Publication: Estructuras de la música popular andaluza, preflamenca y flamenca en "Iberia" de Isaac Albéniz
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2017-03-28
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Universidad Complutense de Madrid
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Abstract
12 Nuevas impresiones en cuatro cuadernos es el título inicial que Isaac Albéniz dio a la colección de doce piezas para piano que compuso entre 1905 y 1908. Más tarde sustituyó este título por el de Iberia –con el que se publicó la primera edición de la obra–, aunque diversos expertos en Albéniz consideran que Iberia bien pudiera haberse llamado Andalucía o Nuevas impresiones andaluzas. En efecto, el hecho de que Albéniz titulara la mayor parte de las piezas de Iberia con nombres de lugares emblemáticos andaluces ha generado todo tipo de especulaciones sobre la existencia de una relación musical entre las piezas de la colección y los bailes y canciones de dichos lugares. Desde el mismo momento en que se completa Iberia la identidad temática de la colección es motivo de interés y también de controversia. Determinados autores se han sentido fascinados por descubrir en Iberia formas del «cante jondo» y del flamenco que había iniciado su andadura cincuenta años antes de que Albéniz compusiera su obra. El primer autor que establece relaciones entre las piezas de Iberia y ciertas formas flamencas y/o populares andaluzas es Henri Collet (París, 1885–1951) en Albéniz et Granados (1926). Collet identifica hasta quince géneros de origen andaluz en Iberia, abarcando desde formas populares tradicionales hasta palos puramente flamencos, pasando por géneros que sirvieron de transición entre unos y otros, pertenecientes a lo que se ha dado en llamar preflamenco o protoflamenco. Investigadores posteriores han mostrado un criterio de fidelidad a Collet, manteniendo – salvo excepciones– la mayoría de asociaciones que este estableció entre las piezas de Iberia y ciertas formas andaluzas y flamencas, sin que se hayan aportado las suficientes justificaciones musicales para ello...
12 New Impressions in Four Books was the name Isaac Albéniz first gave to the twelve-piece suit for piano he wrote between 1905 and 1908. Later on, he changed the original title for Iberia (under which the first edition of his work was finally published). Even though, various scholars specialized in Albéniz think that Iberia could perfectly have been called Andalusia or New Andalusian impressions. The truth is that Albéniz used the names of symbolic Andalusian locations for most of the pieces in Iberia. This fact generated all kinds of speculation on the existence of a musical relation between those collected pieces, and folkloric dances and songs from the places after which they were named. Since the moment in which Iberia was finished, the thematic identity of the collection awoke interest as well as controversy. Some authors have been fascinated by the idea of discovering jondo and flamenco singing in Iberia. Flamenco itself had been born around fifty years before Albeniz composed his work. Henri Collet (Paris, 1885-1951) was the first author who established a relationship between the Iberia pieces and certain flamenco and/or other Andalusian folk musical styles, as we can find written in Albéniz et Granados, published in 1926. Collet identifies up to fifteen different music genres of Andalusian origin in Iberia, genres that go from folkloric and traditional to pure flamenco song forms (palos). He also brings up genres that serve as bridges between those two, called preflamenco or protoflamenco. Later researchers (save a few exceptions) have shown some degree of fidelity to Collet by supporting his ideas about the links he established between the Iberia pieces and certain Andalusian and flamenco music, even when none of them has given enough musical reasons for such an assertion...
12 New Impressions in Four Books was the name Isaac Albéniz first gave to the twelve-piece suit for piano he wrote between 1905 and 1908. Later on, he changed the original title for Iberia (under which the first edition of his work was finally published). Even though, various scholars specialized in Albéniz think that Iberia could perfectly have been called Andalusia or New Andalusian impressions. The truth is that Albéniz used the names of symbolic Andalusian locations for most of the pieces in Iberia. This fact generated all kinds of speculation on the existence of a musical relation between those collected pieces, and folkloric dances and songs from the places after which they were named. Since the moment in which Iberia was finished, the thematic identity of the collection awoke interest as well as controversy. Some authors have been fascinated by the idea of discovering jondo and flamenco singing in Iberia. Flamenco itself had been born around fifty years before Albeniz composed his work. Henri Collet (Paris, 1885-1951) was the first author who established a relationship between the Iberia pieces and certain flamenco and/or other Andalusian folk musical styles, as we can find written in Albéniz et Granados, published in 1926. Collet identifies up to fifteen different music genres of Andalusian origin in Iberia, genres that go from folkloric and traditional to pure flamenco song forms (palos). He also brings up genres that serve as bridges between those two, called preflamenco or protoflamenco. Later researchers (save a few exceptions) have shown some degree of fidelity to Collet by supporting his ideas about the links he established between the Iberia pieces and certain Andalusian and flamenco music, even when none of them has given enough musical reasons for such an assertion...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, leída el 14/12/2015. Tesis retirada por expreso deseo de la autora.