Música, circulación y poesía en las canciones de Pedro Ximénez Abrill Tirado
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2019-12-30
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Universidad Nacional de Música
Resumen
Desde el redescubrimiento de la obra del compositor peruano-boliviano Pedro Ximénez Abrill Tirado, se ha generado un creciente interés por su obra. Esto, principalmente, por su abundante producción en música instrumental, orquestal y de cámara. Sin embargo, hasta ahora sus canciones para canto y piano, las cuales son más de 200, han pasado mayormente desapercibidas; en particular, porque se conservan en colecciones altamente fragmentadas y con abundantes duplicaciones. En este artículo, ofrecemos una clasificación de dichas canciones a partir de diversas fuentes, y también una perspectiva teórica para comprenderlas. Principalmente, proponemos un enfoque de la canción como un vehículo para la circulación y la expresión de textos poéticos de la época, sobre todo de autores españoles y americanos. Así, las canciones de Pedro Ximénez Abrill no solo son un repertorio valioso en sí mismo, sino también un vehículo para explorar con mayor atención los modos de circulación, recepción y apreciación de poesía y canción en América del Sur en la primera mitad del siglo XIX.
Since the rediscovery of the works of the Peruvian-Bolivian composer Pedro Ximénez Abrill Tirado, a growing interest in his work has developed. This is primarily due to his abundant output of instrumental, orchestral, and chamber music. Nevertheless, to this date his songs for voice and piano, totalling more than 200, have gone largely unnoticed; in particular, because they have been conserved in highly fragmented collections and with numerous duplications. In this article, we offer a classification of these songs from diverse sources and also a theoretical perspective for understanding them. We primarily propose a focus on the song as vehicle for circulation and expression of poetic texts from the period, above all from Spanish and American authors. Thus, the songs of Pedro Ximénez Abrill are not only a valuable repertory in their own right, but also a vehicle for exploring with greater attention the modes of circulation, reception, and appreciation of poetry and song in South America in the first half of the nineteenth century.
Since the rediscovery of the works of the Peruvian-Bolivian composer Pedro Ximénez Abrill Tirado, a growing interest in his work has developed. This is primarily due to his abundant output of instrumental, orchestral, and chamber music. Nevertheless, to this date his songs for voice and piano, totalling more than 200, have gone largely unnoticed; in particular, because they have been conserved in highly fragmented collections and with numerous duplications. In this article, we offer a classification of these songs from diverse sources and also a theoretical perspective for understanding them. We primarily propose a focus on the song as vehicle for circulation and expression of poetic texts from the period, above all from Spanish and American authors. Thus, the songs of Pedro Ximénez Abrill are not only a valuable repertory in their own right, but also a vehicle for exploring with greater attention the modes of circulation, reception, and appreciation of poetry and song in South America in the first half of the nineteenth century.
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Palabras clave
Pedro Ximénez Abrill, Canto, Piano, Música, Poesía, Circulacion musical, Siglo XIX
Citación
Izquierdo König, J. M. (2019). Música, circulación y poesía en las canciones de Pedro Ximénez Abrill Tirado. Antec: Revista Peruana De Investigación Musical, 3(2), 16–50. https://doi.org/10.62230/antec.v3i2.74
