The popularity of the clarinet in Spain is second
only to that of the guitar.1 There is a rich tradition of clarinet
playing that is accompanied by an equally rich repertoire of music
for the clarinet by Spanish composers. The works for clarinet and
piano by Miguel Yuste (1870-1947) are among this little-known repertoire.
In the early twentieth century, it was thought that Miguel Yuste wrote over one
hundred works for clarinet. However, current research suggests that this is incorrect.
What is known is that seven works for clarinet and piano have been published.
Unfortunately, one is out of print. While relatively few of Yuste’s works
are available to the general population, both he and his music are pivotal in
the establishment of the strong clarinet tradition for which Spain is presently
known. In his thirty years as the clarinet professor at the Real Conservatorio
Superior de Música de Madrid (1910-1940), Miguel Yuste’s music and
pedagogical ideas became, and continue to be, among the foundations of Spanish
clarinet playing.
My research focuses on each published work and presents current research on the
works composed for clarinet by Miguel Yuste. For this presentation, I will first
introduce a brief history of Spain’s music, as it pertains to the clarinet,
and the social climate in which it developed. I will then discuss the clarinet
pedagogy at the Madrid Conservatory and Miguel Yuste’s influence within
that pedagogy. And finally, I will discuss Miguel Yuste’s compositional
influences and how they are evident in two of his works for clarinet and piano,
Estudio Medodico and Vibraciones del Alma.
Spain has always had a strong sense of regional identity. While the official
language of Spain is Castilian, several fiercely individualistic regions reside
within Spain’s borders. Perhaps contributing to the individualism and intentional
preservation of its regional traditions is--what Beatrice Edgerly observes in
her 1942 book on the History of Musical Instruments as--Spain’s “ever-changing
panorama of history.”2 From the Celts and Greeks, to the Romans and Arabs,
Spain has had a consistent history of invasion and occupation. An unfortunate
effect of the constant threat of invasion is extended periods of economic and
political instability. However, this “ever-changing panorama of history” has
provided a collage of cultural influence throughout Spain’s history.
Early nineteenth-century Spain saw the Napoleonic Wars, Civil Wars, revolutions,
and coup d’états. The political environment created a crisis, both
economically and intellectually, which prompted many composers and musicians
to leave Spain.3 The music profession suffered countless
losses due to the severe lack of musical organizations and virtually no systematic
music education. Outside
her borders, the general impression around Europe was that Spain was “musically
backward.” 4
By the 1830’s Spain began to emerge from this turbulent environment. The
Madrid Conservatory, Spain’s first conservatory, opened in 1830—and
Spain’s first musical societies formed in the 1860’s. This is the
environment into which clarinetist, composer, and conductor, Miguel Yuste, was
born.
The clarinet was introduced to Spain by the 1770s.5 Beginning
in 1785, instrument makers Joseph Estrella and Fernando Llop advertised clarinets
in the daily newspaper.6The earliest known Spanish-made clarinets were five-keyed C clarinets (B-Liège,
A 3104). These were made by Luís Rolland of Madrid c. 1800. Prior to this
time, clarinets were imported from England.
By the time Miguel Yuste began his studies at the Madrid Conservatory in 1883,
Antonio Romero had retired and the use of the Romero-system clarinet was no longer
mandatory. Yuste likely played on a full Boehm-system clarinet, which includes
a low E-flat key for the right-hand little finger.7 The low E-flat key is an
idea
carried over from the Romero-system clarinet.
The use of the low E-flat key is no longer common in present-day Spain, although
these clarinets “are still in use in some wind bands [today],” according
to Carlos Casadó, bass clarinetist with the National Orchestra of Spain.8 There
was a revival of these full Boehm-system clarinets in Spain in the late
1970’s into the 1980’s. By the 1990’s, however, the normal
Boehm-system (which omits the low E-flat key) was most common.9 Regardless of
the instability of the development in the clarinet itself, there were many opportunities
for clarinetists to perform in Spain in the nineteenth and early twentieth centuries.
The tradition of the wind band in Spain dates back to the 1850’s.10 When
the Municipal Band of Madrid was founded in 1909, it had a total of 88 members.
Additional playing opportunities included the Opera Orchestra at Buen RetiroGardens, the Teatro
Real, the National Orchestra, the Madrid Symphony Orchestra,
and the Society of Chamber Music. Miguel Yuste was a member of each of these
groups.
The Madrid Conservatory was founded in 1830 after María Cristina
came from Naples to Madrid to marry Ferdinand VII in 1829. According to Julián
Menéndez, Yuste’s star pupil and prominent Spanish clarinetist in
the 1930’s and 40’s, “With the founding of the Royal Conservatory
of Music, a general awakening in musical interest occurred.”11 Through
her
support and funding, the Madrid Conservatory was modeled on Neapolitan music
schools. Its first director was Italian opera singer, Francesco Piermarini.12 Since
its founding, the Madrid Conservatory has changed names and locations six
times,
even spending 73 years located in the Teatro Real.
The first clarinet professors at the Madrid Conservatory were Pedro Broca (from
1830 to 1836) and Magin Jardín (from 1830 to 1857).13 By
1849, Antonio
Romero
had written his Clarinet Method Book and had joined the faculty. Julián
Menéndez also observes that, “It was only with the appearance of
Antonio Romero…that interest in clarinet playing received a great and needed
stimulus.”14 His was the first clarinet method book by a Spanish clarinetist
to be used at the Conservatory, and it is still used today. When Romero began
teaching at the Conservatory in 1849, his method book became an important addition
to the course of study. After his retirement in 1876, his method book remained
a staple in the Spanish clarinet school. Romero’s clarinet course of study
at the Conservatory remained unchanged for nearly 25 years. In 1909, Miguel Yuste
became the clarinet professor and instituted a much needed update to the clarinet
studies at the Madrid Conservatory.
According to Julián Menéndez, “Up to the time of Yuste’s
appointment, the teaching of the clarinet in Spain was somewhat old-fashioned
and not sufficiently extensive or progressive to encompass the difficulties cropping
up continually in the new orchestral works of the composers of the [beginning
of the twentieth century].”15 Yuste responded
to the need for change by reorganizing the course of clarinet study at the Conservatory.
Pamela Weston
notes in her
Clarinet Virtuosi of the Past that, “[there was a] systematic curriculum
for a six-year course of study based on works from the Romero and Klosé tutors.”16 Julián
Menéndez further explains in a 1953 article that each course was comprised
of three terms in which Yuste “began to incorporate new works of significant
clarinet pedagogues.”17 “General studies
were drawn from the works of Carl Baermann, Buteaux, Krakamp, Kroepsch, Magnani,
Stark, and Wiedemann.
Also included were staccato studies by Aumont, the Gambaro caprices, and all
the Paris Conservatory test pieces.”18 By
the 1950s, this plan for the
course
of clarinet studies was “officially adopted by all state-supported conservatories.”19
Miguel Yuste Moreno was born in Alcala del Valle in Cadiz, Spain in June of 1870.
His musical studies began with José Chacon at the San Bernardino Orphanage
in Madrid, where he was taken at the age of eight. The San Bernardino Orphanage
fostered the children’s artistic education by organizing a wind band in
which they played and learned an instrument. In 1883, at the age of thirteen,
Yuste began studying clarinet with Manuel González and became his “star
pupil.”20 He would later succeed González
at the Madrid Conservatory. In 1885, Yuste won the first chair position with
the Royal Corps of Halberdiers.
Two years later, he won first prize at the Madrid Conservatory—and quickly
became a steadily employed clarinetist. In 1887, the same year he won first prize
at the Conservatory, Yuste sat principal chair at the Buen Retiro Gardens. In
1889, he completed his clarinet studies at the Conservatory and became the solo
clarinetist in the Concert Society Orchestra and the orchestra at the Teatro
Real. He began as the third clarinet in the Teatro Real, but was moved to first
chair by the conductor, Luigi Mancinelli, in the middle of a rehearsal. He remained
as principal clarinetist from that point on. Although Mancinelli later made several
offers for Yuste to teach and perform in Italy, Yuste stayed in Madrid.21
In 1890, Miguel Yuste was a member of both the National Orchestra and the Chamber
Music Society. He gained public and critical recognition with performances of
Brahms’s and Mozart’s quintets. Unfortunately, the Chamber Music
Society disbanded in 1904, but Miguel Yuste was given the esteemed position of
clarinetist for the Royal Chapel the same year. Also in 1904, he helped to form
the Symphony Orchestra of Madrid.
In 1909, Yuste succeeded his teacher, Manuel González, at the Madrid Conservatory.
In his 30-year tenure, Yuste made significant reforms in the clarinet course
of study at the Madrid Conservatory and became a significant influence on Spanish
clarinetists. Joan Enric Lluna (one of Spain’s most prominent clarinetists
today, who has recorded several of Yuste’s works) states that, along with
Antonio Romero and Julián Menéndez, Miguel Yuste “could be
regarded as [one of] the ‘fathers’ of Spanish clarinet playing.” 22
Modern-day Spanish clarinetists Pedro Rubio, José Tomás Pérez,
and Enrique Pérez Piquer have stated that the Madrid Conservatory library
does not have many of Miguel Yuste’s works and suggest that anything that
has not yet been published remains with Yuste’s surviving family members.
In the course of his esteemed career, Miguel Yuste married and had two children.
His oldest son, also named Miguel, played clarinet with the Madrid Municipal
Band. According to information from Enrique Pérez Piquer, Miguel Yuste
married a second time, but the names of both wives and the second child are currently
unknown.23 Members of the Yuste family still live
in Madrid, and future interviews with the family by Pedro Rubio are in the planning
stages—in hopes of learning
new information about Yuste’s life and precisely how many works he wrote
for the clarinet.24 Regardless of the number of
works, Enrique Pérez Piquer
comments that “Yuste’s contribution to the clarinet literature, although
not prolific, is a challenge capable of compromising the most virtuosic player….[additionally],
Miguel Yuste exerted a major influence on the musical education of all the clarinetists
who have occupied principal positions in all the musical groups of Madrid” 25
Miguel Yuste’s works were the beginning of an “educational process” from
which many renowned Spanish clarinetists came.26 Perhaps most notably, Julián
Menéndez (1896-1975) and his brother Anthony, both founding members of
the Spanish National Orchestra, were educated by Miguel Yuste. José Taléns
Sebastiá, solo clarinetist in the now disbanded Filharmonic Orchestra
of Madrid and the Madrid Municipal Band, is another example. Similarly, Leocadio
Parras, soloist with the Spanish National Orchestra until his death in 1973,
is a notable example of Miguel Yuste’s influence on the music education
of Spanish clarinetists in the twentieth century.
In a recent interview with one of Miguel Yuste’s students, Carlos Casadó notes
that, “José Avilés (89-year-old former student of Miguel
Yuste) remembers Yuste saying: ‘I do not know harmony, but I have the melody
and the harmony in my head. I imagine how it should sound, and I try to write
it.’”27 The sounds that Yuste imagined likely would have been heavily
influenced by the music that was a part his daily life. It is known that Miguel
Yuste was principal clarinetist with the Teatro Real beginning in 1889, and the
Teatro Real is known to have been a common performance venue for the popular
genre known as the zarzuela. In addition to frequent performances of zarzuelas,
traditional Spanish folk songs were a part of daily life. It is, therefore, highly
likely that the influences of the zarzuela and Spanish folk music in general
permeated Yuste’s musical vocabulary. Since Yuste himself did not approach
his works from a tonal harmony standpoint, I will discuss Yuste’s works
within the influences of the zarzuela and Spanish folk music characteristics.
The zarzuela is a form of Spanish musical drama that is characterized by singing
and dancing interspersed with spoken language. The term originally comes from
the Spanish word for a bramble bush, zarza. In the 1650s, the term, zarzuela,
was used to describe short musical plays, burlesque in nature, which were organized
to entertain the king and his guests at the newly renovated Palacio Real
de la
Zarzuela. 28
Music was an important aspect of the zarzuela structure from its inception, but
the amount of singing as opposed to speaking was not standardized. However, by
the middle of the seventeenth century, the zarzuela exhibited strong influence
of Italian opera, and entirely sung programs were becoming more common. The zarzuela,(which
is still performed today in Spain), became such a popular genre by the last decade
of the nineteenth century that eleven theaters in Madrid performed zarzuelas
only. Miguel Yuste played regularly in one of these theaters, the Teatro Real.
While there is much regional diversity in Spanish folk music, it is understood
that several musical characteristics are common throughout the varying regional
folk music of Spain. With influences from France to Hungary, these characteristics
have combined to create a recognizable Spanish folk music quality in the pieces
in which they are heard, including those of Miguel Yuste. They can be categorized
into rhythmic, melodic, and harmonic characteristics.
Three typical rhythmic characteristics of Spanish folk music are found throughout
Yuste’s clarinet music. These are labeled in the New Grove Dictionary as
the “unmeasured style”, the “guisto-syllabic style”,
and the use of dance rhythms. The “unmeasured style” is defined by
the use of a “flexible succession of tempos” combined with heavily
ornamented melodies which maintain fixed points of tonal reference. The “guisto-syllabic
style” is defined by the use of alternating binary and ternary meters.
The third rhythmic device that is commonly found in Yuste’s clarinet music
is the use of dance rhythms. Sections containing repetitive, dance-like rhythms
usually follow a section using the “unmeasured style.” These categories
are most useful as “points of reference” and can overlap with ease.29 Another
common rhythmic device is the use in Spanish folk songs of the accent on the
ultimate or penultimate beat of a phrase.30 This rhythmic device is most
often used within a melodic context.
The melodic characteristics combine with the rhythmic elements to create some
of the more typically recognizable qualities of Spanish folk music. The melodies
are not typically tonal, are often chromatic, and sometimes have intervals of
an augmented second.31 Also common, is the use of a terraced downward motion
in
the melodic line similar to falling thirds, but with significantly more chromaticism.
There is a general tonal and modal ambiguity to many Spanish folk melodies. The
harmonic characteristics of Spain’s folk music exhibit a similar ambiguity.
Many of the harmonic elements used in Spanish folk music are within the bounds
of traditional classical harmony.32 However, due
to early Roman and liturgical influences, modal characteristics are commonly
used in tandem with classical
harmonies.33 As in the melodies, chromatic passages are common; and, there is
occasional use of parallel thirds. These harmonic attributes combine with the
previously
mentioned rhythmic and melodic elements to create a distinctive Spanish folk
music sound. Each of these folk music characteristics is found in the works for
clarinet and piano by Miguel Yuste.
All of Yuste’s available works for clarinet and piano are written for B-flat
clarinet and are one movement in length. According to Mundimúsica Edciones,
publishers in Madrid, none of Yuste’s available manuscripts supply dates
of composition.34 However, it is known that most
of his works for clarinet were written for auditions and exams at the Madrid
Conservatory. Therefore, one can
assume that the majority of his works for clarinet were written between 1909
and 1936.35 Yuste’s works can be classified
as Neo-Romantic and, according to clarinetist Joan Enric Lluna, are designed
to “highlight the technical
abilities of the performer…with beautiful melodies that suit the clarinet
well.” 36
The first piece I will discuss today is the Estudio Melodico, op. 33. (You can
see in your handout on page 6 that there is an edition published in 1972. However,
in conversation with Pedro Rubio last year, he believes there is a publication
that dates from the 1920s.)
According to Enrique Pérez Piquer, Estudio Melodico is based on a theme
by Italian clarinetist and composer, Luigi Bassi—with the development section
by Miguel Yuste.37 Piquer does not specify the origins of this theme. Bassi was
known to write paraphrases on opera themes for clarinet and piano, and Yuste
pays homage to the paraphrase tradition with this work. The piece follows basic
sonata form with a brief (four-measure) introduction. The exposition is in g
minor, the development moves to the relative major key, Bb major, and the recapitulation
returns to g minor. While the basic harmony is tonal, there is frequent use of
chromaticism both harmonically and melodically. Many of the Spanish folk music
characteristics discussed appear in Estudio Melodico. For example, phrases often
end with an accent on the penultimate note or beat.
There is a repetitive rhythmic pattern combining long and short note values that
occurs from the beginning of the piece. Additionally, the melody is heavily ornamented
and chromatic, while it often returns to a point of tonal reference. The opening
melody of the development illustrates this characteristic.
This work is rhythmically complex in the clarinet part, especially in the recapitulation,
and requires an advanced level of technique. There are several large interval
leaps that occur within sixteenth and thirty-second notes. For example, a two-octave
leap from throat-tone F to altissimo F occurs in a thirty-second note passage
in the development section. The melody itself is not technically challenging,
but the recapitulation is significantly more difficult, due to awkward, non-scalar
ornamentation figures.
The Spanish folk music characteristics are evident throughout Estudio Melodico.
While it sounds improvisatory in sections, Yuste has very clearly written each
note and rhythm. The melodies in this piece are quite memorable, and are very
typical of Spanish folk music. Estudio Melodico is probably Yuste’s most
commonly performed and well-known work outside of Spain today.
The second piece I will discuss is Vibraciones del Alma, op. 45.
Enrique Pérez Piquer comments that “with [Vibraciones del Alma,
Yuste] wanted to add to the National clarinet repertoire [a] work worthy to be
played in the big concert halls.”38 Piquer also comments that this work,
along with Capricho Pintoresco, expertly combines creativity and technical ability.
While most of Yuste’s works were written for auditions or exams, these
two works were likely written with a larger audience in mind.
This piece is organized into three different sections. It is similar to a one-movement
concerto with three clear sections. Vibraciones del Alma begins with the first
section in E-flat major, and, typical of Spanish folk music and Yuste’s
works, there is frequent use of chromaticism within the bounds of tonal harmony.
A key change to G major signifies the second section. Also typical of the Spanish
folk music influence, the second section is in a different meter, 2/4. The accompaniment
figure to the second section demonstrates another Spanish folk music characteristic
in its use of parallel 3rds.
The third section remains in 2/4, but the key changes to g minor. The melody
of the third section is quite lyrical, and the harmonic rhythm implies a slower
tempo. The minor third interval in the fourth measure of the accompaniment—and
the accent on the penultimate beat of the melody—further imply the influence
of Spanish folk music.
While the coda is extensively chromatic in both the clarinet and piano parts,
it solidly ends the piece in G major. Vibraciones del Alma is one of the more
difficult of Yuste’s works, in my opinion. However, while the clarinet
part is challenging, it is not terribly difficult to put together with piano.
In performing Yuste’s works (not unlike performing other works), it is
important to convey the style and spirit in which the pieces are written. In
understanding Miguel Yuste’s environment and influences, we can more accurately
and authentically perform these great works.
The strong clarinet tradition in Spain is accompanied by a rich repertoire of
music for clarinet that is largely unknown outside Spanish borders. The works
for clarinet and piano by Miguel Yuste are a significant part of this repertoire’s
development. During his 30-year tenure at the Madrid Conservatory, Yuste’s
influence as a pedagogue, performer, and composer, became a pivotal point in
Spain’s clarinet history. While the precise number of works written for
clarinet is unknown at this time, his seven published works alone have solidly
placed Yuste among the “fathers of clarinet playing” in Spain.39
While Yuste’s works can be defined as “Neo-Romantic,”40 the
influence of his surroundings and his performing experience are undeniable in
each of the
seven published pieces for clarinet and piano. These works, in turn, have influenced
two generations of clarinetists in Spain.
Miguel Yuste’s pedagogical and compositional contributions continue to
be an integral part of the Spanish clarinet tradition. His works are still regularly
studied at the Madrid Conservatory, and clarinetists throughout Spain still perform
his works. Due to his exceptional career, his compositional accomplishments,
and his continuing influence on the Spanish clarinet traditions in Spain, Miguel
Yuste and his music for clarinet and piano deserve further exposure to the worldwide
music community.
1. Joan Enric Lluna, Compact Disc Liner Notes for Fantasías
Mediterráneas: Spanish Music for Clarinet and Piano, Joan
Enric Lluna (Clarinet Classics, CC 0017, 1997).
2. Beatrice Edgerly, From the Hunter’s Bow: The History and Romance of
Musical
Instruments, (New York: G.P. Putnam’s and Sons, 1942), 393.
3. Belen Perez Castillo, “Spain, I, 5: Art Music, 19th Century: Historico-Political
Background,” The New Grove Dictionary of Music and Musicians, 2nd ed.,
29 vols., ed. Stanley Sadie (New York: Macmillan Publishers Ltd., 2001), vol.
24, 128.
4. Ibid.
5. Albert Rice, The Clarinet in the Classical Period, (New York: Oxford University
Press, 2003), 58.
6. B. Kenyon de Pasqual, “Ventas de instrumentos musicales en Madrid durante
la segunda mitad del siglo XVIII,” Revista de Musicologia 5 (1982): 311.
7. Carlos Jesús Casadó Tarín, e-mail message to author,
3
February,
2005.
8. Ibid, 5 February, 2005.
9. Ibid. The current (as of 2005) members of the National Orchesra in madrid
play
on Buffet R-13, Vintage, Tosca, and RC clarinets. The bass clarinetist plays
a Selmer 25-II Bass clarinet, and the E-flat clarinetist uses a Buffet RC. “However,
one of them is trying a Selmer Saint Louis B-flat clarinet, and he is probably
going to change [to] it.”
10. Joan Enric Lluna, Compac Disc Liner Notes for Capricho Pintoresco: Música
Española para clarinete, Joan Enric Lluna, (Harmonia Mundi, HMI 987022,
1999).
11. Julián Menéndez, “Teaching the Clarinet in Spain: Part
I,” translated
by Enid Standring, Woodwind 5/8 (April 1953): 8.
12. Robert Stevenson and Jose Iges, “Madrid,” The New Grove Dictionary
of Music and Musicians, 2nd ed., 29 vols., ed. Stanley Sadie, (New York: Macmillan
Publishers Ltd., 2001), vol. 15: 542.
13. See Appendix A for complete listing of professors at the Madrid Conservatory.
14. Menéndez, 8.
15. Julián Menéndez, “Teaching the Clarinet in Spain: Part
II,” translated
by Enid Standring, Woodwind 5/9 (May 1953): 8.
16. Pamela Weston, More Clarinet Virtuosi of the Past, (Great Britain: Halstan
and
Co. Ltd., 1977), 278.
17. Julián Menéndez, “Teaching the Clarinet in Spain: Part
II,” 8.
18. Weston, 278.
19. Ibid., 14.
20. Pamela Weston, Yesterday’s Clarinettists: A Sequel, (Yorkshire, England:
Emerson Editions, 2002), 187.
21. Enrique Perez Piquer, Compact Disc Liner Notes for La Obra Para Clarinete
y
Piano
de Miguel Yuste, Enrique Perez Piquer, (Logomusic Records, LCD 1001, 1995).
22. Joan Enric Lluna, Compact Disc Liner Notes for Fantasías Mediterráneas:
Spanish Music for Clarinet and Piano, Joan Enric Lluna, (Clarinet Classics, CC
0017, 1997).
23. José Tomás, e-mail message to author, 18 November, 2004.
24. Pedro Rubio, e-mail message to author, 16 November, 2004.
25. Piquer, La Obra Para Clarinete y Piano de Miguel Yuste.
26. Ibid.
27. Carlós Jesús Casadó Tarín, e-mail message to
author,
21 February, 2005.
28. Louise K. Stein and Roger Alier, “Zarzuela,” The New Grove Dictionary
of Music and Musicians, 2nd ed., 29 vols., ed. Stanley Sadie, (New York: Macmillan
Publishers Ltd., 2001) vol. 27, 755.
29. Ibid.
30. Ibid.
31. Ibid, 142.
32. Belen Perez Castillo, “Spain, I, 5: Art Music, 19th Century: Song and
Lyric
Theater,” The New Grove Dictionary of Music and Musicians, 2nd ed., 29
vols., ed. Stanley Sadie (New York: Macmillan Publishers Ltd., 2001), vol. 24,
130.
33. Martin Cunningham and Ramón Pelinski, “Spain, II, 2 (i): Traditional
and Popular Music, General Features: Historical Background,” The New Grove
Dictionary of Music and Musicians, 2nd ed., 29 vols., ed. Stanley Sadie (New
York: Macmillan Publishers Ltd., 2001), vol. 24, 137.
34. Miguel Yuste, Notes, Ingenuidad, op. 8/59, Leyenda, danza y lamento, op.
72,
Estudio de Concierto, op.148, (Madrid: Mundimúsica S.L., 1997).
35. Ibid.
36. Joan Eric Lluna, Fantasías Mediterráneas: Spanish Music for
Clarinet
and Piano.
37. Piquer, La Obra…
38. Piquer, La Obra…
39. Lluna, Fantasías Mediterráneas…
40. Lluna, Fantasías Mediterráneas…
Piquer, La obra…
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