AFC 2004/004: MS 03.02.19

Título: 
Notas del trabajo de campo de Alan Lomax en Sevilla
Tipo de documento: 
Fecha: 
1952/09/19-28
Comentario: 

Materiales en esta carpeta:

  • Hoja tamaño cuartilla con un dibujo a lápiz y la anotación a bolígrafo azul "A Martinete".
  • Un trozo de hoja de libreta con letras de canciones, la mayor parte tachadas; y una tarjeta de visita de Luis Redondo Crespo, técnico químico, General Polavieja, 21, Sevilla, teléfono 23573.
  • Dos hojas tamaño folio mecanografiadas con letras de canciones, bajo los títulos Seguiriyas, Pastora Amaya, Bulerías, Fandangos de Huelva.
  • Hoja de libreta suelta tamaño cuartilla con el dibujo de una guitarra guitarra y anotaciones. Se menciona a "Raphael Martinez Escolano".
  • Tres hojas tamaño folio manuscritas donde se anota información sobre el origen del flamenco y el cante jondo con referencias a opiniones de Manuel de Falla y Eduardo Martínez Torner. También se mencionan los géneros y otros aspectos.
  • Folio mecanografiado donde se recapitulan los principales acontecimientos en Sevilla.
  • Otra hoja mecanografiada que parece la planificación de una publicación:

Side II. Gypsy Strings... A Seville Night Club...
Pt.I.The open-air night club on the outskirts of the city, where these records were made, had two bands---one of which played jazz for dancing, the other of which, composed of gypsy artists, performed flamenco songs and dances. There follows a typical program. I moved the microphone about in order to catch the sound of feet and hands which are as important to this music as the guitar itself.
1) Allegrias de Cadiz.... sung by Jose Arillo with Antonio Sergesta on guitar and four female dancers.
2) Mira que bonita eres, a soleares, sung as above.
3) Por ti la flor de la marisma, sung by Pastora Amaya with same accompaniment as above.
4) Soleares, sung by El Chocolate with same accompaniment as above.
5) Bulerias, sung by Pastora Amaya, as agove...
Pt.II..As an interlude comes an older type of Andalucian song performed in a wine bar very late at night in the midst of a very drunken huerga or all-night musical brawl.
6) Desgraciato, a seguirilla, sung by Chamorro accompanied on guitar by El Rubio. (see Songs and Dances of Spain, number_____, for another performance by this team.)
Pat.III. The following selections were recorded during a Zambra, a musical entertainment with dances of the sort staged nightly for the tourists in the gypsy caves on Sacro Monte, Granada. The voices of the women are hoarse and raw with nightly singing in the open air. The orchestra of guitars and bandurrias in often out of tune. Yet this music has for me more drive and more sensual excitement than flamenco performed under better circumstances by better artists. It corresponds to the low-down blues of the joints in the West Side of Chicago; it has the vitality and the authenticity of true urban folk song.
7) Zambra gitana, sung by Manuel Cortez Santiago with accompaniment of guitars and bandurrias.
8) Bulerias... Maria Sancilla, see above...
9) Soleares sung by Nino de Saeta with guitar accompaniment. During this record a gypsy girl of then danced with superb abandon and the sound of her feet and her castanets can be heard all through the recording.
10) Juanita la Guapa (tango del clavel)... sung by Rosa Amaya with the above orchestra. Another modern favorite on the Sacro Monte.

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Cómo citar

Ascensión Mazuela-Anguita, "AFC 2004/004: MS 03.02.19", Fondo de Música Tradicional IMF-CSIC, ed. E. Ros-Fábregas (fecha de acceso: 30 Jul 2021), https://musicatradicional.eu/es/document/30413