This paper forms the first phase of a prospective study seeking to analyze the survival of musica... more This paper forms the first phase of a prospective study seeking to analyze the survival of musical rhetoric in compositions written in the last half of the 18th century. It is well known that this resource reached its peak in the Baroque era, but it is also true that many composers in the last half of the 18th century, whose music was marked by a clearly Classicist aesthetic which differed completely from the music written in the 17th century, used the language of musical rhetoric in their works, although perhaps in a rather particular way. To delve further into this subject, this study focuses on a Mass by Francesc Queralt, written in 1778 for the Cathedral of Barcelona. The parts of this Mass that offer the greatest possibilities for the development of rhetorical figures are the Gloria and the Credo, and the latter will form the basis of this article.Keywords: rhetoric, Francesc Valls, Francesc Queralt, Credo, Mass, liturgical music, Mapa armónico práctico, affection...
Cal considerar el present article com el primer pas d'un futur estudi que pretendrà analitzar la ... more Cal considerar el present article com el primer pas d'un futur estudi que pretendrà analitzar la pervivència de la retòrica musical a les composicions de la segona meitat del se gle xviii. És ben conegut que aquest recurs va tenir la seva època d'esplendor durant el Barroc, però és igualment cert que molts compositors de la segona meitat del segle xviii, la música dels quals presenta una estètica clarament classicista i ben diferenciada de la barro ca, utilitzen a les seves obres, tot i que potser d'una manera particular, el llenguatge de la retòrica musical. Per aprofundir en aquesta qüestió, l'estudi que segueix a continuació se centrarà en una missa de Francesc Queralt procedent de la catedral de Barcelona i compos ta el 1778. Pel seu contingut, les parts que ofereixen més possibilitats de desplegament de figures retòriques són el glòria i el credo. El present estudi es basarà en aquesta darrera part.
Xavier Daufi situa el oratorio como genero receptor del clasicismo en Cataluna. En su articulo, n... more Xavier Daufi situa el oratorio como genero receptor del clasicismo en Cataluna. En su articulo, nos presenta una extensa historia de este genero en Cataluna, que en la segunda mitad del siglo XVIII ofrece ya las caracteristicas del estilo clasico que se desarrollo en gran parte de Europa. El autor analiza las evidencias mas notables del lenguaje musical, especialmente a traves de la instrumentacion, las estructuras formales y el parametro armonico, destacando la obra del maestro de capilla de la catedral de Barcelona, Francesc Queralt (1740-1825), cuyos oratorios fueron compuestos entre los anos 1777 y 1823 . A la espera de nuevas investigaciones, concluye que los autores catalanes de la epoca ponen de manifiesto la recepcion coetanea del estilo clasico creado en la Europa de la epoca.
El concert, un dibuix a ploma atribuit a Manuel Tramulles (1715-1791), representa una escena en q... more El concert, un dibuix a ploma atribuit a Manuel Tramulles (1715-1791), representa una escena en que deu personatges, en un ambient distes, interpreten i escolten musica. Aquesta petita obra ens permetra analitzar diferents aspectes que possibilitaran una aproximacio i contextualitzacio del fet musical a la Barcelona del segle xviii. Es consideraran diferents questions: actitud i disposicio dels musics (tots ells, alguns tocant i d'altres no, al voltant del clave), tipus i nombre d'instruments (trio de corda, flauta, trompa i clave, a mes de dues cantants) i tecnica interpretativa. Resultara igualment interessant, per tal de descobrir si existien a Europa costums semblants pel que fa a la practica musical en societat, la comparacio d'aquesta amb altres representacions europees de tematica similar. El dibuix atribuit a Tramulles servira, aixi mateix, per complementar la ingent informacio documental aportada pel baro de Malda al seu Calaix de sastre sobre la vida i els cost...
La tardor de l’any 1710, Handel es nomenat Kapellmeister a la cort de l’elector Georg Ludwig de H... more La tardor de l’any 1710, Handel es nomenat Kapellmeister a la cort de l’elector Georg Ludwig de Hannover. Uns quants mesos mes tard, arriba a Londres, on presenta la seva opera Rinaldo . El public angles, que, en aquell moment, mostra un gran interes per l’opera italiana, acull el compositor molt favorablement. Durant els anys que van de 1719 a finals de la decada de 1720, Handel, des de la Royal Academy of Music, institucio fundada per ell mateix, assoleix nombrosos exits en el camp operistic. No obstant aixo, les exorbitants despeses de l’academia i el canvi dels gustos del public provoquen el col·lapse de la institucio i la necessitat de refundar-ne una de nova. La creacio, l’any 1733, d’una companyia rival, l’Opera of the Nobility, suposa el toc de gracia per a ell i Handel es veu obligat a abandonar definitivament la seva dedicacio a l’opera. A partir d’aquest moment, el compositor es bolca en el genere oratori, que ja l’havia practicat anteriorment a Italia i tambe des de la s...
Aquesta tesi presenta dues parts clarament diferenciades, pero al mateix temps complementaries: a... more Aquesta tesi presenta dues parts clarament diferenciades, pero al mateix temps complementaries: a la primera s'aporten els fonaments de la historia de l'oratori a Catalunya al segle XVIII, i a la segona es procedeix a l'estudi de la vida i dels oratoris de Francesc Queralt (es presenten nou partitures completes i inedites de nou oratoris de Queralt). Tot plegat es completa amb dos catalegs, un de llibrets (amb 384 exemplars) i un altre de partitures (amb 77 exemplars), tots ells, i aixo es important, de compositors catalans. Pel que fa a l'establiment dels fonaments historics del genere s'han emprat, principalment, dues fonts: els propis llibrets per una banda, i el diari (1769-1816) de Rafael d'Amat i de Cortada, Baro de Malda (Barcelona 1746-1819), per l'altra. Els llibrets contenen una gran quantitat d'informacio relativa a les circumstancies que envolten cadascuna de les interpretacions; a partir d'ells es poden determinar els llocs on es cant...
Aquest treball se centra en la figura de Josep Rafael Carreras i Bulbena, un autor que, tot i que... more Aquest treball se centra en la figura de Josep Rafael Carreras i Bulbena, un autor que, tot i que forca oblidat actualment, compta amb una important obra musicologica que cal considerar i valorar. A les pagines que segueixen a continuacio es preten posar de manifest la significacio de Carreras i Bulbena a partir de tres grans eixos: la seva biografia, la seva obra musicologica i la seva relacio epistolar amb Felip Pedrell. Al primer apartat s’aporten, entre altres informacions, algunes composicions musicals inedites d’aquest autor. Al segon, es fa un repas de gran part dels seus escrits musicologics, posant una especial atencio en els seus dos treballs mes ambiciosos, l’un dedicat a Carles d’Austria (1902) i l’altre a l’oratori (1906). Resulta especialment important aquesta darrera obra perque representa el primer estudi que tracta, de manera global, el desenvolupament del genere en els diversos paisos europeus, ben al contrari d’uns altres dos llibres apareguts contemporaniament qu...
El articulo presenta unos fragmentos del oratorio "Las dos sillas reales" de Josep Cau,... more El articulo presenta unos fragmentos del oratorio "Las dos sillas reales" de Josep Cau, compuesto en 1799. La obra tiene la particularidad de contener un clarinete en su plantilla orquestral. El hecho interesante radica en que en los fragmentos que interviene, es tratado como instrumento principal, ya sea como encargado de presentar material musical de importancia, ya sea concertando con la voz solista. Por otra parte, se trata, por ahora, de la obra fechada mas antigua compuesta en Catalunya que requiere la intervencion de un clarinete. El articulo, ademas de presentar la partitura completa de 10s dos fragmentos en 10s que aparece este instrumento, ofrece una breve noticia biografica del autor, seguida de unas notas sobre el clarinete en Catalunya, para acabar con un breve analisis de 10s dos movimientos de Las dos s illas reales que solicitan la presencia del clarinete.
The CEDOC archive preserves the manuscript of an anonymous 18th-century composition treatise whic... more The CEDOC archive preserves the manuscript of an anonymous 18th-century composition treatise which has the peculiarity of being written in Catalan. Although neither its author’s name nor its date of writing are known, the existence of the document is extraordinary in itself. In the first place, it represents one of the very few 18th-century works on musical theory written in Catalan. Furthermore, its contents may be viewed as a significant reflection of the knowledge expected of a chapel master in any of the churches of Catalonia in that period, as well as of the way that knowledge was imparted. With his work, as he himself declares, the unknown author’s aspiration was to provide composers with a thorough training, teaching them everything from the first elements of music to the most complex concepts. The final aim of his work was the success of his students in competitive examinations taken to obtain a chapel master post. Thus, in the last few pages of the manuscript – and this is another interesting point in this treatise – the author explains the different types of exercises that candidates will come across in such examinations. These exercises were, indeed, extremely complex
In the autumn of 1710 Händel was appointed Kapellmeister at the court of the Elector
Georg Ludwig... more In the autumn of 1710 Händel was appointed Kapellmeister at the court of the Elector Georg Ludwig of Hanover and a few months later came to London where he would present his opera Rinaldo. The British public, who at that time showed great interest in Italian opera, received the composer favourably. From 1719 until the end of the twenties Händel, from the Royal Academy of Music, an institution he founded, achieved numerous successes in the field of opera. However, the exorbitant costs of the academy and the changing tastes of the public led to the collapse of the institution and the need for the establishment of a New Royal Academy. The creation in 1733 of a rival company, Opera of the Nobility, was the coup de grâce and Händel was forced to permanently abandon his dedication to opera. From that moment, the composer turned to oratorios, a genre that he had previously practised in Italy as well as from the time of his arrival in England. After presenting a chronological list of the composer’s most significant oratorios, we proceed to the preparation of a study of their characteristics. One must consider the origin of the theme employed in the librettos; the presence and the use of choirs; the way the composer musically expresses the affections of the text; the formal types with which he constructs his arias; the meaning of the instrumental passages; and the singers and orchestras contracted, those that Händel himself had at his disposal and those that were used after his death to perform his works. Since it is a paper presented at the International Congress «El llegat de G. F. Händel a l’entorn de la música hispànica del seu temps», a brief reflection it’s made about the oratorio in Catalonia. It can be observed that English oratorios present no remarkable similarities to their Catalan counterparts, neither from the point of view of chronological sequencing or formal structures, nor in the social use that is made of these works. Keywords: Händel; oratorios; orchestra; opera; Royal Academy of Music; Haydn; Charles Burney; London; Catalonia.
This paper forms the first phase of a prospective study seeking to analyze the survival of musica... more This paper forms the first phase of a prospective study seeking to analyze the survival of musical rhetoric in compositions written in the last half of the 18th century. It is well known that this resource reached its peak in the Baroque era, but it is also true that many composers in the last half of the 18th century, whose music was marked by a clearly Classicist aesthetic which differed completely from the music written in the 17th century, used the language of musical rhetoric in their works, although perhaps in a rather particular way. To delve further into this subject, this study focuses on a Mass by Francesc Queralt, written in 1778 for the Cathedral of Barcelona. The parts of this Mass that offer the greatest possibilities for the development of rhetorical figures are the Gloria and the Credo, and the latter will form the basis of this article.Keywords: rhetoric, Francesc Valls, Francesc Queralt, Credo, Mass, liturgical music, Mapa armónico práctico, affection...
Cal considerar el present article com el primer pas d'un futur estudi que pretendrà analitzar la ... more Cal considerar el present article com el primer pas d'un futur estudi que pretendrà analitzar la pervivència de la retòrica musical a les composicions de la segona meitat del se gle xviii. És ben conegut que aquest recurs va tenir la seva època d'esplendor durant el Barroc, però és igualment cert que molts compositors de la segona meitat del segle xviii, la música dels quals presenta una estètica clarament classicista i ben diferenciada de la barro ca, utilitzen a les seves obres, tot i que potser d'una manera particular, el llenguatge de la retòrica musical. Per aprofundir en aquesta qüestió, l'estudi que segueix a continuació se centrarà en una missa de Francesc Queralt procedent de la catedral de Barcelona i compos ta el 1778. Pel seu contingut, les parts que ofereixen més possibilitats de desplegament de figures retòriques són el glòria i el credo. El present estudi es basarà en aquesta darrera part.
Xavier Daufi situa el oratorio como genero receptor del clasicismo en Cataluna. En su articulo, n... more Xavier Daufi situa el oratorio como genero receptor del clasicismo en Cataluna. En su articulo, nos presenta una extensa historia de este genero en Cataluna, que en la segunda mitad del siglo XVIII ofrece ya las caracteristicas del estilo clasico que se desarrollo en gran parte de Europa. El autor analiza las evidencias mas notables del lenguaje musical, especialmente a traves de la instrumentacion, las estructuras formales y el parametro armonico, destacando la obra del maestro de capilla de la catedral de Barcelona, Francesc Queralt (1740-1825), cuyos oratorios fueron compuestos entre los anos 1777 y 1823 . A la espera de nuevas investigaciones, concluye que los autores catalanes de la epoca ponen de manifiesto la recepcion coetanea del estilo clasico creado en la Europa de la epoca.
El concert, un dibuix a ploma atribuit a Manuel Tramulles (1715-1791), representa una escena en q... more El concert, un dibuix a ploma atribuit a Manuel Tramulles (1715-1791), representa una escena en que deu personatges, en un ambient distes, interpreten i escolten musica. Aquesta petita obra ens permetra analitzar diferents aspectes que possibilitaran una aproximacio i contextualitzacio del fet musical a la Barcelona del segle xviii. Es consideraran diferents questions: actitud i disposicio dels musics (tots ells, alguns tocant i d'altres no, al voltant del clave), tipus i nombre d'instruments (trio de corda, flauta, trompa i clave, a mes de dues cantants) i tecnica interpretativa. Resultara igualment interessant, per tal de descobrir si existien a Europa costums semblants pel que fa a la practica musical en societat, la comparacio d'aquesta amb altres representacions europees de tematica similar. El dibuix atribuit a Tramulles servira, aixi mateix, per complementar la ingent informacio documental aportada pel baro de Malda al seu Calaix de sastre sobre la vida i els cost...
La tardor de l’any 1710, Handel es nomenat Kapellmeister a la cort de l’elector Georg Ludwig de H... more La tardor de l’any 1710, Handel es nomenat Kapellmeister a la cort de l’elector Georg Ludwig de Hannover. Uns quants mesos mes tard, arriba a Londres, on presenta la seva opera Rinaldo . El public angles, que, en aquell moment, mostra un gran interes per l’opera italiana, acull el compositor molt favorablement. Durant els anys que van de 1719 a finals de la decada de 1720, Handel, des de la Royal Academy of Music, institucio fundada per ell mateix, assoleix nombrosos exits en el camp operistic. No obstant aixo, les exorbitants despeses de l’academia i el canvi dels gustos del public provoquen el col·lapse de la institucio i la necessitat de refundar-ne una de nova. La creacio, l’any 1733, d’una companyia rival, l’Opera of the Nobility, suposa el toc de gracia per a ell i Handel es veu obligat a abandonar definitivament la seva dedicacio a l’opera. A partir d’aquest moment, el compositor es bolca en el genere oratori, que ja l’havia practicat anteriorment a Italia i tambe des de la s...
Aquesta tesi presenta dues parts clarament diferenciades, pero al mateix temps complementaries: a... more Aquesta tesi presenta dues parts clarament diferenciades, pero al mateix temps complementaries: a la primera s'aporten els fonaments de la historia de l'oratori a Catalunya al segle XVIII, i a la segona es procedeix a l'estudi de la vida i dels oratoris de Francesc Queralt (es presenten nou partitures completes i inedites de nou oratoris de Queralt). Tot plegat es completa amb dos catalegs, un de llibrets (amb 384 exemplars) i un altre de partitures (amb 77 exemplars), tots ells, i aixo es important, de compositors catalans. Pel que fa a l'establiment dels fonaments historics del genere s'han emprat, principalment, dues fonts: els propis llibrets per una banda, i el diari (1769-1816) de Rafael d'Amat i de Cortada, Baro de Malda (Barcelona 1746-1819), per l'altra. Els llibrets contenen una gran quantitat d'informacio relativa a les circumstancies que envolten cadascuna de les interpretacions; a partir d'ells es poden determinar els llocs on es cant...
Aquest treball se centra en la figura de Josep Rafael Carreras i Bulbena, un autor que, tot i que... more Aquest treball se centra en la figura de Josep Rafael Carreras i Bulbena, un autor que, tot i que forca oblidat actualment, compta amb una important obra musicologica que cal considerar i valorar. A les pagines que segueixen a continuacio es preten posar de manifest la significacio de Carreras i Bulbena a partir de tres grans eixos: la seva biografia, la seva obra musicologica i la seva relacio epistolar amb Felip Pedrell. Al primer apartat s’aporten, entre altres informacions, algunes composicions musicals inedites d’aquest autor. Al segon, es fa un repas de gran part dels seus escrits musicologics, posant una especial atencio en els seus dos treballs mes ambiciosos, l’un dedicat a Carles d’Austria (1902) i l’altre a l’oratori (1906). Resulta especialment important aquesta darrera obra perque representa el primer estudi que tracta, de manera global, el desenvolupament del genere en els diversos paisos europeus, ben al contrari d’uns altres dos llibres apareguts contemporaniament qu...
El articulo presenta unos fragmentos del oratorio "Las dos sillas reales" de Josep Cau,... more El articulo presenta unos fragmentos del oratorio "Las dos sillas reales" de Josep Cau, compuesto en 1799. La obra tiene la particularidad de contener un clarinete en su plantilla orquestral. El hecho interesante radica en que en los fragmentos que interviene, es tratado como instrumento principal, ya sea como encargado de presentar material musical de importancia, ya sea concertando con la voz solista. Por otra parte, se trata, por ahora, de la obra fechada mas antigua compuesta en Catalunya que requiere la intervencion de un clarinete. El articulo, ademas de presentar la partitura completa de 10s dos fragmentos en 10s que aparece este instrumento, ofrece una breve noticia biografica del autor, seguida de unas notas sobre el clarinete en Catalunya, para acabar con un breve analisis de 10s dos movimientos de Las dos s illas reales que solicitan la presencia del clarinete.
The CEDOC archive preserves the manuscript of an anonymous 18th-century composition treatise whic... more The CEDOC archive preserves the manuscript of an anonymous 18th-century composition treatise which has the peculiarity of being written in Catalan. Although neither its author’s name nor its date of writing are known, the existence of the document is extraordinary in itself. In the first place, it represents one of the very few 18th-century works on musical theory written in Catalan. Furthermore, its contents may be viewed as a significant reflection of the knowledge expected of a chapel master in any of the churches of Catalonia in that period, as well as of the way that knowledge was imparted. With his work, as he himself declares, the unknown author’s aspiration was to provide composers with a thorough training, teaching them everything from the first elements of music to the most complex concepts. The final aim of his work was the success of his students in competitive examinations taken to obtain a chapel master post. Thus, in the last few pages of the manuscript – and this is another interesting point in this treatise – the author explains the different types of exercises that candidates will come across in such examinations. These exercises were, indeed, extremely complex
In the autumn of 1710 Händel was appointed Kapellmeister at the court of the Elector
Georg Ludwig... more In the autumn of 1710 Händel was appointed Kapellmeister at the court of the Elector Georg Ludwig of Hanover and a few months later came to London where he would present his opera Rinaldo. The British public, who at that time showed great interest in Italian opera, received the composer favourably. From 1719 until the end of the twenties Händel, from the Royal Academy of Music, an institution he founded, achieved numerous successes in the field of opera. However, the exorbitant costs of the academy and the changing tastes of the public led to the collapse of the institution and the need for the establishment of a New Royal Academy. The creation in 1733 of a rival company, Opera of the Nobility, was the coup de grâce and Händel was forced to permanently abandon his dedication to opera. From that moment, the composer turned to oratorios, a genre that he had previously practised in Italy as well as from the time of his arrival in England. After presenting a chronological list of the composer’s most significant oratorios, we proceed to the preparation of a study of their characteristics. One must consider the origin of the theme employed in the librettos; the presence and the use of choirs; the way the composer musically expresses the affections of the text; the formal types with which he constructs his arias; the meaning of the instrumental passages; and the singers and orchestras contracted, those that Händel himself had at his disposal and those that were used after his death to perform his works. Since it is a paper presented at the International Congress «El llegat de G. F. Händel a l’entorn de la música hispànica del seu temps», a brief reflection it’s made about the oratorio in Catalonia. It can be observed that English oratorios present no remarkable similarities to their Catalan counterparts, neither from the point of view of chronological sequencing or formal structures, nor in the social use that is made of these works. Keywords: Händel; oratorios; orchestra; opera; Royal Academy of Music; Haydn; Charles Burney; London; Catalonia.
This dissertation is written in two parts clearly different one from another: in the first part t... more This dissertation is written in two parts clearly different one from another: in the first part the foundations of the history of the oratorio in Catalonia in the Eighteenth Century are drawn, while the second part deals with the study of Francesc Queralt's life and of his oratorios (nine complete and hitherto unknown oratorios by Queralt are presented). All this is completed with two catalogues, one of libretti (with 384 items) and another of music (with 77 items), all of them, and this is important, by catalan composers. Concerning the historic foundations of the genre, two sources have been used: the libretti and the diary (1769-1816) written by the catalan nobleman Rafael d'Amat i de Cortada, Baron of Maldà (Barcelona 1746-1819). The libretti contain a great deal of information related to the circumstantes that surrounded each of the performances; from those it has been possible to establish the places where these compositions were sung, the chapels that performed them, the reasons why they were played,... The Baron of Maldà's diary narrates many of the events that occurred, the most part of them, in the city of Barcelona. Some of those are related to the oratorio. Both sources allow to contribute with the name of 40 catalan composers devoted to the genre of the oratorio and also with 62 churches around Catalonia where these compositions were sung. If we turn to Francesc Queralt's biography, some significant aspects have also been established: his admission as mestre de capella at Barcelona Cathedral (1774), his promotion to the different ecclesiastical orders (1777-1779), his salary, his pupils, a dispute with the organist Carles Baguer on the performance of an oratorio in 1796 (eventually Queralt's Oratorio dels dolors* was sung, work which is presented in appendix 5 in this dissertation), his participation as a member of the jury in several exams to obtain posts in different chapels in Barcelona, his dismissal as mestre de capella (1815), and his death (1825). Concerning the music it must be stated that the composer's style was quite near from that of the italian and germanic authors. The study of the harmonic and formal languge of his oratorios allows to establish his musical evolution. Thus, for instance, in Queralt's first works, chords like augmented sixths or diminished sevenths are related with passages expressing sorrow, pain or terror. In latter works such chords were used generally for structural reasons, e. g. a modulation. Concerning the modulation, Queralt's works show a clear evolution: in his early compositions the modulations found are basically diatonic; in more recent works there is a greater variety. In the more modern oratorios there are chromatic modulations, changes of mode, changes of tonality or modulations by means of a diminished seventh or an augmented sixth. There are also modulations produced by one single note that changes its function. The use of the orchestra is as well different: in the latter works the wind section is clearly more and more independent. In the former oratorios the winds are basically used to provide harmonic support; in more modern compositions the wood-wind instruments, in some instances, play the important melodic part, while the accompaniment goes on the strings. The study of the aria types allows to conclude that form the formal point of view the musical evolution of those oratorios is similar to that of his european colleagues. One must have in mind that the oratorio is a twofold genre: they are composed with music and words. That is why any study on this kind of music must also consider the literary part. The libretti used by Francesc Queralt can be compared, according to their characteristics, to those written by Zeno and Metastasio, the two most influential poets of their time. It must be pointed out that some of the libretti used by Francesc Queralt are allegorical: in those a passage taken out form the Old Testament is presented in the first movements of the oratorio, and in the two final numbers the virtue of the Old Testament character is compared with that of the saint to whom the oratorio is devoted. [-]
Transcription and edition of nine songs that were used and are still used for dancing at the vill... more Transcription and edition of nine songs that were used and are still used for dancing at the village of Torre d'en Doménec (Castelló de la Plana).
Critical edition of nine works by Josep Gaz (1656-1713). He attended the post of "mestre de capel... more Critical edition of nine works by Josep Gaz (1656-1713). He attended the post of "mestre de capella" at the churches of Mataró (1675-1685), Santa Maria del Mar (1685-1690) and the Cathedral of Girona (1690-1713). Here is the list and some details of the works presented:
Title: Tono al Santíssim Sagrament per a 4 v Diplomatic title: Tono a quatro vozes al SSmo / Sacramento / Combidados andar, andar. / de / Joseph Gas Incipit: Conbidados andar andar Voices: Ti 1, Ti 2, A, T Instruments: Ac-C (Entablatura)
Title: Tono al Santíssim Sagrament per a 4 v Diplomatic title: Tono a quatro vozes al SSmo / Sacramento / Dize la fe, que todo lo ve. de / Joseph Gas Incipit: Dize la fe que todo lo ve Voices: Ti 1, Ti 2, A, T Instruments: Ac-C (Entablatura)
Title: Tono al naixement de Jesucrist per a 4 v Diplomatic title: Tono a quatro vozes al Naci- / miento de Χρο. / A este Niño que llora / de / Joseph Gaz Incipit: A este niño que llora Voices: Ti 1, Ti 2, A, T Instruments: Ac-C (Entablatura)
Title: [Tono] a la professió d’una monja per a 4 v Diplomatic title: De Joseph Gaz [angle sup. Dret] / A 4. / A la Profession de la Señora Doña Maria / Prior, en el Monasterio de las Cis- / tenciences del Mercadal / de Gerona / Zagalejos atencion Incipit: Zagalejos atención que con dulce melodia Voices: Ti 1, Ti 2, A, T Instruments: Ac-C (Entablatura)
Title: Tono al Santíssim Sagrament per a 4 v Diplomatics title: Tono a 4 vozes al SSmo Sacramento / A do vas ouejuela / de / Joseph Gaz. Incipit: A do vas ouejuela Voices: Ti 1, Ti 2, T 1, T2 Instruments: Ac-C (Acompañamiento a 4)
Title: Solo al Santíssim Sagrament per a Ti Diplomatic title: de Joseph Gaz [angle sup. dret] / Solo / Al SSmo Sacramento / Aliente el Dolor Incipit: Aliente el dolor Voices: Ti 1 Instruments: Ac-C
Title: Tono al Santíssim Sagrament per a 4 v Diplomatic title: Tono a quatro vozes al SSmo / Sacramento. / En el Jardin de la Iglesia / de / Joseph Gas Incipit: En el jardin de la iglesia Voices: Ti 1, Ti 2, A, T Instruments: Ac-C
Title: Letra a san Albert per a solo Diplomatic title: Letra solo al glorioso San Alberto. / Es la naue San Alberto / de / Joseph Gaz Incipit: Es la naue San Alberto Voices: [Ti] Instruments: Ac-C
Title: Solo a sant Narcís per a solo i 4 v Diplomatic title: de Joseph Gaz [angle sup. dret] / Solo, y a 4 / A San Narciso, obispo y Martir / de Gerona. / Jazmines y azuzenas Incipit: Jazmines y azuzenas dan su candor Voices: Ti Instruments: Baxoncillo 1, Baxoncillo 2, Baxo, Ac-C
Haydn's Creation is a composition that, after its premier in Vienna, spread rapidly through many ... more Haydn's Creation is a composition that, after its premier in Vienna, spread rapidly through many countries in Europe. Among other places, the work was well known in Catalonia and the Balearic Isles. Antoni Febrer i Cardona prepared in 1807 a catalan translation of the text. On the other hand, in the Biblioteca Pública de Maó, there is a manuscript by Joan Vidal Seguí which uses Cardona's words in a transcription of Haydn's work for soloists, violin, guitar and choir. The book presents a facsimile edition of the score, together with an introduction and a complete transcription of the catalan text.
ÍNDEX
Albert Rossich, Dues obres falsament atribuïdes a
Francesc Mulet: la paròdia dramàtica al ... more ÍNDEX Albert Rossich, Dues obres falsament atribuïdes a Francesc Mulet: la paròdia dramàtica al segle xviii . . 5 Maria Paredes, Lucrècia i les altres Lucrècies . . . . . . . . 30 Pep Valsalobre, Joan Ramis: d’Arminda a Rosaura i viceversa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Josefina Salord, Joana de Vigo i Esquella, traductora d’Ifigènia en Tàurida de Claude Guimond de la Touche 113 Francesc Foguet, Josep Robrenyo contra Napoleó . . . . 148 Gabriel Sansano, Vicenç Albertí i la reescriptura del teatre popular espanyol de l’últim terç del segle xviii. A propòsit d’El criat de les obligacions i altres obres . 179 Rosa Bertran, De La vedova scaltra de Goldoni a La viuda astuta d’Albertí . . . . . . . . . . . . . . . . . . . . . . 205 Carles Cabrera, La producció dramàtica de Jaume Roca i Bauzà (1840-1912) . . . . . . . . . . . . . . . . . . . . . . 219 Annex Margarida Cursach, La viuda astuta de Vicenç Albertí i Vidal . . . . . . . . . . . . . . . . . . . . . . . . . . 235 Xavier Daufí, El Mètode de Cant (1829) d’Antoni Febrer i Cardona . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
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Papers by Xavier Daufí
Georg Ludwig of Hanover and a few months later came to London where he would present
his opera Rinaldo. The British public, who at that time showed great interest in Italian
opera, received the composer favourably. From 1719 until the end of the twenties Händel,
from the Royal Academy of Music, an institution he founded, achieved numerous successes
in the field of opera. However, the exorbitant costs of the academy and the changing
tastes of the public led to the collapse of the institution and the need for the establishment
of a New Royal Academy. The creation in 1733 of a rival company, Opera of the Nobility,
was the coup de grâce and Händel was forced to permanently abandon his dedication to
opera. From that moment, the composer turned to oratorios, a genre that he had previously
practised in Italy as well as from the time of his arrival in England.
After presenting a chronological list of the composer’s most significant oratorios, we
proceed to the preparation of a study of their characteristics. One must consider the origin
of the theme employed in the librettos; the presence and the use of choirs; the way the
composer musically expresses the affections of the text; the formal types with which he
constructs his arias; the meaning of the instrumental passages; and the singers and orchestras
contracted, those that Händel himself had at his disposal and those that were used after
his death to perform his works.
Since it is a paper presented at the International Congress «El llegat de G. F. Händel a
l’entorn de la música hispànica del seu temps», a brief reflection it’s made about the oratorio
in Catalonia. It can be observed that English oratorios present no remarkable similarities
to their Catalan counterparts, neither from the point of view of chronological sequencing
or formal structures, nor in the social use that is made of these works.
Keywords: Händel; oratorios; orchestra; opera; Royal Academy of Music; Haydn; Charles
Burney; London; Catalonia.
Georg Ludwig of Hanover and a few months later came to London where he would present
his opera Rinaldo. The British public, who at that time showed great interest in Italian
opera, received the composer favourably. From 1719 until the end of the twenties Händel,
from the Royal Academy of Music, an institution he founded, achieved numerous successes
in the field of opera. However, the exorbitant costs of the academy and the changing
tastes of the public led to the collapse of the institution and the need for the establishment
of a New Royal Academy. The creation in 1733 of a rival company, Opera of the Nobility,
was the coup de grâce and Händel was forced to permanently abandon his dedication to
opera. From that moment, the composer turned to oratorios, a genre that he had previously
practised in Italy as well as from the time of his arrival in England.
After presenting a chronological list of the composer’s most significant oratorios, we
proceed to the preparation of a study of their characteristics. One must consider the origin
of the theme employed in the librettos; the presence and the use of choirs; the way the
composer musically expresses the affections of the text; the formal types with which he
constructs his arias; the meaning of the instrumental passages; and the singers and orchestras
contracted, those that Händel himself had at his disposal and those that were used after
his death to perform his works.
Since it is a paper presented at the International Congress «El llegat de G. F. Händel a
l’entorn de la música hispànica del seu temps», a brief reflection it’s made about the oratorio
in Catalonia. It can be observed that English oratorios present no remarkable similarities
to their Catalan counterparts, neither from the point of view of chronological sequencing
or formal structures, nor in the social use that is made of these works.
Keywords: Händel; oratorios; orchestra; opera; Royal Academy of Music; Haydn; Charles
Burney; London; Catalonia.
Concerning the historic foundations of the genre, two sources have been used: the libretti and the diary (1769-1816) written by the catalan nobleman Rafael d'Amat i de Cortada, Baron of Maldà (Barcelona 1746-1819). The libretti contain a great deal of information related to the circumstantes that surrounded each of the performances; from those it has been possible to establish the places where these compositions were sung, the chapels that performed them, the reasons why they were played,... The Baron of Maldà's diary narrates many of the events that occurred, the most part of them, in the city of Barcelona. Some of those are related to the oratorio. Both sources allow to contribute with the name of 40 catalan composers devoted to the genre of the oratorio and also with 62 churches around Catalonia where these compositions were sung.
If we turn to Francesc Queralt's biography, some significant aspects have also been established: his admission as mestre de capella at Barcelona Cathedral (1774), his promotion to the different ecclesiastical orders (1777-1779), his salary, his pupils, a dispute with the organist Carles Baguer on the performance of an oratorio in 1796 (eventually Queralt's Oratorio dels dolors* was sung, work which is presented in appendix 5 in this dissertation), his participation as a member of the jury in several exams to obtain posts in different chapels in Barcelona, his dismissal as mestre de capella (1815), and his death (1825).
Concerning the music it must be stated that the composer's style was quite near from that of the italian and germanic authors. The study of the harmonic and formal languge of his oratorios allows to establish his musical evolution. Thus, for instance, in Queralt's first works, chords like augmented sixths or diminished sevenths are related with passages expressing sorrow, pain or terror. In latter works such chords were used generally for structural reasons, e. g. a modulation. Concerning the modulation, Queralt's works show a clear evolution: in his early compositions the modulations found are basically diatonic; in more recent works there is a greater variety. In the more modern oratorios there are chromatic modulations, changes of mode, changes of tonality or modulations by means of a diminished seventh or an augmented sixth. There are also modulations produced by one single note that changes its function. The use of the orchestra is as well different: in the latter works the wind section is clearly more and more independent. In the former oratorios the winds are basically used to provide harmonic support; in more modern compositions the wood-wind instruments, in some instances, play the important melodic part, while the accompaniment goes on the strings. The study of the aria types allows to conclude that form the formal point of view the musical evolution of those oratorios is similar to that of his european colleagues.
One must have in mind that the oratorio is a twofold genre: they are composed with music and words. That is why any study on this kind of music must also consider the literary part. The libretti used by Francesc Queralt can be compared, according to their characteristics, to those written by Zeno and Metastasio, the two most influential poets of their time. It must be pointed out that some of the libretti used by Francesc Queralt are allegorical: in those a passage taken out form the Old Testament is presented in the first movements of the oratorio, and in the two final numbers the virtue of the Old Testament character is compared with that of the saint to whom the oratorio is devoted. [-]
Title: Tono al Santíssim Sagrament per a 4 v
Diplomatic title: Tono a quatro vozes al SSmo / Sacramento / Combidados andar, andar. / de / Joseph Gas
Incipit: Conbidados andar andar
Voices: Ti 1, Ti 2, A, T
Instruments: Ac-C (Entablatura)
Title: Tono al Santíssim Sagrament per a 4 v
Diplomatic title: Tono a quatro vozes al SSmo / Sacramento / Dize la fe, que todo lo ve. de / Joseph Gas
Incipit: Dize la fe que todo lo ve
Voices: Ti 1, Ti 2, A, T
Instruments: Ac-C (Entablatura)
Title: Tono al naixement de Jesucrist per a 4 v
Diplomatic title: Tono a quatro vozes al Naci- / miento de Χρο. / A este Niño que llora / de / Joseph Gaz
Incipit: A este niño que llora
Voices: Ti 1, Ti 2, A, T
Instruments: Ac-C (Entablatura)
Title: [Tono] a la professió d’una monja per a 4 v
Diplomatic title: De Joseph Gaz [angle sup. Dret] / A 4. / A la Profession de la Señora Doña Maria / Prior, en el Monasterio de las Cis- / tenciences del Mercadal / de Gerona / Zagalejos atencion
Incipit: Zagalejos atención que con dulce melodia
Voices: Ti 1, Ti 2, A, T
Instruments: Ac-C (Entablatura)
Title: Tono al Santíssim Sagrament per a 4 v
Diplomatics title: Tono a 4 vozes al SSmo Sacramento / A do vas ouejuela / de / Joseph Gaz.
Incipit: A do vas ouejuela
Voices: Ti 1, Ti 2, T 1, T2
Instruments: Ac-C (Acompañamiento a 4)
Title: Solo al Santíssim Sagrament per a Ti
Diplomatic title: de Joseph Gaz [angle sup. dret] / Solo / Al SSmo Sacramento / Aliente el Dolor
Incipit: Aliente el dolor
Voices: Ti 1
Instruments: Ac-C
Title: Tono al Santíssim Sagrament per a 4 v
Diplomatic title: Tono a quatro vozes al SSmo / Sacramento. / En el Jardin de la Iglesia / de / Joseph Gas
Incipit: En el jardin de la iglesia
Voices: Ti 1, Ti 2, A, T
Instruments: Ac-C
Title: Letra a san Albert per a solo
Diplomatic title: Letra solo al glorioso San Alberto. / Es la naue San Alberto / de / Joseph Gaz
Incipit: Es la naue San Alberto
Voices: [Ti]
Instruments: Ac-C
Title: Solo a sant Narcís per a solo i 4 v
Diplomatic title: de Joseph Gaz [angle sup. dret] / Solo, y a 4 / A San Narciso, obispo y Martir / de Gerona. / Jazmines y azuzenas
Incipit: Jazmines y azuzenas dan su candor
Voices: Ti
Instruments: Baxoncillo 1, Baxoncillo 2, Baxo, Ac-C
Albert Rossich, Dues obres falsament atribuïdes a
Francesc Mulet: la paròdia dramàtica al segle xviii . . 5
Maria Paredes, Lucrècia i les altres Lucrècies . . . . . . . . 30
Pep Valsalobre, Joan Ramis: d’Arminda a Rosaura i
viceversa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Josefina Salord, Joana de Vigo i Esquella, traductora
d’Ifigènia en Tàurida de Claude Guimond de la Touche 113
Francesc Foguet, Josep Robrenyo contra Napoleó . . . . 148
Gabriel Sansano, Vicenç Albertí i la reescriptura del
teatre popular espanyol de l’últim terç del segle xviii.
A propòsit d’El criat de les obligacions i altres obres . 179
Rosa Bertran, De La vedova scaltra de Goldoni
a La viuda astuta d’Albertí . . . . . . . . . . . . . . . . . . . . . . 205
Carles Cabrera, La producció dramàtica de Jaume
Roca i Bauzà (1840-1912) . . . . . . . . . . . . . . . . . . . . . . 219
Annex
Margarida Cursach, La viuda astuta de
Vicenç Albertí i Vidal . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Xavier Daufí, El Mètode de Cant (1829) d’Antoni Febrer
i Cardona . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240