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Class Struggle As Reflection of Spain's Sociocultural Identity In CLASS STRUGGLE AS REFLECTION OF SPAIN’S SOCIOCULTURAL IDENTITY IN ENRIQUE GRANADOS’S OPERA GOYESCAS (1916) By LING FUNG CHAN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Ling Fung Chan 2 To Dad and Mom 3 ACKNOWLEDGMENTS This dissertation would not have been possible without the support and encouragement of many professors and scholars. I express my deepest gratitude to my supervisory committee chair, Dr. Silvio dos Santos, for his ardent support of my research. His critical mind, commitment to research, and enthusiasm have been a source of inspiration. His honest and thoughtful advice guided me throughout this project. It was a privilege for me to have his patient supervision of my research. I also thank my committee members, Dr. Leslie Odom, Dr. Authur Jennings, Dr. Peter Bergmann and Prof. Boaz Sharon for their support my research. Their genuine attention and concern was vital. I also thank Dr. David Kushner and Dr. Anthony Offerle for their guidance during my study in the University of Florida. I am indebted to scholars whose pioneering work on Enrique Granados established the groundwork for my research. I express my gratitude to Dr. Walter Clark from the University of Riverside, Dr. Miriam Perandones Loranzo from the University of Oviedo, and Dr. Douglas Riva, authoritative pianist and researcher of Enrique Granados’s works. Their eagerness to offer archival documents and other necessary secondary literature were valuable to the completion of this dissertation. I also thank Dr. Carol Hess from Michigan State University, and Dr. Joseph Jones from the University of Kentucky, for their answers to my various questions about Granados’s Goyescas. Throughout my research process, I have received assistance from many libraries and archivists. I am grateful to Imma Cuscó, from Museu de la Música in Barcelona, for giving me unrestricted access to Enrique Granados’s sketches and for organizing and reproducing necessary archival documents. I also thank Rosa Monalt and Iris Torregrossa Romerosa from the Biblioteca de Catalunya in Barcelona, for their 4 guidance in accessing Granados’s archive in the Library. I thank Cintia Matamoros from the Académia Marshall for allowing me to study the original manuscript of the opera’s Intermezzo and her generosity in offering me books about the history of the Académia Granados-Marshall as gifts during my trip to Barcelona. Lastly, I thank John O'Neill, from the Hispanic Society of America; John Pennino, from the Metropolitan Opera Archive; and Maria Isabel Molestina, from the Morgan Library and Museum for their warm hospitality and assistance during my research trip to New York. I am deeply thankful to the University of Florida, particularly the School of Music, the College of Fine Arts, the Center for European Studies and the Student Government for their generous financial support of my dissertation and of my Spanish language study. I am blessed to have their confidence in my research. I would also like to acknowledge the help I received from my friends and colleagues. I thank Aaron Keebaugh, who despite the geographical distance, early offered comments and proofreading. I am also grateful to Morgan Rich for her critical insight on my dissertation. I am particularly grateful to Anne Taylor for her professional editing in the final stages. Finally, without the continuous support and understanding from my parents, I would never have been able to pursue my study of musicology, a field they are totally unfamiliar with. I am particularly thankful for their willingness to allow me, their only daughter, to study overseas for nearly a decade. To them, I dedicate this work. 5 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF TABLES ............................................................................................................ 8 LIST OF FIGURES .......................................................................................................... 9 LIST OF EXAMPLES .................................................................................................... 10 CHAPTERS 1 INTRODUCTION .................................................................................................... 15 2 REINVENTING GOYA’S SPAIN ............................................................................. 25 3 GENESIS OF THE MUSIC AND LIBRETTO OF THE OPERA GOYESCAS .......... 51 From Ovillejos to Granados’s Preliminary Sketches of the Opera Goyescas ......... 53 Ovillejos’s Revision, Tonadillas and the Opera Goyescas ...................................... 63 Recontextualizing the Piano Suite to the Opera ..................................................... 72 Other Preparatory Works of Goyescas ................................................................... 76 The Collaboration of Granados and Periquet in Goyescas ..................................... 78 4 PEPA AS AN EXAMPLAR OF MAJA ..................................................................... 84 Pepa as the Queen of Majos and Majas ................................................................. 85 Pepa Controls her Lover Paquiro ............................................................................ 89 Pepa Struggles with the Aristocratic Characters ..................................................... 98 Pepa’s Identity as a Maja ...................................................................................... 112 Rosario as the Antithesis of Pepa ......................................................................... 120 5 FROM LOVE CONFLICT TO CLASS CONFLICT: THE CONFRONTATION BETWEEN PAQUIRO AND FERNANDO ............................................................. 130 The Love Attitude of the Majos ............................................................................. 131 The Love Conflict between Paquiro and Fernando ............................................... 138 6 CONCLUSION ...................................................................................................... 165 APPENDIX A TONAL STRUCTURE AND THEMATIC SOURCES OF THE OPERA ................. 170 B COMPARISON BETWEEN THE OPERA AND THE PIANO SUITE GOYESCAS 177 6 C TRANSCRIPTION OF GRANADOS’S FOUR SETS OF PRELIMINARY SKETCHES FOR THE OPERA GOYESCAS ....................................................... 179 First Set of Preliminary Sketches .......................................................................... 179 Second Set of Preliminary Sketches ..................................................................... 182 Third Set of Preliminary Sketches ......................................................................... 185 The Fourth Set of Preliminary Sketches ............................................................... 188 An Extra Page of Sketch: Fandando de Candil ..................................................... 189 WORKS CITED ........................................................................................................... 190 BIOGRAPHICAL SKETCH .......................................................................................... 196 7 LIST OF TABLES Table page 3-1 Content of Granados’s personal notebook with preliminary sketches of the opera Goyescas ................................................................................................. 56 3-2 The relationship between the opera, the piano suite, and other preparatory works. ................................................................................................................. 74 4-1 Comparison of the G Major sections in relation to Pepa and Rosario .............. 124 5-1 Tonal structures of the Pelele scene (I/1) and the baile de candil scene (II/1). 148 5-2 Juxtaposition of the text of in Tableau I scene 3 mm.15-17 and in Tableau II scene 2 mm.122-126 ........................................................................................ 158 A-1 Tonal structure and thematic sources of the opera ........................................... 170 B-1 Comparison between the opera and the piano suite Goyescas ....................... 177 8 LIST OF FIGURES Figure page 2-1 Francisco Goya’s The Portrait of the Duchess of Alba in Black .......................... 32 2-2 Francisco Goya’s El Pelele ................................................................................ 34 2-3 Francisco Goya’s Tal Para Cual ......................................................................... 36 2-4 Francisco Goya’s El Amor y la Muerte ............................................................... 37 2-5 Francisco Goya’s Y Son Fieràs .......................................................................... 39 2-6 Francisco Goya’s Que Valor ............................................................................... 39 3-1 Francisco’s Goya’s La Gallina Ciega .................................................................. 54 5-1 Summary of Modulation Process in Granados, Goyescas, Tableau II Scene 2, mm. 69-72 .................................................................................................... 153 9 LIST OF EXAMPLES Example page 3-1 A Sketch of “Riña y estocada” and “El Amor y la muerte.” ................................. 61 3-2 Sketch of “Epílogo: Serenata del especto” in Museu de la Música, Barcelona. .. 63 3-3 A sketch from Granados’s Apuntes para mis obras ...........................................
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