Antonio Jose Martinez Palacios' "Sonata para Guitarra" (1933), an analysis, performer's guide, and new edition
AuthorWhitehead, Corey E.
MetadataShow full item record
PublisherThe University of Arizona.
RightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
AbstractPerformers need a new edition of the Sonata para Guitarra (1993) by Antonio Jose Martinez Palacios (1902-1936) that takes into account the demands of the guitar as well as the formal, thematic and harmonic characteristics of the piece itself. Such an edition would greatly facilitate the performance of this masterpiece. I will demonstrate this by performing my own edition of the Sonata para Guitarra, and by justifying that edition by describing the nature of the composition through an analysis of its formal, thematic and harmonic aspects, as well as considering the genesis of the work and its representation in currently existing editions. The paper includes relevant historical information about the composer, the manuscripts, publications, and musical examples with analytical notations of the formal, thematic and harmonic aspects of the work. Two appendices are included. Appendix A lists the differences in pitch and notation between the performance edition of Ricardo Iznaola and the "Final" manuscript. Appendix B is this author's performance edition that is the result of the conclusions of the analysis and the intentions of the composer as perceived by this author. My intent is to present a detailed analysis of the Sonata para Guitarra (1933)1 of Antonio Jose2 in order to assist the student and concert performer in better understanding this work. I will perform my own edition of the Sonata 3 in a lecture recital at the University of Arizona. My edition represents my best interpretation of what Jose's intentions may have been and how they may be realized on the guitar. Jose did not play the guitar and most likely wrote the work at the piano, thus many of the passages are not idiomatic. Therefore the performer needs to make decisions about what best serves the music within the confines of the guitar's limitations. In my opinion, neither of the currently available publications does this. For example, I do not agree with many of the note and register choices made in either of the two existing published editions. My editorial choices, based upon my harmonic and motivic analysis of the work itself and my perceptions of Antonio Jose's intentions will allow me to more effectively perform the work. 1Antonio Jose, Sonata para Guitarra (1933), Angelo Gilardino and Ricardo Iznaola eds., nuova edizione a dura di Angelo Gilardino e Ricardo Iznaola (Ancona, Italia: Berben, Edizione musicali, 1999), 36-56. 2Jose referred to himself as Antonio Jose, he did not use his patrilineal name. 3This edition is made for my performance only and may not be published unless I gain permission from Berben, Italia, or until 2011, when the work may enter the public domain.
Degree ProgramGraduate College
Music and Dance