During the Renaissance period composers in Spain such as Milan wrote many pieces for the vihuela which include the now famous Pavanes. The music of Spain at this time was 1įar-reaching and widely influential. During these periods, Spanish composers traveled to other nations and wrote songs and pieces in countries such as Italy, France, and Germany. During the Renaissance and early Baroque period, there were many successful Spanish composers such as Francisco de la Torre, Luis de Milan, Diego Ortiz, Jose Marin, and Gaspar Sanz. During these times, composers such as Mozart, Beethoven, Brahms, Verdi, and others from Germany, Austria, and Italy dominated the musical sphere and filled the concert halls with their symphonies, operas, and chamber music.
Spain is often overlooked during significant periods of classical music such as the Classical and Romantic eras. Regarding Andalusia and the flamenco tradition will present itself in order to provide background knowledge on the musical techniques used by Spanish composers and guitarists. Biographical information and career highlights will be provided to give context surrounding the composition of pieces such as De Falla's Homenaje a Debussy, Turina’s Homenaje a Tarrega, and Torroba’s Sonatina. Pieces from each composer will be analyzed structurally and harmonically in order to understand what musical elements create a nationalist sound in their guitar music. These composers include Manuel De Falla, Joaquin Turina, and Federico Moreno Torroba whom all wrote twentieth-century masterpieces for the guitar. Specifically, this paper will discuss composers who wrote for the guitar during a time when the instrument was gaining notoriety in the concert hall. This thesis will explore nationalism as it pertains to Spanish composers of the early twentieth century. Jean Sibelius in Finland, Frederic Chopin in Poland, Nikolai Rimsky Korsakov in Russia, and others began to reject the traditions set by Italy, France, and Germany in search of their nationalist sound.
Composers such as Weber in Germany, with nationalistic operas such as "Der Freischutz," displayed a type of nationalism that would eventually take hold in other nations. The nationalistic style reflects the culture, lifestyle, and pedestrian sounds of the composer's native region. Nationalism in classical music often describes music that makes use of folk styles, mythology, indigenous rhythms and melodies, traditional scales, modes, and harmonies to create a sound authentic to the composers country of origin.
Later on, during the early 19th century, political independence movements began to liberate composers from the ruling class and allowed them to start composing music in a nationalistic style to reflect their renewed spirit of freedom and pride in their heritage. Composers wrote cantatas, masses, dance suites, garden music, and more for religious services, royal events, and the pleasure of the upper class. Nationalism in the Guitar Music of Early Twentieth Century Spanish Composers: Manuel De Falla, Joaquin Turina, and Federico Moreno TorrobaĪ Masters Thesis Submitted to The Faculty of the Department of Music In Candidacy for the Degree of Master of Artsįor centuries, composers wrote music intended to please the tastes of monarchs, the ruling class, and the churches who employed them.
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