Cadences and tonal dynamism in Manuel de Sumaya's strict style polyphony

Authors

  • Lucas Reccitelli CONICET - Universidad Nacional de Córdoba

Keywords:

Cadences, stile antico, Historically Informed Analysis, Manuel de Sumaya, Basso continuo

Abstract

This paper examines the role of cláusulas –polyphonic cadences– in stile antico music composed by Manuel de Sumaya (ca. 1680-1755). This approach is used as a launchpad to a more general analysis of harmonic syntax within the style of the composer. On the basis of observations by scholars who have previously identified bold, 'modernizing' behaviors in Sumaya's harmonic language, the article aims to build an analytical framework that may deepen the knowledge on these features and provide a native understanding of them. In order to do this, a historically informed approach to analysis is adopted. This requires the development of a conceptual and analytical toolbox based on Spanish treatises of this period. Throughout the text, the explanatory force of such theory is tested against the analysis of a selection of works by the composer. In cases where compositional praxis eludes the statements of theory, some alternative strategies are explored, in order to define the most singular features of the style in a historically plausible manner. In this path of enquiry, the analysis of stile antico according to the precepts of basso continuo didactics of the time proves very enlightening.

Author Biography

Lucas Reccitelli, CONICET - Universidad Nacional de Córdoba

Lucas Reccitelli es Profesor en Educación Musical por la Universidad Nacional de Córdoba (UNC) y estudiante del Doctorado en Artes de la misma universidad. Desde 2012 integra el Grupo de Musicología Histórica Córdoba, bajo la dirección de Leonardo Waisman y Marisa Restiffo. Actualmente es becario doctoral interno del CONICET, con un proyecto de tesis sobre la polifonía a cappella de Manuel de Sumaya y la cuestión del estilo estricto en los siglos XVII y XVIII. Se desempeña como Profesor Titular de los dos Seminarios de Interpretación de Música Antigua (Edad Media y Renacimiento, Barroco) de la Lic. en Dirección Coral (FA-UNC). Asimismo, es adscripto de los Seminarios de Historia de la Música y Apreciación Musical: Romanticismo y Siglo XX en la misma casa de estudios. Como intérprete, ha realizado prácticas de dirección musical de orquestas y coros. Actualmente es coreuta y asistente de dirección en el conjunto Compagnia Scaramella (dir. Leonardo Waisman).

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Published

2021-11-08

Issue

Vol. 22 No. 2 (2021): Dossier: Current Tango: transmission, phonographic production, creation and “new pioneers”

Section

Articles

License

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