Initially, my intention for this project was to explore the relationship between Spanish popular music and its importance in the interpretation of 20th-century Spanish classical repertoire. However, upon studying in The Hague with Pavel Steidl, my focus began to shift. I realized the necessity of also concentrating on the Classical-Romantic style, which I sensed would be crucial for enhancing my technique and interpretative understanding.
My research is about the influence of Italian Bel Canto opera on the musical techniques and expressive qualities of the 19th-century guitar repertoire. This shift in focus allowed me to delve into how the melodic phrasing, ornamentation, and emotional depth characteristic of Bel Canto are reflected in the works of composers like Luigi Legnani. Their pieces sought to emulate the vocal expressiveness of operatic arias and established a connection between Italian operatic style and guitar repertoire.
Before starting my master’s program in the Netherlands, I completed my undergraduate studies in Seville with Antonio Duro, who emphasized the technical importance of the Classical-Romantic style in guitar performance. His meticulous approach to sound control, phrasing, and rhythmic precision in Romantic works laid a solid foundation for my later work with Steidl, where I further developed my understanding of the stylistic connections with Bel Canto.
While working with Pavel Steidl, I began to recall musical elements I had instinctively applied as a child, leading me to reflect on my inner voice when playing the guitar. This connection with singing, influenced by my father, a tenor, and my experience in children’s choirs, allowed me to approach music from a vocal and expressive perspective. My guitar teacher, Rebeca Santiago, would often sing the phrasing of pieces, reinforcing the link between voice and guitar interpretation.
Through this reflection, I connected three fundamental elements: Bel Canto, Romantic music, and the interpretative challenges faced by guitarists with rhythm and rubato. Many guitarists struggle with maintaining rhythmic precision while seeking expressive flexibility, highlighting the importance of understanding the relationship between Bel Canto and the 19th-century classical guitar repertoire. My aim is to explore how the principles of Bel Canto, with its focus on melodic line, flexibility, and expressiveness, can help guitarists interpret this repertoire with greater stylistic clarity and rhythmic control.
My research also emphasizes the pedagogical implications of this influence for classical guitar students. I highlight the importance of incorporating vocal-inspired phrasing and dynamic control into their performances. By understanding how to interpret guitar compositions with a vocal mindset, focusing on breath-like phrasing and subtle dynamic contrasts, students can evoke the emotional intensity found in operatic performances.
In conclusion, this research underscores the significance of the Bel Canto influence in shaping the expressive potential of the 19th-century guitar repertoire. For students, applying vocal techniques to the guitar enhances their interpretative skills and ability to convey the emotional nuances of the music. This blending of operatic and instrumental traditions enriches the guitarist’s artistry, fostering a more versatile and emotive approach to performance while providing a broader perspective on the interconnectedness of different musical genres.