Description
The popular instrument known as organillo in the Spanish music street has been tightly linked with the imaginary of the “old Madrid” music by the end of the 19th century. The same repertoire performed in theatres and balls was played afterwards on squares and streets of the capital using these gadgets. Particularly noteworthy was its relation with a specific type of theatre, a kind of short plays called género chico, whose attachment is stronger due to the intrinsic properties of the music, plots and the popularization of this busking practice, all this despite the fact that organillos existed previously and were linked in the first moments with Italian busking musicians. Even though it is common to think about organ grinders such a specific type of street music players, fully attached to the aesthetic of Madrilenian popular sonic identity, it was another cultural fashion imported from Europe that proves again the connection with other capitals.
While scholarly attention to organillos and busking music has primarily focused on other European and American cities, a reevaluation of Late 19th century press and theatrical productions reveals the organillo’s prominence in Madrid’s cultural landscape. The instrument featured prominently in local playwrights’ works, showcasing a repertoire centered on traditional urban dances, opera arias, and zarzuela romanzas that captivated audiences with huge success. Likewise, organ grinders have served a crucial democratizing role too, by disseminating widely recognized melodies, prevalent in esteemed theatres, onto the streets. However, its omnipresence was not without controversy, as its incessant presence often perturbed residents, prompting regulatory measures from authorities aimed at curtailing its performances.
This study aims to show the relevance of the organillo in the open-air scenarios outside the theatres, paying attention to the correlation between both, in terms to check the popularity of the music repertoire. Moreover, it underscores the pivotal role played by organ grinders in disseminating internationally acclaimed musical themes to pedestrians and neighbors, subsequently influencing the creation of new theatrical one-act popular works written by local authors. Ultimately, this work aims to shed light on the multifaceted factors contributing to the organillo's elevation as a prominent musical symbol of Late 19th century Madrid, transcending its negative associations to underscore its integral role in the city's cultural tapestry.
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