
Concierto en colaboración con Juventudes Musicales de Sevilla
The Harpsichord in 18th-Century Spain
PADRE ANTONIO SOLER | Quinteto con clave e instrumentos de arco nº3, en Sol mayor
VICENTE BASET | Sinfonia a più stromenti, Bas-3
VICENTE BASET | Obertura a più stromenti, Bas-7
LUIGI BOCCHERINI | Quinteto nº 5, Op.57
Ensemble Suspiratio
Baroque Violoncello | ROSA DE BENITO
Clave | GUIDO GARCÍA
Baroque Violin | ABELARDO MARTÍN RUIZ Y CARLA GARCÍA MOLINA
Baroque Viola | RAQUEL DE BENITO
Program notes
Once again, a concert in this series is dedicated to the fascinating 18th century, also introducing us to a little-known composer, Vicente Baset, about whom very little is documented. He worked as a violinist in Madrid in the mid-18th century, as a member of the Royal Orchestra of the Coliseo del Buen Retiro, which performed at royal festivities organized by Farinelli, before joining María Hidalgo’s theater company. Twelve of his symphonies and overtures for strings have been preserved, copied (and perhaps composed) for Carl Leuhusen, Secretary to the Swedish Ambassador in Madrid from 1752 to 1755.
Padre Antonio Soler, closely associated with the monastery of El Escorial, is best known for his contribution to the keyboard repertoire, where he moved away from the Italian musical language to create one that incorporates elements of Spanish folklore. His six quintets were written in his mature years, in 1776, and reflect a departure from the Baroque towards the galant style, so characteristic of this Enlightenment century.
A prime example of this style is Boccherini’s quintet, composed in 1771 and published alongside five others in 1775. Of its four movements (Amoroso, Allegro e con spirito, Minuetto y Rondeau andante), the third is notably the most famous, with its simple and elegant melody, often performed as a standalone piece.