Complex rhythms which include a flamenco drum player, for
example, recreate this atmosphere. The rythmic changes in Spanish baroque
music are constant. The pizzicato string continuo played like guitars, the
castanets, the descending tetrachords typical of the malague�a mixed
with classic galant always excite the listener.
The tono humano is a Castilian language texted work
performed in the context of theatrical productions and as chamber music.
As a genre, the tono humano is a vocal composition of one or more voices,
usually with a structure that is based on a combination of estribillo
(refrain) and coplas (verses). Love, triumph and tragedy
are main themes. Within this basic structural
pattern, the range of forms and styles is considerable, and may
even include a extended passage of Italian style recitative.
General stylistic features of the tono humano are the use of lively
rhythms (notably hemiola patterns) and an unfailing lyricism.
The theatre music became increasingly important in Spain during the seventeenth
century, especially in court circles. There is the amalgam of elements from
the court theatre music of France, the operatic innovations of Italy, and the
original spanish instrumental and vocal practices. Philip IV was particularly fond of
the theatre, and it was during his reign (1621-1665) that music flourished
in stage productions of various kinds:
the comedia in which tonos humanos were interpolated;
the zarzuela, a dramatic entertainment (part sung, part spoken)
that might include not only tonos humanos but also recitative and
arioso passages;
and Italian style opera, though as in England this took some time to
establish itself in Spain.
The origin of the zarzuela dates back to the mid-17th Century. Legend says the name originates from a pavillon overgrown with blackberry bushes (zarzas), in a remote section of Madrid�s
El Prado Park. Actors gathered at this pavillon to present their plays and to entertain King Philip IV and his entourage.
In 1657, the King and Queen attended there the first performance of a comedy by the poet Pedro Calder�n de la Barca with music composed by Juan de Hidalgo: El Laurel de Apolo (Apollo�s Laurel).
The playwright Calder�n de la Barca (1600-1681) was involved in all these types of theatrical production. The leading composer of theatre music at court was the harpist Juan Hidalgo (1614-1685)
who was also responsible for music for the royal chambers: many of his tonos humanos were undoubtedly composed for this more intimate context, but others, such as
"Peyn�ndose estaba un olmo" from the loa (prologue) of "Los celos hacen estrellas" (a zarzuela of 1672), were intended for the stage or may well have had a dual function.
Hidalgo�s near contemporary Jos� Mar�n (c1619-1699) began his career as a
tenor in the royal chapel of Philip IV. He composed a large number of
tonos humanos for solo voice, many of which, like "Aquella sierra
nevada", are preserved in the so-called Cambridge Songbook, a major
collection of seventeenth century Spanish songs. The songs intended for
performance in the theatre have dramatic changes of metre and chromatic
harmonies.
After the death of Hidalgo, the major composer of theatre music at court
was Sebasti�n Dur�n (1660-1716); he entered the service of Charles II
(who reigned 1665-1700) in 1691 as organist in the royal chapel. The
extended recitative introduced before the repeat of estribillo
reflects the amalgam of Italian and indigenous elements in many Dur�n
works.
In the 18th century, the main theatre music composers were Rodr�guez
de Hita, Mis�n, Esteve, Laserna, Castell, Palomino, Rosales, Valledor,
Ferandiere, Moral y Terradellas.
The formal sacred music had composers as Joan Pau Pujol
(?1573-1626), and an important movement in the Montserrat monastery.
The Iberian peninsula was hardly touched by the Italian revolution, and
most of the compositions in the sacred area are closely related to those
of the stilo antico. The only significant evolution in these works is the
appearance of instrumental support for the voices. Portuguese Rebelo is the
most innovative of the group, copying the Venetian style.
Also, elegant and passionate poetry was set as sacred cantatas.
The villancico, a religious
genre dating from the 17th century and an early form of the 18th century
cantata, makes novel use of arias and recitatives. Since it was based on
popular images and made use of vernacular texts it enjoyed tremendous
success. Eventually, a villancico could be either secular or sacred.
Literes' elegant cantata "Ah del rustico pasto" is a fine example of
coloratura writing from the Spanish court.
The coral music composed for 8, 10 and 12 voices, was creation of the
Valencian baroque school represented by Joan Baptista COMES (?1582-1643).
The instrumental music had viol, lute, harpsichord, organ and guitar
as the preferred instruments of Spanish composers, with preference in expression over technique.
In the seventeenth century flourished a school of keyboard composers. The
spanish popular forms were tiento and batalla.
Organists were Clavijo Sr, Clavijo Jr, Jos� El�as and Francisco Correa de Arauxo (1575-1663), player of Sevilla, who published a book of organ music:
"El libro de los tientos". The main organist was
Joan Baptista Jose de Cabanilles (1644-1712), player of valencia cathedral.
Antonio Mart�n y Coll (d after 1734) clearly knew Cabanille�s
works, copying some of them into the large collection of organ music he
compiled in the first decade of the eighteenth century. Four manuscripts
contain transcriptions of works by other composers, including pieces by Lully
and Corelli, while the fifth book is dedicated to Mart�n y Coll�s own
compositions. Sets of variations over simple ground basses or harmonic
patterns were much cultivated by Spanish keyboard composers, for example
over folia, chacona and canarios.
The harpsichord had a great performer in the 18th century: padre Antonio Soler.
During the 17th century, the baroque Spanish guitar became a popular
instrument in Europe and began to progress. After Amat pioneering
methodological study, a great number of other studies of the guitar were
published starting at the beginning of the 17th century in which, in
addition to the strumming style, the technique of other styles like the
plucking, or the mixed style would be defined. The most important works in
the Iberian peninsula were those of Spanish Gaspar Sanz, Luis de
Brize�o, Francisco Guerau and Lucas Ruiz de Ribayaz and the
Portuguese Doizi de Velasco.
At first, compositions for Spanish guitar were still conditioned by its
connection to the dance and rhythmical use of the instrument, but then, the
knowledge inherited from the vihuela, especially in the use
of the plucking, favoured the appearance of works with greater artistic
complexity. With the objective of responding to the increasing musical
demands of the guitar, Spanish and Italian composers adopted the system of
tablature used by vihuelistas for musical notation adding letters to
indicate the chords. Great spanish compositions were Poema harm�nico
by Guerau and Instrucci�n de m�sica para guitarra
espa�ola (1674), by Gaspar Sanz (1640-1710), that included
a variety of popular dances. In baroque period, guitar was performed
in theatre plays like the zarzuela, the sainete, the tonadilla
and some religious plays like the autos sacramentales.
The dance music is exotic and sensual for those typically Hispanic continuo
instruments, double harp and the baroque guitar. The information on
performance practice concealed within Ribayaz's 1677 collection of Spanish
dances, has restored the characteristic rhythmic swing and the rich
expressiveness, the true ayre or mood.
Folias, zarabandas, chaconas, espa�oletas are the prefered dances.
It is one of the great mysteries of Spanish music history that hardly any
Baroque instrumental music (other than for keyboard) survives, despite the
pre-eminence of royal chamber musicians like Hidalgo. Any instrumental
repertory that did exist in manuscript must have been destroyed in the
terrible fire that swept through the royal palace in Madrid on 1734.
Juan del Vado (fl 1635-1675) was a violinist in the royal chapel in 1635,
and, subsequently, organist there. In addition to a number of tonos
humanos, the surviving corpus of his works includes Masses, a motet,
villancicos and some organ pieces.
The court entertained heavily and music was essential. The big difference
between Spain and other European countries was the nobility. In Spain
provincial noblemen who were not close to the court had less influence on
music than provincial noblemen in Italy and France. Music was developed
mainly with important composers at court in Madrid. But the Church was
always present, being the Minister of Culture at the time. All major
musicians tried to work for the Church, and many were priests. The cathedrals
had huge organs, choirs, lots of singers. Works for four choirs could be
composed. Felipe IV was a gamba player. He was extremely important to Spanish
culture. There is a composition on the death of this king: "Tono la Muerte"
for solo soprano and continuo. It can feel through this piece how the
composer, Juan del Vado, and other musicians at that time felt about this
king. �
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