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Evolución Estilística De La Obra De Leonardo Balada

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Evolución Estilística De La Obra De Leonardo Balada DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL, DOCUMENTACIÓN E HISTORIA DEL ARTE PROGRAMA DE DOCTORADO EN MÚSICA EVOLUCIÓN ESTILÍSTICA DE LA OBRA DE LEONARDO BALADA. TESIS DOCTORAL Presentada por Idoia Uribarri Berrojalbiz Dirigida por el Dr. Jorge Sastre Martínez Valencia, Mayo de 2017. A mis aitas i ii ÍNDICE Agradecimientos ................................................................................................. v Resumen / Abstract / Resum .............................................................. vii, viii y ix 1. INTRODUCCIÓN. 1.1 Justificación y objetivos .................................................................... 1 1.2 Generalidades y particularidades ....................................................... 6 1.3 Metodología ...................................................................................... 9 2. LEONARDO BALADA Y SU TIEMPO. 2.1 Biografía .......................................................................................... 13 2.2 Contexto artístico ............................................................................ 36 3. PERIODOS ESTILÍSTICOS. 3.1 Primer periodo. 3.1.1 Características del periodo ............................................... 49 3.1.2 Introducción a Concert for Cello and 9 players .............. 52 3.1.3 Análisis ............................................................................. 55 3.1.4 Conclusiones ..................................................................... 97 3.2 Segundo periodo. 3.2.1 Características del periodo ............................................. 103 3.2.2 Introducción a María Sabina .......................................... 107 3.2.3 Análisis ........................................................................... 118 3.2.4 Conclusiones ................................................................... 181 3.3 Tercer periodo. 3.3.1 Características del periodo ............................................. 189 3.3.2 Introducción a Homage to Casals ................................. 193 3.3.3 Análisis ........................................................................... 196 3.3.4 Conclusiones ................................................................... 240 iii 3.4 Cuarto periodo. 3.4.1 Características del periodo ............................................. 247 3.4.2 Introducción a Prague Sinfonietta ................................. 251 3.4.3 Análisis ........................................................................... 252 3.4.4 Conclusiones ................................................................... 303 4. CONCLUSIONES ...................................................................................... 311 5. BIBLIOGRAFÍA ......................................................................................... 327 6. DISCOGRAFÍA Y VIDEOGRAFÍA .......................................................... 335 7. ANEXOS. ANEXO I ............................................................................................. 339 ANEXO II ........................................................................................... 345 ANEXO III .......................................................................................... 357 ANEXO IV .......................................................................................... 365 iv Agradecimientos. En primer lugar quisiera agradecer a Leonardo Balada la generosidad y disponibilidad con la que siempre me ha atendido. Veloz y solícito ante mis requerimientos, me ha facilitado y clarificado aspectos esenciales de su vida y obra que han enriquecido enormemente este trabajo. Además, me ha proporcionado en diversas ocasiones materiales sonoros, partituras y documentos que han sido de gran ayuda en la elaboración del mismo. Gracias también por la calurosa acogida que me ha brindado en su residencia de Pittsburgh. La humildad, sentido del humor, actitud positiva ante la vida y alegría que este gran artista transmite han convertido esos encuentros en experiencias muy especiales para mí. Gracias también a Joan, su esposa, por su sonrisa perenne y hospitalidad. Mi especial agradecimiento a Jorge Sastre Martínez porque con su entusiasmo sembró años atrás el germen de este estudio. Sus correcciones y directrices a mi Tesis de Máster fueron el primer impulso para este trabajo. Posteriormente y con infinita paciencia y profesionalidad me ha ayudado a seguir dando pasos en la dirección justa. La confianza que ha depositado en mí, su apoyo y actitud siempre positiva han sido fundamentales para la consecución final de este estudio. Y por supuesto gracias a mi marido por haber puesto los medios necesarios para crear el bienestar que me ha permitido elaborar este trabajo en condiciones óptimas. Han sido tantos los cambios y las situaciones complejas que han influido en la posposición del final de esta tesis. Por ello su ayuda ha sido imprescindible para poder concluirla. Gracias por haberme rodeado de tranquilidad, comprensión, paciencia, y por la fuente inagotable de sweet nothings. v vi Resumen. El objetivo de este estudio es definir a través del análisis de cuatro composiciones las características y la evolución del lenguaje de Leonardo Balada (Barcelona, 1933). Desde su traslado a Nueva York en 1956 para estudiar con maestros como Aaron Copland o Vincent Persichetti, ha escrito más de 120 obras de gran belleza y personalidad que abarcan todos los géneros. El amplio reconocimiento internacional del que ha gozado desde el inicio de los años 60 se ha materializado a través de las comisiones recibidas por parte de las más diversas e importantes instituciones musicales, principalmente estadounidenses y europeas. Además, orquestas como las filarmónicas de Nueva York o Los Ángeles, directores como L. Maazel, o los solistas A. de Larrocha y G. Cassadó han interpretado sus obras, grabadas por discográficas como la Deutsche Grammophon o Naxos. Pero a pesar de la importancia, calidad y repercusión de su obra no hay ningún estudio que analice su lenguaje compositivo. A través de las composiciones Concert per Violoncello i 9 instrumentistes (1962), María Sabina (1969), Homage to Casals (1975) y Prague Sinfonietta (2003) estudiaremos las características de dicho lenguaje. Cada una de estas obras representa un periodo diferente de su trayectoria compositiva porque contienen rasgos que han determinado cambios en la dirección de dicha trayectoria. Estos rasgos, que se concretan en el uso o supresión de elementos a veces tan sustanciales como la melodía o la armonía tonal, son comunes a un número importante de obras escritas en los periodos que representan, lo que a su vez nos ha permitido definir el conjunto de su producción. Por otro lado, las conversaciones y lecciones de Balada, profesor de composición en la Carnegie Mellon University desde 1970 y de máster clases en España, han sido una fuente de información de gran valor para entender su música. Todo ello nos ha llevado a definir las características de un lenguaje complejo, que se ha ido transformando y enriqueciendo con el paso del tiempo y el empleo de técnicas distintas hasta llegar al estilo único que sintetiza la personalidad de este excepcional compositor. vii Abstract. The goal of this investigation is to define Spanish composer Leonardo Balada (Barcelona, 1933) style and evolution through the analysis of four of his compositions. From the moment he moved to New York in 1956 in order to study with eminent teachers such us Aaron Copland o Vincent Persichetti, Balada has composed more than 120 works of great beauty and personality, ranging all kinds of music genres. Since the early 60s, his music enjoyed international success and he received several commissions from a number of important European and American music institutions. Prestigious orchestras (such as the New York or the Los Angeles Philharmonic), conductors (L. Maazel), soloists (A. de Larrocha and G. Cassadó) have played his compositions, also recorded by labels like Deutsche Grammophon or Naxos. Notwithstanding the relevance, quality and impact of Balada’s work, an overall analysis of his musical language has never been attempted. Four works are considered in the framework of this investigation: Concert per Violoncello i 9 instrumentistes (1962), María Sabina (1969), Homage to Casals (1975) y Prague Sinfonietta (2003). Each of these works represents a different phase of Balada compositional trajectory and contains those peculiar features that have influenced his music evolution. These features (i.e.: the use or suppression of elements as important as tonal harmony or melody) are common to most of the works composed in the same period and allow us an interpretation of Balada music. Conversations with the composer as well as his classes (Balada is Composition Professor at the Carnegie Mellon University) were important sources of information. They resulted in greatly helping understanding his music and investigating the features of a very complex musical language that has evolved, with the passing of time and the use of different techniques, to eventually become the peculiar style defining the personality of this exceptional composer. viii Resum. L'objectiu d'aquest estudi és definir a través de l'anàlisi de quatre composicions les característiques i l'evolució del llenguatge de Leonardo Balada (Barcelona, 1933). Des del seu trasllat a Nova York en 1956 per a estudiar amb mestres com Aaron Copland o Vincent Persichetti, ha escrit més de 120 obres de gran bellesa i personalitat que comprenen tots els gèneres. L'ampli reconeixement internacional
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