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Revista De Investigación Musical Vol Revista de investigación musical Vol. 23, nº 44, enero-junio 2019 Nº ISSN 0717-3474 Resonancias - Revista de investigación musical vol. 23, nº 44, enero-junio 2019. Publicación semestral del Instituto de Música, Facultad de Artes de la Pontificia Universidad Católica de Chile, Jaime Guzmán Errázuriz 3300. Santiago - Chile. www.resonancias.uc.cl Directora Instituto de Música Karina Fischer Director Resonancias Alejandro Vera A. Editora Resonancias Leonora López Ch. y Francisca Meza B. (editora subrogante). Comité Editorial Nacional Rodrigo Cádiz (Pontificia Universidad Católica de Chile), Daniel Party (Pontificia Universidad Católica de Chile), Felipe Otondo (Universidad Austral de Chile), Rodrigo Torres (Universidad de Chile). Comité Editorial Internacional Geoff Baker (Royal Holloway, University of London, Reino Unido). Nicolas Collins (School of the Art Institute of Chicago, Estados Unidos). Ricardo Dal Farra (Concordia University, Canadá). Heloísa de Araujo Duarte Valente (Professora titular junto ao Programa de Pós-graduação em Comunicação - UNIP / Professora colaboradora junto ao Programa de Pós-graduação em Música - USP, Brasil). Rajmil Fischman (Keele University, Reino Unido). Rubén López-Cano (Escola Superior de Música de Catalunya, España). Jõao Pedro Oliveira (Universidade Federal de Minas Gerais, Brasil). Raúl Renato Romero (Pontificia Universidad Católica del Perú). Carolina Santamaría (Universidad de Antioquia, Colombia). Rodrigo Sigal (Centro Mexicano para la Música y las Artes Sonoras, México). Susan Thomas (University of Georgia, Estados Unidos). Álvaro Torrente (Universidad Complutense de Madrid, España). Colaboran en este número Yael Bitrán, José Miguel Candela, Laura Fahrenkrog, Daniela Fugellie, Sonia Gonzalo, Cristián Guerra, Hermann Hudde, Ana Lombardía, Alejandro Madrid, Silvina Mansilla, Miguel Ángel Marín, Iván César Morales, Héctor Santos. Las opiniones vertidas aquí son de exclusiva responsabilidad de sus autores y autoras. Diseño y diagramación Mary Paz Albornoz Corrección de estilo y normalización Genaro Hayden (español) Carolyn McCallister (inglés) Diseño portada Verónica Barraza Índices y bases de datos Web of Science (ISI) – Arts & Humanities Citation Index / Scopus / Latindex – Catálogo / RILM – Répertoire International de Littérature Musicale / RILM – Abstracts of Music Literature with Full Text (RAFT) / EBSCOhost Esta revista recibe el apoyo de Bibliotecas UC. Contacto: [email protected] / Oficina de Extensión del Instituto de Música / Tel.: 56-2-23545098 / Fax: 56-2-23545250 Valor por ejemplar: $8.000 Suscripción anual (dos números) envío certificado: - Nacional $15.000. - América Latina y EEUU US $40. - Resto del mundo US $45. Otras publicaciones de la Facultad de Artes UC: Cuadernos de Arte, Escuela de Arte UC, tel. 56-2-23545265 Apuntes de Teatro, Escuela de Teatro UC, tel. 56-2-23545083, www.revistaapuntes.uc.cl RESONANCIAS ÍNDICE Páginas EDITORIAL Miguel Ángel Marín y Alejandro Vera 9 ARTÍCULOS Definiciones y usos del término “concierto” en la 13 documentación catedralicia española entre c. 1750 y c. 1830 Héctor Santos José Herrando resucitado… ¿otra vez? Historia de una 37 “recuperación” Ana Lombardía Os Menestréis de Lisboa (1960-1972): Santiago Kastner y 69 la interpretación de la música barroca en Portugal Sonia Gonzalo La procesión de Próspero Bisquertt: instituciones y 101 mediaciones en torno a una obra canónica chilena y la trayectoria de su compositor Cristián Guerra Rojas DOCUMENTOS “Sobre el ‘Clasicismo’ y el ‘Romanticismo’ musical” de Alba 127 Herrera y Ogazón Yael Bitrán Documentos para una historia del grupo de vanguardia 133 Tonus (1952–1959) Daniela Fugellie Sinécdoque, microhistoria y una reseña musical 143 cubana de 1965 Alejandro Madrid ÍNDICE Páginas Concurrencias documentales en torno a Carlos Guastavino 151 y Gabriela Mistral Silvina Mansilla Festival Internacional de Música Contemporánea de 161 Camagüey: un hecho inédito en la Cuba de finales del siglo XX y principios del XXI Iván César Morales RESEÑAS Sato Besoaín, Eduardo. 2018. Con mi voz sonora. Campanas 175 y toques de campana en la Catedral y otros templos históricos de Santiago (1789-1899). Santiago: Ediciones Universidad Alberto Hurtado. José Miguel Candela Pedrotti, Clarisa Eugenia. 2017. Pobres, negros y esclavos: 181 Música religiosa en Córdoba del Tucumán. Córdoba: Editorial Brujas. Laura Fahrenkrog Lifchitz, Max. 2014. Ars Nostra Plays Max Lifchitz. The Ars 185 Nostra Ensemble, North/South Consonance N/S R 1058. CD. Hermann Hudde AUTORES 187 POLÍTICA 189 EDITORIAL Resonancias vol. 23, n°44, enero-junio 2019, pp. 9-11 / Editorial Editorial La ruptura en todos los órdenes que se produjo en la transición de la Edad Moderna a la Edad Contemporánea (con la Revolución Industrial y la Revolución Francesa in primis), también implicó cambios revolucionarios en la producción y el consumo de la música. Entre otros, fue entonces cuando eclosionó –y al poco se consolidó– el concierto público por todos los rincones primero de Europa y luego del Nuevo Mundo como un espacio social privilegiado para la interpretación musical. Este dossier pone la atención no tanto en el surgimiento histórico y posterior desarrollo del concierto –como ha hecho generalmente la investigación interesada en este ámbito–, sino en la creación de un repertorio específico adaptado a esta manifestación artística y cultural de primera magnitud. Este fenómeno ha ido evolucionando a lo largo de los últimos dos siglos en paralelo a las circunstancias y demandas de los distintos tipos de conciertos, de las instituciones concertísticas y de sus públicos. En los repertorios que podemos apreciar hoy en la sala de conciertos, conviven obras concebidas para este espacio que han logrado hacerse un lugar en este terreno tan competitivo con otras que, en origen, tenían una función bien distinta. Así ocurre con gran parte de la música compuesta antes de finales del siglo XVIII y, por tanto, anterior a la consolidación del concierto público. Dentro de un marco cronológico amplio, que oscila desde mediados del siglo XVIII hasta la actualidad, este dossier presenta cuatro casos de estudio relacionados con Chile, España y Portugal que analizan los procesos de construcción del repertorio de concierto, esto es, los mecanismos culturales y artísticos que han permitido integrar una obra musical dentro de la sala de conciertos. Como es previsible, los condicionantes estéticos basados en el mérito de una composición no son suficientes para explicar estos procesos, que en buena medida aparecen además moldeados por variables funcionales, sociales o económicas. El artículo de Héctor Santos, con un enfoque inspirado en la Begriffsgeschichte o historia conceptual alemana, se ocupa de rastrear los usos y acepciones del término “concierto” en la documentación catedralicia española durante el periodo fundamental –de 1750 a 1830– que vio nacer la institucionalización del concierto público. La propia existencia de eventos musicales etiquetados como conciertos en un ámbito eclesiástico no solo viene a confirmar el carácter ubicuo de esta nueva práctica musical asociada a la modernidad. También ofrece una explicación para la ingente cantidad de fuentes instrumentales de naturaleza laica conservada en archivos religiosos (así ocurre, por ejemplo, con los centenares de sinfonías catalogados en las catedrales hispanas). Pero quizá haya sido el impacto de la early music uno de los fenómenos que más ha moldeado la configuración del repertorio de concierto en las últimas décadas. Los artículos de Ana Lombardía y Sonia Gonzalo abordan esta revolucionaria transformación con dos casos de estudio centrados en la recuperación (todavía hoy muy modesta) de repertorios barrocos ibéricos para el concierto. El primero analiza la música del español José de Herrando (c. 1720- 1763), tan admirado por sus contemporáneos, cuya obra ha ido saliendo a la luz de forma muy paulatina a lo largo del siglo XX. Por su parte, el segundo ensayo se aplica al caso de Portugal, y describe un proceso análogo de recuperación de música barroca, en este caso por impulso de Santiago Kastner (1908-1992), quien fuera también uno de los motores de la musicología 9 Marín y Vera. “Editorial”. Resonancias 23 (44): 9-11. lusa. Ambos trabajos ejemplifican bien las distintas concepciones interpretativas de cada época, con evidentes consecuencias en la percepción por parte del oyente. Cada momento histórico aplica sus premisas de recuperación cuando se acerca a la música del pasado y, en consecuencia, este tipo de estudio es también de enorme importancia para la historia de la interpretación y la recepción. El dossier se cierra con el caso de la Procesión del Cristo de mayo, obra del compositor chileno Próspero Bisquertt (1881-1959), estudiada por Cristián Guerra. Aunque el destino principal de una buena parte de la música compuesta desde comienzos del siglo XIX era su interpretación en la sala de conciertos, la realidad es que solo excepcionalmente una obra logra integrarse de forma regular en el repertorio interpretado en vivo. La obsesión en las tendencias de programación por concentrarse en el minúsculo grupo de compositores canónicos (en su gran mayoría procedente del ámbito decimonónico austrogermánico) plantea a las instituciones musicales fuera de este espacio geográfico un reto de enraizamiento o diálogo con la propia tradición. El caso de Bisquertt muestra bien las mediaciones y circunstancias que tuvieron que darse para posibilitar que una composición suya adquiriera el privilegio de convertirse en obra canónica
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