Garrotín

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The Garrotín is a Palo of Flamenco , that is, one of its musical and dance forms.

history

It is commonly said that the origins are in Asturias or León . There is a Passacaglia from Asturias called Garrotín. Music historians, however, doubt this thesis on origin and suspect local origins in Andalusia . Since there were several waves of immigration from Galicia and León in Andalusia , the two theories can possibly be reconciled: The immigrants brought the dances from their homeland with them, and these had an impact on local development in Andalusia.

It was originally a theater dance. José Otero ascribed the flamencised version to the dancer Faíco in his Tratado de bailes in 1912 . However, this is also controversial: Other sources include a dancer from Seville named Caetano or Cayetano as the author.

The Garrotín had its greatest popularity in the first decades of the 20th century. Well-known artists such as Amalia Molina , Niño Medina , Manuel Torre , La Niña de los Peines and Pastora Imperio took it into their repertoire and developed it. Carmen Amaya and Antonio Gades later upheld and refined its tradition. Guitarists like Rafael Riqueni composed virtuoso concert pieces for the Garrotín.

Musical character

The Garrotín is related to the tango flamenco . He heard in major and follows the 2 / 4 rhythm of the tango. In the guitar accompaniment, the rhythm is livelier and more varied than in the metrically presented singing. In contrast to other flamenco palos, the singing in the Garrotín is performed without melisms .

Verses

The stanzas of the Garrotín usually consist of four eight-syllable lines. For example, La Niña de los Peines sang:

A mí me dijo mi mare
que cantara yo y no llorara
que echara la pena a un lao,
ay, cuando de ti me acordara

My mother told me
to sing and not cry to
make the pain go away,
ay when I think of you.

Juan Virgillos gives the following example:

Que firmeza no tendría
el querer que use en ti,
que cuando tú me olvidaste
la muerte sentí venir.

Al garrotín, al garrotán,
a la vera, vera, vera de San Juan.

If it weren't so strong,
the love I have for you
so that when you forgot me,
I felt death come.

To the Garrotín, to the Garrotán,
on the edge of San Juan.

Such repetitive rhymes , as in the last example, are seldom used in flamenco and are characteristic of the Garrotín.

References and comments

  1. ↑ Garrotín. In: flamenco.one. Retrieved March 2, 2019 (Spanish).
  2. ↑ a b c Juan Vergillos: Conocer el Flamenco . Signatura Ediciones, Sevilla 2009, ISBN 978-84-95122-84-1 , p. 72 .
  3. ↑ a b c d e f Miguel Ortiz: Garrotín. In: Flamenco Viejo. March 15, 2010, accessed March 3, 2019 (Spanish).
  4. ↑ a b c d e f g Faustino Núñez: Garrotín. In: Flamencopolis. 2011, Retrieved March 2, 2019 (Spanish).
  5. ↑ a b c d Juan Vergillos: Conocer el Flamenco . S. 73 .
  6. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume II, p. 25 .
  7. ↑ Di Las Tres Gracias: Letras por Garrotín. In: De Palo en Palo. April 12, 2012, accessed on March 3, 2019 (Spanish, there are many more examples).
  8. ↑ sic, no typo
  9. ↑ sic
  10. ↑ Juan Vergillos: Conocer el Flamenco . S. 142 .