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Consmupa Conservatorio Superior De Música CONSMUPA CONSERVATORIO SUPERIOR DE MÚSICA “EDUARDO MARTÍNEZ TORNER” Departamento de Cuerda !Disertación sobre la Sonata para Violonchelo solo de György Ligeti: un enfoque tanto armónico y estructural como interpretativo” Santiago Ruiz de la Peña García Oviedo, mayo 2021 CONSMUPA CONSERVATORIO SUPERIOR DE MÚSICA “EDUARDO MARTÍNEZ TORNER” Departamento de Cuerda !Disertación sobre la Sonata para Violonchelo solo de György Ligeti: un enfoque tanto armónico y estructural como interpretativo” Trabajo Fin de Estudios realizado por Santiago Ruiz de la Peña García Bajo la dirección del Dr. Miguel Ángel Cuesta González Oviedo, mayo 2021 ! AGRADECIMIENTOS En primer lugar, quiero agradecer a mi tutor, D. Miguel Ángel Cuesta González, por su dirección, orientación metodológica y constantes palabras de ánimo y apoyo en la elaboración de este trabajo. A mi profesor de violonchelo, D. Viguen Sarkissov Sarkissov, agradecerle su inestimable enseñanza en cuestiones interpretativas y aspectos técnicos sobre el instrumento que tanto me han ayudado a comprender mejor esta sonata. Al profesor D. Jorge Carrillo Fernández, por el tiempo dedicado a mis consultas y su inestimable orientación en la apreciación de la música del siglo XX. 3 RESUMEN El presente trabajo final de carrera analiza la Sonata para Violonchelo solo del compositor húngaro, nacionalizado austriaco, György Ligeti (1923-2006). Construida en dos movimientos, Dialogo y Capriccio, compuestos en 1948 y 1953 respectivamente, pertenece a la época húngara del compositor, marcada por la influencia de Béla Bartók y su maestro Zoltán Kodály. A diferencia de las obras corales compuestas en esa época, que siguen la estética oficial, la Sonata para Violonchelo solo muestra un lenguaje más evolucionado y transgresor. La obra permanecería en silencio durante más de 30 años, hasta ser interpretada en 1983, en París, por el violonchelista alemán Manfred Stilz. En la actualidad, es considerada por los intérpretes y la crítica como una de las grandes sonatas para violonchelo solo del siglo XX, junto a las de Kodály y Hindemith. ABSTRACT This final degree work analyzes the Sonata for Violoncello solo by the Hungarian composer, Austrian nationalized, György Ligeti (1923-2006). Constructed in two movements, Dialogo and Capriccio, composed in 1948 and 1953 respectively, it belongs to the composer's Hungarian era, marked by the influence of Béla Bartók and his teacher Zoltán Kodály. Unlike the choral works composed at that time, which follow the official aesthetic, the Sonata for Cello solo shows a more evolved and transgressive language. The work would remain silent for more than 30 years, until it was performed in 1983, in Paris, by the German cellist Manfred Stilz. Nowadays, it is considered by interpreters and critics as one of the great cello solo sonatas of the 20th century, alongside those of Kodály and Hindemith. 4 PALABRAS CLAVE György Ligeti; sonata para violonchelo solo; violonchelo; análisis musical; música; música del siglo XX. KEYWORDS György Ligeti; solo cello sonata; cello; musical analysis; music; 20th century music. ! 5 ÍNDICE AGRADECIMIENTOS .................................................................................................................................... 3 RESUMEN ......................................................................................................................................................... 4 PALABRAS CLAVE ........................................................................................................................................ 5 ÍNDICE .............................................................................................................................................................. 6 I. INTRODUCCIÓN ......................................................................................................................................... 9 I.I. OBJETIVO PRINCIPAL ................................................................................................................................. 9 I.II. ESTADO DE LA CUESTIÓN ......................................................................................................................... 9 I.III. ESTRUCTURA DEL TRABAJO .................................................................................................................. 10 II. METODOLOGÍA ...................................................................................................................................... 13 CAPÍTULO 1. BIOGRAFÍA ......................................................................................................................... 16 CAPÍTULO 2. GÉNESIS DE LA SONATA PARA VIOLONCHELO SOLO DE G. LIGETI .............. 32 CAPÍTULO 3. ANÁLISIS DE LA SONATA PARA VIOLONCHELO SOLO DE G. LIGETI ............ 37 3.1. DIALOGO ................................................................................................................................................ 38 3.1.1. Uso y desarrollo de los acordes .................................................................................................... 38 3.1.2. Tema con variaciones .................................................................................................................... 40 3.1.3. Desarrollo armónico ..................................................................................................................... 46 3.1.4. Interpretación ................................................................................................................................ 47 3.2. CAPRICCIO ............................................................................................................................................. 47 3.2.1. Exposición ..................................................................................................................................... 48 3.2.2. Desarrollo ..................................................................................................................................... 51 3.2.3. Reexposición .................................................................................................................................. 54 3.2.4. Coda .............................................................................................................................................. 57 CAPÍTULO 4. RECEPCIÓN DE LA SONATA PARA VIOLONCHELO SOLO DE G. LIGETI ....... 60 4.1. INTÉRPRETES ......................................................................................................................................... 60 4.2. VALOR PEDAGÓGICO ............................................................................................................................. 64 CAPÍTULO 5. CONCLUSIONES ................................................................................................................. 67 BIBLIOGRAFÍA ............................................................................................................................................. 71 1. ARTÍCULOS ............................................................................................................................................... 71 6 2. COMPACT DISC ......................................................................................................................................... 72 3. DICCIONARIOS .......................................................................................................................................... 72 4. LIBROS ..................................................................................................................................................... 73 5. PÁGINAS WEB ........................................................................................................................................... 73 6. PARTITURAS ............................................................................................................................................. 75 ILUSTRACIONES .......................................................................................................................................... 76 ANEXOS .......................................................................................................................................................... 78 1. TABLAS ANALÍTICAS ................................................................................................................................. 78 2. GRABACIONES DE LA SONATA PARA VIOLONCHELO SOLO DE G. LIGETI .................................................. 80 3. CRONOLOGÍA DE G. LIGETI ....................................................................................................................... 82 4. PREMIOS Y MENCIONES DE G. LIGETI ........................................................................................................ 87 5. OBRAS PARA VIOLONCHELO SOLO DEL SIGLO XX ..................................................................................... 90 GLOSARIOS DE TÉRMINOS Y SIGLAS .................................................................................................. 91 ! 7 I. INTRODUCCIÓN I. INTRODUCCIÓN I.I. Objetivo principal El objetivo principal del presente trabajo es el análisis de la Sonata para Violonchelo solo (en adelante, SVS) de G. Ligeti (Dicsőszentmárton, 1948 – Viena, 1953), partitura sobre la que se revisan y valoran los principios compositivos del autor en la época de su creación. Considerado por Robert Cummings como uno de los compositores de vanguardia más importantes
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