DM İSTANBUL TECHNICAL UNIVERSITY INSTITUTE OF SOCIAL SCIENCES A STUDY ON THE AUTHENTICITY AND EVOLUTION OF PIANO TECHNIQUE FOR SPANISH PIANO MUSIC: WITH SELECTIONS FROM THE REPERTOIRE OF ALBÉNIZ, GRANADOS AND FALLA IF NECESSARY THIRDLINE Ph.D. Thesis by Beray SELEN Department :Music Programme :Music JUNE 2009 i ii FOREWORD This doctorate thesis, titled " A Study On The Authenticity and Evolution of Piano Technique for Spanish Piano Music: With Selections From the Repertoire of Albéniz, Granados and Falla," was prepared at the I.T.U. Social Sciences Institute, Dr. Erol Uçer Center for Advanced Studies in Music (MIAM). This thesis presents results from my concern on the specifics of performance issues regarding Spanish Piano repertoire as well as my lifelong aim in trying to find a synthesis between factors outside of piano performance. These factors come from the core of the music and the culture it is born out of, and may be used in a way to help improve the performance aspect. My personal interest in the difficult and rhythmically complex nature of Spanish music gave rise to a further elaboration of this ideal through the Spanish piano repertoire of Albéniz, Granados and Falla. Coinciding with the writing process of this thesis, I had the chance to discover more useful aspects of music that are beyond just technical aspects of keyboard playing. In retrospect, this study allowed me to arrive at a further instrumental “overarching” angle to help and guide people interested in Spanish Piano repertoire. The project aims at investigating whether it is possible to see aspects of the Spanish piano music from diverse perspectives. Thıs includes the flamenco aspect as well as the guitar and clavichord comparative angles. Among these 3 factors, the aspect of flamenco is the one that stands out due to the importance it bears in terms of its large influence on the way the Spanish piano repertoire is played and perceived. Consequently, this leads the way for other parallels to be built, taking their departure from this example; since flamenco and classical Spanish piano music is only one example among all the other possible pairs that bear a similar relationship. Likewise, other studies can easily be made venturing into similar relationships- i.e. other nations’ “authentic/folk” idioms and their classical repertoire can be paired and studied. This study proves for the case of Spanish piano music, that authentic/folk idioms affect the way a nation’s classical repertoire is written and performed. I would like to thank my teacher and mentor, State Artist Ayşegül Sarıca, for her patience and support at every step of the doctorate study, including this thesis. Next, I would like to thank my advisor, Prof. Dr. Cihat Aşkın for the valuable time and support he invested in the preparation of this thesis; the members of the thesis committee, I.U. State Conservatory faculty Assis. Prof. Ümit Tunak and I.T.U MIAM faculty Prof. Şehvar Beşiroglu for their useful suggestions on the thesis; Marmara University School of Education faculty Assoc. Prof. Dilek Batıbay Yonat and ITU Turkish Music State Conservatory faculty Assist. Prof. Gülyar Balcı for their external support as a member of my finishing jury; as well as Assoc. Prof. M. Safa Yeprem for his guidance on guitar-related issues and leading me through the comparative instrumental details of this study. Last but not least, the help and support of my family through every stage of this study is sincerely and gratefully acknowledged. July 2009 Beray Selen iii iv TABLE OF CONTENTS Page LIST OF FIGURES Page..............................................................vi GLOSSARY................................................................................................................x SUMMARY..............................................................................................................xvi ÖZET.........................................................................................................................xx 1. INTRODUCTION..............................................................................................xxii 1.1 Purpose of the Study........................................................................................xxii 1.1.1 Definition of “authenticity”.....................................................................xxv 1.2 Methodology....................................................................................................xxxi 2. SPANISH PIANO MUSIC.....................................................................................1 2.1 What is Spanish Music?......................................................................................1 2.1.1 Fundamentals of Spanish music..................................................................6 2.2 Musical literature that are influenced by Spanish authentic idioms..............23 2.2.1 Orchestral literature...................................................................................23 2.2.2 Keyboard literature....................................................................................32 2.3. Spanish Piano Music from Scarlatti to Falla...................................................35 2.3.1 Introduction to the concept “Spanish piano school”..................................35 2.3.2 Early Spanish piano music, 1740-1840.....................................................38 2.3.3 Scarlatti , Soler and their contemporaries..................................................42 2.3.4 The Piano music of Isaac Albeniz, Enrique Granados, and their contemporaries....................................................................................................71 2.2.5 Falla, Mompou, Turina and their contemporaries...................................104 2.3.6 Summary..................................................................................................148 3. EXTERNAL FACTORS DEFINING AUTHENTICITY..............................156 3.1 Flamenco..........................................................................................................156 3.1.1. Cultural aspects.......................................................................................156 3.1.2 Characteristics of Flamenco music..........................................................163 3.1.3. The effects of Flamenco on (Spanish) piano repertoire and technique..168 3.2. Evolution of Guitar and Clavichord ..............................................................171 3.2.1. Guitar......................................................................................................171 3.2.2 Clavichord................................................................................................173 3.3. The effects of guitar on piano repertoire and technique...............................177 4. ANALYSIS AND PEDAGOGY........................................................................180 4.1 Piano Pedagogy in The Spanish School..........................................................180 4.2. Analyses and Interpretations of The Musical Selections..............................190 4.2.1 Granados pieces (intermediate and advanced)........................................190 4.2.2 Albeniz pieces..........................................................................................231 4.2.3 Falla pieces (advanced)............................................................................248 4.3 Resulting Pedagogical Implications................................................................261 5. DISCUSSION AND CONCLUSION................................................................264 REFERENCES ......................................................................................................272 APPENDICE ..........................................................................................................280 CURRICULUM VITAE........................................................................................284 v LIST OF FIGURES Page Figure 2.1: Phrygian Dominant Scale.......................................................................8 Figure 2.2: Phrygian Scale.........................................................................................8 Figure 2.3: Derivation of the scale and its possible chordal utilization.................8 Figure 2.4: Gypsy-Andalusian Scale with Phrygian Characteristics.....................9 Figure 2.5: Whole-tone/ quartal utilization of the Phrygian scale.........................9 Figure 2.6: Zortzico..................................................................................................14 Figure 2.7: Fandango................................................................................................14 Figure 2.8: Sardana..................................................................................................14 Figure 2.9: Rueda......................................................................................................15 Figure 2.10: Zortzico................................................................................................15 Figure 2.11: Charrada..............................................................................................16 Figure 2.12: Fandango salamantino........................................................................16 Figure 2.13- Folk melody from Galicia...................................................................17 Figure 2.14: Malagueña............................................................................................18 Figure 2.15: Rondeña-malagueña...........................................................................18