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| TRADUCCIÓN REALIZADA POR | CARACOLES.
m. pl. | J chorus; mode pregón (song for selling something on the market) that is finished with the song itself, which repeats the word caracoles.] Song whose copla consists of a series of stanzas, with lyrics of various measures. It belongs to the group called the cantiñas and musically this is close to the so-called alegrías and even more, to mirabrás, with a certain propensity to barroquismo, arabesques and ornamental turns. Its lyrics are often funny and sometimes spicy, and they introduce, between stanzas and a chorus, the word caracoles. Who marked them to me? Salero!, That I am errama in a pot mocita (young girl) vengaste (come) here. They are not boys so “cinnamon”!. comes another room, jermoso!, what I want is oste faisioso and I am liverá mu and I am liverá mu caracoles! caracoles! brother who ise osté which are my eyes two suns we live chorré that my eyes are two suns chorré we live. " We also know the origin of other principal texts of caracoles, which are based precisely on another pregón, La castañera. On April 3, 1843, was premiered at the Prince Theater in Madrid, la zarzuela in an act of Jeroma The Castañera, with lyrics by the actor Mariano Fernandez and music by Soriano Loud. The authors of the Jeroma called it tonadilla because of the nature of a little theater play and a moment of transition between the two genres. Matilda Diez popularized with much grace the role of castañera to be a funny song: aguantando (suffering) rain and cold I moño (my hair) covers and medium I am the queen for my querío (beloved) " Regórdonas "just and without moneas (coins) will I do not earn carumbosa (money) usías of gabán. " The caracoles of Tío José El Granaino became songs for cafés as a cantiña to dance, making them to to the style of Paco El Sevillano, because they became a very good match, making them more dynamic and alive, and thus contributing to its popularity. But what truly reforms, recreates, enhances, gives importance, fame, dissemination, and the Flamenco character is definitely the style of Antonio Chacon, and here do all scholars agree. Because of him, the caracoles bacame their creative personality. A. Chacón thought that it was a song for boys and arranged it by placing intonation of romera in the first part and adding musical details and parts of cantiñas, pausing its pace and giving grandiloquence to the song, leaving it to be listened to as well as singing. Coinciding with his stay in Madrid, these cantiñas began to publicize, and perhaps thinking of a tribute to priori madrileñizó (make them to what the Madrid people like) some of the original verses, sung to such an extent that many fee l- wrongly – that caracoles are songs of Madrid. The old text: how glitters, / when up and down / Andalusians ...", referring to the change of trains destined for Andalusia, came to be transformed by Chacon in La calle de Alcalá with a great importance, because Alcalá was, in Madrid those years, the main artery of the artistic life, and where people came out of the theaters and the bullring and gave it a picturesque touch. All the Andalusian was acclimatised and rooted in the madrileñismo of the time. Among the researchers that believe, as Blas Jose Vega, that Chacon gave an important contribution to this style of cantiña, are Augustus Butler and Julian Pemartín: "What made a brilliant singer was by exhumeing this song from oblivion in which it found itself, put it into effect and, probably, made to the same, according to its long-standing rule, some changes that undoubtedly would give higher artistic quality to caracoles. At least, it can be said that, some verse of the original caracol was madrileñizó," says the first, and the second praises: "And finally arrived Chacon, who masterfully recreated and gave brilliant suggestions and made it extraordinary and truly flamemco.” Chacon's version, recorded on disc on two occasions, one with the guitarist Ramon Montoya and another with that of Lunar Perico, has become an example of this song, and according to the opinion of Jorge Ordoñez Sierra, this palo started to dissapear with his death. Antonio Mairena, in 1969, told with respect to the caracoles to journalist Javier de Montini as follows: "I was ten years with the dancer Antonio. In London I was commited to sing a song. I did not know what to sing. I sang caracoles. And with the caracoles I was all the time ". Currently some singers carried this style into their repertoire, as the first singing at festivals and concerts, including highlights as Naranjito de Triana and Chano Lobato, each with their logical intonations and personal nuances. (See Cantiña.) |
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