SPANISH MUSIC. Spanish art and lit erature are characterized by the short dura tion of their flowering season. Two centuries — from 1500 to 1700—include almost every thing that is eminently important in these fields. Calderon, Lope de Vega, Cervantes, Velasquez and Murillo,— all belong to this period. It is also the period of Spanish emi nence in music. Indeed, were it not for the fact that most of the composers who lived at this time developed their activities in Rome instead of their native country, we might even speak of a distinct Spanish school. As it is, the composers in question formed an integral part of what is known as the Roman school of church music,— culminating in the renowned Palestrina. The most important masters of Spanish origin connected with this school were Morales and Vittoria, both living in the 16th century. The former, a writer of great serious ness and elevation of style, was a predecessor of Palestrina in the Papal chapel and probably exercised considerable influence on his musical development. The latter was one of the most prominent successors of the great Roman com poser. Indeed, the names of the two are often linked together, just as the men were intimate friends during their lifetime. Though not quite the equal of Palestrina in technical mas tery and variety of expression, Vittoria has certain qualities of emotional depth and ten derness which are distinctively his own. Other eminent composers of early church music were Escobcdo and Guerrero. Since the time of these masters there has been a decline in the cultivation of the musical art, and Spanish composers have taken but little part in the wonderful developments of opera and instru mental music of the last three centuries. How
ever, their country has given the world some of its greatest teachers and reproductive artists, such as Garcia, Malibran, Sarasate and Patti. And in recent years there has been renewed activity in the field of composition which augurs well for the future.
It is to Spain that we owe two instruments which, though not of paramount importance, occupy a characteristic place in the family of musical mechanisms. We refer to the guitar and castanets. And it is to Spain, likewise, that we are indebted for some of the most characteristic dances in existence. Among these we may mention the fandango, bolero, cachucha, jota and seguidilla. The celebrity of these dances is justly deserved, for they are highly picturesque both by reason of the gen eral appearance of the participants and on ac count of the unique nature of their movements, which are full of grace and animation. The accompanying music is generally in triple time and is likewise characteristic, especially in its rhythm. Indeed, the Spanish dance has now settled into a distinct type of composition and is considerably used by composers as a vehicle of expression. We need but refer, in this con nection, to Moszkowski's celebrated dances. All in all, the Spanish dance may be regarded as the most important contribution which has been made by the Iberian Peninsula to the music of to-day.