9. Conclusions.
In conclusion, the main objective of this investigation was to identify elements of folkloric Spanish music in the villancicos composed by Juan Manuel Gaitán y Arteaga, and to explore the potential connection between ecclesiastical and folkloric music during the XVIII century in Spain. After doing this research, I can talk about the influence of pre-flamenco and more specifically about the influence of tonadilla de escena in the villancicos of Juan Manuel Gaitán y Artega. Through this exploration, a compelling connection between Gaitán y Arteaga's villancicos and the tonadilla de escena emerges, revealing a complex interplay of influences encompassing linguistic choices, geographical proximity, and socio-cultural circumstances.
Gaitán y Arteaga chose to compose his villancicos in Spanish, a deliberate decision perhaps aimed to enhanced accessibility to the general populace, contrasting the Latin-dominated context of the cathedral's masses and celebrations. This conscious linguistic choice could mean a concerted effort to align with the stylistic elements of tonadilla, reflecting the essence of Spanish culture rather than embracing foreign influences (Italian and French) prevalent in the XVIII century in Spain. During the XVIII century, Kings Felipe V and Fernando VI of Spain, along with the aristocracy, promoted Italian and French culture within the country. However, with the rise of the middle class and thanks to the economic growth in northern Spain, there emerged a demand for more patriotic and folklore music and dance, spearheaded by the pre-flamenco movement. This movement, invested resources and patronage into fostering a distinct Spanish musical and dance identity, gradually distancing itself from the influence of Italian or French music.
Moreover, the composer's occupation as chapel master in Segovia in 1748, holds significance. Segovia was a city situated close to Madrid, the epicentre where the tonadilla flourished. This geographical proximity between these two cities may have infused Gaitán y Arteaga's compositions with elements ofthe tonadilla de escena.
Additionally, the socio-political landscape of Southern Spain during the XVIII century, marked by stringent prohibitions on theatrical performances, may have prompted Gaitán y Arteaga to compensate for this cultural void by infusing his villancicos with a folkloric character. This deliberate infusion of entertainment value could have served as a form of artistic recompense for the populace.
My secondary goal in this research was to resurrect this obscured composer and introduce his musical legacy to a wider audience. Our group Tono Divino, presented his music at the Hague Conservatory in November 2023 when our ensemble played eleven of Gaitán y Artega's villancicos. This event catalysed a profound and contemplative journey; an intensified exploration of the potential correlations between this composer and the tonadilla.
Speaking about the process, the lack of information surrounding the composer Juan Manuel Gaitán y Arteaga posed a significant challenge when I started to deep into the analysis of his villancicos. Insufficient details are available regarding this composer's life, influences, or artistic inclinations that may have shaped the creation of this genre. My attempts to access original scores at the Cathedral of Córdoba, crucial to my investigative process, had limited success, impeding a deeper exploration. Nevertheless, my primary and secondary goals in this research mentioned before remained unwavering.
My initial encounter with Gaitán y Arteaga's scores, specifically Pascual está aquí, tonadilla a 5. Villancico, sparked my curiosity, drawing parallels between tonadilla and pre-flamenco. This compelled me to dive deeper into understanding the meaning of this genre and its potential connections with villancicos a genre deeply entrenched in folkloric and with ecclesiastic origins. The interplay between the melodic richness of villancico within sacred spaces and the fluidity of tonadilla became increasingly apparent; both shared the use of the term tonada (tone), signifying a collective passion for preserving folkloric music while resisting external influences. As an example the lyrics of Pascual está aquí (¿Qué es esto Pascual amigo? ¿tanto bueno por acá? A cantar una tonada me vengo sin más ni más. ¿La tonada estará buena? pues, ¿por qué no lo ha de estar? Cántala Pascual con brío, que si es buena ello dirá). The use of folkloric rhythms used by Gaitán y Arteaga showed the closer connection that the composer had with this pre-flamenco genre; rhythmic patternsof 3/8 or 6/8 with a danceable, playful and festive character, also typical of the tonadilla.
The research findings highlight the interaction between two different worlds. On one hand, the composer's commitment to religious devotion through weekly compositions for masses, and on the other, the flowering of the XVIII century folkloric landscape with the tonadilla de escena. The closer connection between tonadilla and Gaitán y Arteaga's villancicos traces back to their origins through mixed genres; such as El villancico de tonadilla and tonadillas a lo divino, I discovered shared roots that intertwined their musical narratives.
Juan Manuel perfectly integrated the richness of Spanish folklore into his music, especially his Christmas carols. Furthermore, the XVIII century in Spain witnessed profound cultural changes shaped by the ideals of the European Enlightenment. This era marked a move away from baroque influences towards neoclassical and rococo styles, emphasizing simplicity, reason and harmony in visual arts and architecture. Reflecting this spirit, the composer sought to emulate this lighter, more modern style that prevailed during that period, evident in his commitment to tonadilla de escena.
This journey, immersed in intricate melodies and historical narratives, has brought me closer to unravelling the intricate connections between these musical genres. It has offered look into an era abundant with the emotional echoes of Spain's musical heritage, a testament to the enduring resonance of artistic expressions woven into the fabric of time.