Dances in Eighteenth-century Spanish Keyboard Music
Luisa Morales
Introduction
The influence of traditional
music and dance on eighteenth-century Spanish keyboard music—and,
more particularly, on the keyboard works of Domenico Scarlatti —
has long warranted commentary from a myriad of musicians
and scholars. The relationship between the two musical genres,
first noted in Manuel de Falla's remarks on Scarlatti in
the introduction to the first cante jondo
competition held in Granada in 1922, continues to elicit
critical interest to this day.
Although a sizable amount of
literature has been devoted to this topic, no attempt has
been made thus far to systematically identify the untitled
dances to be found hidden within the hundreds of sonatas
composed by Scarlatti and his contemporaries. This has placed
the modern keyboard performer in a perplexing situation.
As he or she sits down to the keyboard and puts on the music
stand a collection of Spanish sonatas from the eighteenth
century, e.g., by Domenico Scarlatti (1685-1757), Antonio
Soler (1729-1783), or José de Nebra (1702-1768),
quandaries inevitably arise as to how to give voice
to the "Spanish-ness" of the pieces to be played. If the
pieces are based on a dance, then the following things are
at issue: What kind of dance is it? Where should the stress
and accents be placed? What is the metrical structure herein?
Together with dancer Cristóbal
Salvador, I have researched the sonatas of Scarlatti and
have correlated a number of them to traditional Spanish
dances.1
This is not merely a matter of simple rhythmic
influence. Rather, these sonatas discernibly exhibit the
structure of various Spanish folk dances. Moreover, they
can be danced according to the steps and choreography that
have been handed down through oral tradition until the present
day. For the shake of clarity and brevity, this paper shall
focus on only one of the eighteenth-century Spanish dances:
the bolero.
From the mid-eighteenth century,
there existed in Spain a clear awareness of indigenous music
and dance of popular origin, some forms of which were also
practiced by the aristocracy. It is in this setting that
dances such as boleros, seguidillas, and
fandangos were codified and standardized in terms
of precise rules by the Spanish, French, and Italian dance
masters from the 1740s onward. Moreover, this codification
by the dance masters strongly influenced the way in which
the bolero was presented in the theater and at
the court. Boleros, seguidillas, and fandangos
became fashionable dances from the 1750s onwards and
in some ways represented the majos and majas
: defenders of indigenous traditions.
It is important to note that
the above-mentioned indigenous Spanish dances coexisted
with the so-called currutacas dances: passepieds,
minuets, and contredances . This situation is clearly
reflected in the titles of the dance treatises published
by Pablo Minguet e Yrol (1733-1775): El noble arte de
danzar a la francesa y española (The Noble Art
of Dancing in the French and Spanish Style) (Madrid, 1755),
Arte de danzar a la francesa (The Art of Dancing
in the French Style) (Madrid, 1755), Breve tratado
de los passos del danzar a la española (A Brief
Treatise on the Steps of Spanish Dance) (Madrid, 1764) (fig.
1).
Fig. 1: Front page of Breve
tratado de los passos del danzar a la española,
by
Pablo Minguet e Yrol (Madrid, 1764)
This tendency is also clearly
indicated in keyboard manuscripts ranging in date from 1763
through the 1790s that are held in the archives of the female
convents of Santa Ana de Ávila and San Pedro de las
Dueñas (both in Castile, Spain). In these, contredances
and minuets are presented side by side in the same
notebooks together with fandangos and seguidillas
(table 1 ).2
Table 1: Entitled Dances Contained
in the Keyboard Manuscripts of the Female Monastery of San
Pedro de las Dueñas (León, Castile)
MS SPD1 (1762/64):
2 Minuets (Antonio Rodríguez de Hita 1723/24-1787)
Seguidillas "Al pasar Eva el arbol" (Antonio Rodíguez
de Hita)
6 Minuets (Anonymous)
1 Gayta zamorana
MS SPD2 (1769):
1 Minuet (Scarlatti K. 471)
MS SPD3 (about 1770) :
1 Minuet (anonymous)
1 Fandango (anonymous)
MS SPD4 (about 1773):
1 Minuet (Antonio Rodíguez de Hita)
7 Minuets (anonymous)
MS SPD5 (1785):
1 Minuet (Antonio Rodíguez de Hita)
Minuet "L'aimable vainqueur" (André Campra's opera
Hésione )
3 Minuets (anonymous)
1 Contradanza (anonymous)
1 Fandango (anonymous)
MS SPD6 (about 1790):
4 Contradanzas (anonymous)
4 minuets (anonymous)
MS SPD7 (about 1790):
4 Minuets (anonymous)
1 Fandango (anonymous)
Furthermore, starting in the
1780s, both varieties of dances—those of Spanish and foreign
origin—began to commingle, thus giving birth to new hybrid
forms, such as are found in the keyboard works of Félix
Máximo López (1742-1821)3
and further evidenced in the records of Seville theatres,
where Boleros alemandados (boleros in
the style of allemande) and Minuets afandangados
(minuets in the style of fandango) were performed.4
The names of some bolero
dancers renowned in the eighteenth-century have been
handed down to us through history. For example: Pedro de
la Rosa, active circa 1740;5
Sebastián Cerezo, active circa 1780;6
Antón Boliche (d.1794);7
and Sebastián Requejo, active ca. 1800. The name
of Requejo is noted in bolero history for the
eponymous Requejo's Reform, which established several new
rules for bolero dancing. These included the suppression
of violent movements, as in the Buelta de pecho ,
and the prohibition against raising the elbows above shoulder
level.8
One possible etymology of the term bolero
is given by Don Preciso in the 1790s:
The term bolero originated in
the passage of the dancer Sebastian Cerezo, one of the best
dancers of his time, through the towns of La Mancha, where
the lads, seeing him dance to the music's unhurried measure
with a redoubling of the variations they knew of the seguidillas,
thought that he was flying ( volar ) . . . so people
started to talk about coming to see dance the one who flew
or, as they called him, the Bolero.9
Practically speaking,
the origin of the bolero is that of a popular regional
dance derived from the older seguidilla. The text
of the bolero is based on the type of seguidilla,
in which the metrical form consists of alternating verses
of seven-and-five-syllables lines, plus estribillo ad
libitum. The rhyme scheme is based on assonance.
The oldest textual seguidillas
can be found in the Hispano-Hebrew jarchas
from the eleventh and twelfth centuries. Subsequently, seguidillas
can be found in the Cantigas of Alfonso X
and Martin Codax (thirteenth century), as well as in the
works ranging from the sixteenth to the eighteenth centuries
by Spanish writers, including Mateo Alemán (1547-1614),
Miguel de Cervantes (1547-1616), Diego de Torres Villarroel
(1694-1770), and Felix María de Samaniego (1745-1801).
The oldest surviving seguidillas
set to music can be found in the Cancionero de
Palacio (1475-1516) and have been attributed to Maestro
Alonso (fig. 2).
Fig. 2: Pero Gonçales,
a seguidillas attributed to Maestro Alonso,
Cancionero de Palacio 1475-1516 (ed. and trans.
H. Anglés, Monumentos de la Música Española
, Barcelona: CSIC, 1947)
The bolero : its structure and musical sources
The bolero is a triple-meter
dance in moderate tempo performed either by one couple,
several couples, or a single dancer. It inherited from the
seguidilla its metrical literary form, triple
meter, and structure, which consists of three parts known
as coplas or mudanzas. This format is
repeated three or four times, depending upon the customs
of the region and the preference of the maestro .
After every repetition, a break occurs known as Bien
parado, where the dancer remains stationary but strikes
appealing poses (tables 2-3). This structure is repeated
three or four times, depending on the region or school.
Table 2: Main Characteristics
of the Bolero
- Triple-meter dance in moderate tempo;
- Anacrusic rhythm, starting on the last
eighth note of the third beat;
- Distinctive castanet
rhythm pattern:
Table 3: Parts of the Bolero
- Musical introduction
- Salida y desplante (reverences)
- Mudanza primera (first part)
- Paseillo (connects the parts, or Mudanzas
)
- Mudanza segunda (second part)
- Paseillo
- Mudanza tercera (third part)
- Final: Bien parado
According to Suárez
Pajares, the first source to make mention of the term bolero
is a sainete (one-act farce) by Ramón
de la Cruz entitled La hostería del buen gusto
(1773). According to Suárez Pajares, the oldest surviving
written musical scores of the bolero music are:10
1. "Todo aquel
que no sepa" from Arte de tocar la guitarra española
por música by Fernando Ferandiere (c.1740-c.1816)
(Madrid: Imprenta de Pantaleón Aznar, 1799);
2. Boleros with figured bass (Mp-4198,
Biblioteca Nacional, Madrid, manuscript from the late eighteenth
century);
3. Tiranas, Polos, and Boleras
(M-2231, Biblioteca Nacional, Madrid, manuscript from
the late eighteenth century).
To this list of eighteenth-century sources,
our current research appends six additional boleros.
Pursuant to our examination of Domenico Scarlatti's sonatas,
we have identified six boleros among them: K.
225, 1753; K. 239, 1753; K. 380, 1754; K.454, 1756; K. 478,
1756; K. 491, 1756 (table 3) .
Beyond a simple rhythmical influence, the aforementioned
sonatas betray the evident structure of the bolero
dance, as outlined in table 4.
Table 4: Oldest Extant Written
Bolero Music
According to Suárez-Pajares, 1992:
Mp-4198, Biblioteca Nacional, Madrid (late eighteenth century)
M-2231, Madrid National Library Biblioteca Nacional, Madrid (late eighteenth century)
"Todo aquel que no sepa," from Fernando Ferandiere, Arte de tocar la guitarra española por música by (Madrid, 1799).
Source: Javier Suárez Parares, "El Repertorio Bolero en la primera mitad del Siglo XIX," in La Escuela Bolera
MEC Madrid, 1992)
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Our New Data:
Sonatas by Domenico Scarlatti:
K. 225 (1753)
K. 239 (1753)
K. 380 (1754)
K. 454 (1756)
K. 478 (1756)
K. 491 (1756)
Source: Morales, in progress
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These untitled dances are
performed by Cristóbal Salvador according to the
steps and choreography that have been handed down through
oral tradition in the region of Murcia, where the dancer
Requejo was born.
Concluding remarks
From a methodological point
of view, systematic research comparing eighteenth-century
Spanish music and traditional dance has not only illuminated
the degree to which dance practices from the mid-eighteenth
century have been preserved, it has also provided a key
as to how to approach the performance of Spanish music from
this period and, beyond that, helped trace the written origins
of traditional or folk music.
Prior research on the bolero
had established the manuscripts Mp-4198 and M-2231
(dating from the 1790s and now housed at the Biblioteca
Nacional in Madrid) as the oldest written bolero
music preserved. By identifying as boleros the
Scarlatti Sonatas K. 225, 239, 380, 454, 478, and 491 (dated
in the Venice manuscripts 1753-56), we can today affirm
that these are the oldest written boleros known
to date and, therefore, that Domenico Scarlatti is the first
musician of record to have composed boleros. Moreover,
this fact indicates that the bolero (music and
dance) had already acquired an explicit structure by the
mid-eighteenth century, predating the compositions entitled
boleros found in the tonadillas by Blas
de Laserna (1751-1816) by forty years.
Finally, today, well-informed
performers know the general rules of how to recognize and
play the dances of the classical suite. Awareness of the
rhythm, stress, and general structure of these dances undoubtedly
aids in the accurate performance of an allemande,
a chaconne, or a courante. It seems only
right and proper that such incisiveness should also extend
to the classical Spanish dances of the eighteenth century—
boleros, seguidillas, fandangos, etc.—as well.
It is with this goal in mind that our research continues.
1The
presentation featured a musical performance during which
Luisa Morales, on harpsichord, accompanied the dancing of
Cristóbal Salvador.
2
For a complete catalogue of the instrumental music of San
Pedro de las Dueñas, see Luisa Morales and Beryl
Kenyon de Pascual, "Música instrumental del siglo
XVIII en el archivo de música del monasterio de San
Pedro de las Dueñas (León)," Revista Nassarre
12/2 (1996): 283-313; 13/1-2 (1997): 123-46; 15/1-2
(1999): 515-25; 18/1-2 (2002): 479-99. For a transcription
of selected keyboard works, see Luisa Morales, ed., Juan
Moreno y Polo, Sebastián Tomás y anónimos.
Obras para tecla del siglo XVIII, MM de San Pedro de las
Dueñas (León) (Zaragoza: Institución
Fernando el Católico, 1997).
3Felix
Máximo López: Dos juegos de variaciones
sobre el "Minué afandangado"para forte piano,
ed. Genoveva Gálvez (Madrid: Sociedad Española
de Musicología, 2000).
4
Javier Suárez-Pajares and Xoán M. Carreira,
eds., The Origins of the Bolero School, trans.
Elizabeth Coonrod Martínez, Aurelio de la Vega, Lynn
Garafola (Pennington, NJ: Society of Dance History Scholars,
1993).
5
Iza de Zamacola, Juan Antonio "Don Preciso": Colección
de las mejores coplas de seguidillas, tiranas y polos que
se han compuesto para cantar a la guitarra (Madrid
1797- 1802) (new ed. Córdoba: Ediciones Demófilo,
1982).
6
Idem.
7
Juan Rodríguez Calderón, Bolerología
(1807).
8Fernando
Sor, "Le Bolero," in A. Ledhuy and H. Bertini, Encyclopédie
Pittoresque de la Musique (1835).
9Iza
de Zamacola, Juan Antonio "Don Preciso."
10
Javier Suárez Pajares, "El repertorio bolero en la
primera mitad del siglo XIX," in La Escuela Bolera
(Madrid: MEC, 1992).
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