DOCSLIB.ORG

Flamenco Guitarist Andres Vadin Brings Influencias to the Lobero

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Flamenco Guitarist Andres Vadin Brings Influencias to the Lobero 12 At the Center of Santa Barbara’s Cultural Conversation | www.VoiceSB.com September 13, 2019 Flamenco guitarist Andres Vadin brings Influencias to the Lobero Theatre By Jessica Haro / Special to VOICE The Flamenco Arts N 2000, THE FLAMENCO ARTS FESTIVAL OPENED with a concert by Festival celebrates its Cañadú. The ensemble’s modern take on flamenco music was like nothing the 20th anniversary from Santa Barbara flamenco community had ever heard. That was a time when September 26-29, Iflamenco music was difficult to obtain in the United States. Imported CDs were sold out of the trunks of cars, and friends traded cassette tapes that were 2019. Coinciding with copies-of-copies of a CD a friend bought on a trip to Spain. Such a time must seem National Hispanic unimaginable to young flamenco fans who grew up streaming flamenco music Heritage Month, online and discovering new artists on YouTube. It is fitting, then, that this year’s festival will open on September 26th with the Festival presents Influencias, a concert by The Andres Vadin Project that Vadin describes as world-class artists “flamenco guitar the way I see it nowadays.” from Spain and the Vadin was born in Havana, Cuba, and studied guitar at the Guillermo Tomas U.S. and for four days and Amadeo Roldan Conservatory of Music from age eleven through 18. The curriculum focused on classical music, but included pieces from other countries, these artists perform, such as Argentine tango and teach, and lecture. Venezuelan music. This year’s festivities “Cuba is a place that is very Back in 2000 the FAF presented Courtesy Photo include two live cultural, so you have influences a flamenco music group called Andres Vadin, guitarist-composer, will perform on Thursday, September 26th from everywhere,” Vadin says. concerts, an award Vadin discovered flamenco Cañadú. They were the first music Diego Álvarez (percussion) is from Venezuela, Ioannis Goudelis (piano accordion) presentation, a flash during secondary school group to perform for the FAF and is from Greece, and Yosmel Montejo (bass) is a fellow Cuban. mob, dance and through a Paco de Lucia they were unknown in the U.S. at “Flamenco guitar – even if you’re not playing a certain palo [traditional branch album, and after graduation he of flamenco], but you’re playing with the language of flamenco, that kind of music workshops, the time. But to this day people still took it upon himself to learn phrasing will mix perfectly with these other cultures,” Vadin explains. “It can easily and an after party flamenco guitar. “I was playing talk about that show and the music mix with Cuban music or with some Arab influence or with jazz. So that’s what the to celebrate. With its only classical guitar and I was that brought the audience to their concert is about.” beautiful coastline, interested in doing something feet. This will be another one of Featured pieces include a traditional Cuban bolero that Vadin arranged as else – something where I could a modern flamenco rumba, and a ballad that doesn’t conform to a traditional those unforgettable moments. paseos, Spanish explore the guitar more,” he flamenco structure, but is written in the language of flamenco guitar. Influencias is legacy, and passion explains. “In classical guitar – Vibiana Pizano, President & Founder sure to challenge anyone whose idea of flamenco guitar begins and ends with the for the performing they don’t use the same music of Sabicas. “The music changes,” says Vadin. “Everything changes.” arts, there is no better technique that they use in flamenco guitar. It’s a completely different language.” The Flamenco Arts Festival has been instrumental in keeping Santa Barbara place for a flamenco He began using that language to compose much earlier than he’d anticipated. from falling behind in the evolving world of modern flamenco by bringing festival than Santa One of his first jobs was for the Havana-based flamenco company Aires. innovative artists to local stages and Barbara, the Early on in his tenure with the group they needed someone who could offering master classes with flamenco’s compose music, and Vadin’s conservatory education made him the leading dancers and musicians. Now in American Riviera. Visit perfect candidate. “At that time I didn’t have the technique really because its 20th anniversary season, the Flamenco www.flamencoarts.org I’d just come from playing classical, so it was hard work,” Vadin admits. Arts Festival is poised to continue that for details. Today, flamenco is the primary language Vadin uses as a guitarist. legacy beginning with the opening night “You can express so many emotions,” Vadin says of flamenco. performance of Influencias. The festival will “It has the wild part from the street and the gypsies, but you continue with the inaugural presentation also have an intellectual component. The technique is unique, of the Alberto Pizano Award for the Arts to and combining all those techniques allows you to explore the Luisa Triana, a full schedule of workshops virtuosity of the instrument.” for dancers and musicians of all levels, and Vadin now lives in Los Angeles, and the music of Influencias the U.S. premiere of Eduardo Guerrero’s reflects the influences that move has had on his music. Faro. “Living in LA gives you the opportunity to collaborate with The Andres Vadin Project will perform musicians from many different cultures, and also gives you Influencias at the Lobero Theater on an opportunity to express your art in front of many different Thursday, September 26th at 7:30pm. audiences,” says Vadin. “I’ve had the opportunity to play with Ticketholders are invited to the opening people from Iran, Armenia, France, and Spain of course, and night reception on the Lobero Esplanade they always bring their own culture, their own style.” Will Austin at 6pm with wine tasting courtesy of Santa All of the artists featured in The Andres Vadin Project are Barbara Winery. Vadin will be also teaching people he met in Los Angeles, though all of them come from Photo by an introductory flamenco guitar workshop Courtesy Photo Jose Cortes, featured singer for the somewhere else. Vocalists Jose Cortes and Manuel Gutierrez are Manuel Gutierrez, featured dancer for the on Friday, September 27th from 7 to 8:30pm. Andres Vadin Project from Spain and both spent part of their childhood in France. Andres Vadin Project For details, see www.flamencoarts.org. Photo by Sari Makki.
Load more

Recommended publications
  • Samba, Rumba, Cha-Cha, Salsa, Merengue, Cumbia, Flamenco, Tango, Bolero
    SAMBA, RUMBA, CHA-CHA, SALSA, MERENGUE, CUMBIA, FLAMENCO, TANGO, BOLERO PROMOTIONAL MATERIAL DAVID GIARDINA Guitarist / Manager 860.568.1172 [email protected] www.gozaband.com ABOUT GOZA We are pleased to present to you GOZA - an engaging Latin/Latin Jazz musical ensemble comprised of Connecticut’s most seasoned and versatile musicians. GOZA (Spanish for Joy) performs exciting music and dance rhythms from Latin America, Brazil and Spain with guitar, violin, horns, Latin percussion and beautiful, romantic vocals. Goza rhythms include: samba, rumba cha-cha, salsa, cumbia, flamenco, tango, and bolero and num- bers by Jobim, Tito Puente, Gipsy Kings, Buena Vista, Rollins and Dizzy. We also have many originals and arrangements of Beatles, Santana, Stevie Wonder, Van Morrison, Guns & Roses and Rodrigo y Gabriela. Click here for repertoire. Goza has performed multiple times at the Mohegan Sun Wolfden, Hartford Wadsworth Atheneum, Elizabeth Park in West Hartford, River Camelot Cruises, festivals, colleges, libraries and clubs throughout New England. They are listed with many top agencies including James Daniels, Soloman, East West, Landerman, Pyramid, Cutting Edge and have played hundreds of weddings and similar functions. Regular performances in the Hartford area include venues such as: Casona, Chango Rosa, La Tavola Ristorante, Arthur Murray Dance Studio and Elizabeth Park. For more information about GOZA and for our performance schedule, please visit our website at www.gozaband.com or call David Giardina at 860.568-1172. We look forward
    [Show full text]
  • Soundboardindexnames.Txt
    SoundboardIndexNames.txt Soundboard Index - List of names 03-20-2018 15:59:13 Version v3.0.45 Provided by Jan de Kloe - For details see www.dekloe.be Occurrences Name 3 A & R (pub) 3 A-R Editions (pub) 2 A.B.C. TV 1 A.G.I.F.C. 3 Aamer, Meysam 7 Aandahl, Vaughan 2 Aarestrup, Emil 2 Aaron Shearer Foundation 1 Aaron, Bernard A. 2 Aaron, Wylie 1 Abaca String Band 1 Abadía, Conchita 1 Abarca Sanchis, Juan 2 Abarca, Atilio 1 Abarca, Fernando 1 Abat, Joan 1 Abate, Sylvie 1 ABBA 1 Abbado, Claudio 1 Abbado, Marcello 3 Abbatessa, Giovanni Battista 1 Abbey Gate College (edu) 1 Abbey, Henry 2 Abbonizio, Isabella 1 Abbott & Costello 1 Abbott, Katy 5 ABC (mag) 1 Abd ar-Rahman II 3 Abdalla, Thiago 5 Abdihodzic, Armin 1 Abdu-r-rahman 1 Abdul Al-Khabyyr, Sayyd 1 Abdula, Konstantin 3 Abe, Yasuo 2 Abe, Yasushi 1 Abel, Carl Friedrich 1 Abelard 1 Abelardo, Nicanor 1 Aber, A. L. 4 Abercrombie, John 1 Aberle, Dennis 1 Abernathy, Mark 1 Abisheganaden, Alex 11 Abiton, Gérard 1 Åbjörnsson, Johan 1 Abken, Peter 1 Ablan, Matthew 1 Ablan, Rosilia 1 Ablinger, Peter 44 Ablóniz, Miguel 1 Abondance, Florence & Pierre 2 Abondance, Pierre 1 Abraham Goodman Auditorium 7 Abraham Goodman House 1 Abraham, Daniel 1 Abraham, Jim 1 Abrahamsen, Hans Page 1 SoundboardIndexNames.txt 1 Abrams (pub) 1 Abrams, M. H. 1 Abrams, Richard 1 Abrams, Roy 2 Abramson, Robert 3 Abreu 19 Abreu brothers 3 Abreu, Antonio 3 Abreu, Eduardo 1 Abreu, Gabriel 1 Abreu, J.
    [Show full text]
  • The Global Reach of the Fandango in Music, Song and Dance
    The Global Reach of the Fandango in Music, Song and Dance The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by K. Meira Goldberg, Antoni Pizà and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9963-1 ISBN (13): 978-1-4438-9963-5 Proceedings from the international conference organized and held at THE FOUNDATION FOR IBERIAN MUSIC, The Graduate Center, The City University of New York, on April 17 and 18, 2015 This volume is a revised and translated edition of bilingual conference proceedings published by the Junta de Andalucía, Consejería de Cultura: Centro de Documentación Musical de Andalucía, Música Oral del Sur, vol. 12 (2015). The bilingual proceedings may be accessed here: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/do cumentacion/revistas/revistas-mos/musica-oral-del-sur-n12.html Frontispiece images: David Durán Barrera, of the group Los Jilguerillos del Huerto, Huetamo, (Michoacán), June 11, 2011.
    [Show full text]
  • Spanish Local Color in Bizet's Carmen.Pdf
    !@14 QW Spanish Local Color in Bizet’s Carmen unexplored borrowings and transformations Ralph P. Locke Bizet’s greatest opera had a rough start in life. True, it was written and composed to meet many of the dramatic and musical expectations of opéra comique. It offered charming and colorful secondary characters that helped “place” the work in its cho- sen locale (such as the Spanish innkeeper Lillas Pastia and Carmen’s various Gypsy sidekicks, female and male), simple strophic forms in many musical numbers, and extensive spoken dialogue between the musical numbers.1 Despite all of this, the work I am grateful for many insightful suggestions from Philip Gossett and Roger Parker and from early readers of this paper—notably Steven Huebner, David Rosen, Lesley A. Wright, and Hervé Lacombe. I also benefi ted from the suggestions of three specialists in the music of Spain: Michael Christoforidis, Suzanne Rhodes Draayer (who kindly provided a photocopy of the sheet-music cover featuring Zélia Trebelli), and—for generously sharing his trove of Garciana, including photocopies of the autograph vocal and instrumental parts for “Cuerpo bueno” that survive in Madrid—James Radomski. The Bibliothèque nationale de France kindly provided microfi lms of their two manu- scripts of “Cuerpo bueno” (formerly in the library of the Paris Conservatoire). Certain points in the present paper were fi rst aired briefl y in one section of a wider-ranging essay, “Nineteenth-Century Music: Quantity, Quality, Qualities,” Nineteenth-Century Music Review 1 (2004): 3–41, at 30–37. In that essay I erroneously referred in passing to Bizet’s piano-vocal score as having been published by Heugel; the publisher was, of course, Choudens.
    [Show full text]
  • Andalucía Flamenca: Music, Regionalism and Identity in Southern Spain
    Andalucía flamenca: Music, Regionalism and Identity in Southern Spain A thesis submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Matthew Machin-Autenrieth © Matthew Machin-Autenrieth 2013 Tables of Contents Table of Contents i List of Plates iv List of Examples iv List of Figures v Conventions vi Acknowledgments viii Abstract x Introduction 1 PART ONE Chapter One: An Overview of Flamenco 6 The Identities of Flamenco 9 The Materials of Flamenco 12 The Geographies of Flamenco 19 The Scholars of Flamenco 25 Chapter Two: Music, Regionalism and Political Geography 36 Political Geography and Music 37 Region, Regionalisation and Regionalism 43 Regionalism and Music 51 The Theoretical Framework 61 Conclusions 68 Chapter Three: Methodology 70 Virtual Ethnography: In Theory 70 Virtual Ethnography: In Practice 79 Field Research in Granada 86 Conclusions 97 Chapter Four: Regionalism, Nationalism and Ethnicity in the History of Flamenco 98 Flamenco and the Emergence of Andalucismo (1800s–1900s) 99 Flamenco and the Nation: Commercialisation, Salvation and Antiflamenquismo 113 Flamenco and Political Andalucismo (1900–1936) 117 Flamenco during the Franco Regime (1939–75) 122 Flamenco since the Transition to Democracy (1975 onwards) 127 Conclusions 131 i Chapter Five: Flamenco for Andalusia, Flamenco for Humanity 133 Flamenco for Andalusia: The Statute of Autonomy 134 Flamenco for Humanity: Intangible Cultural Heritage 141 The Regionalisation of Flamenco in Andalusia 152 Conclusions 169 PART
    [Show full text]
  • Bambuco, Tango and Bolero: Music, Identity, and Class Struggles in Medell´In, Colombia, 1930–1953
    BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 by Carolina Santamar¶³aDelgado B.S. in Music (harpsichord), Ponti¯cia Universidad Javeriana, 1997 M.A. in Ethnomusicology, University of Pittsburgh, 2002 Submitted to the Graduate Faculty of the Department of Music in partial ful¯llment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2006 BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 Carolina Santamar¶³aDelgado, PhD University of Pittsburgh, 2006 This dissertation explores the articulation of music, identity, and class struggles in the pro- duction, reception, and consumption of sound recordings of popular music in Colombia, 1930- 1953. I analyze practices of cultural consumption involving records in Medell¶³n,Colombia's second largest city and most important industrial center at the time. The study sheds light on some of the complex connections between two simultaneous historical processes during the mid-twentieth century, mass consumption and socio-political strife. Between 1930 and 1953, Colombian society experienced the rise of mass media and mass consumption as well as the outbreak of La Violencia, a turbulent period of social and political strife. Through an analysis of written material, especially the popular press, this work illustrates the use of aesthetic judgments to establish social di®erences in terms of ethnicity, social class, and gender. Another important aspect of the dissertation focuses on the adoption of music gen- res by di®erent groups, not only to demarcate di®erences at the local level, but as a means to inscribe these groups within larger imagined communities.
    [Show full text]
  • Aragón and Valencia
    ARAGÓN AND VALÈNCIA Aragón and València “The jota is at its best with the scent of rosemary and fresh-plowed earth,” says the opening song on this CD. An infectious collection of danced and sung jotas, archaic threshing songs, May courting songs, struck zither tunes, raucous shawms and lyrical strings, travelling down from the mountains of Aragón to the fertile coast of València. The Spanish Recordings Alan Lomax made these historic recordings in 1952 while traveling for months through Spanish villages, under formidable physical and political circumstances, during the Franco regime. Covering the breadth of Spain, these songs and dance melodies constitute a portrait of rural Spain’s richly varied musical life, dispelling the common stereotypes of Spanish folk music. The Alan Lomax Collection The Alan Lomax Collection gathers together the American, European, and Caribbean field recordings, world music compilations, and ballad operas of writer, folklorist, and ethnomusicologist Alan Lomax. Recorded in 1952 by Alan Lomax. Introductions and notes by Luis Bajén García and Mario Gros Herrero (Aragón), Archivo de Tradición Oral de Aragón (ATOA); and Josemi Sánchez Velasco (València), Consellería de Cultura, Educació i Ciència, Generalitat de València. Series Editor, Judith R. Cohen, Ph.D. Remastered to 24-bit digital from the original field recordings. Contains previously unreleased recordings. Aragón 1. AL REGRESO DEL CAMPO (Work jota) Teruel (2:19) 2. A LAS ORILLAS DEL RÍO (Danced jota) Teruel (2:30) 3. JOTA HURTADA (“Stolen” jota) Albarracín (1:08) 4. MAYOS DE ALBARRACÍN (May courting verses) Albarracín (2:53) 5. SE ME OLVIDAN LOS RAMALES (Jota for plowing) Monreal del Campo (0:50) 6.
    [Show full text]
  • Violin Syllabus / 2013 Edition
    VVioliniolin SYLLABUS / 2013 EDITION SYLLABUS EDITION © Copyright 2013 The Frederick Harris Music Co., Limited All Rights Reserved Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary.
    [Show full text]
  • Dance As a Cultural Element in Spain and Spanish America
    University of Northern Iowa UNI ScholarWorks Presidential Scholars Theses (1990 – 2006) Honors Program 1992 Dance as a cultural element in Spain and Spanish America Amy Lynn Wall University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©1992 Amy Lynn Wall Follow this and additional works at: https://scholarworks.uni.edu/pst Part of the Other Arts and Humanities Commons Recommended Citation Wall, Amy Lynn, "Dance as a cultural element in Spain and Spanish America" (1992). Presidential Scholars Theses (1990 – 2006). 151. https://scholarworks.uni.edu/pst/151 This Open Access Presidential Scholars Thesis is brought to you for free and open access by the Honors Program at UNI ScholarWorks. It has been accepted for inclusion in Presidential Scholars Theses (1990 – 2006) by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Dance as Cultural Element 1 Dance as a Cultural Element in Spain and Spanish America Amy Lynn Wall University of Northern Iowa Submitted in partial completion of University of Northern Iowa Presidential Scholars Board and Scholarship requirements. Submitted the 6th day of May, 1992 A.O. Running head: Dance as a Cultural Element Dance as Cultural Element 2 Table of Contents Introduction 3 History 4 Purpose of Dance 1 0 Recent Dance Styles 1 3 Northern Provinces l 8 Pais Vasco 21 Mediterranean Provinces 28 Central Plateau Provinces 30 Southern Region 33 Liturgical Dance 37 Gypsy Culture 43 Spanish Influence m America 46 Uruguay 47 Argentina 50 Central America 53 Discussion 54 Conclusion 55 Bibliography 57 Appendices A-Glossary of Names and Places 6 3 B-Glossary of Dance, Music, Instruments 7 0 Continental Maps 7 6 Dance as Cultural Element 3 Dance, a performing and recreational art throughout the world, plays an important role in Spanish and Hispanic culture.
    [Show full text]
  • Jose Greco , See Page 5
    JOSE GRECO , SEE PAGE 5 BIOGRAPHY OF A. LUTHIER Ramirez The Great |AMIREZ DE GALARRETA, MANUEL...a great Spanish luthier, a native of Madrid, Spain. Recognized by everyone as the magician of his trade. He was a great artist at his vocation and a credit to his heritage. Many authorities consider him equal or su- perior to Torres. In the year 1890, he studied electricity until he became foreman of the Madrid Electric Com- pany. During this time he made many fine guitars to supplement his education. Because of the tre- mendous popularity of Torres, Ramirez would make copies of Torres guitars and sell them as originals, no one knew the difference. He tried to keep this a secret until he died. A few years later he opened his own work- shop where he made great guitars for over a period of twenty years. The great luthier Santos Hernandez worked for Ramirez during this complete twenty year period. One can only dream of the magnificent instruments made during this time. 3 BIOGRAPHY OF A LUTHIER (cont'd) Every guitarist today can be grateful to lu- thiers like Ramirez whose great guitars have added so much elegance to the guitar as the concert instrument is today. Ldélamenco KA GUITAR STRINGS Tose Siege “WORE Ist= 2nd~ 31d- Fine Quolily Red Nylon ‘41h= Si -Eth- Wound on Fine Nylon Perfect In Tone No.820 = ONE SET $3.25 available in music notations. Also Basic Flamenco Guitar Course write for information NINO BERNARDO 256 Columbus Ave. - San Francisco, California Jose Green : The foremost living exponent of the Spanish dance forms, Jose Greco.
    [Show full text]
  • Unidad Didáctica Del Flamenco “Mos En Flamoslandia” (Biblioteca 2006 )
    FLAMENCO (Mos en Flamoslandia)>Biblioteca_v2 RECURSO FOLCLORE (http://ares.cnice.mec.es/folclore) UNIDAD DIDÁCTICA DEL FLAMENCO “MOS EN FLAMOSLANDIA” (BIBLIOTECA 2006 ) Programa de formación Flamenco. Título “Mos en Flamoslandia” URL PF http:/ares.cnice.mec.es/folclore/flam/index.html Secuencia de aprendizaje Biblioteca del Flamenco URL SA http:/ares.cnice.mec.es/folclore/flam/home.html Realizado por: Felipe Lara, Felipe Gértrudix y Manuel Gértrudix. Corrección de estilo: Maria Luisa Gutiérrez de la Concepción Última revisión: 10 de diciembre de 2006 © MEC-2006 (10/12/2006) 1 FLAMENCO (Mos en Flamoslandia)>Biblioteca_v2 RECURSO FOLCLORE (http://ares.cnice.mec.es/folclore) ÍNDICE 1. ESTANTE DE INTRODUCCIÓN AL FLAMENCO......................................... 7 1.1. FLAMOSLANDIA: TODO UN MUNDO ........................................................... 8 1.2. ¡DANDO EL CANTE!.......................................................................................... 9 1.3. UN, DOS, TRES… MUEVE LOS PIES............................................................. 11 1.4. LOS INSTRUMENTOS...................................................................................... 12 1.5. GEOGRAFÍA DEL FLAMENCO ...................................................................... 13 2. ESTANTE DE GRUPOS Y PALOS FLAMENCOS...................................... 17 2.1. FANDANGOS........................................................................................................ 18 2.1.1. FANDANGO NATURAL...............................................................................
    [Show full text]
  • Sabicas, Un Maestro a Distancia
    PAÍS: España FRECUENCIA: Diario PÁGINAS: 47 O.J.D.: 27220 TARIFA: 6900 € E.G.M.: 142000 ÁREA: 828 CM² - 92% SECCIÓN: DIARIO 2 28 Agosto, 2020 Una generación de guitarristas aprendió del genio pamplonés escuchando sus discos, grabados en Nueva York con los mejores productores. El flamencólogo José Manuel Gamboa desgranó ayer su singular carrera discográfica: “Era reacio a firmar contratos”. Sabicas, un maestro a distancia NEREA ALEJOS Pamplona ON Sabicas cambió la manera de tocar la gui- C tarra. Su técnica impe- cable y su limpieza de sonido le convirtieron en un in- térprete único. “Yo jamás he es- cuchado a nadie con ese sonido, tanto en calidad como en volu- men”, asegura José Manuel Gam- boa (Madrid, 1959), periodista y estudioso del flamenco con más de 30 libros publicados, entre ellos la biografía artística La co- rrespondencia de Sabicas. Ayer por la tarde impartió en Baluarte la conferencia Sabicas, el maestro que nos formó a distan- cia, en la que desgranó la trayec- toria discográfica del genio pam- plonés de la guitarra durante su larga etapa en Nueva York, desde 1955 hasta su muerte, en 1990. Así describía ayer Gamboa la experiencia de escuchar al gran maestro de la guitarra: “En com- paración, las guitarras de los de- más parecían bandurrias, mien- tras a él le sonaba como un piano de cola. Además, tenía una poten- cia brutal. Si tocaba delante de ti, tu silla se movía”. Nacido en la calle Mañueta de Pamplona, Agustín Castellón Campos Sabicas abandonó Espa- ña en 1936, al estallar la Guerra Civil, e inició una gira por Améri- José Manuel Gamboa, ayer en el patio del Palacio del Condestable, horas antes de impartir su conferencia.
    [Show full text]