Music in the Eighteenth Century; La música en el siglo XVIII

2000

Plainsong and Medieval Music , 2015

José López-Calo, La música en las catedrales españoles, Música Hispana, Textos: Estudios 17. Madrid: ICCMU, 2012. xii + 214 pp. €45. ISBN 978 84 89457 48 5.

Los jaleos en el siglo XIX. Un amplio abanico de danzas y música en torno a los panaderos (pp-109-123), 2022

Para comprender la enorme variedad de formas musicales que bajo el término jaleo subsistieron en el siglo XIX es importante el estudio y comparación de las documentos musicales –sonoros, partituras y transmisión oral– de los ejemplos de jaleos boleros y flamencos que se han transmitido. Aunque muchos de estos jaleos aparentemente hayan desaparecido del repertorio, sus formas se han transmitido bajo el nombre de otros estilos, siendo base de nuevas modalidades. Es el caso del estilo conocido como Panaderos o Jaleo de los panaderos, hoy vivo en varias coreografías de baile bolero y en las llamadas alegrías flamencas. Este trabajo forma parte del libro "Tras los pasos de la Sílfide Imaginarios españoles del ballet romántico a la danza moderna" Los trabajos que recoge esta publicación ponen de relieve la importancia de la danza en el Romanticismo como uno de los hilos conductores del arte y la identidad cultural del siglo xix, así como su papel en la cultura posterior y, por supuesto, en la danza moderna. Un recorrido a través de los diferentes géneros, influencias y espacios que ocupó la danza española en esta centuria desde una perspectiva interdisciplinar, donde se ha reunido la visión de autores de instituciones de distintos países a ambos lados del Atlántico, desde universidades, centros de investigación, museos y conservatorios, hasta el Ballet Nacional de España y artistas e investigadores independientes. Este hecho ha posibilitado también una mirada a la imagen de la danza a través de las artes plásticas, la fotografía, el cine o la literatura, así como la revisión de algunas figuras claves de la escena como Fanny Elssler o Antonia Mercé, que en este caso marcan los límites cronológicos del estudio.

Revista Portuguesa de Musicologia, 2014

University Press, 1998 (hardback, 269 pp.). "Eighteenth century Spanish music has been practically unknown to the world, buried in public archives and private libraries in Spanish cities, in chapel collections of churches and monasteries, piled on dusty shelves in theaters, unpublished and forgotten." Thus begins the introduction of Mary Neal Hamilton's Music in Eighteenth Century Spain, published in 1937 by the University of Illinois at Urbana. Her book sought to remedy this by bringing to the English-speaking public for the first time a full-length work on the topic. What she produced was nearly 300 pages, which, though bringing together what was then known, drew entirely from secondary sources (often of dubious reliability), took for granted that what was 'nationalist' was good and anything Italian destructive, and lacked genuine insight or inspiration. To add to this it was wordy, often anecdotal and repetitive-in short, rather dull reading. Although, since then, there have been detailed studies of certain aspects of music in 18th-century Spain and overviews of chapter length, for example by Louise Stein (in Julie Anne Sadie (ed.

Bulletin of Hispanic Studies, 2022

Journal of Jesuit Studies, 2017

In its Preface, this book claims to offer "an interdisciplinary approach" balancing "detailed analysis of specific pieces of music and broader historical overview and relevance," as well as a companion website connecting "all music analyzed in the textbooks with recordings and scores," including "links to fiftythree tracks from Spotify and iTunes" (xviii). Attempting to set a wider historiographical and cultural context for important baroque musical works studied by music undergraduates, the intentions are laudable. The inclusion of select historical documents (and a chronological ordering of material) also supports the author's desire to "bring the world of Baroque music-making a bit closer to college and university students" (xvii). Unfortunately, militating against these aims are enough errors in the narrative to suggest that the book was not proofread to a sufficient academic standard. Dealing firstly with positive attributes, the chapter on the Americas (claiming to illustrate an innovative "global perspective"), with its broad discussion of colonial music in the Spanish Americas, New France and New England, is useful. The material on the latter two territories may well be a first, but chapters on baroque music in the Spanish Americas have appeared in earlier texts designed for undergraduates. Gerard Behague's Music in Latin America: An Introduction (New Jersey: Prentice-Hall History of Music Series, 1979), is a comprehensive volume which not only mentions Manuel de Zumaya (c.1678-1755) (who receives some attention in Lewis's text), but also many other important musicians, such as Juan de Araujo (1646-1712), Domenico Zipoli (1688-1726), and Antonio Sepp (1655-1733), the latter two having been Jesuits working in Paraguay, whose music has recently received scholarly attention. I was therefore surprised to see Zipoli omitted when, albeit briefly, Jesuit activity in Canada was included. The Jesuits were at the epicenter of Counter-Reformation music throughout world for two centuries, yet the index contains just one reference, in regard to the Relations (344). However, the Jesuits feature on pages 52, 59, 139 and 343, but are not indexed. I was not overly bothered by the misspelling, on the first page, of Giovanni Gabrieli's (c.1557-1612) surname as Gabrielli in the "Timeline of Important Works, Composers and World Events," but what initially appeared as an unfortunate typographical slip was a sign of things to come. The timeline could have been helpful, but without its many misspellings, factual errors, and unclear expression. Why does the Thirty Years' War appear in italics, when it is produced in standard text elsewhere? Why is Heinrich Schütz's Daphne (1627) described as the "first Germany opera" when Germany, in a national sense, did not exist at

Eighteenth Century Music, 2018

c o m m u n i c at i o n s Montréal) sketched an outline of Artaria's early reissues of Clementi's music originally published between 1787 and 1799, at which point the two had not yet established a business collaboration. By examining connections with the Parisian and the German publishers, I showed that the low quality of Artaria's Clementi's editions raises serious doubts about the pre-production process, leading to questions about the consistency of the secondary dissemination of Clementi's output. Sarah Noemi Schulmeister (Universität für Musik und darstellende Kunst Wien) drew attention to the circulation of Viennese music in Paris during the period c1755-1780. Exploring more than two hundred Parisian prints of Viennese music, she pointed to the publishing activity of Anton Huberty as providing a link between musical markets of Paris and Vienna. Rainer Kleinertz (Universität des Saarlandes, Saarbrücken) discussed the influence of Haydn's Op. 33 on the publication order of Mozart's 'Haydn' quartets, Op. 10, and Nancy November (University of Auckland) offered insights into understanding the practice of arrangement, especially arrangements of Beethoven's symphonies for chamber forces made by his contemporaries. Music publishing in Britain and in the United States were represented by one paper apiece. The second keynote address, by David Rowland (Open University), provided a wide-ranging and systematic investigation of the late Georgian publishing network in England. Rowland stressed the interdependency of composers and publishers in promoting publications within the rapidly developing European music trade. He first sketched a general outline of the European domestic musical market and its consumers, then moved on to copyright law and contracts between composers and publishers, including relevant cases involving Beethoven, Clementi & Co., Birchall, Dussek, Haydn and Augustus Hyde. Rowland also offered new insights into the economics of publishing and drew attention to the role played by bankers, merchants, diplomats and musicians as intermediaries in the circulation of musical works (for example, Clementi and the London firm of Herries, Farquhar & Co. or Beethoven and the Viennese bankers Fries & Co.). Finally, Myron Gray (Haverford College) considered the reception and reprinting of European music in early nineteenth-century America. He focused on the concepts of musical authorship, adaptation and dissemination in a chaotic American publishing system, and explored how numerous reworkings of Mozart's Magic Flute by publishers in Philadelphia and New York departed significantly from the original work. Considering the distortions resulting from these transformations, the American audience's perception of the work was radically different than that of its European counterparts. Although studies centring on France were notably absent, the conference offered a stimulating overview of current research on music publishing over the course of a century. A volume of selected essays edited by Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini) will be published by Ut Orpheus Edizioni as the fifth volume of the series Quaderni Clementiani (www.muzioclementi.com/quaderni.php).