Los escritos de Joaquín Rodrigo sobre sus obras para violín / Joaquín Rodrigo’s writings on his works for violin
ESPAÑOL / ENGLISH
Con ocasión de la reciente programación en diversos conciertos de las obras para violín de Joaquín Rodrigo, a continuación ofrecemos los comentarios a las mismas del propio compositor:
Estos escritos, que aportan una información extraordinaria para la audición de estas obras, se encuentran en el archivo de la Fundación Victoria y Joaquín Rodrigo.
25 de febrero 2016: Concierto de estío a cargo de la violinista Leticia Moreno acompañada por la Orquesta Sinfónica de Colombia.
Concierto de estío
El Concierto de estío, ha sido compuesto en el verano de 1943, junto al Mediterráneo, si
bien terminado en Madrid en el siguiente año. No debemos buscar, ni pretender
descubrir en él, a pesar de su título, intenciones preconcebidas o alusiones
directas. Empero, la sugestión que forzosamente impone la adopción de un título
general, y el hecho de recurrir en los tres tiempos de la obra (Preludio,
Siciliana, Rondino) a expresiones inequívocamente sintomáticas de un estilo,
forma y aún de época, señalan la intención del autor y la postura estética de
un concierto que nace bajo signos queridos por Vivaldi y familiares en su obra.
En el Concierto
de estío, compuesto en pleno campo y bajo el sol de mi país, no hay,
empero, sugestiones populares, excepto en el “Rondino” donde, si bien tamizada,
no sería difícil encontrar una filiación catalana. También en el
“Preludio”, en su segundo tema, expuesto por la madera, recoge inflexiones de giros populares. A
pesar de estos ligeros elementos populares que se introducen en toda obra
española, voluntariamente o involuntariamente - de mí puedo decir que nunca los
rehuyo -la temática del Concierto de
estío está tomada de sustancias depuradas y acreditadas por un largo uso de
las formas más aristocráticas de la música. En cuanto a la forma, sigue
fielmente la formula "concierto" en el primer tiempo, del que he
desterrado, como en mis conciertos anteriores, la doble exposición.
Caricatura del periódico “Ya” de Joaquin Rodrigo, Enrique Iniesta y Pérez Casas, por el estreno del “Concierto de estío”, 1944.
Programa del estreno de Concierto de estío, 16/4/44
La “Siciliana” desarrolla un tema único, y aquí se insiste en una inclinación, latente en mi obra, pero, que ya se precisa en el Concierto heroico: la variación. En este tiempo, se entabla un apretado juego entre el tema de la “Siciliana” y el primer tema de la obra, juego que se resuelve en la cadencia.
El “Rondino” ha sido, en la elaboración y
creación, al menos, el más consciente. Me propuse trazar con su tema algo a
modo de un círculo armónico y formal; es decir, que el estribillo fuera girando
en torno a un plan preestablecido: diez apariciones sucesivas del tema sin
solución de continuidad, sin que episodio alguno se interponga entre esas diez
exposiciones que aparecen en forma de “variantes” más que de
"variaciones", pues la palabra "variación" me parece
pretenciosa en este caso. Piruetea el violín sobre bases armónicas que componen
sucesivos estamentos de tónica, subdominante y dominante, y en derredor de él
cabalgan los demás instrumentos en súbitas escapadas a tonos a veces lejanos,
pero sometidos a la órbita tonal impuesta, describiendo un círculo mágico que
se repite por tres veces.
En cuanto al espíritu, he querido infundir nueva
vida al concierto anterior a Mozart y Haydn. El intento es demasiado ambicioso, bien lo sé: por ello ignoro si lo he
conseguido.
Joaquín Rodrigo (1944).
Capriccio
"¿Es
posible escribir un violín esbelto, cuya escueta gallardía reúna la magia del
"sólo" y la atracción del dialogo, sin que pesado dogal de su
preceptor, el piano, lo estorbe?...
Nada más
conveniente para rejuvenecer el viejo y agotado piano, que trastocarlo en
violín, instrumento que ha sabido conservar su juventud no renunciando al
modesto atuendo de sus cuatro cuerdas...
Abramos,
pues, el libro de los viejos ensalmos guitarrísticos con sus eternas fórmulas
cabalísticas de la música española y hagámoslas galopar en el "instrumento
de pies ligeros", cordel sin bridas ni arnés, toda línea pura, y pura
velocidad."
Joaquín Rodrigo’s writings on his works for violin
On the occasion of the recent programming in various concerts of Joaquín Rodrigo’s violin works, we are pleased to offer the composer’s own comments on these works.
These documents, which are an extraordinary tool to enhance the audition of these works, are preserved in the archive of the Victoria and Joaquín Rodrigo Foundation.
February 25, 2016: Concierto de estio by violinist Leticia Moreno accompanied by the Symphonic Orchestra of Colombia
February 24 and 27, 2016, Cardiff, Wales: Capriccio para violin solo, by violinist Christopher Horner.
Concierto de estío
The Concierto de estío was composed in the summer of 1943 beside the Mediterranean, and
completed here in Madrid the following year. We should not seek or imagine we
can find in it, in spite of its title (“Summer Concerto”), preconceived ideas
or direct allusions. But the sug-gestiveness and even the conscious or
unconscious intention which the adoption of a general title inevitably implies,
together with the fact of resorting in the three movements of the work
(“Preludio”, “Siciliana” and “Rondino”) to expressions unequivocally
symptomatic of a style, a form and even a particular age - all this reveals the
composer’s intentions, and the aesthetic stance of a concerto influenced by
symbols beloved of Vivaldi and familiar in his works.
In the Concierto de estío, composed in the fields and beneath the sun of my country, there is no suggestion, however, of popular motifs, except in the “Rondino”, where, even though well disguised, it would not be difficult to discover a certain Catalan affiliation. The second theme of the “Preludio”, played by the woodwind, also has a certain popular colouring. In spite of these delicate folk elements, which are found in all Spanish musical compositions, voluntarily or involuntarily - I can say for my own part that I never try to avoid them - the thematic content of the Concierto de Estio is created from the purest elements, refined and dignified by long use in the most aristocratic forms of music. As far as its structure is concerned, the work faithfully follows concerto form in the first movement, from which I have eliminated the double exposition, as in my previous concertos.
The “Siciliana” develops a single theme, and here one can perceive the general preference for the variation form latent in my work, and clearly present in the Concierto heroico. In this movement, a complex relationship is established between the theme of the “Siciliana” and the first theme of the work, an interplay which is resolved in the cadenza.
The “Rondino”, at least in its creation and elaboration, is the most consciously composed of the three movements, My intention was to trace with its theme a kind of harmonic and formal circle: that is, that the refrain should circle around a preestablished pattern - ten successive appearances of the main theme, without being at all developed, and without any episode being intercalated between these ten expositions, which appear rather as “variants” than as variations, since the word “variation” seems rather pretentious in this case. The violin pirouettes upon harmonic bases made up of tonic, subdominant and dominant foundations, around which the other instruments ride in sudden flights to sometimes distant keys, though contained within the imposed tonal orbit, describing a magic circle which is repeated three times.
As far as the spirit of the work is concerned, I have tried to infuse new life into the concerto form from before the era of Haydn and Mozart. I realise that my intention is too ambitious; and I do not know if what I set out to do has been achieved.
In the Concierto de estío, composed in the fields and beneath the sun of my country, there is no suggestion, however, of popular motifs, except in the “Rondino”, where, even though well disguised, it would not be difficult to discover a certain Catalan affiliation. The second theme of the “Preludio”, played by the woodwind, also has a certain popular colouring. In spite of these delicate folk elements, which are found in all Spanish musical compositions, voluntarily or involuntarily - I can say for my own part that I never try to avoid them - the thematic content of the Concierto de Estio is created from the purest elements, refined and dignified by long use in the most aristocratic forms of music. As far as its structure is concerned, the work faithfully follows concerto form in the first movement, from which I have eliminated the double exposition, as in my previous concertos.
The “Siciliana” develops a single theme, and here one can perceive the general preference for the variation form latent in my work, and clearly present in the Concierto heroico. In this movement, a complex relationship is established between the theme of the “Siciliana” and the first theme of the work, an interplay which is resolved in the cadenza.
The “Rondino”, at least in its creation and elaboration, is the most consciously composed of the three movements, My intention was to trace with its theme a kind of harmonic and formal circle: that is, that the refrain should circle around a preestablished pattern - ten successive appearances of the main theme, without being at all developed, and without any episode being intercalated between these ten expositions, which appear rather as “variants” than as variations, since the word “variation” seems rather pretentious in this case. The violin pirouettes upon harmonic bases made up of tonic, subdominant and dominant foundations, around which the other instruments ride in sudden flights to sometimes distant keys, though contained within the imposed tonal orbit, describing a magic circle which is repeated three times.
As far as the spirit of the work is concerned, I have tried to infuse new life into the concerto form from before the era of Haydn and Mozart. I realise that my intention is too ambitious; and I do not know if what I set out to do has been achieved.
Translation:
Raymond Calcraft
Capriccio
"Is
it possible to write for a slender violin, whose unadorned gracefulness brings
together the magic of the "solo" and the attraction of the dialogue,
without allowing the heavy noose of its mentor, the piano, to interfere?...
Nothing
more suitable to rejuvenate the weary old piano than to turn it into a violin,
the instrument that has preserved its youth by not renouncing the modest attire
of its four strings...
So let's open the book of old guitar enchantments with
their eternal occult formulas of Spanish music and let them charge forth in
that "light-footed instrument", unrestrained and unharnessed, one straight line, pure speed."
Translation: katherine Zegarra
Comentarios
Publicar un comentario