Edited By Christiane Heine and Juan Miguel González Martínez
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.
Conrado del Campo’s String Quartet No. 12 in B flat major (1948): An Approach to his Compositional Technique (Torcuato Tejada Tauste)
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TORCUATO TEJADA TAUSTE
Conrado del Campo’s String Quartet No. 12 in B flat major (1948): An Approach to his Compositional Technique
Conrado del Campo Zabaleta (Madrid, 1878–1953) was one of the most outstanding composers and educators of Spain in the early twentieth century. Among his innumerable disciples, there are distinguished names such as Salvador Bacarisse, Ángel Barrios, Fernando Remacha, José Moreno Gans, Ataúlfo Argenta, Enrique Franco, Cristóbal Halffter, Antonio Iglesias and many others. During his education at the Conservatory of Madrid, both Emilio Serrano (1850–1939) in composition and Jesús de Monasterio (1836–1901) in chamber music had a special influence on him: the former instilled in Del Campo his concern regarding national opera and musical dissemination; the latter, his devotion to chamber music and romantic aesthetics.1 The string quartet is of great importance to Conrado del Campo, both as a composer – with fourteen works in the genre acclaimed by his peers2 – and as a violist, being the founder, in 1903, of the Cuarteto Francés, later renamed as Quinteto de ← 679 | 680 → Madrid with the incorporation of pianist and composer Joaquín Turina (1882–1949), in 1919. Throughout his life, similarly to the majority of his coetaneous, he found himself forced to distribute his energy among different professional activities (teaching, performing and management), saving just little time to his creative activity.3
The main score manuscript of the String Quartet no. 12 in B flat is...
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