DURON, Sebastián (1660-1716) - Cuando Muere el Sol

Obra de Jan Brueghel el Jove (1601-1678), pintor flamenc (1)

- Recordatori de Sebastián Durón -

En el marc de la commemoració del seu 300è aniversari de decés

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Parlem de Pintura...

Jan Brueghel el Jove (Antwerp, 13 de setembre de 1601 - Antwerp, 1 de setembre de 1678) va ser un pintor barroc flamenc, fill de Jan Brueghel el Vell i nét del famós i reconegut Pieter Brueghel el Vell. Va ser entrenat pel seu pare i va passar la seva carrera pintant obres d'estil i gènere semblants a les del seu progenitor. Juntament amb el seu germà Ambrosius, va produir paisatges, escenes al·legòriques i altres obres amb un característic i meticulós detall. Brueghel va ser un espavilat pintor que va copiar les obres del seu pare i les va vendre amb la signatura d'aquest. Va morir a Antwerp el setembre de 1678.

Font: En català: Jan Brueghel el Jove (1601-1678) - En castellano: Jan Brueghel el Jove (1601-1678) - In english: Jan Brueghel el Jove (1601-1678) - Altres: Jan Brueghel el Jove (1601-1678) 

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Parlem de Música...

Sebastían Durón (Brihuega, bap. 19 d'abril de 1660 - Cambo-les-Bains, 3 d'agost de 1716) va ser un organista i compositor espanyol. Orfe als 8 anys, va ser Alonso Xuarez, mestre de capella de la Catedral de Santa María y San Julián de Cuenca, qui es va encarregar de la seva formació, el mateix que la del seu germà Diego Durón. Seguint el costum de l'època, va recórrer com a organista diverses ciutats: Saragossa, Sevilla, Burgo de Osma i Palència. En aquesta última ciutat hi va romandre cinc anys consolidant la seva fama, fins a l'extrem de ser nomenat per Carles II organista de la Capella Reial el 23 de setembre de 1691. El 1702 es va fer càrrec de totes les activitats de la cort, tant religioses com teatrals. El 1706, Felip V, en recobrar Madrid, el va obligar a l'exili per haver manifestat públicament la seva adhesió a la Casa d'Àustria. Per això es va instal·lar a França, primer a Baiona i després a Pau. El 1714 va tornar a Espanya prestant els seus serveis en cases de la noblesa com en la del comte de Salvatierra i en la del duc d'Osuna. El 1715 va viatjar a Baiona com a capellà d'honor de la reina vídua Mariana de Neuburg. La seva producció va ser molt extensa, amb un tractament diferent segons la temàtica de les seves obres. Però va ser la seva obra teatral la més important del seu repertori, sent l'òpera La guerra de los gigantes (1710) la primera en la història musical espanyola en què va apareix el nom pròpiament 'òpera'. Anys més tard, el jesuïta Antonio Eximeno el va acusar injustament de ser el responsable de la decadència de la música espanyola per haver introduït la moda italiana. Durón va morir a Cambo-les-Bains l'agost de 1716.

OBRA:

Vocal secular:

Zarzuelas and operas:
all first performed in Madrid
Salir el amor del mundo (zar, 2, J. de Cañizares), 1696, ed. A. Martín Moreno (Málaga, 1979);
Muerte en amor es la ausencia (comedia, 3, A. de Zamora), 1697, Mn;
El imposible mayor en amor, le vence amor (zar, Cañizares), 1711, P-EVp;
Las nuevas armas de amor (zar, Cañizares), 1711, E-Mn, P-EVp, ed. in Hart, 1 song E-Bc;
Veneno es de amor la envidia (zar, Cañizares), 22 Jan 1711, Mn
Acis y Galatea (zar, Cañizares), 1 song Mn (incorrect attrib.);
Amor es quinto elemento (Zamora), 1 song Bc, 1 song Mn;
Apolo y Dafne (zar), Mn, collab. J. de Navas;
Los elementos de amor, voz, cristal, luz, y color (M. de Vidal Salvador), 1 song Mn;
El estrago en la fineza (zar, Cañizares), P-EVp;
La guerra de los gigantes (ópera scénica, 1), 1700–07, E-Mn;
Selva encantada de amor (zar), Mn

Other:
52 Villancicos, 1–9vv: 7, Sucre, Bolivia, E-CU;
12, E;
7, PAc;
7, SAc;
15, SEc; 4, VAc
Villancicos, theatrical songs, other songs, Santuario de Aránzazu, Bc, cathedral archive, Calzada, Cu, Convento de las Descalzas Reales, Madrid, Mn, SEc, V, GCA-Gc, MEX-Mc, Instituto Nacional de Bellas Artes, Mexico City, San Antonio Abad Seminary Library, Cuzco, Peru, US-NYp, SFs

Doubtful works:
Celos vencidos de amor (zar, M. de Lanuza), 1698, ?lost;
Júpiter y Yoo (zar, Lanuza), 1699, Mn, score anon

Vocal religiosa:

Missa sobre el ‘Ave maris stella’, 8vv, E-E, PAMc;
Missa sobre el Ave Maria, 8vv, VAcp;
2 Missae sobre el Ave María, 8vv, bc, E;
Missa ‘Dios te salve María’, 8vv, bc, E;
Missa de batalla, 7vv, Mn;
Missa ‘a la moda valenciana’, 3 choirs (10vv), E;
Misa de difuntos, 3 choruses, bc, E, Mp, funeral lessons, Taedet, 10vv, insts, Pelli mei, 8vv, insts, Mp
3 vespers collections, 8vv, bc, E;
6 vespers pss, 8vv, bc, E;
Completas, 8vv, CU, E;
Completas, 8vv, orch, Mp (collab. F. Corselli);
Letanía de los santos, 8vv, org, orch, Mp;
2 litanies, 8vv, E;
4 lamentations, 4vv, 8vv, with and without insts, MEX-Mc, GCA-Gc;
Lamentation (Incipit Lamentatio), 8vv, vns, E-E;
Lamentation (Aleph. Quomodo obsucatum est), S, 3 vn, bc, E;
Lamentation (De lamentatione Jeremiae), a12, vns, E;
Lamentation (Incipit Oratio Jeremiae), 4 choirs, vns, clarín, bc, E
Miserere, 8vv, vns, violón, bc, E;
Miserere, 12vv, vns, fls, bc, E;
Dixit Dominus, 3 choirs (9vv), bc, SA;
TeD, 4 choirs, vns, clarín, bc, E;
María: in idirem ungüentorum tuorum, motet, 2vv, bc, E;
Ego sum resurrectio, motet, 4vv, bc, E;
Responsorio de difuntos, 4vv;
Laudate pueri Dominum, 4vv, 1694, San Antonio Abad Seminary Library, Cuzco, Peru;
Regina Caeli, 8vv, org, bc, E-E
Salve;
Salve Regina, 8vv, VAcp;
3 Salve regina, 8vv, org, bc, SA;
Salve Regina, 8vv, org, E;
Salve a nuestra Señora ‘a dos coros y el primero canta siempre en eco’, E

Font: En català: Sebastián Durón (1660-1716) - En castellano: Sebastián Durón (1660-1716) - In english: Sebastián Durón (1660-1716) - Altres: Sebastián Durón (1660-1716)

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Parlem en veu pròpia o en veu d'altri...

Durón wrote a large quantity of both sacred and secular music. Many of the Latin-texted sacred works are predictably conservative, within what was expected for service music in Counter-Reformation Spain. Some of them, however, especially the motets, Misereres, Te Deum, and Lamentations, show Durón at his most modern and are important as well for their new textures and use of instruments. The villancicos include large and small pieces for voices and instruments that preserve the Spanish Baroque musical heritage of earlier composers such as Juan Hidalgo, yet go beyond what Hidalgo and others had achieved in the deployment of new musical techniques and genres for textual expression and effect. Durón's villancicos seem especially ‘theatrical’; he employed virtually the same fresh approach to setting their sacred texts in the vernacular as he displayed in his brilliant theatrical scores. His first theatrical score was probably the zarzuela Salir el amor del mundo. This was followed by music for other zarzuelas and comedias with texts by Cañizares and other fashionable dramatists. The highly successful Veneno es de amor la envidia was perhaps Durón's last composition for the Spanish stage. Its première in Madrid, by the company of Joseph de Prado, together with Prado's public performances of two other Durón zarzuelas in Madrid 1710–1711 (well after Durón's exile in 1707) could indicate that Durón sent scores to Madrid from his place of exile, or left copies of these works in Madrid before his departure. Some of Durón's zarzuelas were presented in privately sponsored performances in Lisbon, 1718–23, and copies of his cantatas and excerpted theatrical songs are preserved in Latin America.

Durón's ‘ópera scénica’ La guerra de los gigantes was composed as an aristocratic commission for the Count of Salvatierra. The story and five characters of the opera are taken from the legend of the revolt of the giants against the gods of Olympus. With no libretto surviving, it is difficult to know precisely if the one-act manuscript score presents a complete opera and indeed whether it was fully sung in performance. Because the work has barely any recitative, the plot unfolds through a series of set pieces (largely strophic airs and four-part choruses). It seems likely that this was actually a partly-sung entertainment in the manner of a zarzuela, with spoken roles for additional secondary characters and further dramatic dialogue. Most contemporary works included eight or more characters. In Durón's own Veneno es de amor la envidia, perhaps his most italianate work, three of the eight characters have entirely spoken roles, and only the three supernatural roles are sung entirely. Although his career as a theatrical composer was brief, Durón's contribution to the history of Spanish theatre music is important. Along with those of Juan de Navas and Antonio de Literes, his scores demonstrate the co-existence of native and imported musical styles that came to characterize musical life in Madrid in the early 18th century. Several years after Durón's death, his theatre music was still controversial; for some nationalist critics, he had introduced contemporary foreign musical genres and styles to the Spanish stage, thereby opening the door to all sorts of modern abuses. His scores contain French minuets in addition to popular Spanish dance songs such as the seguidilla, italianate da capo arias beside traditional Spanish tonos and tonadas. Beyond formal distinctions, Durón's approach to text setting and to the musical phrase differs considerably from the established Spanish techniques associated with the music of Hidalgo. For these new sounds, Durón was accused by later writers of having polluted the ‘purely Spanish’ style with capricious foreign ‘barbarisms’, to the detriment of traditional Spanish gravity.

GROVE MUSIC ONLINE (source/font: aquí)

Gaudiu i compartiu! 

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Informació addicional... 

INTERPRETS: Musica Ficta
AMAZON: Duron - Cuando muere el Sol

IMSLP: Sebastián Durón (1660-1716)

CPDL: Sebastián Durón (1660-1716)

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