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El Acordeón En El Siglo

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El Acordeón En El Siglo ISBN 978-84-940481-7-3 Dep. Legal: SA-104-2013 Diseño de portada: Ane Hermosa Foto de portada autoría del lituano “Man_kukuku”, comprada en la web www.shutterstock.com 3 INDICE PRÓLOGO (Por el Dr. Pr. Helmut C. Jacobs)............................................................. 5 INTRODUCCIÓN........................................................................................................ 7 CAPÍTULO I: Antecedentes del acordeón................................................................. 9 I.1- Aparición de los instrumentos de lengüeta libre en el sudeste asiático....... 10 I.2- Historia de los instrumentos aerófonos de teclado: el órgano...................... 13 I.3- Primeras referencias a la lengüeta libre en Europa...................................... 15 I.4- La lengüeta libre europea: Christian Gottlieb Kratzenstein......................... 17 I.5- La familia de los instrumentos modernos de lengüeta libre........................ 18 CAPÍTULO II: Historia organológica del acordeón................................................. 21 II.1- Invención del acordeón............................................................................... 21 II.1.1- El accordion de Demian.............................................................. 21 II.1.2- Puntualizaciones a la invención del acordeón............................. 22 II.2- Evolución organológica del acordeón........................................................ 24 II.3- Fabricantes de acordeones.......................................................................... 31 CAPÍTULO III: Los instrumentos de lengüeta libre en la música del s. XIX....... 33 III.1- Primeras apariciones de la lengüeta libre en la música occidental.......... 33 III.2- El acordeón diatónico en la música del s. XIX........................................ 34 III.2.1- Expansión del acordeón diatónico............................................. 34 III.2.2- El acordeón diatónico en la música culta.................................. 35 III.2.3- El acordeón diatónico en la música popular.............................. 39 III.2.4- Las primeras grabaciones.......................................................... 48 III.3- La concertina en la música del s. XIX..................................................... 49 III.4- El armonio en la música del s. XIX......................................................... 53 ANEXO I: Listado de repertorio para concertina................................................... 70 ANEXO II: Listado de repertorio para armonio..................................................... 73 BIBLIOGRAFÍA......................................................................................................... 90 5 PRÓLOGO Por el Dr. Pr. Helmut C. Jacobs1 Gorka Hermosa, nacido en 1976 en Urretxu (Gipuzkoa), no es solamente uno de los más singulares y versátiles intérpretes entre los más relevantes acordeonistas españoles, sino que también es un conocedor versado en la literatura internacional compuesta para acordeón y en la literatura compuesta desde el siglo XIX para los instrumentos que tienen, como el acordeón, la lengüeta metálica como principio sonoro (physarmonica, armonio, concertina etc.), cuya interpretación con el acordeón es posible sin problemas y supone una ampliación enriquecedora de su repertorio. Gorka Hermosa finalizó sus estudios superiores de acordeón en el Conservatorio Jesús Guridi de Vitoria. Ha sido premiado en numerosos concursos nacionales e internacionales, iniciando en 1998 su carrera como solista y concertista en diversas formaciones musicales, actuando en España y otros países europeos. En sus producciones discográficas presenta el acordeón en formaciones inusuales y extraordinarias (entre otras, con zanfona, guitarra flamenca, clavecín o clarinete de bajo) y abre nuevos caminos estilísticos al instrumento integrando en su música elementos del jazz, del folk, del pop o del flamenco. Gorka Hermosa se presenta versátil y original no solamente en sus arreglos para diversas agrupaciones instrumentales, sino también en sus composiciones para acordeón solo. En su primer libro El Repertorio para acordeón en el Estado Español, de 2003, Gorka Hermosa describe de manera sistemática y casi completa las composiciones escritas en España para acordeón solo, acordeón con otros instrumentos o con orquesta sinfónica, incluyendo en la segunda parte del libro breves biografías de los compositores. Se trata de una obra de referencia valiosa e imprescindible para todos los que se interesen por el repertorio para acordeón. Oposiciones para acordeonistas es su segundo libro. Se trata de una completa guía en dos tomos, enormemente útil para aquellos que quieran preparar las oposiciones a profesor de acordeón en conservatorios españoles. Su cuarto libro, “El acordeón en Cantabria”, es un completo análisis de la historia y la evolución del acordeón en esta región española. En su tercer libro, El acordeón en el siglo XIX, que aquí presentamos, Gorka Hermosa se centra en las obras que en el siglo XIX fueron compuestas en Europa para instrumentos de lengüeta libre metálica. No solamente se documentan las obras, sino también la diversidad de los múltiples tipos de instrumentos en cuanto a su construcción. En el primer capítulo se presentan los precursores de estos instrumentos, como por ejemplo el tcheng en Asia o la guimbarda, la armónica de cristal o los diversos tipos de órganos en Europa. En este contexto describe también el esbozo extremamente interesante que Leonardo da Vinci hizo de un pequeño órgano de tubos, con un fuelle accionado a mano. Esta idea organológica se asemeja enormemente al concepto de un instrumento musical de tecla portátil como el acordeón. En el segundo capítulo se presenta de una manera muy comprensible el complejo desarrollo organológico de los instrumentos de lengüeta libre metálica durante el siglo XIX, a partir del accordion patentado por Cyrill Demian en 1829 en Viena. En el tercer capítulo se describe la música compuesta en el siglo XIX para instrumentos como la physarmonica, el armonio o la concertina y sus intérpretes. 1 Helmut C. Jacobs (Bonn, 1957) es Catedrático de Literatura Española en la Universidad Duisburg-Essen. Su brillante labor como acordeonista y musicólogo se ha centrado en la historia de los instrumentos de lengüeta libre, publicando CDs monográficos sobre distintos compositores (Karg-Elert, Regondi, Beckman, Lundquist, Brehme, Jacobi, Klebe, Graham...) y libros básicos en la historia del estudio de la historia de la lengüeta libre dedicados cada uno a figuras como Regondi, Gagliardi, Cawdell, Brehme... 6 En su libro, Gorka Hermosa ha logrado describir eficazmente el panorama de la historia de los instrumentos de lengüeta libre metálica y su abundante literatura, presentado una enorme riqueza de aspectos, siempre en un estilo preciso, claro y concentrado en lo esencial. El libro tiene muchas ilustraciones que le dan un gran valor documental. Al final del libro encontramos listados de las composiciones originales para concertina y armonio, que muestran la riqueza de composiciones y la importancia de los compositores que escribieron para estos instrumentos en el siglo XIX, entre los que figuran algunos de los más eminentes de la época. 7 INTRODUCCIÓN Este libro trata de dar una visión general y sistemática del origen de los instrumentos de teclado de lengüeta libre y de su desarrollo organológico y musical en el s. XIX, reuniendo y cotejando información de más de 400 fuentes bibliográficas en torno al acordeón y exponiéndola ordenadamente, con un enfoque que intenta ser lo más plural y racional posible. A lo largo de todo el s. XIX existió una cantidad tal de diferentes propuestas de instrumentos de lengüeta libre, que no es fácil trazar una línea que separe a los instrumentos que fueron realmente acordeones de los que no lo fueron. En todo caso, lo que sí es cierto es que no podemos tomar a los acordeones diatónicos del s. XIX como los únicos antecesores del moderno acordeón. Es por ello, que en este libro, al analizar la historia del acordeón en el s.XIX no analizaremos únicamente la historia del acordeón diatónico, sino que también recorreremos la historia de los demás instrumentos de lengüeta libre de teclado del s. XIX susceptibles de ser considerados como predecesores de lo que hoy es el acordeón de concierto. En el capítulo I analizaremos los antecedentes del acordeón y expondremos que el primer antecesor conocido de los instrumentos de lengüeta libre no es el tcheng. En el capítulo II analizaremos la evolución organológica del acordeón y pondremos en duda que el acordeón fuese inventado por Demian en 1829. En el capítulo III describiremos la evolución del acordeón en la música del s. XIX e intentaremos explicar que los acordeones convertor actuales se parecen más a la concertina o al armonio que a los acordeones diatónicos del s. XIX. Finalmente en los anexos I y II presentamos un listado de obras románticas escritas para concertina y armonio. Nos gustaría agradecer muy especialmente al Dr. Pr. Helmut C. Jacobs, por toda la ayuda, información y ánimo que nos ha brindado para llevar a su fin este trabajo. También querríamos agradecer el enorme trabajo musicológico de todos los autores mencionados en la bibliografía y especialmente a algunos como Allan W. Atlas, Beniamino Bugiolachi, Henri Doktorski, Michel Dieterlen, Rob Howard, Ralf Kaupenjohann, Pierre Monichon, Terry E. Miller, Alfred Mirek, Pat Missin, Ivan Paterno, Javier Ramos, Gotthard Richter, Frans Van der Grijn, Joris Verdin, V.R. Zavialov… gracias a los
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