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Context and analysis: an investigation of the sonata-form movements for piano by Joaquín Turina (1882-1949)

Sanders-Hewett, Martin (2015)
Other thesis, University of Birmingham.

PDF (1935Kb)Accepted Version


Composed between 1909 and 1946, Joaquín Turina’s five piano sonatas, \(Sonata\) \(romántica\), Op. 3, \(Sanlúcar\) \(de\) \(Barrameda\), Op. 24, \(Sonata\) \(Fantasía\), Op. 59, \(Concierto\) \(sin\) \(Orquesta\), Op. 88 and \(Rincón\) \(mágico\), Op. 97, combine established formal structures with folk-inspired themes and elements of French Impressionism; each work incorporates a sonata-form movement.
Turina’s compositional technique was inspired by his training in Paris under Vincent d’Indy. The unifying effect of cyclic form, advocated by d’Indy, permeates his piano sonatas, but, combined with a typically non‐developmental approach to musical syntax, also produces a mosaic‐like effect in the musical flow. The style and structure of d’Indy’s Piano Sonata in E, Op. 63, represents a powerful model for Turina’s \(Sonata\) \(romántica\).
Viewed through the lens of Hepokoski and Darcy’s Sonata Theory, and subjected to comparative analysis, Turina’s sonata forms reflect generic norms and deformations of the Classical and Romantic periods. Tonal and thematic schemata juxtapose national (modal) and universal (tonal) traits, and the drive towards ecstatic climaxes in secondary-theme zones continues a Romantic aesthetic of ‘end-weighted’ structures. In particular, the modal-tonal and dramatic trajectory of \(Sanlúcar\) \(de\) \(Barrameda\) reveals Debussy’s \(L’isle\) \(joyeuse\) as a compelling antecedent.

Type of Work:MMus thesis.
Supervisor(s):Riley, Matthew
School/Faculty:Colleges (2008 onwards) > College of Arts & Law
Department:School of Languages, Cultures, Art History and Music, Department of Music
Subjects:ML Literature of music
Institution:University of Birmingham
ID Code:6365
This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder.
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