A third important figure was the Basque painter Ignácio Zuloaga. Lorca publicized, popularized the event by staging his oral presentations descriptive of Flamenco arts he also published essays on its dramatic style and little-known history. At twenty-three, the granadino poet became a Concurso activist second only to Falla. Statue of Lorca in the Plaza de Santa Ana, Madridįalla first gathered together an impressive group of musicians and artists to help sponsor and promote the Concurso. Of course, including artistic circles of flamenco, its musicians and aficionados, but especially to encompass 'luminaries', guiding figures in the wider world of art and culture, to afterward sing in praise of cante jondo. įor the Concurso to succeed, Falla aimed for not only to produce a stellar musical event but also to draw an influential audience as witness. These Spanish reformers were activists in the sweeping effort to modernize and transform Spain and its culture, yet in the process they judged flamenco harshly as frivolous and regressive. Enlisting the support of Spanish intellectuals was considered crucial, to counter the then-current flood of antiflamenquismo raised by the generación del '98. The aim of the Concurso was not merely to celebrate the music, but to nourish and elevate it. He had heard its refrains since his gaditano childhood, from friends of the family, Gitano cantaores and tocaores. The composer had devoted years developing his intuitive ability to craft its stream of color, to etch it shimmering contours in classical scores. Falla simply recognized in flamenco an art form of great beauty and drive. He sought to encourage and enhance the music of cante jondo (literally "deep song", referring to a key element of flamenco, as opposed to "cante chico", the "lighter" more accessible element), which he sensed had fallen into a period of decadence. The Spanish classical composer Manuel de Falla (1876–1946) was the principal organizer of the Concurso. The illustrious Falla, who studied the question attentively, affirms that the gypsy seguiriya is the song type of the group " cante jondo" and declares that it is the only song on our continent that has been conserved in its pure form, because of its composition and its style and the qualities it has in itself, the primitive songs of the oriental people.Producing the artistic event Falla's purpose It is also a rare example of primitive song, the oldest of all Europe, where the ruins of history, the lyrical fragment eaten by the sand, appear live like the first morning of its life. The " cante jondo" approaches the rhythm of the birds and the natural music of the black poplar and the waves it is simple in oldness and style. The following is translated from the conference notes by Lorca: In 1931, Garcia Lorca presented a conference devoted to keeping the rich tradition of the cante jondo alive. Lorca had evidently used the title Poema del Cante Jondo for a 1921 collection of poems, although he did not publish it for ten years.
#EL CANTE JONDO SERIES#
The result was the memorable series of flamenco performances held at the Alhambra during June. Many classical musicians, cultural and literary figures, including the young poet Federico García Lorca, participated in the program. In 1922 the Spanish composer Manuel de Falla led in the organization of the Concurso de Cante Jondo for Granada. It is generally considered that the common traditional classification of flamenco music is divided into three groups of which the deepest, most serious forms are known as " cante jondo". This page uses Creative Commons Licensed content from Wikipedia ( view authors).Ĭante jondo ("deep song") is a vocal style in flamenco.
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