Comprendiendo la entonación expresiva
El Bach de Casals más allá de lo consciente
DOI:
https://doi.org/10.37536/quodlibet.2021.76.1403Palabras clave:
afinación, expresión, estructura, Casals, Suites para cello solo de Bach, análisis de la interpretación, tempo, dinámicas, temperamento igual, afinación pitagóricaResumen
La investigación acerca de la afinación ha pretendido explicar las decisiones de los intérpretes en base a clasificaciones interválicas o a motivos expresivos. En el campo de la psicología y la percepción de la música, este tipo de explicaciones han estado relacionadas con la dirección, el tamaño o el tipo de intervalo; en el campo del análisis empírico de la interpretación, en el que este trabajo se inserta, el estudio de la afinación no solo ha sido escaso sino que se ha limitado al análisis de breves fragmentos. En este contexto, este artículo explora la práctica afinatoria de Pau Casals en su grabación del preludio en mi bemol mayor para violonchelo solo de Bach. Para ello, basándose en mediciones empíricas exactas, sitúa a dicha práctica junto a las conscientes recomendaciones teóricas del chelista acerca de lo que él llamaba «afinación expresiva» en la cuerda, demostrando que el significado de dicho término no es tan sencillo de interpretar como podría parecer. También propone diversos puntos de referencia y sistemas de afinación como posibles modelos para Casals y busca explicaciones más allá de una simple clasificación de los intervalos. De esta manera, en última instancia este trabajo propone que la afinación puede desempeñar una función estructural junto al tempo y a las dinámicas. Del mismo modo, entiende la práctica afinatoria de Casals no como una elección entre sino como una unión entre múltiples opciones para el sistema de afinación (mayoritariamente temperamento igual y afinación pitagórica), el punto de referencia (la nota fundamental del acorde y la nota inmediatamente precedente), la naturaleza de los materiales compositivos (armónica y melódica), y, sobre todo, una unión de estructura y expresión.
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Derechos de autor 2021 Quodlibet. Revista de Especialización Musical
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