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    Oscar Esplá's Spanish Sonata

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    ledno_neuro
    Oscar Esplá was a Spanish composer born in 1886 who studied in Germany and France. He is considered one of the most important Spanish composers of the 20th century alongside Manuel de Falla. His Spanish Sonata Op.53 from 1949 was commissioned by UNESCO to honor the 100th anniversary of Chopin's death. The three movement work incorporates Spanish folk elements and Chopinesque influences in its formal structure and harmonic language.

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    Oscar Esplá's Spanish Sonata

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    ledno_neuro
    317 views12 pages
    Oscar Esplá was a Spanish composer born in 1886 who studied in Germany and France. He is considered one of the most important Spanish composers of the 20th century alongside Manuel de Falla. His Spanish Sonata Op.53 from 1949 was commissioned by UNESCO to honor the 100th anniversary of Chopin's death. The three movement work incorporates Spanish folk elements and Chopinesque influences in its formal structure and harmonic language.

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    Oscar Esplá’s Spanish Sonata

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    Oscar Esplá was a Spanish composer born in 1886 who studied in Germany and France. He is considered one of the most important Spanish composers of the 20th century alongside Manuel de Falla. His Spanish Sonata Op.53 from 1949 was commissioned by UNESCO to honor the 100th anniversary of Chopin's death. The three movement work incorporates Spanish folk elements and Chopinesque influences in its formal structure and harmonic language.

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    317 views12 pages

    Oscar Esplá's Spanish Sonata

    Uploaded by

    ledno_neuro
    Oscar Esplá was a Spanish composer born in 1886 who studied in Germany and France. He is considered one of the most important Spanish composers of the 20th century alongside Manuel de Falla. His Spanish Sonata Op.53 from 1949 was commissioned by UNESCO to honor the 100th anniversary of Chopin's death. The three movement work incorporates Spanish folk elements and Chopinesque influences in its formal structure and harmonic language.

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    of 12

    Oscar Esplá’s Spanish Sonata

    Op.53 “Homage to Chopin”



    Composed - 1949
    Published - 1952

    Oscar Esplá’s Contribution and Historical
    Context

     Oscar Esplá y Triay (August 5th, 1886 – January 6th,
    1976)
     Born and raised in Alicante, Valencia.
     Oscar Esplá is, along with Manuel de Falla, the most
    important Spanish composer of the 20th century.
    Ironically enough he is also one of the most forgotten
    musical geniuses of the country.
    Oscar Esplá’s Contribution and Historical
    Context

     He was a man of diverse interests and immense
    intellectual capacity – he had an extensive formation in
    engineering and philosophy – and his musical trajectory
    begun in Spain and proceeded later in Europe.
     He studied with Max Reger in Germany and with Camille
    Saint-Saëns later on in France.
     Esplá’s contributions to Spanish music are of colossal
    magnitude. He reconceived Spain’s folklorism by
    incorporating folkloric elements from Castile and Levante
    at a time when Andalusian regionalism dominated the
    national musical scene.
    Spanish Sonata Op.53, “Homage to
    Chopin”

     His Spanish Sonata Op.53 was a commission by UNESCO to
    commemorate the 100th anniversary of Chopin’s death. Alicia
    de Larrocha recorded this Sonata in 1956. Two years later, in
    1958, she writes a letter to her beloved teacher Frank Marshall
    narrating the overwhelming impression that her performance
    had on the composer, who “cried of happiness” to put in her
    own words.
     Other commissioned composers: Jacques Ibert, Villa-Lobos,
    Martinu, and Carlos Chávez.
     The work was premiered by Arnaldo Estrella, who had been a
    student of Emile Descombes, an important pupil of Chopin,
    who also taught Ravel, Erik Satie among others.

    Formal Structure

     Three movements:
     I. Andante romantico
     II. Mazurka sopra un tema popolare
     III. Allegro brioso
    Formal Structure

     I. Andante Romantico: Sonata form
     A section 1 theme in its entirety
     B section 1 theme with reference to A theme
     Development
     Recapitulation
    Formal Structure

     II. Mazurka: Ternary form A B A (small b coda)
     Takes its theme from the medieval latin folkloric tune
    “La Viudita del Conde Laurel”. (Schubert Impromptu
    Op. 142, No.2)
     A sections are in ternary form themselves and present
    2 different themes.
     B section is in Binary form and also presents 2
    different themes.
    Formal Structure

     III. Allegro brioso: Chopinesque Scherzo. Ternary
    form:
     A section presents two themes and develops them
     B section presents two themes
     A section is then repeated, or recapitulated, with a
    CODA that develops the main theme
    Harmonic Language

    1. Modal Mixture and Modal Chromaticism
    2. Bitonality
    3. Regular tonal chromaticism
    Sources

     Almendros, Josep Luís (2011). Oscar Esplá y la Sonata Española. Diario Información:
    Alicante. (Visited April 16th, 2020) https://
    www.diarioinformacion.com/opinion/2011/06/22/oscar-espla-sonata-espanola/1
    141030.html
     Iglesias, Antonio (1962). Óscar Esplá (su obra para piano). Madrid: Dirección general
    de relaciones culturales.
     Iglesias, Antonio (2008). Monografías: Óscar Esplá. Madrid: Orquesta y Coro de la
    Comunidad de Madrid. (Viited April 17th, 2020) https://
    www.fundacionorcam.org/media/docs/9_oscar_espla.pdf
     Esplá Oscar, and Antonio Iglesias. Escritos De Oscar Esplá. Alpuerto, 1986.
     González, Paloma Otaola. “OSCAR ESPLÁ Y EL NACIONALISMO MUSICAL.”
    Revista De Musicología, vol. 31, no. 2, 2008, pp. 453–497. JSTOR,
    www.jstor.org/stable/20797932. Accessed 21 Apr. 2020.
     Arráez, Lourdes González. “LA CREACIÓN MUSICAL DE ÓSCAR ESPLÁ.”
    Revista De Musicología, vol. 28, no. 2, 2005, pp. 1623–1631. JSTOR,
    www.jstor.org/stable/20798149. Accessed 21 Apr. 2020.

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