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El Pensamiento Musical De Felip Pedrell (1841 - 1922)

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El Pensamiento Musical De Felip Pedrell (1841 - 1922) ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi queda condicionat a lʼacceptació de les condicions dʼús establertes per la següent llicència Creative Commons: http://cat.creativecommons.org/?page_id=184 ADVERTENCIA. El acceso a los contenidos de esta tesis queda condicionado a la aceptación de las condiciones de uso establecidas por la siguiente licencia Creative Commons: http://es.creativecommons.org/blog/licencias/ WARNING. The access to the contents of this doctoral thesis it is limited to the acceptance of the use conditions set by the following Creative Commons license: https://creativecommons.org/licenses/?lang=en Cristina Álvarez Losada El PEnsamiEnto musical dE FEliP PEdrEll (1841 - 1922) Tesis doctoral dirigida por el Dr. Josep Maria Gregori i Cifré Universitat aUtònoma de Barcelona FacUltat de FilosoFia i lletres departament d’art i de mUsicologia 2017 El PEnsamiEnto musical dE FEliP PEdrEll (1841 - 1922) Cristina Álvarez Losada Tesis doctoral dirigida por el Dr. Josep Maria Gregori i Cifré Universitat aUtònoma de Barcelona FacUltat de FilosoFia i lletres departament d’art i de mUsicologia 2017 A Francesc Bonastre i Bertran, primer director de esta tesis doctoral, maestro y amigo. Me siento sincera y profundamente agradecida a todos y cada uno de los que me habéis acompañado en este camino, profesores, compañeros, familia y amigos. Gracias especialmente al Dr. Josep Maria Gregori i Cifré, porque sin su inestimable ayuda y apoyo esta tesis no sería posible, Infinitas gracias. ÍndicE GEnEral introducción 17 1. objEtivos y mEtodoloGÍa 18 2. FuEntEs Para El Estudio dEl PEnsamiEnto musical dE FEliPE PEdrEll y Estado dE la cuEstión 21 i. notas Para una nuEva visión bioGráFica dE FEliP PEdrEll 41 1. considEracionEs PrEvias 41 2. cronoloGÍa 51 ii. HistorioGraFÍa y PEnsamiEnto musical En la obra dE FEliP PEdrEll un análisis a Partir dE Por nuestra música 99 1. considEracionEs PrEvias 99 2. El modElo HistorioGráFico dE PEdrEll 101 2.1 Contexto 101 2.2 Formación de Felip Pedrell 107 2.3 Defnición del modelo. Presupuestos y bases conceptuales de la historiografía musical de Pedrell. 117 2.4 Narrativa historiográfca de Pedrell. 122 2.5 Planteamientos metodológicos obra musicográfca de Pedrell 130 3. lÍnEas vErtEbradoras dEl PEnsamiEnto musical dE PEdrEll 139 3.1. Felip Pedrell y Antonio Eximeno: “Sobre la base del canto nacional debía construir cada pueblo su sistema” 141 3.2. Felip Pedrell, Josep Yxart y la ópera nacional 156 3.3. Wagnerismo en Pedrell 161 3.4. César Cui, la escuela rusa y “Los cinco” en el pensamiento musical de Pedrell 177 3.5. La música popular 184 3.6. El Drama lírico nacional 189 3.6.1. Drama lírico como Lied desarrollado 189 3.6.2. Relaciones texto-música 190 3.6.3. Defnidores musicales del drama lírico nacional 201 anExos al caPÍtulo ii 213 iii. obsErvacionEs sobrE la diFusión dEl PEnsamiEnto musical dE PEdrEll 245 1. Edición litEraria y musical 245 2. diFusión dE Por nuEstra música 267 3. una Polémica En PrEnsa: ¿PEdrEll PlaGiario? 272 anExos al caPÍtulo iii 281 iv. catáloGo dE la obra litEraria, crÍtica y musicolóGica dE FEliP PEdrEll 327 1. considEracionEs PrEvias y critErios dE cataloGación 327 2. catáloGo 337 1. artícUlos 337 1. Publicaciones periódicas 1.1. Colaboraciones regulares 337 1. La España Musical. (1866-1873) 337 2. Notas Musicales y Literarias. (1882-1883) 341 3. Ilustración Musical Hispano-Americana. (1888-1896) 343 4. Diario de Barcelona. (1891-1892) 348 5. La Vanguardia. (1902-1922) 351 6. La Alhambra. (1902-1922) 381 7. Revista Musical Catalana. (1904-1914) 385 8. Gaceta de Mallorca. (1907-1909) 388 9. Musiciana. (1916-1917) 391 1.2. Colaboraciones puntuales 394 2. Recopilaciones de artículos 400 1. Musicalerías. (1906) 400 2. Lírica Nacionalizada. Estudios sobre folk-lore musical. (1909) 403 3. Músicos contemporáneos y de otros tiempos. (1910) 406 4. Musiquerías. (1912) 410 5. Las formas pianísticas. (1918) 414 2. antologías y ediciones mUsicales. 417 1. Salterio Sacro-Hispano. (1882-83; 1886; 1904) 417 2. Notas Musicales y Literarias. (1882-1883) 425 3. Ilustración Musical Hispano-americana. (1888-1896) 427 4. El Organista Litúrgico español. (1905) 446 5. Antología de organistas clásicos españoles (siglos XVI, XVII y XVIII). (1908) 447 6. Teatro Lírico Español anterior al siglo XIX. (1897) 449 7. Hispaniae Schola Musica Sacra. (1894-1898) 452 8. Thomae Ludovici Victoria Abulensis. Opera Omnia. Leipzig. (1902-1913) 453 9 Cancionero Musical Popular Español. (1918-1922) 453 3. diccionarios y voces de diccionarios 455 4. escritos técnicos y teórico mUsicales 455 5. monograFías 456 6. otras pUBlicaciones. 457 1. Bibliografías y Catálogos bibliográfcos 2. Traducciones 3. Prólogos 4. Otros 7. conFerencias y cUrsos. 459 1. Conferencias en el Ateneo Barcelonés. (1892-1893; 1909). 2. Conferencia de presentación en la Escuela Nacional de música (1893) 3. Discurso leído en la recepción pública de Felip Pedrell en la Real Academia de Bellas Artes de San Fernando. (1895). 4. Conferencias en el Ateneo de Madrid.(1895-1896). 5. Cursos en el Ateneo de Madrid. Escuela de Estudios Superiores (1896-1903) 6. Instituto de Cultura y Biblioteca Popular para la mujer. 7. Conferencias en la Festa de la música Catalana. (1904-1905). 8. Discurso en la Festa de la Bellesa. Centre Català de Palafrugell. (1905) 9. Conferencias en la Academia de Música Granados. (1905-1906). 10. Conferencia en el III Congreso Nacional de Música Sagrada. (1912). anExos al caPÍtulo iv 462 conclusionEs 503 biblioGraFÍa 513 siGlas y abrEviaturas AIEC: Anuari de l’Institut d’Estudis Catalans LN 1909: pedrell, Felip, Lírica nacionaliza- AS: Álbum Salón da. Estudios sobre folk-lore musical, AT: Atenea París: Ollendorf, 1909. BC. Biblioteca de Catalunya LVG: La Vanguardia BDH: Biblioteca Digital Hispánica MC 1910: pedrell, Felip, Músicos contempo- ráneos y de otros tiempos. Estudios de BNE: Biblioteca Nacional de España vulgarización, Primera serie, París: CMPE 1918-1922: pedrell, Felip, Cancio- Ollendorf, 1910. nero Musical Popular Español, Valls: ML 1906: pedrell, Felip, Musicalerías, Va- E. Castells, 1917-1922 lencia: Sempere y Cª, 1906. DB: Diario de Barcelona mQ 1912: pedrell, Felip, Musiquerías, París: DT: Diario de Tortosa Ollendorf, 1912. EAM: El Arte Musical MSC: Musiciana. Publicación de la Academia EM: Enciclopedia Musical Granados. EUC: Estudis Universitaris Catalans MSH: Música Sacro-Hispana FP 1918: pedrell, Felip, Las formas pianísti- PP: Pro Patria cas. Orígenes y transformaciones de las QM-LVG: «Quincenas Musicales» en La formas musicales, 2 vol., Valencia: Vanguardia. M. Villar, 1918. RC: Revista Contemporánea GM: Gaceta de Mallorca RG: Revista de Gerona HN: Hispania RGr: Revue Grégorienne IET: Institut d’Estudis Tarraconenses REF: Revista de Estudios Franciscanos ICCMU: Instituto Complutense de Ciencias Mu- RMB: Revista Musical de Bilbao sicales RMC: Revista Musical Catalana IMHA: Ilustración Musical Hispanoamericana RMHA: Revista Musical Hispano-Americana LA: La Alhambra SIMG: Sammelbände der Internationalen Musik- LCE: La Correspondencia de España gesellschaft. LCM: La Correspondencia Musical SRSIQ: Summa. Revista Selecta Ilustrada Quin- LE: La Esfera cenal. LIM: La Ilustración Moderna LME: La Música Religiosa en España. a. año óp. ópera ac. acompañamiento op. opus Ant. antífona orat. oratorio Arr. arreglo órg. órgano arm. armonización orq. orquesta B bajo p. página/-as Bar barítono pf. piano bem. bemol post. posteriormente c. canto prel. preludio Cant. cántico Ps. Salmo comp. composición/es publ. publicado cuart. cuarteto reduc. reducción dig. digitación Resp. responsorio ed. edición/editor rev. revisión eds. editores S soprano/-os estr. estreno s. siglo f. fauta Sec. secuencia fr. francés sol. solista Grad. gradual T. tenor harm. harmonio Ti. tiple Id. Idem trad. traducción Inc. incompleto transc. transcripción it. italiano v. voz/voces litúrg. litúrgico/ca v.i. voces iguales M mayor v.m. voces mixtas m menor vc. violonchelo Mot. motete/-es vl. violín ms. manustrito/-a vla. viola n. número/-os vol. volumen/es Fig. 1. Felipe Pedrell. 1917. Fondo Pedrell, Biblioteca de Catalunya introducción Fue el Dr. Francesc Bonastre i Bertran quien, al comenzar mis estudios de doctorado, me orientó hacia la fgura y la obra de Felip Pedrell. Él estaba terminando su proyecto sobre la música de la catedral de Barcelona, y tenía ya en mente comenzar a trabajar de nuevo sobre Pedrell, con el que sería su último proyecto de investigación, Orígenes y Articulación de la Musico- logía Hispánica en Europa, Felipe Pedrell (1841-1922), Higinio Anglés (1888-1969). El Dr. Bonastre sentía una identifcación especial con la fgura de Felip Pedrell, y dedicó numerosos esfuerzos a dar a conocer su obra, realizando numerosas investigaciones y publicaciones, e impulsando a jóvenes investigadores a profundizar en la fgura y en la obra de Pedrell. Mi primer acercamiento consistió en la realización de un trabajo de investigación sobre la obra para piano de Felip Pedrell, lo que me llevó a constatar que era necesario profundizar y clarifcar algunos aspectos sobre historiografía y pensamiento musical en la obra de Felip Pedrell; además, dadas las características de su producción literaria, crítica y musicológica, era conveniente la elaboración de un catálogo de la misma que tuviera en cuenta las correspon- dencias entre obras y artículos publicados. Basta asomarse ligeramente al estudio de la fgura de Felip Pedrell para darse cuenta de la gran complejidad que supone intentar abarcar el análisis de una sola de sus facetas. En primer lugar, desarrolló una intensa actividad en diversos frentes: desde la composición, a la investi- gación histórica de la música, el folklore, la crítica, la ensayística, la pedagogía, la divulgación. Además, cada uno de estos aspectos se halla intrínsecamente ligado a todos los demás, for- mando un sistema en el que no se puede explicar uno de los elementos sin la presencia de los demás. No puede entenderse el interés de Pedrell por la música histórica y la música popular, por ejemplo, sin tener en cuenta su implicación como compositor, su postura regeneracionis- ta, su interés pedagógico y divulgativo, sus ideas estéticas, y las bases conceptuales sobre las que construye su narrativa histórica.
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