Quesada (Aguilar), Marco Antonio

(b San José, 5 Jan 1964). Costa Rican composer. From an early age he followed the general music course at the University of Costa Rica. He took a degree in music at the same institution, with special emphasis in composition, taught by Gutierrez Sáenz, Zeller Flores and Herra Rodríguez. In 1984 he took part in the seminar on composition and electro-acoustic music given in San José by Steiger. He also studied conducting with Agustín Cullell and Herra. He has worked as a teacher with the youth programme of the National SO and at the School of Musical Arts of the University of Costa Rica.

He is a founder member and secretary of the Centre for Contemporary Music in San José. In 1988 he obtained the Aquileo J. Echevarría National Music Prize for his Brass Quintet. He was invited to participate in the Second and Sixth Caribbean Composers’ Forums, held in Costa Rica. His works include a number of chamber pieces, band music and symphonic works; he has also composed music for theatrical productions. In April of 1992 the National SO gave a first performance at the National Theatre of his Negro from the suite Arco iris. He is also well known among Costa Rican pianists for his popular piece Rock-do.

JORGE LUIS ACEVEDO VARGAS

Quesnel, (Louis) Joseph (Marie)

(b Saint Malo, 15 Nov 1746; d Montreal, 3 July 1809). Canadian composer, playwright and poet of French birth. After visiting several exotic countries as a young sailor, Quesnel came to Canada unintentionally in 1779 when the ship L’espoir, carrying supplies to the USA, was captured by the British off Nova Scotia. Owing to personal connections, he was allowed to settle in Montreal and later moved to nearby Boucherville. He travelled to the Great Lakes and upper Mississippi and to France, trading in furs and wine. Quesnel was a well-educated amateur anxious to promote music and theatre in a pioneer society. He was a co-founder of Montreal’s Théâtre de Société in 1789. On 14 January 1790 this company first performed the ‘comédie en prose, mêlée d’ariettes’ Colas et Colinette with music and words by Quesnel, the first Canadian (and possibly the first North American) opera. After revivals in Quebec in 1805 and 1807 the text was published there in 1808 but the music printing did not continue beyond the first few pages of proof. Only the vocal and second violin parts survive in manuscript (in C-Qsl); the accompaniment was reconstructed by Godfrey Ridout for a modern revival in 1963, and published at Toronto in 1974. Quesnel also wrote the words and music for the comic opera Lucas et Cécile, of which only the vocal parts survive (C-Qsl). An accompaniment for small orchestra was supplied by John Beckwith in 1991 and a piano-vocal score published in 1992. The opera received its première in the Beckwith version in Toronto in 1994. (A performance announced in 1808 never took place.) Both works, relying on late 18th-century French models, reveal a gifted melodist and a resourceful harmonist. Excerpts are included in Canadian Musical Heritage, x (1991).

Quesnel’s church and instrumental music has been lost. His literary works include the comedy L’anglomanie (1802) and the autobiographical poem Epitre à Mr. Labadie, a locus classicus for the complaints of the unrecognized Canadian artist.

WRITINGS

ed. M. Gnarowski: Joseph Quesnel, 1749–1809: Selected Poems and Songs/Quelques poèmes et chansons (Montreal, 1970)

BIBLIOGRAPHY

DCB (J.E. Hare); EMC2 (H. Kallmann)

H. Kallmann: A History of Music in Canada 1534–1914 (Toronto, 1960/R)

J. Beckwith: ‘Le Lucas et Cécile de Joseph Quesnel: Quelques problèmes de restauration’, Cahiers de l’ARMuQ, xiii (May 1991), 10–28

HELMUT KALLMANN

Quevedo [Quebedo], Bartolomé de

(b Sahagún, León province c1510; d 31 Aug 1569). Spanish theorist and composer. He was maestro to the Spanish Infanta Juana in Arévalo from 1549 until 11 January 1552, and was elected maestro de capilla of Toledo Cathedral on 5 December 1553, having been spared a competition with Morales by the latter’s death. Although the treasurer of the cathedral challenged his appointment claiming a defect in Quevedo’s ancestry, the chapter confirmed him in his post, and he remained at Toledo until dismissed for serious infractions on 27 October 1562. Although he fought to remain, he was demoted to honorary maestro de capilla. His valuable library passed to the university at Alcalá de Henares via his nephew, who studied there.

Quevedo subsequently wrote a commentary in Latin on the portion of Pope John XXII’s De vita et honestate clericorum devoted to music and musicians. He criticized the modern expansion of the range of polyphonic music to three octaves on the grounds that it obscured the distinction between authentic and plagal modes; he objected to the proliferation of instruments in Spanish cathedrals and to the increased use of chromaticism. Quevedo’s only surviving works are an Asperges for four and five voices (in E-Tc choirbook 9),Victimae paschali laudes and an incomplete Ave verum corpus for four voices (Tc choirbook 12). A lavish volume of his compositions belonged to the estate of Juana.

BIBLIOGRAPHY

StevensonSCM

C. Pérez Pastor: Noticias y documentos relativos a la historia y literatura españolas, ii (Madrid, 1914), 345

K.-W. Gümpel: ‘Der Toledaner Kapellmeister Bartolomé de Quevedo und sein Kommentar zu der Extravagante “Docta sanctorum” Johannes XXII’, Spanische Forschungen der Görresgesellschaft, 1st ser.: Gesammelte Aufsätze zur Kulturgeschichte Spaniens, xxi (1963), 294–308

R. Stevenson: ‘The Toledo Manuscript Polyphonic Choirbooks and Some Other Lost or Little Known Flemish Sources’, FAM, xx (1973), 103

F. Reynaud: La polyphonie tolédane et son milieu des premiers témoignages aux environs de 1600 (Paris, 1996)

ROBERT STEVENSON

Quickstep.

A fast version of the Foxtrot.

Quiebro

(Sp.).

A type of ornament, variously a trill or a mordent. See Ornaments, §2.

Quijada.

A Latin American Rattle.

Quilico, Gino

(b New York, 29 April 1955). Canadian baritone, son of Louis Quilico. He studied music at the University of Toronto and continued vocal studies with his parents, making his début in 1978 as Mr Gobineau in a television performance of The Medium. After engagements in Canada and the USA, in 1980 he made his European début in Paris as Gounod’s Mercutio, which brought him a three-year contract at the Opéra. He made his British début as Puccini’s Lescaut with Scottish Opera at the 1982 Edinburgh Festival, followed by Valentin at Covent Garden the next year and Escamillo in 1991. Besides many roles in the French, Italian and Russian repertory and in Mozart, he has sung in the premières of L’héritière (Damase) and Montségur (Landowski). He made his Metropolitan début in 1987 as Massenet’s Lescaut, returning as Valentin (1990) and Figaro in the première of Corigliano’s The Ghosts of Versailles (1991). He has sung on several occasions with his father in the same opera, notably at the Metropolitan in Il barbiere and Manon. His high baritone voice, full-toned and pungent in character, is combined with an elegant presence. He has made several video recordings, and his CD recordings include Lescaut, Marcello, Mercutio, Orpheus (Monteverdi), Raimbaud (Le comte Ory), Coroebus (Les Troyens) and the title role in Chausson’s Le roi Arthus. He was awarded the Order of Canada in 1992.

BIBLIOGRAPHY

R. Mercer: Les Quilico (Quebec, 1991)

J.B. Steane: ‘Louis and Gino Quilico’, Opera Now (1996), Jan, 32–4

NOËL GOODWIN

Quilico, Louis

(b Montreal, 14 Jan 1925; d Toronto, 15 July 2000). Canadian baritone. He studied at the Conservatoire de Musique, Montréal, with Martial Singher, the Accademia di S Cecilia, Rome, and the Mannes College, New York. His principal teacher was the pianist Lina Pizzolongo, whom he married in 1949. She died in 1991. After winning several major Canadian competitions he won the Metropolitan Opera Auditions of the Air in 1955 and the same year made his New York début with the New York City Opera. He first sang at the Metropolitan in 1972 and became one of its leading baritones. He performed such roles as Rigoletto, Giorgio Germont, Rodrigo (Don Carlos), Iago, Amonasro, Scarpia, Tonio, Golaud and Falstaff at leading houses throughout the world, including Covent Garden, the Vienna Staatsoper, the Teatro Colón, the Rome Opera, the Bol'shoy, San Francisco and the Opéra de Montréal. He was also principal baritone of the Canadian Opera Company. Quilico sang in the premières of Milhaud's Pacem in terris (1963), a work he recorded, and La mère coupable (1966) and Jolivet's Les coeurs de la matière (1965); in 1991 he played the title role of Tony in Frank Loesser's The Most Happy Fella at the New York City Opera. His many recordings include operas ranging from Monteverdi to Verdi, Puccini and Massenet. Quilico had a clear and ringing dramatic voice, particularly well suited to Verdi. He taught at the University of Toronto (1970–87) and at McGill University (1987–90), and gave masterclasses with young professional singers. He was awarded the Companion of the Order of Canada in 1974. In 1993 he married the Canadian pianist Christina Petrowska, who wrote his biography Mr. Rigoletto (Toronto, 1996).

EZRA SCHABAS

Quilisma

(from Gk. kyliō: ‘I roll’, kylisma: ‘a rolling’).

In Western chant notations a special neume, usually between two notes a 3rd apart. It is usually written joined to the succeeding (higher) note (usually a Virga). Aurelian of Réôme (fl ?840–50) spoke of it as a trembling and rising sound (GerbertS, i, 47), and most modern writers have not ventured beyond this. Tack suggested that it concerns a method of voice production no longer practised. Other studies (Wiesli, Cardine) have concentrated on the degrees of the scale on which it is most commonly found, suggesting that it may have been used for tonal orientation. (For illustration see Notation, Table 1.)

BIBLIOGRAPHY

P. Wagner: Neumenkunde: Paläographie des liturgischen Gesanges (Fribourg, 1905, rev., enlarged 2/1912/R)

H.M. Bannister: Monumenti vaticani di paleografia musicale latina (Leipzig, 1913/R)

G.M. Suñol: Introducció a la paleografia musical gregoriana (Montserrat, 1925; Fr. trans., rev., enlarged 2/1935)

M. Huglo: ‘Les noms des neumes et leur origine’, EG, i (1954), 53–67

F. Tack: Der gregorianische Choral, Mw, xviii (1960; Eng. trans., 1960)

E. Jammers: Tafeln zur Neumenkunde (Tutzing, 1965)

W. Wiesli: Das Quilisma in Codex 359 der Stiftsbibliothek St Gallen (Immensee, 1966)

E. Cardine: Semiologia gregoriana (Rome, 1968; Eng. trans., 1982); Fr. trans. in EG, xi (1970), 1–158, and also pubd separately (Solesmes, 1970)

DAVID HILEY

Quill

(Fr. plume; Ger. Feder, Kiel; It. penna).

A stiff feather shaft used as Plectrum material, especially in the past. Quills cut in a manner similar to that of writing pens have served as plectra for psalteries and lutes. The rachis (that portion of the stem between the barbs, rather than the calamus, the tubelike tip implanted in the skin of the bird) of the primary flight feathers of the crow family long provided the principal material for harpsichord plectra. After the barbs and pithy underside were cut away, a point formed from the hard, slightly convex outer surface was pushed from behind through the mortise in the tongue of the jack. It was then cut to size and its strength was adjusted by scraping its underside. Some sources recommended treating the quill with olive oil as a lubricant and preservative. In the present day harpsichord plectra made of plastic continue to be called ‘quills’.

JOHN KOSTER

Quilt canzona.

A term adopted by Manfred Bukofzer (Music in the Baroque Era, 1947, p.50) as an English equivalent to the German ‘Flickkanzone’ (literally ‘patch canzona’) coined by Hugo Riemann (Handbuch der Musikgeschichte, ii/2, ed. A. Einstein, 1912) to describe canzonas of several short sections in contrasting styles. Bukofzer, whose choice of word comes from ‘patchwork quilt’, applied it to the sectional canzonas of Frescobaldi and his contemporaries, and the term’s currency seems to follow his usage. Perhaps the clearest and most extreme example of the kind of piece ‘Flickkanzone’ was meant to denote is the first canzona in Schein’s Venus Kräntzlein (1609; ed. in Sämtliche Werke, i, 41): in 125 bars, there are seven changes of metre and at least 14 significant changes in style, figuration or texture. See also Canzona.

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