Ana Lombardía | University of Salamanca (original) (raw)
Books by Ana Lombardía
First critical edition of the earliest known orchestral works by a female Spanish composer. Inclu... more First critical edition of the earliest known orchestral works by a female Spanish composer. Includes an extended study in both English and Spanish. Available at https://iccmu.es/catalogo/cuatro-sinfonias/
PhD dissertation, awarded International Mention and Extraordinary Prize. Abridged version (omits ... more PhD dissertation, awarded International Mention and Extraordinary Prize. Abridged version (omits copyright-protected contents).
Papers by Ana Lombardía
Rivista Italiana di Musicologia, 2024
Among recently rediscovered female composers, the case of Maria Luisa of Bourbon (1782–1824), Inf... more Among recently rediscovered female composers, the case of Maria Luisa of Bourbon (1782–1824), Infanta of Spain, Queen of Etruria, and Duchess of Lucca, is exceptional, both for her noble birth and for the political aspects of her life. Widowed at an early age, she governed Tuscany as regent, but was deprived of her kingdom and imprisoned, as described bitterly in her memoirs, published in four languages just before the Congress of Vienna. Recent studies have shown that she cultivated a true passion for music as a patroness, collector, and amateur performer. Her music library, containing over 2000 volumes with a very modern and varied international repertoire, and bearing signs of use, is particularly outstanding. Moreover, she is the earliest known female Spanish composer of orchestral music, and one of the earliest in Italy, something that has been overlooked so far. This essay focuses on her four ‘sinfonias’, which date from c.1810–24, considering their compositional and performance contexts, stylistic traits, and probable models. Notably, they are among the earliest works by Spanish composers to adopt the structure of Rossini’s overtures. The Infanta innovatively combines this model with musical topoi, both international, such as the march, and typically associated with the Spanish cultural identity, such as the fandango. Overall, her sinfonias constitute unique works that shed new light on hitherto ignored aspects of Rossini’s reception, early-nineteenth century female composition, and the shared musical history of Spain and Italy.
En este ensayo se evalúa si los Seis dúos para dos violines op. 3 de Luigi Boccherini constituyer... more En este ensayo se evalúa si los Seis dúos para dos violines op. 3 de Luigi Boccherini constituyeron una referencia para los compositores de dúos activos en Madrid. En la década de 1770 se observa un auge del género en la ciudad, donde entonces se re-edita dicha colección de Boccherini, una de las primeras de este tipo impresas en España. Este trabajo aborda la recepción contemporánea de los dúos de Boccherini en Madrid, poniendo el foco en el mercado musical del momento y el análisis estilístico de las obras conservadas. Se discute en qué medida aspectos específicos de esta colección pudieron resultar novedosos en Madrid, así como su impacto en compositores locales como J. Herrando, M. Plá, J. Castel, G. Brunetti, M. Canales y J. Oliver. Se comparan siete colecciones de distintos compositores aplicando metodologías de estudio novedosas, como una clasificación de texturas musicales basada en los estudios sobre el cuarteto de cuerda de Mara Parker y otros autores.
Spain has been virtually neglected in Tartini scholarship so far. However, a number of hitherto l... more Spain has been virtually neglected in Tartini scholarship so far. However, a
number of hitherto little-known musical and documentary sources show that his accompanied violin sonatas were known, praised, and imitated in Madrid during the second half of the eighteenth century. Amateur musicians collected this music, and professional musicians performed it in different chamber music venues in the city, as well as composing sonatas that bear clear formal similarities with those of Tartini. The following violinists played a leading role in this process: Domingo Rodil and Bonifazio Zlotek, members of Madrid' s Royal Chapel; Mauro d' Ala y and Christiano Reynaldi, chamber musicians of the widowed queen Elizabeth Farnese, Reynaldi being a probable student of Tartini; and Jakob Leydeck, a German disciple of the Istrian Maestro. Also, a process of canonization of Tartini's works is detected in several essays written in Madrid around the turn of the nineteenth century.
Eighteenth-Century Music, 2020
Since the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultura... more Since the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultural identity. It became increasingly popular in instrumental chamber music, as well-known examples by Domenico Scarlatti, Antonio Soler and Luigi Boccherini show. To date, published musicological scholarship has not considered the role of solo violin music in the dissemination of the fandango or the shaping of a ‘Spanish’ musical identity. Now, eight rediscovered pieces – which can be dated to the period 1730–1775 – show that the violin was frequently used to perform fandangos, including stylized chamber-music versions. In addition to offering evidence of the violin's role in the genre, these pieces reveal the hybridization of the fandango with foreign musical traditions, such as the Italian violin sonata and French courtly dances, demonstrating hitherto overlooked negotiations between elite and popular culture in mid-eighteenth-century Spain. Analysis of these works’ musical features challenges traditional discourses on the ‘Spanishness’ of the fandango and, more broadly, on the opposition between ‘native’ and ‘foreign’ music in eighteenth-century Spain.
Resumen: El Archivo Histórico Municipal de Torre de Juan Abad (Ciudad Real), localidad conocida p... more Resumen: El Archivo Histórico Municipal de Torre de Juan Abad (Ciudad Real), localidad conocida por su relación con el escritor Francisco de Quevedo (1580-1645, guarda un pequeño manuscrito anónimo de principios del siglo XVIII con cifras para guitarra y (en menor medida) violín. La fuente, conservada entre los documentos de Quevedo y su familia, se revela particularmente interesante al constituir un testimonio de la práctica musical doméstica y de la difusión de la guitarra de cinco órdenes entre los siglos XVII y XVIII. Esta fuente, junto a otras estudiadas en los últimos años, demuestra que la guitarra y el violín compartían un repertorio popular e internacional, el cual incluía no solo sones de larga tradición en España, como la jácara y la mariona, sino también danzas extranjeras de reciente introducción, como el minué. Además, este manuscrito testimonia la difusión de dicho repertorio en localidades pequeñas y remotas, y no solo en los principales centros culturales. Esta música se transmitía sobre todo de forma oral, pero fuentes como esta, seguramente producida por y para aficionados, permiten reconstruir las piezas y propiciar así su interpretación en tiempos modernos. (Se incluye una transcripción completa como apéndice.) Abstract: The Archivo Histórico Municipal of Torre de Juan Abad (Ciudad Real), a town known for its relationship with the writer Francisco de Quevedo , keeps a small anonymous manuscript from the early 18th century that contains tablatures for guitar and, to a lesser extent, violin. The source, preserved among the documents of Quevedo and his family, is particularly interesting, for it constitutes a testimony of domestic music making and the dissemination of the five-course guitar between the 17th and 18th centuries. This source, along with others studied in recent years, shows that the guitar and the violin shared a popular and international repertory, which included not only long-established Spanish forms, such as the jácara and the mariona, but also recently introduced foreign dances, such as the minuet. In addition, this manuscript attests to the dissemination of such repertoire in small and remote towns, not only in the main cultural centres. The transmission of this music was mostly oral, but sources such as this one, probably produced by and for amateurs, allow us to reconstruct the pieces and thus foster their performance in modern times. (A full transcription is included as an Appendix).
The sonatas for violin and accompaniment by José Herrando (Valencia, ca. 1720–Madrid, 1763) have ... more The sonatas for violin and accompaniment by José Herrando (Valencia, ca. 1720–Madrid, 1763) have undergone various transformations since the 1920s, reflecting a process of continuous ‘re-creation’ that illustrates the latest notions of ‘musical work’. Changes in performance practice, especially the emergence of Historically Informed Perfomance since the 80s, have given rise to several waves of revival for Herrando’s music, from different perspectives. In this process, key figures of Hispanic musicology and ‘early music’ have participated, including José Subirá, Joaquín Nin, and Emilio Moreno, together with less remembered musicians, such as Josefina Salvador. This process is still ongoing, as shown by recent performances by Fabio Biondi, the finalists of the Francesco Maria Ruspoli Competition, or Concerto 1700.
Herrando’s sonatas have appeared and disappeared intermittently from concert halls, musical editions, and sound recordings, without ever being consolidated in the repertoire, thus justifying new ‘resurrections’ a few years later. This case study shows that the re-premiere is a key element of early-music marketing and that the ‘recuperation’ of forgotten music has to face the pressure of a conservative canon.
++
RESUMEN
Las sonatas para violín y acompañamiento de José Herrando (Valencia, ca. 1720–Madrid, 1763) han sufrido diversas transformaciones desde la década de 1920, reflejando un proceso de “re-creación” continua que ilustra las últimas definiciones de “obra musical”. Con los cambios de la práctica interpretativa, en especial el auge de la interpretación historicista desde los años ochenta, se han producido varias oleadas de revival de esta música desde distintas ópticas. En este proceso han participado figuras clave de la musicología y la “música antigua” hispanas, como José Subirá, Joaquín Nin o Emilio Moreno, junto a músicos menos recordados, como Josefina Salvador. El proceso continúa vivo, como muestran las interpretaciones recientes de Fabio Biondi, los finalistas del Concurso Francesco Maria Ruspoli o Concerto 1700.
Estas sonatas han ido apareciendo y desapareciendo intermitentemente de las salas de conciertos, las ediciones musicales y las grabaciones sonoras, sin llegar a consolidarse en el repertorio, justificando así nuevas “resurrecciones” pocos años después. Este ejemplo muestra que el re-estreno es un elemento clave del marketing de la “música antigua” y que la “recuperación” de repertorios olvidados se enfrenta al peso de un canon conservador.
Overview on the musical activity of Maria Luisa of Bourbon (1782-1824), Queen of Etruria, first f... more Overview on the musical activity of Maria Luisa of Bourbon (1782-1824), Queen of Etruria, first female Spanish composer of symphonies. She was also an active patron of music, literature and the visual arts, including patronage to female artists.
Result of my research at the Royal Spanish Academy in Rome, 2017
See also Broadcast, "Son Regina e sono amante"
de esta música entre España e Italia y el auge del pianoforte. El apéndice recoge las fuentes de ... more de esta música entre España e Italia y el auge del pianoforte. El apéndice recoge las fuentes de origen español ordenadas por género con información detallada sobre su contexto productivo.
The duet for two unaccompanied violins was cultivated intensely throughout Europe during the seco... more The duet for two unaccompanied violins was cultivated intensely throughout Europe during the second half of the eighteenth century, when it served not only a didactic function, but was also used for entertainment and purely aesthetic needs. Madrid-based composers took part in this European trend, especially from 1770 onwards, as local inventories, advertisements, and musical sources clearly show. More than a hundred violin duets from the Spanish capital have been located, including works by fourteen different composers and anonymous arrangements of fashionable dances. Whereas the dances are generally simple pieces suited to amateurs, the duets attributed to specific composers reflect a wide variety of formal models and technical levels. Furthermore, the genre illustrates the integration of Madrid in the international trade of chamber music: editions from Paris and London quickly reached Madrid, while local composers such as José Castel and Manuel Pla also published sets of duets abroad. In sum, this genre portrays Madrid as an up-to-date musical centre in the field of violin repertoires.
Nota Ed: Magar que se trate del mesmu instrumentu, nesti trabayu l'autora estrema'l vigulín «clás... more Nota Ed: Magar que se trate del mesmu instrumentu, nesti trabayu l'autora estrema'l vigulín «clásicu», al que llama violín, del popular o tradicional que noma cola pallabra patrimonial asturiana vigulín. Daqué asemeyao a lo que faen n'Irlanda y Escocia estremando el violin, instrumentu clásicu, del tradicional al que-y llamen fiddle. «Músicos callejeros», grabáu de José Cuevas de la serie «Tipos populares de Asturias». La Ilustración Gallega y Asturiana (1881) «Los pobres en el mercado», grabáu de José Cuevas de la serie «Tipos y costumbres de Asturias». La Ilustración Gallega y Asturiana
First critical edition of the earliest known orchestral works by a female Spanish composer. Inclu... more First critical edition of the earliest known orchestral works by a female Spanish composer. Includes an extended study in both English and Spanish. Available at https://iccmu.es/catalogo/cuatro-sinfonias/
PhD dissertation, awarded International Mention and Extraordinary Prize. Abridged version (omits ... more PhD dissertation, awarded International Mention and Extraordinary Prize. Abridged version (omits copyright-protected contents).
Rivista Italiana di Musicologia, 2024
Among recently rediscovered female composers, the case of Maria Luisa of Bourbon (1782–1824), Inf... more Among recently rediscovered female composers, the case of Maria Luisa of Bourbon (1782–1824), Infanta of Spain, Queen of Etruria, and Duchess of Lucca, is exceptional, both for her noble birth and for the political aspects of her life. Widowed at an early age, she governed Tuscany as regent, but was deprived of her kingdom and imprisoned, as described bitterly in her memoirs, published in four languages just before the Congress of Vienna. Recent studies have shown that she cultivated a true passion for music as a patroness, collector, and amateur performer. Her music library, containing over 2000 volumes with a very modern and varied international repertoire, and bearing signs of use, is particularly outstanding. Moreover, she is the earliest known female Spanish composer of orchestral music, and one of the earliest in Italy, something that has been overlooked so far. This essay focuses on her four ‘sinfonias’, which date from c.1810–24, considering their compositional and performance contexts, stylistic traits, and probable models. Notably, they are among the earliest works by Spanish composers to adopt the structure of Rossini’s overtures. The Infanta innovatively combines this model with musical topoi, both international, such as the march, and typically associated with the Spanish cultural identity, such as the fandango. Overall, her sinfonias constitute unique works that shed new light on hitherto ignored aspects of Rossini’s reception, early-nineteenth century female composition, and the shared musical history of Spain and Italy.
En este ensayo se evalúa si los Seis dúos para dos violines op. 3 de Luigi Boccherini constituyer... more En este ensayo se evalúa si los Seis dúos para dos violines op. 3 de Luigi Boccherini constituyeron una referencia para los compositores de dúos activos en Madrid. En la década de 1770 se observa un auge del género en la ciudad, donde entonces se re-edita dicha colección de Boccherini, una de las primeras de este tipo impresas en España. Este trabajo aborda la recepción contemporánea de los dúos de Boccherini en Madrid, poniendo el foco en el mercado musical del momento y el análisis estilístico de las obras conservadas. Se discute en qué medida aspectos específicos de esta colección pudieron resultar novedosos en Madrid, así como su impacto en compositores locales como J. Herrando, M. Plá, J. Castel, G. Brunetti, M. Canales y J. Oliver. Se comparan siete colecciones de distintos compositores aplicando metodologías de estudio novedosas, como una clasificación de texturas musicales basada en los estudios sobre el cuarteto de cuerda de Mara Parker y otros autores.
Spain has been virtually neglected in Tartini scholarship so far. However, a number of hitherto l... more Spain has been virtually neglected in Tartini scholarship so far. However, a
number of hitherto little-known musical and documentary sources show that his accompanied violin sonatas were known, praised, and imitated in Madrid during the second half of the eighteenth century. Amateur musicians collected this music, and professional musicians performed it in different chamber music venues in the city, as well as composing sonatas that bear clear formal similarities with those of Tartini. The following violinists played a leading role in this process: Domingo Rodil and Bonifazio Zlotek, members of Madrid' s Royal Chapel; Mauro d' Ala y and Christiano Reynaldi, chamber musicians of the widowed queen Elizabeth Farnese, Reynaldi being a probable student of Tartini; and Jakob Leydeck, a German disciple of the Istrian Maestro. Also, a process of canonization of Tartini's works is detected in several essays written in Madrid around the turn of the nineteenth century.
Eighteenth-Century Music, 2020
Since the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultura... more Since the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultural identity. It became increasingly popular in instrumental chamber music, as well-known examples by Domenico Scarlatti, Antonio Soler and Luigi Boccherini show. To date, published musicological scholarship has not considered the role of solo violin music in the dissemination of the fandango or the shaping of a ‘Spanish’ musical identity. Now, eight rediscovered pieces – which can be dated to the period 1730–1775 – show that the violin was frequently used to perform fandangos, including stylized chamber-music versions. In addition to offering evidence of the violin's role in the genre, these pieces reveal the hybridization of the fandango with foreign musical traditions, such as the Italian violin sonata and French courtly dances, demonstrating hitherto overlooked negotiations between elite and popular culture in mid-eighteenth-century Spain. Analysis of these works’ musical features challenges traditional discourses on the ‘Spanishness’ of the fandango and, more broadly, on the opposition between ‘native’ and ‘foreign’ music in eighteenth-century Spain.
Resumen: El Archivo Histórico Municipal de Torre de Juan Abad (Ciudad Real), localidad conocida p... more Resumen: El Archivo Histórico Municipal de Torre de Juan Abad (Ciudad Real), localidad conocida por su relación con el escritor Francisco de Quevedo (1580-1645, guarda un pequeño manuscrito anónimo de principios del siglo XVIII con cifras para guitarra y (en menor medida) violín. La fuente, conservada entre los documentos de Quevedo y su familia, se revela particularmente interesante al constituir un testimonio de la práctica musical doméstica y de la difusión de la guitarra de cinco órdenes entre los siglos XVII y XVIII. Esta fuente, junto a otras estudiadas en los últimos años, demuestra que la guitarra y el violín compartían un repertorio popular e internacional, el cual incluía no solo sones de larga tradición en España, como la jácara y la mariona, sino también danzas extranjeras de reciente introducción, como el minué. Además, este manuscrito testimonia la difusión de dicho repertorio en localidades pequeñas y remotas, y no solo en los principales centros culturales. Esta música se transmitía sobre todo de forma oral, pero fuentes como esta, seguramente producida por y para aficionados, permiten reconstruir las piezas y propiciar así su interpretación en tiempos modernos. (Se incluye una transcripción completa como apéndice.) Abstract: The Archivo Histórico Municipal of Torre de Juan Abad (Ciudad Real), a town known for its relationship with the writer Francisco de Quevedo , keeps a small anonymous manuscript from the early 18th century that contains tablatures for guitar and, to a lesser extent, violin. The source, preserved among the documents of Quevedo and his family, is particularly interesting, for it constitutes a testimony of domestic music making and the dissemination of the five-course guitar between the 17th and 18th centuries. This source, along with others studied in recent years, shows that the guitar and the violin shared a popular and international repertory, which included not only long-established Spanish forms, such as the jácara and the mariona, but also recently introduced foreign dances, such as the minuet. In addition, this manuscript attests to the dissemination of such repertoire in small and remote towns, not only in the main cultural centres. The transmission of this music was mostly oral, but sources such as this one, probably produced by and for amateurs, allow us to reconstruct the pieces and thus foster their performance in modern times. (A full transcription is included as an Appendix).
The sonatas for violin and accompaniment by José Herrando (Valencia, ca. 1720–Madrid, 1763) have ... more The sonatas for violin and accompaniment by José Herrando (Valencia, ca. 1720–Madrid, 1763) have undergone various transformations since the 1920s, reflecting a process of continuous ‘re-creation’ that illustrates the latest notions of ‘musical work’. Changes in performance practice, especially the emergence of Historically Informed Perfomance since the 80s, have given rise to several waves of revival for Herrando’s music, from different perspectives. In this process, key figures of Hispanic musicology and ‘early music’ have participated, including José Subirá, Joaquín Nin, and Emilio Moreno, together with less remembered musicians, such as Josefina Salvador. This process is still ongoing, as shown by recent performances by Fabio Biondi, the finalists of the Francesco Maria Ruspoli Competition, or Concerto 1700.
Herrando’s sonatas have appeared and disappeared intermittently from concert halls, musical editions, and sound recordings, without ever being consolidated in the repertoire, thus justifying new ‘resurrections’ a few years later. This case study shows that the re-premiere is a key element of early-music marketing and that the ‘recuperation’ of forgotten music has to face the pressure of a conservative canon.
++
RESUMEN
Las sonatas para violín y acompañamiento de José Herrando (Valencia, ca. 1720–Madrid, 1763) han sufrido diversas transformaciones desde la década de 1920, reflejando un proceso de “re-creación” continua que ilustra las últimas definiciones de “obra musical”. Con los cambios de la práctica interpretativa, en especial el auge de la interpretación historicista desde los años ochenta, se han producido varias oleadas de revival de esta música desde distintas ópticas. En este proceso han participado figuras clave de la musicología y la “música antigua” hispanas, como José Subirá, Joaquín Nin o Emilio Moreno, junto a músicos menos recordados, como Josefina Salvador. El proceso continúa vivo, como muestran las interpretaciones recientes de Fabio Biondi, los finalistas del Concurso Francesco Maria Ruspoli o Concerto 1700.
Estas sonatas han ido apareciendo y desapareciendo intermitentemente de las salas de conciertos, las ediciones musicales y las grabaciones sonoras, sin llegar a consolidarse en el repertorio, justificando así nuevas “resurrecciones” pocos años después. Este ejemplo muestra que el re-estreno es un elemento clave del marketing de la “música antigua” y que la “recuperación” de repertorios olvidados se enfrenta al peso de un canon conservador.
Overview on the musical activity of Maria Luisa of Bourbon (1782-1824), Queen of Etruria, first f... more Overview on the musical activity of Maria Luisa of Bourbon (1782-1824), Queen of Etruria, first female Spanish composer of symphonies. She was also an active patron of music, literature and the visual arts, including patronage to female artists.
Result of my research at the Royal Spanish Academy in Rome, 2017
See also Broadcast, "Son Regina e sono amante"
de esta música entre España e Italia y el auge del pianoforte. El apéndice recoge las fuentes de ... more de esta música entre España e Italia y el auge del pianoforte. El apéndice recoge las fuentes de origen español ordenadas por género con información detallada sobre su contexto productivo.
The duet for two unaccompanied violins was cultivated intensely throughout Europe during the seco... more The duet for two unaccompanied violins was cultivated intensely throughout Europe during the second half of the eighteenth century, when it served not only a didactic function, but was also used for entertainment and purely aesthetic needs. Madrid-based composers took part in this European trend, especially from 1770 onwards, as local inventories, advertisements, and musical sources clearly show. More than a hundred violin duets from the Spanish capital have been located, including works by fourteen different composers and anonymous arrangements of fashionable dances. Whereas the dances are generally simple pieces suited to amateurs, the duets attributed to specific composers reflect a wide variety of formal models and technical levels. Furthermore, the genre illustrates the integration of Madrid in the international trade of chamber music: editions from Paris and London quickly reached Madrid, while local composers such as José Castel and Manuel Pla also published sets of duets abroad. In sum, this genre portrays Madrid as an up-to-date musical centre in the field of violin repertoires.
Nota Ed: Magar que se trate del mesmu instrumentu, nesti trabayu l'autora estrema'l vigulín «clás... more Nota Ed: Magar que se trate del mesmu instrumentu, nesti trabayu l'autora estrema'l vigulín «clásicu», al que llama violín, del popular o tradicional que noma cola pallabra patrimonial asturiana vigulín. Daqué asemeyao a lo que faen n'Irlanda y Escocia estremando el violin, instrumentu clásicu, del tradicional al que-y llamen fiddle. «Músicos callejeros», grabáu de José Cuevas de la serie «Tipos populares de Asturias». La Ilustración Gallega y Asturiana (1881) «Los pobres en el mercado», grabáu de José Cuevas de la serie «Tipos y costumbres de Asturias». La Ilustración Gallega y Asturiana
En los últimos quince años se ha producido un notable auge de los llamados performance studies (l... more En los últimos quince años se ha producido un notable auge de los llamados performance studies (literalmente, estudios sobre la interpretación musical), que parten de la premisa de que la música no es un texto (la partitura), sino más bien un evento, todo lo que sucede en el momento en que dicho texto se convierte en sonido. Este giro conceptual está teniendo un enorme impacto en la musicología, vinculando de manera más directa a musicólogos e intérpretes. Las publicaciones sobre la historia de la interpretación, el análisis de grabaciones sonoras o los criterios de ejecución para diferentes periodos e instrumentos, entre otras muchas cuestiones, están a la orden del día. Este auge se ha sentido sobre todo en el mundo anglosajón, con autores como John Rink y Nicholas Cook 1 . En el entorno hispano, estudiosos como Luca Chiantore ya detectaron la necesidad de aplicar estas perspectivas hace tiempo 2 , pero aún queda mucho camino por recorrer para integrarlas en el debate musicológico. La división del sistema español de educación musical en conservatorios y universidades, con orientaciones académicas demasiado diferentes, no facilita tal integración, que sin embargo es posible. Un ejemplo son los recientes congresos sobre performance studies promovidos por el grupo de investigación Música en España: composición, recepción, interpretación (MECRI), que han dado lugar a varias publicaciones 3 .
![Research paper thumbnail of “Violin music in mid-18th-century Madrid: Contexts, genres, style” [Resumen de tesis doctoral]. Revista de musicología, XXXIX/1 (2016), pp. 351-58.](https://attachments.academia-assets.com/59935240/thumbnails/1.jpg)
](Tribunal: Juan José Carreras (Universidad de Zaragoza), Pablo-L. Rodríguez (Universidad de La Rio... more Tribunal: Juan José Carreras (Universidad de Zaragoza), Pablo-L. Rodríguez (Universidad de La Rioja) y Rudolf Rasch (Universiteit Utrecht) Informes externos: Robin Stowell (Cardiff University) y Fabrizio Della Seta (Università di Pavia) Calificación: Sobresaliente Cum Laude, Mención «Doctor Internacional» Fecha de defensa: 18 de septiembre de 2015
A journey through Scottish, Irish and English music of the 17th and 18th centuries Un recorrido p... more A journey through Scottish, Irish and English music of the 17th and 18th centuries Un recorrido por la música escocesa, irlandesa e inglesa de los siglos XVII y XVIII NICOLA MATTEIS (ca. 1650-1714) Ayres for the Violin, books 1 & 4 1. Violino solo, ad imitatione della trombetta (3:13) 2. Grave (2:38) 3. Ground after the Scotch humour (2:23) FRANCESCO GEMINIANI (1687-1762) A Treatise of Good Taste in the Art of Musick 4. The Lass of Peaty's Mill (4:21
Roberto Alonso, Aglaya González, Brais González. IBS Classical, IBS 182021. CD liner notes by Ana... more Roberto Alonso, Aglaya González, Brais González. IBS Classical, IBS 182021. CD liner notes by Ana Lombardía, 8 pages.
https://elpais.com/elpais/2018/07/16/eps/1531741495\_614970.html
Invited text for Biblioteca Nacional de España, on early Spanish violin music sources
![Research paper thumbnail of “Un super hit del siglo XVIII [Pergolesi, Stabat Mater]”. Concierto Camerata San Isidro. Madrid, Instituto San Isidro, 29/06/2018.](https://attachments.academia-assets.com/59935766/thumbnails/1.jpg)
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![Research paper thumbnail of “Locuras de juventud [Bach, Britten, Mozart]”. Concierto Camerata San Isidro. Madrid, Instituto San Isidro, 22/06/2018.](https://attachments.academia-assets.com/59935750/thumbnails/1.jpg)
](En estos primeros días del verano, os proponemos un programa de obras clásicas muy conocidas, per... more En estos primeros días del verano, os proponemos un programa de obras clásicas muy conocidas, pero frescas, llenas de vitalidad. Sus tres compositores llegaron a ser muy famosos en vida, aunque dos de ellos aún no lo eran tanto cuando las escribieron, pues entonces tenían solamente 16 y 20 años respectivamente. Se trata del austriaco Wolfgang A. Mozart (1756-1791) y del inglés Benjamin Britten , dos niños prodigio separados por siglo y medio, pero cuya producción tiene algunos puntos en común. De hecho, en obras como la que os ofrecemos hoy, Britten siguió el estilo neoclásico, reinterpretando los modelos del clasicismo vienés representado por Mozart y sus contemporáneos. El tercer y último compositor es el alemán Johann Sebastian Bach (1685-1750), cuya energía desbordante le permitió no sólo componer más de mil obras, sino también cuidar de veinte hijos. Es uno de los máximos representantes del barroco musical, tan recargado y dinámico como el de la pintura o la escultura, tal y como podremos comprobar con la última obra del programa, compuesta hacia los 35 años. El Divertimento KV136 en re mayor (1772) de W. A. Mozart, PROGRAMA W. A. MOZART (1756 -1791)
*Basado en el artículo sobre la colección de Parma: Lluís Bertran, Ana Lombardía y Judith Ortega ... more *Basado en el artículo sobre la colección de Parma:
Lluís Bertran, Ana Lombardía y Judith Ortega (2015). "La colección de manuscritos españoles de los Reyes de Etruria en la Biblioteca Palatina de Parma (1794-1824): Un estudio de fuentes". Revista de Musicología, XXXVIII (1), 107-190. Disponible en Academia
*Grupo de Investigación MECRI: https://www.unirioja.es/mecri/
Actualmente MECRI desarrolla el Proyecto I+D “La música como interpretación en España: historia y recepción, 1730-1930” (Ministerio de Ciencia e Innovación, PID2019-105718GB-I00).
Museo Nacional del Prado, 2018
Concert-conference. Festival Patrimonio in Musica. Tivoli (Italy), Villa Adriana, 2017 Ana Lomba... more Concert-conference. Festival Patrimonio in Musica. Tivoli (Italy), Villa Adriana, 2017
Ana Lombardía, musicologist; Marta Estal, soprano & Barbara Panzarella, piano
Fondazione Musica per Roma & Royal Spanish Academy in Rome