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TRADUCCIÓN REALIZADA POR |
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CARTAGENERA. /. [Cartagena (Murcia).] Song of four or five verses 8 syllables, which belongs to the so-called levante, and within them the so-called minas. Although its origin was a folkloric fandango owned by Cartagena, from the last third of the nineteenth century it formed a part of the flamenco collection, possibly by the aggrandizement that certain professional interpreters gave the song.
According to Fernando de Triana, in 1884, they sang them at the sevillan song cafe El Burrero: "The Conception Peñaranda Cartagenera, that although its songs also are called Cartagenera, came from the school of the famous composer Antonio Mora Grau, El Rojo, El Alpargatero and, therefore, these songs were of the corte Levantine, but of Almeria and, of course, accompanied on guitar in rhythm of Malaga.”
They played the same songs, in 1886, at the Café Ojeda of Seville. Africa Vazquez, Ricardo Molina and Antonio Mairena, in their treat of World and forms of singing Flamenco, keeping the following theory about the integration of cartagenera context of flamenco singing: "The boom in cartagenera coincided with the malagueña: placed between 1890 and 1920. The extraordinary personality of Chacon contributed on a large scale. Chacon made this songstyle great, popularized it among the good fans across Spain and the ones with significant prestige. Their example was followed by good singers that aroused a suite of superb interpreters. The simultaneous cultivation of Cartageneras and malagueñas led by mutual influence to be visible in some of the creations of the masterof Jerez. Chacon was a key figure. Soon came a group of followers, most excellent, which included the highlights El Niño Cabra and Manuel Centeno. Besides the artistic influence of Chacon must be mentioned Manuel Torre, Pastora Pavón, accentuating the gypsy style. Of exceptional value was El Escasena.
Jose Blas Vega, without forgetting the so-called classical cartagenera detail, main contribution of Chacon in the cartagenera structure: "By the year 1891 Chacón frequented Almeria, where he met Frasquito Segura El Ciego de La Playa, from who he learned about the genuine shades that were so useful in the major musical development of the songs that made Levantines. His boundless passion also led him to make frequent trips to Cartagena over the years. La Union, Los Alcazares and other villages of Murcia, specially invited by El Rojo el Alpargatero, they developed a great friendship.
Chacon, always very devoted, got the occasion during the time he spent there, to appreciate the rich range of the regions own songs and music, achieving later on with his exuberant personality to bring these songs to maximum degree of perfection, with a technique, harmony and impressive admiration, forming a veritable compendium of artistic category, that reflected his personal style of cartagenera
"If you go to San Antolín
tilt to the right
really in the first dressing room
to Divina Pastora
you will see a live portrait of you ".
Apart from the melodic twists or shades of every style of the Cartagenera, there is a common characteristic sign that confirms the style of this song, as an artistic song, and that is its status as an urban song, indicated by its old lyrics, in which los mineros barely appear, made in a way that does not occur in the tarantas, where los mineros is the main theme, and it is like the singers who shaped the cartagenera, almost professionals, had nothing to do with la mina. With the classic cartagenera the theme is mainly local and personal:
“One Monday morning I
los picaros taranteros
robbed their apples
the poor muleteers
who were coming from Totana".
Today, in general, the cartagenera is more reflected in the discography, than in its implementation in recitals festivals by their interpreter, many of them excellent. (See Minera, Taranta and Taranto.) |
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