Forthcoming Winter 2019
edited by José Ignacio Suárez García and Ramón Sobrino Sánchez, Turnhout, Brepols, 2019 (Specvlvm Mvsicae, 35).
This volume deals, from multiple perspectives, with the complex world of European symphonism during the nineteenth century, a period in which it encompassed not only the creation of musical products and performances, but also significantly affected many compositional approaches, as well as aesthetic factors, such as the opposition between programme and absolute music. The emergence of the great symphony orchestras led to unprecedented types of professional interaction, and new forms of patronage.
It also fostered the creation of a specific repertoire, and the construction of the first purpose-built concert halls. These developments originated in Europe at the beginning of the 19th century, in conjunction with the growth of music destined for increasing orchestral formations and the concert as a social phenomenon, available to the common public.
About twenty authors discuss in this volume issues about analysis and musical creation, repertoire, musical aesthetics and criticism, orchestras and symphonic ensembles, musical performing venues, production system, consumption, entertainment system and the dissemination and reception of symphonic models in Europe.
Through the work of Beethoven, Berlioz, Mendelssohn, Brahms, Mahler, Strauss, among others, the volume addresses these and other aspects across the European geography and in different contexts: Spain, Italy, French, Portugal, United Kingdom, Northern Europe and Eastern Europe.
José Ignacio Suárez García
He is Senior Lecturer in Musicology of the University of Oviedo. He has focused his research work on Wagner’s reception in Spain, being author of more than thirty works published as chapters in books of prestigious publishers (Brepols, Winter, ICCMU, CSIC, SEdeM, etc.) and as articles in journals such as Cuadernos de Música Iberoamericana, Revista de Musicología, Nassarre, Anuario Musical, Recerca Musicològica, Quadrivium and Journal of Music Criticism, among others.
Ramón Sobrino Sánchez
He is Professor of Musicology at the University of Oviedo (Spain), where he has directed thirty-four doctoral theses. His main field of research is music analysis, with specialization in analytical methodologies, and Spanish music. He has published symphonic works by Monasterio, Bretón, Marqués Chapí, Torrandell, Zubiaurre, etc, and Spanish Operas and Zarzuelas by Barbieri, Arrieta, Gaztambide, Chueca, Serrano, Rodrigo and Carnicer, some in collaboration with María Encina Cortizo.