Cómplices WASHINGTON, D.C

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PERFORMING ARTS Cómplices WASHINGTON, D.C. Thu, May 23, 2019 7:00 pm Venue Former Residence of The Ambassadors of Spain, 2801 16th St NW, Washington, DC 20009 View map Admission Buy tickets More information Flamenco Aparicio Credits Internationally acclaimed Flamenco artists Mercedes Ruiz and Presented by Flamenco Aparicio in Santiago Lara debut in D.C. with “Cómplices,” a journey collaboration with GALA Hispanic through the evolution of Flamenco. Theatre and SPAIN arts & culture. Photo by Paco Lobato Cómplices is the new project by Spanish artists Mercedes Ruiz and Santiago Lara. Both artists share an artistic vision of growth and innovation, while maintaining a deep connection to the tradition. This new collaboration between Flamenco guitar and dance features works by the masters of Flamenco guitar such as Sabicas, Niño Ricardo, Manolo Sanlúcar, as well as original compositions by Santiago Lara. ABOUT MERCEDES RUIZ Mercedes Ruiz, one of the most esteemed dancers in Spain and winner of Critics Award at the Jerez Festival and the Exhibition Award at the Seville Biennial, has been performing professionally since the age of seven, touring across Europe, Asia, and United States. In 2003 she started her own company, Compañía Mercedes Ruiz, and has created eight productions together with her husband, Santiago Lara. ABOUT SANTIAGO LARA Flamenco guitar virtuoso, composer, and producer Santiago Lara is one of the most relevant names in the new generation of flamenco guitarists. Lara has received some of the most prestigious flamenco guitar awards including that of the Seville Biennial and the National Flamenco Art of Córdoba Award. Embassy of Spain – Cultural Office | 2801 16th Street, NW, Washington, D.C. 20009 | Tel: (202) 728-2334 View this event online: https://www.spainculture.us/city/washington-dc/complices-by-flamenco-aparicio/ Created on 09/29/2021 | Page 1 of 1.

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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.
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Jose Greco , See Page 5
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Sabicas, Un Maestro a Distancia
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'Homenaje a Camarón': Pedro 'El Granaíno
IV SESSIONS OF FLAMENCO ART OF PAMPLONA IV SESSIONS OF FLAMENCO ART OF PAMPLONA Flamenco On Fire will count on the assistance of the Federation of Roma Associations of Navarra Gaz Kaló to present the IV Pamplona Flamenco Art Days, aimed at granting value to the figure of Maestro Sabicas. Also, this year the Festival will honor Camaron de la Isla with seve- ral activities. There will be master classes, workshops, conferences, round tables and documentaries. ‘CAMARÓN EN RITO: 25 ANIVERSARIO’ José María Velázquez Gaztelu | 23 AUG | 17:00 | Baluarte | AUDIOVISUAL CONFERENCE The author and poet from Cadiz José María Velázquez Gaztelu, writes, directs and presents the renowned radio program ‘Nuestro Flamenco’ at Spanish National radio broadcasting Rádio Clásica de RNE since 1984. He was co-scriptwriter, interviewer and flamenco con- noisseur for the famous TV series at Spanish National TV ‘Rito y Geografía del Cante’ and ’Rito y Geografía del Baile’. This time, he presents a conference aimed at remembering the 25th anniversary of the death of Camarón de la Isla, one of the most important flamenco artist of all times. ‘CAMARÓN’ Speakers: Guadiana, Ricardo Pachón, Pepe Habichuela, José María Velázquez Gaztelu Moderator: Joaquín Albaicín | 24 AUG | 17:00 | Baluarte | ROUNDTABLE The goal of this roundtable dedicated to Camarón de la Isla is to remember him, his role in the history of flamenco singing and music, and him as a person. Joaquín Albaicín will moderate and will oer the opportunity to these top-of-the-range speakers to share funny stories and anecdotes about the genius, as all of them somehow knew him.
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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.
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Sabicas, Concertista Internacional De Guitarra Flamenca
También estamos en DIALNET, RILM, MIAR SABICAS, CONCERTISTA INTERNACIONAL DE GUITARRA FLAMENCA NORBERTO TORRES Profesor invitado Máster Interuniversitario “Investigación y Análisis del flamenco”, Universidad de Cádiz. Resumen El siguiente texto constituye los apuntes que tomamos para impartir una conferencia en Bilbao en mayo 2012 dentro del Ciclo BBK Flamenco, con motivo del centenario del nacimiento del concertista de guitarra flamenca Agustín Castellón Campos “Sabicas” (Pamplona, 1912-Nueva York, 1990). Parcialmente publicados hasta la fecha, los hemos reunidos íntegramente ahora. Destacan la relevancia de Sabicas como pionero en el oficio de concertista internacional de guitarra flamenca, dando cuenta de su amplia discografía y repercusiones entre los guitarristas, sus aportaciones técnicas a la guitarra flamenca, su impacto en el joven Paco de Lucía, su papel de divulgador de la guitarra flamenca de concierto. Palabras clave: Sabicas, guitarra flamenca, guitarra flamenca de concierto, Paco de Lucía Abstract The following text constitutes the notes we took to give a conference in Bilbao in May 2012 within the cycle BBK Flamenco, on the occasion of the centenary of the birth of flamenco guitar concert player Agustín Castellón “Sabicas” (Pamplona, 1912-New York, 1990). Partially published to date, we have put them together in full now. They highlight the relevance of Sabicas as a pioneer in the profession of international flamenco guitar concert artist, accounting for his extensive discography and repercussions among guitarists, his technical contributions to flamenco guitar, his impact on the young Paco de Lucía, his role as a popularizer of the flamenco concert guitar. Keywords: Sabicas, flamenco guitar, flamenco concert guitar, Paco de Lucia Fecha de recepción: 04/06/2020 Fecha de publicación: 01/07/2020 SINFONÍA VIRTUAL · EDICIÓN 39 · Verano 2020 1 ISSN 1886-9505 –www.sinfoniavirtual.com Sabicas, concertista internacional de guitarra flamenca I.
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Grand Catalogue Par Palo
A B C D E 4 PALO TITRE AUTEUR CATEGORIE SOURCE 5 6 solea 7 sans titre Ramon Montoya livre Arte Clacico Flamenco LP Arte Clasico Flamenco 8 sans titre Sabicas tablature LP Greatest Flamenco Guitarist vol.1 9 Aires de Puerto Real Sabicas livre Rey del Flamenco LP Rey del Flamenco 10 Bronce gitano Sabicas tablature LP Flamenco puro 11 Piropo gitano Sabicas tablature LP La guitarra de Sabicas 12 Gaditanas Niño Ricardo livre El genio de Niño Ricardo LP Guitare flameco 13 Gitanica gaditana Niño Ricardo tablature LP Toques flamencos 14 sans titre Diego del Gastor tablature recital TVE 15 sans titre Diego del Gastor tablature LP Evocaciones 16 Romance a la solea Manuel Cano tablature LP Temas flamencos para concierto 17 sans titre Melchor de Marchena livre El duende gitano de Melchor de Marchena LP Guitarra gitana 18 Alborada trianera Serranito tablature LP El Flamenco en la guitarra de Serranito 19 Inspiracion Serranito livre Inspiracion flamenca LP Virtuosismo flamenco 20 Caminito de Alcala Manolo Sanlucar tablature LP Recital flamenco 21 sans titre Manolo Sanlucar tablature récital public 1986 22 Gitanos trianeros Paco de Lucia tablature bonus LP La fabulosa guitarra de Paco de Lucia 23 Cuando canta el gallo Paco de Lucia tablature bonus LP El duende flamenco de Paco de Lucia 24 Plaza Alta Paco de Lucia tablature bonus LP Almoraima 25 Gloria al Niño Ricardo Paco de Lucia tablature bonus LP Siroco 26 La Villa Vieja Paco de Lucia tablature bonus LP Luzia 27 sans titre Paco del Gastor tablature LP Flamenco de la Frontera 28 sans titre Paco Peña
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Flamenco Guitar: History, Style, and Context
City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2003 Flamenco Guitar: History, Style, and Context Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/89 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] .rtists; a )resence 2 Flamencoguitar: history sfle, status bility of rd Rock PETER MANUEL ling, are ring the y (ree6) Flamencoguitar constitutesan instrumental idiom of remarkablerichness ;uitar in and contemporaryvitality.As a musicaltradition, its statusis unique in that age,and while its origins lie in folk music and its practitionersarticulate little in the ruments way of a standardizedtheory, it embodiesa degreeof technicalvirtuosity : Fender and sophisticationcomparable to that of a classicalart form. Flamencocan baroque be seenas comprising s ong (cante), dance (baile), and guitar playrng(toque) . st visible The statusof guitar music within this framework is ambiguousand contra- k historY dictory. Flamenco,in its origins, basic structure, and traditional aesthetic the form orientation, is primarily vocal music, to which guitar accompanimentis a growing secondary(and occasionallyeven dispensable) addition. Nevertheless,the )ecomea guitar hascome to play an increasinglyprominentrole in accompaniment, and flamenco solo guitar has emergedas an independentidiom
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The Fantastic Guitars of Sabicas and Escudero Flamenco in HI-FI With
IJL 81'95 The colorful art of Flamenco, rooted deeply in Spanish folklore, V ARIACIONES DE FARRUCA: (Farruca) LONG PLAY 33V• RPM A swift variety of melodiot:s themes, bound together by the has acquired a tremendous following of enthusiastic "aficiona- IMPORTANT! dos" in this country. The credit for this must surely go to the hammering, sharply accentuated "Farru.:a" rhythm, gives the Spanish ballets which have toured the United States so success- two guitarist-arrangers an opportunity to show their almost This monaural Long Play record can also be played on a unlimited virtuosity. Stereo phono1raph- resulting in even better sound repro- fully during the last few years, such as Jose Greco, Carmen duction than that obtained from conventional phonographs. Amaya, and Vicente Escudero. RITMOS MALAGUENOS: (Malaguena) With these ballet performances two brilliant young Spanish The "Malaguena" stems from Malaga, and its basic structure guitarists have been closely associated: SABICAS and MARIO is that of the "fandango" and the "verdial." To describe the ESCUDERO. Both are well known to the "aficionados" of Fla- true character of the "malaguena" in the words of the Spanish menco music through their appearances on stage, in nightclubs, poet Garcia Lorca, it is the song of the. people who think with and on television, and through their many records. This time, their heart. THE however, SABICAS and MARIO ESCUDERO have broken with the customary pattern of Flamenco performance and embark GITANOS TRIANEROS: (Soleares) upon a new venture: instead of playing guitar solos, or having Gypsies from Triana-Triana being the gypsy quarter of Sevilla, a second guitar play along with them, they play Flamenco the spiritual center of Andalucia and of Flamenco art.
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Dal Flamenco Tradizionale Alle Proprie Composizioni
PROMOTING ITALIAN LANGUAGE AND CULTURE April CUlTUrAl EVENT: Angela Centola classical and flamenco guitarist Dal flamenco tradizionale alle proprie composizioni Sunday, April 18th, 3:00 pm (ET) La conferenza, sotto forma di Angela Centola, studied classic intervista e messa in onda di guitar at the Conservatorio in Alessandria with video musicali, verterà sulla Master Guido Margaria, graduating with honors. She also graduated with honors in guitar descrizione dei principali and music of the Nineteenth century at the “palos”, ovvero gli stili del Conservatorio in Novara. She encountered the flamenco e le relative tecniche flamenco guitar in Spain, at the International di esecuzione. Guitar Festival of Cordoba, with Manolo Un breve viaggio storico Sanlucar and Rafael Riqueni. She was the e geografico dal flamenco first woman in Italy to graduate, with honors, in Flamenco guitar at Terni’s Conservatorio. primitivo passando da Sabicas, Among her creations, we can find music for Escudero, fino al flamenco moderno, di cui la stessa Angela solo guitar and chamber music. A publishing Centola è autrice ed esecutrice. house “Sinfonica” will publish her works: “Quattro brani per chitarra”, “Luna Nera” and The conference, with an interview and music video broadcast “Zante”, all of them published with scores and format, will focus on the description of the main “palos”, CD. In 2020, she transcribed “Guitarra Solista”, 8 Flamenco Compositions for concert performers that are the styles of flamenco and the related execution with music by Juan Martin, which includes two techniques. A short historical and geographical journey from books in tablature and notation, published by primitive flamenco passing from Sabicas, Escudero, to modern the prestigious American publishing house flamenco, of which Angela Centola herself is the composer and Mel Bay.
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Catalogue Produced on 11/04/2011 Si Buscas Música
Catalogue produced on 11/04/2011 Si buscas música flamenca, video o DVD, por favor visita: flamencoSound.com Scores and Sheet music ..................................................................................................................................................... 2 Phone Number: (0034) 91 5427251 - We export Flamenco worldwide. Apuntes Flamencos 1.Andres Batista. Score books 23.00 € 33.13 USD A grate Flamenco repertory including falsetas, rhythms and primary chords that are usual in the main flamenco styles to accompany the cante (singing) and baile (dancing). Useful to every guitarist who need a varied repertory or improve it in this complicated art of accompaniment. Book Contents: Preface 10 basic advices to the flamenco guitarist Notation signs Andres Batista El Sacromonte -Granaínas - Apuntes Flamencos -Tientos - Serranía -Serrana - Sonacai -Rumba- Brisas Antillanas -Guajira- Los Redobles -Zapateado Phone Number: (0034) 91 5427251 - We export Flamenco worldwide. 2 - Valdelarco -Fandangos- El Vito -Canción- Racimo Jerezano -Bulerías- El rio -Villancico- Aires caribeños -Colombianas- Temas farrucos -Farruca- Tema de Málaga -Fandangos Verdiales - Retejos -Alegrías - Ecos gitanos -Soleá por Bulerías- English, Spanish, French, Japanese A4 format / CD 64 Pages Artists Andres Batista Phone Number: (0034) 91 5427251 - We export Flamenco worldwide. 3 Flamenco notes 2.Andres Batista. Scores book 23.00 € 33.13 USD A grate Flamenco repertory including falsetas, rhythms and primary chords that are usual in the main flamenco styles to accompany the cante (singing) and baile (dancing). Useful to every guitarist who need a varied repertory or improve it in this complicated art of accompaniment. Book Contents: Preface 10 basic advices to the flamenco guitarist Notation signs Andres Batista El Sacromonte -Granaínas- Apuntes Flamencos -Tientos- Los redobles -Zapateado - Brisas Antillanas -Guajiras- Racimo Jerezano -Bulerías- Los Faroles -Sevillanas - La feriante -Jabera - Bahía de Cádiz Phone Number: (0034) 91 5427251 - We export Flamenco worldwide.
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Málaga 1967: Nos Traemos a Sabicas
MÁLAGA 1967: NOS TRAEMOS A SABICAS. En Nueva York y a mediados de los sesenta vivía un guitarrista excepcional: Agustín Castellón Campos: Sabicas. Pero Nueva York estaba muy lejos. La mar de lejos. La mar oceana. Muy pocos eran los aficionados españoles que recordaban a un joven Niño de las Habicas pujante y poderoso con veinticuatro años, que hacía treintaiuno que había cogido las maletas para hacer las Américas. A mediados de los sesenta se necesitaba poseer una edad madurita o provecta y una afición antigua y abnegada para recordarle, aún a fuer de la densidad de la obra y del esplendor artístico conquistado por Sabicas en la España de antes de la guerra. Sabicas había refrescado la memoria de los aficionados españoles añejos en el cincuentainueve con su disco Flamenco puro, el primero que se comercializaba aquí desde su ida. Y había dejado con las patas colgando a los jóvenes que no se fumaban que en el lejano Oeste existiera un artista flamenco tan formidable como decían. Mirar para afuera era una labor y una actitud de complejidades y dificultades apenas insuperables para los españolitos pedestres de la España del generalísimo. Y para los aficionados también. O todavía más. Muy pocos alcanzaban a escuchar más allá de donde se apagaban los ecos de El Niño Ricardo: el único. Una unidad indiscutible, excluyente y exclusiva, como la que se pregonaba de aquel país: uno, grande y libre. Pero a la unidad de Ricardo le salía compañera. ¡Y vaya compañera! Algunos aficionados que estaban al cabo de la calle eran de Málaga.
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