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The Flute Music of Paul Desenne: a Comparative Analytical Study of Representative Works

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The Flute Music of Paul Desenne: a Comparative Analytical Study of Representative Works University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 8-2010 THE FLUTE MUSIC OF PAUL DESENNE: A COMPARATIVE ANALYTICAL STUDY OF REPRESENTATIVE WORKS Javier A. Montilla University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Montilla, Javier A., "THE FLUTE MUSIC OF PAUL DESENNE: A COMPARATIVE ANALYTICAL STUDY OF REPRESENTATIVE WORKS" (2010). Student Research, Creative Activity, and Performance - School of Music. 28. https://digitalcommons.unl.edu/musicstudent/28 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE FLUTE MUSIC OF PAUL DESENNE: A COMPARATIVE ANALYTICAL STUDY OF REPRESENTATIVE WORKS by Javier A. Montilla A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor John R. Bailey Lincoln, Nebraska August, 2010 THE FLUTE MUSIC OF PAUL DESENNE: A COMPARATIVE ANALYTICAL STUDY OF REPRESENTATIVE WORKS Javier A. Montilla, D.M.A. University of Nebraska, 2010 Adviser: John R. Bailey The significance of the works by Venezuelan-born composer Paul Desenne lies in his unique compositional style that incorporates elements of Latin American folk, pop, and traditional music within the framework of the Western European tradition. His works, though easily classified as art music, nevertheless gain much of their emotional and referential meaning through this rich borrowing. This document focuses on three of Desenne’s flute pieces: the Solo Flute Sonata (2001), Gurrufío for flute orchestra (1997), and Guasa Macabra for flute and clarinet (2003). It provides an analysis of the three works, examining formal, structural, motivic, and rhythmic aspects. Scores and interviews with the composer have been employed as primary sources. Bibliographical material closely related to his music and other secondary sources support this analytical approach. This document also provides an introduction and stylistic discussion of Desenne’s other pieces that incorporate the flute. Chapter one consists of an introduction to Desenne’s life and general considerations of his musical style. Each of the following three chapters focuses on one the three aforementioned flute works, including information about the composition and premiere of each piece as well as analysis and an examination of its incorporation of traditional folk elements. The final chapter presents an introduction to and stylistic discussion of the other flute pieces by this composer. This study intends to provide a basic understanding of Desenne’s flute music, including general characteristics of his musical style, paving the way for further investigation of Desenne’s music, and flute music in particular. iii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES AND TABLES……………………………………...v ACKNOWLEDGMENTS……………………………………………………...…..……..x CHAPTER I: INTRODUCTION………………………………………………………...1 Biographical Sketch of Paul Desenne………....…………………………………..1 Musical Style: General Considerations………..……………………….………...10 CHAPTER II: SOLO FLUTE SONATA (2001)……………….……................................17 Conception and Premiere …………..………...……………...…………………..17 An Introduction to the Solo Flute Sonata………...………………..……………..18 Salient Musical Features………….....…………………………………………...24 Analysis……………………………….…………………………………...……..27 First Movement -- America, Divagación….………………...……………….……27 First Interlude -- Guasa Charcosa….…….…..……...…...…………………….....41 Second Movement -- Variaciones Imposibles sobre el Tema de “Misión Imposible”....47 Second Interlude -- Guasaranas II………..……….……………………….....…..76 Third Movement -- Rancho Son……..........………….………………………..….83 Summary……………………………………...………………………………….96 CHAPTER III: GURRUFÍO FOR FLUTE ORCHESTRA (1997)……………....…...100 Conception and Premiere…………..…….…………………..…………………100 An Introduction to Gurrufío……………….…………………………….……...101 Analysis…….…………………...………………………………………………101 Summary…...……………....………………….……………………………........121 iv CHAPTER IV: GUASA MACABRA FOR FLUTE AND CLARINET (2003)………123 Conception and Premiere………………...……………………..………………123 An Introduction to Guasa Macabra…….………………………………..……...124 Analysis………………………....…………………………………….…..……..127 Summary……....……………………………………………….………………..139 CHAPTER V: AN INTRODUCTION TO DESENNE’S OTHER FLUTE WORKS………………………………………………………………………….……..141 List of All the Remaining Flute Pieces in Chronological Order………….…....141 An Introduction to the Remaining Flute Pieces………...……….......………....142 Stylistic Discussion of the Remaining Works for Flute…………………..........144 Summary………....……………………………………………………..…….…174 CONCLUSION………………………….…………………………………………...…176 SELECTED BIBLIOGRAPHY……..………………....…………..…………………...178 v LIST OF MUSICAL EXAMPLES AND TABLES Ex. 1, Solo Flute Sonata, Mov. I, mm. 1-8………………………………………………..29 Ex. 2, Solo Flute Sonata, Mov. I, mm. 8-18………………………………………………30 Ex. 3, Solo Flute Sonata, Mov. I, mm. 18-27……………………………………………..35 Ex. 4, Solo Flute Sonata, Mov. I, mm. 27-42……………………………………………..36 Ex. 5, Solo Flute Sonata, Mov. I, mm. 43-63……………………………………………..38 Ex. 6, Solo Flute Sonata, Mov. I, mm. 64-70……………………………………………..39 Ex. 7, Solo Flute Sonata, Mov. I, mm. 82-84…………………………………………..…39 Ex. 8, Solo Flute Sonata, Mov. I, mm. 70-89……………………………………………..40 Ex. 9, Solo Flute Sonata, Mov. I, mm. 89-96……………………………………………..41 Ex. 10, Solo Flute Sonata, Mov. I, mm. 95-96…………………………………………....43 Ex. 11, Solo Flute Sonata, Guasa Charcosa, mm. 1-12………………………………….....44 Ex. 12, Solo Flute Sonata, Guasa Charcosa, mm, 13-37…………………………………...45 Ex. 13, Solo Flute Sonata, Guasa Charcosa, mm. 37-51…………………………………...46 Ex. 14, Solo Flute Sonata, Guasa Charcosa, mm. 52-59…………………………………...47 Ex. 15, Solo Flute Sonata, Mov. II, Theme, mm. 1-7………………………………….....49 Ex. 16, Solo Flute Sonata, Mov. II, Theme, Blocks 1 and 2, mm. 7-14………………….51 Ex. 17, Solo Flute Sonata, Mov. II, Theme, mm. 15-18………………………………….52 Ex. 18, Solo Flute Sonata, Mov. II, Theme, mm. 19-24………………………………….52 Ex. 19, Solo Flute Sonata, Mov. II, Var. 1, mm. 1-2……………………………………...53 Ex. 20, Solo Flute Sonata, Mov. II, Var. 1 complete…………………………………….55 Ex. 21, Solo Flute Sonata, Mov. II, Var. 2, mm. 1-3……………………………………...56 Ex. 22, Solo Flute Sonata, Mov. II, Var. 2, mm. 4-7……………………………………...57 vi Ex. 23, Solo Flute Sonata, Mov. II, Var. 2, mm. 8-11……………………………………58 Ex. 24, Solo Flute Sonata, Mov. II, Var. 2, mm. 12-15…………………………………...59 Ex. 25, Solo Flute Sonata, Mov. II, Var. 2, mm. 16-19…………………………………...60 Ex. 26, Solo Flute Sonata, Mov. II, Var. 3, mm. 1-18……………………………………62 Ex. 27, Solo Flute Sonata, Mov. II, Var. 3, mm. 19-65………………………………...…63 Ex. 28, Solo Flute Sonata, Mov. II, Var. 3, mm. 66-end.…………………………………65 Ex. 29, Solo Flute Sonata, Mov. II, Var. 4, mm. 1-4……………………………………...67 Ex. 30, Solo Flute Sonata, Mov. II, Var. 4, mm. 1-15……………………………………68 Ex. 31, Solo Flute Sonata, Mov. II, Var. 4, mm. 15-25…………………………………...69 Ex. 32, Solo Flute Sonata, Mov. II, Var. 4, mm. 25-35…………………………………...70 Ex. 33, Solo Flute Sonata, Mov. II, Var. 5, mm. 1-2…………….………………………..71 Ex. 34, Solo Flute Sonata, Mov. II, Var. 5, mm. 1-4……………………………………...71 Ex. 35, Solo Flute Sonata, Mov. II, Var. 5, mm. 1-11…………………………………....72 Ex. 36, Solo Flute Sonata, Mov. II, Var. 5, mm. 11-27…………………………………...73 Ex. 37, Solo Flute Sonata, Mov. II, Var. 5, mm. 27-57…………………………………...74 Ex. 38, Solo Flute Sonata, Mov. II, Var. 5, mm. 58-65………………………… ………..75 Ex. 39, Solo Flute Sonata, Mov. II, Var. 5, mm. 66-91…………………………………...76 Table 1, Solo Flute Sonata, Guasaranas II, structural diagram……………...…………...77 Ex. 40, Solo Flute Sonata, Guasaranas II, mm. 1-23……………………………………...77 Ex. 41, Solo Flute Sonata, Guasaranas II, mm. 101-122………………………………….78 Ex. 42, Solo Flute Sonata, Guasaranas II, mm. 23-35…………………………………….79 Ex. 43, Solo Flute Sonata, Guasaranas II, mm. 50-57…………………………………….79 Ex. 44, Solo Flute Sonata, Guasaranas II, mm. 123-end………………………………….80 vii Ex. 45, Solo Flute Sonata, Guasaranas II, mm. 35-49…………………………………….81 Ex. 46, Solo Flute Sonata, Guasaranas II, mm. 58-100…………………………….. ……82 Ex. 47, Rhythmic patterns of the clave in the Cuban son………………………………..85 Ex. 48, Solo Flute Sonata, Mov. III, mm. 1-4…………………………………………….87 Ex. 49, Solo Flute Sonata, Mov. III, mm. 5-8…………………………………………….88 Ex. 50, Solo Flute Sonata, Mov. III, mm. 9-12…………………………………………...88 Ex. 51, Solo Flute Sonata, Mov. III, mm. 13-16………………………………………….89 Ex. 52, Solo Flute Sonata, Mov. III, mm. 17-26………………………………………….90 Ex. 53, Solo Flute Sonata, Mov. III, mm. 27-38………………………………………….91 Ex. 54, Solo Flute Sonata, Mov. III, mm. 39-54………………………………………….92 Ex. 55, Solo Flute Sonata, Mov. III, mm. 55-82………………………………………….93 Ex. 56, Solo Flute Sonata, Mov. III, mm. 83-100………………………………………...95 Fig. 1, An image of the gurrufío toy……………………………………………………100 Table 2, Formal diagram of Section A ………………………..……………………….102 Ex. 57, Gurrufío, Section A, m. 1…………………...…………………………………...102 Table 3, Formal diagram of Section A, with its respective subsections……………….104 Ex. 58, Gurrufío, Section A, Block a, mm. 1-4………………………………………….105 Ex. 59, Gurrufío, Section A, Block b, mm 5-6…………………………………………..105 Ex. 60, Gurrufío,
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