ENRIQUE MORENTE: in MEMORIAM REQUIEM ENRIQUE MORENTE: in MEMORIAM REQUIEM Live in Barcelona · Taller De Músics 1979 - 2019
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ENRIQUE MORENTE: IN MEMORIAM REQUIEM ENRIQUE MORENTE: IN MEMORIAM REQUIEM Live in Barcelona · Taller de Músics 1979 - 2019 Joan Albert Amargós, conductor Joan Díaz, composer Manuel Forcano, text curator 1. Introitus: En pie 2. Kyrie Eleison: Pietat 3. Graduale: Coplas de la amistad 4. Tracto: Los sueños malos 5. Sequentia - Dies Irae: Tristes guerras 6. Offertorium:Fuera del mundo 7. Sanctus: Canción 8 8. Agnus Dei: Despedida ENRIQUE MORENTE: IN MEMORIAM SEED VII (...) Muerto - ¿qué es eso? ¿qué significamuerto ? Decídmelo vosotros, sabios, decidme su sentido. Él está mudo. Todos guardan silencio, nadie puede decirme en esta tierra dónde mi corazón ha de encontrarle. NOVALIS, 1799 -1800 · De Canciones espirituales (Translation by Alejandro Martín Navarro). Enrique Morente at the International Carmen Amaya Seminar, held in Begur in July 1989 and organised by the Taller de Músics. 4 5 ENRIQUE MORENTE: IN MEMORIAM SEED 1. Introitus 2. Kyrie Eleison En pie Pietat Mario Benedetti Manuel Forcano Sigo en pie Kyrie Eleison por latido perquè caiem en el desig por costumbre de cada cosa i moltes més. por no abrir la ventana decisiva y mirar de una vez a la insolente Christe Eleison muerte, perquè fins el que fa de guia esa mansa pot fer marrada del camí. dueña de la espera. Poems Kyrie Eleison [...] perquè no sempre el terrissaire coneix el fang que fa servir. Seguir en pie Poemes quiere decir coraje o no tener donde caerse Poemas muerto. 6 7 ENRIQUE MORENTE: IN MEMORIAM SEED 3. Graduale 4. Tracto 6. Offertorium Coplas de la amistad Los sueños malos Fuera del mundo Lluís Cabrera Antonio Machado Jorge Guillén Si no confías en mí Está la plaza sombría; [...] ¿a qué me voy a agarrar? muere el día. ¿Al borde de un precipicio Suenan lejos las campanas. Algún día me moriré -¿tal vez penosamente?- o al hedor de un muladar? De balcones y ventanas Me moriré, tranquilo, sosegado. se iluminan las vidrieras No me despertaré por la mañana, Te vi cuando planeabas con reflejos mortecinos, ni por la tarde. ¿Nunca? como el águila real, como huesos blanquecinos ¿Monstruo sin cuerpo yo? ¡ay!, a una altura tan alta y borrosas calaveras. Se cumpla el orden. que daba miedo mirar. En toda la tarde brilla una luz de pesadilla. No te entristezca el muerto solitario. Camino del alba Está el sol en el ocaso. En esa soledad no está, no existe. van sin rechistar Suena el eco de mi paso. Nadie en los cementerios. dos sombras parejas -¿Eres tú? Ya te esperaba... ¡Qué solas se quedan las tumbas! cruzando “mirás”. -No eras tú a quien yo buscaba. Refugio oscuro, noche callada, 7. Sanctus 8. Agnus Dei sombra que se alarga 5. Sequentia - Dies Irae Canción 8 Despedida hacia la nada. Tristes guerras Rafael Alberti Federico García Lorca Miguel Hernández Voy escondiendo fatigas [...] Si muero, la vida pasa veloz Tristes guerras dejad el balcón abierto. ¡y la muerte aquí en la esquina! si no es amor la empresa. Entré en el patio que un día Tristes, tristes. fuera una fuente con agua. El niño come naranjas. Antes del alba reímos, Tristes armas Aunque no estaba la fuente (Desde mi balcón lo veo). reímos hasta llorar: si no son las palabras. la fuente siempre sonaba. echaste mano de mí, Tristes, tristes. Y el agua que no corría El segador siega el trigo. me anunciaste tu penar. Tristes hombres volvió para darme agua. (Desde mi balcón lo siento). si no mueren de amores. Tristes, tristes. ¡Si muero, 8 dejad el balcón abierto! 9 ENRIQUE MORENTE: IN MEMORIAM SEED Joan Díaz, composer. 10 11 ENRIQUE MORENTE: IN MEMORIAM SEED ENRIQUE MORENTE, TRADITION AND THE AVANT-GARDE If Enrique Morente, that colossal figure, contemporary music, with rock, with Camarón recorded even before Morente a magnificent legacy which continues had not existed, we would have had Raï, twinning his cante jondo with North did so himself. to nourish those of us who had the to invent him. He was an absolutely African artists, with Cuban music, with good luck to be at his side. Morente is a essential cantaor/creator in the history the poetry of Lorca, Miguel Hernández He knew the tablaos, the flamenco clubs, paradigm of the MAESTRO writ large. of flamenco. Without him, it would be and San Juan de la Cruz, reworking the festivals and the theatres of the Always sharing, making a gift of his impossible to understand the current Leonard Cohen, providing a voice for whole world. He was a faultless singer immense wisdom for the pleasure of situation of jonda (deep, profound) the older style of playing by Manolo de as accompanist to flamenco dance, he those around him. music. His contribution to the genre is Huelva, Montoya and Sabicas, recording loved the guitar, he took risks with all immense, from new versions of some of with a Bulgarian Voices choir; endless kinds of instrumentation and ensemble He left us far too soon, silently. He the repertory’s classic songs to the most experiences typical of an artist who was combinations. Enrique was a total artist left us alone and with many projects avant-garde projects created throughout committed to his epoch and his art. In and a cantaor adept in different types of unrealised. Nevertheless, his children his career. His two recorded works from this way, he prepared the ground for his flamenco who cultivated all styles. are still here and a legion of artists follow 1977 are good examples. The double many followers. He had it in him, with in his footsteps, and between them they LP, Homenaje a D. Antonio Chacón his overwhelming personality, to leave His life was intense, both personally will keep his flame alight. As he used to (Homage to Don Antonio Chacón) his mark on the cantes antiguos (old and artistically. Half a century of say, it’s a miracle that we are alive. You’re was a demonstration of respect and style songs). He did not limit himself dedication, body and soul, to art. He so right, dear Maestro, but ever since you admiration for the legendary cantaor to reproducing them, but went further, was always searching, full of curiosity, left we’re little orphans. from Jerez, who was not, at the time, taking giant steps that would encourage everything interested him, he could appreciated as he is now, largely thanks new generations to transgress the strike up relationships with everybody to this work by Enrique with Pepe classical canons in order to launch and wanted to learn from everything. Faustino Núñez Habichuela. In the same year, one of the flamenco singing into the twenty-first Enriquecerse was his way, (a play Musicologist. most revolutionary flamenco albums century. on words, meaning both to become came out: Despegando (Taking off). Enrique and to enrich -1). And on these Both registers offer a good handful of He was also one of the few artists of the enriched foundations, this Enrique- exemplary pieces of Morente’s art. second half of the twentieth century to cimiento (another play on words -2), create new cantes to add to the corpus of as José Manuel Gamboa said, he built He knew as no-one else how to merge flamenco styles, for example hisAlegrías English his purely flamenco talent with de Enrique or the fandango natural that English 12 1 and 2: Translator’s note 13 ENRIQUE MORENTE: IN MEMORIAM SEED “I met Enrique Morente in 1970, in as Juan Manuel Caro; and, as Cabrera Madrid. I made the journey, specifically, recalls, they also received “the invaluable to ask him if we could give his name to help of a revolutionary priest who the Peña flamenca (flamenco club) in helped facilitate their activity”. During the Verdum neighbourhood of the Nou these years, the Peña organised tours by Barris district. I had discovered him Enrique Morente, with, among others, while listening to the radio programme of Manolo Sanlúcar, Manolo Cano and the legendary Ricardo Romero on Radio Manzanita, to the urban centres that, Juventud of Sant Feliu de Llobregat: today, make up the metropolitan area of Tocadiscos flamenco, it was called. He Barcelona. It would be the beginning of a was a revelation, he was different. One relationship that was not only personal, day I asked for a day’s holiday from the extending to just a few days before the dressmaking workshop where I was death of the brilliant cantaor, but also employed and turned up at the radio involved a love for a land, Catalonia, and station; through the record company a city, Barcelona, which the musician they helped me get in touch with him. visited regularly until the end of his life. In a way, that’s where everything began.” Morente’s relationship with Catalonia These are the words of Lluís Cabrera, was close and intense. A few days guiding spirit of that group of friends before he died, we heard him sing at who formed the first modest but the inauguration of the flamenco cycle “There are enthusiastic peña dedicated to the organised by Mayte Martín at the name of Morente; people who acted in refurbished Molino theatre on Avenida a slightly amateur way but who were Paralelo; a cycle to which she gave the no teachers, honest and, with Cabrera at their head, ingenious name Poco ruido y mucho became the seed of what, since 1979, has duende (Little noise and lots of duende -1). been known as the Taller de Músics (the Morente had met Martín when she was a only disciples” Musicians’ workshop). The activities young girl, at the Peña de Nou Barris; he of the Peña flamenca were clandestine was impressed by her rigorousness and until 1978.