The eighteenth century was crucial for the consolidation of a new way of composing for the violin throughout Europe. So far, research has been conducted on specific composers and genres, but global studies on the use of this instrument in specific cities are rare. In the case of Madrid, some research in Spanish has focused on the rise of violin compositions that occurred around the 1750s, and there are also some musical editions. However, the style of this music and the process leading to its composition and consumption have not been studied in depth. Furthermore, this repertoire is practically invisible in international literature.
This study offers for the first time a global vision of violin music composed and performed in Madrid between c.1730. and c.1776, discussing its relative importance in national and international contexts. Starting from more than 170 musical sources, of which more than 40 were until now practically unknown, three main lines of research are combined: contexts of composition and interpretation, configuration of musical genres, and analysis of style. The investigation is completed with three contributions with descriptions of found musical sources, a critical edition of eight unpublished works and a video showing the practical recovery of one of them today. In the observed period, the most popular violin genres in Madrid were the sonata for violin and accompaniment and the trio for two violins and accompaniment. The violin duet, small ensemble overture, solo concerto and ensemble concerto were also popular. The works found, 163 in total, were composed by about two dozen composers, including about the same number of Italians (such as Mauro D'Alay and Francesco Montali) and Spaniards (such as José Herrando), among other nationalities. These musicians worked for prestigious institutions (such as the Royal Chapel) and private patrons, including members of the royal family (such as Elisabetta Farnese), other members of the court (such as Farinelli), aristocrats (such as the 12th Duke of Alba ), and foreign diplomats (such as the Swedish baron Carl Leuhusen).
A systematic analysis of these 163 works (with a total of more than 400 movements) shows the assimilation in Madrid of pan-European compositional tendencies, such as the use of standardized movement cycles, sonata forms, dance themes, idiomatic instrumental techniques and melodic writing in a gallant style. The main models for these compositions seem to have been Italians, as was common in other European capitals. Parallels are revealed not only with Arcangelo Corelli, whose reception in Spain was already quite well-known, but also with composers whose influence in this country had not previously been addressed, such as Antonio Vivaldi, Giuseppe Tartini, Pietro Antonio Locatelli and Giovanni Battista Sammartini. This stylistic similarity confirms that the international fashion repertoire was introduced to Madrid relatively early, as evidenced by lists of local private libraries from the 1730s.
The dance music played on the violin in Madrid in the middle of the 18th century is also studied, whose models were mostly French, and minuets and contradances prevail. This repertoire, normally relegated to the background in instrumental music studies, still had great social importance at that time. In fact, there was a great demand, both in the public and private spheres. Dance music was key to the spread of the violin among the middle class. In 1760, the buyers of violin publications in the city were about 200 people who consumed not only dance pieces, but also didactic treatises and chamber music works. Before 1776, fifteen collections of violin sonatas, duets and trios were published in Madrid, despite the scant trace of instrumental music in Spain. In addition, several collections of violin music by composers active in the Spanish capital have been published in London and Paris. This intense assimilation of new styles, genres and musical consumption practices laid the foundations for a greater integration of Madrid into the European music market, which intensified from 1770 called "the middle 18th century", showing Madrid as a musical center dynamic and updated -meeting with the latest international trends. In addition, this study sheds new light on the circulation of the violin repertoire between Spain and other European countries, especially Italy, but also Germany and Sweden, further removed from its sphere of political-cultural influence. Violin music composed in Madrid also reached Latin American countries such as Bolivia and Mexico relatively quickly, opening new avenues of research.
The 18th century was crucial for the spread and consolidation of a new way of playing and composing for the violin throughout Europe. To date, research has been conducted on specific composers and genres, but global studies on the use of this instrument in specific cities are rare. In the case of Madrid, some studies in Spanish pay attention to the rise of violin compositions that occurred around the 1750s, alongside the existence of some editions of modern music. However, neither the style of that music nor the process that leads to its composition and consumption have been studied in depth. Furthermore, this repertoire is practically invisible in international literature.
This study provides for the first time a global picture of the violin repertoire composed and performed in Madrid between c.1730 and c.1776, discussing its relative importance in national and international contexts. Starting from more than 170 musical sources, of which more than forty were until now almost unknown, three main lines of research are combined: compositional and interpretive contexts, conformation of musical genres and stylistic analysis. The study is completed by three appendices with descriptions of found musical sources, a critical edition of eight unpublished works and a video showing the restoration of one of them for contemporary performances.
In the period studied here, the violin sonata and the trio for two violins and accompaniment were the most popular violin genres in Madrid. Violin duets, overtures for small ensembles, solo concerts and ensemble concerts were also in demand. The found works, 163 of them in total, were composed by twenty different composers. This includes roughly the same number of Italians (such as Mauro D'Alay and Francesco Montali) and Spaniards (such as José Herrando), among other nationalities. These musicians worked for prestigious institutions (e.g. the Royal Chapel) and private patrons, including members of the royal family (e.g. Elisabetta Farnese), other members of the royal court (e.g. Farinelli), aristocrats (e.g. Duke XII Alba) and foreigners. diplomats (eg the Swedish baron Carl Leuhusen).
A systematic analysis of these 163 works (comprising a total of more than 400 movements) shows the assimilation of pan-European compositional tendencies in Madrid, such as the use of standardized cycles of different movements, dance themes, idiomatic instrumental techniques and melodic writing. . in a gallant style. The main models for these compositions seem to have been Italians, as was common in other European capitals. Parallels are revealed not only with Arcangelo Corelli, whose reception in Spain was already well known, but also with other composers whose influence in this country had not been explored until then, such as Antonio Vivaldi, Giuseppe Tartini, Pietro Antonio Locatelli and Giovanni Battista Sammartini. . This stylistic similarity confirms that the internationally modern repertoire was introduced to Madrid not long after its composition, as lists of local private libraries from the 1730s confirm.
Dance music played on the violin in Madrid in the middle of the 18th century is also studied. The models were mainly French: minuets and contradances prevail. But this repertoire, which normally occupied a subordinate place in the study of instrumental music, had great social importance at that time. In fact, dance music was in high demand, both in the public and private spheres, and was instrumental in spreading violin playing among the middle classes. In 1760, the buyers of violin publications in the city were about 200 people who consumed not only dance pieces, but also didactic treatises and chamber music works. Fifteen collections of violin sonatas, duets and trios were published in Madrid before 1776, despite little pressure for instrumental music in Spain. In addition, some collections of violin music by composers from the Spanish capital were published in London and Paris.
This intensive assimilation of new styles, genres and musical consumption practices paved the way for greater integration of the Spanish capital into the European music market, which intensified from 1770. Violin music therefore played a central role in updating the instrumental music nurtured in Spain during the so-called 'central 18 . century', portraying Madrid as a dynamic musical center, aware of the latest international trends. In addition, this study sheds new light on the circulation of the violin repertoire between Spain and other European countries, especially Italy, but also Germany or Sweden, further removed from the sphere of political-cultural influence. Violin music composed in Madrid also reached some Latin American countries relatively quickly, such as Bolivia and Mexico; this opens up new avenues for research.