Cante jondo
The cante jondo ("deep singing") is one of the principal orientations of flamenco .
history
From 1870 onwards, flamenco spread beyond the framework of family celebrations and local festivals and found a wider public in the cantantes cafés . This was accompanied by an expansion and softening of the original vocal forms of the Gitano community. This popularization continued at the beginning of the 20th century, when the cafes cantantes gradually disappeared and flamenco found its way into variety theaters.
Lovers of the original forms, among them the composer Manuel de Falla , viewed this development as decadent. De Falla found an ally in the poet Federico García Lorca . Together they prepared a competition Concurso de cante jondo . García Lorca wrote a cycle of poems Poema del cante jondo in 1921 . The following poem is quoted as an example:
La guitarra
Empieza el llanto
de la guitarra.
Se rompen las copas
de la madrugada.
Empieza el llanto
de la guitarra.
It inútil callarla.
It imposible
callarla.
Llora monótona
como llora el agua
como llora el viento
sobra la nevada.
The guitar
The lament of
the guitar begins .
The glasses splinter
at dawn.
The lament of
the guitar begins .
Useless to silence them.
Impossible
to silence them.
She cries monotonously
like the water cries,
like the wind cries
over the snow.
The competition finally took place in June 1922 in Granada . Only amateurs were allowed. The jury, consisting of Antonio Chacón , La Niña de los Peines and Andrés Segovia , awarded Diego Bermúdez “el Tenazas” and the only thirteen year old Manolo Ortega, later known as Manolo Caracol , prizes.
Nevertheless, the competition could not prevent further popularization of flamenco - a development that culminated in the Ópera Flamenca from the mid-1920s . A return to the original cante jondo did not take place until the 1950s. It was reflected in another competition in Córdoba in 1956 .
Delimitation and characteristics
In contrast to the cante jondo, there is the rather cheerful cante chico ("little chant"). Mixed forms are called cante intermedio .
The themes of the cante jondo are solemn and melancholy and often tragic. Tonality and presentation, interspersed with melisms , indicate oriental and Moorish roots. García Lorca suspects the roots in the archaic music of India. Singer must have charisma and a strong physique in order to bring out the emotionality of the singing in the audience.
In his essay Arquitectura del cante jondo, Federico García Lorca named the Seguiriya as the “genuine and perfect” form of the cante jondo. He also named the Polos , the Martinetes , the Deblas and the Soleares . He also created his poem cycle Poema del cante jondo poems on Soleá , Saeta , Petenera , and a number of other song texts that he did not assign to any Palo . Many of the texts from his cycle are still performed by singers today. In the poetry of flamenco , however, there is an immense number of other poems on the cante jondo, both from older traditions and from García Lorca's posterity.
In addition to the forms already mentioned, the Carcelera and the Taranta as well as the miners' songs Cantes de las minas in general are also part of the Cante jondo. Above all, however, the toná , which is regarded as the original form of flamenco singing, belongs to the cante jondo.
According to García Lorca, the cante jondo influenced various musical styles and composers of the 19th and early 20th centuries, including Claude Debussy and the Russian School with Nikolai Rimsky-Korsakow and Michail Glinka . Among the Spanish composers, in addition to the aforementioned Manuel de Falla, Isaac Albéniz , Felip Pedrell , Adolfo Salazar , Roberto Gerhard , Frederic Mompou and Ángel Barrios should also be mentioned.
References and comments
- ↑ deep in the sense of profound, intimate, not in terms of pitch
- ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume I. Signatura Ediciones de Andalucía, Sevilla 2010, ISBN 978-84-96210-70-7 , p. 295 (Spanish).
- ↑ Ángel Álvarez Caballero: El cante flamenco . Alianza Editorial, Madrid 2004, ISBN 978-84-206-4325-0 , p. 94 (Spanish).
- ^ José Manuel Caballero Bonald , Colita : Luces y sombras del flamenco . Fundación Manuel Lara, Sevilla 2006, ISBN 978-84-96556-81-2 , p. 57 (Spanish).
- ^ A b Federico García Lorca: Romancero Gitano | Poema del cante jondo . In: Miguel García-Posada (ed.): Poesía completa . tape II . Penguin Random House Grupo Editorial, Barcelona 2017, ISBN 978-84-663-4078-6 (Spanish, e-book).
- ^ "Granada 1922 y el Concurso de Cante Jondo", en 'Documentos RNE'. In: RTVE . September 15, 2017, Retrieved February 23, 2020 (Spanish).
- ↑ José Ramón Ripoll: El Concurso de Cante Jondo de 1922. In: CVC. Rinconete. Música y escena. Instituto cervantes , February 8, 2018, accessed February 23, 2020 (Spanish).
- ^ Agustín Gómez: Los concursos de Córdoba (1956-2006) . Ed .: Ayuntamiento de Córdoba. Cordoba, S. 29 ff . (Spanish, online [PDF; 1.8 MB ; accessed on February 23, 2020]).
- ↑ Ana Ruiz: Vibrant Andalusia . Algora Publishing, New York 2007, ISBN 978-0-87586-541-6 , pp. 77 (English, google.de [accessed on February 23, 2020]).
- ↑ a b Ana Ruiz: Vibrant Andalusia . S. 75 .
- ^ A b Federico García Lorca: Romancero gitano | Poema del cante jondo . Section Arquitectura del cante jondo .
- ↑ Ana Ruiz: Vibrant Andalusia . S. 76 .
- ↑ Pedro Serna: Pregones del Festival Nacional del Cante de las minas (La Unión) . Universidad de Murcia, Murcia 1997, ISBN 84-7684-841-2 , pp. 91 (Spanish, google.de [accessed on February 23, 2020]).
- ^ José Manuel Caballero Bonald , Colita : Luces y sombras del flamenco . S. 167-169 .
- ^ Gerhard Steingress: About Flamenco and Flamenco customers. Selected Writings 1988-1998 . Li Verlag, Berlin 2006, ISBN 978-3-8258-9557-0 , pp. 264 ( google.de [accessed on February 24, 2020]).
- ↑ Miguel Ángel García: El cante jondo en la España de los años 20 and 30: música, poesía, política y pueblo . In: Revista de Letras . tape 54 , no. 2 . Universidade Estadual Paulista , São Paulo 2014, p. 109 , JSTOR : 26459920 (Spanish).