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Compositores E Intérpretes Españoles En Italia En El Siglo XVIII

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Compositores E Intérpretes Españoles En Italia En El Siglo XVIII View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hedatuz COMPOSITORES E INTERPRETES ESPAÑOLES EN ITALIA EN EL SIGLO XVIII* Montserrat Moli Frigola II Universitá degli Studi di Roma, «Tor Vergata» Cuadernos de Sección. Música 7. (1994), p. 9-125. ISSN: 0213-0815 Donostia: Eusko Ikaskuntza (*) Nota general Mi agradecimiento para todos aquellos amigos, que estuvieron a mi lado en los amargos momentos de la muerte de mi padre. Espero no olvidarme de ninguno, pero en modo particular mil gracias a Carlo Manbribriani, que controló por mí infinidad de citas bibliográficas italianas difíciles de encontrar, Elvira Garbero Zorzi que me ayudó a colmar mis perplejidades toscanas, Jon Bagüés y Patxi Zabaleta por proponerme esta publicación en su honor y esperarla paciente- mente dos años y el apoyo incondicional y el afecto de Antonio Dominguez Ortiz, Gonzalo Anes Alvarez, Alfonso E. Pérez Sánchez, Franco Díaz de Cerio, Edmón M.ª Garreta y la comunidad cisterciense de Solius, que colmaron con creces algunos silencios. Se trata de intérpretes procedentes de Cataluña, el País Vasco y la Corona de Aragón, enviados a ampliar estudios a Italia, en especial a Bolonia, Roma y sobre todo a Nápoles con Francesco Durante, algo que se incrementará desde la llegada a las Dos Sicilias de Carlos de Borbón y Maria Amalia de Sajonia. Permanecen poco tiempo en Italia pues sólo los más privilegiados obtienen ayudas de/ Monarca napolitano, los nobles más importantes o los diplomáticos, por lo que muchos de ellos empiezan su carrera como cantantes, copistas de música e instrumentistas. A través de sus biografías, hemos esbozado la historia de la música española en Italia en el siglo XVIII, absolutamente compenetrada con el mundo musical más innovador. Katalunia, Euskal Herria eta Aragoiko Koroatik zetozen interpreteak dira. Ikasketak sakontzera Italiara bidaliak izan ziren, Bolonia eta Erromara bereziki, eta batez ere Napolesera Francesco Durante-rekin; mugimendu hau areagotu egin zen Carlos de Borbón eta María Amalia de Sajonia Bi Sizilietara iritsi zirenetik. Italian denbora gutxi ematen zuten, Napoleseko Erregearen laguntza pribilegiatuenei bakarrik iristen baitzi- tzaien, noble edo diplomatiko garrantzitsuenei alegia; horregatik, haletariko askoren karrera kantari, musika kopista edo tresna jotzaile gisa abiatu zen. Haien biografien bidez, XVIII. mendean Italian egiten zen musika espainiarraren historiaren zirriborroa egin dugu, musika-mundu berritzaileenarekin guztiz lotua agertzen dena. These were performers from Catalonia, the Basque Country and the Crown of Aragon, who were sent to Italy to widen their knowledge, and mainly to Bologna, Rome and especially Naples with Francesco Durante, a situation which persistently increased after the arrival in the Kingdom of the Two Siclies of Charles de Bourbon and María Amalia of Saxony. They would only stay in Italy for a short time since only the most privileged were granted aid by the Napolitan Monarch, the highest nobility or most important diplomats, due to which many of them started their career as singers, musical copysts and instrumentalits. Through their biographies, we have drawn up an outline of the history of Spanish music in 18th century Italy, which is completely identifiable with the most important innovations in the musical world. 11 A mi padre, al que le hubiera gustado poder saber más cosas de sus queridos músicos solitarios y que no pudo seguir discu- tiendo conmigo en el curso de su redacción. 13 COMPOSITORES E INTERPRETES ESPAÑOLES EN ITALIA EN EL SIGLO XVIII Prólogo Nuestros músicos del siglo XVIII, son el resultado de una larga historia iniciada en el siglo anterior, gracias a la tenacidad y al amor por la música de algunos españoles residentes en Italia, deseosos de gozar de excelsas melodías no sólo en sus Palacios sino en las iglesias nacionales. Sobresalen las iniciativas personales de algunos Embajadores, los cuales además de propiciar los nombramientos de célebres organistas españoles a principios de siglo, encargan puntualmente la composición de algunas piezas para celebrar los eventos más importantes, a los compositores de moda en Italia. Destacan en este sentido las tomadas en 1601 (1 octubre), con motivo del Nacimiento de la Infanta Ana por el Duque de Sessa y Baena (Antonio Fernández de Córdoba Folch de Cardona Anglesola y Requesens), el cual encarga al famoso Padre Soto, maestro de capilla de la Chiesa Nuova la composi- ción de la «muy buena fiesta de música [complementada] con muchas chirimias, tambores, trompe- tas [...] y todo con abundancia y mucho regozijo» interpretada en Santiago y al lautista y compositor flamenco Johannes Matelart, maestro de capilla de San Lorenzo in Damaso, la correspondiente a Santa María de Montserrat. También la del Marqués de Villena y Duque de Escalona (Juan Fernández Pacheco) que encarga la nueva música del Nacimiento del Príncipe de España, Felipe (IV) en 1605 (29 abril) al compositor Orazio Crescencio en Montserrat, y en Santiago al cantor, organis- ta y maestro de capilla extraordinario de la institución Thadeo De Vasis, la última de las cuales es interpretada por José de Villanueva, en el nuevo órgano, proyectado por Gio- vanni Luca Viasi y Biagio Perusino y decorado por el pintor catalán Pedro Riera, conjunta- mente a los cantores de la Capilla Papal y a los tambores y trompetas del Castel Sant’An- gelo entre los cuales el español Antonio Moncate. Estas iniciativas llevan al Marqués de Aitona (Francisco de Moncada) en 1607 (4 noviembre) a solemnizar el Nacimiento del Infante Carlos conjuntamente a unas Victorias militares con «música solemnísima», -igual a la de los Funerales-, del cantor de la Capilla Papal Diego Bázquez, que es interpretada por los organistas Villanueva y Diego Rodriguez, numerosos cantores y las trompetas y atabales del Campidoglio, mientras que en Montserrat la composición es atribuible al maestro de capilla titular Crescencio o más probablemente al coadjutor Bartolomé de la Corte, cantor de la Capilla Papal. Todo ello cristaliza en la llamada política de aumento y conservación de la música, impulsada por el Duque de Taurisano y Conde de Castro (Francisco Domingo Ruíz de Castro) en 1615-18, para poder proteger mejor a los músicos españoles que ampliaban estudios en Italia. Nuestro melómano Embajador, que incluso en agosto de 1610 durante 15 MONTSERRAT MOLI FRIGOLA la enfermedad-embarazo de su esposa Lucrecia Gatinano, encarga la composición de unas 40 horas con música al organista de Santiago Villanueva, el cual imitando la música de Tomás Luis de Victoria a la muerte de la Infanta María, compone también la Misa Funeral de Margarita de Austria en 1612, por encargo del Embajador al negarse a coste- arla Santiago -en la que interviene como solista el célebre bajo Domenico Benuti-. Para acabar con este constante conflicto consigue que «haya música para las fiestas de los Reyes [y que asimismo] habrá de acomodar el salario de los músicos» que de este modo se convierten en los mejores profesionales de la ciudad, gracias a una dotación de 500 escudos anuales procedentes de las tratas de Nápoles y de los expolios de Sicilia. Para celebrar el éxito encarga en 1615 la composición de la Misa de Santiago al célebre maestro de capilla del’Appollinaire Anibal de Orgaz e incorpora en Santiago y Montserrat a los mejores músicos italianos y a españoles entre los cuales los composito- res Bartolomé de la Corte, que actúa también como maestro de canto y Angel de Santa Cruz un excelente contrabajo, Ios organistas Villanueva, Luis de Cairós y el ayudante Miguel de Orés, el organero Pablo Gulant y cantantes como los tiples Josipillo, Martínez, Aguilera, Pedro Martínez, Pedro Fernández y Joseph Bernabó. Pero ante el ir y venir de los españoles incorpora también al organista Paolo Tarditi, al que incluso se concede una casa en la plaza Navona para que pueda controlar mejor el absentismo de los músicos y al que se contrata con la condición que «venga siempre que hubiese música aunque no se aya de cantar a dos coros [...] no sea causa [que] deje esta iglesia y se baia a otra». Con esta medida la música deja de estar ligada al placer de un Embajador, por lo que su sucesor en el cargo el VII Duque de Alburquerque (Francisco Fernández de la Cueva) crea una primera capilla de música en Santiago con motivo de la celebración de la Victoria de Praga en 1620, a pesar de que la iglesia pedía «moderación en dichos gastos», para reforzar según el diplomático conjuntamente a Santa María dell’Anima y Santa María della Pace su oposición a la construcción de la borrominiana Santa Agnese en la plaza Navona. La capilla dirigida por B. de la Corte, cuenta con diversos cantores, el organista Tarditi, algunos instrumentistas y un órgano restaurado y afinado por Giovanni Guglielmi, facistoles realizados por el banderaro Giovanni Domenico Ceccarelli y corales copiados por Andrea Amico, maestro de capilla de San Pedro del Vaticano conjuntamen- te a Pietro Bonvisi y restaurados por Eberardo Sastre. Se privilegia la celebración de la Pascua a 4 coros y siete fuegos artificiales en Santiago y la Candelaria y la Semana Santa en Montserrat, que cuenta entre sus compositores a españoles como Bartolomé Gistau, Joan María Noffra, Joan Aranies y Ramón Tries. La capilla tiene sin embargo una vida efímera, puesto que ya el III Duque de Pastra- na y Príncipe de Melito (Rui Gómez de Silva Mendoza), encuentra a su llegada a Roma en 1623, que Santiago ha decidido después de acaloradas discusiones «[quitar] la música con grandes discordias [pues] la Iglesia es de pobres y el Hospital más», si bien por la belleza de sus composiciones retiene al maestro de capilla y organista Tarditi, al que sucederá hasta 1676 Gaspare Astraldi, que mantendrá la música en Santia- go con gran dignidad y con la ayuda de Giuseppe De Sanctis, hasta 1696.
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