Andrés Segovia’s Influence in the Realization of Mario Castelnuovo-Tedesco's Sonata Omaggio a Boccherini, Op. 77: A Comparative Analysis of Tedesco's Manuscript Versus Segovia’s Edition Item Type text; Electronic Dissertation Authors Meza Peraza, Pavel Francisco Citation Meza Peraza, Pavel Francisco. (2020). Andrés Segovia’s Influence in the Realization of Mario Castelnuovo-Tedesco's Sonata Omaggio a Boccherini, Op. 77: A Comparative Analysis of Tedesco's Manuscript Versus Segovia’s Edition (Doctoral dissertation, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 04:25:26 Link to Item http://hdl.handle.net/10150/648612 ANDRÉS SEGOVIA´S INFLUENCE IN THE REALIZATION OF MARIO CASTELNUOVO-TEDESCO´S SONATA OMAGGIO A BOCCHERINI, OP. 77: A COMPARATIVE ANALYSIS OF TEDESCO´S MANUSCRIPT VERSUS SEGOVIA´S EDITION by Pavel Francisco Meza Peraza __________________________ Copyright © Pavel Francisco Meza Peraza 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by: titled: and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ Final approval and acceptance of this document the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. _________________________________________________________________ Date: ____________ 3 ACKNOWLEDGEMETS I want to express my gratitude to the people that have been involved and helped in different ways during the realization of this project. To Professor Thomas Patterson for the mentoring, encouragement, and boundless patience during my entire process of study. To my committee members: Dr. Philip Alejo, and Professor Timothy Kantor for their feedback and advice in the writing process of this document. To Dr. Janet Sturman for the invaluable support and counsel during my doctorate journey. To Dr. José Luis Puerta and Dr. John Brobeck for their endless assistance and prompt advice. Dr. Gabriel Navia for his help with the music analysis, and to Julia Pernet for her proof reading assistance. 4 TABLE OF CONTENTS ABSTRACT .................................................................................................................................. 6 PART I. BACKGROUND AND OVERVIEW ............................................................................... 7 The collaborative relationship between Mario Castelnuovo-Tedesco and Andrés Segovia .......... 7 The guitar music of Tedesco 1932-1939 ..................................................................................... 9 The genesis of Omaggio a Boccherini ....................................................................................... 12 Segovia’s editing practices ....................................................................................................... 16 The facsimile score of Sonata Omaggio a Boccherini, op. 77 .................................................... 24 PART II. ANALYSIS OF THE FORMAL AND STYLISTIC ELEMENTS OF SONATA OMAGGIO A BOCCHERINI, OP. 77........................................................................................... 26 Tedesco´s compositional style and his Sonata op. 77 ................................................................ 26 Features of Boccherini’s compositional style in Sonata op. 77 .................................................. 27 Analysis ................................................................................................................................... 30 I. Allegro con spirito ........................................................................................................ 30 II. Andantino, quasi canzone ............................................................................................. 40 III. Tempo di minuetto .................................................................................................... 46 IV. Presto furioso ........................................................................................................... 50 PART III. COMPARISON OF SOURCES................................................................................... 57 I. Allegro con spirito ............................................................................................................ 58 5 II. Andantino, quasi canzone ................................................................................................. 72 III. Tempo di minuetto ........................................................................................................ 75 IV. Presto furioso ............................................................................................................... 82 CONCLUSION ........................................................................................................................... 92 APPENDIX ................................................................................................................................. 94 BIBLIOGRAPHY ........................................................................................................................ 98 6 ABSTRACT Sonata Omaggio a Boccherini, op. 77 by Mario Castelnuovo-Tedesco (1895-1968) is considered as one of the most important sonatas for guitar of the twentieth century, composed at the request of Spanish guitarist Andrés Segovia (1893-1987). Until recently, the standard edition of Sonata Omaggio a Boccherini, op. 77 was only available in Segovia´s edited version published by Schott, yet the discovery of the autograph and the publication of this facsimile makes it possible to reassess Tedesco’s original intentions for this work. This document provides an insight into the collaborative relationship between Mario Castelnuovo-Tedesco and Andrés Segovia and the creative process through the realization of this Sonata. This study will examine and compare the existing sources of Sonata Omaggio a Boccherini, op. 77 to offer performers with a critical view of the work. The comparison will discuss primarily the criteria Segovia used in his edition; the differences between the two main existing sources of the work (i.e. Tedesco’s manuscript and Segovia’s edition); and the practicality of its performance. In addition, this document offers a musical analysis in which the influences of Luigi Boccherini (1743-1805) in Sonata op. 77 will be discussed. 7 PART I. BACKGROUND AND OVERVIEW The collaborative relationship between Mario Castelnuovo-Tedesco and Andrés Segovia Mario Castelnuovo-Tedesco (1895-1968) is regarded as one of the most important composers for the classical guitar in the twentieth century. His musical production is vast, and music written for the guitar forms a sizeable portion of his compositional output.1 A considerable number of his guitar works are frequently performed and recorded worldwide, and some of them have become part of the canon of the modern guitar. Along with Manuel M. Ponce, Federico Moreno Torroba, Joaquín Turina and Heitor Villa-Lobos, Castelnuovo- Tedesco was among the composers who built a collaborative relationship with Andrés Segovia (1893-1987), which resulted in a flourishing creation process and a new repertoire for the classical guitar. Tedesco was one of those composers who “aided Andrés Segovia in his mission to expand the guitar’s repertoire beyond the meager collection available at the beginning of Segovia’s long career by composing many works expressly for him. All of this is remarkable considering that Castelnuovo-Tedesco was not a guitarist”. 2 Castelnuovo-Tedesco and Andrés Segovia met in 1932 during an international music festival in Venice, Italy. Their relationship began with the composition of a first guitar work: Variations à travers les siècles, op. 71 (1932). To the delight of Segovia, Tedesco proved to be quite proficient in writing for the guitar. “The guitarist was so satisfied that he played the work in all of his concerts that season, and thereafter, Segovia 1 Peter Higham, "Castelnuovo-Tedesco's Works for Guitar" (MM thesis, University of Alberta, Canada, 1977), 1. 2 Matthew Michael Anderson, “An Analysis and Performance Edition of Mario Castelnuovo- Tedesco´s Rondo for Guitar, Op. 129” (DMA diss., University of Georgia, 2011), 1. 8 annually requested a new composition from the Maestro.” 3 The relationship between these musicians was long and prolific and lasted until Tedesco´s death in 1968. The lifetime collaborative relationship between Castelnuovo-Tedesco and Segovia resulted in a considerable number of guitar works that were expressly composed for the illustrious Spanish guitarist. Over