The process of vihuela intabulation of sacred music in 16th century Spain
(2023)
author(s): Kateřina Maňáková
published in: KC Research Portal
The process of vihuela intabulation of sacred music by Cristóbal de Morales, using examples contained in Orphénica Lyra by Miguel de Fuenllana and instructions by Juan de Bermudo.
The Accompaniment for the Villancico in New Spain
(2018)
author(s): Miguel Espinoza Chavez
published in: KC Research Portal
The abstract for this exposition is unfortunately missing.
Nights in the Spanish Gardens. Meaning and inspiration
(2018)
author(s): Samuel Tirado Villaescusa
published in: KC Research Portal
Name: Samuel Tirado Villaescusa
Main Subject: Classical Piano
Research Supervisor: Bart van Oort
Title of Research: Nights in the Spanish Gardens: Meaning and inspiration
Research Question: Which are the most important sources of inspiration in the piece Nights in the Spanish Gardens and how all of them affect the performance of the soloist and the orchestra?
Summary of Results:
Manuel de Falla's piece Nights in the Spanish Gardens has become popular during the last twenty years. Several of the greatest performers have recorded it achieving impressive results. However, the piece presents key aspects from the Spanish folklore and French impressionism that, usually, are not taken into account. Searching information for my research, I discovered that the most important sources of inspiration come from »cante jondo« (a Spanish primitive chant), the Spanish guitar and the music of Claude Debussy. Thus, I found several examples that prove the connection and help the performer to make the interpretation as coherent as possible. The research process changed my vision about topics such as the role of the soloist, the interpretation of ornaments, melodic lines and rubato as well as the imitation of the guitar in De Falla's music. Furthermore, this information could also help not only pianist performing Nights in the Spanish Gardens, but also any musician playing Manuel de Falla's music.
Biography:
Samuel Tirado begins his studies in Salamanca, where he completed a bachelor degree with Patrin Garcia Barredo. He has participated in masterclasses with teachers like Claudio Martinez Mehner, Ferenc Rados, Edith Fischer, Kennedy Moretti and Galina Eguiazarova among others.
He has performed as a soloist and chamber music member and in places such as the national auditorium in Madrid, auditorium of Cuenca and theaters in Salamanca, Ciudad Real and Ávila. He has also played in countries such as Holland, France and Austria.
Luigi Boccherini: patronage and musical life in Madrid between 1768 and 1805
(2014)
author(s): Carlos Leal Cardín
published in: KC Research Portal
Name: Carlos Leal Cardín
Main Subject: Violoncello Research Coach: Bart van Oort
Title of Research: Luigi Boccherini. Patronage and musical life in Madrid between 1768 and 1805.
Research Question: How was Boccherini’s work determined by its social function and his musical environment? Was the musical scene in Madrid comparable to the one in other European capitals?
Research Process: I have tried to reconstruct the musical landscape in which Boccherini lived and worked for almost 40 years in Spain by analyzing several aspects of the musical life: concert life, musical institutions, patronage and music printing and trade. It is therefore a historical research based on available bibliography as well as in sources of the period.
Summary of Results: Luigi Boccherini lived in Madrid or near for almost 40 years. Throughout of the 18th century there were many attempts in Spain to modernize the society, the economy and of course the culture, trying to get a closer position to the leading nations of that time. In music this resulted in the development of public concerts and opera performances, very much in the line of the spirit of the Enlightenment. But at the same time there was a lack of dissemination of printed music due to the absence of a strong musical press. That’s why Boccherini published his works outside Spain where the middleclass amateur players were much more abundant. During 10 of his years in Spain Boccherini enjoyed the patronage of the infante don Luis under such favorable terms that can be compared to the situation of Haydn with the Prince Eszterhazy. We could say that even being so far from the big musical centers -Viena, Paris and London- the circumstances in which he developed his career were not so different from other composers of the time.