Estructuras de la música popular andaluza, preflamenca y flamenca en "Iberia" de Isaac Albéniz

Zusammenfassung

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...