Entre el tópico y el Leitmotiv: el polo hexatónico como representación del misterio en El final de don Álvaro, de Conrado del Campo

Abstract

This article examines the first lyric drama of Conrado del Campo (1878–1953), El final de don Álvaro, composed in 1910 and premiered in 1911 at the Royal Theater of Madrid. This work illustrates the use of Wagnerian elements in Spanish opera. In my discussion, I analyze the structure of El final de don Álvaro to illuminate Campo’s development of small- and large-scale harmonic and tonal relations. Specifically, I demonstrate how the composer uses the Neo-Riemannian concept of the hexatonic pole to express the uncanny. Mystery is created around the character of the Penitent, who, though not appearing until scene 6, makes his presence felt musically from the outset. I begin with technical and hermeneutical definitions of the hexatonic pole, then show how this concept is employed throughout El final de don Álvaro. Finally, I apply topic theory to suggest that the hexatonic pole should be considered a musical topic which, in this particular cultural context, exemplifies Wagnerian influence as a means of evoking mystery.