Chapter VI (3)

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_.

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