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.
Luigi Boccherini Composing his Opus ultimum under the Patronage of Spain: Inventiveness, Animation and Sensibility in the Sonata Form Movement of his Fragmentary String Quartet No. 91 in D major Op. 64 No. 2, G249 (1804) (Walter Kurt Kreyszig)
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WALTER KURT KREYSZIG
Luigi Boccherini Composing his Opus ultimum under the Patronage of Spain: Inventiveness, Animation and Sensibility in the Sonata Form Movement of his Fragmentary String Quartet No. 91 in D major Op. 64 No. 2, G249 (1804)
Boccherini’s Sojourn in Spain, 1801–1805: His Participation in the Transfer of Viennese Classicism to Spain
Nearly three decades ago, the German musicologist Michael Stegemann argued that the oblivion of Luigi Boccherini (1743–1805), one of the principal contributors to the eighteenth- and early nineteenth-century string quartet,1 was directly connected to his compositional activities in Spain,2 to which he alluded in the title of his paper as “a genius [working] at the fringes of musical classicism”.3 On the other hand, ← 387 | 388 → Matthias Corvin refered to the music historical discourse in general focussed on the “trias” (i. e. Haydn, Mozart and Beethoven) of Viennese classicism as the actual reason4 – a view that has been corrected in the more recent secondary literature.5 On the whole, Boccherini’s activities in Spain culminated in the composition of a number of string quartet cycles and individual works to this genre. At the close of his essay, Stegemann reflected on the musical contributions of Boccherini, steeped in the classical tradition,6 whose legacy he associates with the invention of the string quartet, though that invention is generally attributed to Franz Joseph Haydn (1732–1809) as the father of the string quartet7 – a fact already...
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