Abstract
The introduction of concerts to the variety of public entertainment on offer in large cities was a cultural, social and economic phenomenon of a transnational nature that began in the eighteenth century and was consolidated throughout the nineteenth century. For this reason, the early public concerts organised in Spain presented almost identical repertories, production systems and formats of performance to those that were organised in the great musical centres of the time, principally Paris, Vienna and London. On this basis, this article describes the rise of the public concert through the practices and strategies of the travelling virtuosi who performed in Madrid. In particular, it analyses the cases of Antonio Lolli, Michael Esser, Agostina Lhoest, Luigia Gerbini, Pierre Rode and Bernhard Romberg, internationally renowned soloists who chose Spain as a destination on some of their tours.
Highlights
La introducción de los conciertos en la oferta de diversiones públicas de las ciudades fue un fenómeno cultural, social y económico de carácter transnacional que se inició en el siglo XVIII y se consolidó a lo largo del XIX
The introduction of concerts to the variety of public entertainment on offer in large cities was a cultural, social and economic phenomenon of a transnational nature that began in the eighteenth century and was consolidated throughout the nineteenth century
The early public concerts organised in Spain presented almost identical repertories, production systems and formats of performance to those that were organised in the great musical centres of the time, principally Paris,Vienna and London
Summary
Skill and Self-Promotion in Paris during the Age of Revolution, Berkeley-Los Angeles, University of California Press, 1998, pp. 1-12. Lolli alcanzó gran popularidad en Viena y París en la década de 1760, así que gozaba de gran prestigio cuando visitó España en 178515.Al llegar a Madrid, lo primero que hizo fue acordar con el Ayuntamiento, institución administradora de los teatros del Príncipe y de la Cruz, ofrecer algunos conciertos que le sirviesen para darse a conocer ante el nuevo público. Esser ideó la temporada con un tipo de repertorio casi idéntico al que había presentado en otras ciudades, lo que, en esta ocasión, se corrobora al comparar lo que interpretó en Madrid (Cuadro 3) con lo que había tocado en Salzburgo, según una carta de Leopold Mozart firmada el 9 de diciembre de 1780: Hoy ha hecho un concierto el Sr. Esser en el teatro [...].
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