fandango

The title of this article is ambiguous. Further meanings are listed under Fandango (disambiguation) .

Un fandango . Painting by Casimiro Castro and J. Campillo, Mexico. 19th century

The fandango is a Spanish singing dance that is believed to have originated in America.

history

overview

The fandango was extremely popular in Spain in the 18th century:

“Lo bailaba el pueblo, la bailaron los gitanos, lo bailaron las clases altas, y, ¡cómo no !, lo bailaron los cómicos y los boleros en las academias de baile y en los teatros.”

“The people danced it, the gitanos danced it, the upper class danced it, and of course! - the comedians and the bolero danced it in the dance academies and theaters. "

- José Luis Navarro García

In the 19th century, the fandango in Andalusia developed into a form of flamenco , one of its palos , which in turn can be divided into three subgroups. On the other hand, the fandango popular remained stuck with the classical major-minor tonality and the classical tied three-part rhythms.

In the first half of the 20th century, the Ópera Flamenca promoted a surge in popularity for fandango, which, however, is viewed critically by advocates of "pure" flamenco. Today the fandango has its firm place in the canon of the palos of flamenco.

The origins

The word Fandanguero has been recorded in Jerez de la Frontera since 1464 . It denoted slaves who performed dances and nocturnal commotion. However, the term fandango for a dance probably did not appear until the last third of the 17th century. The first written mentions can be found in plays; possibly the oldest of them in the short piece El alcalde nuevo from 1680. In it the mayor plays a fandango on the guitar.

The origin is unclear. The oldest musical source from 1705 describes it as an "Indian" dance. The Diccionario de Autoridades of 1737 also names the Spanish possessions in America as the region of origin. Étienne-François de Lantier wrote in his Spanish travelogue that he had heard from some that the dance came from Havana . In 1774, the British officer W. Dalrymple described it in his travelogue as a lascivious dance to be danced after a comedy act. He comes from the West Indies . One line later, however, he suspects West Africa as the region of origin: in Morocco he saw black soldiers of the emperor there dance very similarly; with castanets in his hands. In 1782 Fray Íñigo Abbad y Lasierra referred to it as the dance of the blacks in Puerto Rico. The French Moreau de Saint-Méry compared it in 1789 to a dance called La Chica and said that the fandango was basically the same, just a little more developed.

Geographically, in the 17th century, fandango spread across the entire Iberian Peninsula , including Portugal and Galicia, and the Balearic Islands .

The fandango in the 18th century

Most descriptions from that time portray him as extremely lewd. This is how the dean Martín described it in 1712 in a much-read text as a couple dance between man and woman:

“Los cuerpos se mueven al son de las cadencias de la musica, con todas las excitaciones de la pasión, con movimientos en extremos voluptuosos, taconeos, miradas, saltos, todas las figuras rebosantes de lascivas intenciones.”

"The bodies move to the sound of the cadences of the music, with all passionate excitement, in extremely voluptuous movements, with stamping feet, looking, jumping, with all figures brimming with lascivious intentions."

- Padre Martín, deán de Alicante

Pedro Augustín Caron called it an obscene dance in a letter to the Duc de la Valliere in 1764. An anonymous pamphlet from 1765 on the political and moral state of Spain calls his movements "very lascivious and unseemly"; Gustavo Felipe Creutz wrote in the same way in the same year.

Lantier described the dance in the above-mentioned travelogue as follows: “The dancers immediately go out into the street, some with castanets, others snapping their fingers to imitate the sound; Above all, the women exude devotion, ease, flexibility in their movements and desire; they take up the rhythm mindfully, hit the ground with their feet; the two dancers approach each other, flee from each other, pursue each other (...) The lovers seem to embrace each other immediately; but suddenly the music stops and the art of the dancer demands to remain immobile. However, when the fandango resumes it comes back to life. Finally, the guitar, the violins, the stomping of the feet, the clatter of the castanets and the snapping of the fingers, the lively and sensual movements of the dancers, the screams, the applause of the audience, fill the gathering with drunkenness, with joy, with the ecstasy of pleasure . "

Fandango was also popular in the theater throughout the 18th century. Richard Twiss wrote in a travelogue from 1772 about a theater performance in Cádiz . The actors were moderate; the interludes with fandangos and tonadillas are entertaining. Fandango's reputation spread beyond the borders of Spain. When the Comte de Artois was on a diplomatic mission in Madrid in 1782, he was asked which festivities he would like to attend. He replied that he would like to see a fandango dance performance. Towards the end of the century, fandango also influenced French dance music, as shown, for example, in the minué afandangdo , which Juliana Romero and Manuel Barcia interpreted in 1800. At the same time, it developed into a dance with “principles and fixed rules”, as Antonio de Iza Zamácola (1756–1826, known as “Don Preciso”) wrote in 1799, who otherwise viewed flamenco performance practice very critically.

19th century

Pierre Chasselat : Fandango , 1810

Nevertheless, the fandango retained a sensual charisma, as can be seen from a letter from the Russian Wassily Botkin from 1845: “The Andalusian dances are not danced with the feet, but with the body. What magic lies in the sensual curves of your waists! You don't just need a flexible waist to dance (...); Andalusian dances require inspiration and lavish passion. (...) The Fandango's melody is monotonous and uniform, it dies in a sad sigh, while the dance is lively and overwhelming. "

Its popularity also continued. The Reverend Frederick Meyrick described how at the end of 1850 a group of young people played and danced on the beach to fandango; it was a delicious spectacle. In his burlesque , Juan Ignacio González del Castillo took up fandango several times as a theme. Wassily Botkin described fandango dances in the streets of Madrid, Toledo , Triana , Alhama de Granada and Málaga.

The seductive fandango, el fandango saleroso , as Bretón de los Herreros called it, changed over time to a pure folklore dance, which has been particularly preserved in Huelva and the mountains around Málaga. Other directions that were once highly popular, such as the Fandango de Cádiz in particular , have surprisingly been forgotten.

The flamenco version of fandango developed in Andalusia in the last third of the century in the ambience of the cafes cantantes , where flamenco enthusiasts met to listen to flamenco. At the time when practically all genres of flamenco were flourishing, singers used the chorus and verse to create a vocal line based on their own inspiration. The result was a rich bouquet of variations.

Development from 1900

In the 1920s, flamenco began to be commercialized in the form of Óperas Flamencas - large flamenco shows in bullring or other large venues; with orchestral music instead of a small group of musicians, profaning the texts at the expense of deeply felt, intellectual poetry in the stanzas. More catchy forms such as fandango, alegrías, and bulerías fit better into these entertainment events than the chants of the solemn palos, seguiriya, or soleá .

The fandango became the main attraction of these shows - and degenerated as a result, as some fans of flamenco puro judged, for example in 1960 Ricardo Molina : “The fandango was hideous in two ways: in the text and in the music. (…) Currently the most vulgar and stupid texts are those of the fandangos, (…) lawsuits, dagger stabs, love betrayals, abandoned children and all incidents of melodramatic horror stories. ”Not everyone shares this opinion. Pedro Camacho wrote that the popularity of fandango has by no means resulted in its decadence. The classical chants were ritually frozen; Whenever something like this happens in art, a change of environment or subject is necessary.

Well-known Fandango singers at that time were Manuel Vallejo and Jesús Personanz , who later fled to America as a result of the Spanish Civil War . A few years later, Juanito Mojama , who excelled in both palos and a few others , proved that an artist can master both "lighter" forms such as fandango and deeply emotional chants such as seguiriya . Later singers such as La Niña de La Puebla and Niño de Badajoz shone in the fandango, maintaining and developing his artistic level. As a particularly outstanding artist, Ángel Álvarez Caballero highlights La Paquera de Jerez : Her fandango is of incomparable sovereignty and roundness like no other singer; "A bare scream, without concessions". Álvarez Caballero highlights Mayte Martín , born in 1967, as a contemporary Fandango singer .

In 2010, the Fandango de Huelva was classified as a national treasure of Spain.

features

The contemporary Andalusian fandangos, whether folk or flamenco, have a characteristic harmonious basic structure. The lyrics are sung in major ; The following major chords follow in the chorus:

I - IV - I - V - I - IV

The following major cadence on II leads to the Andalusian cadenza .

While the folk and classical fandangos the ³ / ₄ subject -Stroke, most fandangos in flamenco are not bound to a solid rhythm. The musicians have the freedom and the task of finding a suitable rhythmic interpretation according to their feelings. Among the fandangos a compás , with a fixed rhythm, the numerous variants from Huelva, Almería and Lucena stand out, as well as those from Granada and Málaga as well as the fandangos verdiales , which are presented at the traditional Verdiales festival. Those from Huelva originated mainly among the inhabitants of the mining region in the Sierra del Andévalo , where gold, iron and copper were mined.

The song stanzas usually consist of four or five eight-syllable verses. One or two of these are repeated to form a six-line melodic structure. Some fandangos, especially those from Huelva, tend to start with a word taken from the first verse. This is how they set the thematic context for the stanza. Melodic instrumental variations are common between the stanzas.

reception

Among the many fandangos composed in the 18th century (around 1732 by Santiago de Murcia ) are known the final movement in Luigi Boccherini's guitar quintet No. 4 in G major and the fandango in D minor by Domenico Scarlatti . Outside Spain, the fandango was used to create Spanish colors . One example is Christoph Willibald Gluck with his fandango in the ballet Don Juan . Wolfgang Amadeus Mozart took up the theme for the finale in the third act of the opera Le nozze di Figaro . In contemporary music, one should mention Hans Werner Henze and Cristóbal Halffter , both of whom worked on the Fandango in D minor by the Spanish composer Antonio Soler .

In literature, the fandango is mentioned by Casanova , among others , who got to know this dance on his trip to Spain in 1767. He called it the “most seductive and voluptuous dance in the world”. In Goethe's novel Wilhelm Meister's Apprenticeship , the figure Mignon dances her artistic “ egg dance ” to a fandango. Gustave Doré took up the theme with the drawing Ambaro dances Fandango in his series Voyage en Espagne .

Web links

Commons : Fandango  - collection of images, videos and audio files

Wiktionary: Fandango  - explanations of meanings, word origins, synonyms, translations

Remarks

1. ^ Franz Ludwig Schubert: The dance music presented in its historical development together with a number of dances from old and new times . 1867, p. 31 ( limited preview in Google Book search). - digitized .
2. ↑ ^{a b c} José Luis Navarro García: Historia del Baile Flamenco . Volume I. Signatura Ediciones de Andalucía, Sevilla 2010, ISBN 978-84-96210-70-7 , p. 113 .
3. ↑ Wolfgang Gerhard: Flamenco Technique 2. In: Guitar & Laute 2, 1980, 2, pp. 46-48
4. ↑ ^{a b c d e f} Miguel Ortiz: Fandango. In: flamencoviejo.com. March 16, 2010, accessed January 11, 2016 (Spanish). 
5. ↑ «escandalos»
6. ↑ Pons Online , accessed on January 11, 2016, gives u. a. easy-going person as a translation for Fandanguero
7. ↑ ^{a b} José Luis Navarro García: Historia del Baile Flamenco . Volume I, S. 119 .
8. ↑ «los reinos de Indias»
9. ^ ^{A b} Etienne-François de Lantier: Voyage en Espagne du chevalier Saint-Gervais, officier français , 1809; Quotes from José Luis Navarro García: Historia del Baile Flamenco
10. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume I, S. 114 .
11. ↑ ^{a b} José Luis Navarro García: Historia del Baile Flamenco . Volume I, S. 115 .
12. ↑ Ángel Álvarez Caballero: El cante flamenco . Alianza Editorial, Madrid 2004, ISBN 978-84-206-4325-0 , p. 77 .
13. ↑ ^{a b} Antonia Aux. Bustos Rodriguez: Divertimientos en el siglo de oro en epañol. (PDF) 2009, p. 41 , accessed on January 12, 2016 (Spanish). 
14. ^ Estado político, histórico y moral del reino de España
15. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume I, S. 117 .
16. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume I, S. 120 .
17. ↑ ^{a b} José Luis Navarro García: Historia del Baile Flamenco . Volume I, S. 121 .
18. ↑ Kersten Knipp: Flamenco. Frankfurt am Main 2006, p. 26
19. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume I, S. 118 .
20. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume I, S. 123 .
21. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume I, S. 124 .
22. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 231 .
23. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 232 .
24. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 230-231 .
25. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 234 .
26. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 244 .
27. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 298 .
28. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 314 .
29. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 324 .
30. ↑ la paquera de jerez fandangos de gloria. (Audio sample) In: YouTube. November 15, 2012, accessed January 13, 2016 (Spanish). 
31. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 356 .
32. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 374 .
33. ↑ Eduardo J. Sugrañes: El fandango de Huelva, primer palo flamenco que será declarado BIC. In: Huelva Información. May 2, 2010, accessed January 13, 2016 (Spanish). 
34. ^ The Verdiales Music Festival of Málaga. In: andalucia.com. Retrieved January 13, 2016 . 
35. ↑ Jesús Fernando Lloret González: La forma musical de los verdiales y su antecedente: el fandango. In: filomusica.com. November 2007, Retrieved January 13, 2016 (Spanish). 
36. ^ Frank Koonce: The Baroque Guitar in Spain and the New World. Mel Bay Publications, Pacific, Mon. 2006, ISBN 978-078-667-525-8 , pp. 83 and 89-91.
37. ^ Luigi Boccherini: Boccherini-Quintetto n. 4 G 448. (Video) Fandango. In: YouTube . January 14, 2008, accessed on January 12, 2016 (Gagliano string quartet, guitar: Clara Campese, castanets: Raffaela Caianiello). 
38. ^ Luigi Boccherini: Boccherini - Fandango. (Video) arr. For symphony orch. In: YouTube. November 5, 2009, accessed January 12, 2016 (Madrid Symphony Orchestra and Ballet, conductor Rafael Frühbeck ). 
39. ^ Domenico Scarlatti: Domenico Scarlatti Fandango. (Audio sample) In: YouTube. June 3, 2012, accessed on January 13, 2016 (harpsichord: Rafael Puyana, instrument: Albrecht Hass, 1740). 
40. ^ Christoph Willibald Gluck: "Don Juan" by the company de danse baroque l'Eventail. (Video) In: YouTube. March 9, 2009, accessed on January 12, 2016 (Choreography: Marie-Geneviève Massé). 
41. ↑ Wolfgang Amadeus Mozart: Fandango from “The Marriage of Figaro”. (Video) In: YouTube. June 6, 2010, accessed January 12, 2016 (Westminster Winds, arrangement: Craig Levesque, flute: Kathy McClure, oboe: Melissa Bohl). 
42. ^ Antonio Soler: Fandango in D minor. (Audio sample) In: YouTube. July 8, 2009, accessed on April 18, 2019 (harpsichord: Andreas Staier). 
43. ^ Casanova: Complete edition of the memoir. Translated by Heinrich Conrad . Part 19: The Spanish Sinner. Goldmann, Munich [1969], p. 23.
44. ^ Johann Wolfgang Goethe: Wilhelm Meisters apprenticeship years. A novel. Edited by Hans-Jürgen Schings . In: All works according to the epochs of his work. Munich edition. Edited by Karl Richter. Volume 5, Hanser, Munich / Vienna 1988, p. 114 f. ( online ).