Iberian instrumental music

Abstract

The last decades of the 18th century represent a moment of intense social and economic change beyond the boundaries of individual countries. Many aspects of musical life were at a turning point, including the changing role of the composer, the growing numbers of amateur musicians and the expansion of the music market. Central to these developments were the commercialization of music and changes in publishing practices and instrument sales, as well as the development of domestic music-making. Studying music of the late 18th century enables a wider understanding of an intertwined network of topics, from publishing practices and performance practice to reception. Recently these perspectives on late 18th-century music have motivated seminars and conferences in the Iberian peninsula, particularly in relation to instrumental music. Such initiatives have been promoted by the research group MECRI (Música en España en la Edad Moderna: composición, recepción e interpretación) of the Universidad de La Rioja, and also the Universidade de Évora project ‘Estudos de Música Instrumental 1755–1840’. The book reviewed here, Instrumental music in late 18th-century Spain, is at the centre of this growth of interest, and includes contributions from nine members of the Spanish research group. The book is divided in four sections: (1) Shaping instrumental genres, (2) Copying music, (3) The musical market, and (4) Issues of style, and includes a thorough introduction and an index of names and cities.