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L'evolució Dels Estudis Per a Piano

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L'evolució Dels Estudis Per a Piano PROJECTE FINAL L'EVOLUCIÓ DELS ESTUDIS PER A PIANO Del taller al gran repertori de concert Estudiant: Carles Marigó i Sarrión Àmbit i Modalitat: Clàssica i contemporània, piano, interpretació Director: Vladislav Bronevetzky Curs: 2009-2010 Vist-i-plau del director: Membres del tribunal: 1. Vladislav Bronevetzky 2. Manel Camp 3. Rafael Salinas Aquest projecte final proposa un recorregut per l'evolució dels estudis per a piano des de la segona meitat del segle VXIII fins a l'inici del segle XX. El treball està format per tres capítols de recerca històrica i un d'anàlisi de les obres del recital que acompanya la part escrita. Aquestes peces han estat analitzades a partir dels coneixements adquirits en la recerca. Per tant, a través del treball escrit es contextualitza i justifica la selecció de les obres del concert. Este proyecto final propone un recorrido por la evolución de los estudios para piano desde la segunda mitad del siglo XVIII hasta principios del siglo XX. El trabajo está compuesto por tres capítulos de investigación histórica y uno de análisis de las obras del recital que acompaña la parte escrita. Estas piezas han sido analizadas partiendo de los conocimientos adquiridos en la investigación. Por lo tanto, a través del trabajo escrito se contextualiza y justifica la selección de las obras del concierto. This final project offers a journey through the evolution of the piano studies from the second half of the 18th century to early the 20th century. Its content is constructed under three chapters of historical research and one chapter of analysis of the works of the recital which goes with the written part. These pieces have been analyzed from the knowledge acquired during the research. So, the written work contextualizes and justifies the concert work selection. Dedicat a totes aquelles persones que viuen l'amor a través de la música, i especialment a la persona que fa que aquesta dedicatòria tingui sentit. Dora, Josep i Albert Cris, Choche i Ade Medir, Macarena i Anna Vladik Mercè a tots, Gràcies! del taller al gran repertori de concert Índex de continguts PREFACI...............................................................................................................5 1. ESTUDIS DE TALLER....................................................................................11 1.1. ANTECEDENTS......................................................................................11 1.2 LA INVENCIÓ DEL PIANOFORTE I ELS PRIMERS TRACTATS............12 1.2.1 Carl Philip Emmanuel Bach..............................................................12 1.2.2 Gradus al Gradus..............................................................................13 1.3 GRADUS AD PARNASSUM.....................................................................14 1.3.1 Clementi i Haydn...............................................................................15 1.3.2 El Gradus..........................................................................................15 1.4 ELS HEREUS DE LA NOVA ESCOLA.....................................................17 1.4.1 Johan Baptist Cramer.......................................................................17 1.4.2 Johann Nepomuk Hummel................................................................18 1.4.2.1 Hummel i Chopin.......................................................................19 1.4.2.2 Hummel, Czerny i Liszt..............................................................20 1.4.3 Carl Czerny.......................................................................................22 1.4.4 Ignaz Moscheles...............................................................................24 1.4.4.1 Estudis de caràcter....................................................................24 1.4.4.2 El Mètode dels mètodes............................................................25 2. LA REVOLUCIÓ..............................................................................................29 2.1 EL PARÍS DELS ANYS 30........................................................................29 2.2 PAGANINI.................................................................................................30 2.3 FRÉDÉRIC CHOPIN................................................................................32 2.3.1 Els Op. 10 i els Op. 25......................................................................32 2.4 ELS PRIMERS ESTUDIS DE CONCERT................................................34 2.5 ROBERT SCHUMANN, LA NOVA ESTÈTICA.........................................35 2.5.1 El gran canvi: estudis en forma de variacions..................................35 2.5.1.1 Els Estudis Simfònics.................................................................36 1 L'evolució dels estudis per a piano 2.6 FRANZ LISZT...........................................................................................38 2.6.1 Charles-Valentin Alkan......................................................................38 2.6.1.1 Estudis en forma de Concert i de Simfonia...............................38 2.6.2 Estudis de concert.............................................................................39 2.6.3 Estudis d'execució transcendental....................................................40 2.6.3 Els Grans estudis de Paganini..........................................................41 3. CONSEQÜENTS............................................................................................43 3.1 CONTINUANT LA TRADICIÓ...................................................................43 3.1.1 Els exercicis......................................................................................43 3.1.2 Els estudis après...............................................................................45 3.1.3 Estudis de caràcter i estudis de concert...........................................46 3.1.4 Obres sobre la forma étude..............................................................47 3.2 DIVERSITAT DE VISIONS, ENTRANT AL SEGLE XX............................48 3.2.1 Claude Debussy................................................................................49 3.2.2 Alexander Scriabin............................................................................51 3.2.3 Serguei Rachmaninoff.......................................................................55 3.3 PINZELLADA DEL SEGLE XX.................................................................57 4. EL RECITAL: L'EVOLUCIÓ DELS ESTUDIS PER A PIANO.........................59 Bach, simfonia BWV 794............................................................................61 Bach, simfonia BWV 789............................................................................63 Chopin, estudi 6 Op. 10..............................................................................67 Chopin, estudi 11 Op. 25............................................................................69 Waldesrauschen.........................................................................................73 Liszt, Gnomenreigen..................................................................................74 Scriabin, estudi 3 Op. 65 ...........................................................................79 Rachmaninoff, Étude-Tableau 6 Op. 39.....................................................83 Schumann, Études en forme de variations Op. 13....................................87 Tema, Andante.......................................................................................88 Variació I, Un poco piú vivo....................................................................90 2 del taller al gran repertori de concert Variació II................................................................................................90 Etude III, Vivace.....................................................................................91 Variació III...............................................................................................92 Variació IV..............................................................................................93 Variació V, Agitato..................................................................................93 Variació VI, Allegro molto.......................................................................94 Variació VII.............................................................................................95 Etude IX, Presto possibile......................................................................96 Variació VIII............................................................................................97 Variació IX, Con espressione.................................................................98 Finale, Allegro Brillante..........................................................................99 CONCLUSIONS................................................................................................103 LÍNIES DE CONTINUÏTAT................................................................................105 BIBLIOGRAFIA.................................................................................................107 ANNEXOS 3 L'evolució dels estudis per a piano 4 del taller al gran repertori de concert PREFACI El treball que presento a continuació tracta l'evolució dels estudis per a piano, des dels orígens de la invenció del pianoforte i de la composició dels primers estudis per a aquest instrument al segle XVIII, passant per l'aparició dels estudis que sobrepassen la seva condició d'exercicis de pràctica i són grans obres mestres al
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