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深沈之歌比赛

维基百科，自由的百科全书

深沈之歌比赛(El Concurso del Cante Jondo)是历史上一个重要的佛朗明哥比赛，于 1922 年6月 13、14日的基督圣体圣血节，在西班牙安达鲁西亚的格拉那达举行。

法雅的目的

西班牙古典音乐作曲家法雅(1876–1946), 是这次比赛的主要策划人。他希望鼓励推广已经陷入低潮的佛朗明哥表演。法雅认为佛朗明哥是一种相当有价值的艺术形式，花了许多时间研读佛朗明哥音乐。身为一个加地斯人，法雅从吉普赛的朋友、歌手、吉他手听到佛朗明哥。法雅认为争取菁英份子的支持是很重要的，因为九八世代的西班牙菁英份子主张了被称为 antiflamenguismo 的反对佛朗明哥主义，九八世代他们认为佛朗明哥阻碍了他们推动西班牙现代化的过程。所以法雅希望不只能影响佛朗明哥界，也能影响音乐界跟文化界人士。


为了能够找到同好来支持并且推广深沈之歌比赛，法雅聚集了一票厉害的音乐家跟艺术家。当中有年轻的诗人费德里戈·加西亚·洛尔卡。23岁的诗人洛尔卡成为推广比赛第二积极的人物。他藉著演讲跟撰写散文来推广此次比赛。第三个重要策划者是出身巴斯克地区的画家 Ignácio Zuloaga. [13] 参与活动的古典音乐家有 Joaquín Turina, Federico Mompou, Conrado del Campo, 跟 Oscar Esplá, 还有钢琴家兼作曲家 María Rodrigo, 纽约的作曲家兼指挥家 Kurt Schindler 古典吉他手 Andrés Segovia, 波兰歌手 Aga Lahowska, 流行乐吉他手 Manuel Jofré,知名的安达鲁西亚诗人 Juan Ramón Jiménez 也加入了。还有作家 Ramón Pérez de Ayala 跟 Tomás Borrás, 超现实主义画家 Manuel Ángeles Ortiz。 Centro Artístico of Granada 组织也参与筹备，另外还有教育界的教授例如 Francisco Giner de los Ríos 跟音乐学及作曲教授 Felipe Pedrell (他是法雅的音乐老师).[14] 后来并且加入了法国作家 Maurice Legendre, 音乐评论家包括马德里报纸"El Sol"的 Adolfo Salazar。[1][2][3][4][5] 法雅也打算邀请法国音乐家拉威尔跟俄国的史特拉汶斯基，但是市政府拒绝提供提供旅费。 [6]


法雅跟佛朗明哥的关系

在他之前的古典音乐作曲，法雅受到佛朗明哥音乐的影响，例如他的作品 短暂人生(La Vida Breve) (1904–1905, 1913),[7] 西班牙花园之夜(Noches en los Jardines de España) (1909–1916),[8][9]三角帽( El Sombrero de Tres Picos ) (1917, 1919),[10][11] 跟魔幻之爱(El Amor Brujo) (1915, 1925)。[12] 为了推广此比赛，法雅写了一篇散文 深歌" (安达鲁西亚原始歌唱),[13] 在这篇文章他在技术层面分析了，影响佛朗明哥主要是，从东地中海来的拜占庭教会音乐、[14][15] 从北非跟阿拉伯来的摩尔人音乐、[16][17][18] 还有五百年前跟著吉普赛人吉普赛音乐跟印度的 Tala 音乐。[19][20][21][22]

将近有一个世纪，欧洲的古典音乐作曲家从西班牙音乐获取养分，而佛朗明哥是其中重要的一部份。[23][24][25] 国际音乐界对佛朗明哥的兴趣，跟西班牙文化菁英对佛朗明哥的不尊重，形成对比。[26][27] [28] 法雅希望"能够恢复这些伟大歌曲的纯净，正确的成为欧洲音乐成就伟大的一部份。" ".[29] 但这个"挽救佛朗明哥"的美梦，也被一些人批评。[30]

公开募款

The Alhambra in Granada, from Mirador de San Nicolás.

比赛的经费来源是由格拉那达市政府所提供，[31][32] 但也不是没有人反对。 当信徒赞扬佛朗明哥的古老跟纯净，是从人类灵魂的泉源产生，同时也有批评者指出，有时佛朗明哥是在不良场所表演劣质的音乐跟表演。[33] 比赛的支持者们，认为自己是这脆弱的佛朗明哥艺术的拯救者，对于他们对手的指控有点无法招架。[34] 为了摆脱这些不必要的包袱，比赛称呼这种艺术形式为"深沈之歌"而不是"佛朗明哥"。[35][36] 所以法雅说：“我们是要净化并且复兴这可敬的"深沈之歌"，并不是已经堕落的"佛朗明哥"，不要把这两者搞混了。”(Queremos purificar y hacer revivir ese admirable cante jondo, que no hay que confundir con el cante flamenco, degeneración y casi caricatura de aquél.)[37][38]

在市政府，是否要财务支持深歌大赛的论战持续进行著，而募款也继续著。[39] 关于佛朗明哥本质的争论，持续到现在还进行著。像是一个大汤锅里面煮著一堆带著刺的原料，包括了社会阶级、跟种族、更多时候是表演者的才能、正统性、灵感。 佛朗明哥是一种充分发展的音乐形式，分析的角度可能应该从人类学跟音乐学，这些争论随然常被提起，也常常被忽略。[40][41][42] 随著日期的接近，比赛的场地由阿尔拜辛区的 San Nicolás 广场，改成阿尔罕布拉宫。[43]

比赛内容

参与的艺术家

举办深沈之歌比赛的其中一项目的，是希望发觉有才华却没有被发现的艺术家。因此，超过 21 岁的专业人士不被允许参加有奖金的比赛。 [44][45][46] 尽管如此，专业的歌唱跟跳舞表演还是被鼓励的。[47] 虽然花了大量的努力，并没有找到多少不知名的艺术家。 洛尔卡找到一个失明的老太太，会唱一种被认为已经失传的liviana曲式。 [48][49]

观众跟形式

活动在两天的基督圣体圣血节节日的傍晚举行，有大约四千个支持者跟佛朗明哥迷参加，这个大聚会的气氛被描述为优雅又愉快的。当表演开始，观众的焦点就集中在表演上了。[50][51] 参赛者被邀请表演被称为深沈之歌(Cante Jondo 或 Cante Grande)的佛朗明哥曲式[52] 包括了 1) Siguiriyas gitana; 2) Serranas, Polos, Cañas, Solea;还有 3) Martinetes-Carceleras, Tonás, Livianas, Saetas Viejas (最后这四种是属于无伴奏曲式). 另一方面，不够古老或不够深沈的曲式，被明确的禁止，包括了: Malagueña, Granaínas, Rondeña, 赛维雅那舞曲, Peteneras.[53]

Torre de la Justicia, original entry gate to the Alhambra; and, the walk way to the June evening's Concurso events.

比赛的场地

比赛在阿尔罕布拉宫西面的[54]的Plaza de Aljibes 举行，跟 Torre Bermeja 还有西南边的格拉那达老城区对望; 北边是吉普赛区Sacromonte的山坡。[55]充满了柏木的香味，地面上还洒了法国薰衣草。广场在山脊顶，要穿过正义之塔旁边的路才能到达。广场由Ignacio Zuloaga的作品布置，上面还挂著镶边的纺织品跟披肩; 在太阳西下时，整个场地就变成了这个阿拉伯宫殿旁边一块充满色彩的区块。[56][57] 评审团包括了吉他手Andrés Segovia跟佛朗明哥歌手Antonio Chacón。可能有点讽刺的一点是，开场表演是由 Segovia 演奏法雅的古典音乐作品：用吉他对德布西致敬。[58][59][60]

参赛者

一个退休很久的72岁佛朗明哥歌手Diego Bermúdez Cala(艺名El Tenazas), 意外成为比赛的超级明星。他从家乡 Puente Genil 花了三天走了大概一百公里到格拉那达去参加比赛。[61] 很明显的，三十年前被刀尖刺穿肺部，导致他从佛朗明哥圈子提早退休了，这项比赛让他重享他生命中的重要时刻。他演唱的曲式是属于上一个时代的，很多人觉得 Bermúdez 的歌唱听起来，似乎就是得到传奇歌手Silverio Franconetti的真传; 虽然一些其他人说他不知道怎么唱歌，只会调情。[62][63] "El Tenazas 知道古老的曲调，并且用非常佛朗明哥风味的方式去诠释它们，他用一种几十年来没人听过的纯粹佛朗明哥方式歌唱，尤其是在 siguiriyas, 孤调, and cañas (Silverio Franconetti 最喜欢的曲式之一).[64] 在听到El Tenazas (意思是：钳子)歌唱时"把他的歌声抛到天上"，Antonio Chacón惊呼了"老天爷，我听到了甚么！"[65] 法雅后来 1939 年因为佛朗哥将军打赢了西班牙内战，而流亡到阿根廷的时候，还带了一份 El Tenazas 的录音(Cantos de Diego Bermúdez)去。[66] El Tenazas 很享受他突然回复的名气，借此他接下来就在西班牙各地巡回演出佛朗明哥歌唱。但很可惜的，一年后他就去世了。[67] 另外一个首奖得主是年仅十二岁的 Manolo Ortega，后来被称为El Caracol, 出身于一个知名的斗牛士跟吉普赛家庭，后来获得的极大的名声，也引起了很大的争议。[68][69] 另一个赢家是出身格拉那达的流行歌手Francisco Gálvez Gómez (Yerbagüena), 他以当地一个教堂火灾为题材，即兴写了佛朗明哥歌词来表演，让观众留下深刻印象。[70] 总共有十个参赛者赢得了数目不等的奖金。[71][72]

专家表演

专业佛朗明哥艺术家在比赛中虽然不能参加有奖金的比赛，依然还是被尊崇的，并且列为特别来宾，包括了女歌手Pastora Pavón (La Niña de los Peines),[73]、男歌手Manuel Torre, 女舞者Juana la Macarrona. 还有男歌手Antonio Chacón, 被选为评审。这四位当时已经很有名了。在一幅绘画中画出了艺术家们在比赛举办人面前表演，La Niña de los Peines, 前面提过的退休的El Tenazas) 还有创新的佛朗明哥吉他手 Ramón Montoya Salazar。[74] 另外也有一位在巴黎开佛朗明哥咖啡馆的 Amalio Cuenca 也被选为评审。[75] 专业艺术家从从西班牙各地甚至外国来参加比赛。 在比赛中，伟大的 Manuel Torre 配著当地 Sacromonte 区的吉普赛女人的击掌，吟唱了欢愉调(alegrías)。 María Amaya La Gazpacha 唱了喧戏调(bulerías)跟tarantas，由Pepe Cuéllar 弹吉他帮她伴奏。 [76] Ramon Montoya, Manolo de Huelva, 跟 José Cuéllar 这三位被比赛聘请的吉他手，组成了吉他三重奏，为年长的舞蹈大师Juana la Macarrona （页面存档备份，存于互联网档案馆）表演的 alegrías 舞蹈伴奏。[77] [78] La Macarrona 她在比赛途中有时候会大声喊叫:"¡Lapoteosis! ¡Es lapoteosis!"意思类似于"打雷了！"。[79] 在比赛中一场表演，Antonio Chacón 唱歌 Ramón Montoya 伴奏，一个衣衫蓝缕的吉普赛女人安静的哭泣，站起来抬起头，配著音乐跳了一首极为动人且优雅的孤调。她其实是几十年前一个有名的佛朗明哥舞者 La Golondrina [80]


比赛的新闻

跟摩洛哥战争令人沮丧的消息相比，西班牙媒体普遍赞扬这次比赛。,[81] 一家马德里杂志新世界描述这次比赛是"令人难忘的"关于观众，它这样描写:

"月亮没有参加，但是比赛场地挤满了小精灵、仙子、甚至魔鬼。一个超级票房冠军，座无虚席，并且是一群有纪律、有文化的观众。观众主要是女性，穿著 1830 年的服装，其他人穿著老式的长裤，她们所有人带著格拉那达人特有的稳重。群众扇著扇子交谈著，直到一首歌曲用感动麻痹了群众们…"[82]

格拉那达的杂志阿尔罕布拉宫盛赞比赛为"精彩的晚会"。在马德里，媒体评论宣称"比赛非常的成功"。[83] 虽然如此，法雅还是失望的。[84]

后续发展

Manuel de Falla (1876-1946)

比赛的表演广受好评，但比赛的成果则有争议。[85] 比赛本身很令人享受，也成功的集结了表演者跟乐迷，并且提升了佛朗明哥在西班牙的文化界领袖心中的地位。[86] 各种佛朗明哥曲式的录音被灌录了，有些曲式之前很少人知道，有些曲式则是被重新发现。[87] 比如；La Caña:

"它是一种古老的曲式，用宗教旋律跟吟唱桥段，让它成为"佛朗明哥弥撒"。在二十世纪几乎完全消失了，却在 1922 年格拉那达的比赛中，由优胜者 El Tenazas 的录音被重新发现了。[88]

另一方面，提升佛朗明哥表演纯净本质的目的，却没有达成。[89] 佛朗明哥剧场时代即将来临，这是一种在现代已经因为它摆架子的形式、跟其他音乐的混合，被鄙视的形式。 [90][91]

在同一年，类似的佛朗明哥比赛也在赛维亚跟加地斯举行了。[92][93]几十年后的 1956 年哥多华市举行了全国深沈之歌比赛[94] 在 1962 年Jerez de la Frontera举办了国际佛朗明哥艺术比赛，这样的活动已经成为佛朗明哥文化的一种常态。[95]


外部链接

参考来源

  1. ^ Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d editión 1998, with new preface at ix-cviii by Andrés Soria), at lxi, lxx, and 54-57.
  2. ^ Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 212.
  3. ^ Félix Grande, Memoria del Flamenco (Madrid: Espasa-Calpe 1979) at II: 481.
  4. ^ Manuel Orozco Diaz, Falla (Barcelona: Salvat 1985) at 123-124.
  5. ^ Barbara Thiel-Cramér, Flamenco. The Art of Flamenco, Its History and Development until our Days (Lindingö, Sweden: Remark 1990 [Swedish], 1991 [Spanish, German, English]) at 51–52.
  6. ^ 法雅也打算邀請音樂家 拉威爾 跟俄國的史特拉汶斯基，但是市政府拒絕提供提供旅費。. [2012-01-21]. 
  7. ^ Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d edition 1998) at 13-23, 17. Thesoleares in Falla's La Vida Breve is mentioned, during a review of Falla's classical compositions relating to flamenco music. Molina Fajardo at 15 gives his opinion as to how in general Falla incorporated flamenco elements in his art: by drinking in and assimilating their spirit, and then expressing their musical essence. Later he comments on the pervasive use of flamenco in Noches en los Jardines de España, El Amor Brujo, and El Sombrero de Tres Picos.
  8. ^ In Falla's Noches, Gypsies dance and sing during the feast of Corpus Christi, the days later selected by Falla for the Concurso.
  9. ^ Betty Keim, "Manuel de Falla: the Guitar and his Music" in The Guitar Review (Winter 1976) 41:22-23, wherein Keim mentions the melodies inspired bycante jondo, and the "rasgueado" and "punteado" in his Noches en los Jardines de España, which ends with a sevillana.
  10. ^ Cf., Lynn Garafola, Diaghilev's Ballets Russes (Oxford Univ. 1989) at 88-90, discussing Falla and flamenco dance projects circa 1916-1917. Falla's El Sombrero de Tres Picos [The Three-cornered Hat;Fr: Le Tricorne], choreographed by Leonide Massine, designs by Pablo Picasso, was produced by the Ballets Russes in 1919. Garafola (1989) at 88, 243, 253.
  11. ^ The flamenco and Spanish origin of both the music and the dance in Le Tricorne is described by Léonide Massine in his My Life in Ballet (London: Macmillan 1968) at 114-118, 122.
  12. ^ Betty Keim, "Manuel de Falla: the Guitar and his Music" in The Guitar Review (Winter 1976) 41:22-23. Keim mentions several other examples of Falla's use of flamenco: the modified farruca for the "Miller's Dance" [Danza del Molinero] in his El Sombrero de Tres Picos (at the end the miller becomes "possessed by the duende"); and, the "falsetas" and "paseos" in his Siete Canciones Populares Españoles (1914), where she again remarks that his piano pieces seem "written as if they were guitar music," especially regarding the "Polo", as well as the "Seguidilla Murciana". Keim also references the memorable "Ritual Fire Dance" in his El Amor Brujo, which is performed at night in a Gypsi camp.
  13. ^ Manuel de Falla, El "cante jondo" (canto primitivo andaluz), a folleto (Granada: Urania 1922); included in Molina Fajardo,Manuel de Falla y El "Cante Jondo" (1962, 1998) at 209-226 [Byzantine liturgical at 209-210; Arabic, Moorish at 210-211, 225-226; Gypsies of India at 211-216]; and collected in Falla's Escritos sobre música y músicos (Madrid: Espasa-Calpe 1950, 1972), Apéndice at 137-155. Falla here refers to his former music professor Felipe Pedrell (1841-1922).
  14. ^ Cf., Peter Crossley-Holland, "Ancient Greece" at 92-103; and, Alec Robertson, "Byzantine and Russian Rites" at 201-208; in: Robertson and Stevens (eds.), The Pelican History of Music (Penguin Books 1960).
  15. ^ Cf., Adolfo Salazar, La Música de España (Madrid: Espasa-Calpe 1953), vol. I at Chap. III/1: 137-149. Also, the religious music of the Jews, who had arrived in Hispania by 300 C.E. Salazar, La Música de España (1953), v. I at I/5: 42-46.
  16. ^ Cf., Julián Ribera y Taregó, La Música de las Cantigas (Madrid 1922), translated and abridged by Eleanor Hague and Marion Leffingwell as Music in Ancient Arabia and Spain (Stanford Univ. 1929).
  17. ^ Arcadio de Larrea Palacin, La Música Hispano-Árabe (Madrid: Ateneo 1957), a folleto.
  18. ^ Cf., Owen Wright, "Music in Muslim Spain" 555-579, in Salma Khadra Jayyusi, editor,The Legacy of Muslim Spain (Leiden: E. J. Brill 1992).
  19. ^ Aziz Balouchi, Cante Jondo. Su origen y evolución (Madrid: Editiones Ensayos 1955) at 30-38. The author, a sufi, discusses the spirit of Indo-Pakistani music, then describes six principal modes. A "tree" is shown (at 37) whose fruit is cante jondo, i.e., "serranas,soleares, polos, seguirillas, cañas". Earlier the author speculates that Ziryab the famous Persian musician, who arrived in Moorish Spain during the 9th century, was a master of "la música persa-baluchi," had studied "el cantar Sindhi" in India, and brought with him to Spain "la música indostánica". Balouchi (1955) at 24-28, 26.
  20. ^ Bernard Leblon, Gypsies and Flamenco (Univ.of Hertfordshire 1995). Leblon, who favored the view of a strong Gitano influence on the art, addresses the theories proposed by Falla (at 85-91). Leblon discounts Falla regarding the Byzantines, then endorses influence by the Moors. Regarding India and Gitano contributions to flamenco, Leblon writes that here Falla makes five points: 1) "use of intervals less than a demi-tone" (smallest interval common to western music) to modulate keys; 2) "a melodic ambitus which rarely exceeds the limits of a sixth" (ninehalf-notes); 3) "repeated, almost obsessive use of a single note" often with appoggiatura; 4) melody rich in ornamentation, suiting the emotion of the lyrics; 5) "shouts [jaleos] used by our people to excite the dancers and guitarists" following ancient custom. Leblon (1995) at 88.
  21. ^ Angus Fraser, The Gypsies (Oxford: Blackwell 1992, 2d ed. 1995) at 10-32 (origin), at 205-208 (flamenco).
  22. ^ The Gypsi road from India to Spain, with music along the way, is displayed in the 1993 French film Latcho Drom.
  23. ^ Manuel de Falla, El "cante jondo" (canto primitivo andaluz), a folleto (Granada: Urania 1922); included in Molina Fajardo,Manuel de Falla y El "Cante Jondo" (1962, 1998) at 209-226, 217-225; collected in Falla's Escritos sobre música y músicos (Madrid: Espasa-Calpe 1950, 1972), Apéndice 137-155. Falla noted that the foreign borrowing of Spanish music went beyond rhythm (usual with dances of other European countries, e.g., the jig, the saraband, the gavote, the minuet); it went further, to the basic modes of expression found in Spanish music. Falla (1922), reprinted in Molina Fajardo (1998) at 218.
  24. ^ Gilbert Chase, The Music of Spain (New York: W.W.Norton 1941; rev.ed., New York: Dover 1959) at 289-304, "The Spell of Spanish Music". Gilbert discusses Falla at 182-197.
  25. ^ The list would include these composers and works: Mikhail Glinka (Jota Aragonesa, 1845), Georges Bizet (Carmen, 1875), Nikolai Rimsky-Korsakov (Capriccio Espagnol, 1887),Claude Debussy (Ibéria, 1905-1908), Maurice Ravel (Rapsodie espagnole, 1907, and Boléro, 1928).
  26. ^ "Pues bien, señores: ese tesoro de belleza, no sólo amenaza ruina, sino que está apunto de desaparecer para siempre." "El canto grave, hierático de ayer, ha degenerado en el ridículo flamenquismo de hoy." Manuel de Falla, "La proposición del cante jondo" en El Defensor de Granada (March 21, 1922), reprinted in Molina Fajardo, Manuel de Falla y El "Cante Jondo" (1962, 1998) at 169-175, 173. "Well, gentlemen, this beautiful treasure not only is about to collapse, but may disappear forever." "The song of gravitas, majestic yesterday, has sunk now to this absurd flamenquismo."
  27. ^ Carol A. Hess, Manuel de Falla and modernism in Spain, 1898-1936 (University of Chicago 2001) at 175 [footnote omitted].
  28. ^ An entry ticket to the event reads: "Concurso y Fiesta del Cante Jondo, Corpus 1922. Entrada de Silla Preferente, para los días 13 y 14 de Junio. Entrada por la Puerta de Justicia. Preséntese a toda reclamación." Molina Fajardo (1998), insert at 129.
  29. ^ Would "renacieron en toda su pureza esos cantos de maravilla, que constituyen uno de los más legítimos orgullos de música natural europea". Manuel de Falla, "La proposición del cante jondo" (Granada 1922), reprinted in Molina Fajardo (1962, 1998) at 169-175, 174-175.
  30. ^ Timothy Mitchell, in his Flamenco Deep Song (New Haven: Yale University 1994), disputes the very notion of a traditional "purity" as advanced by Concurso proponents. For example, regarding the seguiriya gitana Mitchell describes it as a result of "lower-class gitanos, payo [non-Gitano] ruffians, blind beggars, female mourners for hire, and proletarian youth" which later was evolved in the 19th century by "professional cantaores" entertaining within the cultural maze of Spanish society, at venues including "private juergas [parties] and public saloons." Mitchell (1994) at 168.
  31. ^ Written application for support was made on December 31, 1921, giving artistic and cultural reasons as redacted by Miguel Cerón, and signed by several dozen adherents. Molina Fajardo,Manuel de Falla y El "Cante Jondo" (1962, 1998) at 51-58, 51-53; also, Solicitud Al Ayuntamiento de Granada reprinted in Molina Fajardo (1998) as Apéndice II at 163-167.
  32. ^ Álvarez Caballero, El cante flamenco (1994) at 217, gives the amount of city funding at 30,000pesetas.
  33. ^ Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d ed. 1998) at 69-87.
  34. ^ Timothy Mitchell, Flamenco Deep Song(New Haven: Yale University 1994) at 168-169.
  35. ^ Robin Totton, Song of the Outcasts (Portland, Oregon: Amadeus Press 2003) at 84.
  36. ^ Leblon, Gypsies and Flamenco (University of Hertfordshire 1995) at 87-88.
  37. ^ "We want to purify and renew the admirablecante jondo, which is not to be confused with flamenco, a degeneration of it, almost a caricature." 法雅写给伦敦评论家 John Trend 的信, Molina Fajardo 引用在 Manuel de Falla y El "Cante Jondo" 书中，(1962; 1998) 76-77 页。
  38. ^ Cf., Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 213-214.
  39. ^ Eduardo Molina Fajardo in his Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d ed. 1998) at 92-93, 141.
  40. ^ Among factors in the cauldron are the dynamic opposition of flamenco tradition versus innovation, the latter frequently including interpenetration with other musical styles. E.g., Manuel Ríos Ruiz, Ayer y Hoy del cante flameno (Madrid: Ediciones ISTMO 1997) at 85-95. Recent decades have seen Nuevo Flamenco emerge with rock and jazz connections.
  41. ^ Flamenco motivation is notoriously difficult to pin down. "Existe en plenitud anárquica, independiente de todo acicate organizado." "Fully anarchic, blind to organized incentives." Anselmo Gazález Climent, Flamencología. Toros, Cante y Baile (Madrid: Editorial Escelicer 1955, 1964) at 272. See Gazález Climent's comments on the nuance involved in the rôle of La guasa (the tricky, humorous rustic), at 329-341.
  42. ^ On occasion political passions may be stirred, in a sociological view of the art: as embodying the anguished expression of the poor, the oppressed classes. Yet to the contrary, others see flamenco performers of the past, who were often short of resources, as influenced by their wealthy patrons who had a taste for the exotic. An ethnic dimension also arises: as to how much the art owes to its strong Gitano elements, or to the Andalusian. Altogether contrary is the opinion that in flamenco what one hears is the cry of the soul, transcending class, patrons, ethnicity, etc. Wide-ranging views are held by flamencologos on the art and on what motivates a performer. E.g., Anselmo Gazález Climent, Flamencología. Toros, Cante y Baile (Madrid: Editorial Escelicer 1955, 1964); William Washabaugh, Flamenco. Passion, politics and popular culture (Oxford: Berg 1996) at 31-38.
  43. ^ Molina Fajardo in Manuel de Falla y El "Cante Jondo" (1962; 2d ed. 1998) at 129, 131.
  44. ^ Andrés Soria, "Prefacio" at lxix, in Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d edition 1998, with new preface at ix-cviii by Soria).
  45. ^ The performance of flamenco is very difficult and demanding; only someone who devotes a great deal of their life's nurture to the art will be able to express its subtleties and nuance, its drama and simplicity; often but not always such refinement will acquire wide attention. Cf., Paco Sevilla, "Introductory History of Flamenco, Part II" in Jaleo VIII/2, originally published in Guitar and Lute (March 1983), at ¶14.
  46. ^ The elimination of all professionals from the contest was considered a mistake by many flamencos, for there were those who had not fallen to the era's commercial tendencies. An example would be the professionals hired by the Concurso, the cantaora Pastora Pavón (La Niña de los Peines), the cantaor Manuel Torre, and the bailaora Juana la Macarrona. These had, unlike many paid performers of that decadent era, maintained a purity in their approach to flamenco. Cf., D.E.Pohren, Lives and Legends of Flamenco (Madrid 1964, revised 1988) at 73.
  47. ^ Paul Hecht in his The Wind Cried (New York: The Dial Press 1968) at 105-107, describes a "dream vision of a flamenco contest" in which the performers and local aficionados are given preference. Lasting at minimum several weeks, it would begin with a banquet and include hotel accommodations. Before each session time would be allowed for thawing out the voice and interacting with the listeners. At extra-official Juergas flamenco's "pure spontaneous essence" would be given rein.
  48. ^ Timothy Mitchell, Flameno Deep Song (Yale Univ. 1994) at 170.
  49. ^ The liviana (derived from "liviano" meaning "light, frivolous" and also "the donkey who leads the pack") is a type of siguiriya sung without accompaniment. Andrés Batista, Maestros y Estilos. Manual flamenco (Madrid 1985) at 18-19, 74-75.
  50. ^ Marice Legendre, "El Corpus de Granada in 1922: El Cante Jondo" in the periodical Le Correspondant of Paris, July 1922; cited by Molina Fajardo (1998) at 131-132.
  51. ^ A storm threatened the first night, but the air remained light. The second night rain began to fall, yet the audience remained. Molina Fajardo, Manuel de Falla y El "Cante Jondo" (1998) at 132, 140.
  52. ^ Believed for the most part to be of Gitano (Gypsi) origin. I.e., by D. E. Pohren, Lives and Legends of Flamenco. A Biographical History (Madrid: Society of Spanish Studies [1964] 1988) at 17-20.
  53. ^ The brief Concurso prize and contest rules are reprinted in Manuel de Falla, Escritos sobre música y músicos (Madrid: Espasa-Calpe 1950, 1972), at 156-162 in the Apéndice, following his essay "El Cante Jondo (Canto Primitivo Andaluz)" at 137-155; translated as On Music and Musicians (London: Marion Boyars 1979), at end of Appendix (99-117).
  54. ^ The Alhambra had been the site of the opening for Falla's opera El Sombrero de Tres Picos [French: Le Tricorne] three years ealier in 1919. Léonide Massine, My Life in Ballet (London: Macmillan 1968) at 142.
  55. ^ Ricardo Villa-Real, The Alhambra and the Generalife (Granada: Ed. Miguel Sanchez 1988) at 6-7.
  56. ^ Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Univ.de Granada 1962; 2d ed. 1998) at 118-119.
  57. ^ Irving Brown, Deep Song (New York: Harper & Brothers 1929) at 149-150.
  58. ^ Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Univ.de Granada 1962; 2d ed. 1998) at 116. It was Claude Debussy who had first shown Falla how to find the flamenco's true spirit in the guitar music of the cante jondo. Ibid. at 17-18.
  59. ^ Nota Bene: Segovia at this time played flamenco as well as classical guitar (to the latter he would soon devote his entire effort). Pohlen, Lives and Legends of Flamenco (Madrid 1964, revised 1988) at 73.
  60. ^ Cf., Betty Keim, in her "Manuel de Falla: the Guitar and his Music" published in The Guitar Review (Winter 1976) 41:22-23, notes that Falla called meeting Claude Debussy the "turning point" of his career. Falla wrote the Homenaje following Debussy's death in 1918, then gave it to the guitarist Miguel Llobet. The score is widely acclaimed for its mastery of the instrument and, while not flamenco, its beauty resonates with the music of Andalusia.
  61. ^ Puente Genil is about 50 km. south of Córdoba. Diego Bermúdez was born 1850 at Morón de la Frontera about 70 km. southwest of Puente Genil. Pohlen, Lives and Legends of Flamenco (1988) at 71.
  62. ^ Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 218-219. Burmúdez "había dejado de cantar treinta años antes al perder facultades a causa de una puñalada recibada en el pulmón durante una reyerta." His punctured lung, Ibid. at 218. Fixed to a wall of a cafe in Puente Genil could later be seen a certificate signed by Antonio Chacón that the Concurso had awarded to Tío Bermúdez (at 219). The walk from Puente Genil to Granada for the Concurso was said to have taken him only three days, but long and exhausting ones; but some doubt he walked the distance (at 218).
  63. ^ Cf., Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Univ. de Granada 1962; 2d ed. 1998) at 135-136, 140.
  64. ^ D.E.Pohlen, Lives and Legends of Flamenco (1988) at 71-72.
  65. ^ "Lord help me, what I hear!" Jose Luis Cano, García Lorca (Barcelona: Salvat Editores 1985) at 55.
  66. ^ Félix Grande, Memoria del Flamenco (Madrid: Espasa-Calpe 1979) at II: 507.
  67. ^ Before he died el Tío Tenazas traveled Spain performing his prize-winning singing style but, as his innovations had already been copied by younger singers, the tour was evidently not well received. Timothy Mitchell, Flamenco Deep Song (Yale Univ. 1994) at 171.
  68. ^ Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidade Granada 1962; 2d ed. 1998) at 133, 141.
  69. ^ D. E. Pohren, Lives and Legends of Flamenco (Madrid: Society of Spanish Studies 1985) at 146-150, 148.
  70. ^ Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 219-220. Yerbagüena figured in the novel La oración de la tarde by González Anaya. The poet Alvarez de Cienfuegos recited at his burial.
  71. ^ Eduardo Molina Fajardo lists the prize winners in his Manuel de Falla y El "Cante Jondo" (Univ. de Granada 1962; 2d ed. 1998) at 141-142. The top two prize winners received 1000 pesetas each, with total prize money for the contestants being almost 5000. Yet he cites a newspaper of Seville to the effect that the biggest winners was the Concurso organizer, Centro Artístico, who after event expenses, with the gate (6,000 pesetas) added to public funding, managed to come out ahead. Molina Fajardo (1998) at 142.
  72. ^ Álvarez Caballero, El cante flamenco (1994) at 217 puts the gate at 30,000, and at 213 puts the public funding at 12,000. Expense amounts do not seem to be stated.
  73. ^ Pastora Pavón was also an honorary judge but without a vote. Paco Sevilla, Queen of the Gypsies (1999) at 153.
  74. ^ Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 216, 210 (drawing).
  75. ^ D. E. Pohlen, Lives and Legends of Flamenco (Madrid 1964, revised 1988) at 273 (Cuenca). Also, Pohlen's literary portraits at 112-114 (Pavón), at 91-97 (Torre), at 212-215 (Macarrona), and at 76-80 (Chacón).
  76. ^ Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d ed. 1998) at 136-139. María Amaya was also a prize winner. Ibid. at 142.
  77. ^ Pohlen, Lives and Legends of Flamenco (1964, 1988) at 73.
  78. ^ Antonia Mercé la Argentina, after watching Juana la Macarrona dance during the Concurso, later knelt down at her feet, took off her shoes, and carried them away. Flamenco World article on Juana la Macarrona （页面存档备份，存于互联网档案馆）
  79. ^ Molina Fajardo, Manuel de Falla y el "Cante Jondo" (1962, 2d ed. 1988) at 136, 139.
  80. ^ Timothy Mitchell, Flamenco Deep Song (Yale Univ. 1994) at 170.
  81. ^ Some Concurso critics, however, seemed to revisit the earlier contra position (see above the section "Public funding").
  82. ^ Frederico García Sanchíz, "Granada. El Concurso de Cante Jondo" （页面存档备份，存于互联网档案馆） 马德里的杂志 Nuevo Mundo(新世界)1922年6月23,flamenco-world.com 网站的英文翻译。
  83. ^ "A few nights of brilliance." "Great has been the success of the Concurso." Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d ed. 1998) at 144.
  84. ^ Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (1962, 1998) at 151-157.
  85. ^ The sevillano Rodriguez de Leon writing in El Sol lamented the Concurso as cause of the "funerales por el alma del cante, muerto recientemente en Granada, a manos de los intelectuales... ." Cited by Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 217. I.e., the lamented Concurso has caused "funerals for the soul of the cante, recently dead in Granada, at the hands of the intellectuals."
  86. ^ Félix Grande, Memoria del Flamenco (Madrid: Espasa-Calpe 1979) at II: 514.
  87. ^ Paco Sevilla, "Introductory History of Flamenco, Part II" inJaleo VIII/2, originally published in Guitar and Lute (March 1983), at ¶ 14.
  88. ^ Paco Sevilla, Queen of the Gypsies. The Life and Legend of Carmen Amaya (San Diego 1999) at 197.
  89. ^ The initial elation and sense of accomplishment by those attending the event was manifest. Yet following the Concurso, in addition to the usual sniping at success in the press, there was a distressing sense of loss felt by the Concurso organizers. Hence they abandoned pursuit of their original long-term goals, plans scheduled to be implimented following the Concurso event.

    "It was disillusioning to the organizers that the true purpose of the concurso failed, at least during their lifetimes. ... The Granada contest was designed as only the first step. As a followup, they intended to open flamenco schools in Andalusian cities and to hire flamenco's old-timers to instruct the youngsters in the pure cante. The Centro Artístico of Granada, which was to have played an important part in this plan, at the last minute pulled out, and the whole idea collapsed." D.E.Pohren, Lives and Legends of Flamenco (Madrid: Society of Spanish Studies 1964, revised 1988) at 73-74.

    Yet the continuance of "Concurso" events in different cities and the current spread offlamenco schools perhaps means "that Manuel de Falla's dream may yet come true". D.E.Pohren (1964, 1988) at 74. Or perhaps now his dream has been realized, in part.
  90. ^ Félix Grande,Memoria del Flamenco (Madrid: Espasa-Calpe 1979) at II: 517-539.
  91. ^ Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 229-244.
  92. ^ Félix Grande,Memoria del Flamenco (Madrid: Espasa-Calpe 1979) at II: 513.
  93. ^ Cf., Paco Sevilla, Queen of the Gypsies (1999) at 40-41.
  94. ^ Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994, 1998) at 262.
  95. ^ Félix Grande,Memoria del Flamenco (Madrid: Espasa-Calpe 1979) at II: 513-514.
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