Rem tene verba sequentur de Leo Brouwer : ejemplo de cuarteto de cuerda postmodernista: contextualización, análisis e interpretación
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2016
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28/09/2016
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Abstract
Jonathan D. Kramer publica en 1966 «Postmodern Concepts of Musical Time», donde se realiza por primera vez un listado de características de la música postmoderna: la reutilización de materiales, la mirada al pasado, la fusión de culturas y un largo etcétera de recursos que vienen a elevar a categoría de estilo el empleo del eclecticismo. Por tanto, el estudio de las obras históricamente recibidas dentro de esta tendencia debe realizarse desde una perspectiva adaptada a cada compositor o incluso a cada obra, ya que la diversidad de lenguajes y creaciones es tan extensa como heterogénea.
Rem tene verba sequentur (1969), el segundo cuarteto de cuerda del compositor cubano Leo Brouwer, considero que ejemplifica la composición postmoderna al emplear procedimientos como la aleatoriedad, la intertextualidad y el minimalismo a nivel creativo y el papel de co-creador de los ejecutantes en el marco de la interpretación.
Así, el objetivo de este trabajo es el de desgranar cada pequeño elemento que forma esta breve pero compleja partitura, puesto que su contextualización y análisis permite dar un paso más en el descubrimiento del postmodernismo musical en general y del amplio y variado catálogo de este autor.
Jonathan D. Kramer publishes in 1966 «Postmodern Concepts of Musical Time», where, for the first time, a list of traits of postmodern music is carried out: the reuse of materials, the look to the past, the fusion of cultures and a long et cetera of resources that have come to raise the use of eclecticism to the category of style. Therefore ‒since the diversity of languages and creations is as extensive as heterogeneous‒ the study of the works historically received within this trend must be done from a perspective adapted to each composer or even to each work. Rem Tene Verba Sequentur (1969), the second string quartet of the Cuban composer Leo Brouwer, is ‒I consider‒ an example of postmodern composition by employing procedures such as aleatory, intertextuality and minimalism ‒at the creative level‒ and the role of co-creator of the performers ‒at the level of interpretation‒. Thus, the objective of this work is to describe each small element that forms this short but complex score, given that its contextualization and analysis allows taking a step further in the discovery of musical postmodernism in general and the very broad and varied catalogue of this author.
Jonathan D. Kramer publishes in 1966 «Postmodern Concepts of Musical Time», where, for the first time, a list of traits of postmodern music is carried out: the reuse of materials, the look to the past, the fusion of cultures and a long et cetera of resources that have come to raise the use of eclecticism to the category of style. Therefore ‒since the diversity of languages and creations is as extensive as heterogeneous‒ the study of the works historically received within this trend must be done from a perspective adapted to each composer or even to each work. Rem Tene Verba Sequentur (1969), the second string quartet of the Cuban composer Leo Brouwer, is ‒I consider‒ an example of postmodern composition by employing procedures such as aleatory, intertextuality and minimalism ‒at the creative level‒ and the role of co-creator of the performers ‒at the level of interpretation‒. Thus, the objective of this work is to describe each small element that forms this short but complex score, given that its contextualization and analysis allows taking a step further in the discovery of musical postmodernism in general and the very broad and varied catalogue of this author.