José Palomino (1755-1810) - Concerto per clavicembalo (1785)

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Composer: José Palomino (1755-1810)
Work: Concerto per clavicembalo (1785)
Performers: Márіo TrіIha (clave); Amаzonаs Baroque Ensemble

Painting: Francisco de Goya (1746-1828) - La pradera de San Isidro (1788)
Image in high resolution: https://flic.kr/p/2iNBE1k

Further info: No available
Listen free: No available

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José Palomino
(Madrid, 1755 - Las Palmas, 9 April 1810)

Spanish composer. His skill as a violinist earned him a place in the Spanish royal chapel at an early age. A pupil of Rodríguez de Hita, he had early success composing tonadillas, including the popular El canapé (1767); these apparently attracted the Madrid nobility and some were listed among the music of the 12th Duke of Alba. In 1774 Palomino emigrated to Lisbon, where he became a member of the S Cecilia brotherhood on 21 March. By 1785 he was a ‘virtuoso instrumentalist of the royal chapel’; the fine Portuguese violinist Inácio José María de Freitas was among his students. On 15 June 1785 his serenata Il ritorno di Astrea in terra, celebrating the double marriages of the Portuguese and Spanish infantes, was produced at the Spanish embassy under the auspices of the ambassador, Count Fernán Nuñez, grandee of Spain. It so delighted his audience that he was given an elegant box containing 4000 duros as well as special pensions. His intermezzos and Portuguese entremeses were produced in the theatres for national music, the Teatro do Salitre and Teatro de Rua dos Condes. Despite the insanity of Maria I in 1792, Palomino remained at the court, petitioning for Portuguese citizenship after ‘28 years of service’. According to contemporaries, he played in one of the best court orchestras in Europe; but in addition he served as orchestral leader at both theatres for national music. He left Lisbon about 1807–8 when the royal family fled the Napoleonic invasion. He accepted the post of maestro de capilla in Las Palmas for a salary equivalent to 20,000 reales, and died two years later. Palomino’s vocal writing is characterized by a melodic focus with little polyphony. Frequently, melodies are strung together by small rhythmic motifs. There are prominent ensemble sets, possibly influenced by his comic works such as the popular Os amantes astutós (P-Ln) and O enganno aparente (both 1793, for the Salitre theatre). Another entremés (for the Rua dos Condes), As Regatieras zelozas (1801; Ln), featured a fashionable Brazilian modinha (a sentimental art song). In addition to his serenata (P-Ln, La), his most significant remaining work, three songs were published in the Jornal de modhinas, and three duets and six modhinas survive in manuscript (in E-Mn 2261). Three tonadillas, including El canapé (ed. in J. Subirá: La tonadilla escénica, iii, Madrid, 1930), are identified as his among manuscripts in the Biblioteca Municipal, Madrid, as well as two by Antonio Palomino and five others ascribed merely to ‘Palomino’. A four-voice motet, at Lisbon Cathedral, is his only extant sacred work. Of his instrumental works, a concerto or quintet for keyboard and strings, an incomplete duet for violin and keyboard (both 1785; P-Ln) and a piano sonata (La) have survived. #ClassicalMusic