Chapter V

After the bullfight 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. To-day 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 Spain’s leading dramatist, Echegaray (died 1916), has written one of the most popular zarzuelas, _Gigantes y Cabezudos_ (the music by Caballero). The subject is the fiesta of Santa Maria 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 Via_ (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 Via_, 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 Via_ 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 Jardin 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 Jose Peyró the credit. Pedrell, in his richly documented work, “Teatro Lírico Española 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, Sebastien de Navas, and Jéronimo 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 to-day 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 Fernandez, without forgetting the _ensaladas_, the _jacaras_, 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.”