Macario Santiago Kastner

Macário Santiago Kastner (born October 15, 1908 in London , † May 12, 1992 in Lisbon ) was a British musicologist and musician.

Live and act

Kastner initially studied music in London and Amsterdam . In Leipzig he continued his studies with Hans Beltz ( piano ), Günther Ramin ( harpsichord ), Friedrich Högner (1897–1981, music theory ) and Hans Prüfer (musicology) and learned keyboard instrument making at the Julius Feurich company .

He expanded his training in harpsichord playing with Gertrud Wertheim (1890-?), A student of Wanda Landowska , in Berlin . He finally moved to Barcelona in 1929 , where he specialized in musicology with Higinio Anglés until 1936 and completed further studies in piano, harpsichord and clavichord playing with Joan Gibert Camins (1890–1966).

Because he was also interested in Portuguese early music , he settled in Lisbon in 1934. In 1947 he became a professor at the Conservatório Nacional there , where he taught clavichord, harpsichord, historical performance practice , music history and musicology until 1984 .

Kastner has given numerous lectures and courses in Portugal, Spain, France, Belgium, the Netherlands, Germany, Sweden, the USA and South Africa. His publications on musicological topics run into the dozen.

From 1947 he worked at the Spanish Institute for Musicology in Barcelona, ​​and from 1958 a member of the musicological commission of the Calouste Gulbenkian Foundation . In these functions he prepared numerous musical and musicological sources and published them.

Two important congresses in which he participated were “Le Baroque Musical”, held in 1957 at the University of Liège , and the “Primer encuentro sobre música antigua instrumental española”, which took place in Zaragoza in 1977 , and a new era in musicological collaboration between Spain and Portugal opened.

His research extended mainly to Iberian music for keyboard instruments and harp from the 16th to 18th centuries, but also to the Italian, Dutch, English and German repertoire of this period as well as various organological topics. The latter included the problem of reconstructing the Renaissance chromatic harp with two rows of crossed strings . Most recently, he devoted himself to researching the Byzantine musical tradition.

After he was already a conservator at the Musical Instrument Museum of the Conservatório Nacional in Lisbon, he became a research assistant at the Portuguese Institute for Cultural Heritage as an organologist in 1976 . There he was responsible for recording and preparing exhibitions of historical musical instruments.

He also traveled all over Europe as an interpreter and was recorded by a number of radio and television companies. He made a special contribution to the rediscovery of the clavichord as a concert instrument. He also promoted the revival of the repertoire for wind instruments of the Renaissance and Baroque. For this purpose he founded and led the group "Menestréis de Lisboa".

Looking back on his diverse work in the field of early music, which spanned an eventful half a century, Kastner jokingly said of himself when he was old: “I still come from the time of Charles the Fifth. "

Awards

• 1965 Corresponding member of the Real Academia de Bellas Artes de San Fernando in Madrid
• 1984 Salamanca University honored for life's work
• 1984 Honorary Doctorate from the University of Coimbra
• 1984 Commander of the Ordem de Sant'Iago de Espada of the Portuguese Republic
• 1988 Medal of Merit from the Portuguese State Secretariat for Culture
• 1992 ( posthumous ) Grand Cross of the Ordem do Infante Dom Henrique of the Portuguese Republic

Publications

Books

• Música hispânica. O estilo de Padre Manuel R. Coelho, a interpretação de música hispânica para tecla desde 1450 até 1650 . Ediçao Ática, Lisbon 1936.
• Contribución al estudio de la musica española y portuguesa . Ediçao Ática, Lisbon 1941.
• Carlos de Seixas . Coimbra Editora, Coimbra 1947.
• Federico Mompou . Consejo Superior de Investigaciones Científicas, Madrid 1947.
• Antonio and Hernando de Cabezón: a chronicle of the lives of two generations of organists . Schneider, Tutzing 1977.
• Três compositores lusitanos para instrumentos de tecla, séculos XVI e XVII: António Carreira, Manuel Rodrigues Coelho, Pedro de Araújo . Fundaçao Calouste Gulbenkian, Lisbon 1979.
• The Interpretation of 16th- and 17th-Century Iberian Keyboard Music . Pendragon Press, Stuyvesant NY 1987, ISBN 0-918728-53-3 .

items

• La musique de clavier portugaise . In: La Revue musicale . No. 195-6 . Paris 1940, p. 139-45 .
• Tres libros desconocidos con música orgánica en las bibliotecas de Oporto y Braga . In: Anuario musical . No. 1 . Instituto Español de Musicología, 1946, ISSN  0211-3538 , p. 143-146 .
• Los manuscritos musicales núms.48 y 242 de la Biblioteca General de la Universidad de Coimbra . In: Anuario musical . No. 5 , 1950, pp. 89-96 .
• Parallels and Discrepancies between English and Spanish Keyboard Music of the 16th and 17th Century . In: Anuario musical . No. 7 , 1952, pp. 77-115 .
• Portuguese and Spanish clavichords of the 18th century . In: Acta Musicologica . No. 24 . Bärenreiter, Basel 1952, p. 52-61 .
• The “clavecin parfait” by Bartolomeo Jobernardi . In: Anuario musical . No. 8 , 1953, pp. 193-209 .
• Relations entre la musique instrumentale française et espagnole au XVIe siècle . In: Anuario musical . No. 10/11 (1955/56) , pp. 84-108, 91-110 .
• Una intavolatura d'organo italiana del 1598 . In: Collectanea historiae musicae . No. 2 (1956/1957) . Olschki, Florence, p. 237-243 .
• Algunas cartas del P. Antonio Soler dirigidas al P. Giambattista Martini . In: Anuario musical . No. 12 , 1957, pp. 235-241 .
• La musica en la Catedral de Badajoz . In: Anuario musical . No. 12/15/18 (1957/1960/1963) , pp. 123-146, 63-83, 223-238 .
• Le rôle des tablatures d'orgue au XVIe siècle dans l'avènement du Baroque musical . In: Les Colloques de Wegimont . No. 4 . Cercle international d'études ethnomusicologiques, Brussels 1957, pp. 131-49 .
• Órganos antiguos en España y Portugal . In: Miscelánea en homenaje a Monseñor Higinio Anglés . Consejo Superior de Investigaciones Científicas, Barcelona, p. 433-448 (1958-1961).
• Palencia, encrucijada de los organistas españoles del siglo XVI . In: Anuario musical . No. 14 , 1959, pp. 115-164 .
• Veinte años de musicología en Portugal (1940–1960) . In: Acta Musicologica . No. 33 , 1960, pp. 1-11 .
• Harp and Harper in 17th Century Iberian Music . In: Natalicia musicologica Knud Jeppesen septuagenario collegis oblata . Hansen, Copenhagen 1962, p. 143-146 .
• Aside from Juan Cabanilles' piano setting . In: Anuario musical . No. 17 , 1962, pp. 73-97 .
• Quelques aspects du Baroque musical espagnol et portugais . In: Actes des Journées internationales d'étude du Baroque . 1 (Montauban). Association des Publications de la Faculté des lettres et sciences humaines, Toulouse 1965, p. 85-90 .
• Origin and meaning of the “medio registro” . In: Anuario musical . No. 29 , 1964, pp. 57-69 .
• Vestigios del arte de Antonio de Cabezón in Portugal . In: Anuario musical . No. 21 , 1966, pp. 105-121 .
• Semitonia Problems in Iberian Piano Music of the 16th and 17th Centuries . In: Anuario musical . No. 23 , 1968, p. 3-33 .
• Problemas de semitonía en la musica ibérica para el teclado de los siglos XVI y XVII . In: Joan Baptista Cabanilles: músico valenciano universal . Artes Gráficas Soler, Valencia 1981, p. 119-152 .
• There are also differences between Antonio de Cabezón and the “Obras” from 1578 . In: Revista de Musicología . No. 4 . Sociedad Española de Musicologia, 1981, ISSN  0210-1459 , p. 213-235 .
• A harpa em Portugal (séculos XIV – XVIII) . In: Boletim da Associação portuguesa de educação musical . No. 42-43 . Lisbon 1984, p. 12-16 .
• The Haupt family woodwind instruments preserved in the Instrument Museum of the Lisbon Conservatory . In: Tibia . No. 9 . Moeck, 1984, ISSN  0176-6511 , p. 128-132 .
• La teoría de Tomás de Santa María comparada con la prática de algunos de sus contemporáneos . In: Nassare . No. 3 . Instituto Fernando el Católico, 1987, ISSN  0176-6511 , p. 113-127 .

Source editions

• Juan Bermudo: Declaración de instrumentos musicales (facsimile) . Bärenreiter, Kassel 1958.
• Francisco de Salinas: De musica (facsimile) . Bärenreiter, Kassel 1958.

Work editions

• Cravistas portuguezes . Schott, Mainz 1950 (first edition: 1935).
• Manuel Rodrigues Coelho: Flores de música: para o instrumento de tecla y harpa . In: Portugalie musica . Fundaçao Calouste Gulbenkian, Lisbon (1959–1961).
• Francisco Correa de Arauxo: Libro de tientos y discursos de música practica, y theórica de órgano, intitulado Facultad orgánica (Alcalà 1926) . In: Monumentos de la Música Española . Consejo Superior de Investigaciones Científicas, Barcelona 1974.
• Antonio de Cabezón: piano music . Schott, Mainz 1951.
• ders .: Tientos and fugues from the "Obras" . Schott, Mainz 1958.
• Antonio Soler: 6 conciertos para dos instrumentos de tecla . Consejo Superior de Investigaciones Científicas, Barcelona (1952–1962).
• Antonio Carreira: Three Fantasies . Harmonia-Uitgave, Hilversum 1952.
• Silva ibérica de música para tecla de los siglos XVI, XVII y XVIII . Schott, Mainz (1954–1965).
• José Blanco: 1 concierto de dos órganos . Schott, Mainz 1965.
• José Blanco: Secondo concerto, per due organi . Edizioni Zerboni, Milan 1972.
• Carlos de Seixas: 80 sonatas para instrumentos de tecla / 25 sonatas para instrumentos de tecla . In: Portugalie musica . Fundaçao Calouste Gulbenkian, Lisbon (1965/80).
• Ascanio Mayone: Secondo libro di diversi capricci per sonare . In: Orgue et liturgie . No. 63/65 (1964-65) . Editions Musicales de la Schola Cantorum et de la Procure Générale de Musique, Paris.
• Otto tentos del Cinquecento di autori spagnoli e portoghesi per strumenti a keyboard . Edizioni Zerboni, Milan 1970.
• José da Madre de Deus: Fugas para orgão do século XVIII . In: Portugalie musica . Fundaçao Calouste Gulbenkian, Lisbon 1984.

Web links

• biography