The Andalucian port to the New World, Cádiz, was a prosperous city that benefited from the Golden Age when it was established as a strategic point. This meant that this city developed a powerful cultural environment during the 18th and 19th centuries.
In the middle of the 1770s, when Libón was just born, Spain declared war on Britain as an ally of France and took part in the American Revolutionary War. The most advanced political and aesthetic ideas of the time coexisted with the most sophisticated literary, journalistic, and musical concepts from many different parts of the world. Italian operas were premiered in its theatres alongside Spanish tonadillas, and the best performers of the time could be heard in the salons of its enlightened bourgeoisie. Many English, German, Italian, and French families settled near the port in southern Spain which linked the old and the new continent.
The violinist and composer Felipe Libón was the son of one of these French families and was born in Cádiz in 1775, baptised under the name of Philippe or Felipe. In his hometown, the young musician demonstrated his first skills as a performer, and there he began his violin studies, until, at the age of fourteen, he was sent to London to study with the Italian master Giovanni Battista Viotti (1755-1824).
Viotti took Libon under his tutelage during his training in London. It is mentioned in many testimonies that “l'espagnol” as the master called him, was one of his favourite pupils. During this period, the young Felipe had the opportunity to establish contact with renowned performers and composers, and to participate in the intense musical life of London.
The English musical education system lacked public institutions such as the Parisian conservatoire at that moment, so amateurs and aspiring professionals had to resort to other alternatives. Although the church retained an important role in traditional training at an early age, in a city like London the most widespread method was private lessons.
Private tuition was almost entirely in the hands of foreign teachers, which would contribute to the cultural enrichment and variety of English musical life. On the other hand, the very high level of many of these teachers would help to raise the technical and interpretative level of English aspirants. In Viotti's case, he only accepted a small number of disciples, so those fortunate enough to do so immediately enjoyed a privileged position in London society.
Libón took part in several public concerts, although probably the most important occasion was the performance with his teacher in 1795: a Sinfonia Concertante for two violins by Viotti in London on 2 March, at a concert organised by the performer, composer, and impresario Johan Peter Solomon (1745-1815).
The critics would be very favourable, Libón's performance with Viotti was highly praised the following day, in the Morning Chronicle:
Mr. Libón played a Concertante for two violins which made a pleasant impression. Viotti's talent is well known; and the young man, his pupil, shows a rare ear, chaste and delicate. His sound is still insufficient, but it will become more powerful when he gains confidence; it is not possible to find more sweetness1.
In this way, his maestro facilitated the young Felipe's acceptance into the musical life of the city. Even when Viotti disappeared from the London musical scene, Libón continued to perform in concerts conducted by the violinists W. Cramer (1746- 1799) and Giovanni Giornovichi ( 1747-1804).
Once he had completed his apprenticeship, Felipe set out on his return journey to Cádiz in 1796. However, on his way back, in Lisbon, he had the opportunity to perform before the court, arousing the admiration of the prince, who hired him as a violinist in 1796.
In the documents of the orchestra of La Real Cámara de Lisboa, there are references to the salary he received, although it is not clear whether he belonged to this group or to La Real Capilla.
At that time, Libón acquired a 1729 Stradivari violin, which for a long time bore his name, although it is not known whether he acquired it before or after his arrival in the Portuguese capital. The investment in this violin should not come as a surprise, considering that Viotti contributed to spreading the fame of these magnificent instruments throughout Europe.
Felipe's stay in the Portuguese capital lasted two years, as in 1798 he moved to Madrid.
The violinist's name also appears in the records of the Royal treasury in 1800, and also, there is some testimony in chronicles stating the following:
When Libón came to Madrid, he gave several concerts in which he had brilliant success, attracting attention mainly because of his excellent schooling and the good taste with which he played. He was also the first who in one of his concerts made heard in this court several passages which today we call harmonics, and which were then given the name of flauteados, played with such delicacy and elegance that it caused great effect and admiration.2
However, there is hardly any information about his stay in Madrid. In the capital, it looks like he performed at Conciertos Espirituales held at the Teatro de los Caños. At the same time, it seems he entered the personal service of Carlos IV, although he does not appear in the records of the personnel of the Royal Chapel or the Royal Chamber. The lack of data in this respect is not significant, since, as Judith Ortega comments3, there was no clear record of all the musicians who sporadically joined these ensembles at the Court of Madrid.
As had happened on previous occasions, Felipe Libon would soon arouse the admiration of Parisian society, which described him as “a virtuoso of the first order, full of elegance, charm, and smoothness in his playing”4. On his arrival in the French capital in 1800, Libón performed at a concert in the rue Victoire, playing works composed by himself, and had the opportunity to make himself known in the salon concerts of Madame Catalani.
The violinist became also a member of the Orchestra of the Académie de musique. The fact that Libon took part in this important initiative shows that he was fully integrated into the musical life of the city. The name of Philippe (Philippe) Libon would often be associated with the leading French violinists; Kreutzer and Pierrre Rode (1774-1830) and Baillot (1771-1842).
The skill displayed by the violinist at these musical evenings in the Paris salons attracted the attention of Josephine Bonaparte, who employed him as a musician in her service life of the city.
Felipe came to be so highly regarded among his colleagues that he was the subject of many dedications, as in the case of the first three quartets by the composer George Onslow (1754-1853). written in 1807, "who admired Libón as a performer and as a friend ". However, in spite of the praise and applause he received, he did not achieve the status held by the triumvirate of Kreutzer, Baillot, and Rode. The reason for this situation may be related to his status as a foreigner. Even when he was already in the service of the empress and had achieved countless successes, a review in the Journal d'Émpire ironically laments:
Throughout his professional career, Libón travelled at least once to Italy. In 1821 he played in cities such as Naples and Florence, enjoying great success with his performances. Perhaps he took advantage of his stay in the Italian peninsula to enter into commercial relations with the publishing house Ricordi, which would publish the Caprices for solo violin in 1822.
On his return to Paris, in addition to maintaining his employment in the service of the king, he was appointed private accompanist to the Duchess de Berry in 1823. On occasion, Libon would perform at the soirées organised by the aristocrat along with other musicians of the Chapel Royal.
From this date onwards, Libón's presence in Parisian musical life would progressively diminish, except for the occasional sporadic reference. The Spanish violinist and composer died in Paris at age 63 on the 5th February 1838. The funeral was held two days later in the church of Saint Roch, rue Saint-Honoré. Libon managed to maintain his position for just over three decades at a time in French history when the political winds were extremely changeable and affected nobles, commoners, and artists alike.
Felipe Libón's interest as a composer was almost exclusively focused on his instrument. This is no surprise, as most of the concert violinists of his time would perform their own works, where they could show their full ability and enchant the avid audience of public concerts with their artistry.
There is no official catalogue dating and ordering all of Libon's works. According to Fétis this is the list of his works although the date of composition and publication is not specified:
-
3 Trios for Two Violins and Violoncello, op. 3
-
3 Grand Duos Concertante for Two Violins, op. 4
-
3 Trios for two violins and violoncello, op. 6
-
Airs variés for violin with string quartet or piano, Op.12
-
30 Caprices for solo violin, op.15
-
12 Studies for Double Bass
-
6 Solo Concertos for Violin and Orchestra