Ramón Andrés

(Pamplona, 1955) is an essayist, poet, music scholar and author of numerous musical and literary studies. Notable among his books on music are Diccionario de instrumentos musicales. Desde la Antigüedad a J. S. Bach (A Dictionary of Musical Instruments: From Antiquity to J. S. Bach, Península, 2000): W. A. Mozart (Ma Non Troppo, 2003); Johann Sebastian Bach. Los días, las ideas y los libros (Johann Sebastian Bach: Days, Ideas and Books, Acantilado, 2005); El oyente infinito. Reflexiones y sentencias sobre música (De Nietzsche a nuestros días) (The Infinite Listener: Reflections and Pronouncements on Music (From Nietzsche to the Present), Dvd Ediciones, 2007); El mundo en el oído. El nacimiento de la música en la cultura (The World in the Ear: The Birth of Music in Culture, Acantilado, 2008); and Diccionario de música, mitología, magia y religión (A Dictionary of Music, Mythology, Magic and Religion, Acantilado, 2012). His other works in the literary and essay genres include Tiempo y caída. Temas de la poesía barroca (Time and Fall: Themes of Baroque Poetry, Sirmio, 1994); Historia del suicidio en Occidente (A History of Suicide in the West, Península, 2003), revised as Semper dolens. Historia del suicidio en Occidente (Acantilado, 2015); and No sufrir compañía. Escritos místicos sobre el silencio (siglos XVI y XVII) (Not Suffering Company: Mystical Writings on Silence (16^th and 17^th Centuries), Acantilado, 2010). Notable among his volumes of poems are La línea de las cosas (The Line of Things, Hiperión, 1994) and La amplitud del límite (The Breadth of Limit, Dvd Ediciones, 2000). He has also published the aphoristic work Los extremos (Extremes, Lumen, 2011). Moreover, he has edited the works of other authors and the Antología poética del romanticismo español (Poetic Anthology of Spanish Romanticism, Planeta, 1987). His early professional activity, between 1974 and 1983, was as a singer, mainly with a medieval and Renaissance repertoire and accompanied by ancient instruments. He was awarded the International Prize Príncipe de Viana de la Cultura in 2015, and the Estat Crític prize to the best essay for Semper dolens in 2016.