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Spanish Chamber Music of the Eighteenth Century. Richard Xavier Sanchez Louisiana State University and Agricultural & Mechanical College

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Spanish Chamber Music of the Eighteenth Century. Richard Xavier Sanchez Louisiana State University and Agricultural & Mechanical College Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1975 Spanish Chamber Music of the Eighteenth Century. Richard Xavier Sanchez Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Sanchez, Richard Xavier, "Spanish Chamber Music of the Eighteenth Century." (1975). LSU Historical Dissertations and Theses. 2893. https://digitalcommons.lsu.edu/gradschool_disstheses/2893 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and dius cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map. drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 pem.ss,o„ 0, copy.,,, owner. Fu.Per reproduc.n p r o m w per.,33™. 76-12,938 SANGŒZ, Richard Xavier, 1942- SPMISH CHAMBER MUSIC OF THE EIGHIEENTH CENTURY, The Louisiana State IMiversity and Agricultural and ^kchanical College, Ph.D., 1975 ^!usic X6rOX UniVGrSity Microfilms, Ann Arbor, Michigan 4B106 0 1975 RICHARD XAVIER SANCHEZ ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. SPANISH CHAMBER MUSIC OF THE EIGHTEENTH CENTURY A Dissertation Submitted to the Graduate Faculty o£ the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Richard Xavier Sanchez B.A., Tulane University, 1964 M.M., Louisiana State University, 1969 December, 1975 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS LIST OF TABLES................................................................................................. i ü LIST OF MUSICAL EXAMPLES........................................................................... iv ABSTRACT.............................................................................................................. C hapter I . POLITICAL AND HISTORICAL BACKGROUND OF EIGHTEENTH- CENTURY SPAIN .................................................................................... 1 I I . THE ITALIAN PRESENCE IN SPA IN ................................................ 11 I I I , THE STATE OF CHAMBER MUSIC IN SPAIN FROM 1750 TO 1800 23 IV. LIVES AND WORKS OF KNOWN SPANISH CHAMBER MUSIC COMPOSERS............................................................................................. 39 V. THE GENERAL STYLE OF THE CLASSICAL PERIOD ...... 76 V I. DISCUSSION AND ANALYSIS OF SELECTED WORKS ...................... 99 V II. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS ...................... 269 APPENDIX ..... ........................................................................................ 273 SELECTED BIBLIOGRAPHY ............................................................................... 283 VITA ....................................................................................................................... 297 i l Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF TABLES Table Page 1. Forms of Sonatas /Longman by Pla, (?) •••••.• 179 2» Forms of Quartettos, Op« III by Canales •••••• 204 3» Forms of Duos de violin y viola by Canales • • • • 224 4. Forms of Sets duetos by Canales •••••••••• 239 5. Forms of Solos by Ximenez, N« ••••••••••• 253 i l i Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF MUSICAL EXAMPLES Example Page 1» Haydn, Joseph, String Quartet in A Malor, Op. 20, No. 6, 2nd movement, bars 1-8 (1st violin part only) 88 2. Haydn, Joseph, String Quartet in C Major, Op. 33, No. 3, 3rd movement, bars 43-44 (1st violin part only) 89 3. Haydn, Joseph, String Quartet in D Major. Op. 50, No. 6, 4th movement, bars 174-177 96 4. Errando (Herrando), Solo p. violino. Sonata III, 2nd movement, bars 5-8 (violin part only) ^02 5. Herrando, Solo p. violino. Sonata III, 1st movement, b a rs 1-22-------- 104 6. Herrando, Solo p. violino. Sonata V, 1st movement, bars 1-10 10^ 7, Herrando, Solo p. violino. Sonata II, 2nd movement, b a rs 1-12 108 8. Herrando, Solo p. violino. Sonata II, 1st movement, end o£ movement 109 9. Herrando, Tres duos nuevos. No. 1, 1st movement, double bar HI 10. Herrando, 1res duos nuevos. No. 1, 1st movement, b a rs 1-8 113 11. Herrando, Tres duos nuevos. No. 2, 1st movement, b a rs 1-18 115 12. Herrando, Tres duos nuevos. No. 1, 2nd movement, bars 1-5 IH 13. Herrando-Nin, Classiques Espagnols, No. 6, bars 1-12 122 14. Herrando-Nin, Classiques Espagnols, No. 6, double bar 123 15. Herrando-Nin, Classiques Espagnols, No. 1, bars 1-9 125 16. Manalt, Qbra harmonica. Sonata VI, 2nd movement, bars 1-31 (violin part only) ^29 17. Manalt, Qbra harmonica. Sonata IV, 3rd movement, bars 1-30 (violin part only) 130 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example Page 18. M an alt, Obra harm onica. Sonata IV, 2nd movement. bars 1-4 132 19. M an alt, Obra harm onica. Sonata IV, 2nd movement, bars 30-32 133 20. M an alt, Obra harmonica. Sonata 111 , 2nd movement, bars 47-51 134 21. M an alt, Obra harm onica. Sonata IV, 1st movement. double b ar 135 22. Soler, Sis quintets» Quintet 111» 4th movement» bars 1-14, keyboard tacet 23. Soler» Sis quintets. Quintet III, 4th movement, bars 22-23» strings tacet 140 24. Soler, Sis quintets. Quintet 111, 5th movement, bars 1-10, keyboard tacet 141 25. Soler, .S_ls quintets. Quintet IV, 1st movement, bars 1-5, keyboard tacet 142 26. Soler, Sis quintets. Quintet I, 1st movement, bars 34-35, keyboard omitted 144 27. Soler, Sis quintets. Quintet 1, 5th movement, bars 71-80 145 28. Soler, Sis quintets. Quintet 111, 3rd movement, bars 139-148, keyboard tacet 29. Soler, Sis quintets. Quintet 1, 1st movement, bars 7-8, keyboard tacet 149 30. Soler, Sis quintets. Quintet I, 3rd movement, bars 1-10, keyboard tacet 150 31. Pla, (Manuel?), Six Dusts. Duet II, 1st movement, b a rs 1-8 156 32. Pla, (Manuel?), Six Duets, Duet I, 3rd movement, bars 1-8 (1st violin part only) 1^' 33. Pla, (Manuel?), Six Duets. Duet VI, 2nd movement, bars 1-8 (1st violin part only) 1^- Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example Page 34. Pla, (Manuel?), Six Duets, Duet I, 3rd movement, bars 20-23 158 35. Pla, (Manuel?), Six Duets, Duet I, 3rd movement, bars 22-24 158 36. Pia/Karlsruhe, Trio I, 2nd movement, double bar, 2nd f lu t e ta c e t 163 37. Pla/Karlsruhe, Trio 1, 1st movement, bars 1-12 164 38. Pla/Karlsruhe, Trio III, 2nd movement, bars 1-8, violin part tacet 166 39. Pla/Karlsruhe, Trio III, 3rd movement, bars 1-8 167 40. Pla/Karlsruhe, Trio III, 1st movement, bars 1-13 169 41. Pla, Sonatas/Hardy, Sonata II, 1st movement, b a rs 1-14 171 42. Pla, Sonatas/Hardy, Sonata II, 3rd movement, b a rs 1-8 173 43. Pla, Sonatas/Schott, Sonata II, 1st movement, bars 1-9 175 44. Pla, Sonatas/Schott » Sonata IV, 2nd movement, bars 1-8 176 45. Pla, Sonatas/Schott. Sonata VI, 1st movement, b ars 13-15 177 46. Pla, Sonatas/Longman, Sonata I, 1st movement, bars 1-6 180 47. Pla, Sonatas/Longman, Sonata VI, 2nd movement, bars 1-17 182 48. Pla, Sonatas/Longman, Sonata II, 3rd movement, b a rs 1-17 183 49. Oliver y Astorga, Six Sonatas, Sonata I, 1st movement, bars 1-9 188 v i Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example Page 50. Oliver y Astorga, Six Sonatas. Sonata V, 1st move­ ment (first treble part only), a) bars 1-5, b) bars 62-66, c) bars 73-84 51. 01 er y Astorga, Six Sonatas, Sonata II, 2nd iac/ement, bars 1-10 ^^2 52. Oliver y Astorga, Six Sonatas, Sonata IV, 3rd movement, bars 1-8 53. Oliver y Astorga, Six Sonatas, Sonata II, 3rd movement, bars 1-17 154 54. Oliver y Astorga, Six Sonatas. Sonata III, 2nd movement, bars 1-12 196 55. Oliver y Astorga, Six Sonatas, Sonata I, 3rd movement, bars 17-24 (1st treble part only) 198 56.
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