Resumen de De la etiqueta de la Real Cámara a las nuevas sociabilidades públicas y privadas: la actividad del violinista y compositor José Palomino en Lisboa (1774-1808)
- español
El violinista y compositor José Palomino (1753-1810) dejó la corte de Madrid en 1774, estableciéndose en Lisboa hasta la salida de la familia real portuguesa a Brasil (1807). Poco después se trasladó a Las Palmas, donde acabaría sus días como maestro de capilla. Su principal puesto profesional en Portugal fue el de violinista de la Orquesta de la Real Cámara (participando en las principales funciones religiosas con patrocinio de la monarquía, la ópera de corte y conciertos en las residencias reales), pero al mismo tiempo desarrolló una actividad muy intensa fuera del circuito oficial cortesano. Actuó como instrumentista y «director» (festero) en «funciones» musicales promovidas por la aristocracia, la burguesía y por diversas instituciones civiles y religiosas, siendo además autor de música escénica para los teatros públicos de Lisboa. La producción de Palomino refleja estos diferentes contextos, incluyendo obras instrumentales como el Concierto para violín y el Quinteto para clave o fortepiano, dos violines, viola y bajo, repertorio teatral y religioso.
- English
The violinist and composer José Palomino (1753-1810) left the court of Madrid in 1774 to settle in Lisbon, where he stayed until the departure of the Portuguese Royal Family for Brazil in 1807. Shortly thereafter, he moved to Las Palmas, where he ended his days as chapel master of the cathedral. In Portugal, his main professional activity was playing violin in the Royal Chamber Orchestra (participating in the most important religious events patronized by the monarchy, court operas, and concerts at the royal residences), but at the same time he was also extremely active outside the official sphere of the court. He performed as an instrumentalist, and/or «director» (festero), musical events promoted by the aristocracy, the bourgeoisie, and by a number of civic and religious institutions, and he composed stage music for Lisbon's public theatres. Palomino's output reflects these different contexts, including instrumental works such as the Violin Concerto and the Quintet for harpsichord or fortepiano, two violins, viola and bass, dramatic music, church repertoires, as well as entertainment music intended for domestic contexts and related to the new practices of urban social life (sonatas for keyboard, short chamber pieces, canzonette and Portuguese modinhas). His career brings together the duties of the court ceremonial of the Ancien Régime with the musical practices linked to private initiative within a society that slowly began to encompass the challenges of the public sphere. From the aesthetic point of view, his music combines Iberian traditions (Spanish and Portuguese) with more cosmopolitan features (expressed, for example, through a profound knowledge of Haydn's music). Despite being a figure already known to Iberian musicology, José Palomino's activities in Lisbon have not yet been studied systematically. Based on an extensive and assorted set of historical and musical sources, the present paper seeks to give, for the first time, a detailed overview about the multiple facets of his professional career in Portugal, taking into consideration the specificities of the local context without losing sight of the larger picture of European culture as a whole.
