121
Vernon A. Chamberlín, Galdós and Beetboven: Fortunata y Jacinta, A Sympbonic Novel (London: Támesis, 1977), p. 14.
122
Benito Pérez Galdós, «Tristana», Obras completas, 3.ª ed. (Madrid: Aguilar, 1961), Vol. 5, p. 1597. All subsequent citations are from this edition and will be noted in the text.
123
This occurs as Galdós is making his initial description of the title protagonist. (I am indebted to Robert Dash for calling this MS. page to my attention, and to the Casa-Museo Pérez Galdós for supplying me with a photocopy.)
124
Alex Aronson, Music and the Novel: A Study in Twentieth-Century Fiction (Totowa, New jersey: Rowman and Littlefield, 1980), p. 66; and Cluck, pp. 153-224.
125
Leonard G. Ratner, Music: The Listener's Art, 2nd ed. (New York: McGraw-Hill, 1966), p. 238.
126
For the importance of painting, acting, and Concha-Ruth Morell's desire for a career in her relationship to Galdós, see Gilbert Smith, «Galdós, Tristana and Letters from Concha-Ruth Morell», Anales Galdosianos, 10 (1975), 91-120.
127
I am indebted to Anthony Burgess, author of the novel Napoleon Symphony, for confirmation of this opinion (personal interview, 2 Nov. 1975, and lecture to my class, 19 Oct. 1977).
128
It has already been shown elsewhere that Galdós was more interested in the overall function of the recapitulation section and its impact on the reader than in any tour de force, proving that he was capable of following a detailed musical pattern in precise chronological order. And this is also true in Tristana, where Galdós, in his recapitulation section, mixes echoes from his exposition and development sections whenever appropriate for the desired aesthetic and emotional effect (Chamberlin, p. 40).
129
Cf. pp. 1551-52.
130
Cf. pp. 1549, 1569.