The Autograph Keyboard Manuscript - El manuscrito autógrafo de tecla. Sinfonías I-VIII
von José de Nebra

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Informationen zu "The Autograph Keyboard Manuscript - El manuscrito autógrafo de tecla. Sinfonías I-VIII"

Komponist/Autor: José de Nebra
Verlag: Ut Orpheus Edizioni S.R.L. Palazzo de' Strazzaroli
Verlagsnummer: UTOHS312
EAN: 9790215327269
ISMN: M-2153-2726-9

Beschreibung

In a few decades José de Nebra, previously almost completely unknown to
musicians and amateurs - outside a narrow circle of connoisseurs -, has
become one of the most appreciated Spanish composers in history. Famous and
renowned during his lifetime, his music has been forgotten - except for one
composition - for more than two centuries, but the publication of a certain
number of editions of his music, especially theatrical and religious, since
the 1990s has contributed to giving him back a preeminent role in the history
of Spanish music and to providing him with a certain presence in concert
programs and recordings.
As for Nebras keyboard music, which from the start was to be his main
occupation, we have a sad panorama of scattered, late sources, and often of
doubtful - if not erroneous - attribution, until the appearance and
subsequent study of the manuscript to which the present edition is dedicated.
This notebook was discovered in the Music Archive of the Cathedrals of
Zaragoza. The content of the manuscript consists of a set of thirty-one
pieces grouped in eight large works in several movements, which often depart
somewhat from the Scarlattian sonata model so common in eighteenth-century
Iberian keyboard music and which link with other traditions of keyboard
music: the purely Hispanic (in some examples of great intentos or fugues,
imitative compositions derived from the ancient tientos) and also other
European traditions, such as the French, detectable in numerous dance
movements. Nebra gives the name sinfonía to two of these large-scale
compositions in several movements, so that in this edition, respecting the
name given by the author, the editor used such a name for the series of eight
pieces, which could probably also have been called suites, ordres or even
sonatas.
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