Música para mujeres en la España del siglo XVIII: obras de Francisco de la Huerta para el monasterio de Santa Ana de Ávila (1767-1778). Volumen 1. Arias
[EN] The volume presents the study and first edition of forty-three arias in Spanish for soprano, two violins and accompaniment by Francisco de la Huerta y Romanos (Borja, Zaragoza, 1733 - Pamplona, 1814) for the female Cistercian monastery of Santa Ana in Ávila, where the original handwritten parts...
| Author: | |
|---|---|
| Format: | other |
| Status: | Published version |
| Publication Date: | 2025 |
| Country: | España |
| Institution: | Consejo Superior de Investigaciones Científicas (CSIC) |
| Repository: | DIGITAL.CSIC. Repositorio Institucional del CSIC |
| OAI Identifier: | oai:digital.csic.es:10261/417708 |
| Online Access: | http://hdl.handle.net/10261/417708 |
| Access Level: | Open access |
| Keyword: | Música y mujeres Women musicians Monjas músicas Nun musicians España Spain Siglo XVIII 18th century Monasterio de Santa Ana de Ávila Monastery of Santa Ana, Ávila Música religiosa Religious music Arias Recitados Recitatives Estilo Galante Galant Style Francisco de la Huerta http://metadata.un.org/sdg/5 Achieve gender equality and empower all women and girls Música, Musicología |
| Summary: | [EN] The volume presents the study and first edition of forty-three arias in Spanish for soprano, two violins and accompaniment by Francisco de la Huerta y Romanos (Borja, Zaragoza, 1733 - Pamplona, 1814) for the female Cistercian monastery of Santa Ana in Ávila, where the original handwritten parts are preserved. The pieces were composed between 1767 and 1778, when Huerta, at the time instrumentalist at the Ávila Cathedral, was also chapel master at the monastery of Santa Ana. Each piece, excepting one, consists of recitado (recitativo) and the aria itself, the latter mostly with da capo structure. The pieces were performed by the nun musicians of the monastery and almost all were dedicated to three vocal soloists: María Alfonsa de Liébana and the sisters María Gertrudis and María Teresa Lasegue. This music, in Galant style, includes many coloratura passages with vocal virtuosity of operatic influence, and an idiomatic treatment of the violin. The first part of the volume is a study addressing the state of the art, an overview of the monastery of Santa Ana in Ávila, its ceremonial, nun musicians, instruments, external musicians, and the biography and professional career of Francisco de la Huerta. The edited arias are analyzed with particular attention to theological imaginaries in some of the pieces, such as the symbolic marriage of nuns with Christ through an aria for professions, or the mystical sensuality associated to the arias devoted to Saint Bernard, one of the emblematic saints of the Cistercian order. The study concludes with the editorial criteria, the complete edition of the poetic texts (by unknown authors), the critical notes, and seven appendices with ceremonial rules in Santa Ana and selected documents about the five nun musicians at the monastery during Huerta’s time. The second part of the volume includes the musical edition of the forty-three extant arias for Santa Ana in Ávila by that composer, seven of them incomplete. A second volume will be published with the remaining twenty-five compositions by Francisco de la Huerta for the same monastery (five dúos, two tríos and eighteen villancicos). |
|---|