Acis y Galatea

Notas

See Antonio Martín Moreno: 'Historia de la música española. 4. Siglo XVIII', (Madrid, Alianza, 1985), p. 387.

Felipe Pedrell: 'Teatro lírico anterior al siglo XIX', (La Coruña, Canuto Berea, 1897-1898) and Rafael Mitjana: 'Historia de la música en España' (translation of the corresponding volume of the 'Encyclopédie de la Musique et Dictionnaire du Conservatoire', edited by A. Lavignac, Paris, Delagrave, 1920), ed. a cargo de A. Álvarez Cañibano, (Madrid, INAEM, 1993). See also Emilio Cotarelo y Mori: 'Orígenes y establecimiento de la ópera en España hasta 1800', (Madrid, Tipografía de la Revista de Archivos, Bibliotecas y Museos, 1917), p. 42 and 'Historia de la Zarzuela, o sea el drama lírico en España', (Madrid, Tipografía de Archivos, 1934), pp. 76-77 (facsimile edition edited by Emilio Casares, Madrid, ICCMU, 2000).

For an excellent biographical synthesis of the composer’s life, as well as abundant bibliography, see Andrés Ruiz Tarazona: “Literes”, in the 'Diccionario de la música española e hispanoamericana, 6', (Madrid, Fundación Autor, 2000).

In regard to Cañizares see: L. Iglesias de Souza: “Cañizares Suárez de Toledo, José de”, in the 'Diccionario de la música española e hispanoamericana, 3', (Madrid, Fundación Autor, 1999) and A. Martín Moreno: 'Sebastián Durón – José de Cañizares: “Salir el Amor del Mundo”, (Málaga, Sociedad Española de Musicología, 1979), pp. 45-77. Cañizares would continue his close collaboration as a librettist, not only with Literes, but also with Durón, Sam Juan, José de Nebra, Corradini and others.

The exact date of the première has already been published in E. Cotarelo y Mori: 'Historia de la Zarzuela', pp. 76-77 and ratified by J. E. Varey and N. D. Shergold: 'Comedias en Madrid: 1603-1709. Fuentes para la historia del teatro en España, IX', (London, Tamesis Books, 1989), p. 48. For a long time the year 1709, which is indicated on the frontispiece of one of the extant music manuscripts, was cited.

E: Mn, MS. 14605 nº 6: “se hizo esta el año de 1710” (this was performed in the year 1710).

This Calderonian convention of expressing the divinities in courtly mythological theatre has been sufficiently explained by L. K. Stein in 'Songs of Mortals, Dialogues of the Gods. Music and Theatre in Seventeenth-Century Spain', (Oxford, Clarendon Press, 1993), and in other previous studies. Similarly, the ironic use of his procedure, involving comic characters, from some of Calderón’s own works ('Andrómeda y Perseo') was demonstrated in my paper “Recuperación o restauración del teatro musical española del siglo XVII”, read at the International Conference “La ópera en España e Hispanoamerciana: una creación propia”, (Madrid, ICCMU, 29 de noviembre al 3 de diciembre de 1999), forthcoming.

E. Cotarelo: 'Historia de la Zarzuela', p. 78; A. Martín Moreno: 'Sebastián Durón…,' p. 71.

These well-known words of praise (for Literes) and condemnation (for Durón) are found in the address Música de los Templos. See A. Martín Moreno: 'El padre Feijoo y las ideologías musicales del XVIII en España', (Orense, Instituto de Estudios Orensanos “Padre Feijoo”, 1976).

E. Cotarelo: 'Historia de la Zarzuela…', p. 77.

See W. M. Bussey: 'French and Italian Influence on the Zarzuela 1700-1770' (Ph.D. Thesis, University of Michigan, 1980) and R, Kleinertz, ed.: 'Teatro y música en España (siglo XVIII)', (Kassel, Reichenberger, 1996), especially the “Introduction”, pp. 1-11.

It is not a case of analysing or evaluating the penetration of Guarini’s work in Spain. There is a luxuriant tradition of the pastoral in the literature of the Iberian Peninsula, from Gil Vicente and Juan del Encina onwards (Montemayor, Cervantes himself, Góngora with his 'Fábula de Polifemo y Galatea'…). The pastoral world was precisely the framework in which dramas labelled zarzuelas were set.

S. de Covarrubias y Orozco: 'Tesoro de la Lengua Castellana, o Española', (Madrid, Turner, 1984) (1st ed., 1611).

'Diccionario de la lengua castellana, en que se explica el verdadero sentido de las voces…', (Madrid, Imprenta de la Real Academia Española (Viuda de Francisco del Hierro), 1732) (facsimile, Madrid, Gredos, 1969).

The tradition of this type of lament composed of two heptasyllabic and hendecasyllabic lines, forming a chorus that frames the verses, was transmitted through 'El robo de Proserpina' and other works. See L. A. González: F. Coppola-M. García Bustamente: “El robo de Proserpina” (1678), (Barcelona, CSIC, 1996).

This is not the first occasion that conclusions of this type can be reached in the context of Spanish music theatre of the Baroque. See L. A. González: op. cit., pp. 28-29.

See the previous note.

Cited in H. Anglés and J. Subirá: 'Catálogo musical de la Biblioteca Nacional de Madrid, I', (Barcelona, CSIC, 1946), p. 364, in which the manuscript is described.

Cited by J. A. Alegría: Biblioteca Pública de Evora: 'Catálogo dos fondos musicais', (Lisbon, Fundación Gulbenkian, 1977), p. 68, in which the manuscript is superficially described.

E: Mn, Ms. M 2618.

This is not the first occasion a work has been doubly attributed to Literes and Pradas, as this occurs with the cantata 'Ah del rústico pastor' –Literes– and 'Ah del célebre confín' –Pradas–, which have been studied by A. Martín Moreno.

This convention of Calderonian traditions causes concert versions and recordings of works of this type, devoid of the spoken parts, to lose much of their meaning. Once again I remit the reader to my article “Recuperación o restauración del teatro musical español del siglo XVII”, op. cit.