Música orquestal en las catedrales españolas entre c. 1770 y c. 1840: funciones, géneros y recepción
The present doctoral thesis undertakes an investigation focused on the performance, composition and reception of orchestral music in Spanish cathedrals during the last quarter of the eighteenth century and the first half of the nineteenth century, a period that, more precisely, could be placed betwe...
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Universidad de La Rioja (España)
2019
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música orquestal catedrales españolas finales siglo XVIII – comienzos siglo XIX orquesta instrumentistas ceremonial misas horas canónicas procesiones concierto versos sinfonía recepción Joseph Haydn Ignace Pleyel Gioacchino Rossini orchestral music Spanish cathedrals late eighteenth – early nineteenth centuries orchestra instrumentalists ceremonies masses canonical hours processions concert concerto verses symphony reception Joseph Haydn Ignace Pleyel Gioacchino Rossini |
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música orquestal catedrales españolas finales siglo XVIII – comienzos siglo XIX orquesta instrumentistas ceremonial misas horas canónicas procesiones concierto versos sinfonía recepción Joseph Haydn Ignace Pleyel Gioacchino Rossini orchestral music Spanish cathedrals late eighteenth – early nineteenth centuries orchestra instrumentalists ceremonies masses canonical hours processions concert concerto verses symphony reception Joseph Haydn Ignace Pleyel Gioacchino Rossini Santos Conde, Héctor Eulogio Música orquestal en las catedrales españolas entre c. 1770 y c. 1840: funciones, géneros y recepción |
| description |
The present doctoral thesis undertakes an investigation focused on the performance, composition and reception of orchestral music in Spanish cathedrals during the last quarter of the eighteenth century and the first half of the nineteenth century, a period that, more precisely, could be placed between c. 1770 and c. 1840. During this epoch, orchestral music was characterized by its ubiquity, since it was performed in diverse contexts, generally of a secular nature: theaters, public concerts, dances, academies or private concerts. However, the preservation of abundant orchestral compositions in numerous Spanish cathedral archives is an eloquent testimony of how this type of music was also commonly used in ecclesiastical contexts. Despite this evidence, little research has studied the presence of these orchestral repertoires in religious spaces. This thesis, characterized by its transversal approach and an essentially comparative narrative, offers a panorama of this reality in the Spanish case. This study is structured in three sections —functions, genres and reception—, the second and the third being subdivided into two chapters each. The first chapter documents, firstly, in which festivities and cathedral’s ceremonies the orchestral music was performed, and, secondly, what function this type of music played in the ceremonies of these institutions. The second section focuses on orchestral works composed by cathedral musicians, which are grouped by genres: orchestral verses (chapter 2) and a selection of twenty symphonies and overtures (chapter 3). In this way, various unpublished orchestral repertoires have been recovered and are evaluated in comparison with other similar corpora. The last section of this study is dedicated to the reception of European orchestral music in Spanish cathedrals, in accordance with the latest historiographical trends. This section is articulated by means of two complementary chapters: the first offers a panorama of the Spanish cathedral sources containing Joseph Haydn’s symphonies (chapter 4), while the second deals with a selection of orchestral repertoires composed by European musicians who were contemporaries of Haydn, among whom Ignace Pleyel stands out (chapter 5). In conclusion, this thesis allows us to complete our vision of one of the spaces where orchestral music could be listened in Spain during the last three decades of the eighteenth century and the first four decades of the nineteenth century. |
| author2 |
Marín López, Miguel Angel (null) |
| author_facet |
Marín López, Miguel Angel (null) Santos Conde, Héctor Eulogio |
| format |
text (thesis) |
| author |
Santos Conde, Héctor Eulogio |
| author_sort |
Santos Conde, Héctor Eulogio |
| title |
Música orquestal en las catedrales españolas entre c. 1770 y c. 1840: funciones, géneros y recepción |
| title_short |
Música orquestal en las catedrales españolas entre c. 1770 y c. 1840: funciones, géneros y recepción |
| title_full |
Música orquestal en las catedrales españolas entre c. 1770 y c. 1840: funciones, géneros y recepción |
| title_fullStr |
Música orquestal en las catedrales españolas entre c. 1770 y c. 1840: funciones, géneros y recepción |
| title_full_unstemmed |
Música orquestal en las catedrales españolas entre c. 1770 y c. 1840: funciones, géneros y recepción |
| title_sort |
música orquestal en las catedrales españolas entre c. 1770 y c. 1840: funciones, géneros y recepción |
| publisher |
Universidad de La Rioja (España) |
| publishDate |
2019 |
| url |
https://dialnet.unirioja.es/servlet/oaites?codigo=232088 |
| work_keys_str_mv |
AT santoscondehectoreulogio musicaorquestalenlascatedralesespanolasentrec1770yc1840funcionesgenerosyrecepcion |
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1718346679725326336 |
| spelling |
oai-TES00000229052019-08-31Música orquestal en las catedrales españolas entre c. 1770 y c. 1840: funciones, géneros y recepciónSantos Conde, Héctor Eulogiomúsica orquestalcatedrales españolasfinales siglo XVIII – comienzos siglo XIXorquestainstrumentistasceremonialmisashoras canónicasprocesionesconciertoversossinfoníarecepciónJoseph HaydnIgnace PleyelGioacchino Rossiniorchestral musicSpanish cathedralslate eighteenth – early nineteenth centuriesorchestrainstrumentalistsceremoniesmassescanonical hoursprocessionsconcertconcertoversessymphonyreceptionJoseph HaydnIgnace PleyelGioacchino RossiniThe present doctoral thesis undertakes an investigation focused on the performance, composition and reception of orchestral music in Spanish cathedrals during the last quarter of the eighteenth century and the first half of the nineteenth century, a period that, more precisely, could be placed between c. 1770 and c. 1840. During this epoch, orchestral music was characterized by its ubiquity, since it was performed in diverse contexts, generally of a secular nature: theaters, public concerts, dances, academies or private concerts. However, the preservation of abundant orchestral compositions in numerous Spanish cathedral archives is an eloquent testimony of how this type of music was also commonly used in ecclesiastical contexts. Despite this evidence, little research has studied the presence of these orchestral repertoires in religious spaces. This thesis, characterized by its transversal approach and an essentially comparative narrative, offers a panorama of this reality in the Spanish case. This study is structured in three sections —functions, genres and reception—, the second and the third being subdivided into two chapters each. The first chapter documents, firstly, in which festivities and cathedral’s ceremonies the orchestral music was performed, and, secondly, what function this type of music played in the ceremonies of these institutions. The second section focuses on orchestral works composed by cathedral musicians, which are grouped by genres: orchestral verses (chapter 2) and a selection of twenty symphonies and overtures (chapter 3). In this way, various unpublished orchestral repertoires have been recovered and are evaluated in comparison with other similar corpora. The last section of this study is dedicated to the reception of European orchestral music in Spanish cathedrals, in accordance with the latest historiographical trends. This section is articulated by means of two complementary chapters: the first offers a panorama of the Spanish cathedral sources containing Joseph Haydn’s symphonies (chapter 4), while the second deals with a selection of orchestral repertoires composed by European musicians who were contemporaries of Haydn, among whom Ignace Pleyel stands out (chapter 5). In conclusion, this thesis allows us to complete our vision of one of the spaces where orchestral music could be listened in Spain during the last three decades of the eighteenth century and the first four decades of the nineteenth century.La presente tesis doctoral acomete una investigación centrada en la interpretación, composición y recepción de música orquestal en las catedrales españolas durante el último cuarto del siglo XVIII y la primera mitad del XIX, una etapa que con algo más de precisión podría situarse entre c. 1770 y c. 1840. Durante este periodo, la música orquestal se caracterizó por su ubicuidad, ya que se interpretaba en contextos muy diversos, generalmente de carácter laico: teatros, conciertos públicos, bailes, academias o conciertos privados. Sin embargo, la conservación de abundantes composiciones orquestales en numerosos archivos catedralicios españoles es un testimonio elocuente de que este tipo de música también era utilizada habitualmente en contextos eclesiásticos. Pese a esta evidencia, han sido todavía pocas las investigaciones que se han ocupado de estudiar la presencia de estos repertorios orquestales en los espacios religiosos. Esta tesis ofrece una panorámica general sobre esta realidad en el caso español, caracterizándose por su enfoque transversal y una narrativa esencialmente comparativa. Este estudio se estructura en tres grandes apartados —funciones, géneros y recepción—, subdividiéndose el segundo y el tercero en dos capítulos cada uno. En el primer capítulo se documenta, por un lado, en qué festividades y momentos ceremoniales catedralicios se interpretaba la música orquestal y, por otro, se determina qué funciones desempeñaba este tipo de música en el ceremonial de estas instituciones. El segundo bloque se centra en las obras orquestales compuestas por músicos catedralicios, las cuales se agrupan por géneros: los versos orquestales (capítulo 2) y una selección de veinte sinfonías y oberturas (capítulo 3). De este modo, se han recuperado diversos repertorios orquestales inéditos, que son evaluados en comparación con otros corpus similares. La última sección de este estudio está dedicada a la recepción de música orquestal europea en las catedrales españolas, en sintonía con las corrientes historiográficas más actuales. Dicho apartado se articula mediante dos capítulos complementarios: en el primero se ofrece una panorámica general acerca de las fuentes catedralicias españolas que contienen sinfonías de Joseph Haydn (capítulo 4), mientras que en el segundo se aborda una selección de repertorios orquestales vinculados con músicos europeos contemporáneos de Haydn, entre los que destaca Ignace Pleyel (capítulo 5). En conclusión, esta tesis permite completar nuestra visión acerca de uno de los espacios donde podía escucharse la música orquestal en España durante las últimas tres décadas del siglo XVIII y las cuatro primeras del XIX. Palabras clave: música orquestal, catedrales españolas, finales siglo XVIII – comienzos siglo XIX, orquesta, instrumentistas, ceremonial, misas, horas canónicas, procesiones, concierto, versos, sinfonía, recepción, Joseph Haydn, Ignace Pleyel, Gioacchino Rossini.Universidad de La Rioja (España)Marín López, Miguel Angel (null)2019text (thesis)application/pdfhttps://dialnet.unirioja.es/servlet/oaites?codigo=232088spaLICENCIA 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. 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