Romanticism in Spain: Music and Theater (1830s)
Romanticism in Spain in the 1830s
Unstable Political Situation: With Maria Cristina (1833-44), exiles returned to Spain, bringing with them the Romanticism with which they had been formed in Italy and France. The musical setting was decadent, and so a strong Romanticism was born from this:
- Absence of formal musical studies and structures (the study of music at the University was abandoned). (In 1830, the Conservatory of Music and Declamation, M. Cristina, Madrid, opened.)
- No glorification of the composer and musician. (To achieve a final recognition of this, giving them status, romance.)
- No artistic, philosophical, or aesthetic debate.
- 1835 disentailments initiated a process of musical degradation.
- Lack of qualified interpreters.
With the arrival of the exiles, controversies arose regarding the establishment of a national opera, during the first third of the century, especially in literature, shown by the use of the Castilian language (Spanish Letters, “and “The Artist” by Masarnau in 1835). Meanwhile, Carnicer and Basili were bringing operas by Rossini, Bellini, and Donizetti in the great tradition there, or creating them themselves:
- Adela de Lusignan, 1819, Carnicer, Barcelona
- Il Carrozzina da sell, 1839, opera buffa, Basili
Works that were in Castilian, such as “The Rape of Genoa”, 1835, a Spanish opera, were relegated to minor genres.
Zarzuela: Terminological Confusion
Beginning in 1830 with the opening of the Conservatory of Madrid, the factors were generated to revive the zarzuela. Despite accusing the Italian and French influences (comic opera), soul elements of humor, and popular dance music were already present in the *tonadilla*. Polo, *tiranos*, *seguidillas*, Andalusian songs, *boleros*, and *fandangos* would also be interpreted in bourgeois salons. These romantic operettas would lead to the *género chico* from 1868 and circumstantial works.
- Form: One act, between 5 and 8 musical numbers. Alternating spoken dialogue and musical numbers with sentimental expressions of the characters.
- Structure: Tripartite formal structure: Presentation (chorus), knot (dramatic climax, vocal duets and trios), and outcome (tutti choir for the final summit).
- Dramatic consistency moves away from the French *pastiche*.
- Use of an Italian-style framework with 3 main characters (soprano, tenor, and baritone) (actors who sing).
- Populist musical language both in form and musical resources.
- Use of Andalusian songs, *seguidillas*, *boleros*, *fandangos*, *tiranos*, *capas*, and *polos* that are acquiring a fixed melodic form.
- Musical characterization of the characters, justifying the inclusion of the image on the site.
- Manichaean classification of characters, requiring the public to position themselves.
- Defense of traditional values against what is foreign: Napoleonic invasion, Italian music.
Examples of different names given to Zarzuela:
- Melodrama Lírico, 1832: “The Intricacies of a Curious One”
- Ópera Española, 1835: “The Rapture”
- Comedia Española, 1839: “The Groom and the Concert”
- Nueva Zarzuela, 1841: “The Little Shop of Curly”
- Tonadilla Española, 1843: “Jerome was the Breed”
- Zarzuela Parody, 1846: “Revenge of Alifonso” (Parody of Lucrezia Borgia)
The name Andalusian Zarzuela was used for some *pastiches* with known fragments of operas and new themes. The term began to appear from the 1840s. All these works were performed at the Teatro de la Cruz, Príncipe, Cirque, and the Conservatory of Madrid. *Nochebuena* was coined in 1840, and from 1848, “Blind Man’s Bluff” by Hernando (1849) and “Mysteries of the Racks” by Oudrid (1849) were formally defined.
Spanish Overture
The Spanish Overture maintains the bipartite scheme of the previous stage: Andante-Allegro.
- Allegro: *bitemático*, *pluriseccional*, contrasting.
- Tonal structure, internal symmetry, well-defined phrasing.
- Model orchestral prototype: Rossini opera, clarinet player, and woodwinds.
- There is no descriptivist German or French influence.
Composers: Carnicer, Gomis, Saldoni.
Carnicer: At this time, a pan-European musical language was created, constructed from Italian operatic productions of the early 19th century, consolidated and disseminated through Rossini’s production. It is reflected in instrumental music, chamber song, musical theater, and church music. Carnicer reflects the Spanish paradigm.
Most of his music is incidental music for plays, symphonies for his own operas and those of others, works for orchestras, or music for dancing. The lack of stable, self-governing orchestras until 1866 damaged the building. Carnicer’s orchestral production is related to opera: overtures to operas written by him or to replace the original works of others, to commemorate events, dances, caused a lack of absolute music.