Context and analysis: an investigation of the sonata-form movements for piano by Joaquín Turina (1882-1949)

[摘要] Composed between 1909 and 1946, Joaquín Turina’s five piano sonatas, \(Sonata\) \(romántica\), Op. 3, \(Sanlúcar\) \(de\) \(Barrameda\), Op. 24, \(Sonata\) \(Fantasía\), Op. 59, \(Concierto\) \(sin\) \(Orquesta\), Op. 88 and \(Rincón\) \(mágico\), Op. 97, combine established formal structures with folk-inspired themes and elements of French Impressionism; each work incorporates a sonata-form movement.Turina’s compositional technique was inspired by his training in Paris under Vincent d’Indy. The unifying effect of cyclic form, advocated by d’Indy, permeates his piano sonatas, but, combined with a typically non‐developmental approach to musical syntax, also produces a mosaic‐like effect in the musical flow. The style and structure of d’Indy’s Piano Sonata in E, Op. 63, represents a powerful model for Turina’s \(Sonata\) \(romántica\).Viewed through the lens of Hepokoski and Darcy’s Sonata Theory, and subjected to comparative analysis, Turina’s sonata forms reflect generic norms and deformations of the Classical and Romantic periods. Tonal and thematic schemata juxtapose national (modal) and universal (tonal) traits, and the drive towards ecstatic climaxes in secondary-theme zones continues a Romantic aesthetic of ‘end-weighted’ structures. In particular, the modal-tonal and dramatic trajectory of \(Sanlúcar\) \(de\) \(Barrameda\) reveals Debussy’s \(L’isle\) \(joyeuse\) as a compelling antecedent.

[发布机构] University:University of Birmingham;Department:School of Languages, Cultures, Art History and Music, Department of Music

[关键词] M Music and Books on Music;ML Literature of music