Los magyares (Gaztambide, Joaquín)

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Іоахимъ (2018/11/24)

Publisher. Info. Holograph manuscript, 1857
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Misc. Notes At the end of the main score: Madrid, 9 de Abril de 1857.
With additional scores for the bands in Nos. 5, 13 and 17.
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Parts

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Іоахимъ (2018/11/24)

Publisher. Info. Manuscript, n.d.(ca.1857).
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Vocal Scores

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Іоахимъ (2018/11/24)

4 more: Complete Score • 2. Escena, Coro y Canción • 15. Introducción • 16. Canción húngara

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Massenetique (2011/8/25)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

Arranger José Rogel (1829-1901), piano reduction
Publisher. Info. Madrid: Casimiro Martín, n.d.(ca.1857). Plate C.M. 813-835.
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Misc. Notes The plate numbers are inconsistent: 813-814 (No.1, begins with 813 only, but 813-814 on last pages), 815 (2), 817 (3), 818 (4), 820 (5), 821-826 (6-11), 828-832 (12-16), 834 (17), 835 (18). This may have happened due to some separate editions of parts (e.g. Canción from No.1 may be 814, and Canción from No.2 may be 816 etc.).
Some pages have two plate numbers, because they were used also for a piano solo edition: 794 (No.1), 800 (No.6), 804 (No.10), 806 (No.12), 809 (No.15). Pretending that No.1 had a double number 794-795 (as 813-814 in the vocal score), the piano solo edition most probably was marked 794-812. This makes sense, as the vocal score starts with 813.
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Іоахимъ (2018/11/24)

14 more: 1bis. Canción • 2bis.Canción • 3. Terceto • 4. Canción y Bailable • 5. Final del I acto • 6. Introducción • 7. Dúo • 8. Brindis (Terceto) • 10. Introducción • 11. Escena y Romance • 13. Escena • 14. Final del III acto • 16bis. Canción húngara (Alberto solo version) • 17. Gran marcha y Coro

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

Arranger José Rogel (1829-1901), piano reduction
Publisher. Info. Madrid: Casimiro Martín, n.d.(ca.1857). Plate C1, C1b, C2bM, C3-8, C10-11, C13-14, C16-17.
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Misc. Notes An earlier print?
Some pages were also used for the piano solo edition. They have additional plate numbers: P1 (No.1), P6 (No.6), P10 (No.10).
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Arrangements and Transcriptions

For Piano (Rogel)

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Іоахимъ (2018/11/24)

14 more: 1bis. Canción • 2. Escena, Coro y Canción • 3. Terceto • 4. Canción y Bailable • 5. Final del I acto • 6. Introducción • 7. Dúo • 10. Introducción • 11. Escena y Romance • 13. Escena • 14. Final del III acto • 15. Introducción • 16. Canción húngara • 17. Gran marcha y Coro

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

Arranger José Rogel (1829-1901)
Publisher. Info. Madrid: Casimiro Martín, n.d.(ca.1857). Plate P1, P1y1b, P2-7, P10-11, P13-17.
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For Flute or Violin or Clarinet (Miré)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

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Іоахимъ (2018/11/24)

Arranger C.M. Miré (fl.1869-1872)
Publisher. Info. Madrid: Casimiro Martín, n.d.(ca.1872). Plate C.M. 2377-79.
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Misc. Notes Ecos del Teatro de la Zarzuela, Colección 4, Nos. 38-40.
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Librettos

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Іоахимъ (2018/11/10)

Publisher. Info. Madrid: José Rodriguez, 1857.
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General Information

Work Title Los magyares
Alternative. Title Zarzuela en cuatro actos
Composer Gaztambide, Joaquín
I-Catalogue NumberI-Cat. No. IJG 1
Movements/SectionsMov'ts/Sec's 4 acts (18 music numbers):
  • Act I:
1. Introducción, Coro de segadores y Canción. ¡Jé! ¡Ah! ¡Los carros acá!Desde que apunta el alba (Marta, mixed chorus)
2. Escena, Coro y Canción. ¡Arre, mulita!Buenas tardesEgo sum (Fray José, mixed chorus)
3. Terceto. ¡Marta! ¡Eh! ¡Marta mia! (Marta, Fray José, Alberto)
4. Canción y Bailable. ¿Quien al son de mi viola...?Pastora, ven, que en dulce vaiven (Georgey, with Marta, Isabel, mixed chorus)
5. Final del I acto. Al monte, pues (Marta, Fray José, Georgey, El Conde, mixed chorus)
  • Act II:
6. Introducción. Beltran. Abre, Beltran, son yoFieles à la voz tuya (Alberto, Beltran [speaking only], male chorus)
7. Dúo. Escucha. ¡La hora es esa! (Marta, Alberto)
8. Brindis (Terceto). Cuidad no os haga daño (Marta, Fray José, Georgey)
9. Final del II acto. ¡Cielos! ¡Es imposible! (Fray José, Georgey, Enrico, male chorus)
  • Act III:
10. Introducción. Mientras à maitines (male chorus)
11. Escena y Romance. La entrada libre tienes¡Ran! ¡Ran, ran, ran! (Marta, Georgey, with Maria Teresa, Kelsen, male chorus)
12. Escena (instrumental: viola solo with orchestra)
13. Escena. Ese sonido bélico (Maria Teresa, Kelsen, Georgey, El Conde, male chorus)
14. Final del III acto. Dixit Dominus Domino meo (Marta, Enrico, Georgey, El Conde, male chorus)
  • Act IV:
15. Introducción. ¡Vengan, señores, à la feria de Buda! (mixed chorus)
16. Canción húngara. Es el canto de mi patria (Alberto, with Marta, mixed chorus)
17. Gran marcha y Coro. Rendir su altiva frente (mixed chorus)
18. Final. Lleva los ambitos el grito (mixed chorus)
Year/Date of CompositionY/D of Comp. 1857
First Performance. 1857-04-12 in Madrid
First Publication. 1857 ca.
Librettist Luis de Olona (1823-1863)
Language Spanish
Composer Time PeriodComp. Period Romantic
Piece Style Romantic
Instrumentation voices, mixed chorus (SATB), organ, orchestra
Related Works Flores españolas by Gabriel Arias

Misc. Comments

  • Isabel is present in the libretto and the ms full score, but is not noted in the printed vocal score. In No.4 she seems to double Marta. In No.5 she is on the scene, but does not sing.
  • Enrico is present in No.10 in the libretto, but he is not noted in the scores. Seems to sing with the chorus.
  • Beltran is not a singing role. He is not even listed in the preliminaries of the libretto.
  • In the Parte de apuntar there is a score for an off-stage mixed chorus near the opening of No.6 (before the main male chorus enters). However, it is not present in the ms full score.
  • The chorus in Nos.17-18 is inscribed as being male only, but the upper voice (named Tenores in the fs and the parte de apuntar) in the printed vs is definetely a female one.
  • Organ is used in the third act.