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Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Musicologia is the property of Sociedad Espanola de Musicologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El presente artículo constituye una síntesis de la tesis de la Maestría en Interpretación de Música Latinoamericana del Siglo XX, de la Facultad de Artes y Diseño de la UNCuyo. Muestra la aplicación de las técnicas extendidas en la flauta según los autores Mario Lavista, Adina Izarra y Diego Luzuriaga. Se plantea un panorama de la flauta contemporánea en sus avances técnicos y musicales, y a través del repertorio seleccionado se aplica el concepto de renacimiento instrumental propuesto por Lavista, observando el tratamiento de las técnicas en los autores seleccionados. Para analizar su contexto de producción se utiliza la categoría del a-priori compositivo y, finalmente, desde la interpretación se reflexiona sobre el intérprete integral. [ABSTRACT FROM AUTHOR]

The attention that Johann Nepomuk Hummel gave to the repertoire of transcriptions was significant throughout his career. A huge part of his production, about fifty compositions, were to be arranged by him for piano, flute, violin and cello; these transcriptions were of various musical genres, from opera to symphonies and chamber music. The most considered was the symphonic repertoire with 18 arrangements: with the exception of only one symphony by Andreas Romberg, Hummel's efforts were projected mainly to the three great masters of the past: Mozart (six symphony transcriptions), Haydn (four) and Beethoven (seven). It's interesting to note that, on the contrary, Hummel only transcribed piano concerti by Mozart. In order to understand this choice, it is necessary to consider the evolution of certain elements that, between the 18th and 19th centuries, were changing significantly. Elements that conditioned the whole musical situation in Europe were things such as: the editorial market, the evolution of the piano concerto genre, the varied status of Mozart's concerti as standard, performed repertoire, and finally the physical evolution of the piano itself. Furthermore, Hummel's contribution is particularly interesting in relation to his efforts to complete Mozart's text in line with standard 18th century performance practice, in situations where Mozart's notation is often sparse or lacking comprehensiveness (for example, in the difficult case of improvised embellishment). [ABSTRACT FROM AUTHOR]