String Quartet in Spain

Christiane Heine studied Musicology, Medieval History, Art History and Hispanic Philology at the Friedrich-Alexander-University of Erlangen-Nürnberg/Germany (PhD 1992). Since 1993 she holds a professorship in Music Analysis at the University of Granada/Spain. From 2012 to 2015 she coordinated a national R&D project focused on Spanish chamber music of the nineteenth and twentieth centuries.Juan Miguel González Martínez is graduated in Hispanic Studies from the University of Murcia/Spain (PhD 1996) and qualified as a Recorder Senior Professor at the Conservatory of Music in Murcia. He received his bachelor’s degree in Musicology from the University of Granada. Currently he holds a professorship in Art History at the University of Murcia.

• Christoph Flamm: Preface – Christiane Heine/Juan Miguel González Martínez: Introduction – José Carlos Gosálvez Lara: Fuentes documentales del cuarteto de cuerda en España (1770-c1920) – Miguel Ángel Marín: Haydn, Boccherini and the Rise of the String Quartet in Late Eighteenth-Century Madrid – Christiane Heine: Die zweite Blüte: Spanische Streichquartettproduktion im frühen 20. Jahrhundert – Germán Gan-Quesada: The String Quartet in Spain after 1960: Some Aesthetic Remarks – Christian Speck: Zum Streichquartettschaffen von Luigi Boccherini – Walter Kurt Kreyszig: Luigi Boccherini Composing his Opus ultimum under the Patronage of Spain: Inventiveness, Animation and Sensibility in the Sonata Form Movement of his Fragmentary String Quartet No. 91 in D major Op. 64 No. 2, G249 (1804) – Màrius Bernadó/José María Domínguez: João Pedro Almeida Mota: los cuartetos de un pasticheur en Madrid – Jorge Fonseca: Forma y textura en los primeros cuartetos de Manuel Canales – Marie Winkelmüller: Arriagas Verwendung des spanischen e-Modus. Ein neues Beispiel für eine ältere Tradition? – Tim S. Pack: The String Quartets of Juan Crisóstomo de Arriaga: Experiments in Form, Harmony, and Counterpoint – Stéphan Etcharry: Identidad nacionalista en el Quatuor à cordes sur des thèmes populaires basques (1905) de José María Usandizaga: del material temático a su organización formal – Florence Doé de Maindreville: Le Quatuor à cordes op. 4 (1910) de Joaquín Turina à la lumière du contexte musical parisien de l’époque – John Stokes: A Critical Edition of Conrado del Campo’s String Quartet No. 8, "At the Death of his Mother" (1913): Defining the Scope of the Critical Process through the Creation of a Musically Viable Score for Interpreters – Gabrielle Kaufman: The Forgotten String Quartets (1927–1933) by Gaspar Cassadó – Itziar Larrinaga Cuadra: El Cuarteto en Sol (1936–1937) de Francisco Escudero: ¿un programa secreto? – Francisco García Álvarez: Félix Antonio: sus Cuartetos de cuerda – Torcuato Tejada Tauste: Conrado del Campo’s String Quartet No. 12 in B flat major (1948): An Approach to his Compositional Technique – Desirée García Gil: El Cuarteto Indiano (1951) de Xavier Montsalvatge – Henri Gonnard: Le 3e Quatuor à cordes (1958) de Julián Bautista au sein de l’évolution du langage musical au XXe siècle: une oeuvre atonale ou « tonétique »? – Rafael Liñán Vallecillos: Ramón Barce’s Quintessential String Quartet No. 5 (1978) Tomás Marco: Mis seis Cuartetos de cuerda – Alfredo Aracil: More than Composing for 4 Instruments – Benet Casablancas: Componer para cuarteto de cuerda hoy – la música de cámara en estado puro – José M. Sánchez-Verdú: Writings of Space and Memory: The String Quartet as locus amoenus

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