Publication: El villancico en la Catedral de Jaca durante el reinado de Felipe V (1700-1746): recepción y evolución del nuevo estilo
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2018-06-25
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Universidad Complutense de Madrid
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Abstract
La presente tesis doctoral trata del cultivo y práctica musical en Jaca durante la primera mitad del siglo XVIII. La situación estratégica de la ciudad, en el enclave fronterizo con Francia, dotó a su catedral de un carácter sobresaliente en el contexto europeo al menos desde la Edad Media, cuando se convirtió en punto de entrada obligado a la península para las personas e ideas que iban a circular por el Camino de Santiago. Con el cambio dinástico acaecido en España a la muerte del último monarca habsbúrgico Carlos II y la consiguiente Guerra de Sucesión, desde los inicios del Setecientos la capital altoaragonesa iba a cobrar un nuevo protagonismo social y cultural en las relaciones entre Francia y España, gracias al emplazamiento militar de su ciudadela (que albergaría una guarnición militar permanente) y al apoyo mostrado por la ciudad a Felipe V, en contra de los territorios colindantes aragoneses (partidarios del pretendiente austríaco al trono). De ese modo, la ciudad se convirtió en un baluarte especialmente privilegiado por la nueva corona, que lo utilizó como modelo de fidelidad (en un primer momento, de resistencia y luego de difusión de los valores borbónicos), con el reconocimiento del nuevo monarca al finalizar la guerra a su favor. Musicalmente, si el período bélico coincidió con una fase de cierta estabilidad y cerrazón (durante el magisterio del músico jaqués Joseph Antonio Betrán), una vez finalizada la guerra, y espoleada la ciudad por la euforia de haber salido vencedora –estando rodeada por un entorno hostil–, se despertó el interés del cabildo por contratar maestros de capilla de otras localidades, en un aperturismo hasta entonces no conocido que se asentó a partir del establecimiento de unos fuertes vínculos con Barbastro, Zaragoza, Tarazona y Barcelona. Fue así como, pese a las graves consecuencias que tuvo en los reinos de la Corona de Aragón la supresión de sus Fueros –como castigo por su inclinación hacia el archiduque Carlos–, Jaca recibió ciertos privilegios políticos, como su representación en las Cortes Generales. En lo musical, una ciudad con un importante contingente foráneo de mandatarios, soldados de alta graduación y jerarquía eclesiástica asignados mediante nombramiento real (que irían copando poco a poco los puestos de mayor visibilidad social), iba a recibir con naturalidad y cierta complacencia, una serie de materiales que, o bien llegados desde la corte, o bien pasados por el tamiz cortesano (música francesa e italiana y nuevas maneras de hacer y concebir el fenómeno musical –cantatas, arias, recitados, una nueva orquesta basada en violines, oboes y trompas frente a los antiguos ministriles, etc.–), todavía tardarían un tiempo en llegar y asentarse en otros territorios ideológicamente menos proclives...
This doctoral dissertation deals with the development and practice of music in the city of Jaca during the first half of the Eighteenth-century. From the Middle Ages onwards, the city’s strategic position on the frontier with France granted its cathedral a notable status within the European context and it became a key point of entry into the peninsula trough the ‘Camino de Santiago’ and for the people and ideas that travelled along it. The dynastic changes that came about in Spain on the death of the Habsburg King Charles II and the subsequent War of Spanish Succession granted Jaca a new social and cultural protagonism in the early 1700s. Its military citadel (which harboured a permanent garrison) and its loyal allegiance to Philip V in direct opposition to the surrounding territories which supported the Austrian claim to the throne, played a key role in the relationship between France and Spain. Thus Jaca became a favoured stronghold of the new monarch who used it as a model of loyalty (firstly at the forefront of the resistance and latterly as a vehicle for the dissemination of Bourbon values) once the war ended in his favour and he was proclaimed as the rightful heir to the throne. In musical terms, whereas the period of war had encouraged a certain stability and conservatism (particularly during the period of influence of the local musician Joseph Antonio Betrán), the end of war and the euphoria awakened by the city’s triumph –surrounded as it had been by hostile territories–, spurred an interest on the part of the cathedral chapter in hiring chapel masters from further afield. A previously unknown climate of openness based on the creation of strong links with the cities of Barbastro, Zaragoza, Tarazona and Barcelona flourished in the city. Therefore, despite the grave consequences for the Crown of Aragon of the suppression of its special exemptions –as a punishment for supporting the Archduke Charles–, Jaca was nonetheless awarded certain political privileges, such as the right to representation in the Spanish Parliament. In a musical context, the fact that it became a city with an important population of foreign mandatories, high-ranking military officers and members of the church hierarchy assigned to Jaca by royal decree (who would gradually occupy positions of greater social relevance) meant that it was better disposed to willingly accept and assimilate a range of innovations that arrived through the influence of the court or through the filter of courtesan entertainment (French and Italian music and new ways of creating and understanding music –such as cantatas, arias, recitative and a new type of orchestra made up of violins, oboes and horns as opposed to the old tradition of minstrels–), developments that would take longer to find acceptance in other less ideologically well-disposed territories...
This doctoral dissertation deals with the development and practice of music in the city of Jaca during the first half of the Eighteenth-century. From the Middle Ages onwards, the city’s strategic position on the frontier with France granted its cathedral a notable status within the European context and it became a key point of entry into the peninsula trough the ‘Camino de Santiago’ and for the people and ideas that travelled along it. The dynastic changes that came about in Spain on the death of the Habsburg King Charles II and the subsequent War of Spanish Succession granted Jaca a new social and cultural protagonism in the early 1700s. Its military citadel (which harboured a permanent garrison) and its loyal allegiance to Philip V in direct opposition to the surrounding territories which supported the Austrian claim to the throne, played a key role in the relationship between France and Spain. Thus Jaca became a favoured stronghold of the new monarch who used it as a model of loyalty (firstly at the forefront of the resistance and latterly as a vehicle for the dissemination of Bourbon values) once the war ended in his favour and he was proclaimed as the rightful heir to the throne. In musical terms, whereas the period of war had encouraged a certain stability and conservatism (particularly during the period of influence of the local musician Joseph Antonio Betrán), the end of war and the euphoria awakened by the city’s triumph –surrounded as it had been by hostile territories–, spurred an interest on the part of the cathedral chapter in hiring chapel masters from further afield. A previously unknown climate of openness based on the creation of strong links with the cities of Barbastro, Zaragoza, Tarazona and Barcelona flourished in the city. Therefore, despite the grave consequences for the Crown of Aragon of the suppression of its special exemptions –as a punishment for supporting the Archduke Charles–, Jaca was nonetheless awarded certain political privileges, such as the right to representation in the Spanish Parliament. In a musical context, the fact that it became a city with an important population of foreign mandatories, high-ranking military officers and members of the church hierarchy assigned to Jaca by royal decree (who would gradually occupy positions of greater social relevance) meant that it was better disposed to willingly accept and assimilate a range of innovations that arrived through the influence of the court or through the filter of courtesan entertainment (French and Italian music and new ways of creating and understanding music –such as cantatas, arias, recitative and a new type of orchestra made up of violins, oboes and horns as opposed to the old tradition of minstrels–), developments that would take longer to find acceptance in other less ideologically well-disposed territories...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Musicología, leída el 25/10/2017