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University of Cincinnati UNIVERSITY OF CINCINNATI Date:___________________May 21, 2008 I, _________________________________________________________,Soyoung Cho hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Piano Performance It is entitled: Interpretive Issues in Performing the Piano Suite "Goyescas" by Enrique Granados This work and its defense approved by: Chair: _______________________________Miguel A. Roig-Francoli, Ph. D _______________________________Frank Weinstock, Professor _______________________________Elisabeth Pridonoff, Professor _______________________________ _______________________________ Interpretive Issues in Performing the Piano Suite “Goyescas” by Enrique Granados A doctoral document submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Division of Keyboard Studies of the College-Conservatory of Music 2008 by Soyoung Cho M. M., Ewha Womans University, 1997 B. M., Kyung-Won University, 1992 Committee Chair: Miguel A. Roig-Francoli, Ph.D. Abstract Goyescas is a very challenging work full of Granados’s artistic devotion for searching the authentic Spanish character in a variety of ways. Numerous Spanish elements – references to Goya’s works, tonadillas, Spanish dances and songs, sound of guitars and castanets, etc. – are incorporated into this work. It is, indeed, a complex art work that interrelates visual arts, poetry, and music, all with a Spanish subject. Any pianists planning to study Granados’s Goyescas should first acquire the necessary background based on a thorough study of the music and its history. Knowledge of Granados’s inspiration from Goya’s works, the piece’s narrative elements related with the opera Goyescas, Spanish idioms, and the improvisatory nature of Granados’s piano style, is indispensable for fully understanding, interpreting, and performing this work. However, the more important task for pianists is applying these various aspects into performance. This document will assist pianists in this endeavor, dealing with various aspects related to the interpretation of Goyescas that are necessary for an imaginative performance of the work. The first three chapters are about important background aspects of Goyescas which should be considered by the pianist for a proper interpretation of the suite. Chapter four is an interpretive analysis for pianists dealing with each piece of Goyescas and discussing all aspects related to performance. The discussion includes overall structure, related paintings or etchings by Goya, comparisons with corresponding scenes from the opera, and detailed performance suggestions for each individual selection. As six pieces from Goyescas are discussed one by one, the corresponding painting or etching by Goya related to the piece is included as a helpful tool for performance. iii Table of Contents List of Figures . v List of Tables . vi List of Musical Examples . vii Introduction . 1 Chapter I. Imagination – Influences from Goya’s Works . 3 II. Performing as a Storyteller – Conceiving the Story and Sound of the Opera Goyescas . 16 III. Spanish Temperament – Spanish Dances, Songs, and Sound of Guitar . 19 IV. A Pianist’s Interpretive Analysis 1. “Los requiebros” . 27 2. “Coloquio en la reja” . 42 3. “El fandango de candil” . 58 4. “Quejas o la maja y el ruiseñor” . 72 5. “El amor y la muerte” . 84 6. “Epílogo: Serenata del espectro” . 94 Conclusion . 103 Bibliography . 105 iv List of Figures Figure 1. Francisco Goya, Merienda a la orilla del manzanares, 1776 . 5 Figure 2. Francisco Goya, El columpio, 1787 . 5 Figure 3. Francisco Goya, El pelele, 1791-2 . 6 Figure 4. Francisco Goya, El quitasol, 1777 . 7 Figure 5. Francisco Goya, La maja y los embozados, 1777 . 7 Figure 6. Enrique Granados, La maja de paseo . 8 Figure 7. Enrique Granados, La maja de paseo . 8 Figure 8. Enrique Granados, La maja dolorosa, self-portrait, and La maja en el balcón . 9 Figure 9. Enrique Granados, Majo . 9 Figure 10. Francisco Goya, Las majas en el balcón, 1808-1812 . 10 Figure 11. Enrique Granados, La maja en el balcón . 10 Figure 12. Francisco Goya, La duchesse d’Albe, 1795 . 11 Figure 13. Francisco Goya, La duchesse d’Albe, 1797 . 11 Figure 14. Francisco Goya, La gallina ciega, 1788-1789 . 12 Figure 15. Francisco Goya, El cacharrero, 1779 . 12 Figure 16. Francisco Goya, Retrato del torero martincho, c. 1790 . 12 Figure 17. Francisco Goya, Ni asi la distingue . 13 Figure 18. Francisco Goya, Muchachos al avío . 13 Figure 18. Francisco Goya, Bellos consejos . 14 Figure 19. Francisco Goya, Dios la perdoe:Y era su madre . 14 Figure 20. Francisco Goya, Tal para cual . 28 Figure 21. Francisco Goya, Coloquio galante . 28 Figure 22. Enrique Granados, Coloquio en la reja . 42 Figure 23. Francisco Goya, El amor y la muerte . 84 Figure 24. Francisco Goya, Nun Frightened by a Ghost, 1819 . 94 v List of Tables Table 1. Spanish Idioms in Goyescas . 19 Table 2. Formal Structure of “Los requiebros” . 28 Table 3. Formal Structure of “Coloquio en la reja” . 45 Table 4. Formal Structure of “El fandango de candil” . 59 Table 5. Formal Structure of “Quejas o la maja y el ruiseñor” . 73 Table 6. Formal Structure of “El amor y la muerte” . 85 Table 7. Formal Structure of “Epílogo: Serenata del espectro” . 94 vi List of Musical Examples Example 1.1. “Los requiebros,” mm. 350-357 . 22 Example 1.2. Tirana del Trípili by Blas de Laserna . 24 Example 1.3. “Los requiebros,” mm. 1-25 . 30 Example 1.4. “Los requiebros,” mm. 34-48 . 33 Example 1.5. “Los requiebros,” mm. 57-64 . 34 Example 1.6a. “Los requiebros,” mm. 73-81 . 35 Example 1.6b. Opera Goyescas, Tableau I, Scene 3, mm. 34-35 . 35 Example 1.7. “Los requiebros,” mm. 104-111 . 36 Example 1.8. “Los requiebros,” mm. 112-120 . 37 Example 1.9. “Los requiebros,” mm. 125-131 . 38 Example 1.10. “Los requiebros,” mm. 135-146 . 38 Example 1.11a. “El majo olvidado,” mm. 25-46 . 39 Example 1.11b. “Los requiebros,” mm. 205-230 . 40 Example 1.12. “Los requiebros,” mm. 297-311 . 41 Example 2.1a. Sketch for “El amor del majo” . 43 Example 2.1b. “Coloquio en la reja”, Theme D, mm. 41-48 . 44 Example 2.1c. “Coloquio en la reja”, mm. 166-173 . 44 Example 2.2. “Coloquio en la reja”, Introduction and Theme A, mm. 1-11 . 46 Example 2.3. “Coloquio en la reja”, Theme B, mm. 15-22 . 47 Example 2.4. “Coloquio en la reja,” mm. 23-26 . 48 Example 2.5. “Coloquio en la reja,” mm. 49-52 . 48 Example 2.6. “Coloquio en la reja,” mm. 89-94 . 49 Example 2.7a. “Coloquio en la reja,” Theme C, mm. 29-32 . 50 Example 2.7b. “La maja dolorosa”, mm. 7-13 . 50 Example 2.7c. “Coloquio en la reja,” mm. 72-75 . 50 Example 2.8. “Coloquio en la reja,” Theme E, mm. 80-82 . 51 Example 2.9. “Coloquio en la reja,” Theme F, mm. 105-117 . 53 Example 2.10. “Coloquio en la reja,” mm. 118-123 . 54 Example 2.11. “Coloquio en la reja,” mm. 132-135 . 54 Example 2.12. “Coloquio en la reja,” mm. 146-159 . 55 Example 2.13. “Coloquio en la reja,” m. 187 . 56 Example 3.1a. “El fandango de candil,” mm. 1-6 . 60 Example 3.1b. Opera Goyescas, Tableau II, Scene 1, mm. 1-7 . 60 Example 3.2. “El fandango de candil,” mm. 9-13 . 61 Example 3.3. “El fandango de candil,” mm. 13-22 . 62 Example 3.4. “El fandango de candil,” mm. 40-47 . 64 Example 3.5. “El fandango de candil,” mm. 48-51 . 65 Example 3.6a. “El fandango de candil,” mm. 59-60 . 66 Example 3.6b. “El fandango de candil,” mm. 81-84 . 66 Example 3.6c. “El fandango de candil,” mm. 131-132 . 66 Example 3.7. “El fandango de candil,” mm. 61-70 . 67 Example 3.8. “El fandango de candil,” mm. 78-80 . 68 Example 3.9. “El fandango de candil,” mm. 93-96 . 68 vii Example 3.10. “El fandango de candil,” mm. 100-103 . 69 Example 3.11. “El fandango de candil,” mm. 104-107 . 69 Example 3.12. “El fandango de candil,” mm. 112-116 . 70 Example 3.13. “El fandango de candil,” mm. 125-130 . 71 Example 3.14. “El fandango de candil,” mm. 176-177 . 71 Example 4.1a. Notation of folksong . 74 Example 4.1b. “Quejas o la maja y el ruiseñor,” mm. 1-19 . 74 Example 4.2a. “Quejas o la maja y el ruiseñor,” Variation I, mm. 20-23 . 77 Example 4.2b. “Quejas o la maja y el ruiseñor,” Variation II, mm. 24-27 . 77 Example 4.3a. “Quejas o la maja y el ruiseñor,” Variation III, mm. 31-36 . 78 Example 4.3b. “Quejas o la maja y el ruiseñor,” Variation IV, mm. 37-40 . 78 Example 4.4. “Quejas o la maja y el ruiseñor,” Variation V, mm. 41-45 . 79 Example 4.5. “Quejas o la maja y el ruiseñor,” mm. 46-49 . 80 Example 4.6. “Quejas o la maja y el ruiseñor,” mm. 55-67 . 81 Example 4.7. “Quejas o la maja y el ruiseñor,” mm. 68-84 . 82 Example 5.1. “El amor y la muerte,” mm. 1-5 . 86 Example 5.2. “El amor y la muerte,” mm. 12-16 . 87 Example 5.3. “El amor y la muerte,” mm. 22-24 . 88 Example 5.4. “El amor y la muerte,” mm. 37-40 . 88 Example 5.5a. “El amor y la muerte,” mm. 50-54 . 89 Example 5.5b. “El amor y la muerte,” mm. 62-66 . 89 Example 5.6. “El amor y la muerte,” mm. 73-76 . 90 Example 5.7a. “El amor y la muerte,” mm.
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