José De Nebra

In Spain, documents containing organ stop combinations written by organists or organ builders between the 16th and 18th centuries are well known. However, correlate documents in Portugal are not so lavish, which adds importance to the manuscript entitled [Mappa de registar o] órgão from the ancient Monastery of Saint Benedict of Ave Maria in Oporto, currently preserved at the National Library of Portugal. In addition to these 18th century modos de registrar we have chosen a musical corpus containing original stop indications by Antonio Soler, José Lidón, José de Nebra, Ramon Carnicer and José Marques e Silva. This work proposes an approach to this repertoire, which composes our master’s recital program, in the perspective of the evolution of Iberian organ and contemporary instruments and in connection with these modos de registrar, illustrating an accurate musical practice and providing significant tools for the construction of a personal organ registration, historically, organologically and artistically based.

In the 18th century, the introduction of new musical genres such as the sonata, the quartet or the quintet - largely linked to the nascent Classicism -, will be the origin of a repertoire that will have famous and internationally renowned representatives in the Iberian Peninsula, including authors from Italy. And one of the composers who practiced both styles (religious and instrumental) is Antonio Soler (1729-1783), known as 'Padre Soler', due to his status as a Jerome monk. However, the biography of this musician has been - and continues to be in many texts - full of errors and inaccuracies that must be corrected as soon as possible, so that the image of the musician comes as close as possible to reality (incorporating for this the data of the most recent research on the musician and his time).

The Musical Archive of the Cathedrals of Zaragoza possesses an interesting early source for
the study of the music of Georg Friedrich Händel (*1685; †1759). It is a manuscript volume,
carefully copied and professionally and luxuriously bound in parchment, containing
a copy of the Suites de pièces pour le clavecin, which the Anglo-German musician would
print for the first time in London in 1720. This copy, made in Rome on 26 March 1727,
only seven years after his editio princeps, and owned by Francisco Xavier Nebra, bears witness
to the early knowledge of the best European music of the time in Spain as well as the
fluid musical connections between Italy and Spain.

Presentación y catalogación del contenido del manuscrito autógrafo de tecla de José de Nebra (1702-1768). Artículo publicado en en Celsa ALONSO GONZÁLEZ, Carmen Julia GUTIÉRREZ GONZÁLEZ y Javier SUÁREZ PAJARES (eds.), Delantera de paraíso. Estudios en homenaje a Luis G. Iberni, Madrid, Instituto Complutense de Ciencias Musicales, 2008, pp. 591-612. ISBN: 978-84-89457-39-3

A través de un análisis comparativo entre las misas de Ochando y Nebra con las de Jerusalem y algunos otros compositores representantes del estilo galante italiano, se ponen en evidencia variantes nacionales de los compositores hispanos. Estas variantes, esta re-asimilación del estilo galante tiene una  relación directa con el lugar de origen y  los años de formación de los autores españoles