Music

... El compositor zamorano Alonso de Torices (1635-1684). Autores: Paulino Capdepón Verdú; Localización: Anuario del Instituto de Estudios Zamoranos Florián de Ocampo, ISSN 0213-8212, Nº 24, 2007 , págs. 461-476. Fundación Dialnet. Acceso de usuarios registrados. ...

Paulino Capdepón researchs the knowledge and music dissemination of Ramón Garay, important Asturian-Andalusian composer, taking the opportunity to insert him in our rich 18th century and offering an unbeatable panoramic view that century: it will be especially useful for all new researchers.The merit of the book in two volumes presented here is its design, wich will not leave indifferent for the readers because of the quantity and quality of the information provided, distributed in the first volume with an original layout that allows both agile reading plotline as immersion in the details of it. Congratulations to Paulino Capdepón and the María Cristina Masaveu Foundation por this important edition, decisive por the incorporation into the 21th century of life, circumstances and much of the work of one of our most important composers of the 18th century until now unjustly forgotten: Ramon Garay. (Antonio Martín Moreno, Musicology Professor at the University of Granada, Spain)

Thanks to a recent proliferation of international and multidisciplinary research groups, the Spanish court has become the subject of an array of publications that have substantially deepened current understandings of its administrative structure. The volume under re- view focuses on the house of Burgundy, or the casa de Borgoña, the principal royal house among the conglomerate of royal houses that composed the Spanish court. Arriving in Spain with the first Burgundy-Habsburg king of Castile, Philip I, in 1506, it survived the dynasty that introduced it well into the eighteenth century. In spite of the Habsburg's ex- plicit recognition of Castile as their principal kingdom, the casa de Borgoña eventually sub- sumed the rest of the royal houses, most notably the Castilian. This ambitious collection of essays offers important insights into the strategies the Habsburgs employed to rule a multinational political conglomerate. It also presents fresh perspectives on the policies the Bourbons adopted during the early period of their rule. (Silvia Z. Mithell, <em>Journal of Modern History, </em>vol. 88, nº 1, marzo 2016, págs. 219-220)

En este capítulo se estudia la recepción de la obra musical del compositor salzburgués Wolfgang Amadeus Mozart en España desde finales del siglo XVIII hasta 1832, un tema que apenas ha sido investigado y que ofrece un inusitado interés por cuanto se demuestra en dicho capítulo que la impronta del compositor austriaco fue más profunda de lo que se pensaba en un principio, para lo cual se analizan las fuentes musicales archivísticas y hemerográficas, las críticas, las ventas de partituras o las alusiones de teóricos y compositores de aquella época. Por otra parte se tiene en consideración el relevante papel que desempeñó en la difusión nacional e internacional de las óperas de Mozart el compositor y cantante español Manuel García. (Thomas Schmitt, Musicology Professor at the Univesity of La Rioja, Spain)

En este capítulo de libro se aborda el estudio de la capilla musical de la Colegiata de Santa María la Mayor de Talavera de la Reina (provincia de Toledo), sin duda alguna uno de los principales centros musicales de la comunidad de Castilla-La Mancha. Los objetivos principales de dicho capítulo se centran en el análisis de la organización administrativa y musical de la mencionada capilla, teniendo en cuenta el sistema de acceso a los puestos musicales, las responsabilidades de maestros, organistas, cantores, mozos de coro, instrumentistas, salmistas, etc., las festividades religiosas, el repertorio musical, etc., en el marco del contexto social, económico y religioso en el que se desarrolló la vida musical de la capilla talaverana desde sus orígenes hasta su desaparición en 1851

... El compositor zamorano Alonso de Torices (1635-1684). Autores: Paulino Capdepón Verdú; Localización: Anuario del Instituto de Estudios Zamoranos Florián de Ocampo, ISSN 0213-8212, Nº 24, 2007 , págs. 461-476. Fundación Dialnet. Acceso de usuarios registrados. ...

Este artículo se centra en la fundación y evolución del Centro de Investigación y Documentación Musical de la Universidad de Castilla-La Mancha como iniciativa del Grupo de investigación reconocido “Patrimonio musical de Castilla-La Mancha” hasta su reconocimiento como Unidad Asociada al CSIC en 2015. Asimismo se tienen en cuenta los objetivos del mencionado Centro así como las actividades desarrolladas en el ámbito de la organización de congresos, jornadas, seminarios; de la publicación de monografías en tres colecciones editoriales y un sello discográfico; o bien en el terreno de la investigación llevada a cano hasta el presente.

Thanks to a recent proliferation of international and multidisciplinary research groups, the Spanish court has become the subject of an array of publications that have substantially deepened current understandings of its administrative structure. The volume under re- view focuses on the house of Burgundy, or the casa de Borgoña, the principal royal house among the conglomerate of royal houses that composed the Spanish court. Arriving in Spain with the first Burgundy-Habsburg king of Castile, Philip I, in 1506, it survived the dynasty that introduced it well into the eighteenth century. In spite of the Habsburg's ex- plicit recognition of Castile as their principal kingdom, the casa de Borgoña eventually sub- sumed the rest of the royal houses, most notably the Castilian. This ambitious collection of essays offers important insights into the strategies the Habsburgs employed to rule a multinational political conglomerate. It also presents fresh perspectives on the policies the Bourbons adopted during the early period of their rule. (Silvia Z. Mithell, <em>Journal of Modern History, </em>vol. 88, nº 1, marzo 2016, págs. 219-220)

Este artículo se centra en la decadencia que experimentó la música eclesiástica española desde comienzos del siglo XIX coincidiendo con el estallido de la Guerra de la Independencia. Dicha decadencia se agravó a consecuencia de la aplicación de las sucesivas desamortizaciones por los distintos gobiernos liberales y de la firma del concordato de 1851. Para remediar tal situación se propusieron distintos proyectos de reforma e iniciativas por parte de autores como Eslava, Barbieri, Pedrell u Olmeda, con el objetivo final de revitalizar la música religiosa de España y las capillas musicales que la sustentaban: tales proyectos, que adquirieron notable impulso gracias al movimiento cecilianista, constituyen el prolegómeno de la promulgación del Motu Proprio por el Papa Pío X en 1903.

Este artículo se centra en la decadencia que experimentó la música eclesiástica española desde comienzos del siglo XIX coincidiendo con el estallido de la Guerra de la Independencia. Dicha decadencia se agravó a consecuencia de la aplicación de las sucesivas desamortizaciones por los distintos gobiernos liberales y de la firma del concordato de 1851. Para remediar tal situación se propusieron distintos proyectos de reforma e iniciativas por parte de autores como Eslava, Barbieri, Pedrell u Olmeda, con el objetivo final de revitalizar la música religiosa de España y las capillas musicales que la sustentaban: tales proyectos, que adquirieron notable impulso gracias al movimiento cecilianista, constituyen el prolegómeno de la promulgación del Motu Proprio por el Papa Pío X en 1903.

Eighteenth-century Spanish music experienced a golden age thanks, especially, to the proliferation of centers such as the chapels, which articulated and structured the musical life of our cities: the main sound activity was centered on ecclesiastical music, both liturgical and paraliturgical, with which religious festivities were solemnized. Within this framework of creativity, the performance of chapel masters such as Ramón Garay stands out. The edition of his ecclesiastical music in Latin follows the scientific standards that a musicological research requires and the musical edition itself, of a critical nature, is very careful: in addition to the inclusion of incipits, it incorporates cards of each work in which the main aspects related to the sources and their transmission, the template, the formal structure, the critical notes or the edition of the Latin texts with their respective translations are made known. But its work is not limited to the transcription of the music: it also includes an extensive study on the state of the question, the objectives and methodology, as well as the historical musical context of Spain and Jaén in Garay's time, in addition to his biography and the study of his musical work.

The present study, carefully edited, already announces in its title a very precise description of its subject. It is preceded by another, published in 2012 (La música en la Colegiata de Santa María la Mayor de Talavera de la Reina durante el siglo XVIII), in which the same author revealed the existence, until then little or not known, of an intense musical activity linked to the collegiate church and focused, even from several centuries ago, on a fully constituted chapel. The half century from 1800 to 1851 was a period of clear decline for the music chapel of the Collegiate Church of Talavera de la Reina, as for many others in Spain: a period marked by a general brutalisation, by unfortunate political events, economic crises and health problems that seriously affected musical life outside the court; marked, moreover, in the case of this Collegiate Church, by the devastating fire of 1846, which, among other things, destroyed the two organs and the choir stalls. At the same time, it is perhaps the period in which the aesthetic disparity between the autochthonous and the foreign, especially in the field of vocal music written for the church, for the theatre or for chamber music, is most clearly evident. All these aspects, both socio-historical and strictly musical, are examined in great detail in the first two chapters of the study. The third and fourth chapters circumscribe the field of analysis to the ecclesiastical institution of the Collegiate Church. Capdepón first reviews its development from the Middle Ages to the 19th century, paying attention to the historical processes that determine its rise, decline and formal demise in 1852, as a result of the Concordat between the Spanish State and the Holy See. It then deals with the administrative aspects governing the functioning of the chapel of music, bringing up numerous sources in which its regimes are established and pointing out the losses caused, already in the period under study, by the aforementioned adversities. The fourth chapter deals with the liturgical specificities of the Collegiate Church of Talavera: its own festivities, processions, rogations, thanksgivings, funerals and other surrounding celebrations. Throughout the study, we are grateful for a standardised spelling of the sources cited and a systematic resolution of the frequent abbreviations, which greatly facilitates reading. The fifth chapter contains essential information on the lives and works of the master-organists who governed the collegiate chapel from the end of the 18th century until its decline: José Cortasa Rives (1788-1796), Francisco Bernal (1796-1808) and José Leblic (from 1820 onwards), as well as the second organist Juan López (1787-1825?). In each case, Capdepón investigates the positions they held both in Talavera and in other venues, and dedicates a final section to listing the titles of their surviving compositions. The sixth and seventh chapters keep an account of other musicians of lower rank (cantors, choirboys, instrumentalists, recorder of the choir books, sochantres) associated with the musical chapel of the Collegiate Church. The eighth chapter describes in a diachronic way the vocal and instrumental equipment of this chapel, paying special attention to the organs of the Collegiate Church, as well as the circumstances that affect the performance practice and the daily life of the musicians from the second half of the 18th century onwards. This chapter and the following one explain how severely the vicissitudes of the 19th century affected the preservation of musical sources, to the extent that not a single work by Bernal, Leblic or Juan López, that is, by the three main composers of music for the Collegiate Church during the period under review, survived on paper in Talavera. For a better knowledge (the only one possible) of this extinct compositional legacy, Capdepón proceeds to edit and describe four carols by Bernal, preserved in the archives of the Cathedral of Coria, where Bernal was a teacher between 1814 and 1823. The appendices of the study, in addition to various musical and geographical articles, include an extensive and valuable repertoire of documents transcribed from the minute books of the Collegiate Church. As for Francisco Bernal, his works published here reveal a remarkable gracefulness in the treatment of the instrumental parts, a broad knowledge and assimilation of Italian and French references and a particular eagerness to achieve orchestral sonorities with a much more limited organ. From beyond the Pyrenees also comes the resource, which has become a rhetorical topos and can be verified in much of the Spanish music of the time, of pairing lamenting turns of the text with lowered degrees and augmented sixths. In short, this work by Capdepón is an indispensable work for the knowledge of a little-known part of the Hispanic musical heritage. In addition to the rigour in the treatment of the sources, the pertinence of each methodological decision, the neatness of the presentation and the novelty of the data provided, the inclusion of these four scores as a fundamental result of the study is an incentive for both theoretical and practical musicians to delve with curiosity into the work of Francisco Bernal (as well as that of the second organist Juan López, preserved in Antequera and, it is to be hoped, soon to be available in an edition) and the work of the second organist Juan López, preserved in Antequera and, it is to be hoped, soon also available in an edition) and have them played, thus completing the not too long, but very demanding journey from the archive to the concert

Before arriving in Spain, Francisco Corselli had developed an important career as opera composer and sacred music when he arrived in Spain in 1733 from Parma thanks to his previous relations with Isabella de Farnese, the future queen of Spain, and with the ducal house of Parma. At the Madrid court, he began his career as 'maestro de música' for members of the Spanish royal household, a role that catapulted him to perform an extensive chapel ministry over a period of forty long years that enabled him to become one of the most influential composers in 18th-century musical Spain. It is worth highlighting his decisive role in the modernisation of the institution, incorporating new instruments and sonorities that represent the transition from the late Baroque style to early Classicism in the Royal Chapel. At the same time, his concern for the reorganisation of the palace musical archives was essential for the preservation of musical sources. No less important was the creation of a vast liturgical legacy that consolidated a typically eighteenth-century orchestra at the Royal Chapel, based on four-part strings, oboes-flutes, bassoon and horns.) Equally important was his participation in Madrid's stage life, starring in operatic titles of great importance or collaborating in some of the main palace festivities. Despite the historical weight of his artistic personality and the prestige he enjoyed during his lifetime, and despite the influence he exerted after his death, his musical output has been somewhat forgotten since the 19th century, and it is necessary to study and recover his magnificent musical work, of which only a small part has been published or recorded.

Este articulo se centra en la situacion de la musica religiosa espanola de la primera mitad del siglo XIX, ejemplificada en la capilla musical de la Colegiata de Santa Maria la Mayor de Talavera de la Reina. Tras una etapa de esplendor en el siglo XVIII, ya en los ultimos anos de dicho siglo se perciben los sintomas de un deterioro de la situacion de la mencionada capilla, que se agravaran a lo largo del siglo XIX con motivo de las medidas desamortizadoras de los sucesivos gobiernos liberales y de la entrada en funcionamiento de las medidas contempladas en el Concordato, que supusieron la desaparicion de numerosas capillas, entre las que cabe citar la de Talavera. Los precedentes y circunstancias que rodearon este hecho, que contribuyo decisivamente a la decadencia de la musica espanola del Ochocientos, constituye uno de los objetivos de este articulo.