Juan Hidalgo (ca. 1612–1685)
- Stevenson, Robert Murrell. “Espectáculos musicales en la España del siglo
XVII.” Revista musical chilena27–121/122 (January–June 1973): 3–44. ML5
.R451.
One of the first great Spanish composers, Hidalgo produced the earliest surviv-
ing Spanish opera, Celos aun del aire matan(1660). This work is thoroughly
discussed by Stevenson, in the context of a scholarly history of 17th-century
opera and zarzuela; 168 footnotes point to the earlier literature of importance. - Subirá, José. “Celos aun del aire matan,” opera del siglo XVII.Barcelona: Bib-
lioteca de Catalunya, 1933. xxvii, 62p. M1503 .H62 C5.
A general study of the oldest known Spanish opera (1660), its genesis, and
reception. It was Subirá who discovered the work and published it in the first
modern edition. A later critical edition was prepared by Matthew D. Stroud
(San Antonio: Trinity U.P., 1981). Pedro Calderón de la Barco was the libret-
tist. - Pitts, Ruth Landis. “Don Juan Hidalgo, Seventeenth-Century Spanish Com-
poser.” Ph.D. diss., Peabody College, 1968. 302p. - Velez de Guevara, Juan. “Los celos hacen estrellas.” Ed. J. E. Varey and N. D.
Shergold, music ed. Jack Sage. London: Tamesis, 1970. cxvii, 273p. ML1747.2
.V44.
The libretto and much of the music of the earliest known zarzuela (ca. 1662),
with a useful commentary. Velez was the writer of the text, Hidalgo of the
music.
Johann Adam Hiller (1728–1804)
Die Jagdis in GO,v.1.
Paul Hindemith (1895–1963)
- Hindemith, Paul. Sämtliche Werke. Ed. Kurt von Fischer and Ludwig Finscher,
for the Hindemith Stiftung. Mainz: Schott, 1975–. M3 .H62 F6.
Full scores of the operas are in series 1, v.1–6, with brief introductions and
some critical notes. - Neumeyer, David. The Music of Paul Hindemith. New Haven, Conn.: Yale
U.P., 1986. viii, 294p. ISBN 0-300-03287-0. ML410 .H685 N5.
A valuable technical analysis of Hindemith’s works, set against a study of the
composer’s methods and principles as outlined in his Craft of Musical Compo-
sition. He discloses macrostructural designs as well as small-scale patterns,
quotations, intervallic practices, and so forth. The major operas are well cov-
ered: Cardillac,p.168–183, and Mathis der Maler,p.85–109. Other stage
works get brief comments. Bibliography of some 150 items, expansive index. - D’Angelo, James P. “Tonality and Its Symbolic Association in Paul Hindemith’s
Opera Die Harmonie der Welt.” Ph.D. diss., New York U., 1983. 599p.
204 Opera