Malagueña

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The Malagueña is a Spanish folk dance of the beginning of the 19th century, from which a form, a palo , of flamenco developed towards the end of that century .

history

The Malagueña appears to have originated in Alorá . Joaquín Tabaco from Alorá, Cipriano Pitana from Cártama and Frasquito Jiménez from Coín are known as early protagonists . However, it emerged from the people and cannot be traced back to these people alone.

Its predecessors were probably certain fandangos that were played and sung to in the 18th century: the fandangos boleros, the fandangos La Cantaora from Málaga and simple rondeñas . However, their early versions were very different from the versions we know today. Malagueña was one of the most popular musical genres throughout Spain throughout the 19th century; it has been performed on the stages of every big city and part of the popular repertoire everywhere. As early as the 1830s, Estébanez Calderón wrote about "a kind of fandango, the Malagueña in the style of the Jabera ".

Around the middle of the 19th century, the Malagueña changed from pure dance music to music with singing. Around this time, the first Malagueña, named after its creator, was created, namely the Malagueña de El Caribe . Another famous Malagueña singer of the 19th century is El Canario .

The Malagueñas became the genealogical tree of a rich family of flamenco variants, forming the prototype for most of the palos that developed in eastern Andalusia. For genres such as the Rondeña, the Taranta , the Cartagenera and the Granaína , the Malagueña forms the link between regional fandango and flamenco singing in the narrower sense. Other descendants of the Malagueña are, for example, the Cortijeros , the Murcianas , the Fandangos of Lucena and Almería , the Zángano from Puente Genil and the Lucentica .

Characteristic

The flamencologist Ángel Álvarez Caballero attributes a depth and seriousness to the Malagueña that is unique outside of the chants of the cante jondo .

It is considered one of the most difficult forms of singing in flamenco. The singer has to master a large range and have a deep understanding of the character of the piece. Among the Malagueñas there are great differences in the pitch in which they are sung, in the harmonic ornamentation in major or minor, and in the moods in which the verses must be recited.

Their rhythm is originally strictly metric, abandolao - so named after the Abandolá, a fandango that was played in Málaga. This in turn takes its name from the bandolá, a simple bandurria with which it was accompanied. Today's Malagueñas are often interpreted in a free rhythm, the original Abandolao rhythm sometimes shimmering through in the guitar accompaniment.

tonality

As is common in flamenco, the variations of the guitar are developed over the Andalusian cadenza . In contrast, the singing in major develops over an ostinato accompaniment on the guitar.

Verses

The Malagueña stanza consists of four to five eight-syllable verses with an assonant or consonant cross rhyme . The tercios , the melodic phrases, each correspond to a verse. A chant por malagueñas consists of six tercios, one or two of which repeats a previous verse. The subjects are usually local. They are often about the city of Malaga, its neighborhoods and famous buildings. Sometimes they also deal with tragic topics.

Well-known artists

Several performers created a version of the Malaguña that bears their name, including:

In addition to the aforementioned, a large number of earlier and contemporary singers and guitarists have interpreted the Malagueña in an outstanding way, including Manuel Centeno , Bernardo el de los Lobitos , Juan de la Loma , Aurelio de Cádiz , Flecha de Cádiz , La Niña de los Peines , Manolo Caracol , Niño de Cabra , Manolo Vargas , Pericón de Cádiz , Cobitos , Enrique Morente , Naranjito de Triana , Roy Clark and Luis de Córdoba .

References and comments

  1. ↑ a b c d e f Miguel Ortiz: Malagueña. In: Flamencoviejo.com. March 15, 2010, Retrieved January 4, 2018 (Spanish).
  2. ↑ a b c d Ángel Álvarez Caballero: El cante flamenco . Alianza Editorial, Madrid 2004, ISBN 978-84-206-4325-0 , p. 143 .
  3. ↑ a b c Ángel Álvarez Caballero: El cante flamenco . S. 144 .
  4. ↑ a b c d e Faustino Núñez: Malagueñas. In: Flamencopolis. 2011, Retrieved January 4, 2018 (Spanish).
  5. ↑ actually Juan Manuel Reyes Osuna, 1857–1885
  6. ↑ Juan Gómez Vergillos: Conocer el flamenco: sus estilos, su historia . Signatura Ediciones de Andalucía, Sevilla 2009, ISBN 978-84-95122-84-1 , p. 60-61 .
  7. ↑ also called Ojana
  8. ↑ a Palo des Flamenco, popular among Malaguan sailors
  9. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 119 .
  10. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 158 .
  11. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 186-187 .
  12. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 182 .
  13. ↑ Ángel Álvarez Caballero: El cante flamenco . S. 162 .