Ruperto Chapí, biography and works

Alicante 1851 - Madrid 1909
Ruperto Chapí orn in Villena, Alicante, came from a humble family background. Thanks to the family love of music, which had been passed down through several generations, he began his musical education at a very early age. He began his playing career in his hometown as a band musician and would later go on to the Conservatorio de Madrid. There, Ruperto and his friend Tomás Bretón studied with Arrieta.
His career as a composer was benefited by the award of a first prize for composition in 1872. This success enabled him to take up residence and study for four years in Rome and Paris. Although he was interested in music for the stage from an early age (at the age of twelve he had composed the zarzuela Estrella del Bosque), it was during this time that he managed to establish himself in the lyric-dramatic genre. In this period he composed and premiered his first opera, Abel y Cain, in Madrid, and this was followed by Las naves de Cortés and Vasco Núñez de Balboa. His first piece at the Teatro Real was La hija de Jefté, a work that the composer wrote during his stay abroad and which was premiered when he was only twenty-five years old.
When he returned to Spain he consolidated himself in the zarzuela genre and composed a sizeable number of works of which the majority are included in the standard repertoire of zarzuela companies: La Tempestad, La bruja, El rey que rabió, La zarina, El tambor de granaderos, Las bravías, La revoltosa, Las hijas de Zebedeo, El milagro de la Virgen, El duque de Gandía and Curro Vargas.
Vocal works
Among his compositions for stage there are some that aroused greater interest during the last century and are still often performed.
Música clásica was one of the works in the genre of Spanish operetta that won most acclaim from the public. A peculiarity of the storyline is that it exposes the problematic relationship between zarzuela and classical music, a controversy in which the composer was directly implicated. The work was premiered in 1880 at the Teatro Comedia de Madrid. The publication of the score has been planned to mark the occasion of the centenary of the composer’s death.
La tempestad was premiered in 1882 at the Teatro de la Zarzuela. It made a considerable impact because of the elaborate orchestral treatment. It was the most important zarzuela in the decade of the 1880s and helped to establish large-scale zarzuela.
La bruja, was premiered in 1887 at the Teatro de la Zarzuela de Madrid. Set in the popular atmosphere of 17th century Pamplona the work is closer to opera than zarzuela as regards its technical requirements and the length of the instrumental sections. Nevertheless, the large amount of comic numbers and scenes depicting customs and manners unquestionably gives it the characteristics of zarzuela. This may well be the vocal piece by the composer that displays the greatest Germanic influence, as much in the use of orchestral resources as in the technique used in the creation of the motifs.
Perhaps Las hijas de Zebedeo is not one of Chapi’s most transcendent works but it is extremely interesting for its content. This comic zarzuela in two acts was premiered in 1889 at the Teatro Maravillas in Madrid. The storyline revolves around the figure of Luisa whose ignorance and poor memory lead to an endless series of comic situations.
El rey que rabió, zarzuela in three acts and seven scenes, was premiered at the Teatro de la Zarzuela de Madrid in 1891. The libretto of this satire was accused in its time of being a plagiary of "Un roi de vacances". Chapí and his colleagues had to deal with this type of situation fairly often. Despite the controversy the premiere of the work was the biggest success of the year in the theatre world.
La revoltosa, zarzuela in one act which was premiered at the Teatro Apolo de Madrid in 1897, was an instant success and has continued running until the present day thanks to the adaptation of the musical discourse of the libretto.
[audio:http://blog.trito.es/wp-content/uploads/2009/01/la-revoltosa.mp3]
The incorporation of stylistic resources typical of the music listened to in Madrid at the end of the 19th century was a sure-fire guarantee of success.
El puñao de rosas was premiered at the Teatro Apolo de Madrid in 1902. With a storyline that focussed on the popular atmosphere in the mountains of Cordoba, it won instant acclaim from the public. One oddity was that the librettists decided to adapt it to the language and the pronunciation of this Andalusian region in order to help reconstruct the local atmosphere.
Instrumental works
Although his music for the stage reached a wider audience Chapí also composed symphonic music and cuatro cuartetos (four chamber quartets). The composer had to cope with the public’s lack of interest in symphonic music. Nevertheless, he made transcendental contributions to the development of symphonic music and received a positive reception from the foreign public. All his instrumental works have been published by the ICCMU during the last decade and have been the subject of some very interesting recording projects such as the Brodsky Quartet’s version of the four quartets.
The composer’s first instrumental work was the overture Zanzé written in 1865. This was followed by Fantasía Morisca (Corte de Granada) composed during the same period. He also wrote a symphonic poem that he called Escenas de capa y espada.
[audio:http://blog.trito.es/wp-content/uploads/2009/01/1-la-corte-de-granada-fantasia-morisca_introduccion.mp3][audio:http://blog.trito.es/wp-content/uploads/2009/01/2-la-corte-de-granada-fantasia-morisca_meditacion.mp3][audio:http://blog.trito.es/wp-content/uploads/2009/01/3-la-corte-de-granada-fantasia-morisca_serenata.mp3][audio:http://blog.trito.es/wp-content/uploads/2009/01/4-la-corte-de-granada-fantasia-morisca_final.mp3]
The Scherzo (Combate de Don Quijote contra las ovejas) composed between 1869 and 1870 was a descriptive piece written for the orchestra of the Circo Teatro de Price. Both Chapí and Bretón were members of this orchestra and it gave then the opportunity to try out some of their own works.
The Symphony in D was written in 1877 in Paris and later premiered in Madrid following the creation of a concert society. The work was a study in orchestration written by the composer in his student days and has a clear structure based on the prevailing German models at that time.
[audio:http://blog.trito.es/wp-content/uploads/2009/01/1-sinfonia-en-readagio.mp3][audio:http://blog.trito.es/wp-content/uploads/2009/01/2-sinfonia-en-reandante-con-moto.mp3][audio:http://blog.trito.es/wp-content/uploads/2009/01/3-sinfonia-en-represto.mp3][audio:http://blog.trito.es/wp-content/uploads/2009/01/4-sinfonia-en-remolto-allegro-e-vivace.mp3]
Los gnomos de la Alhambra was premiered in 1891 by the orchestra of the concert society. This work was followed by La marcha de recepción in 1895.
The quartets were written between 1893 and 1897 in the keys of G mayor, F mayor, D mayor and B minor. At the time, a female string quartet, La Bretoniana, was devoted to popularising the chamber music of both Chapí and Bretón, a contemporary of Chapí. The public enjoyed comparing the productions of the two composers and taking sides with one or the other.
Some examples of Ruperto Chapí’s music can be heard in recordings made by the Orquestra de la Academia del Gran Teatro del Liceu in Barcelona. A clear and concise performance accompanied by essential liner notes in Catalan, Spanish and English.
Modern-day repercussions
Owing to a dispute over copyrights with the publisher Florencio Fiscowich (the publishers acted as middlemen between the theatres and the composers at that time), Chapí founded the Sociedad de Autores in 1899 together with other composers and librettists. Fiscowich’s aim was to have control of all the zarzuela librettos and scores and he did all in his power to achieve this goal. The composer’s flat refusal to cooperate prevented the editor from carrying out his business plan. It was then that Chapí decided it was necessary to set up an organisation that regulated composers and authors’ copyrights and he contributed his own personal store of works to put the idea into practice.
For those who are interested in learning more about the life and work of Ruperto Chapí, Luis G. Iberni has completed a detailed, basic analytical study of his figure. Another less disseminated work, but not for this reason any less interesting, is Miradas desde el Arte a la Música de Ruperto Chapí, the catalogue of the exposition held in homage to the composer in October 2008.
To mark the occasion of the centenary of the death of Ruperto Chapí, one of the most important composers in the ambit of Spanish music for the stage, several homages are being organised.
At last, the previously unpublished scores of some of the composer’s works that have been performed and included in recordings will see the light of day. As well as the recently published Scherzo, Fantasía Morisca, Polaca de Concierto, Marcha e himno de la hija de Jefte and Escenas de capa y espada and Música clásica (score and reduction) will be published. For the time being some other stage works and zarzuela reductions that performers would like to see available will remain in the pipeline.
The new recordings include live performances of El rey que rabió and Roger de Flor, on DVD and CD respectively. A CD of vocal and instrumental works recorded by the Ensamble de Madrid and a box set containing historic recordings of complete versions of zarzuelas by Chapí will also be released.
Lastly, there will be an itinerant exhibition dealing with the life and work of Chapí, which will visit Villena and Valencia among other places. The exhibition counts on musicological assessment by Javier Suarez Pajares and Victor Sanchez Sanchez.
Works
Year | Work | Genre | Libretto |
---|---|---|---|
1863 | Estrella del bosque. | Zarzuela | - |
1868 | Doble engaño. | Zarzuela | - |
1871 | Abel y Caín. | Zarzuela | Salvador María Granés |
1872 | Vasco Núñez de Balboa. | Zarzuela | Marcos Zapata |
1874 | Las naves de Cortés. | Ópera | Antonio Arnao |
1876 | Motet a seis voces. | Música religiosa | - |
1876 | Trío, para violín, cello y piano. | Música religiosa | - |
1876 | Escenas de capa y espada, poema sinfónico. | Música de cámara (trio) | - |
1876 | La muerte de Garcilaso. | Ópera | Antonio Arnao |
1878 | La hija de Jefté. | Ópera | Antonio Arnao |
1878 | Roger de Flor. | Ópera (3 actos) | Mariano Capdepón |
1879 | Fantasia Morisca [A Granada (Andante cantabile) - Meditación (Moderato) - Serenata (Alegro moderato) - Final (Moderato)]. | Orquestal | - |
1879 | Polaca de Concierto. | Orquestal | - |
1880 | Sinfonía en Re menor. | Orquestal | - |
1880 | Los Ángeles, oratorio. | Música religiosa (oratorio) | - |
1880 | Música clásica. | Zarzuela (1 acto) | José Estremera |
1880 | La calandria. | Zarzuela (1 acto) | Miguel Ramos Carrión y Vital Aza |
1880 | Adiós Madrid. | Zarzuela | - |
1880 | Madrid y sus afueras. | Zarzuela | - |
1881 | La serenata. | Ópera (1 acto) | José Estremera) |
1881 | La Serenata. | Opereta (1 acto) | José Estremera |
1881 | Las Dos huérfanas. | Zarzuela (3 actos) | Mariano Pina Domínguez |
1881 | La calle de Carretas. | Zarzuela | - |
1881 | Hijo de la Nieve. | Zarzuela | - |
1881 | Nada entre dos platos. | Zarzuela (1 acto) | José Estremera |
1882 | La tempestad. | Zarzuela (3 actos) | Miguel Ramos Carrión |
1884 | El milagro de la Virgen. | Zarzuela (3 actos) | Mariano Pina Domínguez |
1884 | La Flor de Lis. | Zarzuela (1 acto) | José Estremera |
1885 | Término medio. | Zarzuela (1 acto) | Ramón de Marsal |
1885 | El Guerrillero (en colaboración con Manuel Fernández Caballero y Pascual Emilio Arrieta y Corera). | Zarzuela | - |
1885 | El País del abanico. | Zarzuela (1 acto) | Francisco Serrano de la Pedrosa |
1885 | Los Quintos de mi pueblo. | Zarzuela | - |
1885 | Ya pican. | Zarzuela (1 acto) | Enrique Prieto |
1886 | El Domingo gordo o Las tres damas curiosas. | Zarzuela | Ricardo de la Vega |
1887 | El Figón de las desdichas. | Zarzuela | Adolfo Llanos Alcaraz |
1887 | Juan Matías el Barbero. | Zarzuela | - |
1887 | Los Lobos marinos. | Zarzuela (1 acto) | Miguel Ramos Carrión y Vital Aza |
1887 | La bruja. (partitura) | Zarzuela (3 actos) | Miguel Ramos Carrión y Vital Aza |
1887 | El Fantasma de los aires. | Zarzuela (2 actos) | Enrique Prieto |
1888 | Ortografía. | Zarzuela (1 acto) | Carlos Arniches y Gonzalo Cantó |
1889 | La Flor del trigo. | Zarzuela (1 acto) | José Estremera |
1889 | Las hijas del Zebedeo. | Zarzuela (2 actos) | José Estremera |
1889 | El cocodrilo. | Zarzuela | según Fjodor Michajlovitsj Dostojevski |
1889 | A casarse tocan o La misa á grande orquesta. | Zarzuela (1 acto) | Ricardo de la Vega |
1889 | El País de los insectos. | Zarzuela (1 acto) | Enrique Fernández Campano |
1890 | Los alojados. | Zarzuela (1 acto) | Emilio Sánchez Pastor |
1890 | La leyenda del monje. | Zarzuela (1 acto) | Carlos Arniches y Gonzalo Cantó |
1890 | Las Doce y media y sereno. | Zarzuela (1 acto) | Fernando Manzano |
1890 | Las Tentaciones de San Antonio. | Zarzuela (3 actos) | Enrique Prieto |
1890 | Nocturno. | Zarzuela (1 acto) | Enrique Fernández Campano |
1890 | Los Nuestros. | Zarzuela (1 acto) | José Estremera |
1890 | Pan de flor. | Zarzuela (1 acto) | Ricardo Monasterio y Celso Lucio |
1890 | Todo por ella. | Zarzuela | - |
1890 | Para hombres solos. | Zarzuela (1 acto) | Enrique Fernández Campano |
1891 | Los Gnomos de la Alhambra [La ronda de los gnomos (Alegretto) - Conjuro. Séquito de Titania y Oberón (Andante maestoso) - La Fiesta de los espíritus. La Aurora (Alegro molto vivace)]. | Orquestal | - |
1891 | El rey que rabió. | Zarzuela (3 actos) | Miguel Ramos Carrión y Vital Aza |
1891 | El Mismo demonio. | Zarzuela (2 actos) | Fernando Manzano |
1892 | El Organista. | Zarzuela (1 acto) | José Estremera |
1892 | Los Calaveras. | Zarzuela | - |
1892 | Las Campanadas. | Zarzuela (1 acto) | Carlos Arniches y Gonzalo Cantó |
1892 | La Czarina. | Zarzuela (1 acto) | José Estremera |
1892 | La raposa. | Zarzuela (1 acto) | Ricardo Monasterio |
1893 | Los Mostenses. | Zarzuela (3 actos) | Gonzalo Cantó, Carlos Arniches y Celso Lucio |
1893 | Vía libre. | Zarzuela (3 actos) | Carlos Arniches y Celso Lucio |
1893 | El Reclamo. | Zarzuela (1 acto) | Carlos Arniches y Celso Lucio |
1894 | El tambor de granaderos. | Zarzuela (1 acto) | Emilio Sánchez Pastor |
1894 | El Duque de Gandia (en colaboración con Antonio Llanos). | Zarzuela (3 actos) | Joaquín Dicenta |
1894 | El Moro Muza. | Zarzuela (1 acto) | Federico Jaques |
1895 | Mujer y reina. | Zarzuela (3 actos) | Mariano Pina Domínguez |
1895 | El Cura del regimiento. | Zarzuela (1 acto) | Emilio Sánchez Pastor |
1895 | El Señor corregidor. | Zarzuela (1 acto) | Fiacro Yrayzoz |
1896 | Las bravías sobre («La fierecilla domada» de William Shakespeare). | Zarzuela (1 acto) | José López Silva y Carlos Fernández Shaw, gebaseerd op het blijspeel |
1896 | El bajo de arriba. | Zarzuela (1 acto) | Emilio Sánchez Pastor |
1896 | Los Golfos. | Zarzuela | Emilio Sánchez Pastor |
1896 | Los Guerrilleros. | Zarzuela (1 acto) | Enrique Prieto |
1896 | Las Peluconas. | Zarzuela | - |
1896 | Viva el Rey. | Zarzuela (1 acto) | Emilio Sánchez Pastor y Robert Planquette |
1896 | El cortejo de la Irene. | Zarzuela (1 acto) | Carlos Fernández Shaw |
1897 | La Revoltosa. (sainete lírico en un acto y tres cuadros)(partitura general, reducción) | Zarzuela (1 acto) | José López Silva y Carlos Fernández Shaw |
1897 | Los Charlatanes. | Zarzuela (1 acto) | Federico Castellón |
1897 | La Niña del estanquero. | Zarzuela (1 acto) | Tomas Luceño |
1897 | El Sí natural. | Zarzuela (1 acto) | José Jackson Veyán |
1897 | La piel del diablo. | Opereta (1 acto) | Federico Jaques |
1898 | Los hijos del batallón. | Zarzuela (3 actos) | Carlos Fernández Shaw |
1898 | Pepe Gallardo. | Zarzuela (1 acto) | Miguel de Palacios |
1898 | La Chavala. | Zarzuela (1 acto) | José López Silva y Carlos Fernández Shaw |
1898 | Pedro Antonio de Alarcón). | Zarzuela (3 actos) | Joaquín Dicenta y Antonio Paso |
1898 | El Beso de la duquesa. | Zarzuela (1 acto) | Sinesio Delgado |
1898 | El Hijo del batallón. | Zarzuela (3 actos) | Carlos Fernández Shaw |
1899 | La cara de Dios. | Zarzuela (3 actos) | Carlos Arniches |
1899 | El Baile del casino. | Zarzuela | - |
1899 | Los Buenos mozos. | Zarzuela (1 acto) | José López Silva y Carlos Fernández Shaw |
1899 | El Fonógrafo ambulante. | Zarzuela (1 acto) | Juan González |
1899 | Señá Frasquita. | Zarzuela (1 acto) | Guillermo Perrín y Miguel de Palacios |
1900 | La cortijera. | Zarzuela (3 actos) | Joaquín Dicenta y Antonio Paso |
1900 | Al galope de los siglos. | Zarzuela (1 acto) | Sinesio Delgado |
1900 | El barquillero. | Zarzuela (1 acto) | José López Silva y José Jackson Veyán |
1900 | Aprieta constipado (en colaboración con Arturo Saco del Valle). | Zarzuela (1 acto) | |
1900 | El Gatito negro. | Zarzuela (1 acto) | José López Silva y Carlos Fernández Shaw |
1900 | María de los Ángeles. | Zarzuela (1 acto) | Carlos Arniches y Celso Lucio |
1900 | El Estreno. | Zarzuela (1 acto) | Serafín Álvarez Quintero y Joaquín Álvarez Quintero |
1901 | Quo Vadis. | Zarzuela (1 acto) | Sinesio Delgado |
1901 | Blasones y talegas. | Zarzuela (2 actos) | Eusebio Sierra gebaseerd op een novel van José María de Pereda |
1902 | El puñao de rosas. | Zarzuela (1 acto) | Carlos Arniches y Ramón Asensio Mas |
1902 | Don Juan de Austria. | Zarzuela (3 actos) | José Jurado de la Parra y Carlos Servet y Fortuny |
1902 | La venta de Don Quijote. | Zarzuela (1 acto) | Carlos Fernández Shaw |
1902 | Abanicos y panderetas o ¡A Sevilla en el botijo!. | Zarzuela (3 actos) | Serafín Álvarez Quintero y Joaquín Álvarez Quintero |
1902 | El Sombreo de plumas. | Zarzuela (1 acto) | Miguel Echegaray |
1902 | El Tío Juan (en colaboración con Enrique Morera). | Zarzuela | - |
1902 | Cuadros vivos. | Zarzuela (1 acto) | Guillermo Perrín y Miguel de Palacios |
1902 | Circe. | Ópera (3 actos) | Miguel Ramos Carrión |
1903 | La Chica del maestro. | Zarzuela (1 acto) | José López Silva y José Jacson Veyán |
1903 | La Cruz del abuelo. | Zarzuela | - |
1903 | El rey mago. | Zarzuela (1 acto) | Sinesio Delgado |
1903 | Man'zelle Margot (en colaboración con Joaquín "Quinito" Valverde). | Zarzuela | - |
1903 | Cuarteto de cuerda nº 1, en Sol mayor. | Música de cámara (cuarteto) | - |
1904 | Cuarteto de cuerda nº 2, en Fa mayor. | Música de cámara (cuarteto) | - |
1904 | Juan Francisco. | Zarzuela (3 actos) | Joaquín Dicenta |
1904 | La Cuna. | Zarzuela (1 acto) | Guillermo Perrín |
1904 | La Polka de los pájaros. | Zarzuela | - |
1904 | La Puñalada. | Zarzuela (prólogo y 4 escenas) | Carlos Fernández Shaw |
1904 | La Tragedia de Pierrot. | Zarzuela (1 acto) | Ramón Asensio Más y José Juan Cadenas |
1905 | Guardia de honor. | Zarzuela (1 acto) | Eugenio Sellés |
1905 | La sobresalienta. | Zarzuela (1 acto) | Jacinto Benavente |
1905 | ¡Angelitos al cielo!. | Zarzuela (1 acto) | Alberto Casañal Shakery |
1905 | Las Calabazas. | Zarzuela | Antonio Ramos Martín |
1905 | El Cisne de Lohengrin. | Zarzuela (1 acto) | Miguel Echegaray |
1905 | Miss Full. | Zarzuela (1 acto) | Antonio Viérgol |
1905 | La leyenda dorada. | Zarzuela (1 acto) | Sinesio Delgado |
1905 | La Peseta enferma. | Zarzuela (1 acto) | Fernando Pontes |
1905 | La Reina. | Zarzuela (1 acto) | Guillermo Perrín y Miguel de Palacios |
1905 | El Seductor. | Zarzuela (1 acto) | Antonio Domínguez |
1905 | Cuarteto de cuerda nº 3, en Re mayor. | Música de cámara (cuarteto) | - |
1905 | "El amor en solfa" segunda parte de "El Amor en el Teatro", capricho literario, 4 scenes y prolog (en colaboración con José Serrano Simeón. | Ópera | Serafín Álvarez Quintero y Joaquín Álvarez Quintero |
1906 | La pesadilla. | Opereta (1 acto) | Luciano Boada y Manuel de Castro Tiedra |
1906 | El alma del pueblo. | Zarzuela (1 acto) | José López Silva y Carlos Fernández Shaw |
1906 | El triunfo de Venus. | Zarzuela (1 acto) | Pedro Muñoz Seca y Carlos Fernández Shaw |
1906 | Los Contrahechos. | Zarzuela (1 acto) | Antonio M. Viérgol |
1906 | El Maldito dinero. | Zarzuela (1 acto) | Carlos Arniches y Carlos Fernández Shaw |
1906 | El Rey del petróleo. | Zarzuela (1 acto) | Guillermo Perrín y Miguel de Palacios |
1906 | La Fragua de Vulcano. | Zarzuela (1 acto) | Manuel Linares Rivas |
1907 | La patria chica. | Zarzuela (1 acto) | Serafín Álvarez Quintero y Joaquín Álvarez Quintero |
1907 | Los bárbaros del Norte (en colaboración con Joaquín Valverde Durán y Joaquín "Quinito" Valverde (hijo). | Zarzuela (1 acto) | Sinesio Delgado |
1907 | Ninón. | Zarzuela (1 acto) | Manuel Fernández de la Puente y Carlos Allen-Perkins |
1907 | La Puerta del Sol. | Zarzuela (1 acto) | Celso Lucio y Manuel Fernández Palomero |
1907 | Los Veteranos. | Zarzuela (1 acto) | Manuel de Labra |
1907 | El príncipe Kuroki. | Zarzuela (1 acto) | Fernando Gillis |
1907 | Cuarteto de cuerda nº 4, en Si bemol menor. | Música de cámara (cuarteto) | - |
1908 | La eterna revista (en colaboración con Jerónimo Giménez y Bellido. | Zarzuela (1 acto) | Ramón Asensio Mas y Jacinto Capella |
1908 | Aquí hase farta un hombre. | Zarzuela (1 acto) | José de la Cueva |
1908 | La Carabina de Ambrosio. | Zarzuela | Vicente Castro Les |
1908 | La Dama roja. | Zarzuela (1 acto) | Antonio Sotillo |
1908 | El Diablo con faldas. | Zarzuela (1 acto) | Sinesio Delgado |
1908 | Las Mil maravillas. | Zarzuela (4 actos y prologo) | Serafín Álvarez Quintero y Joaquín Álvarez Quintero |
1908 | El Merendero de la alegría o Sábado blanco. | Zarzuela | Antonio Casero y Alejandro Larrubiera |
1908 | Entre rocas. | Zarzuela (1 acto) | Joaquín Dicenta |
1909 | Donde hay faldas hay jaleo. | Zarzuela | Alejandro Larrubiera y Crespo |
1909 | El Pino del norte. | Zarzuela (1 acto) | Vicente Casanova |
1909 | Los majos de plante. | Zarzuela (1 acto) | Joaquín Dicenta y Pedro de Répide |
1909 | Margarita la Tornera (basada en la leyenda de José Zorrilla). | Ópera (3 actos) | Carlos Fernández Shaw |
- | Clavito. | Zarzuela (1 acto) | Manuel Linares Rivas |
- | Diversiones infantiles (en colaboración con Tomás Bretón Hernández, Jerónimo Giménez y Bellido). | Zarzuela | Antonio R. López del Arco |
- | El duo de la africana. | Zarzuela | Manuel Fernández Caballero |
- | La joroba. | Zarzuela (1 acto) | Miguel Ramos Carrión y Antonio Ramos Martín |
- | La magia de la vida. | Zarzuela (1 acto) | Manuel Linares Rivas |
- | Carceleras de «Las Hijas del Zebedeo» | Música orquestal (banda) | - |
- | Fantasia «La Revoltosa»" | Música orquestal (banda) | - |
- | Preludio «El tambor de Granaderos». | Música orquestal (banda) | - |
- | Preludio e Selección «La bruja». | Música orquestal (banda) | - |
- | Fantasia «El Rey que rabió». | Música orquestal (banda) | - |
- | Fantasia «La corte de Granada». | Música orquestal (banda) | - |
- | Seleccion de «La corte de Granada» [1. Introducción y marcha al torneo. - 2. Meditación. - 3. Serenata. - 4. Final]. | Música orquestal (banda) | - |
- | Selección de «La Patria Chica». | Música orquestal (banda) | - |