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Published online by Cambridge University Press: 24 August 2015
This article deals with the circulation of instrumental music between Spain and the New World at the end of the eighteenth century, focusing on Madrid, Mexico City and Lima as main urban centres. By analysing archival documents preserved in these cities, I intend to show that the baroque guitar music composed and copied in Madrid was also intended to be a commercial concern in Latin America (particularly in Mexico City and Lima), and that its cultivation in the New World lasted for a long time, even through to the beginning of the nineteenth century, thus coexisting with music by Johann Christian Bach, Boccherini, Cannabich, Haydn and other ‘modern’ composers. These assertions are reinforced through an examination of two musical manuscripts copied in Lima around 1800, which also shows some of the changes undergone by the repertory during its complex process of reception. I conclude by suggesting that, in the light of all this, a linear and evolutionary view of music history, according to which new repertories replace older ones, should be reconsidered.
1 Archivo Histórico de Protocolos de Madrid, Protocolo 15179, ‘Testamento que otorgó don Juan de Navas. En 3 de septiembre de 1719’, f. 451v. It is possible that Francisco Guidal is the same man as the merchant Juan Francisco Vidal, resident in Cadiz, who travelled to New Spain in 1723. See Archivo General de Indias, Contratación, 5473, N. 1, R. 54, available at Portal de Archivos Españoles <http://pares.mcu.es> (24 March 2015).
2 See Koegel, John, ‘New Sources of Music from Spain and Colonial Mexico at the Sutro Library’, Notes 55/3 (1999), 592CrossRefGoogle Scholar.
3 On this copy see Vera, Alejandro, ‘A propósito de la recepción de música y músicos extranjeros en el Chile colonial’, Cuadernos de Música Iberoamericana 10 (2005), 32Google Scholar. On the production of that work in Madrid see Carreras, Juan José, ‘“Conducir a Madrid estos moldes”: producción, dramaturgia y recepción de la fiesta teatral Destinos vencen finezas (1698/99)’, Revista de Musicología 18/1–2 (1995), 113–143CrossRefGoogle Scholar.
4 Vera, Alejandro, ‘Santiago de Murcia (1673–1739): New Contributions on His Life and Work’, Early Music 36/4 (2008), 598CrossRefGoogle Scholar.
5 See Monica Hall, Introduction to de Murcia, Santiago, Resumen de acompañar la parte con la guitarra, facsimile edition (Monaco: Éditions Chanterelle, 1980)Google Scholar, and Russell, Craig H., Santiago de Murcia's ‘Códice Saldívar No. 4’: A Treasury of Secular Guitar Music from Baroque Mexico (Urbana: University of Illinois Press, 1995), volume 1, 133–136Google Scholar.
6 Vera, ‘Santiago de Murcia (1673–1739): New Contributions’, 599–603.
7 Carreras, Juan José, ‘José de Torres and the Spanish Musical Press in the Early Eighteenth Century (1699–1736)’, Eighteenth-Century Music 10/1 (2013), 35CrossRefGoogle Scholar.
8 Vera, Alejandro, ‘Santiago de Murcia's Cifras Selectas de Guitarra (1722): A New Source for the Baroque Guitar’, Early Music 35/2 (2007), 253 and 265CrossRefGoogle Scholar.
9 Vera, ‘Santiago de Murcia (1673–1739): New Contributions’, 605.
10 See Archivo Histórico del Arzobispado de México, Parroquia del Sagrario, Microfilm 257, census of 1730, f. 58v, and census of 1731, f. 72v. In the first case his name is spelled as ‘Pedro de Gadicohea’, and in the second, as ‘Pedro Aricochea’. A variant very similar to the latter can be found in the census of 1731 (f. 66r), where one of his relatives is mentioned as ‘Ana María de Garicochea’.
11 Archivo General de la Nación de México, Indiferente virreinal, Civil, caja 674, record No. 5 (document from 22 June 1754).
12 ‘Para el Sr. Dn. Joseph Albarez de Saa.dra. . .’. See de Murcia, Santiago, Passacalles y obras de guitarra por todos los tonos naturales y accidentales, facsimile edition with an Introduction by Michael Macmeeken (Monaco: Éditions Chanterelle, 1979)Google Scholar.
13 Russell, Santiago de Murcia's ‘Códice Saldívar No. 4’, 117–119.
14 Archivo Histórico del Arzobispado de México, Parroquia del Sagrario, Microfilm 256, census of 1729, f. 13v; Microfilm 257, census of 1730, f. 55v, and census of 1736, entry No. 1014 (no foliation).
15 Sarno, Jania, ‘El tráfico de instrumentos y libros musicales de España al Nuevo Mundo a través de los documentos del Archivo General de Indias de Sevilla: notas para el comienzo de una investigación’, in Musique et influences culturelles réciproques entre l’Europe et l’Amérique Latine du XVIème au XXème siècle, ed. de Maeyer, René (Brussels: The Brussels Museum of Musical Instruments, 1986), 99Google Scholar.
16 Archivo General de Indias, Contratación 674, f. 493v.
17 This manuscript is preserved in the private collection of Gabriel Saldívar's heirs. A first description can be found in Stevenson, Robert, Music in Aztec & Inca Territory (California: University of California Press, 1976), 234–235Google Scholar. See also Saldívar's own description, including some photographs, in a posthumous publication: Saldívar, Gabriel, Bibliografía mexicana de musicología y musicografía (México: CNCA, INBA, CENIDIM, 1991), volume 1, 81–87Google Scholar.
18 I am grateful to Antonio Corona for this concordance. On Sanz's book see Sanz, Gaspar, Instrucción de música sobre la guitarra española, facsimile edition with an Introduction by Luis García-Abrines (Zaragoza: Institución Fernando el Católico, 1966)Google Scholar.
19 Archivo General de la Nación del Perú, Real Aduana, C 16.633–291 (no foliation). According to another document, Muñoz de Arjona was at that time ‘Corregidor de la provincia de Saña’; see Archivo General de Indias, Contratación 5524, N. 1, R. 84, available at Portal de Archivos Españoles <http://pares.mcu.es> (16 September 2014).
20 References to that inventory can be found in Lemmon, Alfred E., ‘Towards an Inventory of Music Theory Books in Colonial Mexico’, Anuario Musical 33–35 (1978–1980), 134–137Google Scholar. It has been recently published in a facsimile edition by Rodríguez-Erdmann, Francisco Javier, Tesoros del AGN: dos inventarios musicales novohispanos (Mexico City: Archivo General de la Nación, Editorial IEV, 2013), 71–74Google Scholar.
21 See Javier Marín, ‘Nobleza criolla en la “Ciudad de los Palacios”: el mecenazgo musical de Miguel de Berrio y Zaldívar, Marqués del Jaral y Conde de San Mateo de Valparaíso (1716–1779)’, unpublished paper given at the Eighth Conference of the Spanish Musicological Society, Logroño, 7–9 September 2012. I am grateful to the author for allowing me to consult his paper before its publication.
22 For descriptions of this inventory see Koegel, ‘New Sources of Music’, 585–586, and Miranda, Ricardo, ‘Reflexiones sobre el clasicismo en México (1770–1840)’, Heterofonía 116–117 (1997), 39–50Google Scholar. A facsimile edition can be found in Rodríguez-Erdmann, Tesoros del AGN, 19–70.
23 Archivo General de la Nación de México, Inquisición, vol. 1416, fols 96r, 97v, 99r, 100r, 102r. This shipment also included other books of music such as the plainchant treatises by Jerónimo Romero (Madrid, 1761) and Francisco Marcos y Navas (Madrid, 1777).
24 Archivo General de la Nación del Perú, Real Aduana, C 16.632–287.
25 Archivo General de la Nación del Perú, Real Aduana, C 16.746–823.
26 Among an extensive bibliography on that topic see Lamikiz, Xabier, ‘El impacto del “libre comercio” con América: una revisión desde la microhistoria (1778–1796)’, in Orbis incognitvs: avisos y legajos del Nuevo Mundo. Homenaje al profesor Luis Navarro García, ed. Antolín, Fernando Navarro (Huelva: Universidad de Huelva, 2007), volume 2, 189–197Google Scholar.
27 Archivo San Francisco de Lima, Partituras musicales, VI-PM 1. I am grateful to Father Abel Pacheco for the opportunity to consult this interesting source.
28 Sisman, Elaine, ‘Haydn's Solo Keyboard Music’, in Eighteenth-Century Keyboard Music, ed. Marshall, Robert L. (New York: Routledge, 2003), 258Google Scholar. A digital copy of Kurzböck's edition can be found in the website of the Österreichische Nationalbibliothek, <www.onb.ac.at> (25 October 2014). A digital copy of Hummel's edition can be found at <http://gallica.bnf.fr/> (10 October 2014).
29 A digital copy can be found in the Petrucci Music Library. See <http://conquest.imslp.info/files/imglnks/usimg/f/fd/IMSLP78278-PMLP01678-Haydn_H-XVI-22_autograph.pdf> (25 October 2014).
30 As James Grier states, a ‘separative error’ (one showing ‘that a particular ancestry is impossible’) can only be considered as such if it is not susceptible to conjectural amendment; that is, it must be unlikely that the scribe ‘could have restored the correct reading through conjecture or a consultation of another exemplar’: The Critical Editing of Music: History, Method, and Practice (New York: Cambridge University Press, 1996), 78.
31 In bars 28–29 and 60 two passages reaching c♯3 and e3 were not transposed, perhaps because the copyist thought they would be easily transposable by the performer, or simply because of a copying error.
32 For example, see the second movement, bars 14 and 30 in LIMA1.
33 It is worth noting that Luis Merino found a similar reduction of register in a version of another sonata by Haydn, preserved in a manuscript discovered in Santiago de Chile by Guillermo Marchant. See Merino, Luis, ‘An 18th-Century Source of Haydn's Music in Chile’, in Bericht über den internationalen Joseph Haydn Kongress, Wien, Hofburg, 5–12. September 1982, ed. Badura-Skoda, Eva (Munich: Henle, 1986), 506–507Google Scholar.
34 See the chronology of Clementi's work given in Leon Plantinga and Alan Tyson, ‘Clementi, Muzio’, in Grove Music Online <www.oxfordmusiconline.com> (17 October 2014). A digital copy of this edition can be found at the ‘Biblioteca digital hispánica’ of Biblioteca Nacional de España, available at <http://bdh-rd.bne.es/viewer.vm?id=0000060896&page=1> (17 October 2014).
35 See, for example, bars 102–104 of the first sonata and bar 94 of the second.
36 About the usefulness of stemmatic filiation in an edition of music when used in a non-dogmatic way see chapters 3 and 4 of Grier, The Critical Editing of Music, 62–143.
37 See James Webster and Georg Feder, ‘Haydn, Joseph’, in Grove Music Online <www.oxfordmusiconline.com> (17 October 2014).
38 Stevenson, Robert, ‘Los contactos de Haydn con el mundo ibérico’, Revista Musical Chilena 36/157 (1982), 20Google Scholar.
39 A digital copy can be found at the website of the Österreichische Nationalbibliothek, <www.onb.ac.at> (17 October 2014).
40 I have not been able to consult the first publication of that symphony, but only some later editions available at Petrucci Music Library, <http://imslp.org/wiki/Symphony_No.73_in_D_major,_Hob.I:73_%28Haydn,_Joseph%29> (3 December 2014) (see page 32 of the four-hand piano transcription by Hugo Ulrich (Leipzig: Peters, no date)).
41 This kind of mistake, very common in the process of copying manuscripts, is usually known as dittography: that is, an unintended repetition of a letter, syllable, word or phrase. See among others Grier, The Critical Editing of Music, 85.
42 It is worth noting that the authors of the music catalogue of the Franciscan convent arrived at this same conclusion. The most recent and complete study of Zipoli can be found in Illari, Bernardo, Domenico Zipoli: para una genealogía de la música clásica latinoamericana (Havana: Fondo Editorial Casa de las Américas, 2011)Google Scholar.
43 Museo Nacional de Arqueología, Antropología e Historia del Perú, 780 Mis M 371, ‘Libro de zifra’. I am grateful to Alex Ortegal for the opportunity to consult this significant source.
44 Echecopar, Javier, ed., Melodías virreinales del siglo XVIII (Lima: Carrillo-Echecopar, 1992)Google Scholar.
45 About this composer see Alemán, Fernando J. Cabañas, ‘Misón, Luis’, in Diccionario de la música española e hispanoamericana, ed. Casares, Emilio (Madrid: SGAE, 2000), volume 7, 617–618Google Scholar.
46 de Vargas y Guzmán, Juan Antonio, Explicación de la guitarra (Cádiz, 1773), ed. Álvarez, Ángel Medina (Granada: Centro de Documentación Musical de Andalucía, 1994), 128 and 145–146Google Scholar. For the first piece Vargas y Guzmán includes an instrumental bass, separate from the guitar.
47 Since Echecopar did not identify this concordance, his transcription of the ‘Marcha de Nápoles’ lacks musical sense in several parts.
48 Compare the ‘minuete’ in F major included in the ‘Libro de zifra’ (second section of the manuscript, no foliation) with de Murcia, Santiago, Saldívar Codex No. 4, facsimile edition with an Introduction by Lorimer, Michael (Santa Barbara, 1987), f. 83Google Scholar.
49 For its concordant sources and composers see among others Craig H. Russell, ‘Santiago de Murcia: Spanish Theorist and Guitarist of the Early Eighteenth Century’ (PhD dissertation, University of North Carolina at Chapel Hill, 1981), volume 1, 154–159; Monica Hall, ‘The Guitar Anthologies of Santiago de Murcia’ (PhD Dissertation, Open University, 1983), volume 1, 489–507; Russell, Craig H. and Russell, Astrid K. Topp, ‘El arte de recomposición en la música española para guitarra barroca’, Revista de musicología 5/1 (1982), 15–18CrossRefGoogle Scholar; and de Murcia, Santiago, Cifras selectas de guitarra, ed. Vera, Alejandro (Middleton: A-R Editions, 2010), volume 1, xxxvi–xxxixGoogle Scholar.
50 On Corelli see Marín, Miguel Ángel, ‘La recepción de Corelli en Madrid (ca. 1680–ca 1810)’, in Arcangelo Corelli fra mito e realtà storica: nuove prospettive d’indagine musicologica e interdisciplinare nel 350o anniversario della nascita (Florence: Olschki, 2007), 573–637Google Scholar, and on Handel see Weber, William, The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual, and Ideology (Oxford: Clarendon, 1992)Google Scholar.
51 Treitler, Leo, Music and the Historical Imagination (Cambridge, MA: Harvard University Press, 1989)Google Scholar, and Samson, Jim, ‘Music History’, in An Introduction to Music Studies, ed. Harper-Scott, J. P. E. and Samson, Jim (Cambridge: Cambridge University Press, 2009), 8–19Google Scholar.
