John Hay writes in "Castilian Days" (1871): "It (Madrid) has a superb opera house, which might as well be in Naples, for all the national character it has; the Court Theatre, where not a word of Castilian is ever heard, nor a strain of Spanish music.... The champagny strains of Offenbach are heard in every town of Spain oftener than the ballads of the country. In Madrid there are more _pilluelos_ who whistle _Bu qui s'avance_ than the Hymn of Riego. The Cancan has taken its place on the boards of every stage in the city, apparently to stay; and the exquisite jota and cachucha are giving way to the bestialities of the Casino Cadet." It is well to remember in this connection that the Metropolitan Opera House in New York and Covent Garden Theatre in London "might as well be in Naples" too, "for all the national character" they have. Our symphony orchestras, too, perform works by native composers as infrequently as those in Madrid. P. 75. To fill in the period between 1850-70 four names, inadvertently omitted from the original text of "Spain and Music," are necessary, those of Joaquín Gaztambide, Emilio Arrieta, Baltasar Saldoni, and Francisco A. Barbieri. Joaquín Gaztambide, born February 7, 1822, was a pupil of the Madrid Conservatory, and conductor of the "Pensions" concerts at the Conservatory. He was the composer of at least forty zarzuelas of which some of the titles follow: _La Cisterna Encantada_, _La Edad en la Boca_, _Matilda y Malek Adel_, _El Secreto de la Reina_, _Las Señas del Archiduque_, and _El Valle de Andorra_. He died March 18, 1870. Emilio Arrieta, born October 21, 1823, was a pupil of the Milan Conservatory from 1842 until 1845. Many of the best Spanish musicians have received their training outside of Spain. His first opera, _Ildegonda_, was produced at Milan. He returned to Spain in 1848. In 1857 he became a teacher of composition in the Madrid Conservatory and later became director of that institution. He died February 11, 1894. The extensive list of his zarzuelas and operas (there are about fifty altogether) includes the following titles: _La Conquista de Granada_, _La Dama del Rey_, _De Madrid à Biarritz_, _Los Enemigos Domesticos_, _La Tabernera de Londres_, _Un Viaje á Cochinchina_, and _La Vuelta del Corsario_. Francisco Asenjo Barbieri, born at Madrid, August 3, 1823, studied in the Conservatory there and after a varied career as member of a military band, a theatre orchestra, and an Italian opera troupe, became secretary and chief promoter of an association for instituting a Spanish national opera and encouraging the production of zarzuelas, in opposition to the Italian opera. _Gloria y Peluca_ (1850), _Jugar con Fuero_ (1851) were the first of these zarzuelas, of which he wrote seventy-five in all. He was also a teacher and a critic. He died in Madrid, February 19, 1894.