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Music in Spain During the Eighteenth Century
Traditional musicology has tended to see the Spanish eighteenth century as a period of decline, but this 1998 volume shows it to be rich in interest and achievement. Covering stage genres, orchestral and instrumental music and vocal music (both sacred and secular), it brings together the results of research on such topics as opera, musical instruments, the secular cantata and the villancico and challenges received ideas about how Italian and Austrian music of the period influenced (or was opposed by) Spanish composers and theorists. Two final chapters outline the presence of Spanish musical sources in the New World.
Transatlantic Malagueñas and Zapateados in Music, Song and Dance
Transatlantic Malagueñas and Zapateados is an exploration of two fandango dances, recording the circulations of people, imagery, music, and dance across what were once the Spanish and Portuguese Empires. Although these dance-musics seem to be mirror images, the unbreachable space between them reflects the political fault-lines along which nineteenth-century musical populism and folkloric nationalism extend into present-day debates about globalization, immigration, neoliberalism, and neofascism. If malagueñas are a fantastic incarnation of Spanishness, caught like a fly in amber by their anachronistic references to a fraught imperial past, noisy and raucous zapateado dances cut toward the future. Inherently marked by European conventions of zapatos (shoes), zapateados are nonetheless shaped by Africanist and Native American footwork traditions. In these Afro-Indigenous mestizajes, not only are European aesthetic values reordered and resignified, but the Catholic catechism which indoctrinated the New World yields to alternate spiritual systems springing out of a culture of resistance to European domination.
Daring Adaptations, Creative Failures and Experimental Performances in Iberian Theatre
In this volume, we are particularly interested in approaching theatre and performance as a dynamic and evolving practice of continuous change, regeneration and cultural mobility. Neither the dramatic texts nor their stage versions should be viewed as finished products but as creative processes in the making. Their richness lies in their unfinished and never-ending potential energy and their openness to constant revision, rehearsal, revival, and collective enterprise. This edited collection aims to create a dialogue on the artistic processes implicated in the various ways of working with the play text, the staging practices, the way audiences and critical reception can impact a production, and the many lives of Iberian theatre beyond the page or the stage. That is, its cultural and social legacies.
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The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical Style
W. Dean Sutcliffe investigates one of the greatest yet least understood repertories of Western keyboard music: the 555 keyboard sonatas of Domenico Scarlatti. Scarlatti occupies a position of solitary splendour in musical history. The sources of his style are often obscure and his immediate influence is difficult to discern. Further, the lack of hard documentary evidence has hindered musicological activity. Dr Sutcliffe offers not just a thorough reconsideration of the historical factors that have contributed to Scarlatti's position, but also sustained engagement with the music, offering both individual readings and broader commentary of an unprecedented kind. A principal task of this book is to remove the composer from his critical ghetto (however honourable) and redefine his image. In so doing it will reflect on the historiographical difficulties involved in understanding eighteenth-century musical style.
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La música en Cataluña en el siglo XVIII
Monumentos de la Música Española, volumen 53. El libro se inicia con un estudio que aborda la biografía de Francisco (Francesc) Valls (Barcelona, ca. 1671-Barcelona, 1747), el marco histórico y cultural del compositor en el contexto de la Guerra de Sucesión a la corona española, las capillas de música del archiduque Carlos de Austria y de la catedral de Barcelona, los impresos musicales de los fondos Bonsoms y Aguiló de la Biblioteca de Catalunya, el catálogo de obras de Francisco Valls, el análisis de sus misas y la metodología empleada en la transcripción. Sigue la parte musical, que incluye la edición de tres misas de Francisco Valls: Missa primi toni, a 8 voces y acompañamiento Missa quarti toni, a 6 voces y acompañamiento y Missa Tu es Petrus, a 8 voces, con clarines, violines y acompañamiento. La edición se basa principalmente en fuentes manuscritas conservadas en la Biblioteca de Catalunya en Barcelona, pero se indican también variantes en otras fuentes de las obras localizadas en Albarracín (Teruel), Tortosa (Tarragona) y Cracovia (Polonia).
Francesc Valls
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