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In 2020 you have published the book Mozart's Requiem in Pamplona (1844): study and music edition, presenting a very peculiar newly found score of Mozart's Requiem, prepared in Spain in the 19th-century. Now you have organized and are organizing concerts and conferences about your discovery. Can you tell us about this important score and version of Mozart's Requiem, about its discovery, its origin, the amazing story of Spanish Mozartianism behind it and its scientific significance? | |
 Mozart was an admired and well-known composer in 19th-century Spain. However, despite the powerful research that has been done on this composer, his presence in Spain had hardly been studied to date. The best reflection of Mozart's influence on Spanish musical life was the enormous popularity of the Requiem, a work that soon won the admiration of professionals and amateurs alike.  It is well known that, after its publication in 1800, the work began to spread rapidly throughout Europe. But what role did the Requiem play in Spain? Just by looking at the dates of the first performance after 1800 in several cities (not only the important ones, but also the medium-sized ones and even the small ones) one can already guess the importance it had here: Berlin (1800), London (1801), Salzburg (1801), Lisbon (1803), Prague (1803), Paris (1804), Douai (France, 1806), Madrid (c. 1806), Malaga (1808), Caracas (1808?), Orihuela (Spain c. 1813), Olot (Spain c. 1815), Birmingham (1817), Rio de Janeiro (1819), Derby (England, 1822), Oxford (1823), York (1823), Lille (1824), New York (1835) or Philadelphia (1852). My intention with this research was to begin to integrate Spain in the world of Mozartian research... ... And the publication of the hitherto unpublished source preserved in the Cathedral of Pamplona has been the first step (the second is a new book by me to be published in 2022). The edition published by Reichenberger recovers this new manuscript preserved in Pamplona which contains a version slightly adapted to local possibilities. It is interesting to know that the norm throughout the 19th-century (and not only in Spain!) was to interpret the Requiem adapting it to the possibilities and needs of each occasion. What the listeners of the 19th-century heard was quite different from what we hear today, being in theory the same work...  ... Very often some instruments were substituted for others, single movements were played or arranged for another staff. This Pamplona version also has some interesting changes. For example, some features of the timpani are played by the double bass, the trombones (nonexistent in the city at that time) are replaced by horns and the passage of the high voices with intervals of seventh is rewritten by intervals of second (probably because these parts were sung by children and not by women, as was the norm in the Catholic church). Premiere of Mozart's Requiem - Pamplona 1844 version (2019) Edition Reichenberger (Marín-Sagaseta) One of the relevant aspects of this research is that I have been able to reconstruct quite accurately the special occasion for which this interpretation was prepared: in 1844 the royal funeral of the Infanta Luisa Carlota de Borbón-Dos Sicilias was held in Pamplona... ... This infanta was the imminent mother-in-law of the Queen of Spain Isabella II, whose husband (the infante Francisco de Asis) had been the highest military leader in the city of Pamplona. This historic event for the future of the city took place at a critical moment in Spanish history, when there was much instability on the throne and, as a backdrop, the tensions caused by the so-called Carlist Wars that affected the north of Spain were increasing...  ... It is a fact that, from an early date, Mozart's Requiem was the customary music for the funeral honors of kings, aristocrats, military and other distinguished members of society. This was also the case in Spain, as exemplified by this case and demonstrated by the dozens of Requiem sources scattered throughout Spanish archives!    Available from Reichenberger by Miguel Angel Marín: Mozart’s Requiem in Pamplona (1844): study and music edition http://www.reichenberger.de/Pages/ch3.html Instrumental music in late eighteenth-century Spain http://www.reichenberger.de/Pages/dem21.html  __________________________________________________ MIGUEL ANGEL MARIN'S BOOKS, MUSIC EDITIONS & PAPERS __________________________________________________ A-MOZART BOOK: Mozart's Requiem in Pamplona (1844): study and music edition (Kassel, 2020) [with A. Sagaseta] -> Introduction in English and Spanish. Music edition of a newly found source of Mozart's Requiem preserved at the Cathedral of Pamplona, which was copied for the royal obsequies of the Infanta Luisa Carlota de Borbón in 1844. JOURNALISM: Program notes: "El joven Mozart y la ansiedad de componer óperas". Lucio Silla de Mozart. Teatro Real (Madrid, 2017) JOURNALISM: Program notes: "Clemencia para La Clemenza di Tito" Teatro Real. November 2016 B-HAYDN BOOK: Joseph Haydn y el cuarteto de cuerda (Madrid, 2009) BOOK CHAPTERS: “Haydn, Boccherini and the rise of the string quartet in late eighteenth-century Madrid”, in Ch. Heine y J. M. González Martínez (eds.), The String Quartet in Spain (Bern, 2017, pp. 53-120) BOOK CHAPTERS: “Joseph Haydn y el clasicismo vienés en España”, en J. M. Leza (ed.), La música en el siglo XVIII, en Historia de la música en España e Hispanoamérica, vol. 4, (Madrid, FCE, 2014), 484-500 ARTICLES: Haydn en la iglesia: cuartetos de cuerda en instituciones eclesiásticas españolas, Revista de Musicología, 44:1, 2021 -> The realization several decades ago of the primary importance that Joseph Haydn had in Spanish musical life has hardly boosted research in this field. Haydn's reception in Spain is a particularly intense and complex phenomenon that affected multiple genres, spaces, and institutions. This article focuses on the large group of almost fifty manuscripts and prints (many unknown) containing Haydn' s quartets preserved in Spanish churches of varied institutional profiles. The article begins with a brief summary of the state of the art, followed by an overview of the works identified, the formats of the sources, and their geographical distribution. The second and third sections analyze the commercial networks through which these works and the market for music publications in manuscript. The last section raises the critical issue of the role that a genre of a secular and private nature could have in religious institutions with public ceremonies. This research shows, for the first time, that Haydn's quartets found some space in the churches of Spain for their performance, a feature probably unique in the panorama of their European reception. JOURNALISM: “La universalidad de la música de Haydn”, Audio Clásica, nº 145, (2009) 64-71 JOURNALISM: "Haydn, inventor del cuarteto de cuerda", Scherzo, 239 (2009), 120-123 JOURNALISM: Program notes "Haydn y España: las Siete palabras". Orquesta y Coro de la Comunidad de Madrid, Martin Haselböck, conductor (Madrid 2015) JOURNALISM: Program notes “La producción temprana de Haydn y la tradición del Stabat Mater”. Europa Galante, Fabio Biondi, conductor (Cuenca 2009) C-BOCCHERINI (1743-1805) MUSIC EDITIONS: Luigi Boccherini. Clementina (Bolonia, 2013) BOOK CHAPTERS: “Haydn, Boccherini and the rise of the string quartet in late eighteenth-century Madrid”, in Ch. Heine y J. M. González Martínez (eds.), The String Quartet in Spain (Bern, 2017, pp. 53-120) BOOK CHAPTERS: “La zarzuela Clementina di Luigi Boccherini”, en Ramón de la Cruz: Clementina, ed. de N. Lepri (Florencia: Collana Secoli d’Oro Alinea, 2003), 15-36 ARTICLES: 'Par su grâce naïve et pour ainsi dire primitive': images of Boccherini through his early biographies, en C. Speck (ed.), Boccherini Studies, 1 (2007), 279-323 ARTICLES: “Music-selling in Boccherini's Madrid”, Early Music, 33:2 (2005), 165-177 JOURNALISM: Program notes "Cuartetos y retratos. Boccherini y Goya". Fundación Juan March (Madrid 2021) JOURNALISM: “Los espejismos de la biografía", Scherzo 194 (2005), 98-101 Dossier "Luigi Boccherini”, Issue February 2005 JOURNALISM: "Boccherini, il violoncello cosmopolita", Giornale della musica, 215 (mayo 2005), 24-25 JOURNALISM: Program notes "Clementina de Boccherini: zarzuela "casera" en el teatro público". Teatro de la Zarzuela, Andrea Marco, conductor y Mario Gas, stage director (Madrid 2015) JOURNALISM: Program notes “Los espacios interpretativos de la música de Boccherini”. Lyra Baroque Orchestra con Jacques Ogg, conductor (Madrid, 2005) BOOK REVIEW: Review of Marco Mangani: Luigi Boccherini BOOK REVIEW: Review of Luigi Boccherini: Arie da concerto / Concert Arias G 544-559, C. Speck, ed. D-BRUNETTI MUSIC EDITIONS: Gaetano Brunetti. Cuartetos de cuerda L184 – L199 (Madrid, 2012) [with J. Fonseca] JOURNALISM: Program notes: "Gaetano Brunetti, músico de corte", Fundación Juan March, November-December 2013 E-SCARLATTI BOOK CHAPTERS: “Música para tecla: Scarlatti y sus contemporáneos”, en J. M. Leza (ed.), La música en el siglo XVIII, en Historia de la música en España e Hispanoamérica, vol. 4, (Madrid, FCE, 2014), 271-291 JOURNALISM: “The historical legacy of Domenico Scarlatti’s sonatas”, Goldberg. Early Music Magazine, nº 49 (2007), 20-39 JOURNALISM: Program notes "¿Español, flamenco, exótico? Las imágenes de Domenico Scarlatti". Gabriele Carcano, piano (Madrid 2012) JOURNALISM: "Las sonatas de Scarlatti como legado histórico", Goldberg, 49 (2007), 20-29 F-CORELLI BOOK CHAPTERS: “A la sombra de Corelli: componer para el violín”, en J. M. Leza (ed.), La música en el siglo XVIII, en Historia de la música en España e Hispanoamérica, vol. 4, (Madrid, FCE, 2014), 291-307 BOOK CHAPTERS: La recepción de Corelli en Madrid (ca. 1680 - ca. 1810)", en G. Barnett, et al. (eds.), Arcangelo Corelli fra mito e realtà storica. Nuove prospettive d'indagine musicologica e interdisciplinare nel 350º anniversario della nascita (Firenze: Leo S. Olschki, 2007), 573-637 JOURNALISM: Program notes "El culto a Corelli". Imaginarium, Enrico Onofre, violin and conductor (Madrid 2008) G-PEREZ ARTICLES: “La fortuna di David Perez nella Spagna: La circolazione delle arie”, Avidi Lumi, 14 (2002), 24-33 H-BEETHOVEN JOURNALISM: ¿Queremos más Beethoven? I-VIVALDI JOURNALISM: Program notes "La simplicidad sofisticada. A propósito de Vivaldi". Orquesta y Coro de la Comunidad de Madrid, Enrico Onofri, violín y director (Madrid 2017) J-DE LA PUENTE (1692-1754) MUSIC EDITIONS: Juan Manuel de la Puente (1692-1754). Obras en romance (Madrid, 2003) K-GARCIA FAJER (1730-1809) BOOK: [ed.] La ópera en el templo. Estudios sobre el compositor Francisco Javier García Fajer (Logroño, 2010) L-OTHER 18TH-CENTURY COMPOSERS PAPERS: ANONYMOUS COMPOSERS, AGUSTÍN DE ECHEVERRÍA (DIED 1792), JOSÉ LIDÓN (1748–1821), FÉLIX MÁXIMO LÓPEZ (1742–1821), BARTOLOMEO LUSTRINI (FLOURISHED 1760) TESOROS DE ARÁNZAZU, VOLUME 1: ARIAS CON ÓRGANO OBLIGADO Elena López Jáuregui (soprano) / Norberto Broggini (organ) Verso, VRS 2077, 2009; one disc... BOOK REVIEW: Review of Mariagrazia Melucci (ed.): Le cantate di Nicola Fago M-MUSIC ANTHOLOGIES MUSIC EDITIONS: Antología musical de la Catedral de Jaca en el siglo XVIII (Huesca, 2002) N-ZARZUELA MUSIC EDITIONS: Luigi Boccherini. Clementina (Bolonia, 2013) BOOK CHAPTERS: “La zarzuela Clementina di Luigi Boccherini”, en Ramón de la Cruz: Clementina, ed. de N. Lepri (Florencia: Collana Secoli d’Oro Alinea, 2003), 15-36 JOURNALISM: Program notes "Clementina de Boccherini: zarzuela "casera" en el teatro público". Teatro de la Zarzuela, Andrea Marco, conductor y Mario Gas, stage director (Madrid 2015) BOOK CHAPTERS: Programar zarzuela en una sala de cámara: el caso de la Fundación Juan March (Madrid, 2020, pp. 166-173) O-HISTORY OF QUARTET (ESPECIALLY IN 18TH-CENTURY SPAIN) BOOK CHAPTERS: “El surgimiento del cuarteto de cuerda y la consolidación de la sonata”, en J. M. Leza (ed.), La música en el siglo XVIII, en Historia de la música en España e Hispanoamérica, vol. 4, (Madrid, FCE, 2014), 373-399 JOURNALISM: Program notes “El cuarteto de cuerda en el Clasicismo”. Cuarteto Quixot (Cádiz 2010) JOURNALISM: Program notes: "Geschichte des spanischen Streichquartetts. Ein Abriss". Instituto Cervantes de Múnich, November 2015 JOURNALISM: "¿Existió un cuarteto de cuerda español?”, Scherzo, 283 (2013), 86-88 JOURNALISM: Program notes: “Cuartetos neoclásicos españoles”, Fundación Juan March, December 2007 PAPERS: “Modelos compositivos para los primeros cuartetos españoles”, Congreso El cuarteto de cuerda en España desde finales del siglo XVIII hasta la actualidad, Granada, 20-22 March 2014 PAPERS: “El cuarteto de cuerda en España”, Seminario Estudos de Música Instrumental 1755 – 1840, Evora, 24 February 2012 P-MUSIC SEASONS & CONCERTS PROGRAMMING ARTICLES: Challenging the Listener: How to Change Trends in Classical Music Programming ARTICLES: [coautoría con I. Domínguez] “Aprender por objetivos: un modelo de conciertos didácticos en la Fundación Juan March”. Eufonía. Didáctica de la música, 64 (2015), 29-38 ARTICLES: "Tendencias y desafíos de la programación musical", Brocar, 37, (2013), 87-104 JOURNALISM: "¿Quién escucha música clásica? Público, audiencia, oyente”, Scherzo, 312 (2015), 73-77 JOURNALISM: “Musicología aplicada al concierto. Tareas de programador”, Scherzo, 291 (2013), 73-76 PAPERS: “Challenging the listener: the music programmer as curator”, Performance Studies Network International Conference, Cambridge, 17-20 July 2014 PAPERS: “The challenges of the musicologist as programmer”, XIX Congress of the International Musicological Society, Rome, 1-7 July 2012 CONFERENCES: International Conference "Musicology applied to the concert: performance studies at work" (International University of Andalusia, Baeza-Spain, 1-3 December 2016) [Final program] Q-PHD REVISIONS (ON 18TH-CENTURY MUSIC IN SPAIN) PHD REVISION: Ana Lombardía: Violin music in mid-eighteenth-century Madrid. University of La Rioja (Sept. 2015) PHD REVISION: Lluis Bertran: Espaces, sociabilités, répertoires. La musique dans les maisons particulières de Barcelone (1750-1800). U. de Poitiers - U. of La Rioja (December 2017). Co-supervision with Th. Favier PHD REVISION: Josep Martínez Reinoso: La vida concertística en Madrid a finales del siglo XVIII. University of La Rioja (September 2017) PHD REVISION: Héctor Santos: Música orquestal en contextos eclesiásticos en la España del siglo XVIII. University of La Rioja (July 2019) R-HISTORY OF MUSIC (GENERAL & IN PARTICULAR OF 18TH-CENTURY SPAIN) BOOK: [ed.] Instrumental music in late eighteenth-century Spain (Kassel, 2014) [with M. Bernadó] BOOK: [ed.] Música y cultura urbana en la Edad Moderna (Valencia, 2005) [with A. Bombi y J. J. Carreras] BOOK: [ed.] Concierto Barroco. Estudios sobre música, dramaturgia e historia cultural (Logroño, 2004) [with J. J. Carreras] BOOK: Music on the margin. Urban musical life in eighteenth-century Jaca (Spain) (Kassel, 2002) BOOK: Pliegos de villancicos en la British Library de Londres y en la University Library de Cambridge (Kassel, 2001) [with A. Torrente] BOOK CHAPTERS: “La tradición organística eclesiástica”, en J. M. Leza (ed.), La música en el siglo XVIII, en Historia de la música en España e Hispanoamérica, vol. 4, (Madrid, FCE, 2014), 156-171 BOOK CHAPTERS: “Música para tecla: Scarlatti y sus contemporáneos”, en J. M. Leza (ed.), La música en el siglo XVIII, en Historia de la música en España e Hispanoamérica, vol. 4, (Madrid, FCE, 2014), 271-291 BOOK CHAPTERS: “A la sombra de Corelli: componer para el violín”, en J. M. Leza (ed.), La música en el siglo XVIII, en Historia de la música en España e Hispanoamérica, vol. 4, (Madrid, FCE, 2014), 291-307 BOOK CHAPTERS: “Repertorios orquestales: obertura, sinfonía y concierto”, en J. M. Leza (ed.), La música en el siglo XVIII, en Historia de la música en España e Hispanoamérica, vol. 4, (Madrid, FCE, 2014), 353-373 BOOK CHAPTERS: “El mercado de la música”, en J. M. Leza (ed.), La música en el siglo XVIII, en Historia de la música en España e Hispanoamérica, vol. 4, (Madrid, FCE, 2014), 439-461 BOOK CHAPTERS: “Escuchar la música: la academia, el concierto y sus públicos”, en J. M. Leza (ed.), La música en el siglo XVIII, en Historia de la música en España e Hispanoamérica, vol. 4, (Madrid, FCE, 2014), 461-484 BOOK CHAPTERS: “Hacia una bibliografía descriptiva de la música grabada en España durante la segunda mitad del siglo XVIII”, en B. Lolo y J. C. Gosálvez, eds., Imprenta y edición musical en España, (siglos XVIII-XX), (Madrid, UAM, 2012), 201-226 [with M. Bernadó] BOOK CHAPTERS: "Familia, colegas y amigos. Los músicos catedralicios de la ciudad de Jaca durante el siglo XVIII", en A. Bombi, J. J. Carreras y M. Á. Marín. (eds.), Música y cultura urbana en la Edad Moderna (Valencia: Universidad de Valencia, 2005), 115-144 BOOK CHAPTERS: “La difusión de la música desde una perspectiva transcultural”, en J. J. Carreras y M. Á. Marín (eds.), Concierto Barroco. Estudios sobre música, dramaturgia e historia cultural (Logroño: Universidad de La Rioja, 2004), 163-168 BOOK CHAPTERS: “¿Una historia imposible?. Música y devoción en Úbeda durante el Antiguo Régimen”, en A. Moreno Mendoza (ed.), Úbeda en el siglo XVI (Úbeda: Fundación Renacimiento, 2003), 141-166 BOOK CHAPTERS: “Arias de ópera en ciudades provincianas: las arias italianas conservadas en la Catedral de Jaca” en E. Casares y Á. Torrente (eds.), La ópera en España e Hispanoamérica. Una creación propia (Madrid, ICCMU, 2002), vol. 1, 375-94 ARTICLES: "Contar la historia desde la periferia: Música y ciudad desde la musicología urbana", Neuma, 7:2 (2014), 10-30 ARTICLES: “Music-selling in Boccherini's Madrid”, Early Music, 33:2 (2005), 165-177 ARTICLES: “Sound and urban life in a small Spanish town during the Ancient Regime”, Urban History, 29:1 (2002), 48-59 ARTICLES: "A propósito de la reutilización de textos de villancicos: dos colecciones desconocidas de pliegos impresos en la British Library, Londres (ss. XVII-XVIII)”, Revista de Musicología, 23:1 (2000), 103-30 ARTICLES: Music and musicians in provincial towns: The case of eigtheenth-century Jaca (Spain). Resumen de tesis doctoral (Londres, 2000) ARTICLES: “A copiar la pureza’: música procedente de Madrid en la Catedral de Jaca”, Artigrama, 12 (1996-97), 257-76 JOURNALISM: Program notes "La estética del sometimiento". Orquesta de RTVE, Pablo González, director (Madrid 2019) JOURNALISM: "¿Qué es la ópera de cámara?: una mirada desde la historia", Scherzo, 351, (mayo 2019), pp. 81-84 JOURNALISM: Program notes "Leipzig, 1848". Orquesta y Coro de la Comunidad de Madrid, José Ramón Encinar, director (Madrid 2013) JOURNALISM: Program notes "Narrar la historia de la música. Clasicismo y Romanticismo en Centroeuropa, ¿un mismo periodo". Orquesta y Coro de la Comunidad de Madrid (Madrid 2012) JOURNALISM: Program notes “La sinfonía clásica y sus públicos”. Orquesta y Coro Nacionales de España (Madrid 2010) JOURNALISM: Program notes “De Londres a Venecia”. Bozen Baroque Orquestra, con Claudio Astronio, director (Valencia, 2007) JOURNALISM: Program notes "Viena, París y el mundo de la sonata". Christian Zacharias, piano (Granada 2006) JOURNALISM: Program notes “Los mundos del Clasicismo”. Europa Galante, Fabio Biondi, conductor (Valencia, 2005) JOURNALISM: Program notes “Esplendor musical en la Nápoles Virreinal”, Cappella della Pietà de’ Turchini (Cuenca, 2005) JOURNALISM: Program notes “Nómadas del sonido. Migraciones musicales en el siglo XVIII” Fundación Caja Madrid, VIII Ciclo de Música Española “Los siglos de oro”. Camerata Anxanum (Madrid 2003), 2003 JOURNALISM: “Libros. Una apabullante minoría”, en Scherzo, 258 (2010) JOURNALISM: Program notes: “Ad Libitum. La improvisación como procedimiento compositivo”, Fundación Juan March, November 2008 JOURNALISM: Program notes: "Música contemporánea para dos pianos", Fundación Juan March, February 2008 JOURNALISM: School teaching guide "Los secretos del piano". Fundación Juan March, 2007-08 PAPERS: "Contar la música desde los márgenes: España, el Clasicismo y la noción de centro - periferia". Seminario en Investigación de Patrimonio Musical. Talca, Chile, 5-6 September 2014 PAPERS: International Conference “Interpretar la música ibérica del siglo XVIII”, Co-director, Barcelona, 14-16 July 2014 PAPERS: “Other Classicisms, other Centres: Iberian Styles in Late Eighteenth-Century Instrumental Music”, 49th Royal Musical Association Annual Conference, London, 19-21 September 2013 PAPERS: “Da obra à interpretação: desafíos para a recuperação da música iberoamericana do séc. XVIII”, round table in Instrumental music in the Iberian World, 1760-1820”, Lisbon, 14-16 June 2013 BOOK REVIEW: Review of The Oxford Handbook of Music Listening; Thorau & Ziemer (eds) BOOK REVIEW: Review of A música instrumental no final do Antigo Regime: contextos, circulação e repertórios, ed. V. Sá & C. Fernandes BOOK REVIEW: Review of Carlos Martínez Gil: La capilla de música de la Catedral de Toledo. Evolución de un concepto sonoro BOOK REVIEW: Review of Michael Noone: Music and Musicians in the Escorial Liturgy under the Habsburgs, 1563-1700 BOOK REVIEW: Review of M. Boyd y J. J. Carreras (eds): Music in Spain during the eighteenth century CONFERENCE REVIEW: Instrumental Music in Spain, 1750–1800: style, genre, market, Logroño 17–18 September 2009 CONFERENCE REVIEW: 17° Congreso de la Sociedad Internacional de Musicología: Lovaina (Bélgica) del 1 al 7 de agosto de 2002 CONFERENCE REVIEW: International Conference "Poder, Mecenazgo e Instituciones en la Música Mediterránea, 1400-1700" Ávila, 18-20 April 1997 |
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You have dedicated a good part of your academic work also to Haydn. Thanks to their early perceived importance, Haydn's music compositions had already had a wide and appreciated rapid circulation in Spain in the 18th-century. You have also published books (Joseph Haydn y el cuarteto de cuerda, 2009) and papers on this fundamental subject: already in 1770s/1780s Haydn was considered an important music reference and model in Spain and in all the Spanish American Territories, as you yourself pointed out in your works! Can you delineate the evolution of Joseph Haydn's music fortune and dissemination across the Spain and the Spanish American Territories of the 18th-century? | |
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The dissemination of Joseph Haydn's work reached, already during the composer's
lifetime, a dimension unknown to any other composer of his time! This applies above all to instrumental music. This particular condition is explained not only by the fact that he was a great composer. Also because there were a series of revolutionary changes in the systems of production and consumption of music that took place at the end of the 18th-century that Haydn knew how to take advantage of with great intelligence. But two other elements specific to this composer were also decisive. Haydn knew how to compose works conceived with genius to seduce both professionals and amateurs, thus broadening the horizon of his market. Moreover, the revision of his contract with his patron Nicolaus Esterházy in 1779 opened up the possibility of negotiating the sale of his music to publishers. From then on, Haydn freed himself from the shackles of the Ancien Régime patronage system to take full advantage of the potential of the publishing trade.  There had long been a notion that Haydn had a close relationship with some patrons and institutions in Spain. But research is relatively scarce and offers only a fragmentary view of the dissemination of his music in this country. Along with pioneering works by Robert Stevenson and Stephen Fisher, in the last twenty years some studies have been published, most of them focused on what we could consider Haydn's milestones in his relationship with Spain: his connections with the court, his links with the aristocratic families of Madrid (in particular the Countess-Duchess of Benavente and the XIII Duke of Alba) and the Cadiz commission of The Seven Last Words of Christ on the Cross...  ... the evidence is already more than enough to confirm that the Spanish reception of Haydn is a particularly complex phenomenon that affects in parallel genres, spaces and institutions,...  ... so we need to promote more systematic studies that explain, at least, the following four major questions: (a) the function and scope of the preserved or documented sources and what variants and adaptations they show; (b) the reconstruction of the channels, commercial or private, and their connection with European outlets through which Haydn's works spread through Spain; (c) the decisive influence of his work exerted on local authors; and (d) the impact on the configuration of the aesthetic and intellectual ideology of listeners and aficionados. The clarification of these four questions would shed light to understand in all its dimension the colossal presence of Haydn in Spain, already detected at a relatively early date as the beginning of the 1770s. My research, begun in 2009 with the book on Haydn's quartets, has focused on some of these four major questions, focusing on the string quartet, undoubtedly one of the genres in which Haydn left the deepest mark.  Through different publications, I have tried to specify in what specific way his quartets arrived in Spain and what impact they had on the composers based here who tackled this genre, such as Gaetano Brunetti, João Pedro Almeida (1744-1817) and Manuel Canales (1747-1786)...   ... In this process, the other giant of the quartet was Luigi Boccherini, acclaimed by amateurs and professionals alike in the late 18th-century and then equated with the figure of Haydn. The fact that Boccherini wrote his imposing corpus of quartets from Spain invites a rethinking of some of the conventions of the narrative of quartet history... ... And this is what I have tried to do with my publications! |
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For Reichenberger you have edited Instrumental music in late eighteenth-century Spain (2014), then, among other studies, you have prepared the score edition of the 1786 zarzuela Clementina G540 by Boccherini and of the string quartets L184-L199 by G. Brunetti and you have written various works on the Spanish music collections of the 18th-century, on the favourite composers, the favourite music genres and other aspects of the music world in the Spain of the 18th-century. It would be really interesting for our readers to be introduced to such marvellous (and still a bit mysterious) Spanish music universe of the 18th-century through a reconstruction made by an exceptional specialist, like you: what the major beloved composers, what the major music genres, what the orchestras, what the chamber music and what the operas and the zarzuelas? | |
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The history of music in Spain, like that of other countries, has always felt a certain
pressure from the Viennese canon. Music history textbooks have established the idea that Viennese Classicism (especially the instrumental genres) must be equated with all compositional activity in the late 18th century, forgetting that it is not a historical period of universal application, but a compositional style that originated around Vienna and that, for aesthetic and historiographical reasons, ended up being retrospectively and somewhat generalizingly considered as the style of the late 18th-century.  Joao Pedro de Almeida Mota, Cuarteto de cuerda op. 6, nº2, en Re Menor. Finale. Cuarteto Quiroga This vision has eclipsed other compositional practices and other authors of great value, who have always been evaluated by their stylistic closeness or remoteness to that Viennese model of idealized perfection, instead of being analyzed in their own terms. A. The Symphony From this approach, my proposal to discover the wonderful musical world of the late 18th-century in Spain emphasizes composers who are probably unknown to most music lovers of this period. In the field of orchestral music, in particular (and beside Boccherini and Brunetti), I'd like to underline the importance of the production by Carlos Baguer (1768-1808) and Ramón Garay (1761-1823), who made a substantial contribution to the genre with a remarkable corpus of symphonies. Many of their symphonies have been recorded in recent times. As might be expected, the imprint of Haydn is palpable, combined with elements of local color.   B. The Chamber Music In the field of chamber music, I am very interested in the specific development of the string quartet, which resulted in some works of enormous interest. Beside Boccherini, Brunetti, Almeida and Canales, we've talked about previously, the Cuarteto Quiroga has just released a CD entitled The music in Madrid in the time of Goya with four quartets composed in Madrid at the end of the 18th-century of exceptional value: https://cobrarecords.com/catalogue/albums/cobra0067-heritage/. Teaser, Brunetti String Quartet L.185 Cuarteto Quiroga Brunetti L.185 / CD Heritage world premiere recording Cuarteto Quiroga  C. The Theatrical Music Finally, in the realm of theatrical music, there are still many titles to be discovered. The culture of musical theater was very present in Spain throughout the Modern Age (as shown by such an important playwright as Calderón de la Barca, whose plays almost always included music). At the end of the 18th-century there was a particular emergence of popular genres, like the zarzuela, but they have not yet come to occupy a prominent place in current programming. Among the titles we know, Luigi Boccherini's zarzuela Clementina is one of the most outstanding for its unique combination of blending an Italian compositional tradition with a Spanish theatrical dramaturgy. We have some particularly well-performed recordings of this work, such as the one conducted by the Spanish conductor Pablo Heras-Casado (label Música Antigua de Aranjuez, 2010), which allows us to appreciate the delicacy of Boccherini's style. And we are not talking about José de Nebra, Martín y Soler and García...  D. Sacred Music We've talked about the importance of Spanish Sacred Music previously with Mozart, Haydn, but we must remember also other in Spain working composers, such as Boccherini, José de Nebra, Almeida Mota, again Baguer and Garay, Fajer (1730-1809) and many others, as I've also demonstrated through my works and studies on the Spanish ecclesiastical archives.  As research continues to progress, many of these as yet unknown treasures will be published, allowing us to revise some of the misconceptions that still persist about the poverty of music in Spain during the Enlightenment. |
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El Quarteto Quiroga interpreta una pieza de Boccherini El Prado pone música al 2 de mayo bajo la mirada de Goya |
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Among your many important collaborations, we remember, in particular, your articles on Mozart and his operas for the Teatro Real de Madrid and your intense activity with the Madrid Juan March Foundation, as Director of Music Program. Can you tell us about such collaborations with the Teatro Real and the Fundación Juan March: what your achievements, what the organization of studies/essays and the programming of music concerts, what your main principles in developing your activities and what your future projects? The detailed history of the 18th-century-Spain music is also at the very centre of your work as Professor at La Rioja University: what projects have you supervised so far, what your relationship with the people working on such academic projects? When and how did your passion for the 18th-century music start? | |
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My professional profile is somewhat particular, as my career moves between two areas:
as an academic and as a music programmer.
My training is anchored in the field of musicology, after my studies at the Universities of Salamanca, Zaragoza (Spain) and Cardiff (Wales) to culminate my training with a doctoral thesis at Royal Holloway University of London. From the beginning I chose to focus on the 18th century as a field of research. My entry as professor of musicology at the University of La Rioja in 2000 has allowed me to develop this line through teaching and research. Thanks to several R&D projects granted by the Spanish Ministry we have managed to create a good working team, while several students have completed their doctoral theses under my supervision. Two decades of intense work have yielded many results. See section PHD Revisions.  But it has been my passion for outreach and music programming the part of my career that has allowed me to take my research outside the academic world. From almost the beginning of my career I was convinced of the importance for musicology of being able to transfer the results of our studies to society. During these two decades I have had the good fortune to collaborate with some 15 Spanish musical institutions (like the Madrid Teatro Real), writing concert program notes or, in some cases, advising on their programming. These texts are more difficult to write than one might sometimes think...   ... But for me they are very relevant because they allow us to directly influence how listeners perceive this music! It is particularly important when it comes to unfamiliar music, which music lovers are confronted with for the first time. My appointment as Director of the Music Program of the Fundación Juan March in 2009 was a decisive turning point in my career, because now I had the possibility to design concert programs. The Fundación Juan March is a very particular institution, among other things because it follows a purely philanthropic philosophy detached from market dynamics. This privileged position allows us to program good works of music that, for whatever reason, are unknown or infrequent in the concert hall. During the last twelve seasons I have been able to develop along with my team many different projects that experiment with innovative ways of programming and listening, renewing the concert format (which is, by the way, a legacy of the late 18th-century that has changed relatively little since then). Those interested in learning about some of these innovative projects can visit our website: https://www2.march.es/musica/temporada-musica/. Juan March Foundation: Season 2021/2022 with major projects on Mozart (Mozart a través de sus cartas: November 2021-May 2022) and Rossini, Brunetti, etc. Season 2021/2022 Program Season 2021/2022 Chronogram You can also discover and follow our Videos and Events of Canal March TV at Youtube (with Spanish subtitles available): March TV Channel Videos & Events (YouTube) The main conclusion I have drawn from all these years of combining academic research with musical dissemination is that a musicological education is the best tool for effective and well-informed dissemination actions! |
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Juan March Foundation TV Channel (YouTube version): 1. Beethoven, 12 Variations on Ein Mädchen oder Weibchen from Mozart's The Magic Flute (1796); 2. Beethoven, 7 Variations on Bei Männern welche Liebe fühlen from Mozart's The Magic Flute (1801). |
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Your favourite work by Mozart and your favourite work by J. Haydn. | |
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My favorite Mozart work is the first movement of the Sonata in F major KV 332, for
the simple reason that I studied it with great devotion in my conservatory days.
Among Haydn's works, I would choose the Adagio Fantasia from the Quartet op. 76 no. 6, where the disintegration of tonality is already encapsulated more than a century before it happened. |
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Do you have in mind the name of some neglected composer of the 18th century you'd like to see re-evaluated? | |
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That composer would definitely be Gaetano Brunetti (1744-1798; imslp), a musician in the service of
King Charles IV, who forbade his music to leave the Royal Palace.
I do not mention Luigi Boccherini because I would like to think that he is not a forgotten composer, although his music still has relatively little presence in the concert hall. |
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It's difficult not to think, that behind the Symphony Il Maniatico there
may be some sort of joke on Boccherini. According to Belgray's archival research,
Brunetti and Boccherini were rather on friendly terms, not rivals. _______________ Name a neglected piece of music of the 18th century you'd like to see performed in concert with more frequency. |
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The composer Manuel Blasco de Nebra (1750-1784; imslp), nephew of José de Nebra (1702-1768; imslp),
died, unfortunately, quite young.
But he left an impressive legacy of keyboard sonatas. There are several recordings
available on the market
(some even critically acclaimed: Gramophone/The Guardian/The Independent), but very little is performed in public.
The same goes for Sebastián de Albero (1722-1756; imslp), who predates Classicism, but has some incredible sonatas. |
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Certainly the music by these composers (and by Brunetti and Boccherini) already
featured elements of the International Genius Movement (then relabelled
Sturm und Drang and then again Romanticism). _______________ Beside your books, have you read a particular book on Mozart Era you consider important for the comprehension of the music of this period? |
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The book that impressed me the most and helped me the most to understand the music
of this period is Haydn's Farewell Symphony and the Idea of Classical Style
Through-Composition and Cyclic Integration in his Instrumental Music by
James Webster (Cambridge, 1991).
Despite its title, it speaks very broadly about Haydn's instrumental music. Although it is now three decades old, I have not seen a clearer and smarter way of explaining Haydn's compositional procedures. |
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Name a movie or a documentary that can improve the comprehension of the music of this period. | |
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I think Miloš Forman's famous film Amadeus still has value, even if it
perpetuates some of the Mozartian myths.
On the documentary side, the BBC's The genius of Beethoven series is really worthwhile for its historical rigor. |
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Do you think there's a special place to be visited that proved crucial to the evolution of the 18th century music? | |
For more conventional music lovers, Vienna is of course the place to visit,
because it is replete with references to the lives of Haydn, Mozart, Beethoven and
Schubert. One can walk around Vienna through their biographies.
 But for the most curious music lovers I would recommend the Royal Palace in Madrid or some of the palaces of the Royal Sites, such as Aranjuez or El Escorial. The most music-loving king that Spain has ever had, Charles IV (1748-1819: Reign 1788-1808), really flooded all these places with music!  | ||
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| Thank you very much for having taken the time to answer our questions! | ||
| Thank you! | ||
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