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TRADUCCIÓN REALIZADA POR |
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DEBLA. F. DEBLA. F. [From debla caló (gypsy´s language). God.] Copla Song with four verses, as carcelera, martinete, nana, saeta and the other tonás, belongs to the group of songs without guitar, and its ornamentation is more profuse than the others within the group. The execution is difficult, it requires that the singer also possesses the knowledge of the style, conducive qualities and abilities of interpretation, Jose Blas Vega has analyzed the origin and evolution of this style: "Of the songs without guitar, the debla is the most enigmatic, helping to increase its significance in the legend of its name by caló goddess. I think the debla is a former toná of Blas Barea, that for ethimologic Andalusian reasons could form the word de-Blá and the debla or deblica barea that sometimes finished the song.
Demófilo said in 1881 that several singers told him that debla was the last name of a singer. Artisticly and traditionally Barca El Viejo is considered the best performer of debla. Is is said to be one of the most difficult songs to interpret, it has nothing particular to do with the primitive form, and little known since the middle of last century, disappeared in secrecy with Antonio Chacón, because it seems to be that it only resembled with the current version of the entry, and then tied their third.
What is still sung as debla is a toná popularized by the great Tomás Pavón towards 1940 ". Ricardo Molina and Antonio Mairena, in his work World and forms of flamenco singing, having considered that the lost debla was originally a toná of a religious nature, abound in the same theory on the current debla: "Based on our experience, the one who put into circulation the song we now call debla was Tomas Pavón. Yet, the debla of Tomas Pavón, is it the primitive? how faithfully is it transmitted? of what source was it drunk? how accurate was this? Is it a personal rework? Mystery ...
The truth is that nowadays we have no other authoritative and valuable point of reference exept from the great master of Seville. Arguably, then, with little risk of error, that many of todays interpretors learned it directly or indirectly from the hands of Tomas Pavón. " In his collection of flamenco songs, appeared in 1881, Demófilo, the content of nine debla texts, but none of them is the one that says
' For the great distress
that I passed
when we leave to the father of my soul
driving .
Deblica barea",
which according to Jose Blas Vega, was sung in Triana by the end of the last century. And only known by Tomas Pavón, Pepe De La Matrona and Caracol El Viejo. |
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