Songs of Mortals, Dialogues of the Gods . MUSIC AND THEATRE IN SEVENTEENTH-CENTURY SPAIN Louise K. Stein dave CLARENDON PRESS 2A FORD= Abbreviations Valencia Valencia, Caedeal Metropolitana, Archivo de Msica Valladolid Valladolid, Catedral Metropolitana, Archivo de Musica SETA ESTeCaaTeT Venice Venice, Biboteca Nazionale Marciana inex the pioneering work of the erudite Francisco Asenjo Barbie (825-99) the topic of music in the eveneenth-censry Span theatre has generated considerable interest and scholarship, partially in Spain. It has cecpied many af the rest scholars ho have shaped ‘musicology in Spain, and several of them (Pedrell, Ctaelo y Mor, Subir, Qucrol, Sage) have made remarkable contibutions ro particular aspect of the Bild, asthe bibliography demonstrates. Some worked Cepecally wel with arhivaldociment, others withthe tex of Pay, tthers discovering, wanecrbing, and publishing. ida! musa Sources, Yet for all this exental work, Gefning the place aed function of msc inthe seventeenth-entay Spanish teste andthe nate of the limited extant repertory has Deen a ifcalt quest. The repertory has remained unfair to che larger community of Baroque scholars ad inaceesble wo Fispnists, ultra historians, a vos. How ‘re, the topic of muse in the seventeent-century Spanah theatre Sul that its claim for attention in our ine cannot Be eablised merely "hough the customary comprehensive erature reves, given the sn ‘ity aid quay othe exiting scholars "To begin with Barer work eno aly informative but appropriate, sinc hin bray, replete with hs noes taneeiptons, nd the primary Sources he called, hasbeen eset ol suseqcse work with the topic Barbieri legacy reveals an immense effort to recover Spa's ‘musical heritage, oot through emphutie cate (ax atthe case ith his contemporary Soriano Fortes) of clegunt historical narrative, ut trough the eallection of cores sere facts and- musta mone ‘ment? This noe to imply that Barber's Iegacy Tite fo the ‘upposed historical abject’, the detached postivsm represented by the" cmtents of the legado Barbier Although he never complied & omplete study of seventeenth-cntury ‘Spanish testa! musiy ‘Barbies natimets and insights ae settred throughout his notes and2 Inrodueton polemical writings onthe general subjects of theatrical music and opera {mn hese and through his unpubl legacy, Barbier subuly revealed ‘one of the fundamental historical caims that the history of aevententh ‘entry Spanish theatre mise makes pon our stenton it has, tse ‘stent, condoned ora lat framed the subuequent history of heat Ine and opers in Spin. Informed by his own patient scholarship tnd paninatly involved a 4 theatrical compone, Barbier aot ealy “mpharzed the clase achivements of the nation’s seventcent-centary ‘ramatcts, but implied 4 fondamental link between the neteenthy century zirzula (his own gente of choice and one which enjoyed Srmmense poplar appeal) andthe ‘ational character of Spanish sevens ‘enthncentry theatrical musi. For Barbier, the yee theatee’ of every tion is necessarily Yormed on. the foundation ofits popular erary {tnd autsiel tradition an applied tothe deamatic genre Foe his own, ‘country he acknowledged a ich and varied evtage (orn the funding ‘ofthe theatre to ur time se im Spain have counted on an abundant treslth of dramatic works in a vanety of genres and types; -°) and Pariculaly emphasized. the seventeenthscentury dramatists, ho, ‘though they weated all inde of subjects, aaye did soi atone and ‘manner fama othe society n which the lived’ Barbier’ nationale Ein te face of dwindling offal poitcal and financial sspport for ‘the zarzvela provoked him to cll upon 2 national antecedent older than the Italien opers and vooa styles whose dominant pesence in Spasih ‘musical ife dated to che eighteenth century. Whi his eseatch led hi to Alocuments, facts, names of composers, and tiles of seventeenth-century ‘musical-theatial work, evento an understanding ofthe function of Imusic inthe comedias and the importance of partly sung genres, Barbier Celebrated the musi tek and is eationl characteris eno through incuition than with any ritcal appraisal is are comments concerning the msi seen ta be rocusic metal For alot pre’ Spancah sical care Barbier found himself forced to define and legitimize the zarsucla snd Spain iri theatre that had easy always sustained popular "pplause, se ae"serus at remained inthe shadow ofthe prestige snd Udeniable quality of foreign oper. This dilemens has been shared by i eee eee ee sig pg nl Si sh a ee or Introduction a other composers since his ime, as Toms Marco has made clea in hie recent work on Spuish musi inthe twentieth century” For modern historams of Spanish music, opera has always presented « problem as sell, Tathe seventeenth snd cightaenth centri, and even i the ter hineteenth century i tepeatedly fled to capture the Spanish pubic ‘sad secede i popelerty bese other pati sung end perl spoke genres. Moreover, opera in Spain was nearly always fected a6 4 fEctee supported by the Gite snd promoted by foreigners and ae ‘arly considered an appropriate natonal genre by Spanish composers Sh dramatists: Thus. the qustion of opera vac in Spain (ax the Focus of historical inquiry of aa genre forthe contemporary compose) hae generally been tangled up with sue of national dentity an poplar tase» Nationalism ade fue to the polemical consideration of oper Spain by late nnctenth century and twentieth century misc hstorans, Nd deeply affected thee writings on the ely history of opera sd Felted genres in Spain In recent times, the unstated prejudice which assumes an operatic tradidon tobe the moat imporast ga of a developed ensical Eulture in the seventeenth cencury has perineted mos of the scholarly writing ere er eeerreen rere Franc he Bata od Baar i gl depen ee = a a rary on yn say ar go pe ee ger rac ua anc oe ee4 Intrusion ‘on music in the ceventeenth-entury Spanish theatre.” Burdened with iis sumption, scholars have desenbed the non-operatic genes of Spanish musical theate a tepping-stones i a progression towards the dsired goal of totaling these. Since Spam aid not achieve’ the ‘reatton of 4 tational opers inthe seventeenth century, her msc ‘alure as seemed to some to have lagged behind” oe mised the mark Shogether. Ofcourse, this s based since, founded on the Wea that totaly sng theatre was the scknowedged gol of Baroque theatrical sd ‘musical traditions and that music and theatre in Span sere unable to “develop enough to produce pers rom thie perpective (whether sated or implied), the musicale ‘theatrical geneta Ut were vale in the seventeenth century (dhe spec: tacle plays the zarzuls, che sem-operas, even the comedis) appeat to be tncomplte or even fed attempts at opers. Confronting the Tack ‘ofa national operatic waditin, ome scholars have felt an obligation to Tegiuimize the Spanish hybrid genres slmost oper sn sme set fasifying out view of them by obscuring ther ue matures sd ling to deine she genre and ther conventions The problem of Spanish opera that so acutely elected in the iter ture and in the ansietyof composer scholar lie Bare indest had is Toots inthe Baroque ers, but nt prec as has ueully been construed ‘While itis true that Spanish musicians and dramatists in ightecoth- ‘ezntury Made debated and sometimes revolted gaint totally ung there heavily dependent on foreign muse (with residual effects onthe ‘iting of mie hatory), the opersestion doesn sem to have een 4 burning ise in the seventeenth century” The performance scour ‘fan apera inthe Florentine sein 1627 did at inpie further operate Productions, Totaly sung theatre di not become atop of debate (ob Firas we know) among sevencenth-century dramatists and composes ‘ven during the years that Giulio Rospgisi pent in Madi when the Spaniards were rentduced to rectatve and adopted it selectively im hybrid, pay sung productions. Around the year 1660, te aise line sdividing the hybrid genes frm opera wat crossed without poem fr two secersfl operas, but after these the regular schedule of partly ‘musical court plays was returned to without apparent Foss. Indes the terme fiesta canada ad vepresetacon masiey’ were applied someehat indisersmanatly, relering to plays with muse and sone operatic scence. To judge from the exiting documentation, the only polemic ‘oaneced wth opers to develop in Span in the Baroque period (even SE ee ey a Sate Introduction 5 ‘then, not uni the early eighteenth century) was concerned with musical ‘tye, not with gente, focused onthe soled ‘arial an bari ‘ofthe foreign mosial tle that begun to coexist in the t6ge8 withthe ‘ative syle theatrical music "The eitial appraisal ofthe function of music in the musi plays, and the separation of thee ito ctinct genres ie perbipe the most Important objective ofthe study ‘The comedia had its oe conventions nd rules forthe tne of muse, based largely on dramatic theory and {cones of asic station. Those conventions were scepted by drama ‘ist throughout the century, so that Calderon comediat often opt {esate stock musical tuations as tho by Lope de Vega. At the other fend of the muscetheatrical spectrum, we fad thee elated operat “snten in seventeetlscentury Spain, with muse suring for any one ‘of them. Generally, scholars have fad to distinguish among he other {pes of usial theatre that lay betscen comedta and opera. Plays ae diferent inform, topic, and use of manic a La plona de Niguea, EL Jardin de Paterna, Feo y Narciso, ad La estatua de Prometeo ave ‘been raditionaly lumped together under the rubric of areula, “mic spetacle play, or ‘comedia musica. Utter confusion of terminology hd vague generalization with regard to misc forms inthe plays have plagued previous writings on this topic n spite ofthe eontebutons of ome very fine scholar” ‘Spin developed independent national genres of rusia theatre and «native tse for theatrical music, defined almost ently by loalized Conventions. These conventions ad 3 consistent mesial language were pot invented in reaction to the encroachment of a outside agent. A ational’ music inthe seventeenth century seas nt solely moteatd ae resistance to-a dominating musa ste of foreign derivation (a ws ‘indeed the ease i subsequent epochs). Moreover, in a"cocety whose ‘waditional elements were encouraged, but ao ne in new circum: ances" Spanish compocers preserved and exploited their musical Inheritance. The saclanon of traditional, popular, and even folklore cements demonstrates the national character of Spanish seeulae song nds elatioadip to its immediate historical and cura contest Popular and welLknov text (at whole poems ori the form of shorter ciutons) perade the repertory of theatrical songs, ae JO muse seg Mh, eee ST nse wt eet a Lazear fr Miwa le hs chp heer Me Cate hat Fee dha eh techni ry6 Inroducton ‘materi frm oral rdtion. Borrowed material and familie, traditional ‘Shusical form and gestures shaped the actual musial content, the la guage or sul of Spanish music, wih regard to text-seting, a character. Sstaly Spanish concept of rythm, the aesthetic goals of muste ta ‘arying contexts, and some peculiarly Spanish modes of performance ‘This Spanish styles evident vm the early seveneenth-century some repestlly eae for in the comediat—ther extant polyphonic stings Arawron preesstent tance and it ie manifest ater in he centy in the mustal conventions and” standard misical gestures that were ‘exploited by most composers and tanfere from one genre to snater. Tn the seventeenth eentury, we encounter 2 secular sical caltre directed towards what was coxcatilly Spanish, towarde musicl forme Sd themes tht depend ons tong tradition and an alealized past AS ‘nliteratureand panting, borrowed material of hnble ongin (symbole Gta national pint and people) seas al appropriated sta the curly phere and diguifed in" ths slfconsclusly sophisticated stratum of ‘Spanish culture" In this sense, music fit nto seventeenth-century Seciety, when satin weared of the conquest of te lands, iallusioned by delat (the failure of the Armada, the low of Portia and for ime (Catalonia the inability to maintain Spans and Habsburg hegemony in Taly agains France, the independence of the Netherlands), and perpet Ally in moc cits Sleainc! end noorabed dell with te mater of ‘ts long tradition. During the reign of Php TL, a pevod of eatual Snsccurty and. political weakness, the charateitien of the Pose Baroque ia Span began to take shape with hte connection wo the rest ‘of Europe. Under the segs of Philp IV, e stronger and decidedly more ‘hue monarch whose restoration of the Spann nenareyreatalzed ‘ourly patronage ofthe artsinasccond"Golden Age’, Spanish musicians twee forced to take into account, and in some cases to eect, a conscious ‘de of imported Tor, ideas, and ste. "The nostalgic, deeply romanticized paradigm of 2 national Spanish manic theatfe, 20 important to Barbir’sanguoents in 186, is ot 20 ‘fren rom tht of storie! record The conventions that determined the fuetion and place of mine sn several diferent muncal theatrical genres in the ceventcenth century drew eepecially upon two ever-present Sources: the tration of Spanih secular song and the dramatic and theatrical conventions ofthe comedia neva By the end ofthe sixteenth century, Spanish poetic, muscl, and theatrical genres exhibited a Dor er hurt athe wa ame a oem [eee ie ie pe irre Introdnction , national career, snd bah nscale forms prised in ‘what Maravall described as ree the phenomenon f the emergence of themes of ain hry, the pp pton the epic content of he aman, he eatin of ac sted parca the community of Spaniard, andthe variety ote imme pac, tte go foward carcteriing the Spinich ‘The socal relevance of the genre ako required the essential ute of serisimilude, much inthe way thatthe ‘power of versie’ we Fnnportant oteorien of painting nthe period. Through technical rice in the manipulation of material and especially of ealour, the naturales ff the subject could he revealed. Spanish painters clothed and sur founded even their mstholopieal and religious subject n the ral and the evervday, and historical, mythical, and. supernatural characters ppested on the stages of the public theatres in contemporary Spanish arb, and. Spanish composers incorporated elements Of the musical very’ ita ther omg Finally, while i is well known thatthe seventeenth century was the Golden Age of the Spanish theatre, ii dificult, at fis, understand ita Barber's cad de oof Spanish theatial music. The century did hot produce a long list of extraordinarily innovative composers, pases of Ieated musical debate, tomes of erudite speculative writings on msi] theory, o ibrar fl of Beautifully prepired and bound scores of stage ‘music! The repertory that har surtved from the neventcenth-centory ‘ate is Fagmentary and largely presents ll in humble performing parts and copes on cheap paper. Por many Feasons, the confusing array ‘Strusial suureescontatog this ceperory has boon of eeu cree ‘Two of the largest central collections of Spanish music, in particular music by seventeenth entry court composer, ere lot through nat fal disttersin the fie that destroyed the yal ibrary and auc archive of the Aleéar palace in Madrid im 1734, and in the earthquake of 755 {hat took with ithe great Moray of Ring John IV of Portugal Apart from a few insruction-books and anthologies for organ or guitar vit ally instrumental muse has survived. The overwhelming majority of ‘manuscript sources for secular Voral music are undated, snd rinted ‘musical sources are very scare. Most of the surviving theatrical ong Sg rp to en ee et ei a Cie damas teed Tone tre os5 Introduction are not idemied as such inthe musical sources, hence the complex Siegel everest ih pper Lend te tog tf oa ttm ‘al songs with musical and literary sources in Appendix H- Many of these score’ donot bear the companers name, and theatrical componces te rarely acknowledged in the printed texts of pays, even in the descrip lve elaine: that commemorate royal protons, Spanich mosses have left ws virally no self-conscious fteretare dscrbing thr live, their thought about musi, or ther aesthetic priorities. By themselves, these facts revel 4 reat deal about the subordinate poston of the ‘usc in Spanish society, in somparion to the dramstrs and sage ‘ssigners with whom they worked. "The leader in ental tis, the thinkers who lef unmistakable marks on their society, were writer Arita, and visual ett, not scars, Tn other words, the age of Lope de Vevs, Calderon, and Velizquer doesnot present the abvinus, tangible, or superficially distinctive marke ff Golden Age for theatrical tie when viewed through ans na rowed by chronological sistance nd by our ow conditioned sales oF fMtempt o atsign salve according tothe musial and documentary fer tures f the better-known early Hallam Baroque or the later German Baroque, Yet, Barbie) mataaine, this was indeed u Golden Age for theatrical muti, even fie shining legacy was toa lage extent buried bon entgh bythe Materéal rents ted secial changes of the cig teenth century. Barbier emphasized rat che variety of teat genres vith musi thatthe century produced: the classic Spanish dramate form tthe comedia nueva, many forts of minor theatre, cdg the las, bales, entromeses, maigangas, the ist sanetes, and the theatrical fn ‘das eoen which i twadile exconca erentally developed. In {dion to che genres he enumerated, the royal patons euling over thie Golden Age mot only ite the Are experiment with Speiah opers but supported the Spanish alternatives to opera, the semt-operis aad araulas More important, the Spanish mises! Barage ofthe seven- teenth ceury produced dstnctve national style with» largely ade pendent musical aesthetic, in responce oth to musical and theatrics Eadition, and to cotemporary political and cultural requirements. The ourt composer Juan Hidalgo and his pees in the later seventeenth Eentury developed 4 musa! tle, genres, and conventions for the {heatre as rigorously independent ahd as dhoroughly Baroque as thone ‘developed by Lally in France and Purcell n England. Lake Lily and Puree, Hidalgo worked wih a characteratc musical language and only to. limited exten adopted certain discrete clrents from the foreign paradigms of Italian opers. However, here Lally and Pareel both had {ccision to experience foreign ste, indeed alan opetas in peor nee, and to grge the reatons of pubic and patrons tothe imported Introduction 9 genres and sounds, Hidalgo had no such exposure, a Italian opers wae ‘ot performed in Madrid during his maturity. The seventeen century Spanish ature’, pointed ov with much unnecessary cabarrastnent by ‘early all the msiel scholarship af recent time, 0 replicate Taian pera was duc to the deliberate refusal to cultivate it, The. Spanish schievement wat 1 consistently ‘communicative musical style and Snvented genes whee affective musical expression wae carefully tllored ‘o be comprehensible wan the fame of densely Fhtoriel theatrical ‘resentation. Ie only through considering the genres and conventions fn thet own terms that the troe effect and storia tnportance of Spanish sventeenth-century theatrical music becomes clear: Moreover, tw answer the question why the Spanarde di not cultivate opera inthe seventeenth century, the question tel must Become periphert. The Solution emerges only after the profes af the native genres ar ccaly Arawn, and derives not fram 2 single historia factor event, but for ‘complex we of musical eultse, plies snd tation, The historical namie af this century of music and theatre in Spain lends further sreght to the conception of the Europenn seventeenth century a8 ¢ Baroque cultze wth strongly independent ational maniesations, In the chapters that fallow, the history of this rie! Golden ge is ‘constructed and explored with special attention tothe musical theatrical etres and che interaction of masa, erry, and these sys over the course of the seventeenth century. The division into chapters haz ‘been made according to hoth musica theatre gence and chronology ‘The two methods of organization overlap im Chapter theca the com ‘dia nueva wan cultivated throughout the century and is conventions ‘ondlitoned the use of manic im the other genres, The sections un the rly cour thea in Chapters 2 and 3 vey beavily on texts and archival documents, simply because ot one piece of thstial music seem to hive survived from the ealiest masgues and spectace plas. Hever, st becomes clear that the designations ‘masque, "machine play and ‘spectacle play” are not self-explanatory with regard to the misical clement, because these court plays exploit rather mare masse borrowed from the popular tadison than has heretofore been pointed out, aad they had developed some peculaty Spanish qualities by around 1630 Further, cerain suscal tits and generic features ofthe early court plays were adopted in the cent ofthe ater semiperas and sarc, {Chapier 4 though 6, concerned with semper, opeay rare, and ther musta eoure plays in the eins of Pip IV and Charles I, ae ‘Mmittely, more lively not only because the extant msc allows for ‘ritieal analy, but also because historical cieumstances dere our "tention to the court theatre inthe sear 375, wen music took on {new dimension sn thestrial productions, The final chapter concen16 Itrodacton teats on defining the musia tle and legacy of Juan Hidalgo and bie feneration to 1699, anda final consideration of the prelction of sical ‘ict and conventional device inthe homogeneous thestrcl cepetory fof the Hidalgo epoch. ‘The works of Sebasiun Duron, the composer ‘oho effected dessve change in mnial spe when he compre for the court around 1695, are bacely touched upon inthis final chapter, hence the complete sore for Dunn's arsuear are no inched inthe source ist (Appendis 1) Lilewise, alters of performance practice aid Daleogerpby ofthe musical soures have been lef out almost together, iy besaue they do tot bear directly on the relation eoween the theatrical text nd musi. Ihave retuned from packing an already AKnsciy tactual dy sith more biographical information on the composers who may ur may sot have writen pecially thetic musi ‘nd the musician who performed inthe thentres, Most of the archival ‘documents that Ihave chosen ta exclude would wot enlighten the already patent reader on the subject of music nthe theatre I Music and the Comedia nueva, 1600-1690 muste 18 cOMEDIAS Fon THEE PUBLIC THEATRES 1600-1650 By the lose ofthe sixteenth century, commercial theatres were operating in scteral major Spanish cites, cleding Madd, Seville, Valencia, and ‘Valladolid "The Madrid public theatre: the coral de ls Cras and the coral del Principe (opened in 1579 and 1582, respectively), were the focal pont sn the carly part of the seventeenth centr, becase Spas sates playwrights worked ia Madrid and ote inialy for their fnthasiatic public The testes provided an essential wae of reverie for the muntcial hospitals and charities, such that theatre became 0 conomie necessity. With the commercial public theatres offering per feemances smoat daly, the growth ofthis busines ected » deroand for new plays, and an enormous number of new plays were writen and performed in Madrid throughout the seventeenth century © ‘Several conventions governing the use of music in Spaiah drama developed through the practice of dramatists and musicians in the pubic ‘eats, within the principal theatrical genre of the comedian Lope de Vega (1562-1633) the leading dfamatic of his ae, contbuted seatly tothe conventional incision of music. Aestely aware of the Explosion of theatia att in the ealy years ofthe seventeenth cen fry, Lope responded a eric and fellowes ake by writings dfinsion tnd dence ol the new dramatic form: his te mace de hacer comedias fen exe tiompo(x609) offered a timely codification ofthe theoretical and practical elements that defined the new comedia genre "ND, Sh ity of he Shon So Meal Ties be ad of he Serpe eo seek Os Foss at SST e815 Vr me ND. 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