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EL RETABLO DE MAESE PEDRO
(Master Peter’s Puppet Show) Trujaman...Julita Bermejo Don Quixote...Raimundo Torres
Maese Pedro...Carlo Munguia
Falla CONCERTO
FOR HARPSICHORD
Robert Veyron-Lacroix (harpsichord)
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with The National Orchestra of Spain
ATAULFO ARGENTA
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LL 1739 FALLA:_
ESPANA Volume 8
JULITA BERMEJO—Soprano
El “Concierto para clavicémbalo, 0 piano, y cinco instru- mentos”, estA escrito entre los afios 1923 y 1926, y sefiala el apogeo de la produccién de Falla. Es la culminacién de lo iniciado en el “Retablo de Maese Pedro”, la meta lograda por Falla en el camino de la busqueda de un esencialismo espafiol, no andaluz, sin nada de sensualidad, sino por el contrario, austero, duro, desnudo. El “Concierto” de Falla es una obra de maxima concentracién: lo clasico y lo na- cional, lo antiguo y lo actual, aparecen fundidos y como surgidos espontaneamente. Adolfo Salazar concreta las siguientes caracteristicas: “Intensificacién del colorido instru- mental como vehiculo a una fuerte acentuacién de la dison- ancia; tejido, en ocasiones, de una politonia facilmente re- ductible a un denominador comtin; tonalidades firmemente asentadas y un diatonismo constante en la melodia, mientras que en la armonia el cromatismo tiene un valor de riqueza acordal, o es un medio modulante, mas de tal manera pre- sentado que el diatonismo fundamental no se debilita nunca.”
El primer tiempo, escrito en esquematizada forma de sonata, tiene como tema melddico el antiguo madrigal castel- lano del siglo XV, “De los Alamos vengo, madre’’. El segundo tiempo es el trozo mds problematico y dificil de con tinua- cién de toda la obra de Falla. Su caracter religioso y la circunstancia de que Falla escribiese al final de este tiempo,
“Ano del Sefior 1926. En la Fiesta del Corpus Christi”, han servido de base para componer las més diversas y detallistas interpretaciones. La verdad es que se trata de la mds sub- lime mtsica espafiola que se haya compuesto desde un senti- miento religioso: ascético y mistico, jubiloso y enérgico.
Cuenta Pahissa, que Falla tuvo la idea del segundo tiempo de este Concierto, al contemplar cuadros con imagenes de instrumentos antiguos. Tampoco sabemos hasta qué punto pueda ser ésto cierto, pero si que en el cardcter de la pagina late un hondo primitivismo.
El tercer tiempo — vivace, flexible, scherzando—es el que se nos aparece como producto de una inspiracién mas moderna y alegre. Tiene cardcter y ritmo de danza; claro y espanolisimo sabor dieciochesco.
El “Concierto” esta dedicado a la clavecinista Wanda Landowska.
La primera representacién (privada) del “Retablo de Maese Pedro” tiene lugar en el Salén de la Princesa de Polignac, en Paris, el dia 25 de junio de 1923. Repasar la lista de nombres que intervinieron en la jornada es com- probar cémo el “Retablo” nacié en medio de un clima mas que caluroso y afable: familiar. Puede decirse que Falla y sus amigos hicieron “obra en comin”, “creacién en com- paftia”. Manuel Angeles Ortiz trazé la fachada y telén del escenario portatil e intervino en la creacién de figurines y decorados, al lado de Hernando Vifies y Hermenegildo Lanz, que esculpié también las cabezas de los mufiecos del guifiol.
Detras de éstos, daban vida a los titeres Susana Albarran, Genevieve Bernard, Matilde Cuevas, Ricardo Vifes, Louis Leopold Enlard, Emilio Pujol y Varella Cid. Héctor Du- franne canté la parte de Don Quijote, y Amparito Peris y Manuel Garcia hicieron el Trujumaén. Wanda Landowska tocé el clavicémbalo, y Henri Casadessus el arpa-latd. La orquesta fue dirigida por Wladimir Golschmann.
Pocas obras habra en musica tan aptas para lanzarse a hacer literatura como el “Retablo”, que nace apoyado en las mas altas letras espafiolas. Por ello, me parece mas Util Ilamar la atencién sobre aspectos concretos de su forma y de su estética. En qué consiste tal estética, lo dejé clara- mente expresado Falla en diversas ocasiones: ir hacia un arte tan fuerte como simple, en el que estan ausentes la vanidad y el egoismo; creer en las leyes eternas del ritmo y la tonalidad; tratar de renovar los medios técnicos de ex- presién; huir del dogma del nacionalismo estrecho, de las formulas reconocidas como de utilidad publica. Ser digno del ideal que se lleva dentro, expresarlo con trabajo y a ve- ces con sufrimientos, pero ocultar luego el esfuerzo de manera que todo parezca una improvisacién. Aprender de los clasi-
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ESPA Nau Velume 8
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CONCERTO FOR HARPSICHORD, FLUTE, OBOE, CLARINET, VIOLIN AND. ‘CELLO
ROBERT VEYRON-LACROIX (harpsichord)
with Soloists of the National Orchestra of Spain—Conductor: ATAULFO ARGENTA
EL RETABLO DE MAESE PEDRO ( Master Peter's Puppet Show)
CARLOS MUNGUIA—Tenor
with The National Orchestra of Spain — Conductor: ATAULFO ARGENTA
cos el orden, el equilibrio, la realizacién frecuentemente per- fecta de un método, para poder hacer luego una misica dis- tinta, pero de tal manera equilibrada y légica, que alcance en su conjunto y en sus detalles una perfeccién atin mayor que la que admiramos en las obras hasta ahora tenidas como modelos infalibles. Al enfrentarnos con el “Retablo” con- viene tener-bien presente el ensayo escrito por Falla en el mismo afio 1923 sobre su maestro Felipe Pedrell: “Toda obra musical que aspire a representarnos ante el arte uni- versal, debe inspirarse tanto en 1a fuerte y varia tradicién espafiola como en los tesoros admirables que nos legaron nuestros compositores de los siglos XVI al XVIII’, declara Falla terminantemente.
Un principio impone Falla desde el comienzo de la parti- tura, y advierte de su cumplimiento a los intérpretes: la naturalidad. “Habra que evitar rigurosamente — escribe — todo amaneramiento teatral en el estilo vocal de los tres per- sonajes cantores.” A continuacién, tres preciosas indica- ciones sobre como debera interpretarse cada papel: “Con el noble estilo, que participe igualmente de lo bufo que de lo sublime y exagerado la interpretacién de las indicaciones musicales hasta en sus menores detalles”, el de Don Qui- jote. “Sin excesos liricos y con mayor viveza o intensidad en la diccién musical, sin bufoneria y con marcada intencién cémica”, Maese Pedro, “personaje picaresco e irénico”. El Trujuman exige, en fin, “voz nasal y algo forzada, como del muchacho pregonero, expresién ruda y exenta de toda in- flexién lirica”.
El propio Falla prepara los textos, sirviéndose, no sdlo del capitulo del Quijote en que se narra el sucedido de Maese Pedro, sino también de algtin otro fragmento, como el que adapta para la invocacién a Dulcinea. Da comienzo la obra con el pregén sobre cuyos compases orquestales se cuenta una anécdota que transcribimos con las reservas ne- cesarias. Parece ser que Falla tenia planteada la entrada de la obra de manera distinta, y que hubo de cambiarla porque cierta obra de Strawinsky se abria de forma bastante analoga.
Hablamos de unos nombres acerca de los cuales toda facil sospecha resultaria absurda. Mas como quiera que el com- positor ruso habia escuchado a Falla tal comienzo, es evidente que puede deducirse cierta inconsciente presién del espafiol sobre el autor de “Petruschka”.
En la “Sinfonia del Maese Pedro”, como en toda la obra, encontraremos rasgos de claro entronque popular, aunque puede resultar excesivo un anilisis que los justifique uno a uno, como tomados de ésta o aquella cancién. El problema es distinto: elegido, por ejemplo, el espiritu para los reci- tados de Trujuman, que participa de la cantilena gregoriana y de pregones populares de cardcter modal, es légico que se produzcan coincidencias concretas con determinados temas de uno y otro orden. De todos modos hay citas concretas como la de la “gallarda”, de Gaspar Sanz, que aparece en la “Sinfonia”; la “Cantiga de Alfonso el Sabio” en el cua- dro de la Corte de Carlomagno; el romance de Salinas
“Retraida esta la infanta”, que Falla aplica a Melisendra cautiva en la torre de Sansuena. Hay dos citas, una de las cuales ha sido poco advertida y otra nada, que sepamos. La primera es la referencia a la “Cancién del fuego fatuo” del
“Amor brujo”, en la escena de la “fuga”, cuando el Trujuman dice: “Miren cudnta y cudn lucida caballeria”. La segun- da, mas dificil de localizar, se refiere a la aparicién, muy disfrazada, desde luego, de la Marcha Real Espafiola, como acompafamiento de los “vivas” finales de Don Quijote:
“SViva, viva la andante caballeria, sobre todas las cosas que hoy viven en la tierra!”
El “Retablo de Maese Pedro”, que a partir de la fecha de su estreno viene funcionando como punto de partida de la linea més significativa de la mtsica espafiola, espera todavia la consideracién de otro valor: la de ser, al decir de Ernesto Halffter, antecedente clarisimo de los mas bellos momentos de la tan deseada “Atlantida”.
ENRIQUE FRANCO
The “Concert for Clavecin, or Piano, and Five Instru- inents” was written between the years 1923 and 1926, and it marks the height of Falla’s production. It is the culmina- tion of what was begun in “Retablo of Maese Pedro”, the goal reached by Falla in his search for something essenti- ally Spanish, not Andalusian, which was to contain no sen- suality, on the contrary, to be something austere, robust, naked. The “Concierto” of Falla is a work of maximum concentration: what is classical, what is national, and what is present reality appear melted, as though they had a spon- taneous source. Adolph Salazar defines the following char- acteristics with exactitude: “An intensification of the instru- mental colour as a vehicle for a strong accentuation of the discord; woven, occasionally, with a politone easily reduci- ble to a common denominator; tonalities firmly fixed and a constant diatonism in the melody, while in the harmony the colouring has a value of accordal richness, or it is a modulating medium, but presented in such a way that the basic diatonism never weakens.
The first Tempo, written in a schematized form of sonata, has as its melodic theme the old time XVth. century Castil- lian madrigal: “From the Poplar Wood I come, Mother.”
The second Tempo most difficult of continuation and the most problematic piece of all Falla’s works. Its religious character, and the circumstance that Falla wrote at the end of this Tempo, “Year of Our Lord 1926. On the Feast of Corpus Christi”, have served as a basis for imagining the most diverse and detailed interpretations. The truth is that it deals with the most sublime Spanish music that has been written from religious feeling; aesthetic, mystical, jubilant, and animated. Pahissa said that Falla conceived the idea of the second Tempo of this Concierto on admiring pictures with representations of primitive instruments. We cannot say, however, up to what point this may be true, but there certainly palpitates a profound primitive strain in the char- acter of these pages.
The third Tempo—vivace, flexible, playful—is the one that appears to us to be the product of a more modern and happier inspiration. It has the style and rhythm of a dance;
of a clearly, Spanish eighteenth-century fashion.
The Concierto is dedicated to the famous Clavecinist Wanda Landowska.
The first performance (in private) of “Retablo De Maese Pedro” took place in the Salon of the Princess Polignac in Paris, on the 25th. June, 1923. If one ex- amines the list of names of those who assisted at this re- presentation, one may see how “Retablo” was introduced in an atmosphere that was more than warm and affable and intimate. It might well be said that Falla and his friends
“worked in fellowship” “a communal creation”. Manuel Angeles Ortiz designed the facade and the back-drop of the portable stage, and took part, with Hernando Vines and Hermenegildo Lanz in the creation of costume designs and stage scenery. Lanz also was the sculptor of the heads of the Guignol puppets. Behind,—life was given to the puppets by Susana Albarran, Genevieve Bernard, Matilde Cuevas, Ricardo Vifes, Louis Leopold Enlart, Emilio Pujol and Varella Cid. Hector Dufranne sang the part of Don Quix- ote, and Amparito Peris and Mantel Garcia did the role of the Hawker. Wanda Landowska played the clavecin, and Henry Casadessus played the harp-laud. The orches- tra was directed by Vladimir Golshmann.
Few musical works can be so apt for making literature as “Retablo”, which was created upon the most famous Spanish works. It seems to be more convenient to call at- tention to concrete aspects of its form and aesthetics. What aesthetics are involved has been clearly expressed by Falla himself on diverse occasions. To go forward towards an art that is strong and simple, in which vanity and egoism are absent: to have belief in the eternal laws of rhythm and tonality; to do your best to renovate the technique of ex- pression; to fly from the dogma of a narrow nationalism, from the formulas recognized as of public utility; to be
LL 1739 FALLA:
ESPANA Volume 8
RAIMUNDO TORRES—Baritone
worthy of the ideal one bears within one; to express this ideal with one’s work, sometimes by suffering, but then to keep the effort hidden, so that in every way it appears to be an improvisation. To learn from the classics-order, balance, the fulfilment of a method frequently perfect, in order to make a different music later, but so balanced and logical, that it reaches its totality in greater per- fection than those which up to the present have been considered as infallible models. When coming face to face with “Retablo” it is necessary to know the essay written by Falla in 1923 on the subject of his maestro Felipe Pe- drell: “All musical works which aspire to represent us uni- versally in art, should be inspired in the robust and varied Spanish tradition, and in the admirable treasures which have been bequeathed to us by our composers of the XVI to the XVIII centuries.”
One principle is imposed by Falla at the beginning of the score, and he indicates to the actors how they must ful- fill it: He writes: “It is necessary that in the vocal style of all three singers they avoid rigorously all theatrical man- nerisms.” He follows with three precious indications about how each part should be acted: For Don Quixote: “In noble style, which participates both of the farcical and the sublime, and the interpretation of the musical indications exaggerated even in their very smallest details”. For Maese Pedro, a “knavish and ironical personage”: “Without lyrical excesses and with greater liveliness and intensity in the musical diction, without buffaonery, but with marked comi- cal intention.” Finally, the “Trujuman”, “The Hawker”
must have: “a nasal and rather forced voice, like that of the young street crier: rough expression and free from all lyri- cal inflection.”
Falla himself prepares the words, using not only the chapter of Quixote in which the tale of what happened with Maese Pedro is narrated, but also some other frag- ments, such as that which he adopted for the invocation to Dulcinea. The work begins with a cry above the orchestral music of which an anecdote is narrated, which we tran- scribe with the necessary reserve. It seems that Falla had planned the beginning of the work differently, and he had to change it because a certain work by Strawinsky began in a very similar way.
In the “Sinfonia of the Maese Pedro”, as in all the work, we find samples of plain popular music, though it might be excessive to make an analysis which would justify each of the details, as to whether they were taken from such and such a song. The problem is different in the election, for example. The spirit of the discourses of the Hawker parti- cipate in Gregorian chant and popular street cries in common use, and it is logical that there should be exact coincidences with determined themes of one or other kind. In any case, there are exact quotations such as that of the “Gallarda”
of Gaspar Sanz, which appears in the Symphony: “The Chant of Alfonso the Wise” in the tableau of the Court of Carlomagno; the Romance of Salinas, “In Solitude is the Infanta”, which Falla applies to Melisendra captive in the Tower of Sansuefia. There are two quotations, one of which has been very little commented and the other not at all, that we are aware of. The first is the reference to the “Song of the Fatuous Flame” from “Love Bewitched” in the scene of the “elopement” where the Hawker says: “Look how many and gallant Knights.” The second, more difficult to place refers to the apparition, very much disguised cer- tainly, of the Spanish Royal Anthem, as an accompaniment of the final “Hurrahs” of Don Quixote: Long live, long live the errant knights, above all the things there are on this earth!”
“The Retablo of Maese Pedro”, which, since its first per- formance has been constituted as the initiation of more significatant Spanish music, still awaits the consideration of another asset: that of being, as Ernesto Halfter says, plainly an antecedent to the most beautiful moments of the very greatly desired “Atlantida.”
ENRIQUE FRANCO
Look for this sign. Jt is your guarantee IY are trade-marks registered in the U.S. Patent Office and foreign countries.
RIAA CURVE
RECORDS
MANUEL DE FALLA.
“EL RETABLO DE MAESE PEDRO”
“Master Peter’s Puppet Show”
Adapted with music for the stage from an episode in
“The Ingenious Knight Don Quixote” by Miguel Cervantes COMPLETE SPANISH—ENGLISH TEXT
Don Quixote RAIMUNDO TORRES
Master Peter CARLOS MUNGUIA
JULITA BERMEJO
THE NATIONAL ORCHESTRA OF SPAIN Conducted by
ATAULFO ARGENTA LL. 1739
Printed By LONDON RECORDS INC.
Through Permission of J. W. CHESTER LTD.
FINAL
DON QUIJOTE Fj
!Non fuyades, cobardes, malandrines y viles criaturas, que un solo caballero es el que os acomete!
Don Quijote, con acalorada y nunca vista furia, comienza a llover curchilladas, estocadas, reveses y mandobles sobre la titerera morisma, derribando y descabezando a unos, estropeando y destrozando a otros, y dando, entre muchos, un altibajo tal, que pone en peligro la cabeza de Maese Pedro, ya fuera de su escondite, quién se abaja, se encoje y agazapa para evitar los golpes. Sancho Panza hace gestos de grandisimo pavor, (gestos que se repiten durante esta ultima escena,) y el resto de los espectadores de la Venta va siguiendo con vivos y expresivos comentarios las peripecias de la accion.
MAESE PEDRO
!Deténgase, deténgase vuesa merced, mi senor don Quijote;
mide que me destruye toda mi hacienda!
DON QUIJOTE
!Oh bellaco villano,
mal mirado atrevido y deslenguado!
MAESE PEDRO
!Desgraciado de mi!
DON QUIJOTE
!Y vosotros, valeroso don Gayferos, fermosa y alta senora Melisendra, Ya la soberbia de vuestros perseguidores yace por el suelo,
derribada por este mi fuerte brazo;
y proque no penéis por saber el nonbre de vuestro libertador,
sabed que yo me llamo don Quijote, caballero y cautivo de la sin par
y hermosa Dulcinea! (absorto, con la mirada en alto.) MAESE PEDRO
!Pecador de mi!
DON QUIJOTE
!Oh Dulcinea, sefiora de mi alma;
dia de mi noche, gloria de mis penas!;
MAESE PEDRO
!Desventurado!
DON QUIJOTE norte de mis caminos.
FINALE
What! you run then, you cowards and deserters, you vilest of God’s creatures!
For I am only one that attacks, and you are many.
Don Quixote “with an unknown and posting fury began to rain strokes upon the puppetish Moors, overthrowing some and beheading others, maiming this, and cutting in pieces that; and amongst other blows, he fetched one so downright, that had not Master Peter tumbled and squatted down, he had clipped his mazard as easily as if it had been made of marchpane.” Sancho makes gestures of terror, which are repeated through- out the last scene. The other Spectators in the inn make gestures expressive of their opinion of what is going on.
MASTER PETER Sir, stay your hand and spare me!
For these are not real Moors, but shapes made of
cardboard. *
Look ‘how he spoils my business, and hath undone me!
DON QUIXOTE O you pestilent fellow,
you impertinent pettifogging rascal!
MASTER PETER I’m a miserable man!
But you others, DONT QUIXOTE the most valient Don Gayferos, most fair and fortunate lady, Melisendra, See now the proud might of your unholy pursuers, all cast down and broken through the prowess of this
my goodly right arm
And that you be mot ignorant of the title of this Knight who sets you free,
Know then that all men call me Sir Don Quixote brave K:ight Errant and captive of the most fair and peerless Dulcinea.
(Gazing upwards, with a rapt expression.)
: MASTER PETER
May the Lord preserve us!
DON QUIXOTE O Dulcinea, that hast my soul in fetters;
| Light of all my darkness, salve of all my suffering;
MASTER PETER My luck’s against me!
(Continuing) DON QUIXOTE
lode-star, guide of my wandering,
MAESE PEDRO
!Desdichado del padre que ne engendré!
DON QUIJOTE julce prenda y estrella de mi ventura,
MAESE PEDRO
!Cuitado de mi!
DON QUIJOTE
(despertando bruscamente de su éxtasis y dirigiéndose a todos los presentes.)
Oh vosotros, valerosa compania;
caballeros y escuderos, pasajeros y viandantes, gentes de a pie y a caballo.
Miren si no me hallara aqui presente,
?qué fuera del buen don Gayferos y de la fermosa Melisendra?
!Quisiera yo tener aqui delante
aquellos que no creen de cuanto provecho sean los caballeros andantes!
!Dichosa edad y siglos dichosos aquellos - que vieron las fazanas del valiente Amadis, del esforzado Felixmarte de Hircania, del atrevido Tirante el Blanco;
del invencible don Belianis de Grecia, con toda la caterva de innumerables caballeros, que con sus desafios,
amores y batallas,
llenaron el libro de la Fama!
MAESE PEDRO
!Santa Maria!
(Maese Pedro, descolado y abatido, contempla la figura de Carlo Magno que tiene en sus manos, partidas en dos la cabeza y la corona.)
DON QUIJOTE En resolucion:
!Viva, viva ia andante caballeria
sobre todas las cosas que hoy viven en la tierra!
TELON
MASTER PETER
Well, to think that my father got me for this!
DON QUIXOTE (Continuing)
fairest guerdon and goal of all my ventures.
MASTER PETER What can I do now!
DON QUIXOTE
(Waking suddenly from his reverie, and addressing himself to all present.)
All you present, .
gallant band of valiant warriors, knight or captain, squire or ensign, simple travellers and wayfarers;
horsemen or footmen, give ear now:
What, had I not been present at the moment, What would have become of Gayferos, or what of the peerless Melisendra?
Oh, would I might have all those here this instant, to answer straight before me,
if any there be who know not,
what gain to the world are knights Errant!
Most happy times and fortunate ages were those, « that saw the deeds and daring of the bold Amadis, the giant strength of Felixmarte of Hircania, with that most valiant Tirante, the white Knight, and the invincible Belianis the Grecian,
with all the mighty company of the numberless Knights errant ;
who by their reckless challenges, their loves and encounters,
have writ in the Book of Fame their glory!
MASTER PETER Lord he’s a madman.
(Master Peter dejectedly contemplates the puppet of Charlemagne which he holds in his hands, the head and crown cut in two.)
DON QUIXOTE And when all is said;
Long live Knighthood, and long the name of Knight Errant above all the professions that are in all the wide world!
Curtain
PRINTED IN U.S.A.
MANUEL DE FALLA
“EL RETABLO DE MAESE PEDRO”
“Master Peter’s Puppet Show”’
Adapted with music for the stage from an episode in
“The Ingenious Knight Don Quixote” by Miguel Cervantes
EL PREGON
Lugar de la accién; la caballeriza de una venta en la Mancha de Aragon. Al levantarse el telon aparece el retablo, leno por todas partes de candelillas de cera encendidas. La escena esta dividida en dos secciones que - corresponden al proscenio y al retablo. En la primera seccién aparecen y accionan los nufiecos representativos de las personas que se hallan en Ja venta.
Aparece Maese Pedro, que hace cesar la musica agitando fuertemente una campanilla. (Maese Pedro, en esta su primera aparicién, lleva sobre hombro izquierdo un mono grande y sin cola, con las posaderas de fieltro.)
MAESE PEDRO Vengan, vengan a ver vuesas mercedes el Retablo de Ia libertad de Melisendra,
que es una de las cosas mds de ver que hay en el mundo!
LA SINFONIA DE MAESE PEDRO Poco a poco van entrando en escena todos cuantos se supone que estan en la venta, siendo los ultimos en pasar don Quijote y Sancho. Los personajes se detienen ante la embrocadura del retablo, examinandolo con gran curiosidad y haciendo mudos, pero expresivos comen- tarios. Cuando aparece don Quijote, Maese Pedro le saluda con ceremoniosas reverencias, ofreciéndole sitio preferente a uno de los lados del retablo. Luego, lentamente, los personajes van a ocupar sus sitios respec- tivos para presenciar el espectaculo, asomando la cabeza como si se hallasen de pié, hasta que Maese Pedro les invita a sentarse, en cuyo momento desaparecen, que- dando s6lo visibles las piernas de don Quijote. Estas, muy largas y de cémico aspecto, permanecen durante la representaciOn, ya en postura reposada, ya puestas una sobre otra.
MAESE PEDRO
!Sientense todos!
Atencion, senores, que comienzo.
(Después de descargarse con gesto rapido del mono, se mete bajo las andas del retablo.)
Entra el Trujaman. Tiene una varilla en la mano.
EL TRUJAMAN Esta verdadera historia
que aqui a vuesas mercedes se representa, es sacada de las Crénicas francesas
y de los Romances espanoles que andan en boca de las gentes.
Trata de la libertad que did el senor don Gayferos a su esposa Melisendra,
que estaba cautiva en Espana, en poder de moros, en la ciudad de Sansuena.
Verdn vuesas mercedes
cémo esté jugando a las tablas don Gayferos, segun aquello que se canta:
”Jugando esté a las tablas don Gayferos, que ya de Melisendra sé ha olvidado.”
Sale el Trujaman.
CUADRO I. LA CORTE DE CARLO MAGNO Descorriéndose el mismo tiempo la cortina de la emboca- dura del retablo. Sala en el palacio imperial. Don Gayferos esta jugando a las tablas con don Roldan.
Reaparece el Trujaman. (No se cierran las cortinas del retablo, pero las figuras quedan inmoviles.)
EL* TRUJAMAN (Gritando) Ahora verdn vuesas mercedes
cémo el Emperador Carlo Magno, padre putativo de la tal Melisendra,
mohino de ver el ocio y descuido de su yerno,
le sale a reftir, y después de advertirle del peligro que corria su honra en no procurar la libertad de sues posa, dicen que le dijo:
“Harto os he dicho, miradlo!”
volviendo las espaldas y dejando despechado a don Gayferos,
el cual, impaciente de la célera,
pide apriesa las armas, y a don Roldan suespada Durindana.
sy"
THE PROCLAMATION
Scene: The Stable of an inn in La Mancha, on-the borders of Aragon. The curtain rises disclosing a puppet-show full of lighted candles. The stage is divided into two parts, corresponding to the stable and the puppet-show. In the former appear the puppets repre- senting the persons in the inn.
Enter Master Peter, violently ringing a little bell to stop the music. (On his first appearance, he carries on his left shoulder a large tail-less monkey with hind quarters of felt.)
MASTER PETER
Walk up, walk up now, gentlemen, come walk up!
Here’s the peep-show giving you the life of Melisendra, as good a thing to see as any sight in all this wide world.
MASTER PETER’S SYMPHONY The persons who are supposed to be in the inn enter one by one, the last to appear being Don Quixote and Sancho Panza, They pause in front of the puppet-show, examining it carefully and making expressive gestures.
On the appearance of Don Quixote, Master Peter bows ceremoniously and offers him a front seat, at one side of the puppet-show. Then the others slowly take their places for the performance, craning their necks in order to see from where they stand. Master Peter invites them to be seated, and in doing so they disappear from sight, the only visible objects being Don Quixote’s legs.
These, which are very long, and odd in appearance, can be seen throughout the play, either stretched out in front of him or lying one upon the other.
MASTER PETER Silence, I pray you, and attend, Senores.
Are you ready?
(throws off the monkey with a sudden movement, and gets into the puppet-show.)
Enter the Boy, with a wand in his hand.
THE BOY
This most true and tragic history, that now is repre- sented unto your worships, hath been taken word for word out of French chronicles, and from the Castilian romances known unto everyone here present. Here is treated of the freedom that Senor Don Gayferos gave his wife fair Melisendra, whom infidel Moors had led captive, to a Spanish prison situate in Saragossa. And mark you now, Senores; yonder knight that playeth at chess 1s Don Gayferos, according as the song relates tt:
Now gaming doth delight bold Don Gayferos While peerless Melisendra lies forgotten.
Exit the Boy.
SCENE I: THE COURT OF CHARLEMAGNE The curtain of the puppet-show rises, showing a Hall in the Imperial Palace. Don Gayferos is discovered play- ing chess with Don Roldan.
Re-enter Boy (Curtain of Puppet-show does not fall, but figures remain motionless.)
BOY (Shouting):
Now that personage peeping out yonder,
with crown and sceptre is Charlemagne the Emperor, held to be the father of the said Melisendra,
Who grieved to see the sloth and delaying of his son-in-law,
came there to chide him.
And after he’d told him many things concerning loss to his honour
and his reputation if he freed not his lady, it is said le told him:
‘No more I say now; look you to it.’
And mark you, sir, the Emperor,
how he turns his back despising Don Gayferos, who now all enrag’d at what was said to him, loudly calls for his armour,
and would have Roland's sword to hang beside him.
Now look ye, sirs, and mark well what follows;
how his kins-man Roland would not lend him the sword, though his help he offers and his company in so great
a venture.
Adviertan luego vuesas mercedes, como don Roldan no se la quiere prestar,
ofreciéndole su compania en la dificil empresa;
pero el valeroso enojado no la quiere aceptar, antes dice que él solo es bastante
para sacar a su esposa, si bien estuviese metida en el mds hondo centro de la tierra.
Y com esto se entra a armar para ponerse luego en camino,
(Se reanuda la representacién ocultandose el Trujaman.) Entran los Heraldos del Emperador.
(Pavonedndose mucho aparece Carlo Magno, seguido de caballeros y guardias de su corte. Don Gayferos y don Roldan cesan de jugar a la entrada de Carlo Magno, levantandose de sus asientos y quedando inmoviles y en actitud respetuosa mientras el Emperador y su corte realizan un paseo circular por la sala.)
(A una sefia de Carlo Magno, don Gayferos y don Roldan se la acercan. Entre los tres personajes cambianse graves y pomposos saludos, que coinciden con los dos ultimos acordes.)
Carlo Magno se encara con don Gayferos, desarrollandose la escena ya explicada por el Trujaman.
Crece por momentos el enojo del Emperador al recon- venir a su yerno.
Golpea con el cetro la cabeza de don Gayferos.
Carlo Magno, volviendo airadamente las espaldas, recobra su porte mayestatico y se aleja, precidido por los Heraldos y seguido de su corte, en la misma forma que entro en escena.
(Solos de nuevo don Roldan y don Gayferos, éste, despechado y colérico, arroja lejos de si el tablero, y las tablas, pidnendo a voces las armas, y a don Roldan su espada Durindana. Rechazada la peticion por don Roldan, siguese una acalorada disputa entre ambos, segun dejé explicado el Trujaman.
Vase furioso don Gayferos, (y la cortina del retablo
se cierra.) ,
EL TRUJAMAN
Ahora veréis la torre del Alcazar de Zaragoza, y la dama que en un balcén parece es la sin par
Melisendra,
que desde alli, muchas veces, se ponia 4 mirar el camino de Francia,
y puesta la imaginacién en Paris y en su esposo, se consolaba en su cautiverio
Verdn también vuesas mercedes,
cémo un moro se llega por las espaldas de Melisendra y la dé un beso en mitad de los labios,
y la priesa que ella se dé en limpidrselos y como se lamenta,
mientras el Rey Marsilio de Sansuefia, que ha visto la insolencia del moro,
su pariente y gran privado, le manda luego prender.
CUARDO II. MELISENDRA
Torre del Homenaje del Alcazar de Sansuefia. Como fondo, grandes lejanias.
(Abrese la cortina y se ve a Melisendra asomada a un balcodn de la torre y en actitud contemplativa, con la mirada fija en la lejania. Poco después, el Rey Marsilio aparece paseando lentamente por la galeria exterior del castillo. De vez en cuando, y sin ser visto del Rey ni de Melisendra, aparece el Moro enamorado, cautelosamente, y a espaldas de aquella.)
Ultima aparicién del Moro, que, paso a paso y puesto el dedo en la boca, se acerca a Melisendra.
El beso, Grito de sorpresa y gestos de indignacién de Melisendra, que se limpia los labios con la manga de su camisa.
Melisendra pide socorro a grandes voces mientras se mesa y arranca sus largos cabellos.
EI Rey Marsilio manda prender y castigar al Moro, que al huir ha sido alcanzado por los soldados de la guardia real. Llévanse al culpable.
EL TRUJAMAN
Miren Iuégo vuesas mercedes
cémo llevan al moro a la plaza de la ciudad, con chilladores delante y envaramiento detras, y cémo luego le dan doscientos azotes, segun sentencia del Rey Moarsilio,
ejecutada apenas habia sido puesta en ejecucion la culpa, porque entre moros no hay traslado a ia parte, ni a prueba y estése, como entre nosotros.
Don Quijote, cuyas piernas han traducido por movi- mientos nerviosos su protesta contra las ultimas palabras del Trujaman, se asoma al proscenio, encarandose con el muchacho.
But a knight so bold and enraged, could not deign to
accept;
saying that he himself is sufficient, and will deliver his lady,
though she had been fastened with fetters and in the bowels of the earth a prisoner.
And with that, he goes within that he may arm himself for his journey.
(Puppet show continués; Exit Boy.) Enter Imperial Heralds.
Enter Charlemagne with swaggering gait, followed by Knights and Guards. Don Gayferos and Don Roldan leave their game at the entrance of Charlemagne; they rise from their seats and stand at attention while the Emperor and his suite make a circuit of the stage.
At a sign from Charlemagne, Don Gayferos and Don Roldan approach. They salute one another with great gravity, (their motions synchronizing with the last two chords of the music).
Charlemagne and Don Gayferos face each other while the scene already explained by The Boy is enacted.
Increasing annoyance of the Emperor, as he regards Don Gayferos.
Strikes Don Gayferos with sceptre.
Charlemagne angrily turns his back, then recovering his dignity he moves away, preceded by Heralds and followed by Suite in same order as before.
Don Roldan and Don Gayferos alone as before. Gay- feros in indignation, flings chessboard and chessmen from him. He calls hastily for his armour, and demands Roldan’s sword. Roldan refuses, and a dispute takes place between them, as explained by the Boy.
Exit Don Gayferos in.a rage. (Curtain of Puppet-show falls.)
THE BOY
Now all eyes turn yonder, where now appears the Castle of Saragossa,
and the lady you see there on the tower that is the fair Melisendra,
who many times, from her window, looketh down on the highway that leadth toward Paris.
and setteth her imagination on France and her husband, her only comfort in her captivity.
Behold again a strange adventure,
You shall see a grave Moor that comes fair and softly
on Melisendra? i
Look what a smack in the midst of her fair lips;
and how suddenly she begins to wipe them with ‘er sleeves,
and how it grieves her!
Then King Marsilius, ruler of Saragossa, Seeing that Moor’s sauciness,
though he were a kinsman and a favorite, commanded him to be whipped.
SCENE II - MELISENDRA Tower of Homage of Alcanzar at Saragossa.
In the background, far distance.
Curtain rises. Melisendra is discovered leaning from balcony with eyes fixed on the horizon. Enter King Marsilius, walking slowly along an outer gallery of :he Castle. From time to time the Enamoured Moor ap- pears, cautiously and unseen by the King or Meli- sendra, behind Melisendra’s back.
At his last appearance the Moor ‘“‘comes fair and softly with his finger in his mouth behind Melisendra.”
The Kiss. Surprise and indignation of Melisendra, who wipes her mouth on her sleeve. Melisendra calls for’ help and tears her hair.
Moor tries to escape, but is caught by guards. The King orders him to be led away to punishment.
THE BOY Watch the sentence now in performance:
how they carry the Moor through the chiefest streets of the town;
minstrels go marching before, and rods of correction behind.
And Fike how two hundred stripes are presently given im,
which was the sentence of King Marsillius,
and put in execution before the misdemeanour ‘ad scarcely been committed;
for with the Moors there is neither inquisition nur legal proceeding,
such as in our custom.
The nervous movemerits of Don Quixote’s legs have expressed his dissatisfaction with what the Boy is saying. He rises, appearing in full view: of the audi- ence, facing Boy.
DON QUIJOTE (con voz reposada, pero enérgica) Nino, niio,
seguid vuestra historia linea recta, y no os metdis
en las curvas y transversales,
que para sacar una verdad en limpio menester son muchas pruebas y repruebas.
MAESE PEDRO (sacando la cabeza por las cortinas) Muchacho, no te metas on dibujos, sino haz lo que ese senor te manda:
sigue tu canto llano y no te metas en contrapuntos, que se suelen quebrar de sotiles.
EL TRUJAMAN
Yo asi lo haré.
DON QUIJOTE Adelante!
Octiltase Maese Pedro bajo el retablo, y Don Quijote vueive a sentarse.
CUARDO III. EL SUPLICIO DEL MORO Desctibrese el retablo. Plaza publica en la cuidad de Sansuefia. La escema se llena de morisma. Llega el Moro culpable conducido pur la guardia del Rey y precedido por voceadores que leen al pueblo la sentencia condenatoria, Siguemle dos verdugos de feroz aspecto, provistos de largas waras.
El Jefe de la Guardiia ordena que comience el suplicio, y el Moro es puesto entre los dos verdugos, en el centro de la plaza.
Los verdugos azotam al culpable con golpes alternados que coinciden con los acentos ritimicos de la musica (Un golpe por cada tiempo del compas.)
Se interrumpe el ssuplicio. Gran movimiento en la muchedumbre.
Se reanuda el castigo.
Cae el Moro. Los soldados se lo llevan a rastras, seguidos por los verdugos y la morisma.
Ciérrese la cortina.
! EL TRUJAMAN
Miren ahora a don Gayferos, que agui parece a caballo, camino de la ciudad de Sansuena.
CUADRO IV. LOS PIRINEOS
Desctibrese la escena. Don Gayferos, al trote du su caballo y cubierto con una capa gascona, aparece diferentes veces desde la falda hasta la cumbre de una montafia, como siguiendo un camino en espiral. Este Neva, en la mano un cuerno de caza, que tafie en los momentos exigidos por la musica.
EL TRUJAMAN Ahora veréis a la hermosa Melisendra,
que ya vengada del atrevimiento del enamorado moro, se ha puesto a los miradores da la torre
y habla con su esposo creyendo que es algun pasajero, segun aquello del Romance, que dice:
‘Caballero, si_a Francia ides, por Gayferos preguntade.’
Veréis también cémo don Gayferos se descubre y que alegres ademanes hace -Melisendra al reconocerle, descolgandose luego del balcén,
y cémo don Gayferos asedella,
y poniéndola sobre las ancas de su caballo, toma de Paris la via.
CUADRO V. LA FUGA
Descorrese la cortina. La misma decoracion del Cuadro II. Melisendra occupa su puesto en el mirador de la torre.
Por el camino que se extiende en el plano superior de la escena aparece don Gayfaros a caballo, cubierto el rostro con su capa. El cabello lleva un paso tranquilo.
Melisendra hace sefias al caballero para que se acerque.
Llega don Gayferos al pié de la torre por el camino que coupa el primer término de la escena. (Dialogo de Melisendra y don Gayferos, segtin la explicacion del Trujaman)
Don Gayferos se descubre. Alegria de Melisendra, que se descuelga del balcén por el lado de la torre opuesto al publico. Don Gayferos, que acude a recogerla, reaparace con ella montada. en las ancas de su caballo.
Ambos desaparecen al trote, cruzando los dos caminos ya indicados, y ciérrase la cortina.
DON QUIXOTE (quietly, but with energy) : Child, that’s nonsense!
Go on with your story in a straight line;
give us the text,
and no notes or other refinements, for to weigh the evidence and find the truth, there always must needs be a legal inquisition.
MASTER PETER (putting his head out through the curtains) : I told you! Do not add these
decorations, but obey that good gentleman’s instructions,
Sing you your proper plainsong and do not meddle unth other voices; for much counter point ruins the lute strings.
THE BOY Yes, sir, I will.
DON QUIXOTE To your tale, then.
Master Peter gets back into the :uppet-show and Don Quixote returns to his seat.
SCENE III. THE MOOR’S REWARD Curtain of Puppet-show rises disclosing a public square in Saragossa. The scene fills with Moors. The con- demned man is led by the royal Guard preceded by Criers who read the sentence to the people. They are followed by two executioners of ferocious aspect, with long rods in their hands.
The Captain of the Guard orders the sentence to be carried out, and the Moor is set between the two exe- cutioners in the middle of the stage.
The executioners beat the prisoner with alternate blows, which synchronize with the rhythmic accents of the music (a blow for each beat of the bar).
The punishment stops. Movement among the crowd.
The punishment is continued.
The Moor falls. The soldiers drag him away, followed by executioners and crowd.
Curtain.
THE BOY This knight you see is Don Gayferos, appearing gaily on horseback,
and posting in haste to reach Saragossa.
SCENE IV. THE PYRENEES
Curtain rises. Don Gayferos on horseback and wrapped in a long cloak appears at intervals in the mountains as if following a winding path. He carries a huntsman’s horn, which he blows at the moments required by the music.
THE BOY
And here you shall witness how that most fair Meli- sendra,
Who now hath been so well revenged on that enamoured Moor for his great boldness,
doth show. her-self from a window of the castle;
Speaking with her husband, believing him to be some strange traveller,
as is related in the ballad as follows:
“Traveller, traveller, posting to Paris;
Ask how goes it with Gayferos.”
And now behold how brave Don Gayferos is uncovered, and how by her glad behaviour jocund Melisendra
proves that she knows him,
And again, see her leap from her bay window, Straight to the arms of Don Gayferos,
Who at one hoist hath set her astride on his horse's
crupper,
merrily to ride towards Paris.
SCENE V. THE ESCAPE
Curtain rises. Scene: the same as Scene IJ. Melisendra discovered on the balcony of the tower.
Don Gayferos uncovers himself. Delight of Melisendra, stretching away .at the top of the scene, his face cov- ered by his cloak. His horse is trotting gently.
Melisendra signs to the horseman to approach.
Don Gayferos reaches the tower by the road in the front of the stage. (Dialogue between Melisendra and Gayferos, according to the Boy’s explanation.) Don Gayferos uncovers himself. Delight of Melisendra who lets herself down from the balcony on the side away from the audience. Gayferos runs to catch her, and reappears with her mounted behind him on his horse.
Exeunt Gayferos and Melisendra at the trot by the roads described above. Curtain.
EL TRUJAMAN
(que desde este momento no abandona mas la escena) Vadis en paz,
oh par sin par de verdaderds amantes;
lleguéis a salvamento a vuestra patria;
los ojos de vuestros amigos y parientes os vean gozar en paz tranquila los dias (que los de Nestor sean)
que os quedan de la vida!
MAESE PEDRO
(asomando la cabeza por debajo del retablo.) Llaneza, muchacho, no te encumbres, que toda afectacién es mala!
Descérrese por ultima vez la cortina del retablo y vuelve a aparecer la plaza publica de Sansuefia.- Vese al Rey Marsilio corriendo presuroso en busca de sus guardias.
Estos, que acuden al Ilamamiento del Rey, reciben sus ordenes y parten precipitadamente.
EL TRUJAMAN
Miren vuesas mercedes como el Rey Marsilio, enterado de la fuga de Melisendra, manda tocar alarma,
y con qué priesa,
que la ciudad se hunde con el son de las campanas, que en todas las torres de las mezquitas suenan.
Don Quijote da crecientes muestras de impaciencia, asomando la cabeza y pugnando por hablar.
Quedan inmoviles das figuras del retablo.
DON QUIJOTE (saltando de su sitio con visible indignacion.)
!Eso no, que es un gran disparate, porque entre moros no se usan Campanas, sino atabales y dulzainas!
MAESE PEDRO (Sacando de nuevo la cabeza) No mire vuesa, merced en nifierias, senor don Quijote.
No se representan casi de ordinario mil comedias llenas demil disparates,
Don Quijote; cuya indignacién se ha ido calmando, asiente gravemente con signos de cabeza a las palabras de Maese Pedro.
y con todo eso siguen felicisimamente su carrera, y hasta se escuchan con admiracién?
DON QUIJOTE Asi es la verdad.
MAESE PEDRO Prosigue, Muchacho, (ociltase) Desfila la gente que indica el Trujaman.
EL TRUJAMAN
Miren cudnta y cudn lucida caballeria sale de la ciudad en seguimiento de los dos catolicos amantes.
!Cudntas dulzainas que tocan, cudntas trompetas que suenan,
cudntos atabales y atambores que retumban!
!Témome que los han de alcanzar y los han de volver atados a la cola de su mismo caballo!
El desfile de los mufiecos es cada vez mas rapido.
DON QUIJOTE
(poniéndose de un brinco junto al retablo y desen- vainando la espada.)
!Detendés, Meal nacida canalla, no le sigdis ni persigdis ; sino, conmigo sois en la batalla!
THE BOY
(who from this time onwards does not leave the stage) : Go in peace, O matchless pair,
truest among all true lovers,
In safety now arrive in your own country;
May fortune now prosper your marvellous adventure, and kindred and friends all see how you shall enjoy
now,
all the rest of your lifetime, as long as once old Nestor!
MASTER PETER
(his head appearing from under the puppet-show) : My good boy, use plainness, not embroidery, for all such affectation’s scurvy. (Exit.)
Curtain of puppet-show rises for the last time, showing the public square in Saragossa. King Marsilius runs hastily in search of his guards, who appear at his call, receive his orders and exeunt quickly.
THE BOY
There wanted not spectators who sought out Marsilius, and gave notice of the escaping of Melisendra, Straightway the alarm is sounded
and now behold how the city seems to shake with all the noise of churchbells ringing,
that mounts from the mosques and the minarets above
them. ;
Don Quixote shows signs of great impatience, thrust- ing his head forward, and endeavoring to speak.
The puppets remain motionless,
DON QUIXOTE (Springing up with indignation) :
There you're out, and your bells most improper;
for among Moors is no ringing of bells, but beating of drums and squealing hautboys.
MASTER PETER (his head appearing) :
Sir, pray stand you not so strictly upon trifles, or we shall never please you!
Have you never seen, Sir, comedies and tragedies pre- sented full of absurdities and follies?
Don Quixote, his indignation appeased, gravely re- sumes his seat, and nods his head in agreement.
Yet in spite of that, they follow their career, with suc- cess and admiration, and even are heard with delight and applause.
DON QUIXOTE
Yes, that is the truth.
MASTER PETER Go on with your story. (Exit.)
The persons mentioned by the Boy pass across the stage.
THE BOY
Look again, Sir, what a gallant squadron of horsemen come through the city gates,
and go pursuing the two Christian, persecuted lovers.
Hark to the squealing of hautboys!
Hark, now the blasts of the trumpets!
Oh how many kettle drums and nackers they are beating!
Oh how I fear the Moors overtake them, and carry them back,
both fastened tothe tail of the same horse, and then dragged there!
The puppets pass across the stage with increasing rapidity.
DON QUIXOTE
(leaping to puppet-show, and drawing his sword) : Stop, you scoundrels!
Misbegotten abortions!
Dare not to follow, nor try to catch them;
(The persons in the Inn begin to appear.) for if you do, you first must fight with me.
_ LONDON,
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