(Translated by https://www.hiragana.jp/)
深沈之歌比賽 - 维基百科，自由的百科全书 跳とべ转到内容ないよう

深沈しんちん之の歌うた比ひ賽さい

编辑链接
维基百科ひゃっか，自由じゆう的てき百科ひゃっか全ぜん书

深沈しんちん之の歌うた比ひ賽さい(El Concurso del Cante Jondo)是ぜ歷史れきし上じょう一いち個こ重要じゅうよう的てき佛ふつ朗ろう明あかり哥比ひ賽さい，於 1922 年ねん6月がつ 13、14日にち的てき基督きりすと聖體せいたい聖せい血ち節ぶし，在ざい西にし班はん牙きば安達あだち魯西亞あ的てき格かく拉ひしげ那な達たち舉行。

法ほう雅みやび的てき目的もくてき[编辑]

西にし班はん牙きば古典こてん音樂おんがく作曲さっきょく家か法ほう雅みやび(1876–1946), 是ぜ這次比ひ賽さい的てき主要しゅよう策さく劃人。他た希望きぼう鼓こ勵推廣こう已やめ經けい陷おちい入にゅう低てい潮しお的てき佛ふつ朗ろう明あかり哥表演えんじ。法ほう雅みやび認みとめ為ため佛ふつ朗ろう明あかり哥是一種相當有價值的藝術形式，花はな了りょう許多きょた時間じかん研とぎ讀佛朗ろう明あかり哥音樂おんがく。身み為ため一いち個こ加地かじ斯人ひと，法ほう雅みやび從したがえ吉よし普ひろし賽さい的てき朋友ほうゆう、歌手かしゅ、吉よし他た手て聽到佛ふつ朗ろう明あかり哥。法ほう雅みやび認みとめ為ため爭そう取と菁英份子的てき支持しじ是ぜ很重要じゅうよう的てき，因よし為ため九きゅう八はち世代せだい的てき西にし班はん牙きば菁英份子主張しゅちょう了りょう被ひ稱しょう為ため antiflamenguismo 的てき反對はんたい佛ふつ朗ろう明あかり哥主義しゅぎ，九きゅう八はち世代せだい他た們認為ため佛ふつ朗ろう明あかり哥阻礙了他た們推動どう西にし班はん牙きば現代げんだい化か的てき過程かてい。所以ゆえん法ほう雅みやび希望きぼう不ふ只ただ能のう影響えいきょう佛ふつ朗ろう明あかり哥界，也能影響えいきょう音樂おんがく界かい跟文化ぶんか界かい人士じんし。


為ため了りょう能のう夠找到同好どうこう來らい支持しじ並なみ且推廣こう深沈しんちん之の歌うた比ひ賽さい，法ほう雅みやび聚集了りょう一票厲害的音樂家跟藝術家。當とう中有ちゅうう年ねん輕けい的てき詩人しじん費ひ德とく里さと戈ほこ·加西かさい亞あ·洛らく爾なんじ卡。23歲さい的てき詩人しじん洛らく爾なんじ卡成為ため推廣比ひ賽さい第だい二に積極せっきょく的てき人物じんぶつ。他た藉著演えんじ講こう跟撰寫うつし散文さんぶん來らい推廣此次比ひ賽さい。第だい三個重要策劃者是出身巴斯克地區的畫家 Ignácio Zuloaga. [13] 參與さんよ活動かつどう的てき古典こてん音樂家おんがくか有ゆう Joaquín Turina, Federico Mompou, Conrado del Campo, 跟 Oscar Esplá, 還かえ有ゆう鋼こう琴きん家か兼けん作曲さっきょく家か María Rodrigo, 紐ひも約やく的てき作曲さっきょく家か兼けん指揮しき家か Kurt Schindler 古典こてん吉よし他た手て Andrés Segovia, 波なみ蘭らん歌手かしゅ Aga Lahowska, 流行りゅうこう樂らく吉きち他た手て Manuel Jofré,知名ちめい的てき安達あだち魯西亞あ詩人しじん Juan Ramón Jiménez 也加入かにゅう了りょう。還かえ有ゆう作家さっか Ramón Pérez de Ayala 跟 Tomás Borrás, 超ちょう現實げんじつ主義しゅぎ畫家がか Manuel Ángeles Ortiz。 Centro Artístico of Granada 組織そしき也參與さんよ籌備，另外還かえ有ゆう教育きょういく界かい的てき教授きょうじゅ例れい如 Francisco Giner de los Ríos 跟音樂おんがく學がく及作曲きょく教授きょうじゅ Felipe Pedrell (他た是ぜ法ほう雅みやび的てき音樂おんがく老師ろうし).[14] 後來こうらい並なみ且加入かにゅう了法りょうほう國こく作家さっか Maurice Legendre, 音樂おんがく評論ひょうろん家か包括ほうかつ馬ば德とく里さと報ほう紙し"El Sol"的てき Adolfo Salazar。[1][2][3][4][5] 法ほう雅也まさや打算ださん邀請法ほう國こく音樂家おんがくか拉ひしげ威い爾なんじ跟俄國こく的てき史ふみ特とく拉ひしげ汶斯基もと，但ただし是ぜ市し政府せいふ拒絕きょぜつ提供ていきょう提供ていきょう旅費りょひ。 [6]


法ほう雅みやび跟佛朗ろう明あかり哥的關係かんけい[编辑]

在ざい他た之の前まえ的てき古典こてん音樂おんがく作曲さっきょく，法ほう雅みやび受到佛ふつ朗ろう明あかり哥音樂おんがく的てき影響えいきょう，例れい如他的てき作品さくひん 短たん暫人生せい(La Vida Breve) (1904–1905, 1913),[7] 西にし班はん牙きば花園はなぞの之の夜よる(Noches en los Jardines de España) (1909–1916),[8][9]三角さんかく帽ぼう( El Sombrero de Tres Picos ) (1917, 1919),[10][11] 跟魔ま幻まぼろし之の愛あい(El Amor Brujo) (1915, 1925)。[12] 為ため了りょう推廣此比賽さい，法ほう雅みやび寫うつし了りょう一いち篇へん散文さんぶん 深ふか歌うた" (安達あだち魯西亞あ原始げんし歌唱かしょう),[13] 在ざい這篇文章ぶんしょう他た在ざい技術ぎじゅつ層そう面めん分析ぶんせき了りょう，影響えいきょう佛ふつ朗ろう明あきら哥主要よう是ぜ，從したがえ東ひがし地中海ちちゅうかい來らい的てき拜はい占うらない庭にわ教會きょうかい音樂おんがく、[14][15] 從したがえ北きた非ひ跟阿拉ひしげ伯はく來らい的てき摩ま爾なんじ人じん音樂おんがく、[16][17][18] 還かえ有ゆう五百年前跟著吉普賽人吉普賽音樂跟印度的 Tala 音樂おんがく。[19][20][21][22]

將はた近きん有ゆう一いち個こ世紀せいき，歐おう洲しゅう的てき古典こてん音樂おんがく作曲さっきょく家か從したがえ西にし班はん牙きば音樂おんがく獲え取ど養分ようぶん，而佛朗ろう明あかり哥是其中重要じゅうよう的てき一部いちぶ份。[23][24][25] 國際こくさい音樂おんがく界かい對たい佛ふつ朗ろう明あかり哥的興趣きょうしゅ，跟西班はん牙きば文化ぶんか菁英對たい佛ふつ朗ろう明あきら哥的不ふ尊重そんちょう，形成けいせい對比たいひ。[26][27] [28] 法ほう雅みやび希望きぼう"能のう夠恢復かいふく這些偉大いだい歌曲かきょく的てき純じゅん淨きよし，正確せいかく的てき成なり為ため歐おう洲しゅう音樂おんがく成就じょうじゅ偉大いだい的てき一部いちぶ份。" ".[29] 但ただし這個"挽救佛ふつ朗ろう明あかり哥"的てき美び夢ゆめ，也被一いち些人批評ひひょう。[30]

公開こうかい募つの款[编辑]

The Alhambra in Granada, from Mirador de San Nicolás.

比ひ賽さい的てき經費けいひ來らい源みなもと是ただし由よし格かく拉ひしげ那な達たち市し政府せいふ所しょ提供ていきょう，[31][32] 但ただし也不是ぜ沒ぼつ有人ゆうじん反對はんたい。 當とう信徒しんと讚たたえ揚あげ佛ふつ朗ろう明あかり哥的古老ころう跟純淨きよし，是ぜ從したがえ人類じんるい靈魂れいこん的てき泉源せんげん產さん生せい，同時どうじ也有やゆう批評ひひょう者しゃ指出さしで，有ゆう時じ佛ふつ朗ろう明あきら哥是在ざい不良ふりょう場所ばしょ表ひょう演えんじ劣れつ質しつ的てき音樂おんがく跟表演えんじ。[33] 比ひ賽さい的てき支持しじ者しゃ們，認みとめ為ため自己じこ是ぜ這脆弱じゃく的てき佛ふつ朗ろう明あかり哥藝術げいじゅつ的てき拯救者しゃ，對たい於他們對手しゅ的てき指ゆび控ひかえ有ゆう點てん無法むほう招架。[34] 為ため了りょう擺脫這些不ふ必要ひつよう的てき包つつみ袱，比ひ賽さい稱呼しょうこ這種藝術げいじゅつ形式けいしき為ため"深沈しんちん之の歌うた"而不是ぜ"佛ふつ朗ろう明あかり哥"。[35][36] 所以ゆえん法ほう雅みやび說せつ：「我わが們是要よう淨化じょうか並なみ且復興ふっこう這可敬けい的てき"深沈しんちん之の歌うた"，並なみ不ふ是ぜ已やめ經けい墮落だらく的てき"佛ふつ朗ろう明あかり哥"，不要ふよう把わ這兩者しゃ搞混了りょう。」(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]

在ざい市し政府せいふ，是ぜ否いや要よう財務ざいむ支持しじ深ふか歌うた大だい賽さい的てき論戰ろんせん持續じぞく進行しんこう著ちょ，而募款也繼續けいぞく著ちょ。[39] 關せき於佛朗ろう明あかり哥本質的しつてき爭論そうろん，持續じぞく到いた現在げんざい還かえ進行しんこう著ちょ。像ぞう是ぜ一個大湯鍋裡面煮著一堆帶著刺的原料，包括ほうかつ了りょう社會しゃかい階級かいきゅう、跟種族ぞく、更さら多た時候じこう是ぜ表ひょう演者えんじゃ的てき才能さいのう、正統せいとう性せい、靈感れいかん。 佛ふつ朗ろう明あかり哥是一いち種しゅ充分じゅうぶん發展はってん的てき音樂おんがく形式けいしき，分析ぶんせき的てき角度かくど可能かのう應おう該從人類じんるい學がく跟音樂おんがく學がく，這些爭論そうろん隨ずい然しか常つね被ひ提起ていき，也常常つね被ひ忽ゆるがせ略りゃく。[40][41][42] 隨ずい著ちょ日び期き的てき接近せっきん，比ひ賽さい的場まとば地ち由ゆかり阿おもね爾しか拜はい辛からし區く的てき San Nicolás 廣場ひろば，改あらため成なり阿おもね爾しか罕布拉ひしげ宮みや。[43]

比ひ賽さい內容[编辑]

參與さんよ的てき藝術げいじゅつ家か[编辑]

舉辦深沈しんちん之の歌うた比ひ賽さい的てき其中一いち項目こうもく的てき，是ぜ希望きぼう發覺はっかく有ゆう才ざい華はな卻沒有ゆう被ひ發現はつげん的てき藝術げいじゅつ家か。因よし此，超過ちょうか 21 歲さい的てき專業せんぎょう人士じんし不ふ被ひ允許いんきょ參加さんか有ゆう獎金的てき比ひ賽さい。 [44][45][46] 儘管如此，專業せんぎょう的てき歌唱かしょう跟跳舞まい表ひょう演えんじ還かえ是ぜ被ひ鼓こ勵的。[47] 雖然花はな了りょう大量たいりょう的てき努力どりょく，並なみ沒ぼつ有ゆう找到多少たしょう不ふ知名ちめい的てき藝術げいじゅつ家か。 洛らく爾なんじ卡找到一個失明的老太太，會かい唱一種被認為已經失傳的liviana曲きょく式しき。 [48][49]

觀かん眾跟形式けいしき[编辑]

活動かつどう在ざい兩りょう天てん的てき基督きりすと聖體せいたい聖せい血ち節ぶし節ふし日び的てき傍はた晚ばん舉行，有ゆう大約たいやく四千個支持者跟佛朗明哥迷參加，這個大だい聚會的てき氣き氛被描述為ため優雅ゆうが又また愉快ゆかい的てき。當とう表ひょう演えんじ開始かいし，觀かん眾的焦點しょうてん就集中在なかざい表ひょう演えんじ上うえ了りょう。[50][51] 參まいり賽さい者しゃ被ひ邀請表ひょう演えんじ被ひ稱しょう為ため深沈しんちん之の歌うた(Cante Jondo 或ある Cante Grande)的てき佛ふつ朗ろう明あかり哥曲式しき[52] 包括ほうかつ了りょう 1) Siguiriyas gitana; 2) Serranas, Polos, Cañas, Solea;還かえ有ゆう 3) Martinetes-Carceleras, Tonás, Livianas, Saetas Viejas (最後さいご這四よん種しゅ是ぜ屬ぞく於無む伴奏ばんそう曲きょく式しき). 另一方面ほうめん，不ふ夠古老ころう或ある不ふ夠深沈しんちん的てき曲きょく式しき，被ひ明確めいかく的てき禁止きんし，包括ほうかつ了りょう: Malagueña, Granaínas, Rondeña, 賽さい維雅那な舞曲ぶきょく, Peteneras.[53]

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

比ひ賽さい的場まとば地ち[编辑]

比ひ賽さい在ざい阿おもね爾しか罕布拉ひしげ宮みや西にし面めん的てき[54]的てきPlaza de Aljibes 舉行，跟 Torre Bermeja 還かえ有ゆう西南せいなん邊べ的てき格かく拉ひしげ那な達たち老ろう城ぐすく區く對たい望もち; 北邊ほくへん是ぜ吉よし普ひろし賽さい區くSacromonte的いくわ山さん坡。[55]充滿じゅうまん了りょう柏木かしわぎ的てき香味こうみ，地面じめん上じょう還かえ灑了法ほう國こく薰かおる衣ころも草そう。廣場ひろば在ざい山やま脊頂，要よう穿ほじ過か正義せいぎ之の塔とう旁つくり邊べ的てき路ろ才能さいのう到達とうたつ。廣場ひろば由ゆかりIgnacio Zuloaga的てき作品さくひん布置ふち，上面うわつら還かえ掛かけ著ちょ鑲邊的てき紡織ぼうしょく品ひん跟披肩; 在ざい太陽たいよう西下さいか時じ，整せい個こ場じょう地ち就變成へんせい了りょう這個阿おもね拉ひしげ伯はく宮殿きゅうでん旁つくり邊べ一塊充滿色彩的區塊。[56][57] 評ひょう審しん團だん包括ほうかつ了りょう吉よし他た手てAndrés Segovia跟佛朗ろう明あかり哥歌手しゅAntonio Chacón。可能かのう有ゆう點てん諷刺ふうし的てき一いち點てん是ぜ，開場かいじょう表ひょう演えんじ是ぜ由よし Segovia 演奏えんそう法ほう雅みやび的てき古典こてん音樂おんがく作品さくひん：用吉もちよし他た對たい德とく布ぬの西にし致敬。[58][59][60]

參まいり賽さい者しゃ[编辑]

一個退休很久的72歲さい佛ふつ朗ろう明あかり哥歌手しゅDiego Bermúdez Cala(藝名げいめいEl Tenazas), 意外いがい成なり為ため比ひ賽さい的てき超ちょう級きゅう明星みょうじょう。他た從したがえ家鄉かきょう Puente Genil 花はな了りょう三天走了大概一百公里到格拉那達去參加比賽。[61] 很明顯あらわ的てき，三さん十年前被刀尖刺穿肺部，導しるべ致他從したがえ佛ふつ朗ろう明あかり哥圈子こ提ひさげ早退そうたい休きゅう了りょう，這項比ひ賽さい讓ゆずる他た重じゅう享とおる他生たしょう命中めいちゅう的てき重要じゅうよう時刻じこく。他た演えんじ唱的曲きょく式しき是ぜ屬ぞく於上一いち個こ時代じだい的てき，很多人じん覺さとし得とく Bermúdez 的てき歌唱かしょう聽起來らい，似に乎就是ぜ得え到いた傳奇でんき歌手かしゅSilverio Franconetti的まと真傳しんでん; 雖然一些其他人說他不知道怎麼唱歌，只ただ會かい調ちょう情じょう。[62][63] "El Tenazas 知道ともみち古老ころう的てき曲調きょくちょう，並なみ且用非常ひじょう佛ふつ朗ろう明あかり哥風味あじ的てき方式ほうしき去さ詮かい釋しゃく它們，他用たよう一種幾十年來沒人聽過的純粹佛朗明哥方式歌唱，尤ゆう其是在ざい siguiriyas, 孤こ調ちょう, and cañas (Silverio Franconetti 最さい喜き歡的曲きょく式しき之の一いち).[64] 在ざい聽到El Tenazas (意思いし是ぜ：鉗子)歌唱かしょう時じ"把わ他た的てき歌聲うたごえ拋到天上てんじょう"，Antonio Chacón驚おどろき呼よび了りょう"老ろう天てん爺じい，我わが聽到了りょう甚麼いんも！"[65] 法ほう雅みやび後來こうらい 1939 年ねん因よし為ため佛ふつ朗ろう哥將軍ぐん打だ贏了西にし班はん牙きば內戰，而流亡ほろび到いた阿おもね根ね廷的時候じこう，還かえ帶おび了りょう一いち份 El Tenazas 的てき錄音ろくおん(Cantos de Diego Bermúdez)去さ。[66] El Tenazas 很享受きょうじゅ他た突然とつぜん回復かいふく的てき名めい氣き，藉此他た接せっ下か來らい就在西にし班はん牙きば各地かくち巡じゅん迴演出えんしゅつ佛ふつ朗ろう明あかり哥歌唱かしょう。但ただし很可惜的，一年後他就去世了。[67] 另外一個首獎得主是年僅十二歲的 Manolo Ortega，後來こうらい被ひ稱しょう為ためEl Caracol, 出身しゅっしん於一個知名的鬥牛士跟吉普賽家庭，後來こうらい獲得かくとく的てき極大きょくだい的てき名聲めいせい，也引起おこり了りょう很大的てき爭議そうぎ。[68][69] 另一個贏家是出身格拉那達的流行歌手Francisco Gálvez Gómez (Yerbagüena), 他た以當地ち一個教堂火災為題材，即興そっきょう寫うつし了りょう佛ふつ朗ろう明あかり哥歌詞かし來らい表ひょう演えんじ，讓ゆずる觀かん眾留下か深刻しんこく印象いんしょう。[70] 總そう共有きょうゆう十個參賽者贏得了數目不等的獎金。[71][72]

專せん家か表ひょう演えんじ[编辑]

專業せんぎょう佛ふつ朗ろう明あかり哥藝術げいじゅつ家か在ざい比ひ賽さい中ちゅう雖然不能ふのう參加さんか有ゆう獎金的てき比ひ賽さい，依然いぜん還かえ是ぜ被ひ尊崇そんすう的てき，並なみ且列為ため特別とくべつ來賓らいひん，包括ほうかつ了りょう女おんな歌手かしゅPastora Pavón (La Niña de los Peines),[73]、男おとこ歌手かしゅManuel Torre, 女おんな舞まい者しゃJuana la Macarrona. 還かえ有男くにお歌手かしゅAntonio Chacón, 被ひ選せん為ため評ひょう審しん。這四位當時已經很有名了。在ざい一幅繪畫中畫出了藝術家們在比賽舉辦人面前表演，La Niña de los Peines, 前面ぜんめん提ひさげ過か的てき退すさ休きゅう的てきEl Tenazas) 還かえ有ゆう創そう新しん的てき佛ふつ朗ろう明あきら哥吉他た手て Ramón Montoya Salazar。[74] 另外也有やゆう一位在巴黎開佛朗明哥咖啡館的 Amalio Cuenca 也被選せん為ため評ひょう審しん。[75] 專業せんぎょう藝術げいじゅつ家か從したがえ從したがえ西にし班はん牙きば各地かくち甚至外國がいこく來らい參加さんか比ひ賽さい。 在ざい比ひ賽さい中ちゅう，偉大いだい的てき Manuel Torre 配はい著ちょ當地とうち Sacromonte 區く的てき吉よし普ひろし賽さい女人にょにん的てき擊げき掌てのひら，吟唱ぎんしょう了りょう歡愉調ちょう(alegrías)。 María Amaya La Gazpacha 唱了喧やかまし戲おどけ調ちょう(bulerías)跟tarantas，由ゆかりPepe Cuéllar 彈だん吉よし他た幫她伴奏ばんそう。 [76] Ramon Montoya, Manolo de Huelva, 跟 José Cuéllar 這三位被比賽聘請的吉他手，組成そせい了りょう吉よし他た三さん重奏じゅうそう，為ため年長ねんちょう的てき舞まい蹈大師しJuana la Macarrona （页面存そん档备份，存そん于互联网档案あん馆）表おもて演えんじ的てき alegrías 舞まい蹈伴奏ばんそう。[77] [78] La Macarrona 她在比ひ賽さい途中とちゅう有ゆう時候じこう會かい大聲おおごえ喊叫:"¡Lapoteosis! ¡Es lapoteosis!"意思いし類似るいじ於"打だ雷かみなり了りょう！"。[79] 在ざい比ひ賽さい中ちゅう一場いちじょう表ひょう演えんじ，Antonio Chacón 唱歌しょうか Ramón Montoya 伴奏ばんそう，一個衣衫藍縷的吉普賽女人安靜的哭泣，站起來らい抬起頭あたま，配はい著ちょ音樂おんがく跳とべ了りょう一首極為動人且優雅的孤こ調ちょう。她其實じつ是ぜ幾いく十年前一個有名的佛朗明哥舞者 La Golondrina [80]


比ひ賽さい的てき新聞しんぶん[编辑]

跟摩洛らく哥戰爭そう令れい人じん沮喪そそう的てき消息しょうそく相しょう比ひ，西にし班はん牙きば媒體ばいたい普遍ふへん讚たたえ揚あげ這次比ひ賽さい。,[81] 一家いっか馬ば德とく里さと雜誌ざっし新しん世界せかい描述這次比ひ賽さい是ぜ"令れい人じん難なん忘的"關せき於觀眾，它這樣さま描寫びょうしゃ:

"月がつ亮あきら沒ぼつ有ゆう參加さんか，但ただし是ぜ比ひ賽さい場じょう地ち擠滿了まんりょう小しょう精靈せいれい、仙子せんこ、甚至魔ま鬼おに。一個超級票房冠軍，座ざ無む虛きょ席せき，並なみ且是一いち群ぐん有紀ゆうき律ただし、有ゆう文化ぶんか的てき觀かん眾。觀かん眾主要よう是ぜ女性じょせい，穿ほじ著しる 1830 年ねん的てき服裝ふくそう，其他人たにん穿ほじ著しる老ろう式しき的てき長ちょう褲，她們所有しょゆう人じん帶たい著ちょ格かく拉ひしげ那な達人たつじん特有とくゆう的てき穩重。群ぐん眾扇著ちょ扇子せんす交談著ちょ，直ちょく到いた一首歌曲用感動麻痺了群眾們…"[82]

格かく拉ひしげ那な達たち的てき雜誌ざっし阿おもね爾しか罕布拉ひしげ宮みや盛もり讚たたえ比ひ賽さい為ため"精彩せいさい的てき晚ばん會かい"。在ざい馬うま德とく里さと，媒體ばいたい評論ひょうろん宣せん稱しょう"比ひ賽さい非常ひじょう的てき成功せいこう"。[83] 雖然如此，法ほう雅みやび還かえ是ぜ失望しつぼう的てき。[84]

後續こうぞく發展はってん[编辑]

Manuel de Falla (1876-1946)

比ひ賽さい的てき表ひょう演えんじ廣こう受好評ひょう，但ただし比ひ賽さい的てき成果せいか則そく有ゆう爭議そうぎ。[85] 比ひ賽さい本身ほんみ很令人じん享受きょうじゅ，也成功せいこう的てき集結しゅうけつ了りょう表ひょう演者えんじゃ跟樂迷，並なみ且提升ます了りょう佛ふつ朗ろう明あかり哥在西にし班はん牙きば的てき文化ぶんか界かい領袖りょうしゅう心中しんちゅうの的てき地位ちい。[86] 各種かくしゅ佛ふつ朗ろう明あかり哥曲式しき的てき錄音ろくおん被ひ灌錄了りょう，有ゆう些曲式しき之の前ぜん很少人知じんち道どう，有ゆう些曲式しき則そく是ぜ被ひ重じゅう新しん發現はつげん。[87] 比ひ如；La Caña:

"它是一いち種しゅ古老ころう的てき曲きょく式しき，用宗もちむね教きょう旋律せんりつ跟吟唱ぎんしょう橋きょう段だん，讓ゆずる它成為ため"佛ふつ朗ろう明あかり哥彌撒"。在ざい二に十世紀幾乎完全消失了，卻在 1922 年ねん格かく拉ひしげ那な達たち的てき比ひ賽さい中ちゅう，由よし優勝ゆうしょう者しゃ El Tenazas 的てき錄音ろくおん被ひ重じゅう新しん發現はつげん了りょう。[88]

另一方面ほうめん，提つつみ升ます佛ふつ朗ろう明あかり哥表演えんじ純じゅん淨きよし本質ほんしつ的てき目的もくてき，卻沒有ゆう達成たっせい。[89] 佛ふつ朗ろう明あかり哥劇場じょう時代じだい即そく將はた來臨らいりん，這是一種在現代已經因為它擺架子的形式、跟其他た音樂おんがく的てき混合こんごう，被ひ鄙ひな視し的てき形式けいしき。 [90][91]

在ざい同どう一いち年ねん，類似るいじ的てき佛ふつ朗ろう明あかり哥比賽さい也在賽さい維亞跟加地かじ斯舉行了りょう。[92][93]幾いく十じゅう年ねん後ご的てき 1956 年ねん哥多華はな市し舉行了りょう全國ぜんこく深沈しんちん之の歌うた比ひ賽さい[94] 在ざい 1962 年ねんJerez de la Frontera舉辦了りょう國際こくさい佛ふつ朗ろう明あかり哥藝術げいじゅつ比ひ賽さい，這樣的てき活動かつどう已やめ經けい成なり為ため佛ふつ朗ろう明あかり哥文化ぶんか的てき一いち種しゅ常態じょうたい。[95]


外部がいぶ連結れんけつ[编辑]

參考さんこう來らい源げん[编辑]

  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. ^ 法ほう雅也まさや打算ださん邀請音樂家おんがくか 拉ひしげ威い爾なんじ 跟俄國こく的てき史し特とく拉ひしげ汶斯基もと，但ただし是ぜ市し政府せいふ拒絕きょぜつ提供ていきょう提供ていきょう旅費りょひ。. [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." 法ほう雅みやび寫うつし給きゅう倫敦ろんどん評論ひょうろん家か John Trend 的てき信しんじ, Molina Fajardo 引用いんよう在ざい Manuel de Falla y El "Cante Jondo" 書中しょちゅう，(1962; 1998) 76-77 頁ぺーじ。
  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 （页面存そん档备份，存そん于互联网档案あん馆）
  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" （页面存そん档备份，存そん于互联网档案あん馆） 馬うま德いさお里さと的てき雜誌ざっし Nuevo Mundo(新しん世界せかい)1922年ねん6月がつ23,flamenco-world.com 網あみ站的英文えいぶん翻譯ほんやく。
  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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