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Viva Flamenco! Colombiana, Fandangos, Soleare, Serrana

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Viva Flamenco! Colombiana, Fandangos, Soleare, Serrana This st 2 reophonic record is a precision made product. With care it should last innumerable plays. To assure this we recommend the following: 1. Use only a pick-up specifically designed for stereopho~ic records; the stylus pressure should conform to the recommendations made by the manufacturer of your cartridge. 2. You r stylus should be IS TPL 512 400 frequently checked under a microscope; a worn-out needle will ruin your e~ t ire collection; no stylus.is permanent. • ASTEREOVOX . 3. Keep record surface dust-free; use a soft, lint-free, barely damp cloth to wipe the dust off; never wipe across the STEREOPHONIC RECORDING ... grooves. 4. For those with wide-range equipment it is advised to compensate for RIAA curve. VIVA FLAMENCO! Colombian as A legrias Fandangos Saeta Sol eare Media Granadina Serr an a Mil aga Sung by F ernando de La Rosa Manolo Lopera with Carlos Rr1111os, /.{/l/tr1r FER NANDO DE LA ROSA has been melancholy found in no other E uropean Castenets are frequently encountered called the "poet of cante flamenco" music, and for all of its rhythmic excite- in commercialized modern imitations of because of the restraint and sophistica- ment, flamenco is rarely light and gay. true flamenco , but in the pure flamenco tion of his singing and the deep emotion It is an intense and passionate expression songs and dances, castenets are never conveyed in his performances. He appears of the burning despair and anguish of the used, except in t he fandanguillo, a regularly in Madrid where he has a large Andalusian gypsies. There can be little recent form not considered to be genuinely following. doubt that the word flamenco, as applied gitano. Instead, the gypsies prefer to use to the songs and dances of Andalusia, the snapping of their fingers (pito), clap- MANOLO LOPERA is popular derives from the Latin word flarnrna , throughout Spain for his exciting and meaning " a blazing combustion." ping of hands (palma do) , and stamping of passionate renditions of flamenco song. feet (taconeo) to emphasize the rhythm The songs are not composed; they are of their music. These are the first recordings by Lopera handed down from generation to genera- to be released outside of Spain. tion or improvised for the occasion. The This recording, made in M adrid, f ea- forms, too, are traditional : Petenera, tures two of t he most popular of Spain's CAR LOS RAMOS has performed A legria , Colombiana, Fandango, exponents of cante flamenco. Cante widely both in Europe and the United B uleria, Serrana, Soleare, Sevillana, flamen co places no demands on the sing- States. He currently performs in lVIadrid and, in a special class by itself, the Saeta er for beautiful vocal tone- the emphasis and should not be confused with another which is sung during halts in the religious is entirely on the subtlety of nuance and guitarist of the same name now appearing processions during Holy Week in Spain. the variety of emotional expression. Pre- in the U .S. The forms of the songs derive from the cise intonation and breath control are region of Andalusia and not from t he among the most important demands Flamenco, the pure, unspoiled folk gypsies who sing them. Only three purely placed upon the artist, but above all other music of Andalusia owes its origins both gypsy folk forms are known, the albolai:i., considerations must be placed the spirit to the Moorish influence that pervades all cachucha, and mosca. These forms are of the Andalusian gypsies. F ew non- of Southern Spain and to the Indian origin reserved solely for such private occasions gypsies have ever achieved the great art of the Spanish gypsies. It has an eastern as weddings, christenings and funerals. o f flamenco. Vox Productions, Inc., New York, N. Y. 10017 TMK(S) ® Vox Product ions, Inc. • Marc.,(s) i;tegistrada(s) PRI NTED IN U.S.A. .
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