GUIDO SANTORSOLA’S GUITAR MUSIC : GENRE-STYLE FEATURES OF CREATIVITY
Abstract
The aim of this paper isto reveal the genre and style features of the work of the Uruguayan composer Guido Santorsola on the example of his guitar music. The novelty of the article lies in the introduction of materials about Uruguayan musical culture and guitar music in particular into the national musicological circulation.
The research methodology is based on the methods of historical, phenomenological, comparative, structural and functional analysis to: summarize factual information about the composer's life and work, determine the genre features of folk music of Afro-Uruguayan and Creole origin in his guitar heritage, highlight the stylistic features of his work and implement the constructive logic of dodecaphony in the sound organization of the musical fabric.
Results. In the process of analyzing the cycle «4 Latin American Preludes», the genre elements of the shoro of Afro-Brazilian origin, the Creole waltz-shoro, the song of Vidalita and the malambo dance with Argentine and Uruguayan roots are identified. The «Ancient Suite» reveals the composer's neoclassical searches – baroque allusions to the European tradition of ancient instrumental cycles, with the involvement of an improvisational prelude to the usual alternation of the genres of minuet, musette, sarabande and gigue.The dodecaphonic polyphonic technique in the composer's guitar work is characterized as a leading vector of close attention to modern methods of writing (along with octatonic phenomena); the non-orthodox nature of the use of the system, which coexists with the dance rhythms of the Neapolitan tarantella in the Italian Sonata No. 4, as well as with the archetype of the Andalusian fandango in the Spanish Sonata No. 2, and with the rhythmic core of the Afro-Brazilian batuk in the Brazilian Sonata No. 5, is revealed.
The timbre imitations of percussion sounds are considered in connection with the use of specific techniques of sound production on the guitar. Guido Santorsola's stylistic preferences for the use of folklore resources of the multicultural Uruguayan environment and the nearest regions of Argentine and Brazilian cultures are complemented by the composer's attraction to European neoclassical paradigms of creativity, as well as attempts to combine new composition techniques with material of different genre and style.
