ruso, 8 LOS PREMIOS BARRANCO, Alexander Scriabin, considerado uno de los ma- LA MOTIVACIÓN DE UNA ÉPOCA yores exponentes del postromanticismo y el ato- PILAR FLORES NÚÑEZ nalismo libre. 11 LOS ESTUDIOS DE CHOPIN JUAN JESÚS PERALTA FISCHER La importancia de Skriabin en la escena mu- 17 LA ZARZUELA BARROCA: EL TEATRO sical soviética, como a nivel internacional ha MUSICAL BARROCO EN ESPAÑA (PARTE I) sido capital en la posterior evolución del len- JORGE MUÑOZ BANDERA guaje sonoro. Especialmente significativo fue 21 Hoy hablamos con... para el devenir del Pianismo, como visionario ENTREVISTA A ANABEL GARCÍA DEL CASTILLO sin precedentes, cuyo lenguaje descubrió al POR PAULA CORONAS VALLE mundo espacios y conceptos nuevos para el arte y la creación musical. 24 LAS ESCUELAS DE VIOLÍN (II): LAS ESCUELAS FRANCESA Y FRANCO-BELGA Tanto desde su faceta creadora como la de SANTIAGO DE LA RIVA Mª ÁNGELES MARTÍNEZ GONZÁLEZ intérprete, el músico soviético inauguró un pen- samiento estético y una filosofía artística de EL VIBRÁFONO 30 gran magnitud que pueden apreciarse gracias a PATRICIA ESCRIBANO LÓPEZ su legado sonoro y a su producción. 34 ALLEGRETTO. HISTORIAS DE MI HISTORIA SUSANA MOYA La próxima edición 2015 del Concurso de 36 Agenda Musical Piano que convoca este centro, Conservatorio PAULA CORONAS VALLE Profesional de Música Manuel Carra de Málaga, rinde homenaje a su figura con una selección de obras obligadas para los aspirantes de cada curso. Esperamos que a lo largo de este año se sumen nuevas propuestas e iniciativas para re- cordar la memoria de este insigne maestro. Paula Coronas DIRECTORA DE INTERMEZZO DIRECCIÓN: PAULA CORONAS. CONSEJO DE REDACCIÓN: IVÁN VILLA, ANA FERNÁNDEZ MOLINA, VERÓNICA RUIZ SANTIAGO DISEÑO GRÁFICO PORTADA: JOAQUÍN VILLALÓN (MADRID) ISSN: 1576 - 8538 Depósito Legal: MA - 209 - 96 · IMPRIME: Gráficas Anarol. Málaga INTERMEZZO no se hace responsable de las opiniones vertidas en los reportajes e informaciones firmadas. 1 INTERMEZZO SERGUÉI PROKÓFIEV: SU NATURALEZA CLÁSICA (PARTE I) DIEGO PEREIRA LÓPEZ Profesor de Fundamentos de Composición en el Conservatorio Profesional “Martín Tenllado” de Málaga contemporánea. Un poco más tarde le propusieron a Resumen: Prokófiev, la presentación de sus propias composicio- La madre de Prokófiev era una pianista aficiona- nes. Compone con un estilo clásico que viene refleja- da y durante muchos años fue su única fuente de do en su forma, ritmos y texturas. Utiliza el acorde de formación musical. Ella le enseñó a tocar el pia- formas clara y sencilla en su lenguaje armónico. no, para ello utilizó un repertorio tradicional, es- tudiando a Mozart, Haydn, Beethoven y Chopin. En 1917 se producen los sucesos que conducen al El propio Prokófiev habla de la excelente labor derrocamiento del régimen zarista, por lo que un año pedagógica de su madre, diciendo: después Prokófiev abandona Rusia y se dirige hacia Estados Unidos, allí permanecerá cierto tiempo, para “Mi madre tenía gran talento pedagógico. De for- trasladarse en 1923 a París. ma relajada ella me guío y me explicó el uso del instrumento”1 En esta época París es el centro del mundo de la música nueva, Prokófiev absorbe influencias y es por Su madre quería desarrollar en él un amor por la lo que en este período su estilo de composición evo- música y por el piano, por lo que trataba de sa- luciona, ya que tenía gran inquietud por innovar y tisfacer al joven Prokófiev con el repertorio que conseguir la búsqueda de sonidos y armonías nuevas, mejor se adaptara a sus gustos, eligiendo compo- siciones cortas y hermosas. Su madre se esmeró en creando una música original y diferente a todo lo co- no aplastar su temprano entusiasmo musical. Estas nocido hasta entonces. primeras experiencias han demostrado ser la au- En una entrevista estadounidense, Prokófiev decla- téntica columna vertebral de su lenguaje musical. ró: “La virtud cardinal de mi vida ha sido siempre la Palabras claves: búsqueda de la originalidad a través de mi propio len- Forma musical, estilo vienés, scherzo, hemiolia, guaje musical. Odio la imitación, odio los métodos escalas, tonalidad, originalidad. trillados. No quiero usar la máscara de otra persona. Simplemente quiero ser yo mismo”.2 Prokófiev escribió su autobiografía a la edad de Serguéi Prokófiev nació en Sóntsovka (actualmen- cincuenta años. En ella explica las cinco categorías te la ciudad de Krásnoye, en laÓblast de Donetsk), que eligió para sus composiciones musicales: Ucrania el 23 de abril de 1891. Al tratarse de un pue- blo pequeño no tuvo ocasión de participar en diferen- • Clásica tes actividades culturales. • Moderna • Toccata En 1904 Prokófiev fue admitido en el Conserva- torio de San Petersburgo. Estudió con los siguientes • Lírico maestros: Nikolai Rimsky-Korsakov, Alexander Gla- • Grotesco zunov, Anatoly Lyadov y Nikolai Tcherepnin. Estos La obra que propongo para analizar, forma parte maestros trabajaron con el joven Prokófiev al estilo de una colección de 10 piezas catalogadas bajo el clásico vienés. Opus 10: Scherzo. Prokófiev cataloga el scherzo en la En 1908 asiste al evento: “Tardes de Música Mo- línea o categoría “Toccata”, también la denomina lí- derna”, una serie de conciertos progresivos de música nea “motor”. Esta pieza está compuesta a raíz del gran 1 David Appel, Prokófiev by Prokófiev: A Composer´s Me- 2 Israel Nestyev, Sergei Prokofiev: His Musical Life (New moir (Garden City: Doublesay, 1979), p.13 York: Knopf, 1946) p. 123 2 SERGUÉI PROKÓFIEV: SU NATURALEZA CLÁSICA INTERMEZZO impacto que provocó en Prokófiev la primera vez que El material con el que elabora el tema está basado escuchó la Toccata de Schumann. en la visión triádica del acorde (seguimos observando hasta ahora un lenguaje completamente clásico). Se A continuación se realizará un análisis del Scherzo produce un intervalo de sexta descendente con dos Opus 10, una pieza en la que se puede apreciar la notas reales del acorde de tónica (La y Do) a con- yuxtaposición entre lo clásico y lo moderno. tinuación emprende de nuevo el viaje al punto de La forma musical se reconoce con claridad: Una partida por grados conjuntos, para ello utiliza la es- estructura ternaria, con una pequeña introducción y cala melódica de La menor para evitar así el giro de una Coda: segunda aumentada que provocaría la alteración de la sensible: Introducción A Trans. B Trans. A’ Coda 1-4 5-59 60 61-104 105-120 121-184 185-200 Introducción (c-1 – c-4) Tiene una duración de cuatro compases. Prokófiev presenta de forma breve el material de acompaña- miento que aparecerá perenne en el transcurso de la obra. Con una articulación característica de dos notas ligadas y una suelta que confiere un carácter juguetón y gracioso a la totalidad de la composición, por lo que observamos una correspondencia entre el título de la pieza en cuestión y el carácter de la misma. Sección “A” (c-5-59) La estabilidad tonal es total. En la mano izquierda aparecen dos pedales: en la fracción fuerte del com- Tiene una duración de 55 compases y análogo a la pás surge la pedal de tónica, en la tercera parte (frac- forma global de la pieza su estructura también es ter- ción débil) la pedal de dominante. naria con coda, presenta dos temas y a continuación se produce la repetición ornamentada del primero, Tan sólo en el compás 17 se pone en entredicho para abreviar denominaremos al primer tema “a” y al esta explicitud tonal, aparece un acorde de mi bemol segundo “b”. menor con 7ª menor, un efecto magnífico que deja entrever el sello personal y exclusivo de Prokófiev. Po- Tema “a” Tema “b” Tema “a´” Coda dríamos justificar este acorde como la cromatización 5 – 20 21 – 36 37 – 52 53 - 59 del V menor de la tonalidad principal. Tema “a” (c-5 – c-20) Muchas secciones de composiciones clásicas han finalizado con la siguiente fórmula cadencial: Prokófiev escribe con la cuadratura característica de los compositores clásicos y románticos, realiza un cadencia rota cadencia perfecta periodo de 16 compases que se divide en dos semifra- (cadencia del engaño) (cadencia auténtica) ses de 8 con la típica construcción de pregunta – res- puesta (la primera semifrase cadencia sobre el acorde El giro melódico que aparecería en el bajo sería el de dominante (c-12), generando un efecto suspensivo siguiente: Mi-Fa – Mi-La. El bajo con el que concluye y la segunda semifrase sobre la tónica (c-20), provo- este primer tema, hace lo siguiente: Mib-FA – Mi –La. cando en este caso un efecto de cierre). Tema “b” (c-21 – c-36) La extensión más habitual en la construcción de un tema es de 8 compases ¿Por qué Prokofiev dobla estos El mismo número de compases y articulación que valores? La respuesta la tenemos en el compás 1en la “a”, sin embargo, dentro de una marco clásico, pre- indicación que hace alusión al “tempo”: Vivacissimo. senta unas armonías nada convencionales, El compo- Si el tema tuviese una duración de 8 compases resul- sitor hace un desarrollo de la armonía esbozada en el taría demasiado breve, ya que la interpretación trans- compás 17 y modula a Mi bemol menor, rompiendo curre en su totalidad en un ambiente virtuosístico (la de esta manera con la relación estelar de quinta justa influencia de la Toccata de Schumann queda patente). que reinó en el sistema tonal. 3 INTERMEZZO SERGUÉI PROKÓFIEV: SU NATURALEZA CLÁSICA Durante los compases 21 – 24 el acorde de tónica Tema “a´” (c-37 – c-52) no aparece desnudo, sino que observamos en la mano derecha cómo aparecen apoyaturas inferiores de me- En esta sección se produce la repetición del primer dio tono con respecto a cada una de las notas que tema ornamentado.
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