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GRAN JOTA DE CONCIERTO

Gran Jota de Concierto

Luis Alfonso Garca Gonzlez.
Profesor Enrique Escalante Campos.
ESTTICA
CONSERVATORIO NACIONAL DE MSICA.

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GRAN JOTA DE CONCIERTO

METODOLOGIA.
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Objetivo
Conocer y elaborar un proyecto acerca de la obra denominada Gran Jota de Concierto de Francisco
Trrega, atendiendo a la informacin musical, biografa, genero, documentos y de ms referencias posibles,
con el fin de justificar el por qu , es importante el estudio, reproduccin, interpretacin, etc de la obra musical
desde el punto de vista de la Esttica.
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Esquema del proyecto
Se llevara a cabo la investigacin conforme a los puntos destacados en la la clase, as elaborando un Mtodo
para su mejor realizacin.
Determinar el Objeto Artstico de Estudio para delimitar su campo.
Recopilar y conocer el Soporte Material para la investigacin, es decir documentos en los que sustentamos
la obra.
Determinar si se puede reproducir, y las condiciones de este reproduccin o interpretacin.
Sentidos que adquiriere la obra al realizar la justificacin de la misma.

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GRAN JOTA DE CONCIERTO

LA JOTA ARAGONESA.
Es una manifestacin del folclore en Aragn de un gnero musical, la jota,
presente en la mayor parte de la geografa espaola. El gnero, tal y como
se conoce en la actualidad, se conforma a finales del siglo XVIII o principios
del XIX.!
La jota aragonesa se expresa a travs del baile (bailadores), el canto
(cantadores) y la interpretacin instrumental, compuesta por una rondalla en
la que participan fundamentalmente la guitarra, el lad y la bandurria.!
A pesar de la fama de que goza como gnero emblemtico del folclore
aragons, la jota no es ms que una de las manifestaciones de su tradicin
musical popular. Conviven con ella otras formas (mazurcas, paloteados,
villanos, boleros o valses por citar solo algunos ejemplos), aunque la
interpretacin de la jota en Aragn tiene un carcter peculiar y distintivo que
ha hecho que sea conocida en el mbito internacional, hasta el punto de
que compositores de msica culta espaoles y forneos se han servido de
ella en sus obras. En palabras de uno de sus ms concienzudos estudiosos,
Miguel Manzano:!
En Aragn ha surgido, aproximadamente desde la mitad del siglo XIX, una forma
muy especialsima de cantar la jota en estilo adornado y a ritmo muy lento, y con
un repertorio y ejecucin tambin muy caractersticos de acompaamiento de
rondalla. Esta especie de jota es la nica que puede denominarse con toda
propiedad jota aragonesa, porque es creacin personal y exclusiva del pueblo
aragons, que adems lo ha conservado, fomentado, y desarrollado con un
empeo muy especial y continuado.!
Miguel Manzano Alonso, La jota como gnero musical, Madrid, Alpuerta!
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Julin Arcas.
Julio Gabino Arcas Lacal (Mara, Almera, 1832 - Antequera (Mlaga),
1882), fue un guitarrista clsico y compositor espaol, probablemente el
ms importante del pas durante el ltimo tercio del siglo XIX.!
Naci en el gran pueblo de Mara.!
Aprendi a tocar con su padre y continu su formacin en Mlaga, en la
escuela de Dionisio Aguado.!
Durante la dcada de 1860 dio conciertos por toda Europa, destacndose
los de 1862 en los palacios de los duques de Wellington y Cambridge. El
joven Francisco Trrega le escuch este mismo ao en Castelln y toc
para l despus del recital, a peticin del padre de Trrega. Arcas entonces
le invit a estudiar con l en Barcelona.!
A Julin Arcas se le ha considerado, con criterio dispar, desde msico
nacionalista con raz en la msica popular andaluza a padre de la guitarra
flamenca.!
Escribi una sinfona y cerca de 50 piezas entre transcripciones y originales
para guitarra, la mayor parte de las cuales fue publicada por Vidal y Roger
en Barcelona.!
La obra Fantasa de Julian Arcas, basada en temas de La Traviata de
Giuseppe Verdi, se atribuye a veces por error a Trrega ya que la
transcripcin de ste de esta obra era la nica fuente disponible.!
Si bien no se le puede considerar estrictamente un tocaor, s enriqueci
enormemente la guitarra jonda con tcnicas propias de la guitarra clsica
como el arpegio, los trmolos o los ligados. Sigue vigente an hoy una de
sus piezas flamencas ms importantes, conocida como Sole de Arcas.!
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FRANCISCO TRREGA
Francisco de Ass Trrega y Eixea (21 November 1852 15 December
1909) was a Spanish composer and classical guitarist of the Romantic
period.Trrega was born on 21 November 1852, in Villarreal, Province of
Castelln, Spain. It is said that Francisco's father played flamenco and
several other music styles on his guitar; when his father was away working
as a watchman at the Convent of San Pascual, the child would take his
father's guitar and attempt to make the beautiful sounds he had heard.
Francisco's nickname as a child was Quiquet". As a child, he ran away from
his nanny and fell into an irrigation channel and injured his eyes. Fearing
that his son might lose his sight completely, his father moved the family to
Castelln de la Plana to attend music classes because as a musician he
would be able to earn a living, even if blind. Both his first music teachers,
Eugeni Ruiz and Manuel Gonzlez, were blind.!
In 1862, concert guitarist Julin Arcas, on tour in Castelln, heard the young
Trrega play and advised Trrega's father to allow Francisco to come to
Barcelona to study with him. Trrega's father agreed, but insisted that his
son take piano lessons as well. The guitar was viewed as an instrument to
accompany singers, while the piano was all the rage throughout Europe.
However, Trrega had to stop his lessons shortly after, when Arcas left for a
concert tour abroad. Although Trrega was only ten years old, he ran away
and tried to start a musical career on his own by playing in coffee houses
and restaurants in Barcelona. He was soon found and brought back to his
father, who had to make great sacrifices to advance his son's musical
education.!
Three years later, in 1865, he ran away again, this time to Valencia where he
joined a gang of gypsies. His father looked for him and brought him back
home once more, but he ran away a third time, again to Valencia. By his
early teens, Trrega was proficient on both the piano and the guitar. For a
time, he played with other musicians at local engagements to earn money,
but eventually he returned home to help his family.!
Trrega entered the Madrid conservatory in 1874, under the sponsorship of
a wealthy merchant named Antonio Canesa. He had brought along with him
a recently purchased guitar, made in Seville by Antonio de Torres. Its
superior sonic qualities inspired him both in his playing and in his view of the
instrument's compositional potential. At the conservatory, Trrega studied
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composition under Emilio Arrieta who convinced him to focus on guitar and
abandon the idea of a career with the piano.!
By the end of the 1870s, Trrega was teaching the guitar (Emilio Pujol and
Miguel Llobet as well as
Daniel Fortea (18781953)
were pupils of his) and
giving regular concerts.
Trrega received much
acclaim for his playing and
began traveling to other
areas of Spain to perform.
By this time he was
composing his first works for
guitar, which he played in
addition to works of other
composers.!
During the winter of 1880, Trrega replaced his friend Luis de Soria, in a
concert in Novelda, Alicante, where, after the concert, an important man in
town asked the artist to listen to his daughter, Mara Jos Rizo, who was
learning to play guitar. Soon they were engaged.!
In 1881, Trrega played in the Opera Theatre in Lyon and then the Paris
Odeon, in the bicentenary of the death of Pedro Caldern de la Barca. He
also played in London, but he liked neither the language nor the weather.
There is a story about his visit to England. After a concert, some people saw
that the musician was in low spirits. "What is the matter, maestro?" they
asked him. "Do you miss home? Your family, perhaps?" They advised him to
capture that moment of sadness in his music. Thus he conceived the theme
of one of his most memorable works, Lgrima (literally meaning teardrop).
After playing in London he came back to Novelda for his wedding. At
Christmas 1882, Trrega married Mara Jos Rizo.!
To enlarge his guitar repertory and, no doubt, to make use of his
considerable knowledge of keyboard music, he soon began transcribing
piano works of Beethoven, Chopin, Mendelssohn and others. Trrega and
his wife moved to Madrid, gaining their living by teaching privately and
playing concerts, but after the death of an infant daughter during the winter,
Maria Josefa de los Angeles Trrega Rizo, they settled permanently in
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Barcelona in 1885. Among his friends in Barcelona were Isaac Albniz,

Enrique Granados, Joaqun Turina and Pablo Casals.!
Francisco Trrega and Mara Jos (Mara Josefa) Rizo had three more
children: Paquito (Francisco), Maria Rosatia (Mara Rosalia) (best known as
Marieta) and Concepcin. On a concert tour in Valencia shortly afterward,
Trrega met a wealthy widow, Conxa Martinez, who became a valuable
patron to him. She allowed him and his family use of a house in Barcelona,
where he would write the bulk of his most popular works. Later she took him
to Granada, where the guitarist conceived the theme for "Recuerdos de la
Alhambra", which he composed on his return and dedicated to his friend
Alfred Cottin, a Frenchman who had arranged his Paris concerts.!
From the later 1880s up to 1903, Trrega continued composing, but limited
his concerts to Spain. In 1900, Trrega visited Algiers, where he heard a
repetitive rhythm played on an Arabian drum. The following morning he
composed "Danza Mora" based on that rhythm. In about 1902, he cut his
fingernails and created a sound that would become typical of those guitarists
associated with his school. The following year he went on tour to Italy, giving
highly successful concerts in Rome, Naples, and Milan.!
In January 1906, he was afflicted with paralysis on his right side, and though
he would eventually return to the concert stage, he never completely
recovered. He finished his last work, "Oremus", on 2 December 1909. He
died in Barcelona thirteen days later, on 15 December, at the age of 57.!
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Referencias
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! ! A Concise History of the Classic Guitar, de Graham Wade, Mel Bay
Publications, 2001, !
! ! Handbook of Guitar and Lute Composers, de Hannu Annala & Heiki
Mtlik, Mel Bay Publications, 2007