Violin music in mid-18th-century Madrid: Contexts, genres, style
The 18th century was key for the dissemination and consolidation of a new way of playing and composing for the violin all over Europe. To date, research on specific composers and genres have been carried out, but global studies on the use of this instrument in specific cities are scarce. In the case...
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Universidad de La Rioja (España)
2015
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The 18th century was key for the dissemination and consolidation of a new way of playing and composing for the violin all over Europe. To date, research on specific composers and genres have been carried out, but global studies on the use of this instrument in specific cities are scarce. In the case of Madrid, some investigations in Spanish pay attention to the increase of violin compositions that took place around the 1750s, and some modern music editions exist. Nevertheless, neither the style of this music nor the process that led to its composition and consumption have been studied in depth. In addition, this repertoire is virtually invisible in the international literature.
This study offers for the first time a global view of the violin repertoire composed and performed in Madrid between ca. 1730 and ca. 1776, discussing its relative importance in national and international contexts. Departing from over 170 musical sources, of which over forty were virtually unknown to date, three main lines of research are combined: the composition and performance contexts, the shaping of musical genres and the analysis of the style. The study is completed with three appendices that include descriptions of the located musical sources, the critical edition of eight unpublished works and a video showing the recuperation of one of them for performance nowadays.
In the period studied here, the most popular violin genres in Madrid were the violin sonata and the trio for two violins and accompaniment. There was also demand for violin duets, small ensemble overtures, solo concertos and ensemble concertos. The located works, which amount to 163 in total, were composed by twenty different composers. This includes roughly the same number of Italians (such as Mauro D'Alay and Francesco Montali) and Spaniards (such as Jose Herrando), among other nationalities. These musicians worked for prestigious institutions (e.g. the Royal Chapel) and private patrons, including members of the royal family (e.g. Elisabetta Farnese), other members of the royal court (e.g. Farinelli), aristocrats (e.g. the XII Duke of Alba) and foreign diplomats (e.g. the Swedish Baron Carl Leuhusen).
The systematic analysis of these 163 works (which contain over 400 movements in total) shows the assimilation in Madrid of pan-European compositional trends, such as the use of standardized multi-movement cycles, dance topics, an idiomatic instrumental technique and a melodic writing in the galant style. The main models for these compositions seem to have been Italian, as was usual in other European capitals. Parallels are detected not only with Arcangelo Corelli, whose reception in Spain was already known to some extent, but also with other composers whose impact in this country had not been researched before, such as Antonio Vivaldi, Giuseppe Tartini, Pietro Antonio Locatelli and Giovanni Battista Sammartini. This stylistic similarity confirms that the repertoire that was in fashion internationally was introduced in Madrid shortly after its composition, as the inventories of local private libraries show since the 1730s.
The dance music that was performed on the violin in mid-18th-century Madrid is also studied. Its models were mainly French: minuets and contredanses predominate. This repertoire, normally left in a secondary position in the studies on instrumental music, had, however, a great social importance at the time. In fact, dance music was very demanded both in public and private contexts, and it was central for the dissemination of violin performance among the middle classes. In 1760, the buyers of violin publications in the city were around 200 people that consumed not only dance pieces, but also didactic treatises and chamber works. Before 1776 fifteen collections of sonatas, duets and trios for violins were published in Madrid, despite the scarce printing of instrumental music in Spain. Moreover, some collections of violin music by composers based in the Spanish capital were published in London and Paris.
This intense assimilation of new styles, genres and music-consumption practices paved the way for a deeper integration of the Spanish capital in the European music market, which was intensified from 1770 onwards. Thus, violin music played a central role in the updating of the instrumental music cultivated in Spain during the so-called 'central 18th century', and portrays Madrid as a dynamic musical centre, aware of the latest international trends. In addition, this study sheds new light on the circulation of violin repertoire between Spain and other European countries, especially Italy, but also Germany or Sweden, further away from its scope of political-cultural influence. The violin music composed in Madrid also relatively quickly reached some countries of Latin America, such as Bolivia and Mexico; this opens up new avenues of research. |
| author2 |
Marín López, Miguel Angel (Universidad de La Rioja) |
| author_facet |
Marín López, Miguel Angel (Universidad de La Rioja) Lombardía González, Ana |
| format |
text (thesis) |
| author |
Lombardía González, Ana |
| spellingShingle |
Lombardía González, Ana Violin music in mid-18th-century Madrid: Contexts, genres, style |
| author_sort |
Lombardía González, Ana |
| title |
Violin music in mid-18th-century Madrid: Contexts, genres, style |
| title_short |
Violin music in mid-18th-century Madrid: Contexts, genres, style |
| title_full |
Violin music in mid-18th-century Madrid: Contexts, genres, style |
| title_fullStr |
Violin music in mid-18th-century Madrid: Contexts, genres, style |
| title_full_unstemmed |
Violin music in mid-18th-century Madrid: Contexts, genres, style |
| title_sort |
violin music in mid-18th-century madrid: contexts, genres, style |
| publisher |
Universidad de La Rioja (España) |
| publishDate |
2015 |
| url |
https://dialnet.unirioja.es/servlet/oaites?codigo=46783 |
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AT lombardiagonzalezana violinmusicinmid18thcenturymadridcontextsgenresstyle |
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oai-TES00000092082019-07-21Violin music in mid-18th-century Madrid: Contexts, genres, styleLombardía González, AnaThe 18th century was key for the dissemination and consolidation of a new way of playing and composing for the violin all over Europe. To date, research on specific composers and genres have been carried out, but global studies on the use of this instrument in specific cities are scarce. In the case of Madrid, some investigations in Spanish pay attention to the increase of violin compositions that took place around the 1750s, and some modern music editions exist. Nevertheless, neither the style of this music nor the process that led to its composition and consumption have been studied in depth. In addition, this repertoire is virtually invisible in the international literature. This study offers for the first time a global view of the violin repertoire composed and performed in Madrid between ca. 1730 and ca. 1776, discussing its relative importance in national and international contexts. Departing from over 170 musical sources, of which over forty were virtually unknown to date, three main lines of research are combined: the composition and performance contexts, the shaping of musical genres and the analysis of the style. The study is completed with three appendices that include descriptions of the located musical sources, the critical edition of eight unpublished works and a video showing the recuperation of one of them for performance nowadays. In the period studied here, the most popular violin genres in Madrid were the violin sonata and the trio for two violins and accompaniment. There was also demand for violin duets, small ensemble overtures, solo concertos and ensemble concertos. The located works, which amount to 163 in total, were composed by twenty different composers. This includes roughly the same number of Italians (such as Mauro D'Alay and Francesco Montali) and Spaniards (such as Jose Herrando), among other nationalities. These musicians worked for prestigious institutions (e.g. the Royal Chapel) and private patrons, including members of the royal family (e.g. Elisabetta Farnese), other members of the royal court (e.g. Farinelli), aristocrats (e.g. the XII Duke of Alba) and foreign diplomats (e.g. the Swedish Baron Carl Leuhusen). The systematic analysis of these 163 works (which contain over 400 movements in total) shows the assimilation in Madrid of pan-European compositional trends, such as the use of standardized multi-movement cycles, dance topics, an idiomatic instrumental technique and a melodic writing in the galant style. The main models for these compositions seem to have been Italian, as was usual in other European capitals. Parallels are detected not only with Arcangelo Corelli, whose reception in Spain was already known to some extent, but also with other composers whose impact in this country had not been researched before, such as Antonio Vivaldi, Giuseppe Tartini, Pietro Antonio Locatelli and Giovanni Battista Sammartini. This stylistic similarity confirms that the repertoire that was in fashion internationally was introduced in Madrid shortly after its composition, as the inventories of local private libraries show since the 1730s. The dance music that was performed on the violin in mid-18th-century Madrid is also studied. Its models were mainly French: minuets and contredanses predominate. This repertoire, normally left in a secondary position in the studies on instrumental music, had, however, a great social importance at the time. In fact, dance music was very demanded both in public and private contexts, and it was central for the dissemination of violin performance among the middle classes. In 1760, the buyers of violin publications in the city were around 200 people that consumed not only dance pieces, but also didactic treatises and chamber works. Before 1776 fifteen collections of sonatas, duets and trios for violins were published in Madrid, despite the scarce printing of instrumental music in Spain. Moreover, some collections of violin music by composers based in the Spanish capital were published in London and Paris. This intense assimilation of new styles, genres and music-consumption practices paved the way for a deeper integration of the Spanish capital in the European music market, which was intensified from 1770 onwards. Thus, violin music played a central role in the updating of the instrumental music cultivated in Spain during the so-called 'central 18th century', and portrays Madrid as a dynamic musical centre, aware of the latest international trends. In addition, this study sheds new light on the circulation of violin repertoire between Spain and other European countries, especially Italy, but also Germany or Sweden, further away from its scope of political-cultural influence. The violin music composed in Madrid also relatively quickly reached some countries of Latin America, such as Bolivia and Mexico; this opens up new avenues of research.El siglo XVIII fue clave para la consolidación de una nueva forma de componer para el violín en toda Europa. Hasta ahora, se han realizado investigaciones sobre compositores y géneros determinados, pero los estudios globales sobre el uso de este instrumento en ciudades concretas son escasos. En el caso de Madrid, algunas investigaciones en español prestan atención al incremento de composiciones para violín ocurrido hacia la década de 1750, y existen algunas ediciones musicales. Sin embargo, no se ha profundizado en el estilo de esta música ni en el proceso que condujo a su composición y consumo. Además, este repertorio es prácticamente invisible en la literatura internacional. Este estudio ofrece por primera vez una visión global de la música para violín compuesta e interpretada en Madrid entre ca. 1730 y ca. 1776, discutiendo su relativa importancia en los contextos nacional e internacional. Partiendo de mas de 170 fuentes musicales, de las cuales más de 40 eran prácticamente desconocidas hasta la fecha, se combinan tres líneas de investigación principales: los contextos de composición e interpretación, la configuración de géneros musicales y el análisis del estilo. El estudio se completa con tres apéndices que incluyen descripciones de las fuentes musicales localizadas, la edición critica de ocho obras inéditas y un video mostrando la recuperación practica de una de ellas en la actualidad. En el periodo estudiado, los géneros para violín mas populares en Madrid eran la sonata para violín y acompañamiento y el trío para dos violines y acompañamiento. También tenían demanda el dúo de violines, la obertura para pequeño conjunto, el concierto a solo y el concierto para conjunto. Las obras localizadas, que ascienden a un total de 163, fueron compuesto por una veintena de compositores, incluyendo aproximadamente el mismo numero de italianos (como Mauro D'Alay y Francesco Montali) y españoles (como José Herrando), entre otras nacionalidades. Estos músicos trabajaban para prestigiosas instituciones (como la Real Capilla), y mecenas privados, incluyendo a miembros de la familia real (como Elisabetta Farnese), otros miembros de la corte (como Farinelli), aristócratas (como el XII Duque de Alba) y diplomáticos extranjeros (como el barón sueco Carl Leuhusen). El análisis sistemático de estas 163 obras (que contienen mas de 400 movimientos en total) muestra la asimilación en Madrid de tendencias compositivas paneuropeas, como son el uso de ciclos de movimientos estandarizados, formas de sonata, tópicos de danzas, una técnica instrumental idiomática y una escritura melódica al estilo galante. Los principales modelos para estas composiciones parecen haber sido italianos, como era habitual en otras capitales europeas. Se detectan paralelismos no solo con Arcangelo Corelli, cuya recepción en España era ya algo conocida, sino también con compositores cuyo impacto en este país no había sido abordado anteriormente, como Antonio Vivaldi, Giuseppe Tartini, Pietro Antonio Locatelli y Giovanni Battista Sammartini. Esta similitud estilística confirma que el repertorio que estaba de moda internacionalmente fue introducido en Madrid relativamente pronto, como muestran los inventarios de bibliotecas privadas locales desde la década de 1730. También se estudia la música de danza interpretada con violín en el Madrid de mediados del XVIII, cuyos modelos eran principalmente franceses, predominando los minués y las contradanzas. Este repertorio, normalmente relegado a una posición secundaria en los estudios sobre música instrumental, tuvo, sin embargo, una gran importancia social en la época. De hecho, era muy demandada tanto en ámbitos públicos como privados. La música de danza resulto fundamental para la difusión de la interpretación del violín entre las clases medias. En 1760, los compradores de publicaciones violinísticas de la ciudad eran unas 200 personas que consumían no solo piezas de danza, sino también tratados didácticos y obras de cámara. Antes de 1776 se habían publicado en Madrid quince colecciones de sonatas, dúos y tríos para violines, pese a la escasa impresión de música instrumental en España. Además, algunas colecciones de música para violín de compositores activos en la capital española fueron publicadas en Londres y Paris. Esta intensa asimilación de nuevos estilos, géneros y practicas de consumo musicales sentó las bases para una integración mas profunda de Madrid en el mercado musical europeo, que se intensifico a partir de 1770. Así, la música para violín jugo un papel central en la actualización de la música instrumental cultivada en España durante el llamado "siglo XVIII central", y retrata a Madrid como un centro musical dinámico y al día de las últimas tendencias internacionales. Además, este estudio aporta nueva luz sobre la circulación de repertorio para violín entre España y otros países europeos, en especial Italia, pero también Alemania o Suecia, mas alejados de su ámbito de influencia político-cultural. La música para violín compuesta en Madrid alcanzo también relativamente rápido países de Hispanoamérica como Bolivia y Méjico, lo que abre nuevas vías para la investigación.Universidad de La Rioja (España)Marín López, Miguel Angel (Universidad de La Rioja)2015text (thesis)application/pdfhttps://dialnet.unirioja.es/servlet/oaites?codigo=46783spaLICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. 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