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TRADUCCIÓN REALIZADA POR |
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COLOMBIANA. F. [From Colombian, a native of Colombia.] Song aflamencado with turns from Latin American folklore, but not identified with any particular song in all its context, copla six verses-8 syllables, which the singer usually repeats the first two, as of a chorus.
According to Blas Jose Vega, in considering the songs called round-trip: <<From 1930 a new style appeared, the Colombiana, more motivated by a folkloristic song could have come from Colombia. The best-known singers in these styles of those times were Pepe Marchena, Angelillo, Guerrita El Niño de la Huerta. The American ".
In other of his writings, the author himself says: "The Colombiana has a defined structure created by Marchena. All have followed the same molding, I think there are hardly any changes whatsoever>>.
For his part, Antonio Hita Hidalgo, submits the following theory about the history of the Colombiana: "This song style was never of importance, it more or less never existed in our sister country. The Colombiana was created and sung only within our borders, and would not ever be incorporated, along with the so-called songs of round-trip. Indeed, the Colombiana is relatively modern, provided that we consider all songs of more than half a century as modern style. Its birth and subsequent disclosure arises from the thirties, with bad reputation, some artists and critics of this generation, Jose Tejada Martin, Niño Marchena, along with Don Hilario Montañas, and on the basis of its creation, among other forms of music, the Spanish rumba, performed a composition in flamenco style which was given the name Colombiana, and that in its second part was interpreted with two voices (the second as an accompaniment).
For this El Niño de la Flor is remembered. This creation and innovation, was presented to the public in 1931 with great characters in all provincial capitals.
In Seville capital it was presented in the old Theatre-Cinema Pathe, where the main authoroties came to participate in the debut. As was normal, and given the name of this honest artist, who had established this style, got an exclusive contract with the company Gramófono. SA, the new composition is impressing, appearing with the same title My Colombiana, record that was published in June 1931, and whose nomenclature, for those interested in the subject is: AE3.608. A curious information: It was the first commercial recording made by the guitarist Paco Aguilera.
In the middle of the next year (1932). They make a new version of the Colombiana, in which intervenes Don Ramon Montoya Salazar, a composition presenting slight variations with respect to the former version and which they entitled The woodpecker, El Pajaro Carpintero (New Colombiana).
It was taped and later edited by the same company that recorded it earlier in December of that same year and its nomenclature is: AE4.142. By the end of this year (1932), thay start another new version of the Colombiana, always with small nuances by these same three flamenco figures (Niño de Marchena, Ramon Montoya and Hilario Montes), a group which two new musical artists, Fernando Vilches and Bregel, the last one put orchestral music together with the guitarist Ramon Montoya, this third and final version of the song Colombiana made by them. It was edited and recorded by the same recordhouse as earlier in the spring of 1933, with nomenclature: AE4.200. In this third and last recording the great artist Carmen Amaya did the text ...
"I would love, my darling,
that you never forget me,
that your lips with mine
were together in a kiss
and that there was nobody in the world
that separated them."
That same researcher provides numerous interpreters of the Colombiana from Pepe Marchena: La Niña de los Peines, El Niño de la Flor. La Niña de la Puebla, Carbonerillo, El Niño de la Huerta, Jose Lever Marchena , Niño Salas, Niño Utrera, Niño Olivares, Niño de la Peña, Luquitas de Marchena, La Andalucita, Juanito Valderrama. Angelillo, El Americano and Carmen Amaya, adding: "including the celebrity Manuel Vallejo, who made it a festive mix of Colombiana and tango, and whose recording was published in 1934.”
It is also very interesting in this regard, a statement of Sabicas to the journalist Mingues B. Formentor: "So - referring to the thirties - Marchena was, the one that assembled all the songs. I was going with him myself, from I was chavalico (little boy), who used to take me and, if not, the one you met everywhere ... Excuse me, what is that song? Well, a song I am doing right now: And its called Colombiana. Later, over the years, I have come to make all the songs in concert version. But, of course, I can not put Colombiana on the agenda because the Colombiana has nothing, and people ask themselves where is Colombia ... Then you get inspiration and give it touch. "
After a while in which it was more or less not interpreted, the interval betwen the sixties and seventies and early eighties, it starts to be an upgrade of this style by leading singers, mainly in music recordings, and with attempts to renewal by Ana Reverte. |
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