This is the first monograph from a scientific perspective dealing with the String Quartets composed in Spain from the eighteenth century up to the present. It is the outcome of the research and thorough study of specific works, undertaken by twenty-one musicologists, archivers and performers, together with four Spanish composers. It aims both to offer an overview of the current state of research on the primary and secondary sources available, and to trace the history of the genre by examining its genesis, development and reception in the European context. All this fosters an understanding of: (1) the position of the genre in Spain from its emergence until nowadays, (2) its aesthetics and main compositional features in each period, (3) its idiosyncratic peculiarities, and (4) the particular challenges that it has posed along its history. In addition, other goals are: to banish some prejudices about Spanish chamber music, to contribute to the recuperation of a significant part of the Spanish musical heritage, and to provide scholars and performers with the musical sources, aiming at facilitating the knowledge and diffusion of a corpus of noteworthy yet barely known works.
Der Band befasst sich mit der Entwicklung des Streichquartetts in Spanien vom achtzehnten Jahrhundert bis zur Gegenwart. Er enthält 24 Studien zu Komponisten und konkreten Werken aus unterschiedlicher Perspektive und gibt Auskunft über die bis dato lokalisierten Primär- und Sekundärquellen.
List of Contributors
Alfredo Aracil was born in Madrid in 1954, composer, PhD in Art History, Cultural Advisor. He has been Head of the Music Productions Dept. of Radio 2 (RNE, the Spanish public radio), member of the Euroradio Music Experts Group (EBU), General Manager at the Granada International Festival of Music and Dance, and President of the ISCM Spanish Section (International Society for Contemporary Music). He received in 2015 the Spanish National Award for Music. His works have been programmed in relevant series, festivals and radios in Europe and America, and he has written books, articles and made other collaborations on very diverse topics: the art of the twentieth century, the culture of renaissance and baroque, automata, gardens, labyrinths… and, of course, music.
Màrius Bernadó studied Music in the Conservatory of Barcelona, Philosophy and Art History at the Universitat Autònoma de Barcelona as well as Liturgy in the Faculty of Theology of Catalonia. Bernadó teaches History of Music in the Universitat de Lleida from 1995, and rules there the Musicology Lab. His research areas are plain chant from fifteenth and sixteenth centuries through the study of liturgical imprints, as well as the musical print and typography in the Iberian Peninsula. He is the director of the collection “DeMusica” for the German Edition Reichenberger publishing house, as well as advisor for different editorial projects devoted to musical edition. He is member of the Study Group Cantus Planus from the International Musicological Society.
Benet Casablancas Domingo...
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