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diff --git a/old/63085-0.txt b/old/63085-0.txt deleted file mode 100644 index e71b39d..0000000 --- a/old/63085-0.txt +++ /dev/null @@ -1,6042 +0,0 @@ -The Project Gutenberg EBook of The Music of Spain, by Carl van Vechten - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Music of Spain - -Author: Carl van Vechten - -Release Date: August 31, 2020 [EBook #63085] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MUSIC OF SPAIN *** - - - - -Produced by Andrés V. Galia, Donal Wheeler and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - TRANSCRIBER'S NOTES - - -Italic text is denoted by _underscores_. - -The book cover has been modified by the Transcriber and was added to -the public domain. - -The spelling of Spanish names and places in Spain mentioned in the text -has been adjusted to the rules set by the Academia Real Española. - -A number of words in this book have both hyphenated and non-hyphenated -variants. For the words with both variants present the one more used -has been kept. - -Punctuation and other printing errors have been corrected. - - - * * * * * - - THE MUSIC OF SPAIN - - - - - _BOOKS BY CARL VAN VECHTEN_ - - - MUSIC AFTER THE GREAT WAR 1915 - MUSIC AND BAD MANNERS 1916 - INTERPRETERS AND INTERPRETATIONS 1917 - THE MERRY-GO-ROUND 1918 - THE MUSIC OF SPAIN 1918 - - - - - [Illustration: MARY GARDEN AS CARMEN, ACT IV] - _from a photograph by Mishkin_ - - - - - THE MUSIC OF SPAIN - - _Carl Van Vechten_ - - [Illustration] - - New York Alfred A. Knopf - MCMXVIII - - COPYRIGHT, 1918, BY - ALFRED A. KNOPF, INC. - - - PRINTED IN THE UNITED STATES OF AMERICA - - - _Pour Blanchette_ - - - - - Preface - - -_When the leading essay of this book, "Music and Spain," first appeared -it was, so far as I have been able to discover, the only commentary -attempting to cover the subject generally in any language. It still -holds that distinction, I believe. Little enough has been published -about Spanish music in French or German, little enough indeed even in -Spanish, practically nothing in English. It has been urged upon me, -therefore, that its republication might meet with some success. This I -have consented to although no one can be more cognizant of its faults -than I am. The subject is utterly unclassified; there is no certain -way of determining values at present. It is almost impossible to hear -Spanish music outside of Spain; not easy even in Spain, unless one is -satisfied with zarzuelas. Worse, it is impossible even to see most of -it. Many important scores remain unpublished and our music dealers and -our libraries have not an extensive collection of what is published. -Under the circumstances I have worked under great difficulties, but my -enthusiasm has not slackened on that account. My main purpose has been -to open the ears of the world to these new sounds, to create curiosity -regarding the music of the Iberian Peninsula. When more of this music -is familiar will be time enough to write a more critical and more -comprehensive work._ - -_As "Music and Spain" is printed from the original plates I have -made only slight typographical changes in the text; some of these -are important, however. But I have added very voluminous notes -incorporating information that has come to me since I wrote "Music -and Spain." There is much new material included therein about Spanish -dancing and modern composers and the index will make it possible for -any one to find what he may be looking for in short order. The essay -on_ Carmen_, too, was written for this book and that on_ The Land of -Joy_, being entirely apposite, I have lifted from "The Merry-Go-Round." -Mr. John Garrett Underhill has suggested many valuable changes and -additions and I am deeply indebted to him._ - -_The preparation of this book has given me an extraordinary interest -in and a real love for the Iberian Peninsula. If I have succeeded in -communicating a little of this feeling to my reader I shall be content._ - - CARL VAN VECHTEN. - - _New York, June 26, 1918._ - - - - - CONTENTS - - PAGE - - SPAIN AND MUSIC 13 - - _The Land of Joy_ 91 - - FROM GEORGE BORROW TO MARY GARDEN 105 - - NOTES ON THE TEXT 145 - - - ILLUSTRATIONS - - MARY GARDEN AS CARMEN, ACT IV _Frontispiece_ - - Facing - Page - - TARQUINIA TARQUINI AS CONCHITA 24 - - LA ARGENTINA 36 - - TOMÁS BRETÓN 80 - - DOLORETES 96 - - ZULOAGA'S PORTRAIT OF LUCIENNE BRÉVAL AS - CARMEN, ACT II 130 - - OLIVE FREMSTAD AS CARMEN, ACT I 136 - - AMADEO VIVES 186 - - - Spain and Music - - "_Il faut méditerraniser la musique._" - Nietzsche. - - - - - SPAIN AND MUSIC - -It has seemed to me at times that Oscar Hammerstein was gifted with -almost prophetic vision. He it was who imagined the glory of Times -(erstwhile Longacre) Square. Theatre after theatre he fashioned in what -was then a barren district--and presently the crowds and the hotels -came. He foresaw that French opera, given in the French manner, would -be successful again in New York, and he upset the calculations of all -the wiseacres by making money even with _Pelléas et Mélisande_, that -esoteric collaboration of Belgian and French art, which in the latter -part of the season of 1907-8 attained a record of seven performances -at the Manhattan Opera House, all to audiences as vast and as devoted -as those which attend the sacred festivals of _Parsifal_ at Bayreuth. -And he had announced for presentation during the season of 1908-9 -(and again the following season) a Spanish opera called _La Dolores_. -If he had carried out his intention (why it was abandoned I have -never learned; the scenery and costumes were ready) he would have had -another honour thrust upon him, that of having been beforehand in the -production of modern Spanish opera in New York, an honour which, in -the circumstances, must go to Mr. Gatti-Casazza. (Strictly speaking, -_Goyescas_ was not the first Spanish opera to be given in New York, -although it was the first to be produced at the Metropolitan Opera -House. _Il Guarany_, by Antonio Carlos Gomez, a Portuguese born in -Brazil, was performed by the "Milan Grand Opera Company" during a three -weeks' season at the Star Theatre in the fall of 1884. An air from -this opera is still in the répertoire of many sopranos. To go still -farther back, two of Manuel García's operas, sung of course in Italian, -_l'Amante Astuto_ and _La Figlia dell'Aria_, were performed at the Park -Theatre in 1825 with María García--later to become the celebrated Mme. -Malibran--in the principal rôles. More recently an itinerant Italian -opéra-bouffe company, which gravitated from the Park Theatre--not the -same edifice that harboured García's company!--to various playhouses -on the Bowery, included three zarzuelas in its répertoire. One of -these, the popular _La Gran Vía_, was announced for performance, -but my records are dumb on the subject and I am not certain that -it was actually given. There are probably other instances.) Mr. -Hammerstein had previously produced two operas _about_ Spain when he -opened his first Manhattan Opera House on the site now occupied by -Macy's Department Store with Moszkowski's _Boabdil_, quickly followed -by Beethoven's _Fidelio_. The malagueña from _Boabdil_ is still a -favourite _morceau_ with restaurant orchestras, and I believe I have -heard the entire ballet suite performed by the Chicago Orchestra under -the direction of Theodore Thomas. New York's real occupation by the -Spaniards, however, occurred after the close of Mr. Hammerstein's -brilliant seasons, although the earlier vogue of Carmencita, whose -celebrated portrait by Sargent in the Luxembourg Gallery in Paris will -long preserve her fame, the interest in the highly-coloured paintings -by Sorolla and Zuloaga, many of which are still on exhibition in -private and public galleries in New York, the success here achieved, in -varying degrees, by such singing artists as Emilio de Gogorza, Andrés -de Segurola, and Lucrezia Bori, the performances of the piano works of -Albéniz, Turina, and Granados by such pianists as Ernest Schelling, -George Copeland, and Leo Ornstein, and the amazing Spanish dances of -Anna Pavlowa (who in attempting them was but following in the footsteps -of her great predecessors of the nineteenth century, Fanny Elssler and -Taglioni), all fanned the flames. - -The winter of 1915-16 beheld the Spanish blaze. Enrique Granados, -one of the most distinguished of contemporary Spanish pianists and -composers, a man who took a keen interest in the survival, and -artistic use, of national forms, came to this country to assist at the -production of his opera _Goyescas_, sung in Spanish at the Metropolitan -Opera House for the first time anywhere, and was also heard several -times here in his interpretative capacity as a pianist; Pablo Casals, -the Spanish 'cellist, gave frequent exhibitions of his finished art, -as did Miguel Llobet, the guitar virtuoso; La Argentina (Señora Paz -of South America) exposed her ideas, somewhat classicized, of Spanish -dances; a Spanish soprano, María Barrientos, made her North American -début and justified, in some measure, the extravagant reports which -had been spread broadcast about her singing; and finally the decree -of Paris (still valid in spite of Paul Poiret's reported absence -in the trenches) led all our womenfolk into the wearing of Spanish -garments, the hip-hoops of the Velasquez period, the lace flounces -of Goya's Duchess of Alba, and the mantillas, the combs, and the -_accroche-coeurs_ of Spain, Spain, Spain.... In addition one must -mention Mme. Farrar's brilliant success, deserved in some degree, -as Carmen, both in Bizet's opera and in a moving picture drama; -Miss Theda Bara's film appearance in the same part, made with more -atmospheric suggestion than Mme. Farrar's, even if less effective as -an interpretation of the moods of the Spanish cigarette girl; Mr. -Charles Chaplin's eccentric burlesque of the same play; the continued -presence in New York of Andrés de Segurola as an opera and concert -singer; María Gay, who gave some performances in _Carmen_ and other -operas; and Lucrezia Bori, although she was unable to sing during the -entire season owing to the unfortunate result of an operation on her -vocal cords; in Chicago, Miss Supervia appeared at the opera and Mme. -Koutznezoff, the Russian, danced Spanish dances; and at the New York -Winter Garden Isabel Rodríguez appeared in Spanish dances which quite -transcended the surroundings and made that stage as atmospheric, for -the few brief moments in which it was occupied by her really entrancing -beauty, as a _maison de danse_ in Seville. The tango, too, in somewhat -modified form, continued to interest "ballroom dancers," danced to -music provided in many instances by Señor Valverde, an indefatigable -producer of popular tunes, some of which have a certain value as music -owing to their close allegiance to the folk-dances and songs of Spain. -In the art-world there was a noticeable revival of interest in Goya and -El Greco. - -But if Mr. Gatti-Casazza, with the best intentions in the world, -should desire to take advantage of any of this _réclame_ by producing -a series of Spanish operas at the Metropolitan Opera House--say four -or five more--he would find himself in difficulty. Where are they? -Several of the operas of Isaac Albéniz have been performed in London, -and in Brussels at the Théâtre de la Monnaie, but would they be liked -here? There is Felipe Pedrell's monumental work, the trilogy, _Los -Pireneos_, called by Edouard Lopez-Chavarri "the most important work -for the theatre written in Spain"; and there is the aforementioned -_La Dolores_. For the rest, one would have to search about among the -zarzuelas; and would the Metropolitan Opera House be a suitable place -for the production of this form of opera? It is doubtful, indeed, if -the zarzuela could take root in any theatre in New York. - -The truth is that in Spain Italian and German operas are much more -popular than Spanish, the zarzuela always excepted; and at Señor -Arbós's series of concerts at the Royal Opera in Madrid one hears -more Bach and Beethoven than Albéniz and Pedrell. There is a growing -interest in music in Spain and there are indications that some day -her composers may again take an important place with the musicians -of other nationalities, a place they proudly held in the sixteenth -and seventeenth centuries. However, no longer ago than 1894, we -find Louis Lombard writing in his "Observations of a Musician" that -harmony was not taught at the Conservatory of Málaga, and that at -the closing exercises of the Conservatory of Barcelona he had heard -a four-hand arrangement of the _Tannhäuser_ march performed on ten -pianos by forty hands! Havelock Ellis ("The Soul of Spain," 1909) -affirms that a concert in Spain sets the audience to chattering. They -have a savage love of noise, the Spanish, he says, which incites them -to conversation. Albert Lavignac, in "Music and Musicians" (William -Marchant's translation), says, "We have left in the shade the Spanish -school, which to say truth does not exist." But if one reads what -Lavignac has to say about Moussorgsky, one is likely to give little -credence to such extravagant generalities as the one just quoted. -The Moussorgsky paragraph is a gem, and I am only too glad to insert -it here for the sake of those who have not seen it: "A charming and -fruitful melodist, who makes up for a lack of skill in harmonization -by a daring, which is sometimes of doubtful taste; has produced songs, -piano music in small amount, and an opera, _Boris Godunow_." In the -report of the proceedings of the thirty-fourth session of the London -Musical Association (1907-8) Dr. Thomas Lea Southgate is quoted as -complaining to Sir George Grove because under "Schools of Composition" -in the old edition of Grove's Dictionary the Spanish School was -dismissed in twenty lines. Sir George, he says, replied, "Well, I gave -it to Rockstro because nobody knows anything about Spanish music."--The -bibliography of modern Spanish music is indeed indescribably meagre, -although a good deal has been written in and out of Spain about the -early religious composers of the Iberian peninsula. - -These matters will be discussed in due course. In the meantime it -has afforded me some amusement to put together a list (which may be -of interest to both the casual reader and the student of music) of -compositions suggested by Spain to composers of other nationalities. -(This list is by no means complete. I have not attempted to include -in it works which are not more or less familiar to the public of the -present day; without boundaries it could easily be extended into a -small volume.) The répertoire of the concert room and the opera house -is streaked through and through with Spanish atmosphere and, on the -whole, I should say, the best Spanish music has not been written by -Spaniards, although most of it, like the best music written in Spain, -is based primarily on the rhythm of folk-tunes, dances and songs. Of -orchestral pieces I think I must put at the head of the list Chabrier's -rhapsody, _España_, as colourful and rhythmic a combination of tone as -the auditor of a symphony concert is often bidden to hear. It depends -for its melody and rhythm on two Spanish dances, the jota, fast and -fiery, and the malagueña, slow and sensuous. These are true Spanish -tunes; Chabrier, according to report, invented only the rude theme -given to the trombones. The piece was originally written for piano, and -after Chabrier's death was transformed (with other music by the same -composer) into a ballet, _España_, performed at the Paris Opéra, 1911. -Waldteufel based one of his most popular waltzes on the theme of this -rhapsody. Chabrier's _Habanera_ for the pianoforte (1885) was his last -musical reminiscence of his journey to Spain. It is French composers -generally who have achieved better effects with Spanish atmosphere -than men of other nations, and next to Chabrier's music I should put -Debussy's _Iberia_, the second of his _Images_ (1910). It contains -three movements designated respectively as "In the streets and roads," -"The perfumes of the night," and "The morning of a fête-day." It is -indeed rather the smell and the look of Spain than the rhythm that this -music gives us, entirely impressionistic that it is, but rhythm is not -lacking, and such characteristic instruments as castanets, tambourines, -and xylophones are required by the score. "Perfumes of the night" comes -as near to suggesting odours to the nostrils as any music can--and not -all of them are pleasant odours. There is Rimsky-Korsakow's _Capriccio -Espagnole_, with its _alborado_ or lusty morning serenade, its long -series of cadenzas (as cleverly written as those of _Scheherazade_ to -display the virtuosity of individual players in the orchestra; it is -noteworthy that this work is dedicated to the sixty-seven musicians -of the band at the Imperial Opera House of Petrograd and all of their -names are mentioned on the score) to suggest the vacillating music of -a gipsy encampment, and finally the wild fandango of the Asturias with -which the work comes to a brilliant conclusion. Engelbert Humperdinck -taught the theory of music in the Conservatory of Barcelona for two -years (1885-6), and one of the results was his _Maurische Rhapsodie_ in -three parts (1898-9), still occasionally performed by our orchestras. -Lalo wrote his _Symphonie Espagnole_ for violin and orchestra for the -great Spanish virtuoso, Pablo de Sarasate, but all our violinists -delight to perform it (although usually shorn of a movement or two). -Glinka wrote a _Jota Aragonese_ and _A Night in Madrid_; he gave a -Spanish theme to Balakirew which the latter utilized in his _Overture -on a theme of a Spanish March_. Liszt wrote a _Spanish Rhapsody_ for -pianoforte (arranged as a concert piece for piano and orchestra by -Busoni) in which he used the jota of Aragón as a theme for variations. -Rubinstein's _Toreador and Andalusian_ and Moszkowski's _Spanish -Dances_ (for four hands) are known to all amateur pianists as Hugo -Wolf's _Spanisches Liederbuch_ and Robert Schumann's _Spanisches -Liederspiel_, set to F. Giebel's translations of popular Spanish -ballads, are known to all singers. I have heard a song of Saint-Saëns, -_Guitares et Mandolines_, charmingly sung by Greta Torpadie, in which -the instruments of the title, under the subtle fingers of that masterly -accompanist, Coenraad V. Bos, were cleverly imitated. And Debussy's -_Mandoline_ and Delibes's _Les Filles de Cadix_ (which in this country -belongs both to Emma Calvé and Olive Fremstad) spring instantly to -mind. Ravel's _Rapsodie Espagnole_ is as Spanish as music could be. -The Boston Symphony men have played it during the season just past. -Ravel based the habanera section of his _Rapsodie_ on one of his piano -pieces. But Richard Strauss's two tone-poems on Spanish subjects, _Don -Juan_ and _Don Quixote_, have not a note of Spanish colouring, so far -as I can remember, from beginning to end. Svendsen's symphonic poem, -_Zorahayda_, based on a passage in Washington Irving's "Alhambra," -is Spanish in theme and may be added to this list together with -Waldteufel's _Estudiantina_ waltzes. - - [Illustration: TARQUINIA TARQUINI AS CONCHITA] - _from a photograph by Matzene_ - - - I - -Four modern operas stand out as Spanish in subject and atmosphere. I -would put at the top of the list Zandonai's _Conchita_; the Italian -composer has caught on his musical palette and transferred to his tonal -canvas a deal of the lazy restless colour of the Iberian peninsula -in this little master-work. The feeling of the streets and patios is -admirably caught. My friend, Pitts Sanborn, said of it, after its -solitary performance at the Metropolitan Opera House in New York by -the Chicago Opera Company, "There is musical atmosphere of a rare -and penetrating kind; there is colour used with the discretion of a -master; there are intoxicating rhythms, and above the orchestra the -voices are heard in a truthful musical speech.... Ever since _Carmen_ -it has been so easy to write Spanish music and achieve supremely -the banal. Here there is as little of the Spanish of convention as -in Debussy's _Iberia_, but there is Spain." This opera, based on -Pierre Louÿs's sadic novel, "La Femme et le Pantin," owed some of its -extraordinary impression of vitality to the vivid performance given of -the title-rôle by Tarquinia Tarquini. Raoul Laparra, born in Bordeaux, -but who has travelled much in Spain, has written two Spanish operas, -_La Habanera_ and _La Jota_, both named after popular Spanish dances -and both produced at the Opéra-Comique in Paris. I have heard _La -Habanera_ there and found the composer's use of the dance as a pivot of -a tragedy very convincing. Nor shall I forget the first act-close, in -which a young man, seated on a wall facing the window of a house where -a most bloody murder has been committed, sings a wild Spanish ditty, -accompanying himself on the guitar, crossing and recrossing his legs in -complete abandonment to the rhythm, while in the house rises the wild -treble cry of a frightened child. I have not heard _La Jota_, nor have -I seen the score. I do not find Emile Vuillermoz enthusiastic in his -review ("S. I. M.," May 15, 1911): "Une danse transforme le premier -acte en un kaléidoscope frénétique et le combat dans l'église doit -donner, au second, dans l'intention de l'auteur 'une sensation à pic, -un peu comme celle d'un puits où grouillerait la besogne monstreuse -de larves humaines.' A vrai dire ces deux tableaux de cinématographe -papillotant, corsés de cris, de hurlements et d'un nombre incalculable -de coups de feu constituent pour le spectator une épreuve physiquement -douloureuse, une hallucination confuse et inquiétante, un cauchemar -assourdissant qui le conduisent irrésistiblement à l'hébétude et à -la migraine. Dans tout cet enfer que devient la musique?" Perhaps -opera-goers in general are not looking for thrills of this order; the -fact remains that _La Jota_ has had a modest career when compared with -_La Habanera_, which has even been performed in Boston. _Carmen_ is -essentially a French opera; the leading emotions of the characters -are expressed in an idiom as French as that of Gounod; yet the dances -and entr'actes are Spanish in colour. The story of Carmen's entrance -song is worth retelling in Mr. Philip Hale's words ("Boston Symphony -Orchestra Programme Notes"; 1914-15, P. 287): "Mme. Galli-Marié -disliked her entrance air, which was in 6-8 time with a chorus. She -wished something more audacious, a song in which she could bring into -play the whole battery of her _perversités artistiques_, to borrow -Charles Pigot's phrase: 'caressing tones and smiles, voluptuous -inflections, killing glances, disturbing gestures.' During the -rehearsals Bizet made a dozen versions. The singer was satisfied -only with the thirteenth, the now familiar Habanera, based on an old -Spanish tune that had been used by Sebastian Yradier. This brought -Bizet into trouble, for Yradier's publisher, Heugel, demanded that the -indebtedness should be acknowledged in Bizet's score. Yradier made no -complaint, but to avoid a lawsuit or a scandal, Bizet gave consent, and -on the first page of the Habanera in the French edition of _Carmen_ -this line is engraved: 'Imitated from a Spanish song, the property of -the publishers of _Le Ménestrel_.'" - -There are other operas the scenes of which are laid in Spain. Some of -them make an attempt at Spanish colouring, more do not. Massenet wrote -no less than five operas on Spanish subjects, _Le Cid_, _Chérubin_, -_Don César de Bazán_, _La Navarraise_ and _Don Quichotte_ (Cervantes's -novel has frequently lured the composers of lyric dramas with its -story; Clément et Larousse give a long list of _Don Quixote_ operas, -but they do not include one by Manuel García, which is mentioned in -John Towers's compilation, "Dictionary-Catalogue of Operas." However, -not a single one of these lyric dramas has held its place on the -stage). The Spanish dances in _Le Cid_ are frequently performed, -although the opera is not. The most famous of the set is called simply -_Aragonaise_; it is not a jota. _Pleurez, mes yeux_, the principal air -of the piece, can scarcely be called Spanish. There is a delightful -suggestion of the jota in _La Navarraise_. In _Don Quichotte_ la belle -Dulcinée sings one of her airs to her own guitar strummings, and much -was made of the fact, before the original production at Monte Carlo, -of Mme. Lucy Arbell's lessons on that instrument. Mary Garden, who -had learned to dance for _Salome_, took no guitar lessons for _Don -Quichotte_. But is not the guitar an anachronism in this opera? In -a pamphlet by Don Cecilio de Roda, issued during the celebration of -the tercentenary of the publication of Cervantes's romance, taking -as its subject the musical references in the work, I find, "The harp -was the aristocratic instrument most favoured by women and it would -appear to be regarded in _Don Quixote_ as the feminine instrument -par excellence." Was the guitar as we know it in existence at that -epoch? I think the _vihuela_ was the guitar of the period.... Maurice -Ravel wrote a Spanish opera, _l'Heure Espagnole_ (one act, performed -at the Paris Opéra-Comique, 1911). Octave Séré ("Musiciens français -d'Aujourd'hui") says of it: "Les principaux traits de son caractère -et l'influence du sol natal s'y combinent étrangement. De l'alliance -de la mer et du Pays Basque (Ravel was born in the Basses-Pyrénées, -near the sea) est née une musique à la fois fluide et nerveusement -rythmée, mobile, chatoyante, amie du pittoresque et dont le trait -net et précis est plus incisif que profond." Hugo Wolf's opera _Der -Corregidor_ is founded on the novel, "El Sombrero de tres Picos," of -the Spanish writer, Pedro de Alarcón (1833-91). His unfinished opera -_Manuel Venegas_ also has a Spanish subject, suggested by Alarcón's -"El Niño de la Bola." Other Spanish operas are Beethoven's _Fidelio_, -Balfe's _The Rose of Castile_, Verdi's _Ernani_ and _Il Trovatore_, -Rossini's _Il Barbiere di Siviglia_, Mozart's _Don Giovanni_ and _Le -Nozze di Figaro_, Weber's _Preciosa_ (really a play with incidental -music), Dargomijsky's _The Stone Guest_ (Pushkin's version of the Don -Juan story. This opera, by the way, was one of the many retouched and -completed by Rimsky-Korsakow), Reznicek's _Donna Diana_--and Wagner's -_Parsifal_! The American composer John Knowles Paine's opera _Azara_, -dealing with a Moorish subject, has, I think, never been performed. - - - II - -The early religious composers of Spain deserve a niche all to -themselves, be it ever so tiny, as in the present instance. There is, -to be sure, some doubt as to whether their inspiration was entirely -peninsular, or whether some of it was wafted from Flanders, and the -rest gleaned in Rome, for in their service to the church most of them -migrated to Italy and did their best work there. It is not the purpose -of the present chronicler to devote much space to these early men, -or to discuss in detail their music. There are no books in English -devoted to a study of Spanish music, and few in any language, but -what few exist take good care to relate at considerable length (some -of them with frequent musical quotation) the state of music in Spain -in the sixteenth, seventeenth, and eighteenth centuries, the golden -period. To the reader who may wish to pursue this phase of our subject -I offer a small bibliography. There is first of all A. Soubies's two -volumes, "Histoire de la Musique d'Espagne," published in 1889. The -second volume takes us through the eighteenth century. The religious -and early secular composers are catalogued in these volumes, but there -is little attempt at detail, and he is a happy composer who is awarded -an entire page. Soubies does not find occasion to pause for more than a -paragraph on most of his subjects. Occasionally, however, he lightens -the plodding progress of the reader, as when he quotes Father Bermudo's -"Declaración de Instrumentos" (1548; the 1555 edition is in the Library -of Congress at Washington): "There are three kinds of instruments in -music. The first are called natural; these are men, of whom the song -is called _musical harmony_. Others are artificial and are played -by the touch--such as the harp, the _vihuela_ (the ancient guitar, -which resembles the lute), and others like them; the music of these -is called _artificial_ or rhythmic. The third species is pneumatique -and includes instruments such as the flute, the douçaine (a species of -oboe), and the organ." There may be some to dispute this ingenious and -highly original classification. The best known, and perhaps the most -useful (because it is easily accessible) history of Spanish music is -that written by Mariano Soriano Fuertes, in four volumes: "Historia -de la Música Española desde la venida de los Fenicios hasta el año de -1850"; published in Barcelona and Madrid in 1855. There is further the -"Diccionario Técnico, Histórico, y Biográfico de la Música," by José -Parada y Barreto (Madrid, 1867). This, of course, is a general work on -music, but Spain gets her full due. For example, a page and a half is -devoted to Beethoven, and nine pages to Eslava. It is to this latter -composer to whom we must turn for the most complete and important -work on Spanish church music: "Lira Sacro-Hispana" (Madrid, 1869), -in ten volumes, with voluminous extracts from the composers' works. -This collection of Spanish church music from the sixteenth century -through the eighteenth, with biographical notices of the composers is -out of print and rare (there is a copy in the Congressional Library -at Washington). As a complement to it I may mention Felipe Pedrell's -"Hispaniae Schola Musica Sacra," begun in 1894, which has already -reached the proportions of Eslava's work. Pedrell, who was the master -of Enrique Granados, has also issued a fine edition of the music of -Victoria. - -The Spanish composers had their full share in the process of -crystallizing music into forms of permanent beauty during the -sixteenth and seventeenth centuries. Rockstro asserts that during the -early part of the sixteenth century nearly all the best composers for -the great Roman choirs were Spaniards. But their greatest achievement -was the foundation of the school of which Palestrina was the crown. On -the music of their own country their influence is less perceptible. I -think the name of Cristofero Morales (1512-53) is the first important -name in the history of Spanish music. He preceded Palestrina in Rome -and some of his masses and motets are still sung in the Papal chapel -there (and in other Roman Catholic edifices and by choral societies). -Francisco Guerrero (1528-99; these dates are approximate) was a pupil -of Morales. He wrote settings of the Passion choruses according to -St. Matthew and St. John and numerous masses and motets. Tomás Luis -de Victoria is, of course, the greatest figure in Spanish music, and -next to Palestrina (with whom he worked contemporaneously) the greatest -figure in sixteenth century music. Soubies writes: "One might say that -on his musical palette he has entirely at his disposition, in some -sort, the glowing colour of Zurbaran, the realistic and transparent -tones of Velasquez, the ideal shades of Juan de Juanes and Murillo. His -mysticism is that of Santa Theresa and San Juan de la Cruz." The music -of Victoria is still very much alive and may be heard even in New York, -occasionally, through the medium of the Musical Art Society. Whether -it is performed in churches in America or not I do not know; the Roman -choirs still sing it.... - -The list might be extended indefinitely ... but the great names I -have given. There are Cabezón, whom Pedrell calls the "Spanish Bach," -Navarro, Caseda, Gomes, Ribera, Castillo, Lobo, Durón, Romero, Juarez. -On the whole I think these composers had more influence on Rome--the -Spanish nature is more reverent than the Italian--than on Spain. The -modern Spanish composers have learned more from the folk-song and dance -than they have from the church composers. However, there are voices -which dissent from this opinion. G. Tebaldini ("Rivista Musicale," Vol. -IV, Pp. 267 and 494) says that Pedrell in his studies learned much -which he turned to account in the choral writing of his operas. And -Felipe Pedrell himself asserts that there is an unbroken chain between -the religious composers of the sixteenth century and the theatrical -composers of the seventeenth. We may follow him thus far without -believing that the theatrical composers of the seventeenth century had -too great an influence on the secular composers of the present day. - - - III - -All the world dances in Spain, at least it would seem so, in reading -over the books of the Marco Polos who have made voyages of discovery -on the Iberian peninsula. Guitars seem to be as common there as -pea-shooters in New England, and strumming seems to set the feet -a-tapping and voices a-singing, what, they care not. (Havelock Ellis -says: "It is not always agreeable to the Spaniard to find that dancing -is regarded by the foreigner as a peculiar and important Spanish -institution. Even Valera, with his wide culture, could not escape -this feeling; in a review of a book about Spain by an American author -entitled 'The Land of the Castanet'--a book which he recognized as full -of appreciation for Spain--Valera resented the title. It is, he says, -as though a book about the United States should be called 'The Land of -Bacon.'") Oriental colour is streaked through and through the melodies -and harmonies, many of which betray their Arabian origin; others are -_flamenco_, or gipsy. The dances, almost invariably accompanied by -song, are generally in 3-4 time or its variants such as 6-8 or 3-8; -the tango, of course, is in 2-4. But the dancers evolve the most -elaborate inter-rhythms out of these simple measures, creating thereby -a complexity of effect which defies any comprehensible notation on -paper. As it is on this _fioritura_, if I may be permitted to use the -word in this connection, of the dancer that the sophisticated composer -bases some of his most natural and national effects, I shall linger on -the subject. La Argentina has re-arranged many of the Spanish dances -for purposes of the concert stage, but in her translation she has -retained in a large measure this interesting complication of rhythm, -marking the irregularity of the beat, now with a singularly complicated -detonation of heel-tapping, now with a sudden bend of a knee, now with -the subtle quiver of an eyelash, now with a shower of castanet sparks -(an instrument which requires a hard tutelage for its complete mastery; -Richard Ford tells us that even the children in the streets of Spain -rap shells together, to become self-taught artists in the use of it). -Chabrier, in his visit to Spain with his wife in 1882, attempted to -note down some of these rhythmic variations achieved by the dancers -while the musicians strummed their guitars, and he was partially -successful. But all in all he only succeeded in giving in a single -measure each variation; he did not attempt to weave them into the -intricate pattern which the Spanish women contrive to make of them. - - [Illustration: LA ARGENTINA] - _from a photograph by White_ - -There is a singular similarity to be observed between this heel-tapping -and the complicated drum-tapping of the African negroes of certain -tribes. In his book "Afro-American Folksongs" H. E. Krehbiel thus -describes the musical accompaniment of the dances in the Dahoman -Village at the World's Columbian Exposition in Chicago: "These dances -were accompanied by choral song and the rhythmical and harmonious -beating of drums and bells, the song being in unison. The harmony was -a tonic major triad broken up rhythmically in a most intricate and -amazingly ingenious manner. The instruments were tuned with excellent -justness. The fundamental tone came from a drum made of a hollowed log -about three feet long with a single head, played by one who seemed -to be the leader of the band, though there was no giving of signals. -This drum was beaten with the palms of the hands. A variety of smaller -drums, some with one, some with two heads, were beaten variously with -sticks and fingers. The bells, four in number, were of iron and were -held mouth upward and struck with sticks. The players showed the most -remarkable rhythmical sense and skill that ever came under my notice. -Berlioz in his supremest effort with his army of drummers produced -nothing to compare in artistic interest with the harmonious drumming -of these savages. The fundamental effect was a combination of double -and triple time, the former kept by the singers, the latter by the -drummers, but it is impossible to convey the idea of the wealth of -detail achieved by the drummers by means of exchange of the rhythms, -syncopation of both simultaneously, and dynamic devices. Only by -making a score of the music could this have been done. I attempted to -make such a score by enlisting the help of the late John C. Filmore, -experienced in Indian music, but we were thwarted by the players -who, evidently divining our purpose when we took out our notebooks, -mischievously changed their manner of playing as soon as we touched -pencil to paper." - -The resemblance between negro and Spanish music is very noticeable. Mr. -Krehbiel says that in South America Spanish melody has been imposed -on negro rhythm. In the dances of the people of Spain, as Chabrier -points out, the melody is often practically nil; the effect is rhythmic -(an effect which is emphasized by the obvious harmonic and melodic -limitations of the guitar, which invariably accompanies all singers -and dancers). If there were a melody or if the guitarists played well -(which they usually do not) one could not distinguish its contours -what with the cries of Olé! and the heel-beats of the performers. -Spanish melodies, indeed, are often scraps of tunes, like the African -negro melodies. The habanera is a true African dance, taken to Spain -by way of Cuba, as Albert Friedenthal points out in his book, "Musik, -Tanz, und Dichtung bei den Kreolen Amerikas." Whoever was responsible, -Arab, negro, or Moor (Havelock Ellis says that the dances of Spain -are closely allied with the ancient dances of Greece and Egypt), the -Spanish dances betray their oriental origin in their complexity of -rhythm (a complexity not at all obvious on the printed page, as so -much of it depends on dancer, guitarist, singer, and even public!), -and the _fioriture_ which decorate their melody when melody occurs. -While Spanish religious music is perhaps not distinctively Spanish, the -dances invariably display marked national characteristics; it is on -these, then (some in greater, some in less degree), that the composers -in and out of Spain have built their most atmospheric inspirations, -their best pictures of popular life in the Iberian peninsula. A good -deal of the interest of this music is due to the important part the -guitar plays in its construction; the modulations are often contrary -to all rules of harmony and (yet, some would say) the music seems -to be effervescent with variety and fire. Of the guitarists Richard -Ford ("Gatherings from Spain") says: "The performers seldom are very -scientific musicians; they content themselves with striking the -chords, sweeping the whole hand over the strings, or flourishing, -and tapping the board with the thumb, at which they are very expert. -Occasionally in the towns there is some one who has attained more -power over this ungrateful instrument; but the attempt is a failure. -The guitar responds coldly to Italian words and elaborate melody, -which never come home to Spanish ears or hearts." (An exception must -be made in the case of Miguel Llobet. I first heard him play at Pitts -Sanborn's concert at the Punch and Judy Theatre (April 17, 1916) for -the benefit of Hospital 28 in Bourges, France, and he made a deep -impression on me. In one of his numbers, the _Spanish Fantasy_ of -Farrega, he astounded and thrilled me. He seemed at all times to exceed -the capacity of his instrument, obtaining a variety of colour which -was truly amazing. In this particular number he not only plucked the -keyboard but the fingerboard as well, in intricate and rapid _tempo_; -seemingly two different kinds of instruments were playing. But at all -times he variated his tone; sometimes he made the instrument sound -almost as though it had been played by wind and not plucked. Especially -did I note a suggestion of the bagpipe. A true artist. None of the -music, the fantasy mentioned, a serenade of Albéniz, and a Menuet of -Tor, was particularly interesting, although the Fantasia contained -some fascinating references to folk-dance tunes. There is nothing -sensational about Llobet, a quiet prim sort of man; he sits quietly in -his chair and makes music. It might be a harp or a 'cello--no striving -for personal effect.) - -The Spanish dances are infinite in number and for centuries back -they seem to form part and parcel of Spanish life. Discussion as to -how they are danced is a feature of the descriptions. No two authors -agree, it would seem; to a mere annotator the fact is evident that -they are danced differently on different occasions. It is obvious that -they are danced differently in different provinces. The Spaniards, as -Richard Ford points out, are not too willing to give information to -strangers, frequently because they themselves lack the knowledge. Their -statements are often misleading, sometimes intentionally so. They -do not understand the historical temperament. Until recently many of -the art treasures and archives of the peninsula were but poorly kept. -Those who lived in the shadow of the Alhambra admired only its shade. -It may be imagined that there has been even less interest displayed in -recording the folk-dances. "Dancing in Spain is now a matter which few -know anything about," writes Havelock Ellis, "because every one takes -it for granted that he knows all about it; and any question on the -subject receives a very ready answer which is usually of questionable -correctness." Of the music of the dances we have many records, and that -they are generally in 3-4 time or its variants we may be certain. As -to whether they are danced by two women, a woman and a man, or a woman -alone, the authorities do not always agree. The confusion is added to -by the oracular attitude of the scribes. It seems quite certain to me -that this procedure varies. That the animated picture almost invariably -possesses great fascination there are only too many witnesses to -prove. I myself can testify to the marvel of some of them, set to be -sure in strange frames, the Feria in Paris, for example; but even -without the surroundings, which Spanish dances demand, the diablerie, -the shivering intensity of these fleshly women, always wound tight -with such shawls as only the mistresses of kings might wear in other -countries, have drawn taut the _real thrill_. It is dancing which -enlists the co-operation not only of the feet and legs, but of the arms -and, in fact, the entire body. - -The smart world in Spain today dances much as the smart world does -anywhere else, although it does not, I am told, hold a brief for our -tango, which Mr. Krehbiel suggests is a corruption of the original -African habanera. But in older days many of the dances, such as the -pavana, the sarabande, and the gallarda, were danced at the court and -were in favour with the nobility. (Although presumably of Italian -origin, the pavana and gallarda were more popular in Spain than in -Rome. Fuertes says that the sarabande was invented in the middle of -the sixteenth century by a dancer called Zarabanda who was a native of -either Seville or Guayaquil.) The pavana, an ancient dance of grave and -stately measure, was much in vogue in the sixteenth and seventeenth -centuries. An explanation of its name is that the figures executed -by the dancers bore a resemblance to the semi-circular wheel-like -spreading of the tail of a peacock. The gallarda (French, gaillard) was -usually danced as a relief to the pavana (and indeed often follows it -in the dance-suites of the classical composers in which these forms all -figure). The jacara, or more properly xacara, of the sixteenth century, -was danced in accompaniment to a romantic, swashbuckling ditty. The -Spanish folias were a set of dances danced to a simple tune treated -in a variety of styles with very free accompaniment of castanets -and bursts of song. Corelli in Rome in 1700 published twenty-four -variations in this form, which have been played in our day by Fritz -Kreisler and other violinists. - -The names of the modern Spanish dances are often confused in the -descriptions offered by observing travellers, for the reasons already -noted. Hundreds of these descriptions exist, and it is difficult to -choose the most telling of them. Gertrude Stein, who has spent the last -two years in Spain, has noted the rhythm of several of these dances -by the mingling of her original use of words with the ingratiating -medium of _vers libre_. She has succeeded, I think, better than some -musicians in suggesting the intricacies of the rhythm. I should like to -transcribe one of these attempts here, but that I have not the right to -do as I have only seen them in manuscript; they have not yet appeared -in print. These pieces are in a sense the thing itself--I shall have -to fall back on descriptions of the thing. The tirana, a dance common -to the province of Andalusia, is accompanied by song. It has a decided -rhythm, affording opportunities for grace and gesture, the women toying -with their aprons, the men flourishing hats and handkerchiefs. The -polo, or ole, is now a gipsy dance. Mr. Ellis asserts that it is a -corruption of the sarabande! He goes on to say, "The so-called gipsy -dances of Spain are Spanish dances which the Spaniards are tending to -relinquish but which the gipsies have taken up with energy and skill." -(This theory might be warmly contested.) The bolero, a comparatively -modern dance, came to Spain through Italy. Mr. Philip Hale points out -the fact that the bolero and the cachucha (which, by the way, one -seldom hears of nowadays) were the popular Spanish dances when Mesdames -Faviani and Dolores Tesrai, and their followers, Mlle. Noblet and -Fanny Elssler, visited Paris. Fanny Elssler indeed is most frequently -seen pictured in Spanish costume, and the cachucha was danced by her -as often, I fancy, as Mme. Pavlowa dances _Le Cygne_ of Saint-Saëns. -Marie-Anne de Camargo, who acquired great fame as a dancer in France -in the early eighteenth century, was born in Brussels but was of -Spanish descent. She relied, however, on the Italian classic style for -her success rather than on national Spanish dances. The seguidilla -is a gipsy dance which has the same rhythm as the bolero but is more -animated and stirring. Examples of these dances, and of the jota, -fandango, and the sevillana, are to be met with in the compositions -listed in the first section of this article, in the appendices of -Soriano Fuertes's "History of Spanish Music," in Grove's Dictionary, -in the numbers of "S. I. M." in which the letters of Emmanuel Chabrier -occur, and in collections made by P. Lacome, published in Paris. - -The jota is another dance in 3-4 time. Every province in Spain has its -own jota, but the most famous variations are those of Aragón, Valencia, -and Navarre. It is accompanied by the guitar, the _bandarria_ (similar -to the guitar), small drum, castanets, and triangle. Mr. Hale says -that its origin in the twelfth century is attributed to a Moor named -Alben Jot who fled from Valencia to Aragón. "The jota," he continues, -"is danced not only at merrymakings but at certain religious festivals -and even in watching the dead. One called the 'Natividad del Señor' -(nativity of our Lord) is danced on Christmas eve in Aragón, and is -accompanied by songs, and jotas are sung and danced at the crossroads, -invoking the favour of the Virgin, when the festival of Our Lady del -Pilar is celebrated at Saragossa." - -Havelock Ellis's description of the jota is worth reproducing: -"The Aragonaise jota, the most important and typical dance outside -Andalusia, is danced by a man and a woman, and is a kind of combat -between them; most of the time they are facing each other, both using -castanets and advancing and retreating in an apparently aggressive -manner, the arms alternately slightly raised and lowered, and the legs, -with a seeming attempt to trip the partner, kicking out alternately -somewhat sidewise, as the body is rapidly supported first on one side -and then on the other. It is a monotonous dance, with immense rapidity -and vivacity in its monotony, but it has not the deliberate grace and -fascination, the happy audacities of Andalusian dancing. There is, -indeed, no faintest suggestion of voluptuousness in it, but it may -rather be said, in the words of a modern poet, Salvador Rueda, to have -in it 'the sound of helmets and plumes and lances and banners, the -roaring of cannon, the neighing of horses, the shock of swords.'" - -Chabrier, in his astounding and amusing letters from Spain, gives us -vivid pictures and interesting information. This one, written to his -friend, Edouard Moullé, from Granada, November 4, 1882, appeared in "S. -I. M." April 15, 1911 (I have omitted the musical illustrations, which, -however, possess great value for the student): "In a month I must leave -adorable Spain ... and say good-bye to the Spaniards,--because, I say -this only to you, they are very nice, the little girls! I have not seen -a really ugly woman since I have been in Andalusia: I do not speak of -the feet, they are so small that I have never seen them; the hands are -tiny and well-kept and the arms of an exquisite contour; I speak only -of what one can see, but they show a good deal; add the arabesques, the -side-curls, and other ingenuities of the coiffure, the inevitable fan, -the flower and the comb in the hair, placed well behind, the shawl of -Chinese crêpe, with long fringe and embroidered in flowers, knotted -around the figure, the arm bare, and the eye protected by eyelashes -which are long enough to curl; the skin of dull white or orange colour, -according to the race, all this smiling, gesticulating, dancing, -drinking, and careless to the last degree... - -"That is the Andalusian. - -"Every evening we go with Alice to the café-concerts where the -malagueñas, the Soledas, the Sapateados, and the Peteneras are sung; -then the dances, absolutely Arab, to speak truth; if you could see -them wriggle, unjoint their hips, contortion, I believe you would not -try to get away!... At Málaga the dancing became so intense that I -was compelled to take my wife away; it wasn't even amusing any more. -I can't write about it, but I remember it and I will describe it to -you.--I have no need to tell you that I have noted down many things; -the tango, a kind of dance in which the women imitate the pitching of -a ship (_le tangage du navire_) is the only dance in 2 time; all the -others, all, are in 3-4 (Seville) or in 3-8 (Málaga and Cadiz);--in -the North it is different, there is some music in 5-8, very curious. -The 2-4 of the tango is always like the habanera; this is the picture: -one or two women dance, two silly men play it doesn't matter what on -their guitars, and five or six women howl, with excruciating voices -and in triplet figures impossible to note down because they change -the air--every instant a new scrap of tune. They howl a series of -figurations with syllables, words, rising voices, clapping hands which -strike the six quavers, emphasizing the third and the sixth, cries of -Anda! Anda! La Salud! eso es la Maraquita! gracia, nationidad! Baila, -la chiquilla! Anda! Anda! Consuelo! Olé, la Lola, olé la Carmen! qué -gracia! qué elegancia! all that to excite the young dancer. It is -vertiginous--it is unspeakable! - -"The Sevillana is another thing: it is in 3-4 time (and with -castanets).... All this becomes extraordinarily alluring with two -curls, a pair of castanets and a guitar. It is impossible to write down -the malagueña. It is a melopœia, however, which has a form and which -always ends on the dominant, to which the guitar furnishes 3-8 time, -and the spectator (when there is one) seated beside the guitarist, -holds a cane between his legs and beats the syncopated rhythm; the -dancers themselves instinctively syncopate the measures in a thousand -ways, striking with their heels an unbelievable number of rhythms.... -It is all rhythm and dance: the airs scraped out by the guitarist -have no value; besides, they cannot be heard on account of the cries -of Anda! la chiquilla! qué gracia! qué elegancia! Anda! Olé! Olé! la -chiquirritita! and the more the cries the more the dancer laughs with -her mouth wide open, and turns her hips, and is mad with her body...." - -As it is on these dances that composers invariably base their Spanish -music (not alone Albéniz, Chapí, Bretón, and Granados, but Chabrier, -Ravel, Laparra, and Bizet, as well) we may linger somewhat longer on -their delights. The following compelling description is from Richard -Ford's highly readable "Gatherings from Spain": "The dance which is -closely analogous to the _Ghowasee_ of the Egyptians, and the _Nautch_ -of the Hindoos, is called the _Olé_ by Spaniards, the _Romalis_ by -their gipsies; the soul and essence of it consists in the expression of -a certain sentiment, one not indeed of a very sentimental or correct -character. The ladies, who seem to have no bones, resolve the problem -of perpetual motion, their feet having comparatively a sinecure, as the -whole person performs a pantomime, and trembles like an aspen leaf; the -flexible form and Terpsichore figure of a young Andalusian girl--be she -gipsy or not--is said, by the learned, to have been designed by nature -as the fit frame for her voluptuous imagination. - -"Be that as it may, the scholar and classical commentator will every -moment quote Martial, etc., when he beholds the unchanged balancing of -hands, raised as if to catch showers of roses, the tapping of the feet, -and the serpentine quivering movements. A contagious excitement seizes -the spectators, who, like Orientals, beat time with their hands in -measured cadence, and at every pause applaud with cries and clappings. -The damsels, thus encouraged, continue in violent action until nature -is all but exhausted; then aniseed brandy, wine, and _alpisteras_ are -handed about, and the fête, carried on to early dawn, often concludes -in broken heads, which here are called 'gipsy's fare.' These dances -appear, to a stranger from the chilly north, to be more marked by -energy than by grace, nor have the legs less to do than the body, hips, -and arms. The sight of this unchanged pastime of antiquity, which -excites the Spaniard to frenzy, rather disgusts an English spectator, -possibly from some national malorganization, for, as Molière says, -'l'Angleterre a produit des grands hommes dans les sciences et les -beaux arts, mais pas un grand danseur--allez lire l'histoire.'" (A fact -as true in our day as it was in Molière's.) - -On certain days the sevillana is danced before the high altar of -the cathedral at Seville. The Reverend Henry Cart de Lafontaine -("Proceedings of the Musical Association"; London, thirty-third -session, 1906-7) gives the following account of it, quoting a "French -author": "While Louis XIII was reigning over France, the Pope heard -much talk of the Spanish dance called the 'Sevillana.' He wished to -satisfy himself, by actual eye-witness, as to the character of this -dance, and expressed his wish to a bishop of the diocese of Seville, -who every year visited Rome. Evil tongues make the bishop responsible -for the primary suggestion of the idea. Be that as it may, the bishop, -on his return to Seville, had twelve youths well instructed in all -the intricate measures of this Andalusian dance. He had to choose -youths, for how could he present maidens to the horrified glance of -the Holy Father? When his little troop was thoroughly schooled and -perfected, he took the party to Rome, and the audience was arranged. -The 'Sevillana' was danced in one of the rooms of the Vatican. The Pope -warmly complimented the young executants, who were dressed in beautiful -silk costumes of the period. The bishop humbly asked for permission to -perform this dance at certain fêtes in the cathedral church at Seville, -and further pleaded for a restriction of this privilege to that church -alone. The Pope, hoist by his own petard, did not like to refuse, but -granted the privilege with this restriction, that it should only last -so long as the costumes of the dancers were wearable. Needless to say, -these costumes are, therefore, objects of constant repair, but they are -supposed to retain their identity even to this day. And this is the -reason why the twelve boys who dance the 'Sevillana' before the high -altar in the cathedral on certain feast days are dressed in the costume -belonging to the reign of Louis XIII." - -This is a very pretty story, but it is not uncontradicted.... Has any -statement been made about Spanish dancing or music which has been -allowed to go uncontradicted? Look upon that picture and upon this: "As -far as it is possible to ascertain from records," says Rhoda G. Edwards -in the "Musical Standard," "this dance would seem always to have been -in use in Seville cathedral; when the town was taken from the Moors in -the thirteenth century it was undoubtedly an established custom and in -1428 we find the six boys recognized as an integral part of the chapter -by Pope Eugenius IV. The dance is known as the (_sic_) 'Los Scises,' -or dance of the six boys who, with four others, dance it before the -high altar at Benediction on the three evenings before Lent and in -the octaves of Corpus Christi and La Purissima (the conception of Our -Lady). The dress of the boys is most picturesque, page costumes of the -time of Philip III being worn, blue for La Purissima and red satin -doublets slashed with blue for the other occasion; white hats with blue -and white feathers are also worn whilst dancing. The dance is usually -of twenty-five minutes' duration and in form seems quite unique, not -resembling any of the other Spanish dance-forms, or in fact those of -any other country. The boys accompany the symphony on castanets and -sing a hymn in two parts whilst dancing." - -From another author we learn that religious dancing is to be seen -elsewhere in Spain than at Seville cathedral. At one time, it is said -to have been common. The pilgrims to the shrine of the Virgin at -Montserrat were wont to dance, and dancing took place in the churches -of Valencia, Toledo, and Jerez. Religious dancing continued to be -common, especially in Catalonia up to the seventeenth century. An -account of the dance in the Seville cathedral may be found in "Los -Españoles Pintados por si Mismos" (pages 287-91). - -This very incomplete and rambling record of Spanish dancing should -include some mention of the fandango. The origin of the word is -obscure, but the dance is obviously one of the gayest and wildest of -the Spanish dances. Like the malagueña it is in 3-8 time, but it is -quite different in spirit from that sensuous form of terpsichorean -enjoyment. La Argentina informs me that "fandango" in Spanish suggests -very much what "bachanale" does in English or French. It is a very old -dance, and may be a survival of a Moorish dance, as Desrat suggests. -Mr. Philip Hale found the following account of it somewhere: - -"Like an electric shock, the notes of the fandango animate all hearts. -Men and women, young and old, acknowledge the power of this air over -the ears and soul of every Spaniard. The young men spring to their -places, rattling castanets, or imitating their sound by snapping their -fingers. The girls are remarkable for the willowy languor and lightness -of their movements, the voluptuousness of their attitudes--beating the -exactest time with tapping heels. Partners tease and entreat and pursue -each other by turns. Suddenly the music stops, and each dancer shows -his skill by remaining absolutely motionless, bounding again in the -full life of the fandango as the orchestra strikes up. The sound of the -guitar, the violin, the rapid tic-tac of heels (_taconeos_), the crack -of fingers and castanets, the supple swaying of the dancers, fill the -spectators with ecstasy. - -"The music whirls along in a rapid triple time. Spangles glitter; the -sharp clank of ivory and ebony castanets beats out the cadence of -strange, throbbing, deafening notes--assonances unknown to music, -but curiously characteristic, effective, and intoxicating. Amidst the -rustle of silks, smiles gleam over white teeth, dark eyes sparkle and -droop, and flash up again in flame. All is flutter and glitter, grace -and animation--quivering, sonorous, passionate, seductive. _Olé! Olé!_ -Faces beam and burn. _Olé! Olé!_ - -"The bolero intoxicates, the fandango inflames." - -It can be well understood that the study of Spanish dancing and its -music must be carried on in Spain. Mr. Ellis tells us why: "Another -characteristic of Spanish dancing, and especially of the most typical -kind called flamenco, lies in its accompaniments, and particularly -in the fact that under proper conditions all the spectators are -themselves performers.... Thus it is that at the end of a dance an -absolute silence often falls, with no sound of applause: the relation -of performers and public has ceased to exist.... The finest Spanish -dancing is at once killed or degraded by the presence of an indifferent -or unsympathetic public, and that is probably why it cannot be -transplanted, but remains local." - -At the end of a dance an absolute silence often falls.... I am again -in an underground café in Amsterdam. It is the eve of the Queen's -birthday, and the Dutch are celebrating. The low, smoke-wreathed room -is crowded with students, soldiers, and women. Now a weazened female -takes her place at the piano, on a slightly raised platform at one side -of the room. She begins to play. The dancing begins. It is not woman -with man; the dancing is informal. Some dance together, and some dance -alone; some sing the melody of the tune, others shriek, but all make -a noise. Faster and faster and louder and louder the music is pounded -out, and the dancing becomes wilder and wilder. A tray of glasses is -kicked from the upturned palm of a sweaty waiter. Waiter, broken glass, -dancer, all lie, a laughing heap, on the floor. A soldier and a woman -stand in opposite corners, facing the corners; then without turning, -they back towards the middle of the room at a furious pace; the -collision is appalling. Hand in hand the mad dancers encircle the room, -throwing confetti, beer, anything. A heavy stein crushes two teeth--the -wound bleeds--but the dancer does not stop. Noise and action and colour -all become synonymous. There is no escape from the force. I am dragged -into the circle. Suddenly the music stops. All the dancers stop. The -soldier no longer looks at the woman by his side; not a word is spoken. -People lumber towards chairs. The woman looks for a glass of water -to assuage the pain of her bleeding mouth. I think Jaques-Dalcroze is -right when he seeks to unite spectator and actor, drama and public. - - - IV - -In the preceding section I may have too strongly insisted upon the -relation of the folk-song to the dance. It is true that the two are -seldom separated in performance (although not all songs are danced; -for example, the _cañas_ and _playeras_ of Andalusia). However, most -of the folk-songs of Spain are intended to be danced; they are built -on dance-rhythms and they bear the names of dances. Thus the jota is -always danced to the same music, although the variations are great at -different times and in different provinces. It is, of course, when -the folk-songs are danced that they make their best effect, in the -polyrhythm achieved by the opposing rhythms of guitar-player, dancer, -and singer. When there is no dancer the defect is sometimes overcome by -some one tapping a stick on the ground in imitation of resounding heels. - -Blind beggars have a habit of singing the songs, in certain provinces, -with a wealth of florid ornament, such ornament as is always -associated with oriental airs in performance, and this ornament still -plays a considerable rôle when the vocalist becomes an integral part -of the accompaniment for a dancer. Chabrier gives several examples of -it in one of his letters. In the circumstances it can readily be seen -that Spanish folk-songs written down are pretty bare recollections of -the real thing, and when sung by singers who have no knowledge of the -traditional manner of performing them they are likely to sound fairly -banal. The same thing might be said of the negro folk-songs of America, -or the folk-songs of Russia or Hungary, but with much less truth, for -the folk-songs of these countries usually possess a melodic interest -which is seldom inherent in the folk-songs of Spain. To make their -effect they must be performed by Spaniards, as nearly as possible after -the manner of the people. Indeed, their spirit and their polyrhythmic -effects are much more essential to their proper interpretation than -their melody, as many witnesses have pointed out. - -Spanish music, indeed, much of it, is actually unpleasant to Western -ears; it lacks the sad monotony and the wailing intensity of true -oriental music; much of it is loud and blaring, like the hot sunglare -of the Iberian peninsula. However, many a Western or Northern European -has found pleasure in listening by the hour to the strains, which often -sound as if they were improvised, sung by some beggar or mountaineer. - -The collections of these songs are not in any sense complete and few of -them attempt more than a collocation of the songs of one locality or -people. Deductions have been drawn. For example it is noted that the -Basque songs are irregular in melody and rhythm and are further marked -by unusual tempos, 5-8, or 7-4. In Aragón and Navarre the popular song -(and dance) is the jota; in Galicia, the seguidilla; the Catalonian -songs resemble the folk-tunes of Southern France. The Andalusian songs, -like the dances of that province, are the most beautiful of all, often -truly oriental in their rhythm and floridity. In Spain the gipsy has -become an integral part of the popular life, and it is difficult at -times to determine what is _flamenco_ and what is Spanish. However, -collections (few to be sure) have been attempted of gipsy songs. - -Elsewhere in this rambling article I have touched on the _villancicos_ -and the early song-writers. To do justice to these subjects would -require a good deal more space and a different intention. Those who -are interested in them may pursue these matters in Pedrell's various -works. The most available collection of Spanish folk-tunes is that -issued by P. Lacome and J. Puig y Alsubide (Paris, 1872). There are -several collections of Basque songs; Demófilo's "Colección de Cantos -Flamencos" (Seville, 1881), Cecilio Ocón's collection of Andalusian -folk-songs, and F. Rodríguez Marín's "Cantos Populares Españoles" -(Seville, 1882-3) may also be mentioned. - - - V - -After the bull-fight the most popular form of amusement in Spain is -the zarzuela, the only distinctive art-form which Spanish music has -evolved, but there has been no progress; the form has not changed, -except perhaps to degenerate, since its invention in the early -seventeenth century. Soriano Fuertes and other writers have devoted -pages to grieving because Spanish composers have not taken occasion to -make something grander and more important out of the zarzuela. The fact -remains that they have not, although, small and great alike, they have -all taken a hand at writing these entertainments. But as they found -the zarzuela, so they have left it. It must be conceded that the form -is quite distinct from that of opera and should not be confused with -it. And the Spaniards are probably right when they assert that the -zarzuela is the mother of the French opéra-bouffe. At least it must be -admitted that Offenbach and Lecocq and their precursors owe something -of the germ of their inspiration to the Spanish form. Today the melody -chests of the zarzuela markets are plundered to find tunes for French -_revues_, and such popular airs as _La Paraguaya_ and _Y ... Como le -Vá?_ were originally danced and sung in Spanish theatres. The composer -of these airs, J. Valverde _fils_, indeed found the French market so -good that he migrated to Paris, and for some time has been writing -_musique mélangée ... une moitié de chaque nation_. So _La Rose de -Grenade_, composed for Paris, might have been written for Spain, with -slight melodic alterations and tauromachian allusions in the book. - -The zarzuela is usually a one-act piece (although sometimes it is -permitted to run into two or more acts) in which the music is freely -interrupted by spoken dialogue, and that in turn gives way to national -dances. Very often the entire score is danced as well as sung. The -subject is usually comic and often topical, although it may be serious, -poetic, or even tragic. The actors often introduce dialogue of -their own, "gagging" freely; sometimes they engage in long impromptu -conversations with members of the audience. They also embroider on the -music after the fashion of the great singers of the old Italian opera -(Dr. de Lafontaine asserts that Spanish audiences, even in cabarets, -demand embroidery of this sort). The music is spirited and lively, -and in the dances, Andalusian, _flamenco_, or Sevillan, as the case -may be, it attains its best results. H. V. Hamilton, in his essay on -the subject in Grove's Dictionary, says, "The music is ... apt to be -vague in form when the national dance and folk-song forms are avoided. -The orchestration is a little blatant." It will be seen that this -description suits Granados's _Goyescas_ (the opera), which is on its -safest ground during the dances and becomes excessively vague at other -times; but _Goyescas_ is not a zarzuela, because there is no spoken -dialogue. Otherwise it bears the earmarks. A zarzuela stands somewhere -between a French _revue_ and opéra-comique. It is usually, however, -more informal in tone than the latter and often decidedly more serious -than the former. All the musicians in Spain since the form was invented -(excepting, of course, certain exclusively religious composers), and -most of the poets and playwrights, have contributed numerous examples. -Thus Calderon wrote the first zarzuela, and Lope de Vega contributed -words to entertainments much in the same order. In our day Miguel -Echegaray, brother of José Echegaray, has written one of the most -popular zarzuelas, _Gigantes y Cabezudos_ (the music by Caballero). -The subject is the fiesta of Santa María del Pilar. It has had many a -long run and is often revived. Another very popular zarzuela, which -was almost, if not quite, heard in New York, is _La Gran Vía_ (by -Valverde, _père_), which has been performed in London in extended -form. The principal theatres for the zarzuela in Madrid are (or were -until recently) that of the Calle de Jovellanos, called the Teatro de -Zarzuela, and the Apolo. Usually four separate zarzuelas are performed -in one evening before as many audiences. - -_La Gran Vía_, which in some respects may be considered a typical -zarzuela, consists of a string of dance-tunes, with no more -homogeneity than their national significance would suggest. There is -an introduction and polka, a waltz, a tango, a jota, a mazurka, a -schottische, another waltz, and a two-step (_paso-doble_). The tunes -have little distinction; nor can the orchestration be considered -brilliant. There is a great deal of noise and variety of rhythm, and -when presented correctly the effect must be precisely that of one of -the dance-halls described by Chabrier. The zarzuela, to be enjoyed, -in fact, must be seen in Spain. Like Spanish dancing it requires a -special audience to bring out its best points. There must be a certain -electricity, at least an element of sympathy, to carry the thing -through successfully. Examination of the scores of zarzuelas (many -of them have been printed and some of them are to be seen in our -libraries) will convince any one that Mr. Ellis is speaking mildly -when he says that the Spaniards love noise. However, the combination -of this noise with beautiful women, dancing, elaborate rhythm, and a -shouting audience, seems to almost equal the café-concert dancing and -the tauromachian spectacles in Spanish popular affection. (Of course, -as I have suggested, there are zarzuelas more serious melodically and -dramatically; but as _La Gran Vía_ is frequently mentioned by writers -as one of the most popular examples, it may be selected as typical of -the larger number of these entertainments.) - -H. V. Hamilton says that the first performance of a zarzuela took -place in 1628 (Pedrell gives the date as October 29, 1629), during -the reign of Felipe IV, in the Palace of the Zarzuela (so called -because it was surrounded by _zarzas_, brambles). It was called _El -Jardín de Falerina_; the text was by the great Calderon and the music -by Juan Risco, chapelmaster of the cathedral at Cordova, according to -Mr. Hamilton, who doubtless follows Soriano Fuertes on this detail. -Soubies, following the more modern studies of Pedrell, gives Jóse Peyró -the credit. Pedrell, in his richly documented work, "Teatro Lírico -Español anterior al siglo XIX," attributes the music of this zarzuela -to Peyró and gives an example of it. The first Spanish opera dates from -the same period, Lope de Vega's _La Selva sin Amor_ (1629). As a matter -of fact, many of the plays of Calderon and Lope de Vega were performed -with music to heighten the effect of the declamation, and musical -curtain-raisers and interludes were performed before and in the midst -of all of them. Lana, Palomares, Benavente and Hidalgo were among the -musicians who contributed music to the theatre of this period. Hidalgo -wrote the music for Calderon's zarzuela, _Ni Amor se Libre de Amor_. To -the same group belong Miguel Ferrer, Juan de Navas, Sebastian Durón, -and Jerónimo de la Torre. (Examples of the music of these men may be -found in the aforementioned "Teatro Lírico.") Until 1659 zarzuelas -were written by the best poets and composers and frequently performed -on royal birthdays, at royal marriages, and on many other occasions; -but after that date the art fell into a decline and seems to have -been in eclipse during the whole of the eighteenth century. According -to Soriano Fuertes the beginning of the reign of Felipe V marked the -introduction of Italian opera into Spain (more popular than Spanish -opera there to this day) and the decadence of nationalism (whole pages -of Fuertes read very much like the plaints of modern English composers -about the neglect of national composers in their country). In 1829 -there was a revival of interest in Spanish music and a conservatory was -founded in Madrid. (For a discussion of this later period the reader -is referred to "La Opera Española en el Siglo XIX," by Antonio Peña y -Goñi, 1881.) This interest has been fostered by Fuertes and Pedrell, -and the younger composers today are taking some account of it. There is -hope, indeed, that Spanish music may again take its place in the world -of art. - -Of course, the zarzuela did not spring into being out of nowhere and -nothing, and the true origins are not entirely obscure. It is generally -agreed that a priest, Juan del Encina (born at Salamanca, 1468), -was the true founder of the secular theatre in Spain. His dramatic -compositions are in the nature of eclogues based on Virgilian models. -In all of these there is singing and in one a dance. Isabel la Católica -in the fifteenth century always had at her command a troop of musicians -and poets who comforted and consoled her in her chapel with motets -and _plegarias_ (French, _prière_), and in the royal apartments with -_canciones_ and _villancicos_. (_Canciones_ are songs inclining towards -the ballad-form. _Villancicos_ are songs in the old Spanish measure; -they receive their name from their rustic character, as supposedly they -were first composed by the _villanos_ or peasants for the nativity and -other festivals of the church.) "It is necessary to search for the true -origins of the Spanish musical spectacle," states Soubies, "in the -_villancicos_ and _cantacillos_ which alternated with the dialogue in -the works of Juan del Encina and Lucas Fernández, without forgetting -the _ensaladas_, the _jácaras_, etc., which served as intermezzi and -curtain-raisers." These were sung before the curtain, before the -drama was performed (and during the intervals, with jokes added) by -women in court dress, and later created a form of their own (besides -contributing to the creation of the zarzuela), the _tonadilla_, which, -accompanied by a guitar or violin and interspersed with dances, was -very popular for a number of years. H. V. Hamilton is probably on -sound ground when he says, "That the first zarzuela was written with -an express desire for expansion and development is, however, not so -certain as that it was the result of a wish to inaugurate the new house -of entertainment with something entirely original and novel." - - - VI - -We have Richard Ford's testimony that Spain was not very musical in his -day. The Reverend Henry Cart de Lafontaine says that the contemporary -musical services in the churches are not to be considered seriously -from an artistic point of view. Emmanuel Chabrier was impressed with -the fact that the music for dancing was almost entirely rhythmic in its -effect, strummed rudely on the guitar, the spectators meanwhile making -such a din that it was practically impossible to distinguish a melody, -had there been one. And all observers point at the Italian opera, which -is still the favourite opera in Spain (in Barcelona at the Liceo three -weeks of opera in Catalan is given after the regular season in Italian; -in Madrid at the Teatro-Real the Spanish season is scattered through -the Italian), and at Señor Arbós's concerts (the same Señor Arbós who -was once concert master of the Boston Symphony Orchestra), at which -Brandenburg concertos and Beethoven symphonies are more frequently -performed than works by Albéniz. Still there are, and have always been -during the course of the last century, Spanish composers, some of whom -have made a little noise in the outer world, although a good many have -been content to spend their artistic energy on the manufacture of -zarzuelas--in other words, to make a good deal of noise in Spain. In -most modern instances, however, there has been a revival of interest -in the national forms, and folk-song and folk-dance have contributed -their important share to the composers' work. No one man has done more -to encourage this interest in nationalism than Felipe Pedrell, who may -be said to have begun in Spain the work which the "Five" accomplished -in Russia. Pedrell says in his "Handbook" (Barcelona, 1891; Heinrich -and Co.; French translation by Bertal; Paris, Fischbacher): "The -popular song, the voice of the people, the pure primitive inspiration -of the anonymous singer, passes through the alembic of contemporary art -and one obtains thereby its quintessence; the composer assimilates -it and then reveals it in the most delicate form that music alone is -capable of rendering form in its technical aspect, this thanks to the -extraordinary development of the technique of our art in this epoch. -The folk-song lends the accent, the background, and modern art lends -all that it possesses, its conventional symbolism and the richness of -form which is its patrimony. The frame is enlarged in such a fashion -that the _lied_ makes a corresponding development; could it be said -then that the national lyric drama is the same _lied_ expanded? Is -not the national lyric drama the product of the force of absorption -and creative power? Do we not see in it faithfully reflected not only -the artistic idiosyncrasy of each composer, but all the artistic -manifestations of the people?" There is always the search for new -composers in Spain and always the hope that a man may come who will -be acclaimed by the world. As a consequence, the younger composers -in Spain often receive more adulation than is their due. It must be -remembered that the most successful Spanish music is not serious, the -Spanish are more themselves in the lighter vein. - -I hesitate for a moment on the name of Martin y Solar, born at -Valencia; died at St. Petersburg, 1806; called "The Italian" by the -Spaniards on account of his musical style, and "lo Spagnuolo" by the -Italians. Da Ponte wrote several opera-books for him, _l'Arbore di -Diana_, _la Cosa Rara_, and _La Capricciosa Corretta_ (a version of -_The Taming of the Shrew_) among others. It is to be seen that he is -without importance if considered as a composer distinctively Spanish -and I have made this slight reference to him solely to recount how -Mozart quoted an air from one of his operas in the supper scene of -_Don Giovanni_. At the time Martin y Solar was better liked in Vienna -than Mozart himself and the air in question was as well known as say -Musetta's waltz is known to us. - -Juan Chrysostomo Arriaga, born in Bilbao 1808; died 1828 (these dates -are given in Grove: 1806-1826), is another matter. He might have become -better known had he lived longer. As it is, some of his music has been -performed in London and Paris, and perhaps in America, although I have -no record of it. He studied in Paris at the Conservatoire, under Fétis -for harmony, and Baillot for violin. Before he went to Paris even, as -a child, with no knowledge of the rules of harmony, he had written -an opera! Cherubini declared his fugue for eight voices on the words -in the Credo, "Et Vitam Venturi" a veritable chef d'œuvre, at least -there is a legend to this effect. In 1824 he wrote three quartets, an -overture, a symphony, a mass, and some French cantatas and romances. -García considered his opera _Los Esclavos Felices_ so good that he -attempted, unsuccessfully, to secure for it a Paris hearing. It has -been performed in Bilbao, which city, I think, celebrated the centenary -of the composer's birth. - -Manuel García is better known to us as a singer, an impresario, and a -father, than as a composer! Still he wrote a good deal of music (so -did Mme. Malibran; for a list of the diva's compositions I must refer -the reader to Arthur Pougin's biography). Fétis enumerates seventeen -Spanish, nineteen Italian, and seven French operas by García. He had -works produced in Madrid, at the Opéra in Paris (_La mort du, Tasse_ -and _Florestan_), at the Italiens in Paris (_Fazzoletto_), at the -Opéra-Comique in Paris (_Deux Contrats_), and at many other theatres. -However, when all is said and done, Manuel García's reputation -still rests on his singing and his daughters. His compositions are -forgotten; nor was his music, much of it, probably, truly Spanish. -(However, I have heard a polo [serenade] from an opera called _El -Poeta Calculista_, which is so Spanish in accent and harmony--and so -beautiful--that it has found a place in a collection of folk-tunes!) - -Miguel Hilarión Eslava (born in Burlada, October 21, 1807, died at -Madrid, July 23, 1878) is chiefly famous for his compilation, the -"Lira Sacra-Hispana," mentioned heretofore. He also composed over 140 -pieces of church music, masses, motets, songs, etc., after he had been -appointed chapelmaster of Queen Isabella in 1844, and several operas, -including _El Solitario_, _La Tregua del Ptolemaide_, and _Pedro el -Cruel_. He also wrote several books of theory and composition: "Método -de Solfeo" (1846) and "Escuela de Armonía y Composición" in three parts -(harmony, composition, and melody). He edited (1855-6) the "Gaceta -Musical de Madrid." - -There is the celebrated virtuoso, Pablo de Sarasate, who wrote music, -but his memory is perhaps better preserved in Whistler's diabolical -portrait than in his own compositions. - -Felipe Pedrell (born February 19, 1841) is also perhaps more important -as a writer on musical subjects and for his influence on the younger -school of composers (he teaches in the conservatory of Barcelona, and -his attitude towards nationalism has already been discussed), than he -is as a composer. Still, Edouard Lopez-Chavarri does not hesitate to -pronounce his trilogy _Los Pireneos_ (Barcelona, 1902; the prologue -was performed in Venice in 1897) the most important work for the -theatre written in Spain. His first opera, _El Último Abencerraje_, was -produced in Barcelona in 1874. Some of his other works are _Quasimodo_, -1875; _El Tasso á Ferrara_, _Cleopatra_, _Mazeppa_ (Madrid, 1881), _La -Celestina_ (1904), and _La Matinada_ (1905). J. A. Fuller-Maitland -says that the influence of Wagner is traceable in all his stage work. -(Wagner is adored in Spain; _Parsifal_ was given eighteen times in one -month at the Liceo in Barcelona.) If this be true, his case will be -found to bear other resemblances to that of the Russian "Five," who -found it difficult to exorcise all foreign influences in their pursuit -of nationalism. - -He was made a member of the Spanish Academy in 1894 and shortly -thereafter became Professor of Musical History and Æsthetics at the -Royal Conservatory at Madrid. Besides his "Hispaniae Schola Musica -Sacra" he has written a number of other books, and translated Richter's -treatise on Harmony into Spanish. He has made several excursions into -the history of folk-lore and the principal results are contained in -"Músicos Anónimos" and "Por nuestra Música." Other works are "Teatro -Lírico Español anterior al siglo XIX," "Lírica Nacionalizada," "De -Música Religiosa," "Músiquerias y más Músiquesias." One of his books, -"Músicos Contemporáneos y de Otros Tiempos" (in the library of the -Hispanic Society of New York) is very catholic in its range of subject. -It includes essays on the _Don Quixote_ of Strauss, the _Boris Godunow_ -of Moussorgsky, Smetana, Manuel García, Edward Elgar, Jaques-Dalcroze, -Bruckner, Mahler, Albéniz, Palestrina, Busoni, and the tenth symphony -of Beethoven! - -In John Towers's extraordinary compilation, "Dictionary-Catalogue of -Operas," it is stated that Manuel Fernández Caballero (born in 1835) -wrote sixty-two operas, and the names of them are given. He was a -pupil of Fuertes (harmony) and Eslava (composition) at the Madrid -Conservatory and later became very popular as a writer of zarzuelas. -I have already mentioned his _Gigantes y Cabezudos_ for which Miguel -Echegaray furnished the book. Among his other works in this form are -_Los Dineros del Sacristán_, _Los Africanistas_ (Barcelona, 1894), _El -Cabo Primero_ (Barcelona, 1895), and _La Rueda de la Fortuna_ (Madrid, -1896). - -At a concert given in the New York Hippodrome, April 3, 1911, Mme. -Tetrazzini sang a Spanish song, which was referred to the next day -by the reviewers of the "New York Times" and the "New York Globe." -To say truth the soprano made a great effect with the song, although -it was written for a low voice. It was _Carceleras_, from Ruperto -Chapí's zarzuela _Las Hijas de Zebedeo_. Chapí was one of the most -prolific and popular composers of Spain during the last century. He -produced countless zarzuelas and nine children. He was born at Villena -March 27, 1851, and he died March 25, 1909, a few months earlier than -his compatriot Isaac Albéniz. He was admitted to the conservatory of -Madrid in 1867 as a pupil of piano and harmony. In 1869 he obtained -the first prize for harmony and he continued to obtain prizes until in -1874 he was sent to Rome by the Academy of Fine Arts. He remained for -some time in Italy and Paris. In 1875 the Teatro Real of Madrid played -his _La Hija de Jefté_ sent from Rome. The following is an incomplete -list of his operas and zarzuelas: _Vía Libre_, _Los Gendarmes_, _El -Rey que Rabió_ (3 acts), _El Cura del Regimiento_, _El Reclamo_, _La -Tempestad_, _La Bruja_, _La Leyenda del Monje_, _Las Campanadas_, -_La Czarina_, _El Milagro de la Virgen_, _Roger de Flor_ (3 acts), -_Las Naves de Cortés, irce_ (3 acts), _Aqui Hase Farta un Hombre_, -_Juan Francisco_ (3 acts, 1905; rewritten and presented in 1908 as -_Entre Rocas_), _Los Madrileños_ (1908), _La Dama Roja_ (1 act, 1908), -_Hesperia_ (1908), _Las Calderas de Pedro Botero_ (1909) and _Margarita -la Tornera_, presented just before his death without success. - -His other works include an oratorio, _Los Ángeles_, a symphonic poem, -_Escenas de Capa y Espada_, a symphony in D, _Moorish Fantasy_ for -orchestra, a serenade for orchestra, a trio for piano, violin and -'cello, songs, etc. Chapí was president of the Society of Authors and -Composers, and when he died the King and Queen of Spain sent a telegram -of condolence to his widow. There is a copy of his zarzuela, _Blasones -y Talegas_ in the New York Public Library. - -I have already spoken of _La Dolores_. It is one of a long series of -operas and zarzuelas written by Tomás Bretón y Hernandez (born at -Salamanca, December 29, 1850). First produced at Madrid, in 1895, it -has been sung with success in such distant capitals as Buenos Ayres -and Prague. I have been assured by a Spanish woman of impeccable taste -that _La Dolores_ is charming, delightful in its fluent melody and -its striking rhythms, thoroughly Spanish in style, but certain to -find favour in America, if it were produced here. Our own Eleanora -de Cisneros at a Press Club Benefit in Barcelona appeared in Bretón's -zarzuela _La Verbena de la Paloma_. Another of Bretón's famous -zarzuelas is _Los Amantes de Teruel_ (Madrid, 1889). His works for the -theatre further include _Tabaré_, for which he wrote both words and -music (Madrid, 1913); _Don Gil_ (Barcelona, 1914); _Garín_ (Barcelona, -1891); _Raquel_ (Madrid, 1900); _Guzmán el Bueno_ (Madrid, 1876); _El -Certamen de Cremona_ (Madrid, 1906); _El Campanero de Begoña_ (Madrid, -1878); _El Barberillo en Orán_; _Corona contra Corona_ (Madrid, 1879); -_Los Amores de un Príncipe_ (Madrid, 1881); _El Clavel Rojo_ (1899); -_Covadonga_ (1901); and _El Domingo de Ramos_, words by Echegaray -(Madrid, 1894). His works for orchestra include: _En la Alhambra_, -_Los Galeotes_, and _Escenas Andaluzas_, a suite. He has written three -string quartets, a piano trio, a piano quintet, and an oratorio in two -parts, _El Apocalipsis_. - - [Illustration: TOMÁS BRETÓN] - -Bretón is largely self-taught, and there is a legend that he devoured -by himself Eslava's "School of Composition." He further wrote the -music and conducted for a circus for a period of years. In the late -seventies he conducted an orchestra, founding a new society, the -Unión Artística Musical, which is said to have been the beginning -of the modern movement in Spain. It may throw some light on Spanish -musical taste at this period to mention the fact that the performance -of Saint-Saëns's _Danse macabre_ almost created a riot. Later Bretón -travelled. He appeared as conductor in London, Prague, and Buenos -Ayres, among other cities outside of Spain, and when Dr. Karl Muck -left Prague for Berlin, he was invited to succeed him in the Bohemian -capital. In the contest held by the periodical "Blanco y Negro" in 1913 -to decide who was the most popular writer, poet, painter, musician, -sculptor, and toreador in Spain, Bretón as musician got the most -votes.... He is at present the head of the Royal Conservatory in Madrid. - -No Spanish composer (ancient or modern) is better known outside of -Spain than Isaac Albéniz (born May 29, 1861, at Comprodon; died at -Cambo, in the Pyrenees, May 25, 1909). His fame rests almost entirely -on twelve piano pieces (in four books) entitled collectively _Iberia_, -with which all concert goers are familiar. They have been performed -here by Ernest Schelling, Leo Ornstein, and George Copeland, among -other virtuosi.... I think one or two of these pieces must be in the -répertoire of every modern pianist. Albéniz did not imbibe his musical -culture in Spain and to the day of his death he was more friendly with -the modern French group of composers than with those of his native -land. In his music he sees Spain with French eyes. He studied at -Paris with Marmontel; at Brussels with Louis Brassin; and at Weimar -with Liszt (he is mentioned in the long list of pupils in Huneker's -biography of Liszt, but there is no further account of him in that -book); he studied composition with Jadassohn, Joseph Dupont, and F. -Kufferath. His symphonic poem, _Catalonia_, has been performed in Paris -by the Colonne Orchestra. I have no record of any American performance. -For a time he devoted himself to the piano. He was a virtuoso and he -has even played in London, but later in life he gave up this career for -composition. He wrote several operas and zarzuelas, among them a light -opera, _The Magic Opal_ (produced in London, 1893), _Enrico Clifford_ -(Barcelona, 1894; later heard in London), _Pepita Jiménez_ (Barcelona, -1895; afterwards given at the Théâtre de la Monnaie in Brussels), -and _San Antonio de la Florida_ (produced in Brussels as _l'Ermitage -Fleurie_). He left unfinished at his death another opera destined for -production in Brussels at the Monnaie, _Merlin l'Enchanteur_. None -of his operas, with the exception of _Pepita Jiménez_, which has been -performed, I am told, in all Spanish countries, achieved any particular -success, and it is _Iberia_ and a few other piano pieces which will -serve to keep his memory green. - -Juan Bautista Pujol (1836-1898) gained considerable reputation in Spain -as a pianist and as a teacher of and composer for that instrument. He -also wrote a method for piano students entitled "Nuevo Mecanismo del -Piano." His further claim to attention is due to the fact that he was -one of the teachers of Granados. - -The names of Pahissa (both as conductor and composer; one of his -symphonic works is called _The Combat_), García Robles, represented by -an _Epitalame_, and Gibert, with two _Marines_, occur on the programs -of the two concerts devoted in the main to Spanish music, at the second -of which (Barcelona, 1910; conductor Franz Beidler) Granados's _Dante_ -was performed. - -E. Fernández Arbós (born in Madrid, December 25, 1863) is better -known as a conductor and violinist than as composer. Still, he has -written music, especially for his own instrument. He was a pupil of -both Vieuxtemps and Joachim; and he has travelled much, teaching at -the Hamburg Conservatory, and acting as concertmaster for the Boston -Symphony and the Glasgow Orchestras. He has been a professor at the -Madrid conservatory for some time, giving orchestral and chamber -music concerts, both there and in London. He has written at least one -light opera, presumably a zarzuela, _El Centro de la Tierra_ (Madrid; -December 22, 1895); three trios for piano and strings, songs, and an -orchestral suite. - -I have already referred to the Valverdes, father and son. The father, -in collaboration with Federico Chueca, wrote _La Gran Vía_. Many -another popular zarzuela is signed by him. The son has lived so long in -France that much of his music is cast in the style of the French music -hall; too it is in a popular vein. Still in his best tangos he strikes -a Spanish folk-note not to be despised. He wrote the music for the -play, _La Maison de Danses_, produced, with Polaire, at the Vaudeville -in Paris, and two of his operettas, _La Rose de Grenade_ and _l'Amour -en Espagne_, have been performed in Paris, not without success, I am -told by La Argentina, who danced in them. Other modern composers who -have been mentioned to me are Manuel de Falla, Joaquín Turina (George -Copeland has played his _A los Toros_), Usandizaga (who died in 1915), -the composer of _Las Golondrinas_, Oscar Esplá, Conrado del Campo, and -Enrique Morera. - -Enrique Granados was perhaps the first of the important Spanish -composers to visit North America. His place in the list of modern -Iberian musicians is indubitably a high one; though it must not be -taken for granted that _all_ the best music of Spain crosses the -Pyrenees (for reasons already noted it is evident that some Spanish -music can never be heard to advantage outside of Spain), and it is -by no means to be taken for granted that Granados was a greater -musician than several who dwell in Barcelona and Madrid without -making excursions into the outer world. In his own country I am told -Granados was admired chiefly as a pianist, and his performances on -that instrument in New York stamped him as an original interpretative -artist, one capable of extracting the last tonal meaning out of his own -compositions for the pianoforte, which are his best work. - -Shortly after his arrival in New York he stated to several reporters -that America knew nothing about Spanish music, and that Bizet's -_Carmen_ was not in any sense Spanish. I hold no brief for _Carmen_ -being Spanish but it is effective, and that _Goyescas_ as an opera is -not. In the first place, its muddy and blatant orchestration would -detract from its power to please (this opinion might conceivably be -altered were the opera given under Spanish conditions in Spain). -The manuscript score of _Goyescas_ now reposes in the Museum of the -Hispanic Society, in that delightful quarter of New York where the -apartment houses bear the names of Goya and Velasquez, and it is -interesting to note that it is a _piano_ score. What has become of the -orchestral partition and who was responsible for it I do not know. It -is certain, however, that the miniature charm of the _Goyescas_ becomes -more obvious in the piano version, performed by Ernest Schelling or -the composer himself, than in the opera house. The growth of the work -is interesting. Fragments of it took shape in the composer's brain -and on paper seventeen years ago, the result of the study of Goya's -paintings in the Prado. These fragments were moulded into a suite in -1909 and again into an opera in 1914 (or before then). F. Periquet, -the librettist, was asked to fit words to the score, a task which he -accomplished with difficulty. Spanish is not an easy tongue to sing. -To Mme. Barrientos this accounts for the comparatively small number of -Spanish operas. _Goyescas_, like many a zarzuela, lags when the dance -rhythms cease. I find little joy myself in listening to _La Maja y -el Ruiseñor_; in fact, the entire last scene sounds banal to my ears. -In the four volumes of Spanish dances which Granados wrote for piano -(published by the Sociedad Anónima Casa Dotesio in Barcelona) I console -myself for my lack of interest in _Goyescas_. These lovely dances -combine in their artistic form all the elements of the folk-dances as -I have described them. They bespeak a careful study and an intimate -knowledge of the originals. And any pianist, amateur or professional, -will take joy in playing them. - -Enrique Granados y Campina was born July 27, 1867, at Lerida, -Catalonia. (He died March 24, 1916; a passenger on the _Sussex_, -torpedoed in the English Channel.) From 1884 to 1887 he studied -piano under Pujol and composition under Felipe Pedrell at the Madrid -Conservatory. That the latter was his master presupposed on his part -a valuable knowledge of the treasures of Spain's past and that, I -think, we may safely allow him. There is, I am told, an interesting -combination of classicism and folk-lore in his work. At any rate, -Granados was a faithful disciple of Pedrell. In 1898 his opera _María -del Carmen_ was produced in Madrid and has since been heard in -Valencia. Barcelona, and other Spanish cities. Five years later some -fragments of another opera, _Foletto_, were produced at Barcelona. -His third opera, _Liliana_, was produced at Barcelona in 1911. He -wrote numerous songs to texts by the poet, Apeles Mestres; Galician -songs, two symphonic poems, _La Nit del Mort_ and _Dante_ (performed -by the Chicago Symphony Orchestra for the first time in America at the -concerts of November 5 and 6, 1915); a piano trio, string quartet, and -various books of piano music (_Danzas Españolas_, _Valses Poéticos_, -_Bocetos_, _etc._). - - _New York, March 20, 1916._ - - The Land of Joy - -"_Dancing is something more than an amusement in Spain. It is part of -that solemn ritual which enters into the whole life of the people. It -expresses their very spirit._" - - Havelock Ellis. - - - - - The Land of Joy - - -An idle observer of theatrical conditions might derive a certain ironic -pleasure from remarking the contradiction implied in the professed -admiration of the constables of the playhouse for the unconventional -and their almost passionate adoration for the conventional. We -constantly hear it said that the public cries for novelty, and just as -constantly we see the same kind of acting, the same gestures, the same -Julian Mitchellisms and George Marionisms and Ned Wayburnisms repeated -in and out of season, summer and winter. Indeed, certain conventions -(which bore us even now) are so deeply rooted in the soil of our -theatre that I see no hope of their being eradicated before the year -1999, at which date other conventions will have supplanted them and -will likewise have become tiresome. - -In this respect our theatre does not differ materially from the -theatres of other countries except in one particular. In Europe the -juxtaposition of nations makes an interchange of conventions possible, -which brings about slow change or rapid revolution. Paris, for example, -has received visits from the Russian Ballet which almost assumed -the proportions of Tartar invasions. London, too, has been invaded -by the Russians and by the Irish. The Irish playwrights, indeed, -are continually pounding away at British middle-class complacency. -Germany, in turn, has been invaded by England (we regret that this -sentence has only an artistic and figurative significance), and we -find Max Reinhardt well on his way toward giving a complete cycle -of the plays of Shakespeare; a few years ago we might have observed -Deutschland grovelling hysterically before Oscar Wilde's _Salome_, a -play which, at least without its musical dress, has not, I believe, -even yet been performed publicly in London. In Italy, of course, -there are no artistic invasions (nobody cares to pay for them) and -even the conventions of the Italian theatre themselves, such as the -_Commedia del'Arte_, are quite dead; so the country remains as dormant, -artistically speaking, as a rag rug, until an enthusiast like Marinetti -arises to take it between his teeth and shake it back into rags again. - -Very often whisperings of art life in the foreign theatre (such as -accounts of Stanislavski's accomplishments in Moscow) cross the -Atlantic. Very often the husks of the realities (as was the case with -the Russian Ballet) are imported. But whispers and husks have about -as much influence as the "New York Times" in a mayoralty campaign, -and as a result we find the American theatre as little aware of world -activities in the drama as a deaf mute living on a pole in the desert -of Sahara would be. Indeed any intrepid foreign investigator who wishes -to study the American drama, American acting, and American stage -decoration will find them in almost as virgin a condition as they were -in the time of Lincoln. - -A few rude assaults have been made on this smug eupepsy. I might -mention the coming of Paul Orleneff, who left Alla Nazimova with us to -be eventually swallowed up in the conventional American theatre. Four -or five years ago a company of Negro players at the Lafayette Theatre -gave a performance of a musical revue that boomed like the big bell -in the Kremlin at Moscow. Nobody could be deaf to the sounds. Florenz -Ziegfeld took over as many of the tunes and gestures as he could buy -for his _Follies_ of that season, but he neglected to import the one -essential quality of the entertainment, its style, for the exploitation -of which Negro players were indispensable. For the past two months -Mimi Aguglia, one of the greatest actresses of the world, has been -performing in a succession of classic and modern plays (a répertoire -comprising dramas by Shakespeare, d'Annunzio, and Giacosa) at the -Garibaldi Theatre, on East Fourth Street, before very large and very -enthusiastic audiences, but uptown culture and managerial acumen will -not awaken to the importance of this gesture until they read about it -in some book published in 1950.... - -All of which is merely by way of prelude to what I feel must be -something in the nature of lyric outburst and verbal explosion. A -few nights ago a Spanish company, unheralded, unsung, indeed almost -unwelcomed by such reviewers as had to trudge to the out-of-the-way -Park Theatre, came to New York, in a musical revue entitled _The Land -of Joy_. The score was written by Joaquín Valverde, _fils_, whose music -is not unknown to us, and the company included La Argentina, a Spanish -dancer who had given matinées here in a past season without arousing -more than mild enthusiasm. The theatrical impressarii, the song -publishers, and the Broadway rabble stayed away on the first night. It -was all very well, they might have reasoned, to read about the goings -on in Spain, but they would never do in America. Spanish dancers had -been imported in the past without awakening undue excitement. Did not -the great Carmencita herself visit America twenty or more years ago? -These impressarii had ignored the existence of a great psychological -(or more properly physiological) truth: you cannot mix Burgundy and -Beer! One Spanish dancer surrounded by Americans is just as much lost -as the great Nijinsky himself was in an English music hall, where he -made a complete and dismal failure. And so they would have been very -much astonished (had they been present) on the opening night to have -witnessed all the scenes of uncontrollable enthusiasm--just as they are -described by Havelock Ellis, Richard Ford, and Chabrier--repeated. The -audience, indeed, became hysterical, and broke into wild cries of _Olé! -Olé!_ Hats were thrown on the stage. The audience became as abandoned -as the players, became a part of the action. - -You will find all this described in "The Soul of Spain," in "Gatherings -from Spain," in Chabrier's letters, and it had all been transplanted to -New York almost without a whisper of preparation, which is fortunate, -for if it had been expected, doubtless we would have found the way to -spoil it. Fancy the average New York first-night audience, stiff and -unbending, sceptical and sardonic, welcoming this exhibition! Havelock -Ellis gives an ingenious explanation for the fact that Spanish dancing -has seldom if ever successfully crossed the border of the Iberian -peninsula: "The finest Spanish dancing is at once killed or degraded -by the presence of an indifferent or unsympathetic public, and that is -probably why it cannot be transplanted, but remains local." Fortunately -the Spaniards in the first-night audience gave the cue, unlocked the -lips and loosened the hands of us cold Americans. For my part, I was -soon yelling _Olé!_ louder than anybody else. - -The dancer, Doloretes, is indeed extraordinary. The gipsy fascination, -the abandoned, perverse bewitchery of this female devil of the dance is -not to be described by mouth, typewriter, or quilled pen. Heine would -have put her at the head of his dancing temptresses in his ballet of -_Méphistophéla_ (found by Lumley too indecent for representation at -Her Majesty's Theatre, for which it was written; in spite of which the -scenario was published in the respectable "Revue de Deux Mondes"). In -this ballet a series of dancing celebrities is exhibited by the female -Méphistophélès for the entertainment of her victim. After Salome had -twisted her flanks and exploited the prowess of her abdominal muscles -to perfunctory applause, Doloretes would have heated the blood, not -only of Faust, but of the ladies and gentlemen in the orchestra stalls, -with the clicking of her heels, the clacking of her castanets, now held -high over head, now held low behind her back, the flashing of her -ivory teeth, the shrill screaming, electric magenta of her smile, the -wile of her wriggle, the passion of her performance. And close beside -her the sinuous Mazantinita would flaunt a garish tambourine and wave -a shrieking fan. All inanimate objects, shawls, mantillas, combs, and -cymbals, become inflamed with life, once they are pressed into the -service of these señoritas, languorous and forbidding, indifferent and -sensuous. Against these rude gipsies the refined grace and Goyaesque -elegance of La Argentina stand forth in high relief, La Argentina, -in whose hands the castanets become as potent an instrument for our -pleasure as the violin does in the fingers of Jascha Heifetz. Bilbao, -too, with his thundering heels and his tauromachian gestures, bewilders -our highly magnetized senses. When, in the dance, he pursues, without -catching, the elusive Doloretes, it would seem that the limit of -dynamic effects in the theatre had been reached. - - [Illustration: DOLORETES] - _from a photograph by White_ - -Here are singers! The limpid and lovely soprano of the comparatively -placid María Marco, who introduces figurations into the brilliant music -she sings at every turn. One indecent (there is no other word for it) -chromatic oriental phrase is so strange that none of us can ever recall -it or forget it! And the frantically nervous Luisita Puchol, whose -eyelids spring open like the cover of a Jack-in-the-box, and whose -hands flutter like saucy butterflies, sings suggestive popular ditties -just a shade better than any one else I know of. - -But _The Land of Joy_ does not rely on one or two principals for its -effect. The organization as a whole is as full of fire and purpose as -the original Russian Ballet; the costumes themselves, in their blazing, -heated colours, constitute the ingredients of an orgy; the music, now -sentimental (the adaptability of Valverde, who has lived in Paris, is -little short of amazing; there is a vocal waltz in the style of Arditi -that Mme. Patti might have introduced into the lesson scene of _Il -Barbiere_; there is another song in the style of George M. Cohan--these -by way of contrast to the Iberian music), now pulsing with rhythmic -life, is the best Spanish music we have yet heard in this country. The -whole entertainment, music, colours, costumes, songs, dances, and all, -is as nicely arranged in its crescendos and decrescendos, its prestos -and adagios as a Mozart finale. The close of the first act, in which -the ladies sweep the stage with long ruffled trains, suggestive of all -the Manet pictures you have ever seen, would seem to be unapproachable, -but the most striking costumes and the wildest dancing are reserved -for the very last scene of all. There these bewildering señoritas -come forth in the splendorous envelope of embroidered Manila shawls, -and such shawls! Prehistoric African roses of unbelievable measure -decorate a texture of turquoise, from which depends nearly a yard of -silken fringe. In others mingle royal purple and buff, orange and -white, black and the kaleidoscope! The revue, a sublimated form of -zarzuela, is calculated, indeed, to hold you in a dangerous state -of nervous excitement during the entire evening, to keep you awake -for the rest of the night, and to entice you to the theatre the next -night and the next. It is as intoxicating as vodka, as insidious as -cocaine, and it is likely to become a habit, like these stimulants. I -have found, indeed, that it appeals to all classes of taste, from that -of a telephone operator, whose usual artistic debauch is the latest -antipyretic novel of Robert W. Chambers, to that of the frequenter of -the concert halls. - -I cannot resist further cataloguing; details shake their fists at my -memory; for instance, the intricate rhythms of Valverde's elaborately -syncopated music (not at all like ragtime syncopation), the thrilling -orchestration (I remember one dance which is accompanied by drum taps -and oboe, nothing else!), the utter absence of tangos (which are -Argentine), and habaneras (which are Cuban), most of the music being -written in two-four and three-four time, and the interesting use of -folk-tunes; the casual and very suggestive indifference of the dancers, -while they are not dancing, seemingly models for a dozen Zuloaga -paintings, the apparently inexhaustible skill and variety of these -dancers in action, winding ornaments around the melodies with their -feet and bodies and arms and heads and castanets as coloratura sopranos -do with their voices. Sometimes castanets are not used; cymbals -supplant them, or tambourines, or even fingers. Once, by some esoteric -witchcraft, the dancers seemed to tap upon their arms. The effect was -so stupendous and terrifying that I could not project myself into that -aloof state of mind necessary for a calm dissection of its technique. - -What we have been thinking of all these years in accepting the -imitation and ignoring the actuality I don't know; it has all been down -in black and white. What Richard Ford saw and wrote down in 1846 I am -seeing and writing down in 1917. How these devilish Spaniards have been -able to keep it up all this time I can't imagine. Here we have our -paradox. Spain has changed so little that Ford's book is still the -best to be procured on the subject (you may spend many a delightful -half-hour with the charming irony of its pages for company). Spanish -dancing is apparently what it was a hundred years ago; no wind from the -north has disturbed it. Stranger still, it depends for its effect on -the acquirement of a brilliant technique. Merely to play the castanets -requires a severe tutelage. And yet it is all as spontaneous, as -fresh, as unstudied, as vehement in its appeal, even to Spaniards, as -it was in the beginning. Let us hope that Spain will have no artistic -reawakening. - -Aristotle and Havelock Ellis and Louis Sherwin have taught us that -the theatre should be an outlet for suppressed desires. So, indeed, -the ideal theatre should. As a matter of fact, in most playhouses (I -will generously refrain from naming the one I visited yesterday) I -am continually suppressing a desire to strangle somebody or other, -but after a visit to the Spaniards I walk out into Columbus Circle -completely purged of pity and fear, love, hate, and all the rest. It is -an experience. - - _November 3, 1917._ - - -From George Borrow to Mary Garden - - "_Les femmes disent qu'elle est laide, - Mais tous les hommes en sont fous: - Et l'archevêque de Tolède - Chante la messe à ses genoux._" - - Théophile Gautier's "Carmen." - - - - - From George Borrow to Mary Garden - (_Histoire sommaire de Carmen_) - - -Alice, it will be recalled, adventured into Wonderland bearing a morsel -of mushroom in each hand; now she munched one piece, which made her -grow tall, now the other, which diminished her height. In this manner -she adjusted her size to that of the various doorways and gates of the -place as well as to that of the creatures she encountered. In somewhat -the same fashion George Borrow, sent by the British Bible Society to -distribute the Holy Word in the papalized peninsula, advanced into -Spain. In one hand he held a Castilian version of the New Testament; -in the other his very considerable curiosity. Doubtless he made many -valiant attempts to hawk Bibles, but it is quite as certain that he -never restrained his natural aptitude for the companionship of thieves, -gitanos, contrabandists, and bandits. More than once his zeal in behalf -of the Scriptures landed him in jail, but I can scarcely accept this as -proof of his devotion to a holy cause when I remember that he had been -attempting in vain to persuade certain Madrid officials to permit him -to voluntarily incarcerate himself so that he might have such further -opportunities for the pursuit of his studies of the "crabbed gitano" as -intercourse with the prisoners might offer. As a matter of fact when he -was arrested the English Ambassador secured his pardon before the day -was done, but this Borrow refused to consider. He was in jail and he -proposed to remain there, and remain he did, a matter of several weeks, -during which period he had lengthy talks with all the prisoners, adding -substantially to his foreign vocabularies.... His sympathy, indeed, -was with the gitanos; he ate and drank and slept with them, sometimes -in stables, sometimes in dirty lofts. If he himself did not connive -at the "affairs of Egypt," at least he travelled with those who did; -if he did not assist at robberies or murders, he was often aware that -they were about to be committed. On one occasion he held converse, -which is delightfully recorded, with Sevilla, the picador, whom Prosper -Mérimée met and who is referred to in Richard Ford's "Gatherings from -Spain."... We must, on the whole, thank the British Bible Society for -giving Borrow the opportunity to write two strangely charming books, -one of them a masterpiece, but over what Borrow did for the Bible -Society it is perhaps just as well to draw a shade. - -The production of two such books as "The Zincali" and "The Bible in -Spain" may be regarded, however, as sufficient justification for the -incorporation and continued existence of the British Bible Society. If -all the information he gives us concerning the gipsies in these books -is not authentic we may at least be certain that Borrow had a better -opportunity for making it so than that afforded any other writer. -If, therefore, he has sometimes distorted facts it is because he is -first of all an artist and "The Bible in Spain" is first of all a -work of art. These books appeared in the early forties and were read -and admired all over Europe, awakening an interest in the Iberian -Peninsula, and more especially in the Spanish gipsies, which has never -since died. In the preface to the second edition of "The Zincali" -Borrow relates his astonishment at the success of his book: "the voice -not only of England but of the greater part of Europe, informing me -that I had achieved a feat--a work in the nineteenth century with some -pretensions to originality." And when a writer in "The Spectator" -called "The Bible in Spain" "a 'Gil Blas' in water-colours" Borrow -fairly bubbled. - -"The Zincali" was translated into several languages, among others into -French, and among those influenced and affected by it was Prosper -Mérimée; indeed it now seems probable that without the spur of this -suggestive book Mérimée would never have written "Carmen," assuredly -not in its present form. Here are the facts: Mérimée visited Spain in -1830 and it was during this tour that the Condessa de Teba related to -him a story of jealousy and murder, substantially that of "Carmen," -in which, however, the gipsies played no part. This material offered -scant inspiration for the production of a masterpiece. Mérimée, -indeed, seems to have dropped the idea out of his mind entirely until -Borrow's books appeared, reviving his interest in the gipsies and -suggesting to him the possibility of transferring the Condessa's tale -into a gipsy setting. Borrow's translation of the Gospel of Luke into -Caló was issued in 1837. There is evidence that Mérimée read it. "The -Zincali" came out in London in 1841; "The Bible in Spain" in 1842. -"Carmen" first appeared, without the final chapter on the gipsies, -in the "Revue des Deux Mondes" for October 1, 1845. The proofs of -Mérimée's indebtedness to Borrow are manifold; one of the best is his -own admission in his correspondence with his _Inconnue_: "You asked -me the other day where I had obtained my acquaintance with the dialect -of the gipsies. I had so many things to tell you that I forgot to -reply. I got it from Mr. Borrow; his book is one of the most curious -I have read." But the internal evidence is even stronger: all but two -of the gipsy proverbs in "Carmen" are to be found in "The Zincali" as -is many a detail in plot and description. Professor George T. Northup -of the University of Toronto has traced a number of such resemblances -and you may find his account of them in "Modern Philology" for July, -1915. "When he (Mérimée) set out to manufacture local colour he seldom -dispensed with literary aid. He did indeed frequently dispense with -direct observation," writes Professor Northup. "In his study of the -Gipsies Borrow was Mérimée's important, although not his sole, literary -guide; and of that a careful comparison of the two works leaves not the -slightest doubt." - -On one point, however, Mérimée is at variance with Borrow, and this is -a most important point, so important, indeed, that the French author, -in spite of (perhaps because of!) his obligation to the Englishman, -points the finger of scorn at him in the added chapter (largely made -up of facts to be found in "The Zincali"!) of "Carmen." Here is the -passage: "M. Borrow, missionaire anglais, auteur de deux ouvrages -fort intéressants sur les bohémiens d'Espagne, qu'il avait entrepris -de convertir, aux frais de la Societé biblique, assure qu'il est -sans exemple qu'une Gitana ait jamais eu quelque faiblesse pour un -homme étranger à sa race." Borrow does not say _sans exemple_: "The -Gitanas have in general a decided aversion to the white men; some few -instances, however, to the contrary are said to have occurred." Let us -continue with Mérimée: "Il me semble qu'il y a beaucoup d'exagération -dans les éloges qu'il accorde à leur chasteté. D'abord, le plus grand -nombre est dans le cas de la laide d'Ovide: _Casta quam nemo rogavit_. -Quant aux jolies, elles sont comme toutes les Espagnoles, difficiles -dans le choix de leurs amants. Il faut leur plaire, il faut les -mériter." - -This is what Borrow has to say about the matter in "The Zincali": -"There is a word in the Gipsy language to which those who speak it -attach ideas of peculiar reverence, far superior to that connected -with the name of the Supreme Being, the creator of themselves and -the universe. This word is _Lácha_, which with them is the corporeal -chastity of the females; we say corporeal chastity, for no other -do they hold in the slightest esteem; it is lawful amongst them, -nay praise-worthy, to be obscene in look, gesture, and discourse, -to be accessories to vice, and to stand by and laugh at the worst -abominations of the Busné (Busno is the term used by the Spanish -gipsies for the Spaniard or indeed any person not a gipsy), provided -their _Lácha ye trupos_, or corporeal chastity remains unblemished. The -Gipsy child, from her earliest years, is told by her strange mother, -that a good Calli need only dread one thing in this world, and that is -the loss of _Lácha_, in comparison with which that of life is of little -consequence, as in such an event she will be provided for, but what -provision is there for a gipsy who has lost her _Lácha_? 'Bear this in -mind, my child,' she will say, 'and now eat this bread, and go forth -and see what you can steal.' - -"A Gipsy girl is generally betrothed at the age of fourteen to the -youth whom her parents deem a suitable match, and who is generally -a few years older than herself. Marriage is invariably preceded by -betrothment.... With the Busné or Gentiles, the betrothed female is -allowed the freest intercourse, going whither she will, and returning -at all times and seasons. With respect to the Busné, indeed, the -parents are invariably less cautious than with their own race, as they -conceive it next to an impossibility that their child should lose her -_Lácha_ by any intercourse with _the white blood_; and true it is that -experience has proved that their confidence in this respect is not -altogether idle. The Gitanas have in general a decided aversion to the -white men; some few instances, however, to the contrary are said to -have occurred." - -The gitanas, Borrow goes on to explain, are never above exciting -passion in the Busné which, however, they refuse to satisfy. Their -dances for the most part are lascivious and obscene. They often act -as procuresses. But let no Busno presume from these facts that he may -count on a more intimate acquaintanceship. Richard Ford in "Gatherings -from Spain" in his description of the _romalis_ supports Borrow in his -theory: "However indecent these dances may be, yet the performers are -inviolably chaste, and as far at least as ungipsy guests are concerned, -may be compared to iced punch at a rout; young girls go through them -before the applauding eyes of their parents and brothers, who resent to -the death any attempt on their sisters' virtue." - -Mérimée refers to the matter in a letter to the _Inconnue_: "What he -(Borrow) relates of the gipsies is perfectly true, and his personal -observations are entirely in accord with mine save on a single point. -In his capacity of clergyman (_sic_), he may very well have deceived -himself where I, in my capacity of Frenchman and layman, was able to -make conclusive experiments." In spite of the weight of Mérimée's -personal experience it may be noted that the majority of Spanish -writers are in accord with Borrow, who was _not_ a clergyman. And, as -Professor Northup slyly points out, the man who taught Isopel Berners -of Mumpers Dingle to conjugate the verb "to love" in Armenian may not -have been so naïve an observer after all. - -Whether gipsies are corporeally chaste or not[1] is, however, a matter -of the slightest moment in relation to the masterpiece that Mérimée -based on the theory that they are not. As Havelock Ellis so precisely -puts it: "Art is in its sphere as supreme over fact as Science in its -sphere is supreme over fiction. The artist may play either fast or -loose with Science, and the finest artist will sometimes play loose." -It may be remarked that in general Borrow was more inclined to play -loose than Mérimée. - -It is interesting enough to realize that "The Bible in Spain," in -itself a masterpiece, was the inspiration for another masterpiece, -one of the great short stories of all literature. Curiously enough -still a third masterpiece emerged from the activities of the British -Bible Society, _Carmen_, the opera. In transferring the story to the -stage Messrs. Meilhac and Halévy, in searching for dramatic emphasis, -have thrown overboard a good deal of the wild and wanton atmosphere, -the calid passion, the brutal austerity of the original tale. Carmen, -in their version, becomes a mixture of Spanish gipsy and Parisian -cocotte. In certain scenes, such as that of the Seguidilla and the duet -in the last act a good deal of Mérimée's feeling has been preserved -but the scene of the quintet in which the other gipsies taunt Carmen -with being _amoureuse_ is probably essentially Parisian. So, too, -perhaps, is the scene of the Habanera. Spaniards have long protested -against the work because, as nearly as I can discover, they consider -it an _idealization_. Spanish women as a rule make the worst Carmens, -although they have often achieved notable successes in another Spanish -character, Rosina in _The Barber of Seville_.[2] An understanding of -the French opéra-comique form is essential to a fine interpretation of -this gipsy heroine; even a good deal of the music is not essentially -Spanish. If it were it would probably not be great because Bizet was -a Frenchman and must perforce in writing French opera hear Spain with -French ears.... Nevertheless I see no reason why a singer should not -go to Mérimée for many hints; indeed I think she might even go farther -and study Borrow's conception of the Spanish gipsy character. One line -alone in Mérimée would suggest a new interpretation to an actress -capable of realizing it. José is speaking: "Monsieur, quand cette -fille-là riait, il n'y avait pas moyen de parler raison. Tout le monde -riait avec elle." But an actress must conceive any part in terms of her -own personality and this effect could be made only by a very complete -_charmeuse_. - -In the original story the bull-fighter, Lucas, scarcely appears and -he is a picador not an _espada_ as he becomes in the opera under the -new name of Escamillo. Why was this name changed? I have a theory, -unsupported by any evidence, that Bizet asked his librettists to -furnish him with a name which would fit the music of the marvellous -duet in the last act. He probably had achieved the phrase which now -accompanies _Ah! je t'aime, Escamillo_, only to discover that it -could not be married to the name Lucas. Jealousy remains the motive -for the murder of Carmen although the scenes are quite differently -arranged in the tale and in the lyric drama.... Micaela is new. The -only suggestion of her in Mérimée's story is the following line of -José's: "J'étais jeune alors; je pensais toujours au pays, et je -croyais pas qu'il y eût de jolies filles sans jupes bleues et sans -nattes tombant sur les épaules." Carmen's second meeting with José does -not take place at Lillas Pastia's but the third does, and ever so many -details such as the "chaine avec du fil de laiton," the cassia which -the hussy removes from her lips to toss at José's feet, the rejected -ring, etc., are incidents from Mérimée. Why, one wonders, does not -some interpreter remember that the original Carmen broke a plate and -from the pieces fashioned castanets to play while she danced the -_romalis_ for José?... The brutal García le Borgne, Carmen's _rom_, -disappears completely. He is not essential to the intrigue devised by -the librettists. They have also blotted out Carmen's very diverting -adventures with the Englishman at Gibraltar. - -_Carmen_ was produced at the Paris Opéra-Comique March 3, 1875. -The first performance was coldly received. Charles Pigot (Bizet's -biographer) informs us that the prelude to the second act was repeated; -the air of the Toreador and the quintet were applauded: that was -all. The curtain fell on each act to complete indifference. The -discouragement of the composer seems to have been deep. We do not -wonder at it. Vincent d'Indy told Edmond Galabert that after the first -act he and a group of young musicians met Bizet on the sidewalk near -the stage entrance of the theatre and felicitated him on the life -and colour in the music. Bizet responded: "Vous êtes les premiers -qui me disiez ça, et je crains bien que vous ne soyez les derniers." -_Carmen_ was a failure. The reviews were bad. There were, curiously -enough, many charges of immorality. Pigot assures us that Camille du -Locle, the director of the theatre, who never believed in _Carmen_, -was more or less responsible for these. To a minister who wrote in -asking for a loge for the first night he replied that it would perhaps -be better if he came to the general rehearsal to see if he found the -piece sufficiently respectable for his wife and daughters!... Possibly -these charges of immorality awakened curiosity. At any rate it is -certain that after the fifth performance the receipts rose and the -apathy of the audiences became less marked. The piece was given for the -thirty-seventh time on June 13, just before the theatre closed for the -summer. Bizet had died June 3. In the fall _Carmen_ was revived and -given thirteen representations; then not again in Paris until 1883. - -At various times attempts have been made to prove that _Carmen_ did -not fail when it was first produced. The most notable of these is -an article contributed to the "Ménestrel" (1903; p. 53) by Arthur -Pougin entitled "La Légende de la Chute de _Carmen_ et la Mort de -Bizet" in which he quotes Mme. Galli-Marié: "L'insuccès de _Carmen_ -à la création, mais c'est une légende! _Carmen_ n'est pas tombée au -bout de quelques représentations, comme beaucoup le croient.... Nous -l'avons jouée plus de quarante fois dans la saison, et quand ce pauvre -Bizet est mort, le succes de son chef d'œuvre semblait definitivement -assis."... Pigot scoffs at this, pointing out that the exigencies of -the répertoire often make it necessary for a director to perform a work -oftener than it will pay to do so. His evidence is cumulative and for -the most part convincing. - -According to H. Sutherland Edwards, who seems to have acquired this -information from Marie Roze, in its original form the opera included -two complete airs for Carmen which, in the end, the composer and his -librettists decided to suppress. The gipsy was to have been represented -as capable of remorse (!) and after the scene in which she foretells -her death by the cards was to be left alone to give vent to her -feelings in a pathetic air! The other omitted air occurred in the last -act. - -Mr. Edwards gives us more details: The bull-fight, according to the -original design of the authors, was to be shown in the form of a -tableau, occupying all the back of the stage with live chorus figures -and "supers" in the front of the picture and painted figures behind -them. Escamillo was to have been seen triumphing over the figure of -the fallen bull, while the crowd of spectators overlooking the arena -shouted vociferously the air of the Toreador. In a dark background (the -back of the stage alone being illuminated) the figures of Carmen and -Don José were to be seen. - -Charles Pigot tells us that Micaela's song was composed originally for -_Griselidis_ (an opera for which Sardou supplied the book and which -Bizet never completed). The score of _Carmen_ would be perfect without -it. The story of the Habanera is related elsewhere in this volume (p. -27), and need not be repeated here. - -_Carmen_ originally contained a good deal of spoken dialogue, which is -still to be heard at the Paris Opéra-Comique. Guiraud (not Godard, as -Clara Louise Kellogg has it) wrote the music for the recitatives and it -is with these that the work is usually performed in foreign theatres, -including the Metropolitan Opera House. In some theatres, however, a -bastard version, a combination of these two forms, is given. - -It is probable that Spaniards base their main objection to _Carmen_ -on the idealization of a national type offered by the libretto. It is -not likely that they object to the music. At any rate they have always -found Italian, French, and German music pleasant to their ears and -many Spanish composers have been less Spanish than Bizet, who after -all, was a Jew, and something of an oriental himself! The dances and -some of the entr'acte music, then, of this opera may be considered -thoroughly Spanish. But Spanish or not there is no denying that Bizet -succeeded in writing one of the most delightful of operas. When I first -read Nietzsche's "The Case of Wagner" I was inclined to feel that the -German in his rage against Wagner had put up the silliest of opponents -against him in order to make his ex-hero more ridiculous. I do not feel -that way today. I humbly subscribe to all of Nietzsche's outpourings: -"This music seems to me to be perfect. It approaches lightly, nimbly, -and with courtesy. It is amiable, it does not produce _sweat_. 'What -is good is easy; everything divine runs with light feet'--the first -proposition of my Æsthetics. This music is wicked, subtle, and -fatalistic; it remains popular at the same time,--it has the subtlety -of a race, not of an individual. It is rich. It is precise.... It -has borrowed from Mérimée the logic in passion, the shortest route, -_stern_ necessity. It possesses, above all, what belongs to the warm -climate, the dryness of the air, its _limpidezza_.... This music is -gay; but it has not a French or a German gaiety. Its gaiety is African; -destiny hangs over it, its happiness is short, sudden, and without -forgiveness." Has any one ever described _Carmen_ so well? And there -is much more. I pray you, turn to "The Case of Wagner" and read it all -... and perhaps begin to believe, as I do, that aside from _Tristan_ -Wagner himself never penned so complete a masterpiece. - -Before we begin to glance at some of the ladies who have attempted to -do justice to the Spanish gipsy it might be well to pause for a few -seconds on two descriptions of the _cigarrera_ type. Gautier visited -the celebrated Fábrica de Tobacos in Seville, where Carmen was employed -until she began to stick knives into her co-workers. Here is what he -says of it: - -"L'on nous conduisit aux ateliers où se roulent les cigares en -feuilles. Cinq où six cents femmes sont employées à cette préparation. -Quand nous mîmes le pied dans leur salle, nous fûmes assailis par un -ouragan de bruits: elles parlaient, chantaient et se disputaient toutes -à la fois. Je n'ai jamais entendu un vacarme pareil. Elles étaient -jeunes pour la plupart, et il y en avait de fort jolies. Le négligé -extrême de leur toilette permettait d'apprécier leurs charmes en toute -liberté. Quelques-unes portaient résolûment à l'angle de leur bouche -un bout de cigare avec l'aplomb d'un officier de hussards; d'autres, -ô muse, viens à mon aide! d'autres ... chiquaient comme de vieux -matelots, car on leur laisse prendre autant de tabac qu'elles en -peuvent consommer sur place.... La _cigarrera_ de Séville est un type, -comme la _manola_ de Madrid." - -I also append Edmondo de Amicis's description: "The women are almost -all in three immense rooms, divided into three parts, by three rows of -pilasters. The first effect is stupendous. Eight hundred girls present -themselves at once to your view. They are divided into groups of five -or six, and are seated around work-tables, crowded together, those -in the distance indistinct, and the last scarcely visible. They are -all young, but few are children; in all, eight hundred dark heads of -hair, and eight hundred dusky faces from every province of Andalusia, -from Jaen to Cadiz, and from Granada to Seville. You hear the buzzing -that you would in a square full of people. The walls, from one end -of the three rooms to the other, are covered with skirts, shawls, -handkerchiefs, and scarfs, and, curiously enough, the whole mass of -rags, which would be sufficient to fill a hundred second-hand shops, -presents two predominating colours, both continuous, one above the -other, like the stripes of a flag. The black of the shawls is above, -the red of the dresses below, and mixed with the latter, are white, -purple, and yellow, so that you seem to see an immense fancy costume -shop, or a large dancing-room, in which the ballet girls, in order -to obtain more freedom of movement, have hung everything on the wall -which is not absolutely necessary to cover them decently. The girls -put on these dresses when they leave, but wear old things while at -work, which, however, are white and red like the others. The heat being -insupportable, they lighten their clothing as much as possible, so -that among those five thousand there may be hardly fifty whose arms -or shoulders the visitor will not have the opportunity of admiring -at his leisure, without counting the exceptional cases which present -themselves quite unexpectedly in passing from one room to the other, -behind the doors, columns, or in distant corners. There are some very -beautiful faces, and even those that are not absolutely beautiful, have -something about them which attracts the eye and remains impressed upon -the memory--the colouring, eyes, brows, and smile, for instance. Many, -and especially the so-called _gitane_, are dark brown, like mulattoes, -and have protruding lips; others have such large eyes that a faithful -likeness of them would seem an exaggeration. The majority are small, -well made, and all wear a rose, pink, or a bunch of field flowers -among their braids."[3] - -Mlle. Célestine Galli-Marié was the first Carmen. She is said to have -been delightful, but the first interpreter of a part always has an -advantage over those who follow her; she need not fear comparison. -She was charged with immorality but it is not likely that she allowed -herself as many gipsy liberties as some of her successors. Charles -Pigot tells us that she took advantage of Mérimée's vigorous etching: -"elle avait pris modèle sur ce portrait d'une ressemblance qui donne -le frisson de la vie au personnage évoqué. Oeillades assassines, -regards chargés de volupté qui livrent la victime pieds et poings liés, -déhanchements lascifs, poings sur la hanche, rien ne manquait à la -ressemblance; et ce déploiement de perversités physiques, refletant -à merveille l'âme de cette bohémienne ehontée, cette crudité de tons -dans le rendu du geste et de l'allure qui choquèrent bien des personnes -et firent crier a l'immoralité, étaient indiqués par l'effronterie -du personnage, et, j'ajouterai, nécessaires à la verité du drame, à -l'explication de l'ensorcellement subit du navarrais." - -Arthur Pougin says of her: "Mme. Galli-Marié should take rank with -those numerous artists who, although endowed with no great voice, have -for a century past rendered to this theatre services made remarkable by -their talent for acting and their incontestable worth from a dramatic -point of view.... Equally capable of exciting laughter or of provoking -tears, endowed with an artistic temperament of great originality ... -which has permitted her making out of parts confided to her distinct -types ... in which she has represented personages whose nature and -characteristics are essentially opposed."... She died at Vence, near -Nice, September 22, 1905. - -Fräulein Ehnn seems to have been the second Carmen; as Vienna was -the second city to produce Bizet's opera; the date was October 23, -1875. Brussels had the honour of being the third city; the date was -February 8, 1876; Mlle. Maria Dérivis enacted the rôle of the gipsy -here. Thereafter the opera made the grand tour of the world, and firmly -established itself in the répertoire of the meanest singing theatres. -Scarcely a singer but has at one time or other sung one of the rôles in -this work. Sometimes it has been Micaela (Mme. Melba, among others, -has sung this rôle); sometimes Frasquita, in which Emma Trentini made -an instantaneous impression in New York, more often than not Carmen -herself, for contraltos and sopranos have both appeared in the part. - -Adèle Isaac, a soprano, sang the part when _Carmen_ was revived at the -Opéra-Comique in 1883. She did not make a very good impression but -the opera was received much more favourably than it had been in 1875. -When Mme. Galli-Marié reappeared she was again deemed matchless. Then -came Mme. Nardi. About 1888 Mme. Deschamps-Jehin sang the rôle. Mme. -Tarquini d'Or succeeded her. In December, 1892, Mme. Calvé disclosed -her characterization. It has been the custom in America to signalize a -vast distinction between her early and late performances of the rôle; -it has been said that she became self-conscious and wayward. Paris -always found her so, but it must be remembered that tradition must -be followed in the French theatre. Charles Darcourt's criticism in -"Le Figaro" the next morning is enough to give a Parisian impression: -He reproached her "d'être allée trop loin dans ses gestes et ses -attitudes, d'avoir été trop peu comme il faut, d'être sorti des limites -du bon goût et surtout du bon ton."... Mlle. Charlotte Wyns sang -Carmen in 1894. Mme. Nina Pack, Mme. de Nuovina and Mme. Marie Brema -followed her. In 1898 came Georgette Leblanc, who subsequently became -the wife of Maurice Maeterlinck. Mlle. Leblanc's interpretation was a -new one and she inspired one critic (Fierens-Gevaert) to put on paper -the following ecstatic lines about her appearance in the second act: - -"Mlle. Leblanc is clothed in a long robe of plaited tulle, ornamented -with spangles. Her body, finely proportioned, is revealed by this -indiscreet drapery. Her nobly modelled shoulders and arms are bare. Her -hair is confined by three circles of gold, arranged in Grecian fashion. -Alma, gipsy, daughter of the East, princess of the harem, Byzantine -empress or Moorish dancer? All this is suggested by this fantastic and -seductive costume. But a more ideal image pursues us. The singer is -constantly urged by feminine visions of our ultra-modern poets. She -finds absolute beauty in the exquisite body of a woman animated by -a Florentine robe. And it is through this imaginary figure that she -composes her other incarnations; and in a tavern where gipsy women -meet soldiers, she evokes the apparition of a woman of Mantegna or -Botticelli, degraded, vile, who gives the idea of a shameless creature -that has not lost entirely the gracefulness of her original rank. -She is never weary of cheapening her original model. She is sensual, -impudent, voluptuous, gross, but in her white diction, in her blithe -walk, you divine her desire of evoking something else.... Carmen is, -according to Mlle. Leblanc, a hybrid, monstrous creature. You look -upon her with eager curiosity and infinite sadness.... Mlle. Leblanc -makes light of her voice. She maltreats it, threshes it, subjects it to -inhuman inflections.... Her singing is not musical, her interpretation -lacks the naïveté necessary to true dramatic power. Nevertheless, she -is one of the most emotional interpreters of our period. Her limited -abilities, hidden by a thousand details in accentuation, remind one of -the weak and ornate poetry of artistic degeneration.... Thanks to her, -Antioch and Alexandria, corrupt and adorable cities, live again, for an -hour." - -Perhaps Philip Hale's description of Carmen owes something to this -picture of Mlle. Leblanc. At any rate it is striking enough to -reproduce: - -"Carmen lived years before she was known to Mérimée. She dies many -deaths and many are her resurrections. When the world was young, they -say her name was Lilith, and the serpent for her sake hated Adam. She -perished that wild night when the heavens rained fire upon the cities -of the plain. Samson knew her when she dwelt in the valley of Sorek. -The mound builders saw her and fell at her feet. She disquieted the -blameless men of Ethiopia. Years after she was the friend of Theodora. -In the fifteenth century she was noticed in Sabbatic revels led by the -four-horned goat. She was in Paris at the end of the last century and -she wore powder and patches at the dinner given by the Marquis de Sade. -In Spain she smoked cigarettes and wrecked the life of Don José." - -Georgette Leblanc's successors were Mme. Delna, Zélie de Lussan, Marié -de l'Isle (who sang Mercedes before she sang Carmen), Cécile Thévenet, -Jenny Passama, Claire Friché, Marguerite Sylva, Mme. Lafargue, Mlle. -Vix, Mlle. Brohly, Mlle. Charbonnel, Sigrid Arnoldson, Mlle. Mérentié, -and Lucienne Bréval, whom Zuloaga painted twice in the part. One of -these painting hangs in the Metropolitan Museum of Art in New York. -The other belongs to Mme. Bréval. I have not seen Mme. Bréval in -_Carmen_ but I have seen her in other operas and I think I am safe in -saying that Zuloaga's conception of her is more gipsy-like than her -performance.... One of the latest of the Paris Carmens has been Mary -Garden. - -[Illustration: ZULOAGA'S PORTRAIT OF LUCIENNE BRÉVAL AS CARMEN. ACT II] - _By permission of the Hispanic Society of America_ - -I think Col. Mapleson brought _Carmen_ to London. The first performance -was given June 22, 1878, at Her Majesty's Theatre. He was fortunate -in having as his leading interpreter Minnie Hauk of Brooklyn, who, -I believe, had been heard in the part in Brussels before she sang -it in London. She is said to have been fascinating in the rôle and -straightway made it pretty much her own. Mapleson in his "Memoirs" -tells what a time he had with the other interpreters. Campanini -returned the part of José, giving as his explanation that he had no -romance and no love duet except with the _seconda donna_. Del Puente -suggested that the part of Escamillo must have been intended for one of -the chorus. Mlle. Valleria made a similar remark in regard to Micaela. -However, the wily Colonel managed to get the singers to come to a -rehearsal or two and in a short time they became infatuated with their -rôles. - -It has been generally taken for granted and indeed you will find -it so stated in most of the books, that Minnie Hauk was the first -American Carmen, but Clara Louise Kellogg in her "Memoirs" denies -this, asserting that she preceded Miss Hauk here in the rôle by -several months.[4] One thing is certain, that Miss Hauk made more of an -impression as Carmen on her contemporaries than Mme. Kellogg. An early -international exponent of the rôle was Marie Roze, who according to H. -Sutherland Edwards, at first could scarcely be persuaded to undertake -a character of so vile a nature. She finally succumbed to the lure, -however. Edwards says of her: "Marie Roze brought forward the gentle -side of the character. Carmen has something of the playfulness of the -cat, something also of the ferocity of the tigress; and the ferocious -side of Carmen's disposition could not find a sympathetic exponent in -Madame Marie Roze." Clara Louise Kellogg gives us, as is her wont, a -more forceful description: "When she (Marie Roze) was singing _Carmen_ -she was the gentlest mannered gipsy that was ever stabbed by a jealous -lover--a handsome Carmen but too sweet and good for anything." - -Christine Nilsson is said to have decided that the rôle was not pure -enough for her, but Adelina Patti, who has stated publicly that Wagner -wrote _Parsifal_ for her and that she had refused the rôle of Kundry, -could not forego the chance to appear as the Mérimée-Bizet gipsy. Her -failure was abysmal. H. E. Krehbiel says she was seen "and occasionally -heard" in the part. She "ignored its dramatic elements entirely, and -cared only for the music, and only for the music in which she sang -alone." But Pauline Lucca sang the part with success, I believe. - -Carmen was a rôle that Lilli Lehmann had frequently sung in Germany -before she came to America and she made her American début in the part. -Here is Mr. Krehbiel's description of her performance ("Chapters of -Opera"): - -"Lehmann as the gipsy cigarette maker, with her Habanera and -Seguidilla, with her errant fancy wandering from a sentimental -brigadier to a dashing bull-fighter, is a conception which will not -come easy to the admirers of the later Brünnhilde and Isolde; and, -indeed, she was a puzzling phenomenon to the experienced observers of -that time. Carmen was already a familiar apparition to New Yorkers, -who had imagined that Minnie Hauk had spoken the last word in the -interpretation of that character. When Fräulein Lehmann came her -tall stature and erect, almost military, bearing, were calculated -to produce an effect of surprise of such a nature that it had to be -overcome before it was possible to enter into the feeling with which -she informed the part. To the eye, moreover, she was a somewhat more -matronly Carmen than the fancy, stimulated by earlier performances -of the opera or the reading of Mérimée's novel, was prepared to -accept; but it was in harmony with the new picture that she stripped -the character of the flippancy and playfulness popularly associated -with it, and intensified its sinister side. In this, Fräulein Lehmann -deviated from Mme. Hauk's impersonation and approached that of Mme. -Trebelli.... In her musical performance she surpassed both of those -admired and experienced artists." - -Mme. Trebelli, referred to in the last paragraph, was a popular Carmen -here in the eighties, but it was not until Emma Calvé appeared at the -Metropolitan Opera House in 1893-4 that _Carmen_ became a fetish. The -Frenchwoman so completely fascinated the public in this rôle that she -was seldom allowed to appear in any other, although her Santuzza, her -Cherubino, her Anita, and her Ophélie were probably more artistic -achievements. She was beautiful and wanton and wayward and thoroughly -fascinating when she first appeared here in the rôle. Whether she -became enamoured of herself in it later, or merely tired of it, does -not appear to be certain; at any rate she allowed her mannerisms -full sway and soon completely stepped out of the picture, the more -completely as she frequently distorted the rhythms of the music. Calvé -had the power, as few singers have possessed it, to colour her voice to -express different emotions, and her vocal treatment of the part in the -beginning was a delight. Her costumes were very wonderful. I have read -criticisms of her and other Carmens, bearing on this point. But Carmen -was a smuggler, a thief, even a murderess; she often had plenty of -money, and she frequently dressed extravagantly. Mérimée does not leave -us any room for doubt in this matter. The second time José sees her she -is described thus: "Elle était parée, cette fois, comme une châsse, -pomponnée, attifée, tout or et tout rubans. Une robe à paillettes, des -souliers bleus à paillettes aussi, des fleurs et des galons partout." - -How many Carmens have we seen since Calvé! Zélie de Lussan, who gave -an exquisite opéra-comique performance, with a touch of savagery -and a charming sense of humour! Fanchon Thompson, who attempted -to sing the part in English with Henry W. Savage's company at the -Metropolitan Opera House but who broke down and left the stage after -she had sung a few bars. Olive Fremstad, who had appeared in the part -many times in Munich (all contraltos sing the part in Germany; even -Ernestine Schumann-Heink has sung it there) was the Metropolitan Opera -House Carmen for a season or two. Her interpretation followed that -of Lilli Lehmann. It was very austere, almost savage, and with very -little humour. Olive Fremstad was applauded in the rôle but she never -succeeded in making the opera popular. - - [Illustration: OLIVE FREMSTAD AS CARMEN. ACT I] - _from an early photograph by Lützel, Munich_ - -But Clotilde Bressler-Gianoli sang the part fifteen times in Oscar -Hammerstein's first Manhattan Opera House season; the performance of -_Carmen_ at this theatre, indeed, saved the first season, as Mary -Garden and Luisa Tetrazzini saved the second. Mme. Bressler-Gianoli, -who had been heard at the Paris Opéra-Comique in the rôle, and indeed -once with the New Orleans Opera Company at the New York Casino, gave -a delightful interpretation; its chief charm was its absolute freedom -from self-consciousness; it was so natural that it became real. -Calvé sang the part four times at the end of this season. Mme. -Gerville-Réache was another Manhattan Opera House Carmen and Lina -Cavalieri was a fourth. Mme. Cavalieri was particularly charming in the -dances, but she made a very unconvincing gipsy. In no part that she -has ever played before or since has she produced such an impression -of girlish innocence. Mariette Mazarin sang Carmen here before she -was heard in _Elektra_. Her Carmen was brazen and diabolic, electric -and strident; I think it might be included among the great Carmens; -it was very original. Marguerite Sylva's Carmen is traditional and -pleasant; in tone very like that of Zélie de Lussan. It has been -sufficiently appreciated.... María Gay, the Spanish Carmen, attempted -realistic touches such as expectoration; a well-sung, well-thought-out, -consistent performance, but lacking in glamour. - -Although the Century Theatre with Kathleen Howard and others, and -sundry small Italian companies had offered Carmen in New York the work -was missing from the répertoire of the Metropolitan Opera House for -several seasons until Geraldine Farrar brought it back in 1914-15.[5] -The scenery and costumes were new. By way of caprice the Spanish army -was dressed in Bavarian blue although José is several times referred -to as _canari_ in the text. Caruso sang José, as he had with Mme. -Fremstad, and Mr. Toscanini conducted. With the public Carmen has -become one of Mme. Farrar's favourite rôles, sharing that distinction -with Butterfly. - -Other Carmens who may be mentioned are Anna de Belocca, Stella Bonheur, -Kirkby-Lunn, Ottilie Metzger, Emmy Destinn, Marie Tempest, Selina -Dolaro, Camille Seygard, Alice Gentle, Eleanora de Cisneros, Jane -Noria, Ester Ferrabini, Margarita d'Alvarez, Tarquinia Tarquini.... It -might be said in passing that some Carmens do not get nearer to the -Giralda Tower in Seville than Stanford White's imitation in Madison -Square. - -Although Mary Garden brought to America three of the best parts in her -répertoire, Mélisande, Thais, and Louise, six rôles, at least, she has -sung for the first time in this country, Sapho, Natoma, Dulcinée in -_Don Quichotte_, Prince Charmant in _Cendrillon_, Salome, and Carmen. -She first identified herself with the Spanish gipsy at the Philadelphia -Opera House on November 3, 1911. On February 13, 1912, with the -Philadelphia Company, she was heard in Bizet's opera in New York. I -attended both of these performances and found much to admire in each -of them. Something, however, was lacking; something was wrong; nobody -seemed to know exactly what. The general impression was that Mary -Garden had failed at last and it was generally bruited about that she -would never sing Carmen again. However, Miss Garden is not one of those -who permits herself to fail; it may be that she remembers Schumann's -saying, "He who sets limits to himself will always be expected to -remain within them."... In any case I was not surprised to learn that -Miss Garden was singing Carmen at the Opéra-Comique in Paris during the -season of 1916-17. In the fall of 1917 she sang the part in Chicago and -on February 8, 1918, with the Chicago Opera Company, she reappeared -in the part in New York. This occasion may be regarded as one of the -greatest triumphs a singer has ever achieved. For Mary Garden had so -entirely reconceived the rôle, so stepped into its atmosphere, that she -had now made it not merely one of her great parts (it ranks with her -Mélisande, her Monna Vanna, and her Thais) but also she had made it -_her_ part. There is indeed no Carmen of the moment who can be compared -with her. - -A feral gipsy from Triana, this apparition; a _cigarrera_ in the -Fábrica de Tobacos for the sake of the "affairs of Egypt"; a true -gitana in her _saya_ "with many rows of flounces." Any day in the -streets of Seville could you have seen her like, peering through the -gratings into the patios, ready to tell _bahi_. "Eyes of a gipsy, -eyes of a wolf" is a Spanish proverb, according to Mérimée, and -Borrow tells us that a gitano can always be detected by his eye: "Its -peculiarity consists chiefly in a strange staring expression, which -to be understood must be seen, and in a thin glaze which steals over -it when in repose, and seems to emit phospheric light."... So, did it -seem to me, had become the eyes of Mary Garden. This discinct creature, -instinctively paradoxical, would be equally at home in the spinnies of -the arid Spanish plains, on the dirty stage of a _maison de danses_ at -Triana, or, gaily bedecked and spangled, like a "bedizened butterfly -of commerce" in a box of the Plaza de Toros. Sensuous and caline, as -in the Seguidilla, rubbing her velvet back against the _canari_; proud -and magnetic (she must have carried a piece of the _bar lachi_ about -with her), she drew her lovers to her side; she did not advance to meet -them. White hot in anger: other Carmens have hurled the helmet after -the departing José; Mary Garden _shot_ it at him like a bursting hand -grenade. Fatalist: cabalistic signs smouldering in purple flame on -her breast, in the end published this motto in Roman letters: "_Je ne -crains rien!_" When she danced she scarcely lifted her feet from the -floor, tapping her heels rhythmically and sensuously into the hidden -chambers of our brains; so the inquisitors maddened their victims -with the endless drop, drop, drop of water. Her manipulation of her -fan, a monstrous Spanish fan, coral on one side and with tauromachian -decorations on the other, was in itself a lesson in diabolic grace. She -made the fan a part of herself, a part of her movement, as a Spanish -woman would.... The climax was fitting enough; her answer to José in -the last act, "_Non, je ne t'aime plus_," sung not with force, not in -anger, but with a sort of amused contempt.... So does the gipsy regard -the busno ... _with a sort of amused contempt_. Fatalist, humourist, -enchantress, panther, savage, _gamine_, in turn, this Carmen suggested -the virgin brutality of Spain, the austere portentous passion of -Persephone, the frivolous devilments of Hell itself. - - _June 20, 1918._ - - FOOTNOTES: - -[1] It must be remembered that Mérimée and Borrow were writing nearly -a century ago; what was true then may not be true today. Borrow, -himself, says (in "The Zincali"): "It is, of course, by inter-marriage -alone that the two races will ever commingle, and before that event is -brought about, much modification must take place amongst the Gitanos, -in their manners, in their habits, in their affections, and their -dislikes, and, perhaps, even in their physical peculiarities; much must -be forgotten on both sides, and everything is forgotten in the course -of time." - -[2] Nevertheless _Carmen_ is frequently sung in Spain, even in Seville, -although probably more often in Italian than in French or Spanish. - -[3] There is a picturesque account of this Fábrica de Tobacos in Baron -Ch. Davillier's "l'Espagne" (Hachette; Paris; 1874). - -[4] According to W. J. Henderson (in his introduction to _Carmen_; -Dodd, Mead and Co., 1911), who is usually as accurate as anybody can -be about such matters, "_Carmen_ was first performed in New York -(in Italian) at the Academy of Music, October 23, 1878, under the -management of Col. J. H. Mapleson. The principal singers were Minnie -Hauk as Carmen, Italo Campanini as Don José, and Giuseppe del Puente as -Escamillo." However it should be noted that Mme. Kellogg does not say -that she was the first _New York_ Carmen. - -[5] Mr. Henderson gives an interesting and probably authentic -reason for the disappearance of _Carmen_ from the répertoire of the -Metropolitan Opera House: "It has not been performed as much in America -in recent seasons as it has in Europe because American audiences have -learned to expect a very striking impersonation of the heroine and do -not eagerly go to hear the opera when such an impersonation is not -offered." And again: "Mme. Calvé's bold, picturesque and capricious -impersonation of the gipsy became the idol of the American imagination, -and thereby much harm was wrought, for whereas the gifted performer -began the season with a consistent and well-executed characterization, -she speedily permitted success to turn her head and lead her to -abandon genuine dramatic art for catch-penny devices directed at the -unthinking. The result has been that opera-goers have found correct -impersonations of Carmen uninteresting." - - - Notes on the Text - - - - - Notes on the Text - - -P. 13. "why it was abandoned I have never learned": Oscar Hammerstein -has since told me: "The score called for a large number of guitar -players, more than I could get together readily. I should have been -obliged to have engaged all the barbers in New York."... Raoul Laparra -has spoken to me with enthusiasm about the orchestration of _La -Dolores_: "The guitars produce an extraordinary effect." - -P. 14. "There are probably other instances": During the season of -1916-17 at least two attempts were made by Spanish companies to give -New York a taste of the zarzuela. In December at the Amsterdam Opera -House Arrieta's _Marina_ and Chapí's _El Puñao de Rosas_ were sung on -one evening and Valverde's _El Pobre Valbuena_ and somebody else's -_America para los Americanos_ on another. In April a company came to -the Garden Theatre and gave Chapí's _La Tempestad_ and perhaps some -others. Both of these experiments were made in the most primitive -manner and were foredoomed to failure.... _The Land of Joy_ was -the first Spanish musical piece of any pretension (save the dull -_Goyescas_) to be presented in New York. - -P. 14. "_La Gran Vía_": I heard a performance of this zarzuela in -Italian at the People's Theatre on the Bowery, July 1, 1918. The work -is a favourite with itinerant Italian opéra-bouffe companies, probably -on account of the very delightful _Pickpockets' Jota_ in which the -rogues outwit policemen in a dozen different ways. This strikes a truly -picaresque note, redolent of folklore. The music of this number, too, -is the best in the score, aside from the _Tango de la Menegilda_. This -performance was primitive and certainly not in the Spanish manner but -it was very gay and delightful from beginning to end. - -P. 15. "the earlier vogue of Carmencita": This list could be extended -almost indefinitely. I have made no mention of Lola Montez, who danced, -acted, lectured, and died in this country. However, her pretensions to -Spanish blood were mostly pretensions. Her father was the son of Sir -Edward Gilbert of Limerick, although she had some Spanish blood on her -mother's side. She spent some time in Spain and studied Spanish dancing -there, but there is no evidence that she ever achieved proficiency in -this art.... I believe both Otero and La Tortajada have appeared in -this country. But neither of these women could help the cause abroad -of Spanish music or dancing. Of these two I can speak personally as -I have seen them both. Elvira de Hidalgo, a Spanish soprano, sang a -few performances at the Metropolitan Opera House and the New Theatre -at the end of the season of 1909-10. One of her rôles was Rosina, -which is a greater favourite with Spanish women singers than Carmen. -Margarita d'Alvarez, a Peruvian contralto born in Liverpool, sang in -Oscar Hammerstein's last Manhattan Opera House season. Tortola Valencia -danced for a short time during the season of 1917-18 in a revue at -the Century Theatre. As for painters Francis Picabia, the Cuban, and -Henry Caro-Delvaille, who is almost wholly Spanish in sympathy and -appearance, but quite French in his art, are both living in this -country at present ... and the work of Pablo Picasso is well-known here. - -P. 16. To these should be added Juan Nadal, tenor with the Chicago -Opera Company, José Mardones, bass, Hipolito Lazaro, tenor, and Rafaelo -Diaz, tenor, with the Metropolitan Opera Company. - -P. 18. "Where are they?": Pedrell's _La Celestina_ has found many -admirers. Camille Bellaigue in "Notes Brèves" recommends it warmly to -the director of the Opéra-Comique in Paris: "Aussi bien, après tant de -'saisons' russes, italiennes, allemandes, pourquoi ne pas en avoir une -espagnole?"... Manuel de Falla's _La Vida Breve_ was produced in Paris -before it was heard in Madrid. G. Jean-Aubry praises it highly.... And -José María Usandizaga's _Las Golindrinas_ has proved immensely popular -in Spain. - -Pianists have not been slow to realize the value and beauty of Spanish -music which they have placed on their programs, if not in profusion, at -least in no niggardly manner ... but so far as I know no Spanish music -has yet been played by our New York symphony societies, although works -of Granados, and possibly those of other Spanish composers, have been -heard elsewhere in America. This neglect is not only lamentable; it -is stupid. Whether the music is good or bad, interesting or dull, New -York should be permitted to hear some of it. I should suggest, to begin -with, Albéniz's _Catalonia_, Joaquín Turina's _La Procesión del Rocio_, -Conrado del Campo's _Divina Comedia_, Pérez Casas's _Suite Murcienne_, -and Manuel de Falla's _Noches en los Jardines de España_. Of these I -should prefer to hear the second and last. - -P. 18. "It is doubtful, indeed, if the zarzuela could take root in any -theatre in New York": No longer doubtful. Now that we have heard _The -Land of Joy_ it is certain that a group of zarzuelas, presented by a -good company with a good orchestra in the Spanish fashion, would be -greeted here with enthusiasm. - -P. 18. "in Spain Italian and German operas are much more popular than -Spanish": This situation must be quite familiar to any American or -Englishman, for neither in America nor in England has English opera any -standing. See note to Page 70. - -P. 24. "_Don Quixote_": Anton Rubinstein wrote a tone-poem with this -title.... This list could be made much longer. The second of Debussy's -_Estampes_ for piano, _La Soirée dans Grenade_ should certainly be -mentioned here.... Pablo Casals ('cellist) and Ruth Deyo (pianist) -played Loeffler's _Poème Espagnol_ at a concert in Boston March 24, -1917. - -P. 25. "Raoul Laparra": This composer, of Basque blood, has been -almost constantly obsessed with the idea of Spain and has probably -written more consistently Spanish music than some Iberian composers -who might be mentioned. There is to be another dance-opera, he -writes me, to add to _La Habanera_ and _La Jota_, to be called _Le -Tango et la Malagueña_, thus completing the series of "three dramas -suggested by three dances." Mr. Laparra married an American and is -at present living in America. He has completed an opera entitled _Le -Conquistador_, which obviously has do with the Spanish occupation of -America. He has also written a book, "La Musique Populaire en Espagne" -(Delagrave; Paris). "The best Spanish composer _is_ the people," is his -phrase. - -At a concert in Aeolian Hall, January 6, 1917, Harold Bauer played -Laparra's _Rhythmes Espagnols_ (announced as the first performance -in New York). These proved to be a series of characteristic dance -impressions. The composer supplied the following comment: - -"There exists a world in Spain, little known outside the Iberian -peninsula itself, made up of these people with their schools, their -traditions. That is what I have tried to seize, that is what I -am passionately interested in. Without the use of native tunes I -have moulded my music on the native rhythms and forms and thereby -endeavoured to interpret the spirit of the people. Thus _Petenera_ is -conceived in the characteristic style and rhythm created by the singer -of that name, an Andalusian woman, who lived in the last century. -Old singers who had heard her told me that she sang 'like an angel.' -Nobody could tell the date of her birth or death, and she has become -a legendary character for whom all Andalusia wept and still weeps, -although her beauty and her voice caused many men much unhappiness. - -"_Tientos_ reproduces the impression of those mysterious comments of -the guitar before or during the singer's sobbing melodic figures. The -singer and the guitar-player improvise together and, strangely enough, -always in harmony, as though animated by a single impulse. - -"The _Sevillanas_ is authentic in form. Its four figures portray the -dance. In the Sevillana two dancers, one in red, the other in yellow, -chase each other like two big butterflies, amidst the rattle of the -castanets. It is at once the most graceful and the _proudest_ dance I -know. - -"_Rueda_ is built up on the rhythm of the Castilian dance of that name -in 5-8 time. We are no longer in Andalusia, but in another scene: high -plateaus, where, grave as the natural surroundings, massive beings -dance who seem to have come out of the past. It is a dance of dead -cities, Ávila, Burgos and many others sleeping in the sublime sadness -of old Castile where the great winds weep. - -"_Solea_ belongs to a world of magic, a world of gipsies. Each of -these gipsies seems to have in his heart and in his eyes some grief, -some unrecognized fatality. Hence the motive of my _Habanera_ and the -character of its hero, Ramón. - -"_Paseo_: sun, copper, red, gold--such are the vibrations of sound -and sight of the Spanish fête. It is especially at the bull-fights -that they dazzle you, when, amid the wild acclamations of an excited -assembly the _Cuadrilla_--the troop of combatants and caparisoned -horses and mules--makes its entry into the arena. Such is the subject -of this musical 'note.'" - -Mr. Laparra elaborated this suite, adding other piano pieces and songs -and on April 24, 1918, in Aeolian Hall, with the assistance of Helen -Stanley, soprano, he gave a concert at Aeolian Hall, New York, which he -entitled "A Musical Journey Through Spain." "They are not songs as they -are sung in Spain," said Mr. Laparra, "but they are the musical forms -of that country expressed through the vision of a French traveller and -treated by him with complete imaginative freedom." - -Mr. Laparra was born May 13, 1876, and studied at the Paris -Conservatoire with Massenet and Gabriel Fauré. He secured the Prix de -Rome in 1903. - -P. 26. "the dances and entr'actes are Spanish in colour": According -to M. Sterling Mackinlay, Manuel García, who attended the first -performance of _Carmen_ in London, June 22, 1878, was "astounded and -delighted at the Spanish colour in the music." - -P. 28. "Clément et Larousse give a long list of _Don Quixote_ operas, -but they do not include one by Manuel García": This opera is mentioned -in Hugo Riemann's "Opern Handbuch" together with others on the same -subject by Purcell, Paesiello, Salieri, and Piccinni. - -P. 29. "El Sombrero de tres Picos": This amusing novel of Alarcón, -translated by Jacob S. Fassett, jr., has recently been published by -Alfred A. Knopf. - -P. 29. "_Il Trovatore_": We are not accustomed to think of -Verdi's opera as Spanish today. But read Henry Fothergill Chorley -("Thirty Years Musical Recollections"): "One of the points in _Il -Trovatore_,--which may be found worthy of remembering--after this -or the other tune has passed into the limbo of old tunes--is Signor -Verdi's essay at vocal Spanish gipsy colour. The chorus of waifs -and strays opening the second act has an uncouthness,--a bar or two -of Oriental drawl,--before the Italian anvils begin,--which must -remind any one of such real gipsy music, as can be heard and seen in -Spain.--Thus, also, is the monotonous, inexpressive narration of the -gipsy mother, Azucena, to be animated only by her own passion,--all -the more truthful (possibly) from its want of character. No melody -really exists among those people,--and the wild cries which they give -out could not be reduced to notation, were it not for the dance which -they accompany.--Signor Verdi may have comprehended this--though with -insufficient means of expression; at all events, some notion of the -kind is to be found in what may be called the characteristic music of -_Il Trovatore_." - -P. 29. "_Don Giovanni_ and _Le Nozze di Figaro_": "Seville, more than -any city I have ever seen, is the city of pleasure ... and in living -gaily, and in the present, it is carrying on a tradition: it is the -city of Don Juan, the city of Figaro." Arthur Symons in "Cities." - -P. 30. To this list of operas add Cherubini's _Les Abencérages_, -Donizetti's _La Favorita_, Camille Erlanger's _La Sorcière_, Lecocq's -_Giroflé-Girofla_, Wallace's _Maritana_, d'Albert's _Tiefland_, Verdi's -_Don Carlos_, Sir Arthur Sullivan's _The Chieftain_, and Julius -Eichberg's _The Doctor of Alcántara_. - -P. 36. Probably Pastora Imperio is the foremost of all contemporary -Spanish dancers. She is a gipsy, the daughter of the dancer, La -Mejorana, and Víctor Rojes, a tailor to bull-fighters, and she married -the _torero_, El Gallo. She made her début at the Japonés, the best -variety theatre in Madrid, opened in 1900. In 1902 she went to the -Novedadés in the Calle Alcala, where La Argentina, then known as Aidá, -and the famous Amalia Molina first appeared in Madrid. The Brothers -Quintero have inscribed a sonnet to Pastora Imperio and they wrote -their "Historia de Sevilla" for her use. Julio Romero de Torres has -painted her. And Benavente, himself, the greatest, perhaps, of modern -Spanish writers, has written a description of her dancing: "Her flesh -burns with the consuming heat of all eternity, but her body is like the -very pillar of the sanctuary, palpitating as it is kindled in the glow -of sacred fires.... Watching Pastora Imperio life becomes more intense. -The loves and hates of other worlds pass before our eyes and we feel -ourselves heroes, bandits, hermits assailed by temptation, shameless -bullies of the tavern--whatever is highest and lowest in one. A desire -to shout out horrible things takes possession of us: _Gitanaza!_ Thief! -Assassin! Then we turn to curse. Finally, summing it all up, in a burst -of exaltation we praise God, because we believe in God while we look -at Pastora Imperio, just as we do when we read Shakespeare." Recently -La Imperio has been appearing in a one act piece, the music of which -was arranged from de Falla's _El Amor Brujo_. - -Amalia Molina, mentioned above, was in her prime ten years or so -ago.... Zuloaga has painted several portraits of Anita Ramirez and -other Spanish dancers. One of his most admired pictures is of a gipsy -dancer in _torero_ costume. - -Here, too, I may speak of La Goya, a delightful music-hall singer who -has won fame not only in Spain but in South America as well. She has -made a special study of costumes. Of a more popular type, but not more -of a favourite, is Raquel Meller. - -P. 43. "the tail of a peacock": In Catulle Mendès's song, _La Pavana_, -set to music by Alfred Bruneau, he compares the pavane to a peacock. - -P. 46. "its origin in the twelfth century": Tomás Bretón writes me that -he considers it ridiculous to attribute any such age to the jota. His -researches on the subject are embodied in a pamphlet (1911) entitled -"Rápida ojeada histórica sobre la música española." - -P. 49. Curiously enough in a music critic's account of a voyage -in Spain (H. T. Finck's "Spain and Morocco") only a single page is -devoted to a discussion of Spanish music or dancing. The author is not -sympathetic. The rhythmic and dynamic features of the performance which -so aroused the delight of Chabrier only annoy Mr. Finck. I quote his -account which begins with an experience at Murcia: "In the evening I -came across an interesting performance in the street. A woman and a -man were singing a duet, accompanying themselves with a guitar and a -mandolin, making a peculiarly pleasing combination, infinitely superior -to the performances of the Italian bards who accompany themselves -with hand-organs or cheap harps, not to speak of the horrible German -beer-bands which infest our streets. It was indeed so agreeable that -I followed the couple for several blocks. But with the exception of a -students' concert in Seville, it was almost the only good music I heard -in Spain. Madrid and Barcelona have ambitious operatic performances in -winter, and the Barcelonese go so far as to claim that they sing and -understand Wagner better than the Berliners; but as the opera-houses -were closed while I was there, I have no comments to offer on this -boast. In a café chantant which I visited in Seville I heard, instead -of national airs, vulgar French women singing a French version of -'Champagne Charley' and similar vulgar things; no one, it is true, -cared for these songs, whereas a rare bit of national melody in the -program was wildly applauded; but fashion of course must have her -sway. At another café the music was thoroughly Spanish, with guitar -accompaniment; but, according to the usual Spanish custom, there were -a dozen persons on the stage who clapped their hands so loudly, to -mark the rhythm, that the music degenerated into a mere rhythmic noise -accompanying the dancing. These dances interest the Spanish populace -much more than any kind of music, and I was amused occasionally to see -a group of working men looking on the grotesque amateur dancing of one -or two of their number with an expression of supreme enjoyment, and -clapping their hands in unison to keep time." - -Seeing indifferent dancing performed, he affirms, by women who were -no longer young, in the early part of his Spanish sojourn, Théophile -Gautier, too, at first was inclined to treat Spanish dancing as a -myth (P. 31): "Les danses espagnoles n'existent qu'à Paris, comme les -coquillages, qu'on ne trouve que chez les marchands de curiosités, et -jamais sur le bord de la mer. O Fanny Elssler! qui êtes maintenant en -Amérique chez les sauvages, même avant d'aller en Espagne, nous nous -doutions bien que c'était vous qui aviez inventé la cachucha!"... This -was at Vitoria. In Madrid he writes: "On nous avait dit à Vitoria, à -Burgos et à Valladolid, que les bonnes danseuses étaient à Madrid; -à Madrid, l'on nous a dit que les véritables danseuses de cachucha -n'existaient qu'en Andalousie, à Séville. Nous verrons bien; mais -nous avons peur qu'en fait de danses espagnoles, il ne nous faille en -revenir à Fanny Elssler et aux deux soeurs Noblet."... In Andalusia -he capitulated: "Les danseuses espagnoles, bien qu'elles n'aient pas -le fini, la correction précise, l'élévation des danseuses françaises, -leur sont, à mon avis, bien supérieures par la grâce et le charme; -comme elles travaillent peu et ne s'assujetissent pas à ces terribles -excercises d'assouplissement qui font ressembler une classe de danse à -une salle de torture, elles évitent cette maigreur de cheval entrainé -qui donne à nos ballets quelque chose de trop macabre et de trop -anatomique; elles conservent les contours et les rondeurs de leur -sexe; elles ont l'air de femmes qui dansent et non pas de danseuses, -ce qui est bien différent.... En Espagne les pieds quittent à peine -la terre; point de ces grands ronds de jambe, de ces écarts qui font -ressembler une femme à un compas forcé, et qu'on trouve là-bas d'une -indécence révoltante. C'est le corps qui danse, ce sont les reins qui -se cambrent, les flancs qui ploient, la taille qui se tord avec une -souplesse d'almée où de couleuvre. Dans les poses renversées, les -épaules de la danseuse vont presque toucher la terre; les bras, pâmés -et morts, ont une flexibilité, une mollesse d'écharpe dénouée; on -dirait que les mains peuvent à peine soulever et faire babiller les -castagnettes d'ivoire aux cordons tressés d'or; et cependant, au moment -venu, des bonds de jeune jaguar succèdent à cette langueur voluptueuse, -et prouvent que ces corps, doux comme la soie, enveloppent des muscles -d'acier...." - -P. 50. "the malagueña": Gautier thus describes this dance: "La -_malagueña_, danse locale de Málaga, est vraiment d'une poésie -charmante. Le cavalier paraît d'abord, le _sombrero_ sur les yeux, -embossé dans sa cape écarlate comme un hidalgo qui se promène et -cherche les aventures. La dame entre, drapée dans sa mantille, son -éventail à la main, avec les façons d'une femme qui va faire un tour -à l'Alameda. Le cavalier tâche de voir la figure de cette mystérieuse -sirène; mais la coquette manoeuvre si bien de l'éventail, l'ouvre et le -ferme si à propos, le tourne et le retourne si promptement à la hauteur -de son joli visage, que le galant, désappointé, recule de quelques pas -et s'avise d'un autre stratagème. Il fait parler des castagnettes sous -son manteau. A ce bruit, la dame prête l'oreille; elle sourit, son sein -palpite, la pointe de son petit pied de satin marque la mesure malgré -elle; elle jette son éventail, sa mantille, et paraît en folle toilette -de danseuse, étincelante de paillettes et de clinquants, une rose dans -les cheveux, un grand peigne d'écaille sur la tête. Le cavalier se -débarrasse de son masque et de sa cape, et tous deux exécutent un pas -d'une originalité délicieuse." - -P. 51. "the _Romalis_": Arthur Symons has written a very beautiful -passage to describe a gipsy dancing. If you have seen Doloretes -you may think of her while you read it: "All Spanish dancing, and -especially the dancing of the gipsies, in which it is seen in its most -characteristic development, has a sexual origin, and expresses, as -Eastern dancing does, but less crudely, the pantomime of physical love. -In the typical gipsy dance as I saw it danced by a beautiful Gitana -at Seville, there is something of mere gaminerie and something of the -devil; the automatic tramp-tramp of the children and the lascivious -pantomime of a very learned art of love. Thus it has all the excitement -of something spontaneous and studied, of vice and a kind of naughty -innocence, of the thoughtless gaiety of youth as well as the knowing -humour of experience. For it is a dance full of humour, fuller of -humour than of passion; passion indeed it mimics on the purely animal -side, and with a sort of coldness even in its frenzy. It is capable -of infinite variations; it is a drama, but a drama improvised on a -given theme; and it might go on indefinitely, for it is conditioned -only by the pantomime which we know to have wide limits. A motion -more or less and it becomes obscene or innocent; it is always on -a doubtful verge, and thus gains its extraordinary fascination. I -held my breath as I watched the gipsy in the Seville dancing-hall; I -felt myself swaying unconsciously to the rhythm of her body, of her -beckoning hands, of the glittering smile that came and went in her -eyes. I seemed to be drawn into a shining whirlpool, in which I turned, -turned, hearing the buzz of water settling over my head. The guitar -buzzed, buzzed, in a prancing rhythm, the gipsy coiled about the floor, -in her trailing dress, never so much as showing her ankles, with a -rapidity concentrated upon itself; her hands beckoned, reached out, -clutched delicately, lived to their finger-tips; her body straightened, -bent, the knees bent and straightened, the heels beat on the floor, -carrying her backwards and round; the toes pointed, paused, pointed, -and the body drooped or rose into immobility, a smiling, significant -pause of the whole body. Then the motion became again more vivid, more -restrained, as if teased by some unseen limits, as if turning upon -itself in the vain desire of escape, as if caught in its own toils; -more feverish, more fatal, the humour turning painful, with the pain of -achieved desire; more earnest, more eager, with the languor in which -desire dies triumphant." - -P. 54. Another account of this dance in the cathedral may be found -in de Amicis's "Spain and the Spaniards."... H. T. Finck saw this -dance and he devotes a short paragraph to it on P. 56 of his "Spain -and Morocco." Arthur Symons's description in his essay on "Seville" -in "Cities" is charming enough to quote: "There was but little light -except about the altar, which blazed with candles; suddenly a curtain -was drawn aside, and the sixteen boys, in their blue and white costume, -holding plumed hats in their hands, came forward and knelt before the -altar. The priests, who had been chanting, came up from the choir; the -boys rose, and formed in two eights, facing each other, in front of -the altar, and the priests knelt in a semi-circle around them. Then an -unseen orchestra began to play, and the boys put on their hats, and -began to sing the _coplas_ in honour of the Virgin: - - 'O mi, O mi amada - Immaculada!' - -as they sang to a dance measure. After they had sung the _coplas_ -they began to dance, still singing. It was a kind of solemn minuet, -the feet never taken from the ground, a minuet of delicate stepping -and intricate movement, in which a central square would form, divide, -a whole line passing through the opposite line, the outer ends then -repeating one another's movements while the others turned and divided -again in the middle. The first movement was very slow, the second -faster, ending with a pirouette; then came two movements without -singing, but with the accompaniment of castanets, the first movement -again very slow, the second a quick rattle of the castanets, like the -rattling of kettle-drums, but done without raising the hands above -the level of the elbows. Then the whole thing was repeated from the -beginning, the boys flourished off their hats, dropped on their knees -before the altar, and went quickly out. One or two verses were chanted, -the Archbishop gave his benediction, and the ceremony was over. - -"And, yes, I found it perfectly dignified, perfectly religious, without -a suspicion of levity or indecorum. This consecration of the dance, -this turning of a possible vice into a means of devotion, this bringing -of the people's art, the people's passion, which in Seville is dancing, -into the church, finding it a place there, is precisely one of those -acts of divine worldly wisdom which the Church has so often practised -in her conquest of the world." - -P. 55. "the fandango": I found the following reference to the fandango -in Philip Thicknesse's remarkably interesting and exceedingly curious -book, "A Year's Journey through France and Part of Spain" (London; -1777): "In no part of the world, therefore, are women more caressed -and attended to, than in Spain. Their deportment in public is grave -and modest; yet they are very much addicted to pleasure; nor is -there scarce one among them that cannot, nay that will not dance the -_Fandango_ in private, either in the decent or the indecent manner. I -have seen it danced both ways, by a pretty woman, than which nothing -can be more _immodestly agreeable_; and I was shewn a young lady -at _Barcelona_ who in the midst of this dance ran out of the room, -telling her partner she could _stand_ it no longer;--he ran after -her, to be sure, and must be answerable for the consequences. I find -in the music of the _Fandango_, written under one bar, _Salido_, which -signifies _going out_; it is where the woman is to part a little from -her partner, and to move slowly by herself; and I suppose it was at -_that bar the_ lady was so overcome, as to determine her not to return. -The words _Perra Salida_ should therefore be placed at that bar, when -the ladies dance it in the high _goût_." - -Philip Thicknesse is one of the undeservedly forgotten figures of the -eighteenth century. He wrote twenty-four books, including the first -Life of Thomas Gainsborough, whom he claims to have discovered and -which contains accounts of pictures which have disappeared, "A Treatise -on the Art of Decyphering and of Writing in Cypher with an Harmonic -Alphabet," and the aforementioned account of a journey through France -and Spain which contains one of the earliest sympathetic descriptions -of Montserrat. Thicknesse led far from a dull life and its course was -marked by a series of violent quarrels. Born in 1719 he was in Georgia -with General Oglethorpe in 1735. Later he fought wild negroes in -Jamaica and cruised in the Mediterranean with Admiral Medley. In 1762 -he had a dispute with Francis Vernon (afterwards Lord Orwell and Earl -of Shipbrooke) then Colonel of the Suffolk militia; and having sent -the Colonel the ridiculous present of a wooden gun became involved in -an action for libel with the result that he was confined three months -in the King's Bench Prison and fined £300. He was married three times. -For his son, by his second marriage, Baron Audley, he conceived a deep -hatred of which there is an echo in his will wherein he desires his -right hand to be cut off and sent to Lord Audley to remind him of his -duty to God after having so long abandoned the duty he owed to his -father. The title of his last book also bears witness to this feud: -"Memoirs and Anecdotes of Philip Thicknesse, late Lieutenant Governor -of Land Guard Fort and unfortunately father to George Touchet, Baron -Audley." In 1774 his twenty year friendship with Gainsborough ended in -a wretched squabble. In 1775 a decree of chancery ratified by the House -of Lords, to which he appealed, deprived him of what he considered his -right to £12,000 from the family of his first wife. Feeling himself -driven out of his country, accompanied by his third wife, two children -and a monkey, he went to live in Spain, but he was back in England in a -year and published the book from which I have quoted. His third wife, -Anne Ford, was celebrated as a musician and you may find some account -of her in the old Grove's Dictionary. She played the guitar, the viola -de gamba, and the "musical glasses" and sang airs by Handel and the -early Italians. The customs inspector at Cette on the way to Spain -found "a bass viol, two guittars, a fiddle, and some other musical -instruments" in Thicknesse's baggage. Thicknesse died in 1792 and was -buried in the Protestant Cemetery in Boulogne. The greater part of his -work in Spain is devoted to an account of Montserrat, which he visited -before its despoliation. - -P. 56. "Mr. Philip Hale found the following account of it (the fandango -somewhere"): In the anonymous, incomplete, and somewhat incorrect -translation of Gaston Vuillier's "La Danse" (Hachette et Cie., 1898). -In the original work this description of the fandango seems to be -attributed to Tomás de Iriarte although the text is a little ambiguous, -In the English translation called, "A History of Dancing," Chapter -VIII is mainly devoted to Spanish dancing; in the original work it -is Chapter IX. Vuillier derived most of his material from the Baron -Charles Davillier's elaborate work, "l'Espagne," which is illustrated -by Gustave Doré. Vuillier quotes Davillier very freely. Davillier's -chapters on Spanish dancing (Chapters XIV and XV) are extremely -interesting and much of their material the Baron gathered himself. -There is for example a description of La Campanera dancing to the -indifferent music provided by a blind violinist whose tunes prove so -uninspiring that Doré seizes the violin from his trembling old fingers -and plays it himself with great effect. Davillier describes Doré as -a violinist of the first order who had won praise from Rossini. On -another occasion Davillier and Doré, stimulated by the dancing of -gipsies, enter into the sport themselves, wildly tap their heels, wave -their arms, and circle with the gitanas while a large group applauds. -This book which was published by Hachette in Paris in 1874 was brought -out in New York, in J. Thomson's translation, with the original -illustrations, by Scribner, Welford, and Armstrong in 1876. In the -American edition the two French chapters are rolled into one, Chapter -XIV. - -P. 57. "cannot be transplanted, but remains local": James Huneker's -Spanish experiences as related in the chapter on Madrid in "The New -Cosmopolis" seem to have been unfortunate. There are those who would -disagree with every separate statement in the following paragraph: -"The best Spanish dancing is not to be found in Spain today. You must -go to Paris for Otero and Carmencita. Nor is the most characteristic -cookery in Spain; at least not in Madrid. The greatest Spanish opera -was composed by the Frenchman Bizet." - -P. 62. "Spanish folk-tunes": The Spanish catalogue of the Victor -Phonograph Company offers a splendid opportunity for the study of -Spanish and gipsy folk-music. You may find therein even examples of -gipsy songs, conceived in esoteric scales, sung by gipsies, accompanied -by the guitar. Mr. Caro-Delvaille has brought to my attention Nos. -62365 (Petenaras) and 62289 (Soleares). Nos. 62078 (Sevillanos and -Ferruca) and 62077 (Jotas Nuevas), sung by Pozo, are also good. Most of -Pozo's records will be found to be interesting. - -P. 62. When Dmitri Slaviansky visited Barcelona with his Russian -choir in 1895, introducing Russian folk-music to Spain, he became -very much interested in the folk-music of Catalonia. His enthusiasm -was contagious and Spanish musicians themselves caught the fever. In -that very year Enrique Morera made a harmonization of the first verse -of _Sant Ramón_, a traditional melody from the island of Mallorca, -which was performed by the Russian Choir. Later Amadeo Vives founded -the Orfeó Catalá, a choral society which devotes itself for the most -part to the exploitation of the old folk and religious music, arranged -by Morera, Pedrell, and other Spanish composers. Lluis Millet is now -the director of this organization, which visited Paris and London in -the spring of 1914. In both these cities the Choir was received with -enthusiasm. Henry Quittard wrote in "Le Figaro": "We must confess that -we have never heard anything that could approach this extraordinary -ensemble." Emile Vuillermoz said, "A most varied program showed all -the resources of this miraculous instrument, which ravishes and at -the same time humiliates us profoundly. The comparison of our most -reputed French choruses with this splendid phalanx is singularly sad -for our own pride. Never have we had such discipline in a group which -unites voices of such quality. Now we know what can be done. It is -impossible to imagine the degree of technical perfection, of collective -virtuosity, which human voices can attain, before one has heard the -colossal living organ which Lluis Millet has presented Barcelona." -Lluis Millet has issued a book with musical illustrations on "The -Religious Folk-Song of Spain." On January 15, 1918, the Schola Cantorum -of New York under the direction of Kurt Schindler gave a concert at -Carnegie Hall in which the major part of the program was devoted to -songs in the répertoire of the Orféo Catalá, sung in the original -tongues. Strictly speaking these can no longer be called folk-songs -as they have all been re-arranged. In some instances, aside from an -occasional use of a folk-melody, they may be considered original -compositions. Several of the songs were arranged, in some instances -one might almost say composed, by Kurt Schindler and presented for the -first time in their new form. One of these, _A Miracle of the Virgin -Mary_, a fourteenth century canticle of Spanish Galicia, in which Mabel -Garrison's lovely voice was assigned an important rôle, proved to be -very beautiful. The whole program, indeed, aroused the deepest interest. - -P. 62. "After the bull-fight": E. E. Hale ("Seven Spanish Cities") -achieved the almost impossible feat of writing a book about Spain -without having seen a bull-fight. One might as well attempt to write -a history of opera, after refusing to listen to Wagner's _Ring_. H. -T. Finck ("Spain and Morocco") was satisfied and disgusted with half -a bull-fight. His attitude is quoted and reflected in Baedeker.... -More sympathetic and detailed accounts of this very popular Spanish -diversion may be found in Richard Ford's "Gatherings from Spain," -Gautier's "Voyage en Espagne," Havelock Ellis's "The Soul of Spain," -and de Amicis's "Spain and the Spaniards." Edward Penfield has -illustrated a bull-fight in his "Spanish Sketches." The chapter on the -bull-fight in John Hay's "Castilian Days" is very readable. The best -descriptions in fiction of the tauromachian sport that I know of are in -Frank Harris's very vivid story "Montes the Matador" (Gautier, by the -way, devotes many nervous pages to Montes) and in Edgar Saltus's early -novel, "Mr. Incoul's Misadventure." - -P. 64. "often introduce dialogue of their own": This is no longer true, -Mr. John Garrett Underhill informs me, as the Sociedad de Autores has -forbidden such interpolations. - -P. 64. "The Zarzuela": I am indebted to Mr. John Garrett Underhill for -the following remarks anent the zarzuela: "The zarzuela was originally -a three act romantic operetta, partly sung and partly spoken, and it -continued in this form until the introduction of the one act form in -the early eighties. The performances given at the Teatro de Zarzuela -were mostly in the more elaborate form, while the _género chico_ -(lesser genre) made its home at the Apolo. With the change to one -act, the zarzuelas became more realistic--minute pictures of local -customs, etc., built up around characteristic songs and dances, so that -now the name has come to be pretty well synonymous with this species -of entertainment, while the longer older form is generally spoken of -as operetta. In other words a zarzuela is rather a musico-dramatic -entertainment that is strongly Spanish than merely a mixed form. _The -Land of Joy_ illustrates precisely this quality, although, having no -dramatic element, it is not a zarzuela. - -"The most popular zarzuelas are all strongly coloured. They are _La -Alegría de la Huerta_, music by Federico Chueca, built up about a -scene of provincial merry-making, _La Verbena de la Paloma_ by Bretón, -dealing with a popular religious festival in Madrid, Manuel Nieto's -_Certamen Nacional_, Fernández Caballero's _El Cabo Primero_ and -_Gigantes y Cabezudos_, and Chapí's _El Puñao de Rosas_. All these are -in one act and the spoken parts are broad low comedy. To these must be -added Emilio Arrieta's _Marina_, in three acts, the best example of -the old form, showing strong Italian influence. _Marina_ is the sort -of operatic classic with Spaniards that _Pinafore_--another nautical -work--is with us. - -"What is most distinctive in the zarzuela is its low comedy and -Spanish _sal_, together with that peculiar indiscipline so well -exemplified by _The Land of Joy_. In other words, the zarzuela is a -state of mind, just as Spanish music is an expression of Spanish life, -and unintelligible without some understanding of its symbols. - -"It would be safe to say that every zarzuela has either a realistic low -comedy element or otherwise exhibits some direct form of theatricalism, -differentiating it in this respect from works of a purely artistic -category. Yet it is difficult to draw the line. The zarzuela is -not without a tang similar to that of our burlesque stage. The -analogue would be American burlesque written by playwrights of high -intelligence. Had Harrigan's _Mulligan Guards Ball_ been compressed -into one act, it would have been a typical zarzuela." - -P. 65. "_La Gran Vía_": See note to page 14. - -P. 65. "Usually four separate zarzuelas are performed in one evening -before as many audiences": At the Apolo. "The evening is divided into -separate sections--four or five are the usual number," writes Mr. -Underhill. "These are called _funciones_, each consisting of a single -play. If the first _función_ begins at eight, the second will follow -at nine or nine-fifteen, the third at ten, the fourth shortly after -eleven, and the last, which is commonly a farce, appealing perhaps to -the less puritanical elements in the community, at twelve or a quarter -after twelve. A similar system prevails in the afternoons. There is -considerable variation in the hours of the _funciones_ in different -cities, according to the character and habits of the population. In -some theatres performances are practically continuous.... A separate -admission is charged to each _función_.... Spacious and comfortable -waiting rooms are provided in which the audience gathers for the -succeeding _función_ previously to the conclusion of that actually in -progress, so that the delay incident to the necessary change is reduced -to a minimum, never exceeding a quarter of an hour. Meanwhile ushers -circulate through the aisles and boxes taking up the tickets of those -who remain, although in these popular theatres the reconstitution of -the audience is practically complete." - -P. 69. "_villancicos_": On the program of the second historical concert -given by M. Fétis in Paris, November 18, 1832, devoted to music of the -sixteenth century, I find: "_Vilhancicos espagnols, à 6 voix de femmes, -avec 8 guitars obligées, composés par Soto de Puebla et exécutés dans -un concert à la cour de Philippe II (1561)._" - -P. 70. George Henry Lewes gives some account of the drama in Spain, -touching on the zarzuela, in Chapter XIV of "On Actors and the Art of -Acting." - -P. 70. "the Italian opera": In Gautier's day Bellini was the favourite -composer (see P. 215, "Voyage en Espagne"). - -John Hay writes in "Castilian Days" (1871): "It (Madrid) has a superb -opera house, which might as well be in Naples, for all the national -character it has; the Court Theatre, where not a word of Castilian is -ever heard, nor a strain of Spanish music.... The champagny strains of -Offenbach are heard in every town of Spain oftener than the ballads -of the country. In Madrid there are more _pilluelos_ who whistle _Bu -qui s'avance_ than the Hymn of Riego. The Cancan has taken its place -on the boards of every stage in the city, apparently to stay; and the -exquisite jota and cachucha are giving way to the bestialities of the -Casino Cadet." - -It is well to remember in this connection that the Metropolitan Opera -House in New York and Covent Garden Theatre in London "might as -well be in Naples" too, "for all the national character" they have. -Our symphony orchestras, too, perform works by native composers as -infrequently as those in Madrid. - -P. 75. To fill in the period between 1850-70 four names, inadvertently -omitted from the original text of "Spain and Music," are necessary, -those of Joaquín Gaztambide, Emilio Arrieta, Baltasar Saldoni, and -Francisco A. Barbieri. Joaquín Gaztambide, born February 7, 1822, was -a pupil of the Madrid Conservatory, and conductor of the "Pensions" -concerts at the Conservatory. He was the composer of at least forty -zarzuelas of which some of the titles follow: _La Cisterna Encantada_, -_La Edad en la Boca_, _Matilda y Malek Adel_, _El Secreto de la Reina_, -_Las Señas del Archiduque_, and _El Valle de Andorra_. He died March -18, 1870. - -Emilio Arrieta, born October 21, 1823, was a pupil of the Milan -Conservatory from 1842 until 1845. Many of the best Spanish musicians -have received their training outside of Spain. His first opera, -_Ildegonda_, was produced at Milan. He returned to Spain in 1848. In -1857 he became a teacher of composition in the Madrid Conservatory and -later became director of that institution. He died February 11, 1894. -The extensive list of his zarzuelas and operas (there are about fifty -altogether) includes the following titles: _La Conquista de Granada_, -_La Dama del Rey_, _De Madrid à Biarritz_, _Los Enemigos Domesticos_, -_La Tabernera de Londres_, _Un Viaje á Cochinchina_, and _La Vuelta -del Corsario_. - -Francisco Asenjo Barbieri, born at Madrid, August 3, 1823, studied -in the Conservatory there and after a varied career as member of a -military band, a theatre orchestra, and an Italian opera troupe, -became secretary and chief promoter of an association for instituting -a Spanish national opera and encouraging the production of zarzuelas, -in opposition to the Italian opera. _Gloria y Peluca_ (1850), _Jugar -con Fuero_ (1851) were the first of these zarzuelas, of which he wrote -seventy-five in all. He was also a teacher and a critic. He died in -Madrid, February 19, 1894. - -Baltasar Saldoni (1807-1890), born at Barcelona and educated at the -monastery of Montserrat, was organist and teacher as well as composer. -His works include a symphony for orchestra, military band and organ, -_A mi patria_, a _Hymn to the God of Art_, operas and zarzuelas, and a -great quantity of church and organ music. - -P. 76. "Felipe Pedrell": _El Último Abencerraje_ was sung in Italian -when it was produced in Barcelona in 1874. _Quasimodo_ is an operatic -version of Victor Hugo's "Notre-Dame de Paris." _Mazeppa_ (after -Byron) is in one act as is _Tasso_; _Cleopatra_ is in four acts. _Los -Pireneos_ is the first part of a triptych of which _La Celestina_ is -the second. The three parts are named respectively, Fatherland, Love, -and Faith. So far as I know the third part has not yet appeared. _La -Matinada_ is called "a musical landscape," for solo, chorus, and an -invisible orchestra. - -Henri de Curzon, who translated _La Celestina_ into French, has an -exhaustive and extremely interesting account of Pedrell in "La Nouvelle -Revue," Vol. 25, P. 72, under the title "Un maître de la Musique -Espagnole." A highly laudatory essay on _La Celestina_ by Camille -Bellaigue may be found in his book entitled, "Notes Brèves." Bellaigue -tells how he received the score in 1903 but only found time to study -it during the rainy summer of 1910. His enthusiasm is unrestrained -although he has not heard the work performed. The title of the essay is -"Un Tristan Espagnol" and he says: "la joie et la douleur, l'amour et -la mort partout se touchent et se fondent ici. De leur contact et de -leur fusion, jamais encore une fois, depuis _Tristan_, l'art lyrique -n'avait aussi fortement exprime le sombre mystère." He calls the -work "le plus originale et le plus admirable peut-être, après _Boris -Godunow_, qui, depuis les temps déjà lointains de _Falstaff_, nous soit -venu de l'étranger." - -P. 78. "_La Bruja_": Manrique de Lara says of this work: "This score of -our greatest composer broke abruptly with the Italian tradition which, -in form at least, had enslaved our musical productions until that time. -A new influence, having its high origin in works of pure classical -style whether symphonic or dramatic, led our steps down fresh pathways -in _La Bruja_." - -P. 80. "_La Verbena de la Paloma_": Raoul Laparra told me that -Saint-Saëns admired this work so much that he had committed it to -memory and played and replayed it on his piano. - -P. 81. A name that should be inserted here is that of Emilio Serrano, -born in the Basque city of Vitoria. He went early to Madrid, where he -studied the piano under Zabalza and composition, at the Conservatory, -with both Eslava and Arrieta. While very young he began to write -zarzuelas, the best of which belonging to this period is probably _El -Juicio de Friné_. His opera, _Mithradates_, in the Italian manner, -was produced in 1882 at the Teatro Real in Madrid. Later he produced -at the same house _Doña Juana la Loca_ and _Irene de Otranto_, for -which José Echegaray supplied the libretto. He wrote his own book for -_Gonzalo de Córdoba_, an opera in a prologue and three acts (1898). -His latest opera, _La Maja de Rumbo_, designed for the Lírico (now -the Gran) has been performed only in Buenos Ayres. He has written -a quartet, a symphony, a piano concerto and at least two symphonic -poems, _La Primera Salida de Don Quijote_ and _Los Molinos de Viento_. -Emilio Serrano succeeded Arrieta as professor of composition at the -Madrid Conservatory and there are few Spanish composers of the past two -decades who have not been his pupils. - -P. 82. "Albéniz": G. Jean-Aubry writes of this composer: "One and all -the young composers of Spain owe to him a debt. Albéniz is Spain, as -Moussorgsky is Russia, Grieg Norway, and Chopin Poland.... _Iberia_ -marks the summit of the art of Albéniz. Albéniz alone could venture -to place this title, both simple and proud, at the head of the twelve -divisions of this poem. One finds here all that emotion and culture -can desire. The composer here reached a sureness of touch and grasped -an originality of technique which demand much attention and which have -no ulterior object. He even at times sacrificed perfection of form. -There are no doubt fastidious critics who will find blemishes, but -such blemishes as exist are not detrimental to expression, and this -alone is important. In music there are many excellent scholars but -few poets. Albéniz has all the power of the poet--ease and richness -of style, beauty and originality of imagery, and a rare sense of -suggestion.... The _Preludes_ and _Studies_ of Chopin, the _Carneval_ -and _Kreisleriana_ of Schumann, the _Years of Pilgrimage_ of Liszt, the -_Prelude_, _Choral and Fugue_, and the _Prelude_, _Aria and Finale_ -of Franck, the _Islamey_ of Balakirew, the _Estampes_ and _Images_ of -Debussy, and the twelve poems of _Iberia_ will mark the supreme heights -of music for the pianoforte since 1830." - -P. 82. "_Catalonia_": Henry J. Wood conducted a performance in London, -March 4, 1900. - -P. 84. Tradition and often necessity have driven many Spanish composers -out of the peninsula to make their careers abroad. Victoria went to -Rome; Arrieta to Milan; Albéniz, Valverde, de Falla (and how many -others!) to Paris. Of late, indeed, Paris has been the haven of -ambitious Spanish composers who have been received with open arms by -their French confrères and where their music has been played by Ricardo -Viñes, the Spanish pianist, and by J. Joachim Nin, the Cuban pianist. -Viñes, indeed, has been friendly to the moderns of all nations. His -programs embrace works of Satie, Albéniz, and Ravel ... doubtless, -indeed, Leo Ornstein. - -As a result some of the zarzuela writers who have stayed at home -have produced more characteristic Spanish music than some of their -more ambitious brethren. One of the reasons is explained by Mr. -Underhill in his essay on the Spanish one-act play: "Spaniards are very -particular about these things (the strict Spanish tradition without -foreign influence). They insist upon the national element, upon the -perpetuation of indigenous forms of expression, both in the matter -of literary type and convention, and in mere questions of speech as -well. Few writers of the first rank belonging to the past generation -have escaped reproach upon this score. They were expected not only -to spring from the soil but to taste of it." Equal demands are made -upon the zarzuela writers. As a consequence the zarzuela, although -scarcely taken seriously by either Spanish musicians or public, and -always, according to the pedants, in a tottering decadent stage, may be -considered the most national form of Spanish musical art. - -I have referred to Joaquín Valverde in the text and his music has -become comparatively familiar to Americans through _The Land of Joy_. -José Serrano is another of the popular zarzuela writers. Perhaps his -best-known work is _El Mal de Amores_ for which the Brothers Quintero -furnished the book. Serrano's home is in Madrid where he belongs to -Benavente's _tertulia_. In the season of 1916-17 he organized a company -for the purpose of presenting his operas and zarzuelas and conducted a -campaign in the provinces. He was especially successful in Valencia. -His three-act opera, _La Canción del Olvido_, was first performed -during this tour. He recently rented the Zarzuela Theatre in Madrid -and has continued to give his own and other composers' works there, -including Usandizaga's posthumous _La Llama_. Other works of Serrano -are _La Reina Mora_ (zarzuela in one act, book by the Quinteros) and -_La Canción del Soldado_. - -Here also I might mention Gerónimo Giménez, who was born in Seville. -As a boy he went to Cadiz, studying with his father and singing in -the cathedral. At sixteen he conducted a performance of an opera by -Petrella at Gibraltar, and in consequence became the conductor of a -number of Italian opera companies touring Spain and Portugal. The -Province of Cadiz granting him a pension for foreign study, he entered -the Paris Conservatory under Ambroise Thomas. He also lived for a -time in Milan. Returning to Spain he was engaged by Chapí, who then -controlled the Teatro Apolo at Madrid, to direct the orchestra at the -production of his new _El Milagro de la Virgen_. Later at the Zarzuela -Theatre he conducted the first performance of Chapí's _La Bruja_. -Still later he succeeded Luigi Mancinelli as conductor of the Sociedad -de Conciertos in Madrid; he held this post for twelve years. He is -a member of the Academia de Bellas Artes and composer of _María del -Pilar_ and numerous other zarzuelas, including _Las Panderetas_, _El -Baile de Luis Alonso_, _La Tempranica_, _El Húsar de la Guardia_, and -_Cinematógrafo Nacional_. - - [Illustration: AMADEO VIVES] - -Other light composers who may be listed are Rafael Calleja, Enrique -Brú, Alberto Foglietti, Pablo Luna, Vicente Lleó, and Arturo Saco del -Valle. - -Of a more serious character is the music of Amadeo Vives, born at -Collbato. At the age of 10 he went to Barcelona to study with his -brother, a musician in a regimental band. He became an acolyte in a -church and his first compositions were written under the influence -of the organ music which he then heard. From Barcelona he strayed to -Málaga where he became a conductor, and from there he went to Madrid -where he played in churches and cafés indifferently, it would seem. At -times he was even reduced to peddling on the streets and to writing -musical criticism for a Barcelona paper. _Artús_ (after a Breton -legend), produced in Barcelona in 1897, established his fame. He -founded the celebrated Orfeó Catalá in Barcelona, afterwards directed -by Millet, and his male choruses written for this organization are said -to be among his best works. The list of his operas includes _Don Lucas -del Cigarral_, his first attempt at the traditional classic Spanish -zarzuela, produced in Madrid in 1899, _Enda d'Uriach_, for which Angel -Guimerá wrote the book (Barcelona; 1900); _Colomba_ (Madrid; 1910); -_Maruxa_, "égloga lírica en 2 actos" (1914); and _Tabaré_ (1914), and -about thirty zarzuelas including _El Tesoro_, _El Señor Pandolfo_, and -_Bohemios_. - -Joaquín Larregla was a native of the mountain town of Lumbier in -Spanish Navarre. After some schooling at Pamplona he entered the -Madrid Conservatory under Zabalza and Arrieta. He has made somewhat of -a name both as pianist and composer. He is especially, according to -Manuel Manrique de Lara, the composer of Navarre, his works "evoking -the landscapes, songs, and traditions of his province." He is a member -of the Bellas Artes and an instructor in the Conservatory. His works -include _Navarra Montañesca_, _Miguel Andrés_, and _I Viva Navarra!_ - -The war, it may be suggested, has had a most salutary effect on Spanish -music, while it has killed the tonal art in most other countries. It -has driven the Spaniards, however, back into their own country and -thus may be directly responsible for the foundation of a definite -modern school of Spanish music. One of those to leave Paris in 1914 -was Manuel de Falla, of whom G. Jean-Aubry says, "Today he is the most -striking figure of the Spanish school, tomorrow he will be a composer -of European fame, just as is Ravel or Stravinsky." - -Manuel de Falla was born at Cadiz, November 23, 1877. He studied -harmony with Alejandro Odero and Enrique Broca; later he went to Madrid -where he studied piano with José Trigo and composition with Felipe -Pedrell. He was still under fourteen when the Madrid Academy of Music -awarded him the first prize for his piano playing. Between 1890 and -1904 he divided his time between composing and piano playing, both as -soloist and in concerted chamber music. The compositions of this period -were not published, however, and now de Falla cannot be urged to speak -of them. In 1907 he went to Paris, where, from the very first, he -received a warm welcome from Paul Dukas. Debussy was also friendly. His -only published works at this time were _Quatres Pièces Espagnoles_: -_Aragonesa_, _Cubana_, _Montañesa_, and _Andaluza_, for piano, and -_Trois Mélodies_: _Les Colombes_, _Chinoiserie_, and _Seguidille_, -words by Théophile Gautier. In 1910 he made his début as a pianist in -Paris and the following year in London.... - -On April 1, 1913, the Casino at Nice produced his first opera, _La -Vida Breve_ (which so early as 1905 had won a prize at the Madrid -Academy of Fine Arts) with Lilian Grenville as Salud; on December -30, 1913, the work was performed at the Opéra-Comique in Paris with -Marguerite Carré as Salud. The first performance of this lyric drama -in Spain occurred at the Teatro de la Zarzuela in Madrid, November 14, -1914. _La Vida Breve_ has been compared to _Cavalleria Rusticana_, "a -_Cavalleria_ written by a consummate musician penetrated with a keen -desire to express his thoughts without making easy concessions to the -mob."... The orchestration has been warmly praised. "In the first act -he has linked the two scenes with an admirable evocation of Granada at -dusk; faint sounds of voices rise from the distant town and all the -atmosphere is laden with nonchalance, fragrance, and love." - -With the beginning of the war de Falla left France for his native land. -He launched _La Vida Breve_ in Spain with some success and on April -15, 1915, his second opera, _El Amor Brujo_, was produced at the -Lara Theatre in Madrid. Aubry tells us that this work was a failure. -However, the composer suppressed the spoken and sung parts, enlarged -the orchestration, and made of it a symphonic suite, "semi-Arabian" in -style. Pastora Imperio, too, has used this music for her dances. - -Aubry pronounces de Falla's _Nocturnes_, produced in Madrid in 1916, -the most important orchestral work yet written by a Spaniard. The -Spanish title reads: _Noches en los Jardines de España_. There are -three parts described by these subtitles: _En el Generalife_, _Danse -Lejana_, and _En los Jardines de la Sierra de Córdoba_. The piano plays -an important part in the orchestration but is never heard alone. "The -thematic material is built, as in _La Vida Breve_ or in _El Amor Brujo_ -on rhythms, modes, cadences, or forms inspired by but never borrowed -from Andalusian folk-song." - -When the Russian Ballet visited Spain Serge de Diaghilew was so much -interested in the work of de Falla that he commissioned him to write a -ballet on the subject of Alarcón's novel, "El Sombrero de tres Picos." - -Joaquín Turina is another important figure in the modern school. -Debussy compared his orchestral work, _La Procesión del Rocio_, to -a luminous fresco. In an article in "The Musical Standard," January -6, 1917, Guilhermina Suggia writes: "This work, composed in 1912 and -dedicated to Enrique Fernández Arbós, depicts one of those striking -processions in honour of the Blessed Virgin Mary of which Richard Ford -writes in such picturesque fashion in the old edition of Murray's -'Handbook of Spain' (1845)." Every year in the month of June, _la -procesión del rocio_ takes place, and all the grandees in the town of -Seville come out in their carriages to take part in the festivity. -Turina has also composed an opera, _Fea y con Gracia_ (1905), a string -quartet, and numerous works for piano, among which may be mentioned -_Trois Danses Andalouses_ (_Petenera_, _Tango_, and _Zapateado_), -_Sevilla_, a suite, and _Recuerdos de mi rincón_ (_Tragedia cómica para -piano_). - -José María Usandizaga, one of the most promising of the younger -composers, died in 1915. He was born in 1888 at San Sebastian and -died therefore at the age of 27, one year after his opera, _Las -Golindrinas_, was successfully produced at Madrid (February 4, 1914) -with the tenor Sagi-Barba in the leading rôle. Usandizaga was a man of -exceedingly frail physique, weak and lame, and he died of tuberculosis. -He was a pupil, I believe, of Vincent d'Indy. His posthumous opera, _La -Llama_, was produced at San Sebastian and Madrid during the winter of -1917-18. Gregorio Martínez Sierra, one of the foremost writers of the -younger generation, furnished the books for both his operas. - -Enrique (more properly Enrich or Enric; Enrique is the Castilian form -of this Catalan name) Morera is, perhaps, the leading Catalan composer. -He is best-known for his choral arrangements of folk-songs, some of -which have been heard in New York through the medium of the Schola -Cantorum, but he has written music for Guimerá's plays, and a lyric -drama entitled _L'Alegría que passa_, the book for which was furnished -by Santiago Rusiñol. - -Conrado del Campo has written a _Divina Comedia_ for orchestra and -Bartolomé Pérez Casas a _Suite Murcienne_ which G. Jean-Aubry includes -in a list of modern Spanish orchestral music. Pérez Casas is at present -the conductor of the Philharmonic Orchestra of Madrid. He and Turina -conducted the orchestra for the Russian Ballet during the May, 1918, -visit of that organization to Madrid. - -I have the very pretty _Impressions Musicales_ for piano of Oscar -Esplá. The subtitle is _Cuentos Infantiles; composición escrita -en 1905 para una fiesta de niños_. There are five parts which are -entitled, respectively, _En el Hogar_, _Barba Azul_, _Caperucita Roja_, -_Cenicienta_, and _Antaño_. This music is not very Spanish; indeed it -reminds me strongly of the music of Rebikof. - -R. Villar has written many pieces for piano, including _Páginas -Románticos_, _Nereida_, _Foot-Ball_, several songs, and pieces for -violin and piano and 'cello and piano. V. Costa y Nogueras is the -composer of _Flor de Almendro_ (1901), _Inés de Castro_ (1905) and -_Valieri_ (1906). J. Gómez is the composer of a _Suite in A_ for -orchestra which has been arranged for the piano. It includes _Prelude_, -_Intermezzo_, _Popular Song_, and _Finale-Dance_. - -P. 85. "perhaps the first of the important Spanish composers to visit -North America": Albéniz came to the United States as a pianist in the -seventies when he was about fifteen years old. - - - Index - - - - - Index - - - _Abencérages, Les_, 154 - - _Africanistas, Los_, 77 - - "Afro-American Folk-Songs," 37 - - Aguglia, Mimi, 93 - - Aidá, 155 - - Alarcón, Pedro de, 29, 153, 190 - - Albéniz, Isaac, 15, 18, 41, 50, 71, 77, 78, 81, 82, - 83, 148, 182, 183, 193 - - d'Albert, Eugen, 154 - - _Alegría de la Huerta, La_, 174 - - _Alegría que Passa, l'_, 192 - - _Alhambra, En la_, 80 - - Alhambra, The, 42 - - "Alhambra, The," 24 - - d'Alvarez, Margarita, 138, 147 - - _Amante Astuto, l'_, 14 - - _Amantes de Teruel, Los_, 80 - - _America para los Americanos_, 145 - - Amicis, Edmondo de, 123, 124, 125, 163, 173 - - _Amor Brujo, El_, 156, 189 - - _Amores de un Príncipe, Los_, 80 - - _Amour en Espagne, l'_, 84 - - _Ángeles, Los_, 79 - - d'Annunzio, Gabriele, 94 - - _Apocalipsis, El_, 80 - - Apolo Theatre in Madrid, 65, 175, 176 - - _Aqui Hase Farta un Hombre_, 79 - - Arbell, Lucy, 28 - - _Arbore de Diana, l'_, 73 - - Arbós, Enrique Fernández, 18, 71, 83, 84, 191 - - Arditi, Luigi, 98 - - Argentina, La, 16, 36, 55, 84, 94, 97, 155 - - Aristotle, 101 - - Arnoldson, Sigrid, 130 - - Arriaga, Juan Chrysostomo, 73, 74 - - Arrieta, Emilio, 145, 174, 178, 181, 182, 183, 187 - - _Artús_, 187 - - Aubry, J. Jean, 148, 182, 183, 188, 189, 192 - - _Azara_, 30 - - - Bach, 18, 34, 71 - - Baedeker, 172 - - _Baile de Luis Alonso, El_, 186 - - Baillot, 73 - - Balakirew, 23, 183 - - Balfe, Michael William, 29 - - Bandarria, 46 - - Bara, Theda, 17 - - _Barberillo en Orán, El_, 80 - - _Barbiere di Siviglia, Il_, 29, 98, 115, 147 - - Barbieri, Francisco A., 178, 179 - - Barrientos, María, 16, 86 - - Bauer, Harold, 150 - - Beethoven, 15, 18, 29, 32, 71, 77 - - Beidler, Franz, 83 - - Bellaigue, Camille, 147, 180 - - Bellini, 177 - - Belocca, Anna de, 138 - - Benavente, Jacinto, 155, 185 - - Benavente (comp.), 67 - - Bermudo, Father, 31 - - "Bible in Spain, The," 103 _et seq._ - - Bilbao, 97 - - Bizet, Georges, 16, 17, 25, 26, 27, 85, 103 _et seq._, 170 - - _Blasones y Talegas_, 79 - - _Boabdil_, 15 - - _Bocetos_, 88 - - _Bohemios_, 187 - - Bolero, 45, 46, 57 - - Bonheur, Stella, 138 - - Bori, Lucrezia, 15, 17 - - _Boris Godunow_, 20, 77, 180 - - Borrow, George, 103 _et seq._ - - Bos, Coenraad V., 23 - - Botticelli, 128 - - Brassin, Louis, 82 - - Brema, Marie, 128 - - Bressler-Gianoli, Clotilde, 136 - - Bretón, Tomás, 13, 18, 50, 79, 80, 81, 145, 156, 174, 181 - - Bréval, Lucienne, 130 - - British Bible Society, 105 _et seq._ - - Broca, Enrique, 188 - - Brohly, Mlle., 130 - - Brú, Enrique, 186 - - Bruckner, 77 - - _Bruja, La_, 78, 181, 186 - - Bruneau, Alfred, 156 - - Bull-fight, 62, 66, 119, 155, 172, 173 - - Busoni, 23, 77 - - - Caballero, Fernández, 65, 77, 174 - - Cabezón, 34 - - _Cabo Primero, El_, 77, 174 - - Cachucha, 45, 159 - - _Calderas de Pedro Bolero, Las_, 79 - - Calderon, 65, 67 - - Calleja, Rafael, 186 - - Calvé, Emma, 24, 127, 134, 135, 136, 138 - - Camargo, Marie-Anne, 45 - - _Campanadas, Las_, 78 - - Campanera, La, 169 - - _Campanero de Begoña, El_, 80 - - Campanini, Italo, 131, 132 - - Campo, Conrado del, 85, 148, 192 - - _Canción del Olvido, La_, 185 - - _Canción del Soldado, La_, 185 - - "Cantos. Populares Españoles," 62 - - _Capriccio Espagnole_, 22 - - _Capricciosa Corretta, La_, 73 - - _Carmen_, 16, 17, 25, 26, 27, 85, 103 _et seq._, 147, 152, 153, 170 - - "Carmen," 108 _et seq._ - - Carmencita, 15, 94, 146, 170 - - Caro-Delvaille, Henry, 147, 170 - - Carré, Marguerite, 189 - - Caruso, Enrico, 138 - - Casals, Pablo, 16, 149 - - Casas, Pérez, 148, 192 - - "Case of Wagner, The," 121, 122 - - Caseda, 34 - - Castanets, 36, 46, 47, 50, 56, 97, 100, 101, 164 - - "Castilian Days," 173, 177 - - Castillo, 34 - - _Catalonia_, 82, 148, 183 - - Cavalieri, Lina, 137 - - _Cavalleria Rusticana_, 189 - - _Celestina, La_, 76, 147, 180 - - _Centro de la Tierra, El_, 84 - - _Certamen de Cremona, El_, 80 - - _Certamen National_, 174 - - Cervantes, 27, 28 - - Chabrier, Emmanuel, 21, 22, 36, 38, 46, 47, 48, 49, 50, - 60, 66, 70, 95, 157 - - Chambers, Robert W., 99 - - Chapí, Ruperto, 50, 78, 145, 174, 181, 185, 186 - - Chaplin, Charles, 17 - - Charbonnel, Mlle., 130 - - Chatfield-Taylor, H. C., 35 - - _Chérubin_, 27 - - Cherubini, 73, 154 - - _Chieftain, The_, 154 - - Chopin, 182, 183 - - Chorley, H. F., 153 - - Chueca, Federico, 84, 174 - - _Cid, Le_, 27, 28 - - _Cinematógrafo. Nacional_, 186 - - _Circe_, 79 - - Cisneros, Eleanora de, 80, 138 - - _Cisterna Encantada, La_, 178 - - _Clavel, Rojo, El_, 80 - - Clément et Larousse, 28 - - _Cleopatra_, 76, 179 - - Cohan, George M., 98 - - "Colección de Cantos Flamencos," 62 - - _Colomba_, 187 - - _Combat, The_, 83 - - _Conchita_, 24, 25 - - _Conquista de Granada, La_, 178 - - _Conquistador, Le_, 150 - - Copeland, George, 15, 81, 84 - - Corelli, 44 - - _Corona contra Corona_, 80 - - _Corregidor, Der_, 29 - - _Cosa Rara, La_, 73 - - Costa y Nogueras, V., 193 - - _Covadonga_, 80 - - _Cura del Regimiento, El_, 78 - - Curzon, Henri de, 180 - - Czarina, La, 78 - - - Dalcroze, Jaques, 59, 77 - - _Dama del Rey, La_, 178 - - _Dama Roja, La_, 79 - - Dancing, 35, _et seq._, 65, 66, 94 _et seq._, 146, 147, 154 _et - seq._, 158 _et seq._, 168 _et seq._, 170, 189 - - _Dante_, 83 - - Darcourt, Charles, 127 - - Dargomijsky, 29 - - Davillier, Baron Charles, 125, 168, 169 - - Debussy, Claude, 13, 22, 23, 25, 149, 183, 188, 191 - - "Declaración de Instrumentos," 31 - - Delibes, Léo, 24 - - Delna, Marie, 130 - - Del Puente, Giuseppe, 131, 132 - - Demófilo, 62 - - _De Madrid á Biarritz_, 178 - - Dérivis, Maria, 126 - - Deschamps-Jehin, Mme., 127 - - Desrat, 56 - - Destinn, Emmy, 138 - - _Deux Contrats_, 74 - - Deyo, Ruth, 149 - - Diaghilew, Serge de, 190 - - Diaz, Rafaelo, 147 - - "Diccionario Técnico, Histórico y Biográfico de la Música," 32 - - "Dictionary-Catalogue of Operas," 28, 77 - - _Dineros del Sacristán, Los_, 77 - - _Divina Comedia_, 148, 192 - - _Doctor of Alcántara, The_, 154 - - Dolaro, Selina, 138 - - _Dolores, La_, 13, 18, 79, 145 - - Doloretes, 96, 97, 161 - - _Domingo de Ramos, El_, 80 - - _Doña Juana la Loca_, 181 - - _Don Carlos_, 154 - - Don César de Bazán, 27 - - _Don Gil_, 80 - - _Don Giovanni_, 29, 73, 154 - - Donizetti, 154 - - _Don Juan_, 24 - - _Donna Diana_, 30 - - _Don Lucas del Cigarrel_, 187 - - _Don Quichotte_, 27, 28 - - _Don Quixote_, 24, 28, 77, 149, 153 - - Doré, Gustave, 168, 169 - - Dukas, Paul, 188 - - Dumont, Joseph, 82 - - Durón, Sebastian, 67 - - - Echegaray, José, 65, 181 - - Echegaray, Miguel, 65, 77, 80 - - _Edad en la Boca, La_, 178 - - Edwards, H. Sutherland, 119, 132 - - Edwards, Rhoda G., 54 - - Ehnn, Fräulein, 126 - - Eichberg, Julius, 154 - - _Elektra_, 137 - - Elgar, Sir Edward, 77 - - Ellis, Havelock, 19, 35, 39, 42, 45, 47, 57, 66, 89, 95, - 101, 113, 173 - - Elssler, Fanny, 15, 45, 158, 159 - - Encina, Juan del, 68, 69 - - _Enda d'Uriach_, 187 - - _Enemigos Domesticos, Los_, 178 - - _Enrico Clifford_, 82 - - _Entre Rocas_, 79 - - _Epitalame_, 83 - - Erlanger, Camille, 154 - - _Ermitage Fleurie, l'_, 82 - - _Ernani_, 29 - - _Escenas Andaluzas_, 80 - - _Escenas de Capa y Espada_, 79 - - _Esclavos Felices, Los_, 74 - - Eslava, 32, 75, 77, 80, 81 - - Esplá, Oscar, 85, 193 - - _España_, 21 - - "Españoles Pintados por si Mismos," 55 - - _Estudiantina_, 24 - - - Fábrica de Tabacos, 122 _et seq._ - - Falla, Manuel de, 84, 148, 156, 183, 188 _et seq._ - - _Falstaff_, 180 - - Fandango, 22, 46, 55, 56, 57, 165, 166, 168 - - Farrar, Geraldine, 16, 17, 137, 138 - - Farrega, 40 - - Fassett, Jacob S., Jr., 153 - - Fauré, Gabriel, 152 - - Faviani, 45 - - _Favorita, La_, 154 - - _Fea y con Gracia_, 191 - - "Femme et le Pantin, La," 25 - - Feria, The, 42 - - Fernández, Lucas, 69 - - Ferrabini, Ester, 138 - - Fétis, 73, 74, 176 - - _Fidelio_, 15, 29 - - Fierens-Gevaert, 128, 129 - - _Figlia dell'Aria, La_, 14 - - _Filles de Cadix, Les_, 24 - - Filmore, John C., 38 - - Finck, H. T., 157, 158, 163, 172 - - _Flor de Almendro_, 193 - - _Florestan_, 74 - - Foglietti, Alberto, 186 - - _Foletto_, 88 - - Folias, 44 - - Folk-music, 17, 21, 34, 37, 38, 39, 59 _et seq._, 64, - 71, 72, 76, 87, 100, 150, 157, 170, 171, 172, 190 - - Ford, Anne, 168 - - Ford, Richard, 36, 40, 41, 51, 52, 70, 95, 100, 101, - 106, 112, 173, 191 - - Fremstad, Olive, 24, 136, 138 - - Friché, Claire, 130 - - Friedenthal, Albert, 39 - - Fuertes, Mariano Soriano, 32, 43, 46, 62, 67, 68, 77 - - - Gainsborough, Thomas, 166 - - Galabert, Edmond, 117 - - _Galeotes, Los_, 80 - - Gallarda, 43 - - Galli-Marié, Célestine, 27, 118, 125, 126, 137 - - García, Manuel, 14, 28, 74, 77, 153 - - García, Manuel, fils, 153 - - Garden, Mary, 28, 103, 131, 136, 139 _et seq._ - - Garibaldi Theatre, 94 - - _Garín_, 80 - - Garrison, Mabel, 172 - - "Gathering from Spain," - 36, 40, 41, 51, 52, 70, 95, 100, 101, 106, 112, 173 - - Gatti-Casazza, Giulio, 14, 18 - - Gautier, Théophile, 103, 122, 123, 158 _et seq._, 173, 177, 189 - - Gay, María, 17, 137 - - Gaztambide, Joaquín, 178 - - _Gendarmes, Los_, 78 - - Gentle, Alice, 138 - - Gerville-Réache, Mme., 137 - - Giacosa, 94 - - Gibert, 83 - - Giebel, F., 23 - - _Gigantes y Cabezudos_, 65, 77, 174 - - Giménez, Gerónimo, 185, 186 - - Gipsies, 22, 35, 45, 46, 51, 52, 57, 61, 64, 96, 97, 105 _et seq._, - 151, 153, 154, 155, 156, 161 _et seq._, 169, 170 - - _Giroflé-Girofla_, 154 - - Glinka, 23 - - _Gloria y Peluca_, 179 - - Gogorza, Emillo de, 15 - - Godard, 120 - - _Golondrinas, Las_, 84, 148,191 - - Gomez, Antonio Carlos, 14 - - Gómez, J., 193 - - _Gonzalo de Córdoba_, 181 - - Gounod, Charles, 26 - - Goya, 16, 18, 86, 97 - - Goya, La, 156 - - _Goyescas_, 14, 16, 64, 85, 86,87, 145 - - Granados, Enrique, 14, 15, 16, 32, 50, 64, 83, 85 _et seq._, 145 - - _Gran Vía, La_, 14, 65, 66, 84, 146, 175 - - Greco, El, 18 - - Grenville, Lilian, 189 - - Grieg, Edvard, 182 - - Griselidis, 120 - - Grove's Dictionary, 46, 64, 73, 168 - - Grove, Sir George, 20 - - _Guarany, Il_, 14 - - Guerrero, Francisco, 33 - - Guimerá, Angel, 187, 192 - - Guiraud, 120 - - Guitar, 28, 29, 31, 35, 36, 39, 40, 46, 49, 50, 56, 59, 70, 145, 157 - - _Guitares et Mandolines_, 23 - - _Guzmán el Bueno_, 80 - - - Habanera, 21, 24, 25, 26, 27, 39, 43, 49, 99, 114, 120, 133, 149 - - _Habanera, La_, 25, 26, 149 - - Hale, Edward Everett, 172 - - Hale, Philip, 26, 45, 46, 56, 129, 130, 168 - - Hamilton, H. V., 64, 66, 67, 70 - - Hammerstein, Oscar, 13, 14, 15, 136, 145, 147 - - Harris, Frank, 173 - - Hauk, Minnie, 131, 132, 133, 134 - - Hay, John, 173, 177 - - Heifetz, Jascha, 97 - - Heine, 96 - - Henderson, W. J., 132, 137, 138 - - Hesperia, 79 - - Heugel, 27 - - _Heure Espagnole, l'_, 29 - - Hidalgo, 67 - - Hidalgo, Elvira de, 147 - - _Hija de Jefté, La_, 78 - - _Hijas de Zebedeo, Las_, 78 - - "Hispaniae Schola Musica," 32, 76 - - Hispanic Society, 86 - - "Histoire de la Musique de l'Espagne," 31 - - "Historia de la Música Española," 32, 46 - - "Historia de Sevilla," 155 - - Howard, Kathleen, 137 - - Hugo, Victor, 179 - - Humperdinck, Engelbert, 22, 23 - - Huneker, James, 82, 169 - - _Húsar de la Guardia, El_, 186 - - - _Iberia_ (Albéniz), 81, 83, 182, 183 - - _Iberia_ (Debussy), 22, 25 - - _Ildegonda_, 178 - - Imperio, Pastora, 154, 155, 156, 189 - - d'Indy, Vincent, 117, 192 - - _Inés de Castro_, 193 - - _Irene de Otranto_, 181 - - Iriarte, Tomás de, 168 - - Irving, Washington, 24 - - Isaac, Adèle, 127 - - Isle, Marié de l', 130 - - _I Viva Navarra_, 187 - - - Jacara, 44, 69 - - Jadassohn, 82 - - _Jardín de Falerina, El_, 67 - - Joachim, 83 - - Jot, Alben, 46 - - Jota, 21, 23, 25, 26, 28, 46, 47, 59, 61, 65, 156, 170 - - _Jota, La_, 25, 26, 149 - - _Juan Francisco_, 79 - - Juanes, Juan de, 33 - - Juares, 34 - - _Jugar con Fuero_, 179 - - _Juicio de Friné, El_, 181 - - - Kellogg, Clara Louise, 120, 131, 132 - - Kirkby-Lunn, Mme., 138 - - Knopf, Alfred A., 153 - - Koutznezoff, Mme., 17 - - Krehbiel, H. E., 37, 38, 43, 133 - - Kreisler, Fritz, 44 - - Kufferath, F., 82 - - - Lacome, P., 46, 62 - - Lafargue, Mme., 130 - - Lafontaine, Rev., Henry Cart de, 52, 64, 70 - - Lalo, Edouard, 23 - - Lana, 67 - - "Land of the Castanet, The," 35 - - _Land of Joy, The_, 89 _et seq._, 145, 149, 174, 175, 184 - - Laparra, Raoul, 25, 26, 51, 145, 149 _et seq._, 181 - - Lara, Manrique de, 181, 187 - - Larregla, Joaquín, 187 - - Lavignac, Albert, 19 - - Lazaro, Hipolito, 147 - - Leblanc, Georgette, 128, 129, 130 - - Lecocq, 63, 154 - - Lehmann, Lilli, 133, 134 - - Lewes, George Henry, 176, 177 - - _Leyenda del Monje, La_, 78 - - _Liliana_, 88 - - "Lira Sacro-Hispana," 32, 75 - - Liszt, 23, 182, 183. - - _Llama, La_, 185, 192 - - Lleó, Vicente, 186 - - Llobet, Miguel, 16, 40, 41 - - Lobo, 34 - - Locle, Camille du, 117 - - Loeffler, Charles Martin, 149 - - Lombard, Louis, 19 - - London Musical Association, 20, 52 - - Lopez-Chavarri, Edouard, 18, 75 - - Louÿs, Pierre, 25 - - Lucca, Pauline, 133 - - Lumley, Benjamin, 96 - - Luna, Pablo, 186 - - Lussan, Zélie de, 130, 135, 137 - - Luxembourg Gallery, 15 - - - Mackinlay, M. Sterling, 153 - - _Madrileños, Los_, 79 - - Maeterlinck, Maurice, 13, 128 - - _Magic Opal, The_, 82 - - Mahler, Gustav, 77 - - _Maison de Danses, La_, 84 - - Maitland, J. A. Fuller, 76 - - _Maja y el Ruiseñor, La_, 87 - - _Maja de Rumbo, La_, 181 - - Malagueña, 15, 21, 48, 55, 160 - - _Mal de Amores, El_, 184 - - Malibran, Mme., 14, 174 - - Mancinelli, Luigi, 186 - - _Mandoline_, 23 - - Manet, Edouard, 98 - - Mantegna, 128 - - _Manuel Venegas_, 29 - - Mapleson, Col. J. H., 131, 132 - - Marchant, William, 19 - - Marco, María, 97 - - Mardones, José, 147 - - _Margarita la Tornera_, 79 - - _María del Carmen_, 87 - - _María del Pilar_, 186 - - Marín, F. Rodríguez, 62 - - _Marina_, 145, 174 - - Marinetti, F. T., 92 - - Marion, George, 91 - - _Maritana_, 154 - - Marmontel, 82 - - Martin y Solar, 72, 73 - - _Maruxa_, 187 - - Mascagni, 189 - - Massenet, 27, 28, 152 - - _Matilda y Malek Adel_, 178 - - Matinada, La, 76, 180 - - _Maurische Rhapsodie_, 23 - - Mazantinita, 97 - - Mazarin, Mariette, 137 - - _Mazeppa_, 76, 179 - - Meilhac and Halévy, 114 _et seq._ - - Mejorana, La, 155 - - Melba, Nellie, 127 - - Meller, Raquel, 156 - - Mendès, Catulle, 156 - - "Ménestrel, Le," 27, 118 - - _Méphistophéla_, 96 - - Mérentié, Mlle., 130 - - Mérimée, Prosper, 106 _et seq._ - - _Merlin l'Enchanteur_, 83 - - Mestres, Apeles, 88 - - Metzger, Ottilie, 138 - - _Miguel Andrés_, 187 - - _Milagro de la Virgen, El_, 78, 186 - - Millet, Lluis, 181, 187 - - Mitchell, Julian, 91 - - _Mithradates_, 181 - - Molière, 52 - - Molina, Amalia, 155, 156 - - _Molinos de Viento, Los_, 182 - - "Montes the Matador," 173 - - Montez, Lola, 146 - - _Moorish Fantasy_, 79 - - Morales, Cristofero, 33 - - Morera, Enrique, 85, 170, 171, 192 - - _Mort du Tasse La_, 74 - - Moszkowski, 15, 23 - - Moullé, Edouard, 48 - - Moussorgsky, 19, 77, 180, 182 - - Mozart, 29, 73, 98 - - "Mr. Incoul's Misadventure," 173 - - Muck, Dr. Karl, 81 - - Murillo, 33 - - Musical Art Society, 34 - - "Music and Musicians," 19 - - _Musical Journey Through Spain, A_, 152 - - "Musik, Tanz, und Dichtung bei den Kreolen Amerikas," 39 - - "Musique Populaire en Espagne, La," 150 - - - Nadal, Juan, 147 - - Nardi, Mme., 127 - - _Navarraise, La_, 27, 28 - - Navarro, 34 - - Navas, Juan de, 67 - - _Naves de Cortés, Las_, 78 - - Nazimova, Alla, 93 - - Negro Actors, 93 - - _Ni Amor se Libre de Amor_, 67 - - Nieto, Manuel, 174 - - Nietzsche, 121, 122 - - _Night in Madrid, A_, 23 - - Nijinsky, Waslav, 95 - - Nilsson, Christine, 133 - - Nin, J. Joachim, 183 - - "Niño de la Bola, El," 29 - - _Nit del Mort, La_, 88 - - Noblet, Mlle., 45, 159 - - _Noches en los Jardines de España_, 148, 190 - - Northup, George T., 109 - - "Notes Brèves," 180 - - _Nozze de Figaro, Le_, 29, 154 - - Nuovina, Mme. de, 128 - - - "Observations of a Musician, The," 19 - - Ocón, Cecilio, 62 - - Odero, Alejandro, 188 - - Offenbach, 63 - - Olé, 45, 51 - - "Opera Española en el Siglo XIX, La," 68 - - d'Or, Tarquini, Mme., 127 - - Orfeó Catalá, 171, 172, 187 - - Orleneff, Paul, 93 - - Ornstein, Leo, 15, 81, 183 - - Otero, 146, 170 - - _Overture on a Theme of a Spanish March_, 23 - - - Pack, Nina, 128 - - Paesiello, 153 - - Pahissa, 83 - - Paine, John Knowles, 30 - - Palestrina, 33, 77 - - Palomares, 67 - - Pareda y Barreto, José, 32 - - _Parsifal_, 13, 76, 133 - - Passama, Jenny, 130 - - Patti, Adelina, 98, 133 - - Pavana, 43, 156 - - Pavlowa, Anna, 15, 45 - - Pedrell, Felipe, 18, 32, 34, 62, 66, 67, 68, 71, 75, 76, 77, - 87, 147, 171, 179, 180, 188 - - _Pedro el Cruel_, 75 - - _Pélleas et Mélisande_, 13 - - Peña y Goñi Antonio, 68 - - Penfield, Edward, 173 - - _Pepita Jiménez_, 82, 83 - - Periquet, F., 86 - - Petenara, 49, 150, 170, 191 - - Petrella, 185 - - Peyró, José, 67 - - Picabia, Francis, 147 - - Picasso, Pablo, 147 - - Piccinni, 153 - - Pigot, Charles, 27, 117, 119, 120 - - _Pireneos, Los_, 18, 76, 179 - - _Pobre Valbuena, El_, 145 - - _Poème Espagnole_, 149 - - _Poeta Calculista, El_, 74 - - Poiret, Paul, 16 - - Polaire, 84 - - Polo, 45, 74 - - Ponte, da, 73 - - Pougin, Arthur, 74, 118, 126 - - Pozo, 170 - - _Preciosa_, 29 - - _Primera Salida de Don Quijote, La_, 182 - - _Procesión del Rocio, La_, 148, 191 - - Puchol, Luisita, 97, 98 - - Puig y Alsubide, J., 62 - - Pujol, Juan Bautista, 83, 87 - - _Puñao de Rosas, El_, 145, 174 - - Purcell, Henry, 153 - - Pushkin, 29 - - - _Quasimodo_, 76, 179 - - Quintero Brothers, 155, 184, 185 - - Quittard, Henry, 171 - - - Ragtime, 99 - - Ramirez, Anita, 156 - - _Rapsodie Espagnole_, 24 - - _Raquel_, 80 - - Ravel, Maurice, 24, 29, 183, 188 - - Rebikof, Vladimir, 193 - - _Reclamo, El_, 78 - - _Reina Mora, La_, 185 - - Reinhardt, Max, 92 - - Religious Composers, 30 _et seq._, 39, 170, 171, 172 - - "Revue de Deux Mondes," 96, 108 - - _Rey que Rabió, El_, 78 - - Reznicek, 30 - - _Rhythmes Espagnoles_, 150 - - Ribera, 34 - - Riemann, Hugo, 153 - - Rimsky-Korsakow, 22, 30 - - Risco, Juan, 67 - - "Rivista Musicale," 34 - - Robles, García, 83 - - Rockstro, 20, 33 - - Roda, Cecilio de, 28 - - Rodríguez, Isabel, 17 - - _Roger de Flor_, 78 - - Romalis, 51, 112, 117, 161 - - Romero, 34 - - _Rose of Castile, The_, 29 - - _Rose de Grenade, La_, 63, 84 - - Rossini, 29, 98, 115, 169 - - Roze, Marie, 119, 132 - - Rubinstein, Anton, 23, 149 - - Rueda, 151 - - _Rueda de la Fortuna, La_, 77 - - Rusiñol, Santiago, 192 - - Russian Ballet, 91, 92, 98, 190, 192 - - - Sagi-Barbi, 191 - - Saint-Saëns, Camille, 23, 45, 81, 181 - - Saldoni, Baltasar, 178, 179 - - Salieri, 153 - - _Salome_, 28, 92 - - Saltus, Edgar, 173 - - _San Antonio de la Florida_, 82 - - Sanborn, Pitts, 24, 25, 40 - - Sapateados, 49, 191 - - Sarabanda, 43 - - Sarasate, Pablo de, 23, 75 - - Sargent, 15 - - Sati, Erik, 183 - - _Scheherazade_, 22 - - Schelling, Ernest, 15, 81, 86 - - Schindler, Kurt, 172 - - Schola Cantorum of New York, 171, 192 - - Schumann, Robert, 23, 139 - - Schumann-Heink, Ernestine, 136 - - _Secreto de la Reina, El_, 178 - - Seguidilla, 46, 61, 114, 133 - - Segurola, Andrés de, 15, 17 - - _Selva Sin Amor, La_, 67 - - _Señas del Archiduque, Las_, 178 - - _Señor Pandolfo, El_, 187 - - Séré, Octave, 29 - - Serrano, Emilio, 181, 182 - - Serrano, José, 184, 185 - - Sevilla, 106 - - Sevillana, 46, 50, 52, 53, 54, 55, 151, 163, 170 - - Seygard, Camille, 138 - - Shakespeare, 94 - - Sherwin, Louis, 101 - - Sierra, Gregorio Martínez, 192 - - "S. I. M.," 26, 46, 48 - - Slaviansky, Dmitri, 170 - - Smetana, 77 - - _Soirée dans Grenade, La_, 149 - - Soledas, 48 - - _Solitario, El_, 75 - - "Sombrero de tres Picos, El," 29, 153, 190 - - _Sorcière, La_, 154 - - Sorolla, 15 - - Soubies, A., 31, 33, 67, 69 - - "Soul of Spain, The," 19, 35, 39, 42, 45, 47, 57, 66, 89, 95, 173 - - Southgate, Dr. Thomas Lea, 20 - - "Spain and Morocco," 157, 163, 172 - - _Spanisches Liederbuch_, 23 - - _Spanisches Liederspiel_, 23 - - _Spanish Rhapsody_, 23 - - Stanislavski, 92 - - Stein, Gertrude, 44 - - Stanley, Helen, 152 - - _Stone Guest, The_, 29 - - Strauss, Richard, 24, 28, 77, 137 - - Stravinsky, Igor, 188 - - Suggia, Guilhermina, 191 - - _Suite Murcienne_, 148, 192 - - Sullivan, Sir Arthur, 154 - - Supervia, 17 - - Svendsen, 24 - - Sylva, Marguerite, 130, 137 - - Symons, Arthur, 154, 161 _et seq._, 163 _et seq._ - - _Symphonie Espagnole_, 23 - - - _Tabaré_ (Bretón), 80 - - _Tabaré_ (Vives), 187 - - _Tabernera de Londres, La_, 179 - - Taglioni, 15 - - Tango, 17, 36, 43, 49, 65, 84, 99, 146, 191 - - _Tango et la Malagueña, Le_, 149 - - _Tannhäuser_, 19 - - Tarquini, Tarquinia, 25, 138 - - _Tasso á Ferrara, El_, 76, 179 - - "Teatro Lírico Español anterior al siglo XIX," 67, 77 - - Teba, Condessa de, 108 - - Tebaldini, G., 34 - - Tempest, Marie, 138 - - _Tempestad, La_, 78, 145 - - _Tempranica, La_, 186 - - _Tesoro, El_, 187 - - Tesrai, Dolores, 45 - - Tetrazzini, Luisa, 78, 136 - - Thévenet, Cécile, 130 - - Thicknesse, Philip, 165 _et seq._ - - Thomas, Ambroise, 185 - - Thomas, Theodore, 15 - - Thompson, Fanchon, 136 - - _Tiefland_, 154 - - Tirana, 45 - - Tonadilla, 70 - - Tor, 41 - - _Toreador and Andalusian_, 23 - - _Toros, A los_, 84 - - Torpadie, Greta, 23 - - Torre, Jerónimo de la, 67 - - Torres, Julio Romero de, 155 - - _Tortajada, La_, 146 - - Toscanini, Arturo, 138 - - Towers, John, 28, 77 - - Trebelli, Zelia, 134 - - _Tregua del Ptolemaide, La_, 75 - - Trentini, Emma, 127 - - Trigo, José, 188 - - _Tristan und Isolde_, 180 - - _Trovatore, Il_, 29, 153, 154 - - Turina, Joaquín, 15, 84, 148, 190, 191, 192 - - - _Último Abencerraje, El_, 76, 179 - - Underhill, John Garrett, 173, 174, 175, 176, 184 - - Usandizaga, José María, 84, 148, 185, 191, 192 - - - Valencia, Tortola, 147 - - Valera, 35 - - _Valieri_, 193 - - Valle, Arturo Saco del, 186 - - _Valle de Andorra, El_, 178 - - Valleria, Mlle., 131 - - Valverde, Joaquín, 14, 17, 65, 66, 84, 145, 146, 149, 175 - - Valverde, Joaquín, fils, 63, 84, 89 _et seq._, 145, 174, 175, 183, 184 - - Vega, Lope de, 67 - - Velasquez, 16, 33, 86 - - _Verbena de la Paloma, La_, 80, 174, 181 - - Verdi, 29, 153, 154, 180 - - _Viaje á Cochinchina, Un_, 179 - - Victor Records, 170 - - Victoria, Tomás Luis de, 32, 33, 34, 183 - - _Vida Breve, La_, 148, 189, 190 - - Vieuxtemps, 83 - - Vihuela, 29, 31 - - Villancicos, 61, 69, 176 - - Villar, R., 193 - - Viñes, Ricardo, 183 - - Vives, Amadeo, 171, 186 - - Vix, Genevieve, 130 - - _Vuelta del Corsario, La_, 179 - - Vuiller, Gaston, 168 - - Vuillermoz, Emile, 26, 171 - - - Wagner, Richard, 13, 19, 76, 121, 122, 133, 157, 172, 180 - - Waldteufel, 21, 24 - - Wallace, William Vincent, 154 - - Wayburn, Ned, 91 - - Weber, 29 - - Whistler, 75 - - White, Stanford, 138 - - Wilde, Oscar, 92 - - Wolf, Hugo, 23, 29 - - Wood, Henry J., 183 - - Wyns, Charlotte, 128 - - - Xacara, 44, 69 - - - Yradier, Sebastian, 27 - - - Zabalza, 181, 187 - - Zandonai, 24, 25 - - Zapateado, 49, 191 - - Zarabanda, 43 - - Zarzuela, 14, 18, 62 _et seq._, 71, 77, 78, 79, 80, 82, 84, 86, 99, - 145, 146, 148, 149, 173, 174, 175, 176, 178, 179, 181, 183, 184, - 185, 186, 187 - - Ziegfeld, Florenz, 93 - - "Zincali, The," 107 _et seq._ - - _Zorahayda_, 24 - - Zuloaga, 15, 99, 130, 156 - - Zurbaran, 33 - - - What the Critics Say About Mr. Van Vechten's Work - - - - - What the Critics Say About Mr. Van Vechten's Work - - -Mr. Van Vechten has written and Alfred A. Knopf has published two other -books which should appeal to those who like "The Music of Spain." The -first of these, "Music and Bad Manners," contains the following seven -essays: Music and Bad Manners, Music for the Movies, Spain and Music, -Shall We Realize Wagner's Ideals? The Bridge Burners, A New Principle -in Music, Leo Ornstein. - -"Interpreters and Interpretations" contains the following fourteen -essays: Olive Fremstad, Geraldine Farrar, Mary Garden, Feodor -Chaliapine, Mariette Mazarin, Yvette Guilbert, Waslav Nijinsky, The -Problem of Style in the Production of Opera, Notes on the _Armide_ -of Gluck, Erik Satie, The Great American Composer, The Importance of -Electrical Picture Concerts, Modern Musical Fiction, and Why Music is -Unpopular. - -Here is what Henry Blackman Sell of "The Chicago Daily News" has to say -of Mr. Van Vechten's work: - -As one of that annoying clan who don't know anything about music except -that we know what we like, I hereby raise my voice to hymn Mr. Van -Vechten's intelligent pronouncements as a boon, a joy and a liberation. -Henceforth when I peruse the ponderous passages, which so often pass -for erudition in contemporary music criticism, I shall not sorrow with -myself in the mortification of ignorance, as of yore. No, no, I am -free. I have read of music and musicians in articles and essays written -by a man who is accredited in the most trustworthy quarters as being -a fellow well up in the nice points of his delicate trade--and I have -understood. - -For two years I have avoided Mr. Van Vechten's annual volume ("Music -After the Great War" was published in 1915 and "Music and Bad Manners" -in 1916) for no more worthy reason than a convinced aversion for books -on music; their tangled sobriety seems such a poor guide to the joys of -the concert, the opera or the performer. - -Wholly by chance, fortunate accident, I flipped open his latest, -"Interpreters and Interpretations," and this is what greeted my -astonished gaze: - -"... Johanna Gadski, a coughing, raucous name.... Geraldine Farrar, -tomboyish and impertinent, Melrose with French sauce.... Edyth Walker, -a militant suffragette name.... Scalchi--Ugh! Further evidence could -be brought forward to prove that singers succeed in spite of their -names rather than because of them.... Until we reach the name of Mary -Garden.... The subtle fragrance of this name has found its way into -many hearts. Since Nell Gwynne no such scented cognomen, redolent of -cuckoos' boots, London pride, blood red poppies, purple foxgloves, -lemon stocks, and vermilion zinnias, has blown its delightful odour -across our scene.... Delightful and adorable Mary Garden, the fragile -Thais, pathetic Jean ... unforgettable Mélisande...." - -Such things written by a critic! Impossible! Why, that is the way one -feels after an exquisite Mary Garden performance. And what have critics -to do with feelings? Yet there it was all set down in print. Oh, well, -I thought, he may be able to capture emotion, but when he gets down to -that critic business he'll be like the rest. Straight to the first page -of the Mary Garden article--here's what I found: - -"The influence of Ibsen on our stage has been most subtle. The dramas -of the sly Norwegian are infrequently performed, but almost all of -the plays of the epoch bear his mark. And he has done away with the -actor, for nowadays emotions are considered rude on the stage. Our best -playwrights have striven for an intellectual monotone. So it happens -that for the Henry Irvings, the Sarah Bernhardts and the Edwin Booths -of a younger generation we must turn to the operatic stage, and there -we find them: Maurice Renaud, Olive Fremstad and Mary Garden. - -"There is nothing casual about the art of Mary Garden. Her achievements -on the lyric stage are not the result of happy accident. Each detail of -her impersonations, indeed, is a carefully studied and selected effect, -chosen after a review of the possible alternatives. Occasionally, -after trial, Miss Garden even rejects the instinctive. This does -not mean that there is no feeling behind her performances. The deep -burning flame of poetic imagination illuminates and warms into life the -conception wrought in the study chamber. Nothing is left to chance, and -it is seldom and always for some good reason that this artist permits -herself to alter particulars of a characterization during the course of -a representation." - -Enough! I began at the beginning and read the book through. Olive -Fremstad, Geraldine Farrar, Yvette Guilbert, Mary Garden, Waslav -Nijinsky.... "Why Music is Unpopular," a delightful and timely slap -at contemporary music criticism; "The Great American Composer" (Van -Vechten's first choice is Irving Berlin); "The Problem of Style in -the Production of Opera" and others, all in the same happy, sensible, -"modern" vein. - -Have you bought your opera tickets? Very good, now go, phone or wire to -the nearest book store and get all three of Carl Van Vechten's books. -You'll thank me at the close of every chapter if you really care a -whoop for real music. - - - MUSIC AND BAD MANNERS - [12mo., 244 pages, $1.60 net.] - -"When Carl Van Vechten's first book, 'Music After the Great War,' was -published a year or so ago, I lifted a modest hymn in praise of it, -and at the same time denounced the other music critics of America for -the fewness of their books, and for the intolerable dulness of that -few.... Now comes his second book, 'Music and Bad Manners'--thicker, -bolder, livelier, better. In it, in fact, he definitely establishes a -point of view and reveals a personality, and both have an undoubted -attractiveness. In it he proves, following Huneker, that a man may be -an American and still give all his thought to a civilized and noble -art, and write about it with authority and address, and even find -an audience that is genuinely interested in it ... a bird of very -bright plumage, and, after Huneker, the best now on view in the tonal -aviary."--H. L. Mencken in "The Smart Set." - -"Mr. Van Vechten is well known in the musical and literary worlds, -and, while 'clever,' he is just and sound in his critical verdicts. He -inspires students and entertains general readers.... His theory about -the development of music appropriate to and especially for the 'movies' -is unique.... There are many clever suggestions one can cull from a -careful study of the book."--"The Literary Digest." - -"'Music and Bad Manners,' by Carl Van Vechten, tells many amusing -stories to show what stupidities and brutalities may be perpetrated by -persons of the so-called 'artistic temperament,' and on the other hand, -what rudeness may be shown by an audience. These stories ... are vastly -entertaining, but the title essay gives a misleading impression of Mr. -Van Vechten's book, of its weight and poise, for it has much serious -discussion and criticism and much historical information of value and -significance. Music readers will skim with a smile the essay on 'Music -and Bad Manners,' but they will read with absorbed attention the other -half dozen essays of the volume. Mr. Van Vechten writes sound and not -too technical English, and has the good taste and good temper to write -without rancour."--"Vogue." - -"Carl Van Vechten is one of the relatively few people in America to -write about music neither as a press agent nor as a pedant, but as an -essayist.... 'Music After the Great War' and 'Music and Bad Manners' -are delightful reading whether the reader is a musician or not. 'Music -and Bad Manners' ranges from a pretty thorough, if discursive, outline -of the national music of Spain to the collection of lively anecdotes -forming the essay from which the volume takes its name. The comments, -always shrewd and based on wide experience, betray the rare quality of -clear and independent thought. Moreover, Mr. Van Vechten, by the more -than occasional heterodoxy of his ideas, stimulates a healthy desire -to climb out of deep-worn ruts. The essays, in particular, on present -musical tendencies are none the less illuminating because they are -never ponderous.... The charm of the book is mainly due to the author's -keen enjoyment of the grotesque, illustrated in scores of incisive -phrases, and in a wealth of vivid anecdote."--Henry Adams Bellows in -"The Bellman." - -"This very interesting book is in the style of the essays of -Charles Lamb. It breathes a very human spirit and is told in a very -entertaining fashion. It is in the form of a series of essays and from -the opening one regarding bad manners in music and musicians to the -closing article on Leo Ornstein it is spicy and intensely personal -in its style. Really it is one of the most interesting, as well as -thoughtful and yet expository, books I have seen."--"The Music News." - -"Of all the books that have been sent to me this past musical year -none is so entertaining as 'Music and Bad Manners,' a little work in a -violent green cover with a vivid blue edge from the house of Knopf. Mr. -Van Vechten is a delightful young iconoclast who writes things about -music that many people think but very few have courage enough to say, -and his exaggerations so often contain trenchant truths, his style is -so easy and merry, his ideas so sprightly, that you, if you are at all -in sympathy with the 'moderns' will have a most agreeable hour if you -devote it to this work."--"The Baltimore Evening Sun." - -"'Music and Bad Manners' by Carl Van Vechten is one of the most -readable books dealing with music that has been issued in a long time. -The writer, a decidedly clever one, does not spend his energy on themes -and theories that would prove interesting only to absorbed students -of music but he writes in a delightful style that gives a universal -interest to his themes. It is the kind of book that the average lover -of music will find most invigourating and that will stimulate his love -of music to a further examination of the thesis set forth by Mr. Van -Vechten. It is sound and discriminating in its judgments and it is -unique in its subject matter. There is always an eye for selecting the -things of highest interest.... This is a book that will prove pleasing -to all who read it. Its exhibition of the knowledge of music is not -pedantic, and the author is one of the new forces in music."--"The -Springfield (Mass.) Union." - -"From the opening chapter until the final page the book is replete with -interesting matter."--"The Buffalo (N. Y.) Commercial." - -"'Music and Bad Manners' by Carl Van Vechten is a series of seven -essays on musical topics that is intensely interesting.... The book -will be of deepest interest to all musicians."--"New York Herald." - -"Mr. Van Vechten considers modern tendencies with an open mind. He -is to be no more deceived into disapproval of innovators by their -apparent disregard for tradition than awed by tradition itself (in -this case the Bayreuth tradition) into accepting the present specious -and old-fashioned methods of staging Wagner as the sacred intention of -the master.... Mr. Van Vechten is a well informed specialist, a bold -champion, and an entertaining gossip."--"The New York Evening Sun." - -"This volume of musical essays may be cordially commended to -music-lovers who neither bow down to the youngest nor the eldest -composer, but seek to listen honestly according to their powers. The -author is a critic of discernment and sincerity."--"The Providence (R. -I.) Journal." - -"This study of music and music makers is as lively as some of the -new tunes that have been given to us recently, but it is not at all -commonplace. It sets a new mark in musical criticism."--"The Portland -(Oregon) Telegram." - -"Carl Van Vechten, whose book, 'Music After the Great War,' excited -considerable interest in artistic circles last year and drew upon him -the censure of certain conservatives because he did not agree with them -as to the entertaining value of chamber music, has published a new -volume, that is bound to extend his reputation as an original thinker -and investigator."--"The Evening News" (Newark, N. J.). - - - INTERPRETERS AND INTERPRETATIONS - [12mo., 368 pages, $2.00.] - -"Mr. Van Vechten has a liking for the queer, the new, the perverse, -and the personal. He is as gossipy as Samuel Pepys, Jr. (and is in the -way of being a Pepys in the musical world).... Another distinguishing -characteristic of Mr. Van Vechten is his forehandedness. He has a -perfect genius for being on the side of the street where the car -stops--which for most of us is the other side.... He in short is doing -his best to throw a bomb into that parlour of musicians described -by Charles Lamb, in which they sat all silent and all damned. -He apparently sees no reason why music should not be a cheerful -business."--N. P. D. in "The New York Globe." - -"Carl Van Vechten is now in fair alignment with James Huneker and H. L. -Mencken in the field in which both have done their most entertaining -work.... 'Interpreters and Interpretations' is bright, lively, snappy -reading; no part is dull."--Frederick Donaghey in "The Chicago Tribune." - -"In these papers some of the questions of the day are spicily and -fearlessly discussed. The last paper is misnamed. It should have been -called 'Why Some Musical Critics are Not Liked by the Author of This -Book.'"--H. T. Finck in "The New York Evening Post." - -"Carl Van Vechten is always an intelligent and stimulating critic. -You may not always agree with his point of view, but it is an -original point of view and he always sets you a-thinking. He shakes -up your conventional ideas on art and music in 'Interpreters and -Interpretations,' a vivacious and entertaining book. Nothing better has -come our way since James Huneker's books ceased being events in our -life."--"The Brooklyn Eagle." - -"Mr. Van Vechten is always stimulating, because he has a mind which -functions on a vast amount of material, and the ability to express -himself incisively. He praises with discrimination, when he praises; -and when he hits, he hits hard and with a manifest endeavour to be -fair.... Mr. Van Vechten writes live criticism which is more than -most music critics can do; his ideals are the highest; and great art -does not suffer from his pen, but is made more secure of place by his -discriminating praise."--W. K. Kelsey in "The Detroit News-Tribune." - -"Carl Van Vechten opens a new field of adventure for the music-lover. -Of the many biographers of musicians none has entered into so close an -intimacy with the singer and dealt with the mental grip of her artistic -conception of character."--"Reedy's Mirror." - -"There would be less profound cant and meaningless ceremony about -the art of music if more musical critics wrote with the simplicity -and directness of Carl Van Vechten.... His critical creed is nicely -stated in the essay on 'Why Music is Unpopular.' No musical writer in -America, save James Huneker, comes nearer to this ideal than Mr. Van -Vechten himself. He says divertingly what he has to say; and, agree -with him or not, you feel the mental stimulation which only a keen -ardent intelligence can bring to a subject. Moreover, he is young and -in sympathy with modern tendencies in music. He is not too prudish -to say a good word for ragtime, nor to confess that one hearing a -year of the Beethoven Fifth is enough for him. He is as unaffected in -discovering the æsthetic virtues of a 'movie' concert as in painting -those sympathetic portraits of Mary Garden, Nijinsky, Chaliapine, Erik -Satie and other artists, celebrated or obscure."--"The Philadelphia -Press." - -"Mr. Van Vechten has achieved that which, as a rule, appears to be past -accomplishment. That is to say, he has proved himself able to be both -simple and interesting upon a subject which, highly specialized in -itself is held commonly by both artists and critics to the exclusions -of an unknown tongue."--"Washington (D. C.) Evening Star." - -"Carl Van Vechten is temperamentally more of an interpretative artist -than an analytical critic whose emotions are subservient to the -reasoning faculties. He is subjective rather than objective in mind and -method and consequently he must differ from the critics who can see and -hear great operas without having their emotions stirred. His gibes at -the professional critic spring therefore from the same sources as the -melodies of a composer."--"The Musical Courier." - -"In his new book, 'Interpreters and Interpretations,' Mr. Van Vechten -is off on another joust against the orthodox and the dull, and the -reader who follows him will have an enlivening experience."--"The -Louisville (Ky.) Courier Journal." - -"'Interpreters and Interpretations' is Carl Van Vechten's latest volume -of essays on music. Don't reach for your hats. This is going to be -fun. Carl Van Vechten writes essays so delightfully that they seem -like stimulating conversations.... He could write about a cuneiform -syllabary and give it the charm of a sophisticated chat on the Boul -Michigander. He can talk about singers and dancers and artists of all -sorts in a way that makes them all seem like the folks next door.... -'Music and Bad Manners' was the most entertaining volume on music that -came to my jaded notice last year. 'Interpreters and Interpretations' -is a fit sequel to it. Neither of the books is a volume for the -musician alone.... A person who had never heard an opera would have a -vicarious joy in _Pelléas et Mélisande_ when Carl Van Vechten tells -how Mary Garden interpreted it.... Perhaps the secret of the charm of -his essays is that they're really very learned in material but not the -least bit in treatment. We all like to know that we're listening to -the word of authority, even when it's sweet music to the ear."--Fanny -Butcher in "The Chicago Tribune." - -"Regardless of how much or how little you may know of music and its -interpreters you cannot fail to enjoy the delightful manner in which -Carl Van Vechten tells you of them in his book, 'Interpreters and -Interpretations.'... Without stirring from your easy chair or making -the slightest effort to entertain you may share a pleasant intimacy -with Mary Garden, Olive Fremstad, Geraldine Farrar, Waslav Nijinsky, -and others equally interesting. Carl Van Vechten discourses on the art -of music in a way that even the tired business man can understand and -enjoy."--"The Argonaut" (San Francisco). - -"There is nothing pedagogic in Mr. Van Vechten's volume entitled -'Interpreters and Interpretations.' The interpreters who are sketched -with literary facility and genuine interest are Fremstad, Farrar, -Garden, Chaliapine, Mazarin, Guilbert, and Nijinsky.... Much the -better part of his book is that about interpretations. His best -essay is 'The Problem of Style in the Production of Opera,' which -is both practical and ideal and which is, above all, interesting -and suggestive. Next in importance is 'Why Music is Unpopular,' a -refreshing bit of personal temper."--W. J. Henderson in "The New York -Sun." - - - - - -End of the Project Gutenberg EBook of The Music of Spain, by Carl van Vechten - -*** END OF THIS PROJECT GUTENBERG EBOOK THE MUSIC OF SPAIN *** - -***** This file should be named 63085-0.txt or 63085-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/0/8/63085/ - -Produced by Andrés V. 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