Celos, aun del aire matan

Juan Hidalgo (Madrid, ca. 1612/1616-1685) is one of the most prestigious composers of the Spanish musical Baroque of the second half of the seventeenth century1. His musical training initially took place in a family environment and in 1632 he entered the service of the Royal Chapel as a harpist, a post he held until his death. However, Hidalgo’s most important contribution to music–without forgetting his acknowledged talent as an instrumentalist– was to composition, his works encompassing both secular and sacred music as well as stage music. Among the former is romance music and in particular his tonos, which brought him immediate recognition due to their peculiar expressive intensity. This was achieved through the application of rhetoric, and the delicate balance between Italian models –the veritable force behind the birth and expansion…

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Notas

The most recent biography of Juan Hidalgo can be found in Begoña Lolo: “Juan Hidalgo”, Diccionario de la Música Española e Hispanoamericana, ed. E. Casares, Vol. VI, Madrid, SGAE, 2000, pp. 282-285.

L. Jambou summarises François Bertaut’s testimony of his trip to Madrid in 1659, when he met Patiño and Hidalgo at the court: “Je vis aussi les deux Maîtres de la Musique du Roy, Patiño qui est celui de la Chapelle, and Jean Hidalgo celuy de la Chambre, qui fait des airs très agreables and qui jouë très bien de la Harpe. Il m’en donna quelques-uns”. See L. Jambou: “Les répresentations de la musique espagnole dans des écrtis français du XVII siècle: de la statistique à la métaphore”, in Échanges musicaux franco-espagnols, XVIIe-XIXe siècles, Klincksie, Les recontres de Villecroze. Académie Musicale de Villecroze, 2000, p. 37.

See M. Querol: La Música en el Teatro de Calderón, Barcelona, Diputació de Barcelona, Institut del Teatre, 1981.

The evidence put forward by L. Stein is very interesting in this respect, from the presence of Italian composers in the court of Philip III and IV, to the confirmation of the knowledge and practice of the new style there. See L. K. Stein: Songs of Mortals, Dialogues of the Gods, Oxford, Clarendon Press, 1993, pp. 191-196.

L. Stein: Tomás de Torrejón y Velasco y Juan Hidalgo. La Púrpura de la Rosa. Fiesta Cantada, ópera en un acto. Critical edition by… Col. Música Hispana, Madrid, ICCMU, 1999.

L. K. Stein, Songs of Mortals…, p. 348.

Act III, bb. 97-128.

Act II, bb. 896-919.

Act I, bb. 1065-1367.

Act I, bb. 568-578.

Act II, bb. 1512-1518 (Bass, II Choir), 1518-21 (I Soprano, I Choir).

Act I, bb. 821-973.

Act I, bb. 339-340.

Act I, bb. 1378-82.

Act III, bb. 716-723.

Act II, bb. 1405-1406, 1452-53, 1461-1462, 1465-66.

Act II, bb. 1487-1532.

Act II, bb. 1547-1554.

Act II, bb. 1598-1620.

Act II, bb. 1409, 1425, 1468-1470.

J. Subirà: La música en la Casa de Alba, Madrid, 1927.

J. Subirà: Celos aun del aire matan. Ópera del siglo XVII. Texto de Calderón y música de Juan Hidalgo, por…, Barcelona, Institut d’Estudis Catalans, Biblioteca de Catalunya, 1933

The measurements of the pages oscilate between a width of 243/250 mm and a height of 356/375 mm.

The first description of the manuscript is found in J. A. Alegría: Biblioteca Pública de Évora. Catalogo dos Fundos Musicais, Lisbon, Fundaçao Gulbenkian, 1977, p. 64: “71. Musica de la Comedia / Zelos aun del ayre matan. Tres cadernos cartonados correspondientes às três Jornadas / dos quais nào consta o nome do autor. O copista limitou-se a escrever na capa de cada caderno:” Muzica de…”. Foi todavia, identificada em 1942 por Luis de Freitas Branco / como a primeria zarzuela espanhola conhecida”. / Cota: Cód. CL1./2-1. 3 Vols”. Another later description can be found in Matthew D. Stroud: Pedro Calderon de la Barca. Celos aun del aire matan. An Edition with Introduction, Translation, and Notes by… Foreword by Jack Sage, San Antonio, Trinity University Press, 1981, pp. 41-43.

jambien in the ms.

Bars 504-542 of the present edition (what Hartzenbusch calls “Scene VII”, Eróstrato’s solo, are very different in mss. A and E; both in terms of mensuration (proportio tripla maior in A; 3/4 in E); and the music itself, especially the basso continuo. See version A in the appendix of this edition.

More details, including a concrete description of each manuscript, can be found in the preceding section.

M. D. Stroud: Pedro Calderón de la Barca. Celos aun del aire matan. An Edition with Introduction, Translation, and Notes by… San Antonio (Texas), Trinity University Press, 1981.

“As such, it [the Evora mss] does not necessarily represent the ‘best’ edition of the play but the one that most nearly adheres to the only complete handwritten version in existence”. Ibid, p. 45.