Grove's dictionary of music and musicians

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SONG 551
Ex. 10.
Los Pkbgones.
Cantes del florero.
Aqui hay capu yoa con el cabo suyo con el cabo au-~
The Zarzublas form the most truly national
part of Spanish art. They are described in
their own place.
In the art-songs of Spain there is nothing
on which it is profitable to dwell. If publishers'
collections may be accepted as evidence, the
favourite song --writers would appear to be
Tapia, Yradier, Sors, Garcia, Leon, Barbieri,
Murgia, Saldoni, Eslava, Arietta, Albeniz,
Perez, Cuellar, Tadeo. But although most of
these composers have made contributions to
song-literature, they have won higher laurels in
other branches of music.^ The limited capabilities
of the guitar and mandoline—the
invariable accompanying instruments— have
naturally dwarfed and stunted the development
of accompaniments in Spanish songs.
BlBLlOOKAPHY
Terreroa y Pando. Eatevan de. PaZecgrafia Espafiala. Madrid,
1758.
TIckHOr, G. Biatory of SpanUh Literature. New York, 1849.
Soriaito Faertea, MarlaDO. Sistoria de la iiusica Espaftola. 4 vols.
Madrid, 185S-99.
Hichel, Francisque. Le Payt Baejue. Pai*ie, 1857.
Mild y FoDtanala. Jfe lea Trovadores en Etpana. Barcelona, 1661.
HendeL SparUacke iftttik, t,itiu. Con, Lex.)
Menendez y Felayo, M. Sistoria de las ideas eatiticas en EspaOa.
Madrid, 1883.
Biauo. Juan F. Critical and BiiUographioal Nates on Early
Spanish 3/usic. Quaritch, London, ISffT.
Brambach, W. Ueber baskiscjie Musilt. {Vierteljahrtichrift, 1887.)
Ridal, Marques de. Introduccion al CancioTiero de Baena, sobre la
poesia del si^h) XIV. y XV.
Vinaon, J. Le/olk-lore du Pays Basque. Paria. 1388.
Aaenjo Barbieri, Francisco. Caneionero musacal de loa sigloa XV, y
XVI. transcrito y comentado. Madrid, i890.
Soubies, A, Musii/ue Espagnole. 1899.
Pedrell, Felipe. Folklore musical CaatiUan du XVI. tSicle, Sammetbdnde
of the I.M.G. 1900, vol. iii.
C0I,1.£(?II0N8
populares Andalucea." Leipzig,
Kestner. H. 'Auswahl apanlacher und portugiesiecher Lieder.'
Hanover, 3846-59.
Abaud, T>, 'Chants pop. de la Provence' (contains many Cata-
Ionian aonga). Aix, 1862-64.
Caballero, F.
'
Cuentoa y Foesiaa
'
1861.
Berg^reen, A. P. 'SpanakeFolke-SangeogMelodier.' Copenhagen,
1S66.
Pebiy Brii!, F., Candi, C, and Salto, J. 'Canaona de la Tena'
(Cants populars Catalans). Barcelona, 1666-74.
Lacome, P.,et Pulgy Alsubide. J. * Echoa d'Eapagne.*' Paris, 1872.
Ocon. t>r. E., y Biva^.
'
Cantos Espafloles.' Malaga, 1974.
Demofilo. ' Coleccion de Cantos flamencos.' Seville, 1881.2
Fouquier, A. 'Chants populairea Espagnols.* Pans, 1882.
Rodriguez Marin, F. 'Cantos populares Espauoles.' Seville,
Bertran y Bros, P.
' Canaons y Follies populars." Barcelona, 1885.
Calleja, B. 'Cantos de la montaiia.' Madrid, 1901.
Murphy, Don 6. 'Die spanischeu Lautenmeister dea 16fcen
Jahrhundert' (contains many songs for one voice). Leipzig, 1902.
Olmeda. F. 'Folklore de Castilla, 6 Cancionei'o popular de Burgoa.'
Seville, 1908.
Bouenet, J., et Oafll, E. N. ' Repertoire de muaique Arabe et
Maure.' Alger (en cours de publication), 1905.
Wolff, 0. 'Album SpaniacherVolksliederundOeaiinge.' Berlin.
Inzenga, J. 'Cantos y Bailee popnlares de Espana.' Madrid.
Nunez Robres,
'
L. Coleccion de Cantos Espafloles.' Madrid.
Basque Co^LKC^IONS
Iztueta's and Moldiztegulan'e collectiona of Basque muaic. 1824 and
1826 (consisting chiefly of dance-tunes).
Santesteban, J. A. 'Coll. de aires Vascongadas.' San Sebastian,
1860.
Salaberry, J. D. J. 'Chantapopulairea duPaysbasque.'i.' Bayonne,
1870.
Santestebajl, J. A.
' Chansons basques.' Bayonne, 1870.
1 See Eslava.
2 '
The Cantos Flamencos ' are songs of three or four verses in the
Andaluslan dialect, composed by the gipsies, and are rarely printed
in collectiona.
ro.
Bordes, C. 'Cent chansons populairea basques.' Paris, 1894.
Bordes. C. '12 no^ls basques anciens.' Paris, JB&7.
ViU^h^lio, Mme. de. ' Douze airs basques.'
Lamazou's Chants Pyrdndeus ' '
contains many Ba^ue songs.
De Puymaigre'a Chants pop. de la valine d'Oasau ' ' contains many
Basque songs.
Portugal
The folk -music of Portugal bears a close
affinity to that of Spain, especially in dancesongs.
But there are certain clearly-marked differences.
The Portuguese is more pensive and
tranquil than the fiery excitable Spaniard ; and
as all national music is more or less a reflection
of racial characteristics, there is a repose and
subdued melancholy, and an absence of exaggeration
in Portuguese music, qualities seldom
found in the more vivacious and stirring music
of Spain. From the same cause, and perhaps
because the Moorish ascendancy was of briefer
duration in Portugal than in Spain, there is
less ornament in what music remains to us of
an undoubtedly oriental character. The poetry
of the two countries has also much in common.
Most of the Portuguese epics are of Spanish
origin, and even at the present day the Spanish
and Portuguese romance forms are almost
identical.
In the lyrics of both races the rhyme follows
the assonance principle, and is a more important
element than the metre. Moreover, the national
poets of Portugal used the Castilian language
for centuries as much as their own, especially
for poetry intended to be sung.
Portugal is less rich than her neighbour in
collections of early music. And unfortunately
a mass of valuable manuscript and printed
music which existed in the splendid library
founded by King D. Joao IV. (1604-56),
perished in the Lisbon earthquake in 1755.
Much was also destroyed during the demolition
of the monasteries and convents which followed
the revolution of 1834.
The earliest and most important musical
records preserved in Portugal belong to the
Troubadour period.' D. Diniz, sixth King of
Portugal (1279-1325), who founded a university
with a chair for music at Coimbra, was a grandson
of Alfonso el Sabio, and well versed in the
art of the Troubadours. Of D. Diniz's bastard
sons D. Pedro, Count of Barcellos, and D.
Alfonso Sancho we have nine trovas, and a
cancioneiro * consisting of the work of their
father and of 127 other Portuguese troubadours.
Two copies are extant ; one in the Vatican and
one in the Ajuda at Lisbon. The fomter has
the melody indicated for each line, and the
other has pictures of the vai-ious musical instruments
then in use.^ The Jogral (jongleur) also
3 Soriano Fiiertea, iu his nistoria de la musica Eapanola, i. 117,
gives a hyuin of a somewhat earlier date, writteu by D. Francisco
Contino, Count of Marialva, in the same notation as Alfonso el
Sabio uaed.
* A caneionciro always means a collection of romance.-?. Trova
has the same meaning as in Pi-ovenoe, only the term continued to
be applied in Portugal to all extemporised songs, until the 18th
century [Portagiesliche JIfusik, Mendel's Lexikon) (Platon von
Trovtise Cantares do Conde de BarceUoa, P. A. von Varuhagen,
Madrid, 1849.