Félix Antonio Máximo López (1742-1821)
- Sonata 2ª de Quatro Manos
Performers: María Teresa Chenlo (clave); Sharon Gould (clave)
Further info: Félix Antonio Máximo López (1742-1821)
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Spanish organist and composer. Nothing is known about his early years.
He joined the Madrid royal chapel as fourth organist in 1775, advancing
to first organist in 1805 on Lidón’s resignation. He was twice married;
two of the sons of his first marriage were prominent in court music;
Ambrosio (1769-1835) as royal chapel organist, and Miguel (known also as
Miguel López Remacha) (1772-1827) as first tenor of the royal chapel,
composer of operatic and sacred works and author of treatises on solfège
and composition. According to Saldoni, a number of López’s works –
keyboard pieces, guitar pieces, chamber works and villancicos – were
published during his lifetime. As with many of his contemporaries, these
publications do not seem to be extant, but several of his works have
survived in manuscript. His organ pieces, mainly liturgical, range from
short versets and fabordónes to lengthy sonatas, caprichos and fugues
intended for the Elevation or Offertory. Some use hymn chants, including
the traditional Spanish Pange lingua. Their style is a sometimes
incongruous amalgam of the pianistic Viennese Classical idiom and stile
antico counterpoint, but they are effective when played according to the
careful registration directions on an instrument such as the royal
chapel organ (built in 1778 by Jorge Bosch) for which they were written.
López’s harpsichord works include competently written multi-movement
sonatas in the Classical style (including two for four hands) and some
colourful variations on Spanish melodies. His Reglas generales, o
escuela de acompañar al órgaño, o clave (MS, E-Mn) demonstrates various
ways to harmonize and ornament a bass line.
