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Franz Anton Hoffmeister (1754–1812): Concierto Para Viola Y Orquesta En Re Mayor

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Franz Anton Hoffmeister (1754–1812): Concierto Para Viola Y Orquesta En Re Mayor FRANZ ANTON HOFFMEISTER (1754–1812): CONCIERTO PARA VIOLA Y ORQUESTA EN RE MAYOR. ANÁLISIS Y PROPUESTA INTERPRETATIVA. OSCAR LEONARDO VALENCIA VALDERRAMA. PONTIFICIA UNIVERSIDAD JAVERIANA FACULTAD DE ARTES DEPARTAMENTO DE MÚSICA CARRERA DE ESTUDIOS MUSICALES VIOLA 2012 Franz Anton Hoffmeister (1754–1812) Concierto en Re Mayor para viola y orquesta. Análisis y propuesta interpretativa. Introducción. Franz Anton Hoffmeister nació en Rothenburg am Neckar en 1754 y falleció en 1812 en Viena, a donde se había trasladado a los catorce años de edad para estudiar leyes. Posteriormente a su graduación decidió dedicarse de lleno a la música, llegando a convertirse por su extenso catálogo de obras – 66 sinfonías para la orquesta de la corte, una docena de conciertos y otras tantas óperas, entre otras – en uno de los compositores más conocidos y respetados de esa ciudad. En el Neues Historish-Biographisches Lexikon der Tonkünstler, editado por el comentarista Ernst Gerber en 1812, aparece el comentario: (…) Ganó para sí mismo una bien merecida y amplia reputación por el original contenido de sus trabajos, que no son sólo ricos en expresión emocional, sino que también se distinguen por el interesante y cuidadoso uso de los instrumentos y un buen sentido práctico (…) usted podría pensar que [él] era un virtuoso en todos los instrumentos para los cuales escribió. Hoffmeister compuso obras en muy diversos géneros, tanto por comisión como para ser publicados. Sus conciertos para flauta – por ejemplo – fueron muy populares, especialmente entre los músicos aficionados, mientras que sus dos conciertos para viola tuvieron una circulación muy limitada, dada la poca cantidad de intérpretes de calidad de este instrumento en la época. Aún así, su fama actual se debe principalmente a su trabajo como editor de música. En 1785 estableció la segunda casa editorial musical de Viena. Compositores tan importantes como Clementi, Forster, Pleyel, Paul Wranitzky, Haydn, Mozart y Beethoven, quienes desarrollaron una parte importante de su carrera musical en esa ciudad, publicaron sus trabajos en esta editorial. Una segunda casa editorial, fundada por Hoffmeister en Leipzig en 1800 y llamada The Bureau de Musique, dio origen a la compañía C. F. Peters, aún activa en la actualidad. Se conoce muy poco acerca del origen del concierto para viola y orquesta, que parece haber sido compuesto durante la década de 1780 o a principio de la década de 1790. La única fuente original que sobrevive es un archivo de partituras en la Sächsiche Landesbibliothek de Dresden; estas partituras, en muy mal estado de conservación, pertenecieron a Joseph Schubert, quien fue un compositor y violista en la orquesta de la corte de Dresden. Esta fuente presenta serios problemas tanto por inexactitud como por la existencia de un grupo incompleto de partituras de un segundo movimiento alternativo “al estilo siciliano”, lo que sugeriría que el concierto tuvo dos versiones. Las reconstrucciones de esta obra han sido realizadas con base en las partituras individuales, ya que en este archivo no existe un score o partitura general. Conformación de la orquesta. La instrumentación de este concierto es viola solista, dos oboes, dos cornos, violines primeros y segundos, violas y violonchelos. Vale la pena anotar que en el manuscrito la línea más baja está asignada a “bajos” y no a violonchelos, pero tanto en las ediciones modernas de la partitura como en las grabaciones consultadas se interpreta esta línea en los violonchelos. Análisis. Primer movimiento – Allegro. Este primer movimiento presenta, como es común en los conciertos clásicos, una forma sonata ligeramente alterada. Ya que la orquesta usualmente empezaba interpretando como introducción buena parte del material melódico, la aparición del tema por parte del solista es considerada como la verdadera exposición del primer tema. El tema inicial está conformado por una frase periódica de ocho compases (dos frases de cuatro) presentada por el grupo orquestal sin el solista, seguida por una segunda melodía en la dominante (La Mayor), también periódica, que concluye con una semi-cadencia en el compás 15 y cadencia perfecta o auténtica en el 30. Figura 1. Compases 1 a 8. Un segundo tema es presentado por el grupo orquestal (compás 16 en adelante) y lleva a la cadencia de los compases 34 y 35. A partir del compás 36 y hasta el 59, el solista presenta el tema principal completo. La sección está dividida en tres grupos de cuatro compases y la armonía se establece en la dominante (La Mayor) a partir del compás 48. Figura 2. Viola solista, compases 35 a 44. Después de haber establecido firmemente la tonalidad en la dominante (La Mayor), el solista interpreta el tema secundario (compás 60). Este tema también tiene la estructura periódica de dos frases de cuatro compases. Figura 3. Viola solista, compases 60 a 67. Entre los compases 73 y 90 se presentan por el solista dos frases con “eco” o respuesta, seguidas por un pequeño interludio orquestal a modo de ritornello sobre el tema inicial en dominante (A), que termina en una Cadencia Auténtica Perfecta, que da paso al desarrollo. Figura 4. Viola solista, compases 74 a 77. Figura 5. Viola solista, compases 82 a 88. La orquesta ejecuta entonces el tema primario en La Mayor, a manera de interludio orquestal. Figura 6. Orquesta, compases 91 a 94. En el compás 117 el solista retoma la misma melodía del ritornello en La Mayor, llegando en el compás 129 a la sección de desarrollo en la tonalidad relativa menor (Si menor) con el material de la segunda de las frases con “eco” anteriores. En el 139 se inicia una cadencia del solista sobre Si menor que lleva en el 151 a una nueva repetición de los primeros tres compases del ritornello por parte de la orquesta. Figura 7. Orquesta, compases 151 a 154. Desde el compás 154 la orquesta hace una modulación de vuelta a la tónica, para plantear el inicio la recapitulación, donde los temas principal y secundario son presentados en Re Mayor. Figura 8. Viola solista, compases 179 a 185. Tema secundario en D. Desde el compás 189 se presentan dos nuevas frases con “eco”, cada una de dos compases, seguidas desde el 193 por una sección de tres compases de escalas. Esta estructura se repite a partir del 198, con una frase de dos compases, “eco” y cuatro compases de escalas que conducen a una coda de cuatro compases. Segundo movimiento – Adagio. La estructura formal de este movimiento es binaria y está en la tonalidad de Re menor. Se inicia con una breve introducción (sólo 6 compases) por parte de la orquesta, dando paso al tema principal, consistente en tres frases de dos compases cada una, interpretado por el solista; la síncopa y un descenso triádico aparecen como elementos comunes entre la introducción y este tema. Figura 9. Viola solista, compases 7 a 12. El segundo tema presenta una modulación hacia Fa Mayor (relativo mayor), tonalidad en la que está el tercer tema. Figura 10. Viola solista, compases 13 a 17. Estos dos temas tienen una función transitoria y en el compás 31 la orquesta presenta nuevamente el primer tema, esta vez en Fa Mayor, dando paso a la segunda sección (compás 38), donde la viola solista retoma la melodía inicial con una gran elaboración de adornos melódicos. Figura 11. Viola solista, compases 38 a 42. Desde el compás 47 la armonía empieza a cambiar nuevamente para llegar al tema principal en Re menor en el compás 53, con una variante armónica y melódica (notas largas) en los compases 56 y 57. Esta sección finaliza con una especie de cadencia muy corta en los compases 67 y 68 – que completa la forma binaria – y una coda orquestal. Figura 12. Viola solista, compases 67 y 68. Tercer movimiento – Rondó. La forma rondó fue ampliamente utilizada en el movimiento final de los conciertos de la época clásica; los compositores preferían usualmente trabajar sobre la repetición de una melodía periódica que sobre el desarrollo de la misma. El tercer movimiento retoma la tonalidad inicial de Re Mayor y está escrito en 6/8. El tema principal (estribillo) del Rondó está dividido en dos frases de cuatro compases cada una, y es presentado por el solista y luego repetido por la orquesta. Figura 13. Viola solista. Estribillo. El solista inicia en el compás 16 una serie de frases muy virtuosas; hay dos frases con “eco”. La armonía llega en el compás 28 a la dominante (La Mayor), pero el estribillo vuelve a Re Mayor (compás 37). En la tercera sección (compás 53 en adelante) la armonía cambia a Si menor (relativo menor) para una nueva melodía, dividida en dos frases de cuatro compases. Figura 14. Viola solista. Compases 53 a 61. En esta sección se presentan diversas frases repetidas y secuencias virtuosas por parte del solista y la armonía pasa rápidamente de Re Mayor a la dominante (La Mayor), Re Mayor y Si menor (relativo menor), antes de volver al estribillo en Re Mayor (compás 98). Figura 15. Viola solista. Compases 63 a 84. En el compás 113 aparece una nueva melodía constituida por tres frases de 2 + 2 + 4 compases en la tonalidad paralela (Re menor) tocada por el solista; la armonía vuelve muy pronto a la tonalidad mayor (compás 128) y el solista presenta otra sección de escalas y arpegios. La armonía en esta sección también es muy modulante, ya que empieza en Re menor, pasa por Fa Mayor, vuelve a Re menor y termina en Re Mayor. Figura 16. Viola solista. Compases 128 a 135. En el compás 137 aparece una segunda versión de la melodía en Re menor que ya había sido tocada antes (compases 113 a 126) y pasa a la última repetición del estribillo para finalizar la obra.
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