Estilo galante y sinfonías de F. J. Haydn en la capilla de música de la catedral de Santiago de Compostela durante el magisterio del Melchor López (1783-1822): la renovación del repertorio instrumental
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Abstract
De manera paralela al desarrollo del magisterio de capilla ejercido por Melchor López en la catedral de Santiago de Compostela
(1783-1822), se produjo la renovación de su orquesta hasta alcanzar de un modo estable los patrones del tipo básico de
orquesta sinfónica clásica surgido con fuerza en Europa central años antes. Este hecho infl uyó en la música del maestro, formado
en Madrid y admirador de la música de F. J. Haydn, donde el acompañamiento orquestal preciosista a las voces solistas y al coro,
se convirtió en protagonista de la misma, posibilitando además la renovación del repertorio instrumental que se interpretaba en
las funciones litúrgicas (Misas, Vísperas) y en otros momentos paralelos a los litúrigicos como eran las siestas que se celebraban
durante el octavario del Corpus. Dentro de esta renovación, tuvo especial importancia la recepción del estilo de Haydn, cuyas sinfonías
llegaron a la catedral en la década de 1790 y son quizá el elemento más representativo de la renovación de dicho repertorio.
At the same time as Melchor López was carrying out his teaching duties within the music chapel of the cathedral of Santiago (1783-1822), the renovation of his orchestra was undertaken to the point of accomplishing a stable symphony orchestra of the classical sort which had long been fi rmly established in Central Europe. This greatly infl uenced the maestro’s music, having studied in Madrid and admirer of F.J. Haydn’s music, where the precise orchestral accompaniment for solo voices and for choirs became the central part of his works and made possible the renovation of the instrumental repertoire which was being used in the liturgy (Masses, Vespers) and on other occasions for paraliturgy functions such as the siestas celebrated during the octave of Corpus. Within this renovation, the reception of Haydn’s infl uence was especially important: his symphonies arrived at the cathedral in the 1790s and are perhaps the most representative element of this renovation which the aforementioned repertoire underwent
At the same time as Melchor López was carrying out his teaching duties within the music chapel of the cathedral of Santiago (1783-1822), the renovation of his orchestra was undertaken to the point of accomplishing a stable symphony orchestra of the classical sort which had long been fi rmly established in Central Europe. This greatly infl uenced the maestro’s music, having studied in Madrid and admirer of F.J. Haydn’s music, where the precise orchestral accompaniment for solo voices and for choirs became the central part of his works and made possible the renovation of the instrumental repertoire which was being used in the liturgy (Masses, Vespers) and on other occasions for paraliturgy functions such as the siestas celebrated during the octave of Corpus. Within this renovation, the reception of Haydn’s infl uence was especially important: his symphonies arrived at the cathedral in the 1790s and are perhaps the most representative element of this renovation which the aforementioned repertoire underwent