From La rose de Péronne to El juramento: Analysing Gaztambide’s Score in Light of Nineteenth-Century Composition Treatises.
Abstract
Recent scholarship has revealed the importance of French opéra-comique in the development of the Spanish zarzuela grande, not only as libretto sources, but also with respect to certain musical characteristics. However, the influence of Italian musical forms, though acknowledged by current scholars, has not been investigated in comparable detail. This essay first studies dramaturgical aspects of Olona’s adaptation of the French opéra-comique La rose de Péronne (1840) into the zarzuela grande El juramento (1858) in the context of the theatrical conventions prevailing in France and Spain at the time of their creation. Then it develops a methodology for the analysis of the music of the zarzuela grande repertory using concepts developed by Italian opera scholars, as well as considering important 19th century treatises on musical composition by Hilarión Eslava (1860 and 1861), Antoine Reicha (1814) and Bonifazio Asioli (1836). A close analysis of an impressive tri-partite scene complex, N.o 3 in Act I of Joaquín Gaztambide’s El juramento tests this methodology, identifying Italian and French characteristics as well as distinctly Spanish features.
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