RT info:eu-repo/semantics/article
T1 Escaping aesthetic control: from a historic "Quejas" to a new "Amor"
T2 Huyendo del control estético: desde unas «Quejas» históricas hasta un nuevo «Amor»
A1 Fatichenti, Marco
K1 Cultural history
K1 Folklore
K1 Identity
K1 Goyescas
K1 Granados
K1 Piano
K1 Performance
K1 Propaganda
K1 Spanishness
K1 Spanish music history
K1 Historia cultural
K1 Identidad
K1 Interpretación pianística
K1 Españolismo
K1 Historia de la música española
K1 Música
K1 Music
K1 Arte
K1 Art
AB Spanish pianists, educators, and commentators have relished passing downto following generations the performance practices of their own tradition, with therenowned institution L’escola de música de Barcelona claiming to offer specialisttraining in 'Spanish music'. In this context, Granados’s "Goyescas" have inevitablybecome the almost-exclusive domain of native musicians, herding artists’ creativitiestowards sets of performance instructions familiar to them. That we should continueto consider this repertoire as a specifically separate entity, fully knowable only bylocal artists or those trained within their tradition, is worthy of attention, as it placesanyone outside this educational background and performing tradition as ‘other’ inneed of acceptance. While the study of Granados’s output has recently been enrichedby analytical investigations, recording projects, and new critical editions, it is the stillunfamiliar early-recorded legacy by the composer/pianist that will be the catalyst forinsights in this article. His Welte-Mignon roll recordings show a dynamic and flexibleartistry, unsurprising in pianists of his generation, together with a lack of highly articulated ornamental inflexions and the rhythmical rigour we might expect in performances of suchrepertoire. The question that I wish to raise is whether at some point during the twentieth centurythere was a cultural shift that shaped ‘Spanish music’ to sound as distinctively national as possible.Such a shift would have occurred, in the minds of players, in parallel to wider changes in performancestyles taking place throughout the continent. Exploring these aesthetic ideals through the lens of thecountry’s cultural history during the troubled years across the middle of the last century may hint at thesubtle but meaningful ways that defined a canon flavoured with local folklore, both within and withoutthe Spanish borders. The aim throughout is to challenge these orthodox approaches controlling therepertoire, resulting in my own renewed performance of "El amor y la muerte"; the hope will be that ofempowering pianists to make different choices, diversifying performance options in the future.
PB Editorial Universidad de Alcalá
SN 2660-4582
YR 2021
FD 2021
LK http://hdl.handle.net/10017/50409
UL http://hdl.handle.net/10017/50409
LA eng
DS MINDS@UW
RD 19-abr-2024