Abstract
Author(s): Estrada Bascunana, Carolina | Abstract: This paper presents the outcomes of a three-year doctoral investigation, in which the author examines stylistic and aesthetic trends in the performances of Granados, with the aim of producing a detailed and painstaking examination of the pianistic tradition inherited by the Spanish composer. The differing and equally convincing pianistic styles of Granados’ followers call into question the validity of only one possible “authoritative” interpretation when approaching this particular performance tradition. The thorough analysis of Valses poeticos op.43 written by Granados allowed a closer look at performance practices of Granados and the musical tastes of his time. This early work is especially relevant due to the significant number of its original sources. This investigation has unearthed a treasure trove of new and detailed information about this wonderful pianistic legacy left by Granados, and the Catalan School of Piano Players. Furthermore, it raises questions about current performance practices and the stylistic validity that pianists might be able to give in their performances of Granados’ works through a combined study of his manuscripts, pedagogical methods, recordings and performance tradition.
Highlights
Throughout the history of Western music, formalistic score-‐based research has been the primary means used to study interpretation
New musicology studies have been focusing on these particular elements, exploring the performer’s ability to interpret the musical notation of a score
Recordings represent an invaluable source of information to analyse performance practices
Summary
Throughout the history of Western music, formalistic score-‐based research has been the primary means used to study interpretation. Nicholas Cook recommends a combination of various methods that would complement and give different perspectives to this study, in order to capture the different layers within stylistic insights from a pianistic tradition. He believes that a single method cannot provide us with a clear understanding of the dimensions in the analysis of performance.. Special attention is required when analysing recordings using empirical methods, so as not to be caught up in the misinterpretation of mathematical results, which could be accurate, but absolutely devoid of any musical sense. He believes that a single method cannot provide us with a clear understanding of the dimensions in the analysis of performance. Special attention is required when analysing recordings using empirical methods, so as not to be caught up in the misinterpretation of mathematical results, which could be accurate, but absolutely devoid of any musical sense.
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