By Elisabeth Le Guin
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Extra resources for The tonadilla in performance : lyric comedy in enlightenment Spain
In this I’m with El Extravagante [another participant in the ongoing debate], as long as Music doesn’t sound like anything more than that Italian effeminateness; but if I were to hear a Spanish woman sing, one of those that move and delight, I’d throw the stewpot over and stand there with my mouth wide open. Introduction 9 “El Extravagantísimo,” author of this harangue, has cooked up a pretty spicy stew in his metaphorical pot. He does not recur to Zamácola’s storm metaphor; he does not need to, for in a relatively short space he manages to equate Italian music explicitly or implicitly with incoherence (“gabbling”), thoughtless pleasure, ornamental excess, insincerity, superficiality, insubstantial food, and effeminacy.
Salazar published some thirty books on music, as well as a good deal of very fine music journalism. 30 The tonadilla itself presents three aspects of interest to us: one, the historical, [which is] extremely important; another, that of its intrinsic beauty, which does not exceed a decorous mediocrity; and another, finally, that of its Hispanism. From this last thorny point, difficult and quite debatable, there lead a number of paths that try to lead to the restoration of Spanish traditionalism in national music.
Passed a good part of the morning attended by a hairdresser and her maid Rosario, engaged in the mysteries of the toilette; as a consequence we had to breakfast rather rapidly, but by two we were all ready for the carriage. When I arrived in Madrid, it struck me as strange to use a carriage to go so short a distance—but not now. One is astonished, in the capital not only of a country but of an Empire, by the disgustingness of the streets. 4 Our Corredera de San Pablo, a respectable street in a respectable neighborhood, is little more than a mud track.