Petenera
The petenera is a palo of flamenco, that is, one of its musical and dance forms.
History and myths
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There are generally a lot of superstitions, myths and unproven theories about flamenco. This is particularly true for the petenera. Some flamenco artists have a reputation for bringing bad luck. Another myth says that Petenera was a woman who was cruel to people.
One assumption is that the petenera originated in Jewish culture. The musicologist Hipólito Rossy justified this with a certain musical resemblance to Sephardic chants from the 16th century. Another theory says that the name can be traced back to a singer from the town of Paterna de la Rivera in the province of Cádiz . This thesis was particularly represented by Demófilo . However, there is no historical evidence for the existence of a singer with the stage name Paternera or Petenera . Petenera may have originated from a folk song that no longer exists in the original and was adapted to the rhythm of the Soleá at the end of the 19th century , but with a different emphasis. It is believed that the singer Medina el Viejo performed this "flamencization". The musicologists Arcadio de Larrea and Gilbert Chase went even further and claimed that the origins must be in Cuba. Similar to the tango , the preliminary form of the petenera reached Cádiz from there .
Faustino Núñez sees the origin in Mexico: Some pieces of music from Veracruz with the name Peteneras had a harmonic relationship in the instrumental accompaniment and a tonal relationship in the singing. In 1826 at the latest she reached Cádiz, because in 1826 the then famous bolero dancer Luis Alonso danced the petenera nueva americana , and a year later his cousin Lázaro Quintana interpreted it in singing. In agreement with Vergillos and others, Núñez also wrote that Medina el Viejo created the transformation into the world of flamenco in the cafés cantantes of the time.
Before it was flamencized, the petenera was probably danced as a couple dance with castanets , shorter and more rhythmic than today. After Medina el Viejo, it was above all La Niña de los Peines that further developed and established the Petenera. Today it is one of the most popular forms of flamenco in both dance and singing.
Musical character
Estébanez Calderón described the Perteneras , as he called them, as similar to the Seguidillas . However, they are both livelier and more melancholy than the latter.
The rhythm changes between 3 / 4 and 6 / 8 , similarly as in the Guajira , but more slowly and with freedom, in particular in vocals.
As part of a broad semicadence , the petenera runs through a characteristic harmonic cycle: it is one of the few palos that begins in a minor key . The Andalusian cadenza follows , then a change to major , and finally the end in flamenco mode. It thus includes all three harmonic modes used in flamenco.
Text stanzas
The stanzas of the petenera are eight-syllable quatrains, with certain freedom such as repetitions and insertions. The following petenera has been handed down from Medina el Viejo:
Al pie de un pocito seco
Compañera de mi alma,
tú dices que no siento ná,
si las carnes de mis huesos
a pedazos se me van.
Al pie de un pocito seco
de rodillas me hinqué, foron
tan grandes los llantos
que el pocito rebosé.
Tú, misionero de Dios
por el mundo si la encuentras
dile que yo la perdono,
¡mare de mi corazón!
pero que no quiero verla.
At the foot of a dry well,
companion of my soul,
you say I feel nothing
when the flesh
falls off my bones in pieces.
At the foot of a dry well
I knelt,
lamenting so great
that the well overflowed.
You, God's missionary to the world,
when you find it.
tell her I forgive her,
mother of my heart!
but I don't want to see them.
Juan Virgillos gives the following example:
Quién te puso petenera
Quién te puso petenera
no te supo poner nombre,
que debía haberte puesto
la perdición de los hombres .
Yo he visto a un niño llorar
a la puerta de un camposanto
y en sus lamentos decía:
- Por mi mare son los llantos,
¡qué dolor de mare mía!
Who called you Petenera ?
Who called you Petenera ?
I cannot give you that name
instead of calling you
the ruin of men .
I saw a child crying
at the gate of a cemetery.
In his lamentations it said:
- For my mother the laments are,
What a pain for my mother!
References and comments
- ↑ a b c d Juan Vergillos: Conocer el Flamenco . Signatura Ediciones, Sevilla 2009, ISBN 978-84-95122-84-1 , p. 70 .
- ↑ a b Didactica del Flamenco. In: Junta de Andalucía. Retrieved April 26, 2019 (Spanish).
- ↑ a b Ángel Álvarez Caballero: El cante flamenco . Alianza Editorial, Madrid 2004, ISBN 978-84-206-4325-0 , p. 83 .
- ↑ a b Ángel Álvarez Caballero: El cante flamenco . S. 82 .
- ↑ Javier Lacasta, Carlos Gonzáles Sanz, Álvaro de la Torre: Arcadio de Larrea in memoriam. In: antropologiaaragonesa.org. March 1995, Retrieved April 25, 2019 (Spanish).
- ↑ Allan Kozinn: Gilbert Chase, 85, Critic and Author Of Music Studies . In: The New York Times . February 27, 1992, ISSN 0362-4331 ( nytimes.com [accessed April 25, 2019]).
- ↑ a b c d Faustino Núñez: Peteneras. In: Flamencopolis. 2011, Retrieved April 26, 2019 (Spanish).
- ↑ a b Juan Vergillos: Conocer el Flamenco . S. 71 .
- ↑ Miguel Ortiz: Petenera. In: Flamenco Viejo. March 15, 2010, Retrieved April 26, 2019 (Spanish).
- ↑ Juan Vergillos: Conocer el Flamenco . S. 142 .