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(6) D I M I T R I S H O S T A K O V I C H , 2 4 P R E L U D I O S Y F U G A S , O P. 8 7 . . .. DFHUFDPLHQWRDOH[SUHVLRQLVPRSRVLPSUHVLRQLVWDPDKOHULDQR\DODVDUPRQtDVGH´GREOHVHQWLGRµ14GH 6FKRHQEHUJHLQFOXVRFRQVXVFLWDVZDJQHULDQDVHQHOWHUFHUR\FXDUWRPRYLPLHQWRQRVRORSDUDPRVWUDU VXVPRGHORVSUHIHUHQWHVHQHVHPRPHQWRGHVXYLGDVLQRSDUDDÀUPDUVXSXQWRGHSDUWLGDGHVGHXQD SHUVSHFWLYDGHODKLVWRULD\DQXQFLDUXQSUR\HFWRFUHDWLYRFRPRVtQWHVLVFUHDGRUD\QRFRPRXQQXHYR SUR\HFWRGHVJDMDGRGHODWUDGLFLyQ$SDUWLUGHHVWDVXSULPHUDREUDVLQIyQLFDUHOHYDQWH6KRVWDNRYLFK FUHD XQ H[WHQVR FDWiORJR GH REUDV PXVLFDOHV TXH UHFODPDQ OD UHÁH[LyQ PXVLFDO WDQ HVFDVD KDVWD HO PRPHQWRHQFRPSDUDFLyQFRQODUHÁH[LyQSROtWLFDTXHGHVGHODJORVDOLWHUDULDWDQDEXQGDQWHPHQWHVH KDSURGLJDGR\VHSURGLJD 6KRVWDNRYLFK QXQFD LJQRUy ODV SURFODPDV GHO GRGHFDIRQLVPR QL GHO VHULDOLVPR FRPR WDPSRFRORLJQRUDURQRWURV OpDVH6WUDYLQVN\ SHURVXLQWHUSUHWDFLyQGHODUHDOLGDGVHFHQWUyPiVHQ ORVQXWULHQWHVGHODtonalidad extendida, SURSXHVWDSRUHOPLVPR6FKRHQEHUJHQVXSinfonía de cámara RSHVFULWDHOPLVPRDxRHQTXHQDFLyHOFRPSRVLWRUUXVR\HQODVUD]RQHVKLVWyULFDVGHORVVLVWHPDV PRGDOHV\WRQDOHVTXHHQODVHVHQFLDVGHODNueva MúsicaFXOWLYDGDVH[FOXVLYDPHQWHVHJ~QORVSDODGLQHV GHOD(VFXHODGH)UDQNIXUW 7KHRGRU:$GRUQR , HQORVYHUJHOHVGHODVieja Viena. II. LOS 24 PRELUDIOS Y FUGAS, OP. 87, Y EL ESPÍRITU DE JOHANN SEBASTIAN BACH 4XL]iVODREUDTXHVLQWHWL]DPHMRUODtQWLPDUHODFLyQHQWUHRULJLQDOLGDG\UD]yQKLVWyULFDVHDOD TXH6KRVWDNRYLFKHVFULEHHQWUH\FRQHOWtWXORGH24 Preludios y Fugas RS. )XHFRPSXHVWD D UDt] GH OD FRQPHPRUDFLyQ GHO ELFHQWHQDULR GH OD PXHUWH GH -RKDQQ 6HEDVWLDQ %DFK FX\DHIHPpULGHVTXLVRHOJRELHUQRGHODHQWRQFHV5HS~EOLFD'HPRFUiWLFD$OHPDQDFRQPHPRUDUHQ ODFLXGDGGH/HLS]LJHODxR6KRVWDNRYLFKSDUWLFLSyFRPRPLHPEURGHODGHOHJDFLyQVRYLpWLFD\ IXHWHVWLJRDFWLYRGHORVQXPHURVRVFRQFLHUWRVGHVDUUROODGRVHQKRQRUGHOFDQWRUGH6DQWR7RPiVDVt FRPRPLHPEURGHOMXUDGRHQHOFRQFXUVRLQWHUQDFLRQDOFRQYRFDGRSDUDMyYHQHVSLDQLVWDVYLROLQLVWDV FODYHFLQLVWDVRUJDQLVWDV\FDQWDQWHVHQWRUQRDODREUDGH-6%DFK 7UDVDTXHOODEUHYHHVWDQFLDHQODFLXGDGTXHYLRQDFHUD*RWWIULHG/HLEQL]\D5LFKDUG:DJQHU \FRQODLPDJHQHQVXPHPRULDGHEl clave bien temperado LQWHUSUHWDGRSRUODJDQDGRUDGHOFRQFXUVROD SLDQLVWDUXVD7DWLDQD1LNROD\HYD6KRVWDNRYLFKVHUHFOX\HHQVXFDVDPRVFRYLWD\HQWUHRFWXEUHGH \IHEUHURGHFRPSRQHORVGtSWLFRVTXHFRQIRUPDUtDQVXRSXV %DFK IXH HO HVWtPXOR SDUD TXH HO FRPSRVLWRU UXVR WDQ ]DKHULGR SRU WLULRV \ WUR\DQRV HQ DTXHOWLHPSRVHUHFOX\HUDHQODLQWLPLGDGGHVX\RPXVLFDOPiVSURIXQGRGRQGHHOFRPSRVLWRUVH SRGtDHQFRQWUDUVRORIUHQWHDVXVHQLJPDVJORVDQGRVXVPLVWHULRVHQXQHVSDFLRGHDEVROXWDOLEHUWDG\ HQWUHJD'HHVWHHVSDFLRGHLQWLPLGDGTXHHOFRPSRVLWRUFXOWLYDEDFRPRVROD]H[SUHVLYRIUHQWHDODV FLUFXQVWDQFLDVTXHDWHQWDEDQFRQVWDQWHPHQWHFRQWUDVXUD]yQYLWDOEURWDURQODVREUDVPiVJHQXLQDV 14. *RXOG*OHQQEscritos críticos. Arnold Schoenberg; una perspectiva (1964)0DGULG 7XUQHU. 13. Quodlibet 59, 2 (2015).

(7) LUCIANO GONZÁLEZ SARMIENTO. \RULJLQDOHVTXHKDQMDORQDGRVXH[WHQVRFDWiORJRGHVGHORVTXLQFH&XDUWHWRVSDUDLQVWUXPHQWRVGH FXHUGD\HOQuinteto con pianoRSKDVWDVXVHPRFLRQDQWHVFDQFLRQHVMXGtDVGH 3DUHFHHYLGHQWHTXH6KRVWDNRYLFKVHVLQWLyHVSHFLDOPHQWHDWUDtGRSRUODVHULHGHSUHOXGLRV\ IXJDVTXH -RKDQQ6HEDVWLDQ%DFKKDEtDFRPSXHVWREDMRHOH[SUHVLYRWtWXORGHEl clave bien temperado, \ ORFRQYLHUWHHQHVWtPXORSDUDVXV24 Preludios y Fugas RS. 3HURHVWDDSDUHQWHHYLGHQFLDQRUHÁHMD PLPHWLVPR DOJXQR VLQR TXH VH ÀOWUD FRPR YtQFXOR HQWUH GRV WLHPSRV GLIHUHQWHV GH OD KLVWRULD HO WLHPSR TXH LPSXOVD D %DFK D ]DQMDU XQD FRQWURYHUVLD LQYHWHUDGD HQ WRUQR D OD DÀQDFLyQ DGHFXDGD GHORVVRQLGRVHQDUPyQLFRVFRQMXJDQGRDWUDYpVGHOSUHOXGLRFRPRH[SUHVLyQGHODIDQWDVtD\GHOD IXJDFRPRH[SUHVLyQGHOULJRUXQVyOLGR\UHQRYDGRXQLYHUVRIRUPDOGHJUDQUHSHUFXVLyQKLVWyULFD UHDÀUPDQGR D OD SDU ORV SDUDGLJPDV GHO VLVWHPD WRQDO \ HO WLHPSR TXH H[LJLy D 6KRVWDNRYLFK XQD LQWHUSUHWDFLyQGHODKLVWRULDGHVGHODSHUVSHFWLYDGHODUHDOLGDGTXHOHWRFyYLYLU %DFK KDEtD LQVLVWLGR GREOHPHQWH HQ VX REMHWLYR GH GHWHUPLQDU GH XQD YH] SRU WRGDV ORV SDUiPHWURVGHODÉXHQDDÀQDFLyQµFRQODSXEOLFDFLyQGHXQSULPHUOLEURHODxRXQDxRGHVSXpV GHKDEHUFRQWUDtGRPDWULPRQLRFRQ$QQD0DJGDOHQD:LOFNHGXUDQWHVXHVWDQFLDHQ$QKDOW.|WKHQ \XQVHJXQGROLEURSXEOLFDGRHODxR\DHQVXUHVLGHQFLDGH/HLS]LJFRPR&DQWRUHQOD(VFXHOD GH6DQWR7RPiVFRQODLQWHQFLyQGHRUGHQDUGHÀQLWLYDPHQWHODUHODFLyQHQWUHFDGDXQRGHORVGRFH LQWHUYDORVFURPiWLFRVGHOVLVWHPDWRQDOYLJHQWHVHJ~QODUHODFLyQGHOFtUFXORFURPiWLFRGHWRQDOLGDGHV HQVXVGLPHQVLRQHVPRGDOHV´PD\RU\PHQRUµ $QDOL]DQGRRVLPSOHPHQWHHVFXFKDQGRFRQDWHQFLyQORV24 Preludios y FugasGH6KRVWDNRYLFK QR SDUHFH TXH HO FRPSRVLWRU UXVR KD\D SUHWHQGLGR JORVDU R GHVJORVDU PXVLFDOPHQWH OD REUD GHO FRPSRVLWRU DOHPiQ VLQR PiV ELHQ KD\D TXHULGR LQFRUSRUDUOD FRPR UD]yQ GH VX H[LVWHQFLD SDUD HODERUDU XQ GLVFXUVR PiV H[SUHVLYR TXH SHGDJyJLFR XWLOL]DQGR HO SDUDGLJPD GH OD WRQDOLGDG TXH %DFKKDEtDÀMDGRFRQWDQWRULJRUHQVXVFXDUHQWD\RFKRGtSWLFRV\GHVSOHJDUGHVGHDTXHOODVYHQWXUDV QXHYDVDYHQWXUDVHQEXVFDGHODFRKHUHQFLDKLVWyULFDDVHQWDGDHQHOÁXLGRGHODHYROXFLyQ&RQORV24 Preludios y Fugas RS 6KRVWDNRYLFKWUDVFLHQGHKLVWyULFDPHQWHHOULJRUGHODWRQDOLGDGTXH%DFKKDEtD VLQWHWL]DGRHQVXClave bien temperado, LQFRUSRUDQGRRWURVSUHFHGHQWHVSDUDGLJPiWLFRVTXHVHKDEtDQ FRQVWLWXLGRFRPRUD]yQGHODKLVWRULDGHRWURVWLHPSRVVLQQHFHVLGDGGHLJQRUDUORVQXHYRVUHFXUVRV TXHVXWLHPSROHRIUHFtDGHWDOPRGRTXHODWRQDOLGDGVHLQFRUSRUDDOGLVFXUVRGH6KRVWDNRYLFKQR FRPR XQ SDUDGLJPD VLQR VHQFLOODPHQWH FRPR XQD UD]yQ KLVWyULFD FRQVHFXHQWH FRQ RWUDV UD]RQHV SUHFHGHQWHVHQHOWLHPSRWDOHVFRPRHOVLVWHPDGHPRGRVPXVLFDOHVTXHGHVGHORVJULHJRVVHLVVLJORV DQWHVGH&ULVWRKDVWDHO$UV1RYDSURPXOJDGDHQHOVLJOR XIVSRU3KLOLSSHGH9LWU\ IXH PDQDQWLDO\FXUVRH[SUHVLYRGHFXDQWRVSDtVHVFRPSHQGLDEDQODFXOWXUDHXURSHD $VtSURSRQJRTXHVHLQWHUSUHWHQODVDOXVLRQHVTXH6KRVWDNRYLFKKDFHGH%DFKHQDOJXQRVGH VXVHSLVRGLRVQRFRPRFLWDVRSXQWRVGHSDUWLGDSDUDXQKLSRWpWLFRGHVDUUROORVLQRFRPRXQDIRUPD GHLQFDUGLQDUVXREUDDOPDUFRGHODKLVWRULD&RQVXV24 Preludios y Fugas RS 6KRVWDNRYLFKULQGH. 14. Quodlibet 59, 2 (2015).

(8) D I M I T R I S H O S T A K O V I C H , 2 4 P R E L U D I O S Y F U G A S , O P. 8 7 . . .. KRPHQDMHH[SOtFLWRDODXWRUGHEl Clave bien temperado FRPRPXHVWUDGHDGPLUDFLyQKDFLD´XQJHQLR TXHPHUHVXOWDHVSHFLDOPHQWHSUy[LPRµ –HUDQVXVSDODEUDVHQODFRQIHUHQFLDSURQXQFLDGDGXUDQWH VXHVWDQFLDHQ/HLS]LJ²SHURODVDQDORJtDVHQWUHXQD\RWUDREUDGLVWDQPXFKRGHVHUHTXLYDOHQFLDV/D REUDGH%DFKHVXQGRFXPHQWRVLVWpPLFRTXHSRUXQODGRUHVXHOYHGHIRUPDSUiFWLFDHOLQYHWHUDGR FRQÁLFWRGHODÉXHQDµDÀQDFLyQDFDXVDGHORVVRQLGRVHQDUPyQLFRV\SRURWURVLQWHWL]DGHIRUPD SUiFWLFDWDPELpQORVSDUiPHWURVGHÀQLWRULRVGHOVLVWHPDWRQDOMHUiUTXLFRHLQWHUYDODU(OGRFXPHQWR GH6KRVWDNRYLFKHQFDPELRHVXQGRFXPHQWRQDUUDWLYRGHtQWLPDSRLHVLVFHUFDQRPiVDODLQWLPLGDG H[SUHVLYDTXHDODFRQVWUXFFLyQIRUPDOVLQLQWHQFLyQVLVWpPLFDDOJXQDQLGRFWULQDOFRPRSDUHFHIXH HOHVWtPXORTXHOOHYyD3DXO+LQGHPLWKDFRPSRQHUHODxRVXLudus tonalis, FRQVWUXLGRDSDUWLU GHXQDVHULH Reihe) SURSLDGHVRQLGRVRUGHQDGRVHQHVSLUDOFRQIXJDV\LQWHUOXGLRVFRQXQ SUHOXGLRGHLQLFLR\XQSRVWOXGLRFRPRFRORIyQ (ODXUDGH-RKDQQ6HEDVWLDQ%DFKÁRWDVREUHHVWDREUDSLDQtVWLFD\DGHVGHHOSULPHUSUHOXGLR SURSXHVWRHQODWRQDOLGDGGHGRPD\RUFRPRHMH\SXQWRGHSDUWLGDGHOSDUDGLJPiWLFR´FtUFXORGH TXLQWDVµ3HURODWRQDOLGDGGHGRPD\RUHVPiVDSDUHQWH\WHVWLPRQLDOTXHUHDOSRUTXHVXGHVDUUROOR UHVSRQGHPiVDUDVJRVPRGDOHVDUFDLFRVTXHDSUHFLVLRQHVWRQDOHVGHXQPRGRPD\RUWRQDOL]DGRTXH \DHQHOVpSWLPRFRPSiVGHOSULPHUSUHOXGLRVHWUDQVIRUPDHQPHQRUGHVXKRPyQLPRPD\RUQR FRPRUHVSXHVWDO~GLFDVLQRSDUDDFHQWXDUHOFDUiFWHUHOHJtDFRGHVXGLVHxRPHOyGLFRSRUPHGLRGHXQR GHORVUDVJRVWtSLFRVGHOPRGRIULJLRGRPLQDQWHGHODHVFDODDQGDOX]D(VXQJLURPRGDOQRWRQDOQL VLTXLHUDHQDUPyQLFRTXH6KRVWDNRYLFKHPSOHDUiFRQVWDQWHPHQWHHQVXREUD'HODPLVPDIRUPDTXH HQORVFRPSDVHV\LQFRUSRUDXQJLURPRGDOOLGLRSDUDXQDDSDUHQWHPRGXODFLyQKDFLDPLEHPRO TXHQRHVWDOVLQRXQSURFHGLPLHQWRSDUDHYDGLUVHGHODWRQDOLGDGGHRULJHQHLUKDFLDXQPRWLYRGH FDUiFWHUIULJLRSURFHGLPLHQWRTXH6KRVWDNRYLFKSURGLJDDORODUJRGHVXV24 Preludios y FugasSDUDGLOXLU HOULJRUGHODWRQDOLGDGHQHOLULVDGR\HYDQHVFHQWHMDUGtQGHODPRGDOLGDG (QHVWHSULPHUPRGHORODUHODFLyQLQPHGLDWDFRPRHQWRGRVORVGtSWLFRVHVODTXHFRQFXHUGD FRQ OD WRQDOLGDG SURSXHVWD FRPR SXQWR GH SDUWLGD HVWUXFWXUDO DXQTXH GH LQPHGLDWR VH SHUFLEH XQDWHQGHQFLDFDVLLUUHIUHQDEOHDOGHVDUUROOR PRGDOGHODSURSXHVWDWRQDOHQFDGDSLH]D,QFOXVRHQ HVWH SULPHU SUHOXGLR 6KRVWDNRYLFK WUDQVIRUPD GH HQWUDGD HO PRGR PHQRU WUDGLFLRQDO GH OD IROtD SURSRQLpQGROR HQ PRGR PD\RU PDV VROR FRPR SUHWH[WR \ QR FRPR SXQWR GH SDUWLGD \D TXH VX . 6KRVWDNRYLFK'LPLWUL´6HG·PDMD6LPIRQLMDµ, Pravda,,,&LWDGRWDPELpQHQ0H\HU.U]\VWRIS. . œ & œœ œœœ ™™™ œ œ ™™ ? œ œ. {. œœœ J œœ J. bœœ œ ? bbœœ. œœ #˙˙ œ ˙ œœ bb ˙˙. &. Shostakovich, 3UHOXGLRV\)XJDVop. 87, “Preludio I”, cc. 11-12.. 15. {. œœ ™™ œ™ œœ™™. œœ œJ œœ J. bœœœ bœ bœ. ˙˙˙ ˙ ˙. Shostakovich, 3UHOXGLRV«op. 87, “Preludio I”, cc. 13-14.. Quodlibet 59, 2 (2015).

(9) LUCIANO GONZÁLEZ SARMIENTO. SURSXHVWDHVWUDQVIRUPDGDLQPHGLDWDPHQWHHQHOSODQRPHWRGROyJLFRVLQSURFHGHUDXQGHVDUUROOR WRQDO RUWRGR[R H LQFOXVR UHKX\pQGROR SDUD RULHQWDU VX GLVFXUVR OLEUHPHQWH GHVGH UHWURVSHFWLYDV PRGDOHVDYHFHVDUFDLFDVRSHUVSHFWLYDVGHXQQHRPRGDOLVPRUHQRYDGRUFRPRVHYHUiFRQFODULGDG HQ OD IXJD TXH FRPSOHPHQWD HVWH SULPHU GtSWLFR (V DO LQLFLR GH HVWD Fuga en do mayor FXDQGR SRU SULPHUDYH]DSDUHFHHOPRWLYRLQWHUYiOLFRTXHFXDOHVStULWXHVSHFWUDOLUiGHVSOHJiQGRVHDOR ODUJRGHHVWRVYHLQWLFXDWURGtSWLFRVFRPRXQLUUHVLVWLEOHQXPHQFX\DHVWHODSRGUtDGHVYHODUHOPLVWHULR HQFHUUDGRHQHVWDLQWHQVDQDUUDFLyQVKRVWDNRYLFKLDQD 1RKD\GXGDGHTXHHOHVStULWXGH-RKDQQ6HEDVWLDQ%DFKHVWiODWLHQGRLQFHVDQWHHQHOÁXLGR GHHVWRV24 Preludios y FugasDSDUHFLHQGRXQDVYHFHVGHIRUPDH[SOtFLWDFRPRHQHOPRWLYRWHPiWLFR GHO´3UHOXGLR9,,µHQDOXVLyQDOPRWLYREDFKLDQRGHO´3UHOXGLR9µGHOOLEUR,,GHEl clave bien temperado. œ œœ œ # # 12 œ & # 8 ‰ œœœœœ œ œ œ. {. ? ### 12 8. w™. œ œ # 8 ‰ œœœœœ œ œ œ œ œ œ & #C 12 Œ Ó ? ##C 12 8 œ Œ Ó œ. {. Ejemplo 1. Shostakovich, 3UHOXGLRV« op. 87, “Preludio VII”, c. 1.. Ejemplo 2. Bach(OFODYHELHQWHPSHUDGR,, “Preludio V”, c. 1.. $VLPLVPRREVHUYDPRVHQHOGLVHxRWHPiWLFRGHO´3UHOXGLR;µXQDUHIHUHQFLDDOTXH%DFK HPSOHDSDUDVX´3UHOXGLR9,,µ GHOOLEUR,GHEl clave bien temperado. ## & # # 44 ≈ œ œ œ œ œ ˙˙ œ œ ? #### 44 ˙ œœœœœœœœ. {. Ejemplo 3. Shostakovich,3UHOXGLRV« op. 87, “Preludio X”, c. 1.. b b˙ & b bc ≈ œœœœœœœ ˙. {. ? bb c Ów b. ≈ œœœœœœœ. Ejemplo 4. Bach(OFODYHELHQWHPSHUDGR, BWV 846-869, “Preludio VII”, c. 1.. 6RQFLWDVWHVWLPRQLDOHVPiVTXHUHIHUHQFLDVIRUPDOHVFRQODVTXH6KRVWDNRYLFKHVWiHYRFDQGR ODREUDTXHIXHHVWtPXORSDUDVXFUHDWLYLGDG(QDPERVHMHPSORVFLWDGRVODDOXVLyQVHKDFHSXQWXDODO LQLFLRSDUDGLOXLUVHHQHOGHVDUUROORTXHHQDPERVFDVRVGLÀHUHQXQRGHRWUR. 16. Quodlibet 59, 2 (2015).

(10) D I M I T R I S H O S T A K O V I C H , 2 4 P R E L U D I O S Y F U G A S , O P. 8 7 . . .. (O GLVHxR WHPiWLFR GHO ´3UHOXGLR 9,,µ GH 6KRVWDNRYLFK \ FRQFUHWDPHQWH HO PRGR UtWPLFR WULEUDTXLRGLQiPLFDPHQWHGiFWLORSRUODDFHQWXDFLyQWpWLFDGHODSULPHUDVtODEDFRQVXSLHPpWULFR WDQKDELWXDOSDUDHOGHVDUUROORGHOD*LJDOHVLUYHDOFRPSRVLWRUUXVRSDUDHVER]DUXQDLUHGH 3DVWRUDO GHVDUUROODGR VREUH HO ´WRQRVµ OLGLR JULHJR HQ VX YHUVLyQ GH ´7ULWXV DXWKHQWLFXVµ OLGLR R 7ULWXVSODJDOLV KLSROLGLR PHGLHYDOHVPLHQWUDVTXH%DFKORHQXQFLDFRPRXQDLUHGHIDQIDUULD\VREUH ODWRQDOLGDGULJXURVDGH5HPD\RU. œœœœœ œœœœ œ œ œ ### 12 œ œœœ œ œ œ œ œ œ & 8 ‰ œœœœ œ œ œ œ. {. ? ### 12 8. w™. w™. œ™. Ejemplo 5. Shostakovich,3UHOXGLRV«op. 87, “Preludio VII”, cc. 1-3.. 3HURWUDVHVDFLWDFDVLWH[WXDO6KRVWDNRYLFKQRUHFUHDODIRUPDEDFKLDQDVLQRTXHODGLOX\H IRUPDO \ WRQDOPHQWH HQ XQ SROtFURPR FXUVR PRGDO GRQGH ORJUD SRU XQ ODGR HYDGLU HO ULJRU GH OD WRQDOLGDG \ SRU RWUR FRQVWUXLU XQ GLVFXUVR GH OLEUH H[SUHVLYLGDG TXH OH SHUPLWH FRQMXJDU GLVHxRV PRGDOHV SXURV FRQ GLVHxRV FURPiWLFRV FRPSiV \ VV DUWLFXODGRV HXIyQLFDPHQWH VLQ HO ULJRU VLVWpPLFRGHODWRQDOLGDG 'H IRUPD DQiORJD GHVDUUROOD 6KRVWDNRYLFK HO ´3UHOXGLR ;µ, FX\D FDEH]D WHPiWLFD HV FLWD H[SUHVDGHOFRUUHVSRQGLHQWHEDFKLDQR´3UHOXGLR9,,µGHOOLEUR,,GHEl clave bien temperado. (OPRWLYR WHPiWLFRVLUYHD6KRVWDNRYLFKSDUDHODERUDUXQGLVFXUVRGHWUDQVLFLRQHVPRGDOHVTXHQDGDWLHQHQTXH YHUFRQODWRQDOLGDGGHGRVRVWHQLGRPHQRUHVWDEOHFLGDFRPRSXQWRGHSDUWLGDWRQDODGLIHUHQFLDGH ODWRQDOLGDGGHPLEHPROPD\RUTXH%DFKHPSOHDSDUDVX´3UHOXGLR9,,µ\TXHVRPHWHDOULJXURVR SURFHVRGHODPRGXODFLyQDWUDYpVGHODIXQFLyQDUPyQLFDGHODVGRPLQDQWHVFRQVXVVpSWLPDV /DVWUDQVLFLRQHVPRGDOHVTXH6KRVWDNRYLFKGHVFULEHHQVXSUHOXGLRGLOX\HQGHLQPHGLDWROD WRQDOLGDGSURSXHVWDHQXQFLiQGRVHHOSULPHUPRWLYRHQPRGRHyOLFRRKLSRGyULFRVHJ~QVHSUHÀHUD VXGHQRPLQDFLyQFRQHOTXHGLVHxDXQDVHFXHQFLDGHWUDQVLFLRQHVPRGDOHVVREUHIRUPDWRVLPLWDWLYRV PRGRORFULRPRGRGyULFR. 17. Quodlibet 59, 2 (2015).

(11) LUCIANO GONZÁLEZ SARMIENTO. ##4 œœ œ œ œ œ œ ˙˙ & # # 4 ≈ œ œ œ œ œ ˙˙ œ œ œ œ ˙ œœœœœœœœ œ ? #### 44 ˙ œœœ œœœœ. {. w # # œœœœœœœœœœ œœ œ œœ w &##≈. {. ? #### w. œœœœœœœœ œœœœœ œ œœ ˙. Ejemplo 6. Shostakovich,3UHOXGLRV«op. 87, “Preludio X”, cc. 1-4.. $VtWUDQVLWDQGRSRUXQDFRORULVWDJDPDPRGDOUHWRPDODWRQDOLGDGLQLFLDOPHQWHSURSXHVWD VHJ~QHORUGHQJHRPpWULFRGHOFtUFXORGHTXLQWDVXVDGRSRU6KRVWDNRYLFKSDUDODFRKHUHQFLDWRQDOGH VXVPreludios y Fugas(VWDUHODWLYDUHDÀUPDFLyQGHODWRQDOLGDGHQ'RVRVWHQLGRPHQRUDSDUHFHUiHQHO FRPSiVDQWHSHQ~OWLPRGHOSUHOXGLRFRPRWUtDGDSHGDOSDUDDQXQFLDUODIXJDFRQVHFXHQWHGHULYDGD GHOPRWLYRGHVLQHQFLDOFRQHOTXHFXOPLQDHOSUHOXGLR\TXHQRHVRWURVLQRHOPRWLYRLQWHUYiOLFR DOTXHKHDOXGLGRDQWHULRUPHQWH\DOTXHPHUHIHULUpDORODUJRGHHVWHWUDEDMRQRVRORFRPRPRWLYR FRQGXFWRUGHHVWDREUDSLDQtVWLFDVLQRFRPRHVStULWXLQGXFWRUGHVXGUDPDWXUJLD. œœœœœœœœœœœ œœ œ œ œ œœœ œœœ œœœ œœœ œœœ ## œ œŒ œ œŒ œŒ &##. {. ? #### w w w w w. w w w w w. w w w w w. Ejemplo 7. Shostakovich,3UHOXGLRV«op. 87, “Preludio X” cc. 52-54.. $O OHFWRU GHMR OD FXULRVLGDG GH HQWUHYHU HO HVStULWX EDFKLDQR LPSXOVDQGR PXFKRV GH ORV HSLVRGLRVGHHVWDREUDVKRVWDNRYLFKLDQD3HURPiVTXHHVSHFWUR%DFKHVUD]yQUD]yQKLVWyULFDTXH VRVWLHQHODUD]yQYLWDOGH6KRVWDNRYLFKSDUDFRQYHUWLUODDVXYH]HQUD]yQKLVWyULFD6RORODPHQFLyQGH DOJXQRVUDVJRVVHUtDVXÀFLHQWHHVWtPXORSDUDVDWLVIDFHUHVWDFXULRVLGDG. 18. Quodlibet 59, 2 (2015).

(12) D I M I T R I S H O S T A K O V I C H , 2 4 P R E L U D I O S Y F U G A S , O P. 8 7 . . .. III. MÉTRICA POÉTICA $VtFRPREl clave bien temperado GH-RKDQQ6HEDVWLDQ%DFKHVXQ UHÁHMRGHODVUD]RQHVKLVWyULFDV TXHJHQHUDURQ\VRVWXYLHURQGXUDQWHVLJORVODSRpWLFDJULHJD\ODWLQDFRQVWUXLGDUtWPLFDPHQWHVREUH HOHPHQWRV PpWULFRV GHULYDGRV GH ORV UDVJRV SURVyGLFRV FRQWHQLGRV HQ FDGD YHUVR OD FRQVWUXFFLyQ UtWPLFDGHORV24 Preludios y Fugas op. 87 de'LPLWUL6KRVWDNRYLFKIXQGDPHQWDVXGHVDUUROORHQDTXHOORV HOHPHQWRVDUTXLWHFWyQLFRVTXHFRQODGHQRPLQDFLyQGH´SLHVPpWULFRVµFRQVWLWX\HURQHODUPD]yQGH XQRUJiQLFRSRpWLFRFX\DQDWXUDOH]DVLJXHYLJHQWHKR\SDUDHODQiOLVLV\HOFRQRFLPLHQWRGHODFUHDFLyQ SRpWLFD\PXVLFDO 'HVGHTXHORVJULHJRVFUHDURQODFLHQFLD ਥưƩƳƴƞƬƧ GHODPpWULFDSDUDOOHJDUDFRQRFHUORV SULQFLSLRVGHODYHUVLÀFDFLyQ\HODUWH ƴƝƷƭƧ GHFRPELQDUODVVtODEDVODUJDV ² \EUHYHV ) como FpOXODV JHQHUDWULFHV GH ORV SLHV PpWULFRV TXH GHWHUPLQDEDQ HO ULWPR GH ORV YHUVRV OD SRHVtD \ OD P~VLFDRFFLGHQWDOHVQRVRORQRKDQLJQRUDGRWDOHVSDUiPHWURVSDUDFRQRFHU\FUHDUVLQRTXHORVKDQ LQFRUSRUDGRFRPRDUTXHWLSRSDUDVXFRPSUHQVLyQ$TXHOORVSLHVPpWULFRVR´DJUXSDPLHQWRVUtWPLFRV EiVLFRVµGHQRPLQDGRV\DPERVWURTXHRVDQDSHVWRVGiFWLORV\DQItEUDFRVIUXWRGHODFRPELQDFLyQ GHOYDORUSURVyGLFRDWULEXLGRDFDGDVtODEDFRQVWLWX\HURQHOQ~FOHRGHORVJUXSRVUtWPLFRVTXHKDEUtDQ GHVLVWHPDWL]DUODFUHDFLyQSRpWLFD\PXVLFDO\FRGLÀFDUHOYDORUGHOFRQRFLPLHQWRQRVRORGHDTXHOORV WLHPSRVSUHWpULWRVVLQRGHORVPiVFHUFDQRVDQXHVWUDH[LVWHQFLD%DFKQRUHKX\yQXQFDHOYDORUGH ORVSLHVPpWULFRVSDUDRUJDQL]DUUtWPLFDPHQWHVXREUDHQJHQHUDO\QRVRORHQVXClave bien temperado, QLWDPSRFRLJQRUyHOYDORULVRUUtWPLFRTXH*XLOODXPHGH0DFKDXW \DKDEtDLQFRUSRUDGR FRPRPRGHORHVWUXFWXUDOGHOFRQWUDSXQWRLPLWDWLYR<ORTXHHQ%DFK\HQVXVFRQWHPSRUiQHRVOD PpWULFD SURVyGLFD IXHUD XQ HOHPHQWR GH DUTXLWHFWXUD UtWPLFD \ FRQWUDSXQWtVWLFD HQ VXV VXFHVRUHV FOiVLFRV \ URPiQWLFRV VH WUDQVIRUPDUtD HQ HOHPHQWR VLQWiFWLFR R KLOR FRQGXFWRU SDUD RUJDQL]DU HO GLVFXUVRPXVLFDO<HQHVWHVHQWLGRHOKDORGH-RKDQQ6HEDVWLDQ%DFKYXHOYHDHVWLPXODUDQDORJtDVTXH 'LPLWUL6KRVWDNRYLFKGHVDUUROOD\WUDQVIRUPDFRQIRUPHDVXSURSLDRUWRGR[LDFUHDWLYD /DIXJDHQ'RPHQRUGH-6%DFK VHJXQGDGHOOLEUR, \ODVHJXQGDIXJDHQ/DPHQRUGH 6KRVWDNRYLFKVRQXQEXHQHMHPSORGHHVWDVDQDORJtDV(VHOSLHanapesto (² HOTXHRULJLQD\VRVWLHQH ODDUTXLWHFWXUDUtWPLFDGHDPEDVIXJDVPDVFRQUDVJRVTXHODVKDFHQSHFXOLDUHV$PEDVHVWiQHVFULWDV DYRFHV\HQPRGRPHQRUUHODWLYRGHOPRGRPD\RUGHOSUHOXGLR\IXJDSUHFHGHQWHVDXQTXHGDGR HORUGHQHOHJLGRSRUFDGDXQRGHORVDXWRUHV OLQHDOFURPiWLFRHQ%DFK\JHRPpWULFRVHJ~QHOFtUFXOR GHTXLQWDVHQ6KRVWDNRYLFK QRVHDQFRLQFLGHQWHVHQODWRQDOLGDGLQLFLDO(Q%DFKODWRQDOLGDGGHVFULWD HV QRUPD SDUD VX GHVDUUROOR WRQDO \ DUPyQLFR SHUR HQ 6KRVWDNRYLFK HVWD WRQDOLGDG LQLFLDO HV PiV XQDGHFODUDFLyQGHLQWHQFLRQHVTXHXQDUHIHUHQFLDQRUPDWLYD\DTXHFRPRHVKDELWXDOHQWRGRVORV GtSWLFRVGHVXRSXVHOFRPSRVLWRUUXVRWLHQGHDGLOXLUODWRQDOLGDGHQHOHYDQHVFHQWHWHMLGRPRGDO FRQHOTXHHODERUDVXGLVFXUVRH[SUHVLYR(QHVWHFDVRODWRQDOLGDGGH/DPHQRUVHGLOX\HHQHOPRGR . &RRSHU*URVYHQRU 0H\HU/HRQDUGEstructura rítmica de la música 0DGULG0XQGLP~VLFD. 19. Quodlibet 59, 2 (2015).

(13) LUCIANO GONZÁLEZ SARMIENTO. HyOLFRTXHVXE\DFHHQHOVXMHWR\HQWRGDVVXVUHVSXHVWDV\VHUHDÀUPDWDQWRHQODVHVFDODVGHVFHQGHQWHV \IXQGDPHQWDOPHQWHHQOD~OWLPDHVFDODFRQFOXVLYDFRPRHQODVHVFDODVDVFHQGHQWHV 3HURGRQGHODVDQDORJtDVVHVXVFLWDQFRQFODULGDGHVHQODFRQVWUXFFLyQUtWPLFDHQODTXHHO SLHDQDSHVWRMXHJDXQSDSHOSURWDJRQLVWDWDQWRHQHOGLVHxRGHOVXMHWR\VXVUHVSXHVWDVFRPRHQORV FRQWUDVXMHWRVFRQMXJDQGRHOSLHDQDSHVWRGHVGHVXVGRVGLPHQVLRQHVSURVyGLFDVODDQDFU~VLFD\ODWpWLFD (Q OD IXJD HQ 'R PHQRU GH %DFK HO DQDSHVWR VH SURGXFH VLHPSUH GH IRUPD DQDFU~VLFD D H[FHSWRHQODFRQFOXVLyQGHOVXMHWR E \HQHOFRQWUDSXQWRGREOHDODPHQRUGHORVFRPSDVHV\ F . ‰ a) bbc ‰ œnœ œ œ œnœœn#œœ œ œ œ œœ œ œœ n œœ œ œnœ œ œ œ œ b œ œ œ & œ œ œ nœ œ œ œ œœ œœ. {. ? bb c b. b). ∑. ∑. ∑. œœœ œ œœ b œ œ#œ œn œ œ œ œ œ œ œ œœœ & b b bœnœ œ œ #œœ œ œ œ œ œœ ≈ œ œœ œ œœ œ œ œ œnœœ œ œœ nœ œ œ œnœœ œbœœ œ œ œ œ œnœ. {. ? bb b. c). ∑. ∑. ∑. Ejemplo 8. Bach,(OFODYHELHQWHPSHUDGR,BWV 846-869, “Fuga II”, cc. 1-6.. (O SLH PpWULFR VH SHUÀOD HQ %DFK FRPR XQ HOHPHQWR DUTXLWHFWyQLFR LQYDULDEOH GH YDORU HVWUXFWXUDOWDQWRPRUIROyJLFRFRPRVLQWiFWLFR\HVWHDQDSHVWRFLWDGRDSDUHFHWDQSURIXVDPHQWHHQ el Clave bien temperado TXHELHQSRGUtDFDWDORJDUVHFRPRXQleit motiv GHFRKHUHQFLDGUDPiWLFDHQVX GHVDUUROOR6XSUHVHQFLDHVSURWDJRQLVWDSULQFLSDOHQPXFKRVGHORVSUHOXGLRV\IXJDVTXHFRQIRUPDQ ORVFXDUHQWD\RFKRGtSWLFRVEDFKLDQRV Preludios\Fugas\ GHOSULPHUOLEURPiVODVFugasGHOVHJXQGROLEUR $ORODUJRGHOGHVDUUROORGHORV24 Preludios y Fugas RSGH6KRVWDNRYLFKHOSLHPpWULFR DQDSHVWRHVWDPELpQIUHFXHQWHSURWDJRQLVWDDXQTXHQRDSDUH]FDFRQWDQWDSURIXVLyQFRPRHQ%DFK SHURVXSUHVHQFLDHVPX\VLJQLÀFDWLYDHQPXFKRVGHHOORV Preludios\Fugas \ \VXWUDWDPLHQWRGLIHUHQWH (QODIXJDHQ/DPHQRUGH6KRVWDNRYLFKHODQDSHVWRHVIXQGDPHQWDOPHQWHWpWLFR 7 VREUH WRGR FXDQGR HV SDUWH GHO VXMHWR \ DOWHUQDWLYDPHQWH DQDFU~VLFR $ FRPR SDUWH GH DOJXQR GH ORV FRQWUDVXMHWRV. 20. Quodlibet 59, 2 (2015).

(14) D I M I T R I S H O S T A K O V I C H , 2 4 P R E L U D I O S Y F U G A S , O P. 8 7 . . .. (T). 2> & 4 œ œ œ œ œ. #œ œ œ œ œ. œ œ. œ. <n>œ. Œ . . œ. . œ. . ? 42 Œ #œ#œ œ ∑ ∑ ∑. {. Ejemplo 9. Shostakovich,3UHOXGLRV«op. 87, “Fuga II”, cc. 1-4.. &. {. . #>œ œ œ. > & ˙ ‰. œ. œ.. œ œ œ #œ. (A). œ.. œ.. . . œ œ nœ. œœ œ œ #œ œ‰ ? > . .. . . . > œ œ œœ #<n>œœ#œ œ .> . > #œ œ œ nœ ‰ .. Ejemplo 10. Shostakovich,3UHOXGLRV«op. 87, “Fuga II”, cc. 12-14.. 6KRVWDNRYLFKFRQMXJDDPEDVGLPHQVLRQHVSURVyGLFDV WpWLFDV\DQDFU~VLFDV HQXQFRQWH[WR UtWPLFRGHO~GLFDVLQYHUVLRQHVJHQHUDQGRXQWHMLGRFRQWUDSXQWtVWLFREDVDGRHQHOMXHJRGHODLQYHUVLyQ PpWULFDPRWLYRGHOVXMHWRHQSLHPpWULFR´DQDSHVWRWpWLFRµ 7 HQFRQWUDVWHFRQHOPLVPRPRWLYRGHO FRQWUDVXMHWRLQYHUWLGRHQ´DQDSHVWRDQDFU~VLFRµ $ FRPRVHSXHGHREVHUYDUHQODFRPELQDFLyQGH VXMHWR\FRQWUDVXMHWRGHORVFRPSDVHV\VV. . b œ bœ œ. (A). ‰ b & ˙ (T) > œ. ? œ bœ. {. . œ. . . . . œ b œ œ ‰ bbœœ b œ nœ ‰ n œ b œ b œ bœ œ b œ œ bœ bœ œ. . œ. bœ. bœ. bœ. bœ œ. bœ. nœ nœ œ. >. Ejemplo 11. Shostakovich,3UHOXGLRV«op. 87, “Fuga II”, cc. 44-46.. (VWDLQVLVWHQFLDO~GLFDVHDFHQW~DGREOHPHQWHHQHO´VWUHWWRµTXHVHLQLFLDHQHO~OWLPRRFWDYR GHOFRPSiVFRQFDUiFWHUDQDFU~VLFR\VLJXHDODGLVWDQFLDGHXQRFWDYRHQHOFRPSiVVLJXLHQWHFRQ FDUiFWHUWpWLFR. 21. Quodlibet 59, 2 (2015).

(15) LUCIANO GONZÁLEZ SARMIENTO. . . . . œ œ œœ œ. #œœ œ œ œ. œ œ. & > . . . #œ œ œ œ œ > œ. ? œ. ˙ œœ œ J & > œ. {. . . . œ œ œœ . . . œœ œœ œ . >. . œ . œ œœ#œ#œ œj ‰ . . . > . œ œœ n#œœ#œ#œœ#œ . . .. Ejemplo 12. Shostakovich,3UHOXGLRV«op. 87, “Fuga II”, cc. 56-59.. (VXQMXHJRTXH6KRVWDNRYLFKSURGLJDHQPXFKRVGHORVSUHOXGLRV\IXJDVGHVXRSXV HQXQRV Preludios\\Fugas\ FRQODLQVLVWHQFLDGHODQDSHVWRDQDFU~VLFR\HQRWURVFRQOD FRPELQDFLyQSURVyGLFD\DPHQFLRQDGD Preludio\Fugas\ (Q6KRVWDNRYLFKFRPR HQ%DFKHOPRWLYRDQDSpVWLFRDSDUHFHFRQXQDIUHFXHQFLDHYLGHQWHHQVXVGRVGLPHQVLRQHVSURVyGLFDV DFHQWXDQGRGHHVWDIRUPDHOFRORUGHOFRQWUDSXQWRPHOyGLFRGHVGHVXFRQMXJDFLyQUtWPLFD\ORJUDQGR DVtXQWHMLGRVRQRURSROtFURPR 5HVXOWDUtD IiFLO FROHJLU TXH HO MXHJR GH OD LQYHUVLyQ SURVyGLFD VH YHULÀFD DVLPLVPR HQ HO FRQVHFXHQWHMXHJRGHODLQYHUVLyQPpWULFDFRPRELHQVHSXHGHREVHUYDUHQODWUDQVIRUPDFLyQTXH 6KRVWDNRYLFKFRQMXJDGHODQDSHVWR ² \HOGiFWLOR ² HQHVWD\HQRWUDVIXJDVRSUHOXGLRVHQ ORVTXHHOSLHPpWULFRGiFWLORSURWDJRQL]DHOLQLFLRGHFXDQWDVHVFDODVGHVFHQGHQWHVQRVRORFRQÀUPDQ ODWHUPLQDFLyQGHOFRQWUDVXMHWR\ODFRQFOXVLyQGHODIXJDVLQRTXHUHDÀUPDQHOFDUiFWHUPRGDOTXH VXE\DFHHQWRGDODREUD 'iFWLORHQPRGRHyOLFR. . . . ? # œ œ œ #œ. #œ. œ. #œ. #œ . Ejemplo 13. D. Shostakovich,3UHOXGLRV«op. 87, “Fuga II”, cc. 9-10. 'iFWLORHQPRGROLGLR. b œ. œ. œ. bœ. bœ. . . œ œ bœ. ? Ejemplo 14. Shostakovich,3UHOXGLRV«op. 87, “Fuga II”, c. 19.. 22. Quodlibet 59, 2 (2015).

(16) D I M I T R I S H O S T A K O V I C H , 2 4 P R E L U D I O S Y F U G A S , O P. 8 7 . . .. 'iFWLORHVFDODÀQDOFRQFOXVLYD. ? >œ œ. œ. œ. nœ œ œ j ‰ Œ . . . œ. > Ejemplo 15. Shostakovich,3UHOXGLRV«op. 87, “Fuga II”, cc. 79-80.. 1RHVPLLQWHQFLyQHODQiOLVLVH[KDXVWLYRGHORVFRPSRQHQWHVPpWULFRVTXHVHVXFHGHQDOR ODUJRGHORV24 Preludios y Fugas RSVLQRODFRQVWDQFLDGHVXXVRFRPRWHVWLPRQLRGHYLQFXODFLyQ FRQODKLVWRULD6KRVWDNRYLFKQRSDUWLFLSyGHODEHOLJHUDQFLDFRQWUDODWRQDOLGDGSURPRYLGDGHVGHHO FHQWURGH(XURSDQRLJQRUyDXQTXHWDPSRFRVLJXLyORVSURFHGLPLHQWRV\PpWRGRVTXHSURSXJQDEDQ XQ QXHYR OHQJXDMH GHVJDMDGR GH OD UD]yQ KLVWyULFD TXH GHVGH 3LWiJRUDV \ $ULVWyJHQR GH 7DUHQWR KDEtDIHUWLOL]DGRODFXOWXUDRFFLGHQWDOHYROXFLRQDGDVLQSDXVDKDVWDQXHVWURVGtDVQLVLTXLHUDHVER]y SURSXHVWDDOJXQDSDUDPRGLÀFDUORVSDUDGLJPDVYLJHQWHVVLQRTXHIRUPXODVXGLVFXUVRHQHOFRQWH[WR KLVWyULFR TXH pO FRQVLGHUD HYROXFLRQDGR GHVGH OD SHUVSHFWLYD GH XQRV KHFKRV UD]RQHV TXH IXHURQ FDXVD\HIHFWRDOPLVPRWLHPSRGHODUD]yQKLVWyULFDTXHpOSHUFLEHHLQFRUSRUDFRPRKHUHQFLD (V HVWH FRQWH[WR GH OD KLVWRULD HO TXH LQWHQWR GHVWDFDU FRPR UDVJR VLQJXODU GH XQR GH ORV FRPSRVLWRUHVPiVFRQWUDGLFWRULDPHQWHYLWXSHUDGRV\HQVDO]DGRVGHQXHVWURWLHPSRVREUHHOFXDOPiV WLQWDVHKDYHUWLGRSDUDGHVFULELU\HQMXLFLDUORVDYDWDUHVSHUVRQDOHVVRFLDOHV\SROtWLFRVGHVXH[LVWHQFLD \PHQRVSDUDFRPSUHQGHU\FRQRFHUVXP~VLFD. IV. LAS RAZONES DE LA HISTORIA 'HODPLVPDIRUPDTXH6KRVWDNRYLFKMXHJDFRQORVSDUiPHWURVWRQDOHV\PRGDOHV\ORVFRQMXJD FRQXQDDPELJHGDGVXWLOTXHOHSHUPLWHXQDWRWDODXWRQRPtDFRPSRVLWLYDDVtORKDFHWDPELpQFRQOD LQFRUSRUDFLyQGHPDWHULDOHVSURFHGHQWHVGHODVIRUPDVKLVWyULFDVTXHVLQGHVYLUWXDUODVVHWUDQVIRUPDQ HQHOHPHQWRVYHUWHEUDGRUHVGHVXGLVFXUVR6KRVWDNRYLFKDSHODDODUD]yQKLVWyULFDFRQIUHFXHQFLDSDUD DÀDQ]DUVXGLVFXUVRIUHFXHQWHPHQWHDOHMDGRGHVXVGHWUDFWRUHVVRYLpWLFRVHLQFOXVRGHVXVFUtWLFRV HPLJUDGRV DO iUHD FDSLWDOLVWD HQWUH ORV TXH VH FRQWDEDQ 6FKRHQEHUJ +LQGHPLWK \ KDVWD HO PLVPR 6WUDYLQVN\ 6H KD HVFULWRTXH +LQGHPLWK FRPSXVR VX Ludus tonalis SDUD ´PRVWUDU D ORV TXH QR KDQ VXFXPELGRVLQUHPHGLRORTXHVRQODP~VLFD\ODFRPSRVLFLyQµHQFODUDDOXVLyQDOFRPSRVLWRUUXVR WUDVHOHVWUHQRGHVXSinfonía n. 7 “Leningrado”HQ1XHYD<RUNHOGHMXOLRGHFRQOD2UTXHVWD 6LQIyQLFDGHOD1%&EDMRODGLUHFFLyQGH$UWXUR7RVFDQLQL. . 5RVV$OH[El ruido eterno%DUFHORQD6HL[%DUUDOS. 23. Quodlibet 59, 2 (2015).

(17) LUCIANO GONZÁLEZ SARMIENTO. 2FKRDxRVGHVSXpVGHTXH+LQGHPLWKHVFULELHUDVXLudus tonalis, 6KRVWDNRYLFKGLRDOX]VXV 24 Preludios y Fugas RS PDVQRFRPRUHDFFLyQGRFWULQDULDRH[KLELFLRQLVWDDQWHODVÉRXWDGHVµ GHOFRPSRVLWRUDOHPiQGH+DQDXVLQRFRPRXQPRGHORH[SUHVLYRLOXPLQDGRSRUHOGRFXPHQWRTXH HOFDQWRUGHODThomaskirche GH/HLS]LJGHQRPLQyEl clave bien temperado, o preludios y fugas en todos los tonos y semitonos, ambos con la tercera mayor o do, re, mi y con la tercera menor o re, mi fa, están compuestos para la práctica y el provecho de los jóvenes músicos deseosos de aprender y para el entretenimiento de aquellos que ya conocen este arte, VHJ~QHOSURSLR-RKDQQ6HEDVWLDQ%DFKHVFULEHFRPRSyUWLFRGHXQDREUDTXHVLQSUHWHQGHUOR FRQPRYLy HQ VX WLHPSR ORV FLPLHQWRV GHO OHQJXDMH PXVLFDO FRPR IRUPXODFLyQ VLVWHPiWLFD \ FRPR UD]yQHYROXFLRQDGDGHVXVSUHFHGHQWHVKLVWyULFRV. 6KRVWDNRYLFKFLWDD%DFKHQVXV24 Preludios y Fugas op. 87 QRVRORFRPRWHVWLPRQLRVLQRFRPR SUHFHGHQWHKLVWyULFR<HVHQHVWHVHQWLGRFRPRKDEUtDTXHHQWHQGHUODUHIHUHQFLDDIRUPDVPXVLFDOHV KLVWyULFDVTXH6KRVWDNRYLFKLQFRUSRUDFRQFLHUWDIUHFXHQFLDDVXGLVFXUVR6RQUHIHUHQFLDVVLPEyOLFDV QR VROR D OD UD]yQ KLVWyULFD TXH VXVWHQWDUi VX FUHDWLYLGDG VLQR DÀUPDFLyQ ÀORVyÀFD TXH RULHQWDUi SUiFWLFDPHQWHWRGDODREUDGHOFRPSRVLWRUUXVRODYDORUDFLyQGHORVORJURVKLVWyULFRVFRPRSDUDGLJPD GHORVORJURVSURSLRVHVGHFLUTXHVXSUHVHQWHHVLQHYLWDEOHPHQWHXQDFRQVHFXHQFLDGHOSDVDGRTXHVH SUR\HFWDUiWUDQVIRUPDGRKDFLDODFRQVWUXFFLyQGHOIXWXUR. IV.1. “Preludio I”. Tiempo de Zarabanda <DGHVGHHOSULPHURGHORVSUHOXGLRVVHSHUFLEHXQDUHIUHVFDQWHEULVDSURFHGHQWHGHOD(XURSD UHQDFHQWLVWD\EDUURFDLPSUHJQDQGRGHFRKHUHQFLDKLVWyULFDHOFXUVRGHORV24 Preludios y Fugas/D UHIHUHQFLDTXH6KRVWDNRYLFKLQFRUSRUDDVX´3UHOXGLR,µSURFHGHGHOD=DUDEDQGDGHPHWUR\iPELFR\ HVWUXFWXUDWHUQDULDTXHVXVWHQWyGXUDQWHPXFKRWLHPSRXQRGHORVWHPDVPiVDIDPDGRV\UHFXUUHQWHV GHODP~VLFDHXURSHDOD)ROtD\PiVFRQFUHWDPHQWHODTXH-HDQ%DSWLVWH/XOO\ SURSXVR FRPRGDQ]DFRUWHVDQDHQVXAria para oboe/:9 HODxRFRQODGHQRPLQDFLyQGHLes folies d’Espagne,XQD=DUDEDQGDTXHKR\VHFRQRFHFRPRÍROtDWDUGtDµGLVWLQJXLpQGRVHGHODÍROtDWHPSUDQDµ GHORVVLJORVXV\XVIGHFDUiFWHU\ULWPRPiVYLYR\WXPXOWXRVR (VELHQVLJQLÀFDWLYRTXH6KRVWDNRYLFKSURSRQJDHVWDUHIHUHQFLDFRPRHOSULPHUHVODEyQTXH HQJDU]DUiODFDGHQDGHtQWLPDV\VXJHUHQWHVYLYHQFLDVFRQODVTXHHOFRPSRVLWRUUXVRDUWLFXODVXRSXV (UDXQKRPEUHFXOWR\VREUHWRGRH[LJHQWHFRQODLQWHUSUHWDFLyQGHODKLVWRULDGHWDOPDQHUDTXH FDEHVXSRQHUVXFRQRFLPLHQWRDFHUFDGHORULJHQ\HOGHVDUUROORGHOD)ROtDHQVXVP~OWLSOHV\YHUViWLOHV PDQLIHVWDFLRQHVFRPRIRUPDPXVLFDO\SRpWLFDFX\RRULJHQVHUHPRQWDDOVLJOR[YHQOD3HQtQVXOD ,EpULFD\FX\RGHVDUUROORLPSUHJQD(XURSDDORODUJRGHORVVLJORVXVIXVII\XVIII <DPDQLÀHVWDHOFRPSRVLWRUUXVRHQHVWHVXSULPHUERVTXHMRXQDLQGXGDEOHLQFOLQDFLyQSRU HOMXHJRFRQORVHOHPHQWRVGHODPpWULFDSRpWLFDDQWLJXDTXHJORVDUi\GHVJORVDUiDORODUJRGHVXV GtSWLFRV'HODHVWUXFWXUDGHOD)ROtDH[WUDH6KRVWDNRYLFKIXQGDPHQWDOPHQWHVXGLPHQVLyQPpWULFD. 24. Quodlibet 59, 2 (2015).

(18) D I M I T R I S H O S T A K O V I C H , 2 4 P R E L U D I O S Y F U G A S , O P. 8 7 . . .. HVGHFLUHOSDUiPHWUREiVLFRGHODIRUPDSRpWLFDTXHHQHVWHFDVRHVGHFDUiFWHU\iPELFRHQORVGRV SULPHURVFRPSDVHVDXQTXHGLIHUHQFLDGRVHQWUHVtSRUVXFRQÀJXUDFLyQVLOiELFDHTXLYDOHQWHDOSLH MyQLFRPD\RU ²² FRQXQFDUiFWHUWpWLFRHQHOSULPHUFRPSiV\DQDFU~VLFRHQHOVHJXQGR (VWDFRQÀJXUDFLyQPpWULFDHVHOJHUPHQGHODFRQÀJXUDFLyQSURVyGLFDFRQODTXH6KRVWDNRYLFK FRQVWUX\HVLQWiFWLFDPHQWHWRGRVXSUHOXGLRSURWDJRQL]DGRSRUXQDVRODIUDVHTXHUHSLWHFRQYDULDQWHV GLQiPLFDVFRQFDWHQDGDVSRUQH[RVFDGHQFLDOHVGHFDUiFWHUPHOLVPiWLFR\DFHQW~DVXWHQVLyQGUDPiWLFD PHGLDQWH OD LQVLVWHQFLD UHSHWLWLYD GHO PRWLYR \iPELFR TXH HVWUXFWXUD OD IUDVH FRQ XQ SXQWR iOJLGR UHVXHOWRFRQHOSLHLQYHUVRHOWURTXHR ² HQIDWL]DQGRHOFDUiFWHUHOHJtDFRTXHLPSUHJQDHOSUHOXGLR. œœ œœ ™™ & bœ œ ™ nœ œ ™ ? œ œ™. {. #œœ œ J œœ J. — #œœ œ œ œ. ˙˙˙ ˙ ˙. œœ œ˙ ™ #œj bœœ œ ˙ nœ œ ˙ bœ œ ˙ bœ. ˙˙ ˙ ˙ ˙. - — j ™ #œœœ œ˙˙ #œ n˙˙˙ œ ˙™ #œ ˙ œ ˙ ˙™. Ejemplo 16Shostakovich,3UHOXGLRV«op. 87, “Preludio I”, cc. 47-52.. 'HODPLVPDIRUPDTXH6KRVWDNRYLFKVHVXPHUJHHQHOXQLYHUVRPRGDOSDUDGLOXLUHOULJRUGHO VLVWHPDWRQDO\HQVDQFKDUODVSRVLELOLGDGHVGUDPiWLFDVGHVXGLVFXUVRDVLPLVPRVHGHOHLWDHQHOYDORU GHODPpWULFDDQWLJXDSDUDSRGHUUHVDOWDUODH[SUHVLYLGDGSRpWLFDTXHSUHWHQGHHQWRGRVVXVGtSWLFRV (Q HVWH FDVR HV OD GHVLQHQFLD \iPELFD OD TXH WLxH GH QRVWDOJLD OD IRUPD H[SUHVLYD GH HVWH SUHOXGLR QR VROR SRU OD VHPHMDQ]D PpWULFD HQWUH HO GiFWLOR ² GHO GtVWLFR HOHJtDFR SUHFHGHQWH SURVyGLFRGHOMyQLFRPD\RU ²² \HOPHWUR\iPELFRVLQRSRUODVVLJQLÀFDFLRQHVH[SUHVLYDVGH . 3 œ œ™ œ & 4 œœ œœ ™™ œœJ œœ œœ ™™ œœ ? 43 J. . {. œœœ œœ. ˙˙˙ ˙˙ Shostakovich,3UHOXGLRV«op. 87, “Preludio I”, cc. 1-2.. bœ & ‰ œj bœ œbœ œ bbbœœœ œ œœ ‰œ Œœbœ b˙ Œ J bœ œ ? ∑ b œ œJ ‰ Œ Œ. {. &. ∑. ? ‰ j œ œ bœ b œ œbœ. ∑. Œ bœ œ #˙ ™ œbœbœ. Shostakovich,3UHOXGLRV«op. 87, “Preludio I”, cc. 15-16 y 31-32.. 25. Quodlibet 59, 2 (2015).

(19) LUCIANO GONZÁLEZ SARMIENTO. VXHVWUXFWXUDPHOyGLFDTXHSURSHQGHPiVDODQRVWDOJLDTXHDODPHODQFROtD(QHVWHSUHOXGLR\HQ QXPHURVRVHSLVRGLRVGHORVGtSWLFRVTXHFRQÀJXUDQHVWDREUDPRQXPHQWDOGH'LPLWUL6KRVWDNRYLFK VHGHVSUHQGHQKDORVGHQRVWDOJLDGHGRORUDQWHODSpUGLGDTXHELHQSRGUtDQVHUFRQVLGHUDGRVKLORV FRQGXFWRUHVGHODDFFLyQGUDPiWLFDTXHVXVWHQWDHOGLVFXUVRGHHVWDREUD (VODKLVWRULDKHUHGDGDODTXH6KRVWDNRYLFKUHFRQVWUX\HHLQWHUSUHWDHQVXV24 Preludios y Fugas VLQ GLVROYHU VXV IRUPDWRV QL DOWHUDU VXV RUtJHQHV /DV IRUPDV DQWLJXDV D ODV TXH 6KRVWDNRYLFK KDFH UHIHUHQFLDQRVHFRQÀJXUDQFRPRPRGHORVVLQRFRPRYtQFXORVSDUDOLJDUVXGLVFXUVRDOGHODKLVWRULD PLVPDYDORUDQGRODRULJLQDOLGDGHQHOiPELWRGHODHYROXFLyQ\QRHQHOPDUFRGHODUXSWXUD. IV.2. “Fuga III”. Tiempo de Giga (Q OD ´)XJD ,,,µ HO VXMHWR TXH SHUÀOD HO DLUH GH *LJD HVWi FRQVWUXLGR VREUH ORV GRV SLHV PpWULFRVGHÀQLGRVHQVXVRUtJHQHVHO\DPER ² D \HOWULEUDTXLR E a) — . . . j >œ œ. >œ œ œ œ œ. œ. œ. œ œ. œ. œ. # 6 œ œ œ œ >œ ‰ œ. J J œ œ. J & 8 œœ J ——— > b). Ejemplo 17. Shostakovich,3UHOXGLRV«op. 87, “Fuga”, cc. 1-4.. /DFRPELQDFLyQHOHPHQWDOGHDPERVSLHVPpWULFRVVHPDQWHQGUiLQDOWHUDGDDORODUJRGHWRGD ODIXJDFRQODUHSHWLFLyQFRQVWDQWHGHOVXMHWR\ORVFRQWUDVWHVSURFHGHQWHVGHOGLVHxRVLQFRSDGRHQ HOFRQWUDVXMHWR21DVtFRPRODVHVFDODVVLHPSUHDVFHQGHQWHVTXHLPSXOVDQFDGDDSDULFLyQGHOVXMHWR22 (VHVWHLPSXOVRHVFDOtVWLFRFRQHOTXH6KRVWDNRYLFKFRQMXJDHOPRGROLGLR D \VXVUHSHUFXVLRQHV KLSROLGLR E PL[ROLGLR F KLSRPL[ROLGLR G WDOFRPRIXHURQHQWHQGLGRVHQHO5HQDFLPLHQWR\IXHURQ GLYXOJDGRV SRU ORV WHyULFRV GHO VLJOR XIX SURFHGLPLHQWRV PRGDOHV D ORV TXH KDEUtD TXH DxDGLU ODV HVFDODVHQPRGRIULJLR H \HyOLFR I SDUDXQDYH]PiVHOXGLUHOULJRUGHODWRQDOLGDGHQEHQHÀFLRGH ODSROLFURPtDPRGDO. 21. 22. >œ œ > > >œ œ # J œ œJ œ œJ & ‰ Shostakovich,3UHOXGLRV«op. 87, “Fuga III”, cc. 5-7. >œ #6 œ œ œ J Shostakovich,3UHOXGLRV«op. 87, “Fuga III”, c. 1. & 8œœœ 26. Quodlibet 59, 2 (2015).

(20) D I M I T R I S H O S T A K O V I C H , 2 4 P R E L U D I O S Y F U G A S , O P. 8 7 . . .. &. a). > œ œ œJ œœœœ. #. Ejemplo 18. Shostakovich,3UHOXGLRV«op. 87, “Fuga III”, c. 17.. &. b). > # œ œ œ J œ œ œ œ. #. Ejemplo 19. Shostakovich,3UHOXGLRV«op. 87, “Fuga III”, c. 5.. c). > # œœœœœœœ &. Ejemplo 20. Shostakovich,3UHOXGLRV«op. 87, “Fuga III”, c. 10.. d). &. #. œ. >. œ œ œ œœœ. Ejemplo 21. Shostakovich,3UHOXGLRV«op. 87, “Fuga III”, c. 32.. e). &. >œ œ œ œ œ J œœ. #. Ejemplo 22. Shostakovich,3UHOXGLRV«op. 87, “Fuga III”, c. 18.. f). &. > œ œ œJ œœœœ. #. Ejemplo 23. Shostakovich,3UHOXGLRV«op. 87, “Fuga III”, c. 26.. 27. Quodlibet 59, 2 (2015).

(21) LUCIANO GONZÁLEZ SARMIENTO. IV.3. “Preludio XII”. Chacona 2WURGHORVQXPHURVRVWULEXWRVTXH6KRVWDNRYLFKULQGHDODKLVWRULDGHODVIRUPDVPXVLFDOHVHVHO RVWLQDWRFRQHOTXHFRQVWUX\HODFKDFRQDRSDVDFDOOH DPEDVIRUPDVGHRULJHQHVSDxRO GHO´3UHOXGLR;,,µ. ? #### 43 œ œ ˙ œ œ Œ œ œ ˙ œœ œ ˙ Œ œ œ ˙ œœ ˙ œ œ œ œ ˙ œ ˙ # ˙ œœ ˙ ˙ œ œœœ ˙ œ œ˙ ˙ œ ˙ œ œ˙ œœ ˙ ˙ œ ˙ Ejemplo 24. Shostakovich,3UHOXGLRV«op. 87, “Preludio XII”, cc. 1-12.. (VWHH[WHQVRRVWLQDWRGHGRFHFRPSDVHVVRVWLHQHQRVRORHOHVStULWXUtWPLFRGHODFKDFRQD VLQRHOFDUiFWHUPRGDOTXHLPSUHJQDWRGRHOSUHOXGLR7DQWRHORVWLQDWRFRPRHOSULPHUGLVHxRWHPiWLFR UHÁHMDQHOPRGRHyOLFR RORFULR FRQVXVGRVWHWUDFRUGLRVDVLPpWULFRVGHVDUUROODQGRHOVHJXQGRWHPD RYDULDQWHHQHOPRGRGyULFRFRQVXVGRVWHWUDFRUGLRVVLPpWULFRV $OOHFWRUGHMRODFXULRVLGDGGHDQDOL]DURWUDVIRUPDVTXH6KRVWDNRYLFKH[WUDHGHODKLVWRULD SDUDFRQÀJXUDUPXFKRVGHVXVSUHOXGLRV\IXJDVFRPROD%DUFDURODTXHIHFXQGDHO´3UHOXGLR;,,,µ, HO YDOV GHVDUUROODGR FXDO SLFDUHVFR VFKHU]R WULSDUWLWR HQ HO ´3UHOXGLR ;9µ, IRUPD \D HQXQFLDGD SRU 6KRVWDNRYLFK HQ VXV Preludios RS ´3UHOXGLR Q µ R OD 7RFFDWD TXH HQ IRUPD GH HVWXGLR R PRYLPLHQWRSHUSHWXRUXWLODVREUHHO´3UHOXGLR;;,µ, SRUFLWDUDOJXQDVIRUPDVDQWLJXDVDPRGRGH VXJHUHQFLDSDUDHVWLPXODUODUHÁH[LyQGHOHVWXGLRVR 0DVODVtQWHVLVTXH6KRVWDNRYLFKKDFHGHODKLVWRULDQRVRORVHFHQWUDHQODVIRUPDVDQWLJXDV RHQHOQRPEUHGH%DFKVLQRHQQXPHURVDV\VLJQLÀFDWLYDVUHIHUHQFLDVTXHGHÀQHQFRQFODULGDGVX DFWLWXGDQWHODKHUHQFLDKLVWyULFD\DQWHVXHQWRUQRPiVFRQWHPSRUiQHRUHYHODQGRFRQVXFRQGXFWD FUHDWLYDXQDFRKHUHQFLDTXHSDUDVtKDEtDTXHKDEHUUHFODPDGRDORV´HOHJLGRVµGHOSULPHUFXDUWRGHO VLJORXX,FX\DOX]HVWDEDGHVWLQDGDDVHUJXtDGHOUHVWRGHORVKXPDQRV /D VtQWHVLV TXH 6KRVWDNRYLFK KDFH GH OD KLVWRULD FRPLHQ]D SRU FRQRFHU \ GHVDUUROODU OD VLQJXODULGDGGHODFXOWXUDUXVDHQODTXHHVWiLQVHUWRLQFRUSRUDQGRDVXGLVFXUVRORVPRGRV\ORVUDVJRV GHODVFDQFLRQHVUHOLJLRVDV\SURIDQDVTXHGHVGHVXVDQWHFHGHQWHVEL]DQWLQRVKDEtDQLGRIUDJXDQGR XQFRUSXVPXVLFDOELHQVLJQLÀFDWLYR/RV24 Preludios y Fugas, RSHVWiQLPSUHJQDGRVGHDTXHOORV JLURVPHOyGLFRV\PRGDOHVSURSLRVGHODFXOWXUDSRSXODUUXVDUHOLJLRVD\SURIDQD\HQULTXHFLGRVFRQ UHIHUHQFLDVGHDTXHOORVOODPDGRV´GLOHWDQWHVµ JUXSRUXVRGHORV´FLQFRµ TXHFRPR$OH[DQGHU%RURGLQ \0RGHVW0XVVRUJVNL ORUHFODPDURQGHVGH6DQ3HWHUVEXUJRHQODVHJXQGD PLWDGGHOVLJORXIXUHDÀUPDQGRXQSDWULPRQLRPXVLFDOUXVRFRQHOTXHFRQVWUXLUXQDLGHQWLGDGSURSLD VLQGHSHQGHUGHORVGLFWDGRVTXHÁXtDQGHVGHHOFHQWURGH(XURSD. 28. Quodlibet 59, 2 (2015).

(22) D I M I T R I S H O S T A K O V I C H , 2 4 P R E L U D I O S Y F U G A S , O P. 8 7 . . .. &LWDUpDXQTXHVHDDQHFGyWLFDPHQWHHOFOLPDFRQYHQWXDOTXH%RURGLQGHVFULEHHQVXPetite Suite SDUDSLDQR\TXH6KRVWDNRYLFKLQYRFDHQVX´3UHOXGLR,;µ WDQWRHQHOiPELWRGHORPRGDO DPEDV HQPRGRHyOLFR FRPRHQVXVGLPHQVLRQHVWtPEULFDVSURWDJRQL]DGDVSRUODVYRFHVJUDYHV\DJXGDV HQGLiORJRVDOPyGLFR2HQHO´3UHOXGLR9,,,µ ODVRPEUDGHOSODxLGHURSchmuyle TXHMiQGRVHDQWHHO SRGHURVRSamuel Goldenberg GHORVCuadros GH0XVVRUJVNLRDORVPLVHUDEOHVGHOBoris Godunov HQOD ´)XJD,9µ SURWDJRQL]DQGRHOFRQWUDVXMHWRGHOSULPHUWHPDGHODGREOHIXJD(OHVStULWXGH0RGHVW 0XVVRUJVNLVHGHVOL]DDORODUJRGHHVWRVGtSWLFRVWDQWRFRPRODVRPEUDGH%DFKFXEUHVXVYHQWXUDV \QRVRORGHVGHEl clave bien temperado, VLQRGHVGHODVCantatas o PasionesTXHWDQWRLPSUHVLRQDEDQDO FRPSRVLWRU UXVR FRPR OD HVWUXFWXUD WURFDLFD TXH VXVWHQWD HO &RUDO GH OD Pasión según San Juan ´2 0HQVFKEHZHLQGHLQ6QGHJURVVµ, \TXH6KRVWDNRYLFKWUDQVIRUPDHQEDUURFDODPHQWDFLyQGHVLPLODU LQVLVWHQFLDWURFDLFD\FRPELQDGDPRGDOLGDGHyOLFD\IULJLDSDUDGLOXLUODWRQDOLGDGGHVROPHQRUTXH SURSRQHVX´3UHOXGLR;;,,µ. 0XFKDVUD]RQHVKLVWyULFDVLQFRUSRUD6KRVWDNRYLFKHQVXV24 Preludios y Fugas RS \HQWUH HOODVQRSRGtDIDOWDUHODUWHGHODYDULDFLyQTXHÁX\HLQGHOHEOHDORODUJRGHWRGRVXFXUVRSHURWDPELpQ VHPDQLÀHVWDWHVWLPRQLDOHQDOJXQRGHVXVGtSWLFRVFRPRHQHO´3UHOXGLR;9,µDXWpQWLFDUHIHUHQFLDDO DUWHGHOFODVLFLVPRYLHQpV (Q OD ´)XJD ;9µ QR SDUHFH TXH 6KRVWDNRYLFK SUHWHQGD KDFHU UHIHUHQFLD D 6FKRHQEHUJ D TXLHQ FRQRFtD SHUR QR DGPLUDED HVSHFLDOPHQWH SHUR Vt MXJDU FRQMXJDU FRQ XQD VHULH GH RQFH VRQLGRV RUGHQDGRV FURPiWLFDPHQWH HQ HO VXMHWR GH IRUPD JHRPpWULFD SRU PRYLPLHQWR FRQWUDULR VREUH GRV WHWUDFRUGRV HTXLYDOHQWHV XQR DVFHQGHQWH \ RWUR GHVFHQGHQWH D HQ HO FRQWUDVXMHWR HQ FDPELROLQHDOPHQWHVREUHXQWHWUDFRUGRRUGHQDGRDVLPLVPRGHIRUPDFURPiWLFD\FRQXQGHVDUUROOR VXWLOPHQWHVLQFRSDGR E . a). bbb 3 œ nœ œ œ bœ nœ œ >œ ™ >œJ 4 >œ∫œ >œ ™ œJ 3 œ œ bœ 5 œ bœ∫œ nœ œ 3 b 4 4 4 4 & b4 Ejemplo 25. Shostakovich,3UHOXGLRV«op. 87, “Fuga XV”, cc. 1-6.. b). bbb 3 ˙ bœ œ œ bœ n˙ bœ 4 bœ n˙ œ 3 œ nœ bœ 5 œ ˙ b˙ 3 ˙ nœ b 4 4 4 4 & b4 Ejemplo 26. Shostakovich,3UHOXGLRV«op. 87, “Fuga XV”, cc. 7-12.. &RQHVWRVHOHPHQWRVFRQWUDSXQWtVWLFRV\VLQWiFWLFRVHODERUD6KRVWDNRYLFKXQDGHVXVIXJDV PiVFRPSOHMDV\DODYH]PiVGLItFLOHVSDUDHOLQWpUSUHWHTXHGHEHSRQHUDSUXHEDWRGDVXFDSDFLGDG. 29. Quodlibet 59, 2 (2015).

(23) LUCIANO GONZÁLEZ SARMIENTO. SVLFRPRWUL]SDUDDERUGDUFRQJDUDQWtDODVDPDOJDPDVPpWULFDVTXHMXQWRDORVFDPELRVGHVXEGLYLVLyQ ELQDULD \ WHUQDULD TXH 6KRVWDNRYLFK LQWURGXFH FRPELQDQGR ORV DFHQWRV SURVyGLFRV \ GLQiPLFRV GHO VXMHWRJHQHUDQXQDLQTXLHWXGUtWPLFDGHJUDQWHQVLyQPRWyULFD. b b 3 œ #œ nœ nnœœ bœœ 4 #œ 3 & b b b 4 nœœ Œ n#œœ Œ nnœœ Œ nœ Œ bœ 4 Œ##œœ Œ nnnœœœ 4 a) ? b b 43 nœ #œ #œ nœ nœ nœ œ ™ bœ 44 œ œ ™ bœ 43 bbb nœ bœ J J. {. bb3 4 & b b b 4 nœ #œ #œ nœ nœ bœ nœ œ ™ bœJ 4 bb3 4 & b b b 4 œ Œ nnœœ Œ nnœœ Œ nœœœ Œ bœœ 4 œ nœ nœ bœ b). {. c). b 3 & b bbb 4 Œ bœœ ∫œœœ d) ? bb b 43 b b b˙ ∫œ b˙ ∫œ. {. b & b bbb bbœœ bnœœ nnœœ. {. ? bb b n˙ bb n˙. bœ bœ. nœ nb œœ n œ Œ nœœ Œ 45 bœ Œ nnœœ Œ #œœ 43 #œ œ nœ 45 #œ nœ #œ #œ nœ 43 & nœ. œ ™ bœ 43 œ nœ J nœ Œ##œœ Œ nnœœ 43 Œ nnnœœœ Œ #œ nœ. œ. bœ. 45 #œ nœ #œ œ. 3 nœ 4 b# œœ 54 bœœ Œ nnœœ Œ ? #œ 43 bœ nœ. nœœ bœœ bœœ bnœœ œœ nnœœ bœœ nnœœ bnœœ nœœ nœœ œœ bœ bnœœ œœ œ n˙ œ n˙. b˙ b˙. Œ #nœœ bbœœ nœ ˙ œ ˙ œ. bœ bœ b˙ bœ bœ b˙ Œ nœœ Œ œ b˙ œ b˙ œ. > > j> b ∫ œ ∫ œ ™ b œ œ œ œ˙™ b n n œ ˙ œœ œœ & b b b nn œ Œ bbœœ ˙ ˙ œ bœ ? bb b nœ nœ b˙ b b œ b˙ n˙ n œ b˙ n>˙ >œ n œ b >˙. {. nœ nœ. ˙ ˙ nbœœ Œ nœœ nœ bœ œ œ ˙ ˙. e) œj œ Œ >œ. œ >œ ∑. œ ˙ œ ˙ Œ nnœœ Œ nœ b˙ œ b˙ œ œ Œ >œ. œ >œ ∑. Ejemplo 27. Shostakovich,3UHOXGLRV«op. 87, “Fuga XV”, cc. 90-118.. 30. Quodlibet 59, 2 (2015).

(24) D I M I T R I S H O S T A K O V I C H , 2 4 P R E L U D I O S Y F U G A S , O P. 8 7 . . .. D 6XMHWRHQPDQRL]TXLHUGD&RQWUDSXQWRUtWPLFRGHVXEGLYLVLyQELQDULDHQPDQRGHUHFKD VXMHWRYDULDGR FF E 6XMHWRHQPDQRGHUHFKD&RQWUDSXQWRUtWPLFRGHVXEGLYLVLyQELQDULDHQPDQRL]TXLHUGD VXMHWRYDULDGR FF F &RQWUDSXQWRGHVXEGLYLVLyQWHUQDULDHQPDQRGHUHFKD VXMHWRYDULDGR FF G 6XMHWRHQVXEGLYLVLyQELQDULDSRUDXPHQWDFLyQHQPDQRL]TXLHUGDFF H 5HIHUHQFLDGHOULWPRGHOSUHOXGLRHLQLFLRGHstrettoF 1XPHURVDVDOXVLRQHVKLVWyULFDVHVWLOtVWLFDV\SHUVRQDOHVDSDUHFHQDORODUJRGHORVGtSWLFRV GHORSXV\DORODUJRGHWRGDODREUDGH6KRVWDNRYLFK(VXQDFRQVWDQWHTXHUHÁHMDODDFWLWXGGHO FRPSRVLWRUUXVRFRPRSDUWHGHODKLVWRULDPLVPDLQWHJUDGRHQHOOD\FDSD]GHWUDQVIRUPDUODVLHQGR ODVUHIHUHQFLDVWHPiWLFDVVLHPSUHWHVWLPRQLDOHV\QXQFDPRWLYRGHSDUiIUDVLV >1RWDGHOD5HGDFFLyQODSDUWH,,GHHVWHDUWtFXORVHSXEOLFDUiHQXQQ~PHURSRVWHULRUGH Quodlibet@ɶ. 31. Quodlibet 59, 2 (2015).

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