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El Compositor Como Intelligent Y La Música Como Forma De Intervención

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El Compositor Como Intelligent Y La Música Como Forma De Intervención El compositor como intelligent y la música como forma de intervención frente a la modernidad europea La narración de la historia rusa en las óperas de Modest Musorgsky y Nikolay Rimsky-Korsakov (1856-1883) Baña, Martín Adamovsky, Ezequiel 2013 Tesis presentada con el fin de cumplimentar con los requisitos finales para la obtención del título Doctor de la Facultad de Filosofía y Letras de la Universidad de Buenos Aires en Historia UNIVERSIDAD DE BUENOS AIRES Facultad de Filosofía y Letras TESIS DE DOCTORADO EL COMPOSITOR COMO INTELLIGENT Y LA MÚSICA COMO FORMA DE INTERVENCIÓN FRENTE A LA MODERNIDAD EUROPEA La narración de la historia rusa en las óperas de Modest Musorgsky y Nikolay Rimsky-Korsakov (1856-1883) Prof. Martín BAÑA Director: Dr. Ezequiel ADAMOVSKY Codirector: Dr. Pablo FESSEL 1 2 UNIVERSIDAD DE BUENOS AIRES Facultad de Filosofía y Letras TESIS DE DOCTORADO EL COMPOSITOR COMO INTELLIGENT Y LA MÚSICA COMO FORMA DE INTERVENCIÓN FRENTE A LA MODERNIDAD EUROPEA La narración de la historia rusa en las óperas de Modest Musorgsky y Nikolay Rimsky-Korsakov (1856-1883) Prof. Martín BAÑA Director: Dr. Ezequiel ADAMOVSKY Codirector: Dr. Pablo FESSEL Buenos Aires 2013 3 4 AGRADECIMIENTOS Esta tesis no hubiera sido posible sin la intervención de muchas personas y algunas instituciones a las que aquí quisiera mencionar y agradecer. A Ezequiel Adamovsky, por haber sido un excelente y paciente director y por haberme aportado a lo largo de la investigación sugerencias fundamentales, críticas oportunas e ideas estimulantes. A Pablo Fessel, por la ayuda certera y puntual en las cuestiones musicales y su lectura atenta y rigurosa. Puedo decir que en ambos encontré el estímulo, el aliento y la dirección ideal para poder llevar adelante esta tesis. A mis amigos, que también son colegas: Alejandro Galliano, Eduardo Minutella y Jorge Mengia. Sus lecturas, discusiones y sugerencias han resultado ser de una enorme importancia durante la investigación y en la redacción final de la tesis. Con Malena López Palmero hemos compartido amistad y procesos de trabajo. Su ayuda y su compañía resultaron ser de un valor inestimable. La colaboración de Manuel Baña, Carolina Martínez, Ana Guerra, Romina Veliz y Luciano Zdrojewski fue también importante en diferentes etapas de la investigación. A todo ellos, gracias. Las discusiones con colegas de aquí y del exterior fueron de gran asistencia. Mis intercambios con Edgardo Blumberg resultaron muy estimulantes al inicio y durante el desarrollo de la investigación. La posibilidad de debatir algunos de los capítulos con Richard Taruskin y con Marina Frolova-Walker en Leeds benefició notablemente el armado final de la tercera parte del trabajo. Allí también Anastasia Belina me ayudó con la búsqueda bibliográfica. En Moscú, colaboraron conmigo Marina Mokchnacheva y Andrey Yurganov. Al mismo tiempo, mis charlas con Anna Giust, estudiante como yo en el Instituto “Aleksandr Pushkin”, fueron importantes para pensar varios aspectos de la música rusa. También me auxiliaron de manera significativa las asistentes de la biblioteca “Sergey Taneyev” del Conservatorio Estatal de Moscú “Piotr Il’ich Chaikovsky” y del Museo 5 Nacional de Cultura Musical “Mikhail Glinka”, también de Moscú, como así también las encargadas de la Biblioteca Musical Científica del Conservatorio Estatal de San Petersburgo “Nikolay Rimsky-Korsakov”. En Buenos Aires, la biblioteca del CEMECH resultó ser de gran ayuda como también lo fueron la biblioteca “Augusto Raúl Cortázar” de la Facultad de Filosofía y Letras de la Universidad de Buenos Aires y la biblioteca de la Facultad de Artes y Ciencias Musicales de la UCA. En distintos momentos de la investigación me brindaron su asistencia Ana Carolina Hosne, Pablo Blitstein, Ezequiel Ipar, Agustina San Martín, Pablo Romeo y Gabriela Carnevale. A todos ellos también les doy mis sinceras gracias. Quisiera mencionar aquí la colaboración brindada por mis colegas de la cátedra de Historia de Rusia de la Facultad de Filosofía y Letras de la Universidad de Buenos Aires: Pablo Fontana, Augusto Piemonte, Ana Serrano Benítez, Silvina Lanza, Ricardo Neme y Federico Zanlungo. En ese marco me he beneficiado notablemente con las clases que allí dicto y el intercambio con los estudiantes. Por otra parte, esta tesis no hubiera sido posible sin el apoyo material de dos becas de posgrado otorgadas por el CONICET y por el marco brindado por la Universidad de Buenos Aires. Con todo derecho puede decirse que esta tesis es un resultado absoluto de las instituciones públicas argentinas. Finalmente, quisiera agradecer a mis padres Stella Maris Protervi y Miguel Ángel y a mis hermanos Matías, Mariano, Manuel y María, por su cariño, su sostén y su compañía, fundamentales para que esta tesis pudiera ser realizada. 6 NOTA SOBRE LA TRANSLITERACIÓN Y EL CALENDARIO Cada vez que se emprende una investigación sobre la Rusia del siglo XIX y se publican sus resultados es necesario hacer una doble aclaración: por un lado, sobre el calendario y, por el otro, sobre la transliteración de las palabras que originalmente se escriben con un alfabeto diferente al latino. En el primer caso, en Rusia su utilizó hasta el 1 de febrero de 1918 el calendario juliano. De esta manera, durante el siglo XIX había una diferencia de doce días menos respecto del calendario gregoriano utilizado en Occidente. Esa diferencia se amplió a trece días desde el 29 de febrero de 1900 ya que fue un año bisiesto para el calendario juliano pero no para el gregoriano. En esta tesis opté por utilizar las fechas originales, es decir, las fechas dadas por el calendario juliano. En caso de que se hiciera visible una posible confusión, aclaré puntualmente qué calendario estaba usando. Respecto de la transliteración, la cuestión es un poco más compleja dado que no hay un acuerdo explícito en español sobre el modo de transliterar las palabras escritas con el alfabeto cirílico a nuestro idioma. Muchas veces las traducciones al español de los textos en ruso no se realizaron directamente desde sus fuentes originales sino desde traducciones del inglés, el francés y otras lenguas europeas. Así, las palabras y los nombres en ruso adoptaban indistintamente la transliteración del idioma al que había sido traducido previamente. Por sólo tomar un ejemplo notorio, si se revisa la bibliografía en español respecto de Musorgsky puede observarse que al apellido del compositor se lo translitera indistintamente como Mussorgsky, si la fuente proviene del inglés, Moussourgsky, si proviene del francés o Musorgskij, si el original de la traducción es alemán. Para la elaboración de esta tesis tuve en cuenta la tabla de referencia que se agrega a continuación, la cual a su vez es una adaptación ligeramente modificada de la ofrecida por The Library of Congress y que se adecúa mejor al idioma español. Dos aclaraciones debo hacer aquí. La 7 primera es que opté por dejar como estaban aquellos términos y nombres propios que ya están bien aceptados en el idioma español (como “zar” o “Dostoievsky”, respectivamente). La segunda es que preferí transliterar la terminación de los adjetivos masculinos (y de muchos apellidos) “ий” por la letra “y” directamente, para adaptarme mejor a la transliteración aceptada internacionalmente. En el caso de las obras y los nombres que aparecían en los títulos de las referencias bibliográficas, opté por dejar el original en la cita y la bibliografía y usar la transliteración adoptada en el cuerpo principal del texto (por ejemplo, a lo largo del trabajo escribí “Berdiaev” y en la cita al pie aparece “Berdiaeff”, tal como figura en la portada del libro). Todas las traducciones de la bibliografía secundaria y de las fuentes utilizadas, ya sean en ruso, en inglés, en francés o en alemán, han sido realizadas por mí salvo que se indique lo contrario. Allí donde consideré que podía generarse algún problema de interpretación, opté por incluir entre corchetes la/s palabras/s en cuestión para una mejor apreciación. 8 TABLA DE REFERENCIA PARA LA TRANSLITERACIÓN DE TÉRMINOS RUSOS a a р r б b с s в v т t г g у u д d ф f е e х kh ё io ц ts ж zh ч ch з z ш sh и i щ shch й y ъ ‘’ к k ы y л l ь ’ м m э e н n ю iu o o я ia п p 9 ABREVIATURAS UTILIZADAS AAF Theodor W. Adorno, Actualidad de la filosofía. Barcelona, Planeta, 1994. ADN Theodor W. Adorno y Max Horkheimer, Dialéctica negativa. Madrid, Akal, 2005. AEM Theodor W. Adorno, Escritos musicales. Madrid, Akal, 2006-2011. AFNM Theodor W. Adorno, Filosofía de la nueva música. Madrid, Akal, 2003. AMM Theodor W. Adorno, Monografías musicales. Madrid, Akal, 2008. APMA Theodor W. Adorno, “On the Problem of Musical Analysis”, en Music Analysis 1, N° 2, 1982, pp. 169-187. ATE Theodor W. Adorno, Teoría estética. Madrid, Akal, 2004. MP Modest Musorgsky, Pis’ma. Moscú, Muzyka, 1984. MPSS Modest Musorgsky, Polnoe sobranie sochineny. Moscú, Muzgiz, 1928- 1939. MPGK Iury Keldysh (ed.), Musorgsky. Pis’ma k A. A. Golenishchevu-Kutuzovu. Moscú, Muzgiz, 1939. MPD Andrey Rimsky-Korsakov (ed.), M.P. Musorgsky. Pis’ma i dokumenty. Moscú, Gosudarstvennoe Muzykal’noe Izdatel’stvo, 1932. MPS Modest Musorgsky, Pis’ma k V.V. Stasovu. San Petersburgo, Izdanie Redakchi, 1911. MR Jay Leyda y Sergei Bertensson, The Musorgsky Reader. New York, Da Capo Press, 1947. RKL Nikolay Rimsky-Korsakov, Letopis’ moey muzykalnoy zhizni. San Petersburgo, Tipografiia Glazunova, 1909. 10 RKPSS Nikolay Rimsky-Korsakov, Polnoe sobranie sochineny. Moscú, Muzgiz, 1955-1982. SIS Vladimir Stasov, Izbrannye sochineniia v trekh tomakh. Moscú, Iskusstvo, 1952. SSM Vladimir Stasov, Izbrannye stat’i o Musorgskom. Moscú, Muzgiz, 1952. SSRK Vladimir Stasov, Stat’i o Riskom-Korsakove. Moscú, Gosudarstvennoe Muzykal’noe Izdatel’stvo, 1958. YR V. V. Yastrebtsev, Reminiscenses of Rimsky-Korsakov. New York, Columbia University Press, 1985.
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