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Music sheets in La Iberia Musical y Literaria (1842-1846): connecting the public and private sphere

Autor(es) y otros:
Rodríguez Lorenzo, Gloria AraceliAutoridad Uniovi
Editor/Coord./Trad.:
Sala, Massimiliano
Palabra(s) clave:

Printing and Publishing, Music sheets, Musical newspaper, Espín y Guillén, Spanish opera

Fecha de publicación:
2020
Editorial:

Brepols Publishers

Citación:
Rodríguez Lorenzo, G. A. (2020) Music sheets in La Iberia Musical y Literaria (1842-1846): connecting the public and private sphere. En Massimiliano Sala (Ed.) Music Publishing and Composers: 1750-1850 (pp. 277-295). Brepols
Descripción física:
p. 277-295
Resumen:

The "La Iberia Musical y Literaria" (1842-1846), a private initiative created by the Spanish composer Joaquín Espín y Guillén, was the first specifically musical newspaper in Spain. One of a kind, its subjects and music sheets show the state of the musical environment of that time, influenced by Italian opera, and the significance of the singing and the piano in mid-19th century. The different strategies to increase the popularity of its musical sheets show how Espín had in mind the musical preferences of bourgeoisie to choose the composers (Rossini, Donizetti, Beriot or Thalberg, e.g.) and genres (songs, waltzes, polkas, etc.). In this way, he connected the music performed in lyrical theatres and other musical societies with those musical activities developed in domestic spaces and soirées. La Iberia Musical y Literaria and its music sheets also reveal Espín’s interest in promoting the Spanish opera.

The "La Iberia Musical y Literaria" (1842-1846), a private initiative created by the Spanish composer Joaquín Espín y Guillén, was the first specifically musical newspaper in Spain. One of a kind, its subjects and music sheets show the state of the musical environment of that time, influenced by Italian opera, and the significance of the singing and the piano in mid-19th century. The different strategies to increase the popularity of its musical sheets show how Espín had in mind the musical preferences of bourgeoisie to choose the composers (Rossini, Donizetti, Beriot or Thalberg, e.g.) and genres (songs, waltzes, polkas, etc.). In this way, he connected the music performed in lyrical theatres and other musical societies with those musical activities developed in domestic spaces and soirées. La Iberia Musical y Literaria and its music sheets also reveal Espín’s interest in promoting the Spanish opera.

URI:
https://hdl.handle.net/10651/76001
ISBN:
978-2-503-58815-5
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