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Four thousand people all silenced – and two thousand of them were women! … What better reception could there be? ” 25 El Liberal. The atmosphere of those starry and rainy evenings was described in a multitude of newspaper articles with eloquent statements such as that of “Galerín” in the Seville daily El Liberal : “ Here we have seen the rarest and most fanciful silk shawls in the world ” or, referring to the overwhelming sense of expectation: “ A great hush fell on the square. In short, Lorca' s interest in flamenco throughout his life led him to draw inspiration from this art form, just as various artists of song and dance have been inspired by this poet in the creation of their work.Along with Federico García Lorca, Miguel Cerón and others, Manuel de Falla moved heaven and earth during the first few months of 1922 in the hope of rescuing “primitive Andalusian song” and bringing it to the Plaza de los Aljibes in the Alhambra for two evenings (13 and 14 June). It was on a trip with Manuel de Falla to Seville and Cádiz that Lorca met Pastora Pavón and Manuel Torre, and from there came the idea of organising the Concurso de cante jondo de Granada, although they later realised that the Sacromonte of Granada was not the birthplace of 'cante jondo', nor was there much enthusiasm for it. This contact with the gypsies of the San Cristóbal and Albaicín neighbourhoods of Granada led Loca to take an interest in cante jondo and to begin his own research into this art form, which led him to write Poema del cante jondo (Poem of cante jondo). In 1920, he arrived in Granada and initiated Federico into taking notes on the oral romances that were still alive among the city's gypsies. At the Residencia de Estudiantes in Madrid, where he studied law, he met personalities from the cultural world of the time such as Salvador Dalí, Luis Buñuel, Pedro Salinas and Maruja Mallo.īut, without a doubt, his greatest research work came from the hand of Ramón Menéndez Pidal. Falla was researching the Spanish musical tradition, adapting it and introducing it into his work, as in Amor brujo. Later, he became friends with Manuel de Falla, who settled in Granada in love with the romanticism of the city and the Alhambra.
#EL CANTE JONDO LORCA PROFESSIONAL#
In 1909, Federico began his musical training with the professional pianist and organist Eduardo Orense. The beginnings of Lorca' s relationship with flamenco and popular songs leave their mark in poems that would later be used in Poema del Cante Jondo and Romancero Gitano.
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Federico García Lorca took the popular as his essence and magnified it through his own artistic creation. This awakened in the young Federico a great interest in the musical culture of the time, and popular music became a determining factor in the poet's work. In the Vega Granaína, Lorca learnt popular songs related to agricultural work and country festivals, and from the nannies he learnt lullabies and other popular music. His grandfather Baldomero García, a great flamenco enthusiast, was a keen flamenco fan, and he began to sing jabeas, a palo related to the malagueñas, as well as popular Andalusian songs.įederico's musical training began at the hands of his mother and his aunt Isabel, who had great musical talent: she sang, accompanied by the guitar with great intonation and a delicate voice. At his home in Fuente Vaqueros, Granada, he listened to the singing and foot tapping of the "jondo" art. The childhood of Federico García Lorca and flamencoįrom a very early age, Lorca was linked to flamenco. Morente became a great genius and renovator of cante jondo.
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Por bulerías, in Negra, si tú supieras, and so on and so forth. Later, in Omega and Lorca, he adapted texts from Poeta en Nueva York. In Calle Real he adapts Romance de la luna, luna.Įnrique Morente, back in 1972, adapted fragments of Doña rosita la Soltera into tangos in his work El lenguaje de las flores. Following the trend, Soy Gitano includes Romance de Thamar y Amnón, Casida de las palomas oscuras and a new version of Nana del caballo grande. But the artists who have drawn most from Lorca's source are undoubtedly Enrique Morente and Camarón de la Isla.Ĭamarón adapts several poems by Lorca in La leyenda del tiempo: Mi niña se fue a la mar, Romance del Amargo, Homenaje a Federico, Nana del caballo grande and the title track. This interest was born with the recording of popular songs by 'La Argentinita' with Federico himself, some of which were later adapted by Pepe Marchena or 'La Niña de los Peines'. As a consequence of this link between the Granaíno poet and the 'jondo', the world of flamenco has always been attracted to Lorca's texts.