Nabokov, Nicolas [Nikolay]

Nebel [nevel]

(Heb.).

Ancient Jewish instruement, possibly a lyre. See Biblical instruments, §3(vii), Music §I, 4(iv).

Nebendreiklang

(Ger.).

Minor Triad.

Nebenklang

(Ger.).

See under Klang (ii).

Nebenlinie

(Ger.).

See Leger line.

Nebennote

(Ger.).

See Non-harmonic note.

Nebensatz

(Ger.).

Second Subject group.

Nebenstimme

(Ger.: ‘subsidiary part’).

See under Hauptstimme.

Nebentonarten

(Ger.: ‘secondary keys’).

With reference to a given tonality, keys other than the tonic, dominant and subdominant. Those most frequently encountered are the submediant, mediant and supertonic.

Nebra (Blasco), José (Melchor de)

(b Calatayud, bap. 6 Jan 1702; d Madrid, 11 July 1768). Spanish composer and organist. Born to a family of musicians, he began his musical training under his father José Antonio Nebra (b La Hoz de la Vieja, bap. 23 Nov 1672; d Cuenca, 4 Dec 1748), who had settled in Cuenca as cathedral organist and teacher of the choirboys (1711–29) and later became maestro de capilla (1729–48). His two brothers were also musicians: Francisco Javier (b Calatayud, 16 April 1705; d Cuenca, 4 July 1741) was organist at La Seo, Zaragoza (1727–9), and then in Cuenca (1729–41); Joaquín (b Calatayud, bap. 21 May 1709; d Zaragoza, 16 Aug 1782) was organist at La Seo from 1730 until his death.

José de Nebra soon moved to Madrid. In 1719 he is mentioned as organist of the Descalzas Reales convent, where the maestro de capilla was José de San Juan, author of Arte de canto llano (Madrid, 1694). In 1722 Nebra worked in the chapel of the noble household of Osuna together with such composers as Antonio Literes and Antonio Duni, and at this time he began also to compose music for the commercial theatres in Madrid. On 22 May 1724 he was appointed organist of the royal chapel in the place of one of the musicians who accompanied Felipe V to San Ildefonso after his abdication in favour of his son, Luis I. When Felipe resumed the throne on 31 August that year Nebra was made supernumerary organist, with the right of promotion to first organist when the vacancy arose. In 1738 he was offered the post of maestro de capilla at Santiago Cathedral and in 1741 that of organist at Cuenca, both of which he declined. On 5 June 1751 he took up a new post as vicemaestro of the royal chapel in Madrid and assistant head of the Colegio de niños cantores (the royal choir school); he and Antonio Literes were put in charge of organizing a new and substantial repertory of church music to replace that lost in the fire at the royal palace in 1734. Nebra suggested the purchase of works by Neapolitan composers, including Alessandro Scarlatti, Leo and Sarro, and temporarily abandoned his theatre activites almost completely to dedicate himself to composing sacred music, most of which is still in the archives of the royal palace in Madrid.

Nebra was an excellent organist; in 1749 he was charged with supervising the restoration of the organ at the Jeronimos convent and in 1756 his advice was sought on the organ for the chapel of the new royal palace by Fernández Dávila. He taught the organ at the Jeronimos convent, where his pupils included Antonio Soler, for whose Llave de la modulación (Madrid, 1762) he wrote a preface. Another pupil was José Lidón, later organist and maestro of the royal chapel. On 25 May 1761 Nebra was appointed harpsichord teacher to Prince Gabriel, and Nebra’s nephew Manuel Blasco de Nebra (b Seville, 2 May 1750; d Madrid, 12 Sept 1784), later organist of Seville Cathedral and author of Seis sonatas para clave, y fuerte piano (Madrid, c1775), was also taught by him from 1766 to 1768. Nebra’s own works for harpsichord and organ, which survive only in copies made after his death, are similar in style to those of José Elías, Domenico Scarlatti and Sebastián Albero y Añaños. Like them, he developed the model of the bipartite sonata, made known primarily through the works of Scarlatti.

In 1728 Nebra served as joint composer, alongside Facco and Falconi, in providing the music for the melodrama Amor aumenta el valor, performed in Lisbon to celebrate the marriage of the Prince of Asturias (later Ferdinand VI) to the Portuguese princess Maria Barbara. Nebra’s importance as a theatre composer, however, derives from his work for the public theatres in Madrid, where he worked with the most prominent playwrights of the time (Cañizares, González Martínez). He was responsible for inaugurating new houses to replace the traditional open-air theatres. In 1737 his Más gloria es triunfar de sí: Adriano en Siria initiated the first season by a Spanish company at the Coliseo de la Cruz, and 1745 saw the inauguration of the Coliseo del Príncipe with Cautelas contra cautelas y el rapto de Ganímedes. From 1723 to 1751 (except for the period 1731–6) Nebra consistently wrote works in most of the theatrical genres of his time: zarzuelas, comedias and autos sacramentales and he also composed various minor works such as loas, sainetes and entremeses which accompanied the main plays. In these pieces, in which speech and singing alternated freely, Nebra used traditional Spanish musical forms (seguidillas and coplas), together with da capo arias popular in Italian opera of the time, often writing a trio or quartet in da capo form to end each jornada or act of a zarzuela. His orchestra (depending on the resources of the particular theatre) included violins and violas, and often oboes and flutes (played probably by the same instrumentalists) as well as horns and trumpets.

Despite his success in public theatres, Nebra’s participation in court plays was fairly limited after his 1728 collaboration in Lisbon. At a time when opera was largely commissioned from Italian composers and performers, we know only of his participation on the harpsichord in some of the operas performed at the Spanish court in Madrid, such as Farnace (1739) and Achille in Sciro (1744), both with music by Courcelle, and of his instrumental arrangements and additions for two plays by Calderón and Cañizares revived for the marriage of Maria Luisa and the Great Duke of Tuscany on 14 February 1764.

Nebra began composing sacred works in 1747, and his production increased after his appointment as assistant maestro to the royal chapel in 1751. The music reflects the needs and personnel of this institution (an eight-part choir and a broad variety of instruments). He also composed works for Cuenca Cathedral, where he had family contacts, and sent others to Santiago de Compostela and the Seo church in Zaragoza, and there are copies of his religious works in various Spanish and Latin American archives. In 1758 he composed a requiem for Queen Maria Barbara, and this continued to be sung at Spanish royal family funerals until the beginning of the 19th century. In 1759 he sent his Vísperas del común de los santos y de la Virgen to Pope Clement XIII for performance in the papal chapel. After 1761 his sacred output decreased.

WORKS

BIBLIOGRAPHY

JOSÉ-MÁXIMO LEZA CRUZ

Nebra, José

WORKS

theatrical

first performed in Madrid; music lost unless otherwise stated

autos sacramentales

texts by P. Calderón de la Barca

†	texts adapted by José de Cañizares

La vida es sueño, Príncipe, 4 June 1723; A Dios por razón de Estado, Cruz, 23 June 1724 [Nebra wrote music for only the sainetes]; El año santo en Roma, Príncipe, 8 June 1725; El pintor de su deshonra, 8 June 1725; El católico Perseo S Jorge, mártir, Cruz, 18 Oct 1725; †El pastor Fido, Príncipe, 28 June 1726; †La viña del Señor, Cruz, 28 June 1726, rev. Cruz, 21 June 1746; †El valle de la zarzuela, Príncipe, 20 June 1727; †El pleito matrimonial del Cuerpo y el Alma, Príncipe, 4 June 1728; †La semilla y la cizaña, Cruz, 24 June 1729; †La redención del cautivo, Príncipe, 28 June 1729

La cura y la enfermedad, Príncipe, 16 June 1730, rev. †Cruz, 5 June 1739; Andrómeda y Perseo, 12 June 1744; El nuevo hospicio de los pobres, Cruz, 3 July 1745; Amar y ser amado y la divina Philotea, Principe, 3 July 1745, E-Zac; La nave del mercader, 9 June 1747 [Nebra wrote music only for the sainetes]; Lo que va del hombre a Dios, Cruz, 21 June 1748, rev. 29 May 1761 with 1 new aria; El laberinto del mundo, 13 June 1749 [Nebra wrote music only for 1 aria]; Primero y segundo Isaac, 13 June 1749; La segunda esposa, triunfar muriendo, Cruz, 7 June 1750; El diablo mudo, Príncipe, 18 June 1751

operas, zarzuelas, comedias, bailes

com	comedia
zar	zarzuela

Las granaderas y Alondón (baile), E-E

La libertad del cautivo (entremés), E

De los encatos de Amor la música es el mayor, ó De los hechizos de amor, la música es el mayor, y el asturiano-montañés en la corte (com, J. de Cañizares), Príncipe, 23 Oct 1725

A un tiempo monja y casada: S Francisca Romana, ó La viuda romana (sacred com, Cañizares), Cruz, 25 Dec 1725

La venerable sor María de Jesús de Agreda, Ia parte (sacred com, M.F. de Armesto y Quiroga), Príncipe, 25 Dec 1725

A cual mejor, confesada y confesor, S Juan de la Cruz y S Teresa de Jesús (sacred com, Cañizares), Cruz, 22 Oct 1727

S Brígida (sacred com, Cañizares), Cruz, 25 Dec 1727

Amor aumenta el valor [Acts 2 and 3, with Falconi] (opera, Cañizares), Lisbon, palace of Spanish ambassador, 18 Jan 1728, Mp [Act 1 by Facco]; ed. M.S. Alvarez Martínez (Zaragoza, 1996)

La presumida no casa hasta que un simple … folla armónica, Cruz, 25 July 1728

S Brígida, la estrella de Septentrión 2a parte (sacred com, Cañizares), Cruz, 25 Dec 1728

La sirena de Tinacria (com, D. de Córdoba y Figueroa), 1729 [Nebra wrote only music for the loa]

Las proezas de Esplandián y el valor deshace encantos (zar, Armesto), Cruz, 12 Feb 1729

La melodrama, o Las tres comedias en una (com, Cañizares), Príncipe, 12 Oct 1729

Hombre, demonio y mujer, Cruz, 14 Oct 1729 [Nebra wrote music only for the loa]

Música discreta y santa: S Matilde (sacred com, Cañizares), Cruz, 25 Dec 1729

La sacra esposa de Cristo y doctora de la iglesia, S Catalina, virgen y mártir (sacred com), Cruz, 21 Oct 1730

No siempre el Destino vence si en su imperio Amor domina (com, J. Fernández de Bustamante), Príncipe, 24 Nov 1730

El sol de la fe en Marsella y conversión de la Francia: S María Magdalena (sacred com, B.J. Reinoso y Quiñones), Cruz, 25 Dec 1730

Venus y Adonis, melodrama, 1733, Padre Otaño’s private collection, Loyola

Más gloria es triunfar de sí: Adriano en Siria (after P. Metastasio), Cruz, 30 May 1737 [in pay accounts called an opera]

Amor, ventura y valor y el invencible Amadis (zar), Cruz, 27 Nov 1739

La Madre Martina de los Angeles, religiosa dominica (com), Príncipe, 22 Oct 1739

Viento es la dicha de Amor (zar, A. de Zamora), Cruz, 28 Nov 1743, Mm, revived Príncipe, 20 May 1748, with 1 new aria, Mm

Nuestra Señora del Pilar de Zaragoza (sacred com), 21 Oct 1743

S Inés de Montepoliciano (sacred com, Armesto), Príncipe, 25 Dec 1743

Donde hay violencia, no hay culpa (zar, N. González Martínez), Medinaceli private theatre, 1744, Zac

Amor, encanto y fortuna restituyen a su dueño el cetro (com), 4 Feb 1744

Vendado es Amor, no es ciego (zar, Cañizares), 3 Aug 1744, Zac

No todo indicio es verdad: Alejandro en Asia (González Martínez, after Metastasio), Cruz, 18 Sept 1744 [in pay accounts called an opera]

Cautelas contra cautelas y el rapto de Ganímedes (zar, Cañizares), Príncipe, 5 June 1745

El mayor blasón de España (sacred com), Príncipe, 25 Dec 1745

La colonia de Diana (zar, M. Vidal Salvador, rev. González Martínez), Príncipe, 7 Sept 1745 [rev. with 3 new arias and added tonadillas, Cruz, 29 April 1746], 1 aria, AS

El amante de María, venerable padre Fray Simón de Rojas (sacred com, rev. Cañizares), Príncipe, 25 Dec 1745

A falta de hechiceros lo quieren ser los gallegos y asombro de Salamanca, 1a parte (magical com, González Martínez), Cruz, 12 Feb 1746

El amante de María, venerable padre Fray Simón de Rojas, 2a parte (sacred com, González Martínez), Cruz, 29 May 1746

El Dómine Lucas (com, Cañizares), 1747, Mm [rev. Buen Retiro, 15 Feb 1764]

Para obsequio a la deidad nunca es culto la crueldad y Iphigenia en Tracia (zar, González Martínez), Cruz, 15 Jan 1747 [rev. with 4 new arias, 30 April 1749], E; ed. M.S. Alvarez Martínez (Zaragoza, 1997)

No hay perjurio sin castigo (zar, González Martínez), Medinaceli private theatre, 8 May 1747

Ni amor ni obligación, temor ni amigo, logran lo que el enemigo (com), 20 May 1747 [Nebra wrote music for only the sainetes]

Donde hay sobras de hechiceros, lo quieren ser los gallegos: el asombro de Salamanca, 3a parte (magical com), 30 Nov 1747

Antes que celos y amor la piedad llama al valor y Achiles en Troya (González Martínez), Príncipe, 1747 [in pay accounts called an opera]

La mágica Cibeles, 2a parte (magical com), Cruz, 19 Oct 1748 [Nebra wrote music for only the sainetes]

Hay venganza que es clemencia (com, González Martíńez), Cruz, 30 Nov 1748

Pues consiste en dar gusto (bailete), 1749, E

Viva el cacique (bailete), 1749, E

El anillo de Giges y mágico rey de Lidia, 2a parte, 24 May 1749 [Nebra wrote music for 1 aria, 1 duet and the sainetes]

El mágico de Ferrara (magical com, A. Merano y Guzmán), 6 Nov 1749

En vano el poder persigue, a quien la deidad protege y primera parte del Mágico Apolonio (magical com, A. Flores), 25 Dec 1749

No hay magias en la invención como la de la diversión y Mágico de tres horas (magical com), 21 Jan 1750

En vano el poder persigue cuando la deidad protege, segunda parte del Mágico Apolonio (magical com, Merano), 25 Dec 1750

Duelas de Amor y Lealtad, Buen Retiro, 14 Feb 1764 [Nebra wrote music for the loa, the overture and a march]

sacred latin

(selective list)

for fuller information see Lemmon (1988) and Álvarez Martínez (1993)

MSS in E-Mp unless otherwise stated

Masses, for 8vv, obs, str, org, unless otherwise stated: untitled (b), 1731 (inc.), E-CU; untitled (D), 8vv, hns, str, org, 1738, GRcr; In coena Domini [Pange lingua], 8vv, obs, tpts, str, org, 1747; Cantate Domino canticum novum, 1748; In via pacis, 8vv, obs, harp, str, org, 1748, ed. M.S. Álvarez Martínez (Zaragoza, 1998); Laudate Dominum de terra, 8vv, fls, obs, hns, str, org, 1748; Laudate eum in sono tubae, 8vv, obs, hns, str, org, 1748; Laudate nomen Domini, 1748; Pinguis est panis [Sacris solemniis], 8vv, obs, hns, tpts, str, org, 1748; Cantate et exsultate, 1751; Jubilate in conspectu Regis Domini, 8vv, obs, tpts, hns, str, org, 1751; Labia mea laudabunt te, 8vv, obs, hns, str, org, 1752; untitled (D), 8vv, obs, tpts, str, org, 1753; Servite Domino in laetitia, 1754; Cantate et exsultate, 8vv, obs, hns, tpts, str, org, 1755; Te laudamus Deus, 8vv, obs, hns, str, org, 1756; Domini exaudi vocem meam, 8vv, obs, hns, str, org, 1758; Misa de requiem, 8vv, fls, obs, str, org, 1758, ed. H. Eslava, Lira sacro-hispana, IIa/i (Madrid, c1869); Sic benedicam te, 8vv, obs, bn, str, org, 1759; Per singulos dies benedicamus te, 8vv, obs, bn, str, org, 1762; Benedicamus Domino, 8vv, obs, bn, str, org, 1764; De profundis clamavi, 1766; Sicut lilium inter spinas, 8vv, fls, obs, hns, str, org, ORI; untitled (D), 8vv, obs, tpts, str, org, ed in Capdepón (1992); untitled, 8vv, obs, tpts, str, org, GCA-Gc; untitled (g), 5vv (inc.), Gc; untitled (G), 7vv (inc.), Gc

Lamentations for Holy Week, with orch unless otherwise stated: Et egressus est, S, T, 1752; Manum suam, S, SATB, 1752; Quomodo sedet, S, S, A, T, SATB, 1752; Cogitavit Dominus, S, A, T, B, SATB, 1753; Ego vir videns, T, SATB, 1753; Matribus suis, S, T, 1753; Misericordiae Domini, S, A, T, B, SATB, 1753; Quomodo obscuratum, S, T, 1754; Recordare Domine, S, A, T, B, SATB, 1754; Et egressus est, A, 1758; Matribus suis, S, 1759; Et egressus est, S, 1761; Manum suam, S, A, T, B, SATB, 1761; Quomodo sedet, S, A, T, B, SATB, 1761; Cogitavit Dominus, S, A, T, B, SATB, 1764; Ego vir videns, SATB, SATB, SATB, unacc., 1764; Matribus suis, S, 1764; Misericordiae Domini, S, A, T, B, SATB, 1764; Quomodo obscuratum, S, 1764; Recordare Domine, S, S, A, T, B, SATB, 1764

4 Vespers settings: 8vv, orch, org, 1749; 8vv, orch, org, 1749–50; 8vv, vns, org, bc, 1751; 4vv, 1759; E-CU, Mp, MO, SC, SEG, VAc, VAcp, Zac, I-Rvat

Others: 16 Salve regina, 3–8vv, orch, E-AS, CU, GU, Mdr, Mp, MA, Sc, SA, TE, GCA-Gc; 3 Compline settings, 8vv, orch, org, 1749, 1749, 1757; 22 hymns, 8vv, most with orch; 7 pss, E-CU, GU, Mp, Zac, F-Pn, GCA-Gc, Mexico, Archivo Cathedral; Mexico, Colegio de Santa Rosa de Santa Maria; 7 lits, E-E, GRcr, Mdr, Mp, MO, Sc, 1 ed. in Capdepón (1992); 21 Christmas and Epiphany resps, CU, LPA, La Laguna, Cathedral, Mp, MO, ORl, OV, TE; Ecce enim veritatem, S, S, bc, GCA-Gc; Mag, 8vv (inc.), 1732, E-CU; Domine ad adjuvandum, S, A, T, B, SATB, orch, 1751; Stabat mater, SSAT, orch, 1752, Ac; Venite adoremus, B, SSAT, 1752; Circumdederunt me, S, S, A, T, 1758; Parce mihi Domine, S, orch, 1758; Regem cui omnia vivunt, B, SSAT, 1758; Taedet animam meam, S, A, T, B, SATB, orch, 1758; Regem cui omnia vivunt, S, S, A, T, SATB, orch, 1759; Ecce enim veritatem, 8vv, fls, obs, vns, 1761, GCA-Gc

spanish vocal

Edition: Cuatro villancicos y una cantada de José de Nebra (1702–1768), ed. M.S. Álvarez Martínez (Zaragoza, 1995) [AC]

Al arma discurso, villancico, SSAT, SATB, Mexico, Colegio de S Rosa de S Maria; Aliento fervorosa, 1v, ob, vns, hp, org, GCA-Gc; A limar las prisiones, SSAT, vns, bc, Mexico, Durango Cathedral; Al que en solio de rayos, 8vv, hns, vns, Gc; Al tierno esposo amante, sacred cant., 1v, vns, ?1751, Gc; Amor inmenso, SSAT, vns, harp, bc, E-MO; A navegar pues suena, villancico, SSAT, orch, 1750, ed. in AC; Aplaude, blasona, celebra, ana, S, vns, bc, Bolivia, Sucre Cathedral; A qué nos convocan (inc.), villancico, SSAT, SATB, obs, vns, vle, org, CU; Bella Aurora del Carmelo, cant., S, A, vns, org, bc, CU, ed. in AC; Bello pastor, sacred cant., 1v, obs, vns, GCA-Gc; Cierto que tiene amor, villancico, SSAT, vns, org, bc, 1750, E-CU; Con júbilo en el orbe, 8vv, vns, GCA-Gc; Cuando el maná llovía, 1v, ob, vns, 1734, Gc

De aquel amoroso (inc.), villancico, SSAT, vns, org, bc, E-CU; De gala y aplauso, villancico, SSAT, SATB, vns, org, bc, CU; Del dócil pecho mio, aria, S, vns, bc, Bolivia, Sucre Cathedral; Dilata el orbe, villancico, SSAT, orch, 1750, ed. in AC; Dulzura espiritual, 1v, ob, vns, GCA-Gc; El celeste combate, SSAT, vns, Gc; Grabé en mi pecho tu nombre santo, 1v, vns, Gc; Hermoso Cupido, SATB, vns, harp, org, E-J; Hoy hacia el empíreo, villancico, SSAT, vns, org, 1752, CU, ed. in AC; La batalla, 1v, obs, tpts, hns, timp, vns, GCA-Gc; La que esparce, cant, S, ob, vns, bc, 1733, E-J; Las granaderas, SSST, hns, vns, GCA-Gc; Las maripositas, villancico, SSAT, vns, org, bc, 1752, E-CU; Llamen, inflamen, villancico, 4vv, vns, Mexico, Colegio de S Rosa de S Maria; Llegad, llegad creyentes, 1v, vns, GCA-Gc; Oh, prodigio el mayor, villancico, SSSS, hns, vns, bc, 1758, E-E

Para un triunfo que el orbe festeja, 8vv, vns, org, GCA-Gc; Por esquivo parece, SSST, bc, D-Mbs; Pues el destino, aria, 1v, vns, ?lost, formerly GCA-Gc; Pues el sol divino, bailete, SSAT, hns, vns, ?1750, Gc; Qué amante, qué benigno (inc.), cant., E-J; Que contrario Señor, sacred cant., S, vns, GCA-Gc; Robustas trompas, 8vv, tpts, vns, Gc; Rompan los vagos espacios del viento, SSAT, vns, org, Gc; Salva clarines, villancico, SSAT, orch, 1750, ed. in AC; Sonoras liras, cantad, 8vv, tpts, vns, Gc; Suenen, resuenen, villancico, SATB, vns, tpt, ?1762, Gc; Vámosle buscando, SST, ob, vns, Gc; Venid almas creyentes, sacred cant., ?1737, ?lost, formerly Gc; Volad suspiros, 1v, vns, Gc; Ya rasga, la esfera, sacred aria, 1v, tpts, Gc

keyboard

Batalla de clarines, D; Fandango de España, d (doubtful); Grave, 8° tono; Sonata, G (doubtful): Zárate Cólogan family’s private collection, La Oratava, Tenerife, ed. R. Álvarez Martínez, José Herrando, Domenico Scarlatti, Francisco Courcelle, José de Nebra y Augustino Massa: Obras inéditas para tecla (Madrid, 1984)

Grave, d (inc.); Sonata, F; 2 tocatas, G, G; Tocata, e: Morella, s María la Mayor, ed. R. Escalas, Joseph Nebra (1702–1768): Tocatas y sonata para órgano ó clave (Zaragoza, 1987)

Sonata, E; Sonata, F; Tocata, 6° tono (inc.): Lothar Siemens’s private collection, Las Palmas, Canary Islands, ed. M.S. Álvarez Martínez, Obras inéditas para tecla de José de Nebra (1702–1768) (Zaragoza, 1995)

Paso en versos para la salmodia, g, E-E; Sonata, G, La Laguna, Cathedral; Sonata, V; 4 sonatas, C, e, F, D, Zac; 7 sonatas (doubtful), C, C, b, g, A, c, C (inc.), Zac; 2 tocatas, D, c, VAcp; 10 versos, org, SC; 1 piece, org, D, VAcp: all (except 10 versos) ed. M.S. Álvarez Martínez, Obras ineditas para teda de José de Nebra (1702–1768) (Zaragoza, 1995)

Nebra, José

BIBLIOGRAPHY

E. Cotarelo y Mori: Orígenes y establecimiento de la ópera en España hasta 1800 (Madrid, 1917)

E. Cotarelo y Mori: Historia de la zarzuela, o sea el drama lírico en España desde su origen a fines del siglo XIX (Madrid, 1934)

N.A. Solar-Quintes: ‘El compositor español José de Nebra († 2–VII–1768): nuevas aportaciones para su biografia’, AnM, ix (1954), 179–206

D. Preciado: ‘Joaquín Nebra (1709–1782) cicuenta y dos años largos de organista en la Seo de Zaragoza (1730–1782)’, TSM, lx (1977), 12–17

M. Martínez: ‘Los Nebra en la Catedral de Cuenca’, Congreso nacional de mucicologia I: Daroca and Zaragoza 1979, 331–8

R. Escalas: ‘La música de tecla de Joseph de Nebra’, Nassarre, iii/2 (1987), 9–18

A.E. Lemmon: ‘Antonio Literes y José de Nebra: el inicio de la presencia italiana en el archivo musical de la Catedral de Guatemala’, Domenico Zipoli: itinerari iberoamericani della musica italiana nel Settecento: Prato, Italy, 1988, 265–72

M.S. Álvarez Martínez: ‘José de Nebra a la luz de las últimas investigaciones’, AnM, xlvii (1992), 153–73

M.S. Álvarez Martínez: ‘José y Manuel Blaso de Nebra: la otra cara de la familia de Nebra Blasco’, RdMc, xv (1992), 775–813

P. Capdepón: La música en la real capilla de Madrid, siglo XVIII (Madrid, 1992)

M.S. Álvarez Martínez: José de Nebra Blasco: vida y obra (Zaragoza, 1993)

R. Kleinertz: ‘Iphigenia en Tracia: una zarzuela desconocida de José de Nebra en la biblioteca del Real monasterio de S Lorenzo del Escorial’, AnM, xlviii (1993), 153–64

J.J. Carreras: ‘From Literes to Nebra: Spanish Dramatic Music between Tradition and Modernity’, Music in Spain during the Eighteenth Century, ed. M. Boyd and J.J. Carreras (Cambridge, 1998), 7–16

J.-M. Leza Cruz: ‘La zarzuela Viento es la dicha de amor: producciones en los teatros públicos madrileños en el siglo XVIII’, Música y literatura en la península ibérica: Valladolid 1995, 393–405

J.-M. Leza Cruz: Zarzuela y ópera en los teatros públicos de Madrid, 1730–1750 (diss., Zaragoza U., 1998)