Hispasong Presentation for ICVT8.pdf

7/29/2019 Hispasong Presentation for ICVT8.pdf

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Language, country, culture, traditions, music, history

Spanish territory has hosted Greeks, Romans, Phoenicians,

Carthaginians, Visigothics, Arabs, Jews, etc. All of them livedin Spain and shared their cultures and influenced any artistic

expression in the country. And now we are happy to introduce

you a little part of our musical culture.


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hi


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In the 8t century, Muslims invaded Spain.

They brought their culture, their science,

and their arts. They established in Al-

Andalus, in Cordoba. This city was the

administrative center, the core of the

kingdom. And Umayyad Caliphate leftmonuments like the Mezquita.

Also their music heritage is very important.With their arrival, they introduced new styles of

music. In the 9th century, Ziryab arrived to Al-

Andalus.

Ziryab was a very talented musician that came

from Baghdad, the most important center of

music in the Muslim world. The legend says

that Ziryab provoked his teachers jealousy, so

he had to left Baghdad. The real name of

Ziryab was Abu al-Hasan but because of his

black color and beautiful singing voice was

nicknamed Ziryab blackbird.


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Ziryab arrived to Cordoba where Abd al-

Rahman the 2nd was the Caliph. This Caliph

was a lover of culture and arts and gaveprotection to Ziryab who founded a school of

music, singing and developed an innovative

vocal technique that produced great artists.He

created a new musical style, Nuba. Lyrics can

be sung by a soloist or by a chorus in

classical or in colloquial arab.

Unfortunately, this important corpus of

Andalusian music didnt survive in a written

form although the survival of oral tradition inthe 18th century allowed the writing of the first

manuscript that collected this repertory. It was

the Al-Haiks Songbook. Here you have anexample.

As you can see, the musical notation was

based on the alphabet letters. This beautiful

music you are listening to are nubas from al-

Haiks Songbook translated into occidental

notation by Spanish musicologists.


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But lets go back to Cordoba in the 11th century. Wallada bint al-Mustakfi, daughter of theUmayyad Caliph Muhammad the III (3rd) of Cordoba and one of his slaves inherited all theproperties, as he didnt have a male heir. That was the reason why she could open a literary hallwhere she offered instruction for women of all classes.Blonde, fair-skinned and blue-eyed. A very exotic appeal. Beautiful, intelligent and independent.She used to walk out in public with see through robes and her verses embroidered in them. Sherefused to wear veil. Only 9 of her poems are preserved. Lets see the ones embroidered in herrobes:

I deserve every greatness,And proudly follow my way.My cheeks I offer to my loved one,M kisses I ive to whom I wish.

Wallada refused to get married and had many lovers. When she was 20 years old shemet Ibn Zaydun, the poet, in Walladas literary hall and both fell in love. A terrible,passionately, burning love. A very difficult love because Zaydun belonged to a rival clan of

the Umayyad one.

If the stars only knewAbout the intensity of my love,They would start wanderingLost and aimless in the skies.

If the moon only suspectedHow much I adore youShe would lie, shrouded in darkness,Keeping the secret for me.

If one day the sun should knowOf the verses that I write youHe would simply die of love,His shine forever gone.


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This love provoked the jealousy of Ibn Abdus, the Caliphs Vizir who tried to destroy Zaydun as a politicalrival and lover of Wallada. The love of Zaydun and Wallada finished when the poet was caught with a

Walladas slave. Wallada never forgave the offense even if Zaydun swore that he was trapped up. He went

sent to jail and Wallada joined Abdus dedicating Zaydun very obscene verses.

In nineteen seventyone (1971), was built a memorial monument in Cordoba devoted to the love of Wallada

and Zaydun to commemorate the 900 anniversary of the great poet's death.


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On the bottom there is an inscription with a poem of Wallada and another of Zaydun both in Spanish and

Arab. These are the verses of Wallada:

I am jealous of my eyes, of my whole being,Of yourself, of the time and place you own.Even if I carve you in my pupils,My jealousy will forever last...


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This famous villancico can be found in the Palacios Songbook in two versions, one of them is ananonymous one and the other is a composition of Diego Fernndez. And, what is a villancico? In a dictionary

of 1739, we can find the earliest meaning of this word. Villancico is a song that was sung by rural people or

people of a villa (small town). But from the 19 thcentury till nowadays, villancico only means ChristmasCarol.

Under the appearance of an innocent song, in The Three Moorish girls is hidden a very erotic song, plenty of

Spanish symbols like to go to pick olives a traditional erotic metaphor that survived till the 20 th century. Anexample is Federico Garca Lorcas rbole, rbole! poem. The ritual act to pick olives has been linked intraditional poems, to sensual encounters.

The girl with the lovely face is out picking olives.

The wind, playboy of towers, grabs her around the waist.

This particular expression proves the sensual content of The Three Moorish girls:

They returned weak and pale

Three Moorish girls is based on a story that appears in The Arabian nights. The lead character is theCaliph Harun Al-Rashid and three girls, one from Medina, another from Mecca and the last one from Irak.

The girls were disputing the male member of the Caliph.


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The underlying content is a practical and original example of a hadith. Hadiths are similar to

jurisprudence because they are Prophets statements or actions recopilated by people who were

witnesses. Every hadith comes with a list of authorities that guarantees the oral transmission chain

and determines the validity of the chain. In this story, the hadith is: "Whoever revives dead land, will

be the owner of it."

Between the story of The Arabian nights and the Spanish villancico, researches think there must

be a missing song. And now, listen to the villancico Three Moorish girls.


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Tres morillas me enamoran en Jan,Axa, Ftima y Marin,tres morillas tan garridas,

iban a coger olivas en Jan,Axa, Ftima y Marin.

Y hallbanlas cogidasy tornaban desmadas,y las colores perdidas en Jan,Axa, Ftima y Marin.

Tres morillas me enamoran en Jan,Axa, Ftima y Marin.

Tres morillas tan lozanastres morillas tan galanasiban a coger manzanas en Jan,Axa, Ftima y Marin.

Tres morillas me enamoran en Jan,Axa, Ftima y Marin.

Three moorish girls I revere in Jan,Axa , Ftima and Marin.These three girls are so fine looking,

picked up olives in Jan,Axa, Ftima and Marin.

But they found them gone alreadyand turned back with a grim face,their colors lost in Jan,Axa, Ftima and Marin.

Three moorish girls i revere in Jan,Axa, Ftima and Marin.

Three moorish girls so entrancing,Three moorish girls so enchanting,picked up apples in Jan,Axa, Ftima and Marin.

Three moorish girls i revere in Jan,Axa, Ftima and Marin.


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The Zorongo is a folk dancing song very typical from Andalusia. Gustavo Dor, in his travelsthrough Spain in 1831, made an etching entitled Gitana de Granada bailando el zorongo(Granada Gypsy dancing Zorongo).

Some Spanish writers like Benito Prez Galds talked about zorongo in Cdiz one of his 46National Episodes. This is the zorongo that appears in this historical novel:Here, girl, this orangeI've picked up in my garden.Don't cut it with a knife,for my heart is inside.

Anyway, the best-known zorongo was made popular by Federico Garca Lorca. It was recorded

in 1931, sung by La Argentinita and Garca Lorca at the piano. It was published in his selection

of folk Spanish songs. Some composers like Obradors or Garcia Abril have written their own

versions of zorongos based in Lorca's one.


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And now its time to talk about flamenco zorongo the real roots of Lorca's zorongo. Lorcas zorongo is abulera inspired in the very popular zorongos performed at Sacromontes caves in Granada. Here you are atypical performance in a cave:

There are many different lyrics, melodies and styles of zorongo and you can combine them. The lyrics are

about love. The rythms can be very different: tango, milonga, bulera, tanguillo, alegra

For example, this is a zorongo with music and lyrics different from Lorca's one.

Llvame sobre tus brazos,sobre tus brazos, moreno!,por el camino adelantehasta que encuentres el cielo.

Se han vestido los rosales,sus alas pleg el inviernosobre el lecho de los sauceslas aves se estn queriendo.

Take me on your arms,on your arms, moreno!,up aheaduntil you find the sky.

The rose bushes are dressed,the winter folded its wingsdown on the bed of the willowsbirds are in love.


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Zorongos can be sung at Christmas time with religious lyrics. Flamenco Christmas carols are very typical inAndalusia. Flamenco Christmas carols are plenty of cal words (gypsy dialect) like churumb that meanschild.Ha nacido el "churumb"en una noche lunera,tendr planta de "cal"y risa cascabelera.San Jos es de mazapny la Virgen de canela,

y este Nio es un bizcocho"jecho" de azcar morena.

The child was bornin a very shining moon night,he will have a gipsy lookand tinkling laughter.San Joseph is made of marzipanand the Virgin Mary of cinnamon

and this child is a cupcakemade of brown sugar.

And at the end, here it is, the best-known, Garca Lorcas zorongo.

Las manos de mi cario,Te estn bordando una capaCon agremn de alhelesY con esclavina de agua.

Cuando fuiste novio mo

por la primavera blanca,los cascos de tu caballocuatro sollozos de plata

Tengo los ojos azulesY el corazoncito igualQue la cresta de la lumbre.

De noche me salgo al patioy me harto de llorarde ver que te quiero tantoy tu no me quieres n.

La luna es un pozo chicolas flores no valen nadaque lo valen son tu brazoscuando de noche me abrazan.

The hands of my loveAre embroidering a cape for youWith a ribbon made of wallflowersand with its top made of water.

When you were my lover

in the white Spring,Your horses hoofs,four silver tears.

I have got blue eyesand my little heart is also blueas the top of the fire.

At night I go outsideAnd cry until I'm wearyI can see that I love you so much

And you don't love me at all.

The moon is like a small well,flowers are worth nothingonly your arms countwhen you embrace me at night.


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Near the mountain range known as the Sierra de Bjar and the Pea de Francia we can find Monlen, a

small town. This traditional melody was set by Federico Garca Lorca but different versions of the music and

lyrics of this piece exist. The biggest challenge of Los Mozos de Monlon is the ethymological analysis; its

vocabulary is very specific from Salamanca.


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Siniestro has a number of meanings in Spanish.

One of them, very specific in Salamanca is the

vertical oster of a cart.

Albarca: rustic sandal made of leather and tied up

with strings.


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Los mozos de Monlense fueron a arar temprano, alsa y olSe fueron a arar temprano.Para ir a la corrida,y remudar con despacio, alsa y olY remudar con despacio.

Al hijo de la veuda,el remudo no le han dado,El remudo no le han dado.

Al toro tengo que ir,aunque lo busque prestado,

Aunque lo busque prestado.

Permita dios si lo encuentras,que te traigan en un carro,Las albarcas y el sombrero,de los siniestros colgando.Se cogen los garrochones,marchan las navas abajo,Preguntando por el toro,y el toro ya est encerrado.

En el medio del camino,al vaquero preguntaron,Qu tiempo tiene el toro?El toro tiene ocho aos.Muchachos no entris a l,mirar que el toro es muy malo,Que la leche que mam,se la di yo por mi mano.

Se presentan en la plaza,

cuatro mozos muy galllardos,Manuel Snchez llam al toro,nunca le hubiera llamado,Por el pico de la albarcatoda la plaza arrastrado,Cuando el toro lo dej,ya lo ha dejado muy malo.

Four young men from MonlenWent to plow early in the morning, alsa y ol,Went to plow early in the morning.They wished to run in the bullfight,and put calmly their best clothing, alsa y ol,

And put calmly their best clothing.But the son of the old widowdidnt get any new clothing, alsa y olDidnt get any new clothing.

I must go see that bullfight,even wearing other mans clothes, alsa y oleven wearing other mans clothes.

May god allow if you find them,that they bring you in a carriage,With your sandals and your hat,both of them hanging from the sides.The spears for the bulls are ready,everyone walks down the prairie,

Asking where theyve got the bull,but the bull is locked already.

In the middle of the way,they went to the cowboy asking,How old is the bull were fighting?Its an old bull, hes eight years old.Listen, lads, dont try to tease him,for hes very old and evil,I know what Im speaking of,for I bred it since its birth.

There they are in the bull ring,

these four young men so nice and handsome.Manuel Snchez called the bull,if only he hadnt done so,for the bulls horn caught his sandal,and dragged him along the ground.When the beast finally leaves him,he feels that he cant live long.


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Compaeros, yo me muero,

amigos, yo estoy muy malo,

Tres pauelos tengo dentro,

y ste que meto, son cuatro.

Que llamen al confesor,

para que vaya a auxiliarlo,

No se pudo confesar,

porque estaba ya expirando.

Al rico de Monlen

le piden los bes y el carro,

Para llevar a Manuel Snchez,

que el torito lo ha matado.

A la puerta de la veuda,

arrecularon el carro,

Aqu teneis a vuestro hijo,

como lo habis demandado.

Al ver a su hijo as,

para tras se ha desmayado.

A eso de los nueve meses,

sali su madre bramando,

los vaqueriles arriba,

los vaqueriles abajo,

preguntando por el toro,

el toro ya est enterrado.

Madres las que tengis hijos,

no le echis la maldicin,

Que yo se la ech al mo

y as me sucedi.

My dear lads, Im dying here,

my friends, theres no hope for me.

Four handkerchiefs are inside me,

and this other one makes four.

Someone go fetch the confessor,

this man needs help for his soul.

The poor lad couldnt confess,

cause he was already expiring.

The rich man of Monlen,

lends them his oxes and carriage

To take away Manuel Snchez,

for the bull has claimed his life.

When they got to the old widow,

they showed what was on the carriage,

See, were bringing you your son,

in the way that you requested..

When she sees her son like that,

she faints and falls on her back.

And then, nine months after that,

she runs through the streets in rage.

And she goes up the pastures,

then she goes down the pastures.

Shes asking about the killer bull,

but the bulls already buried.

Listen, mothers who have sons,

dont curse them no matter what,

For as you see, I cursed mine,

and this is what happened to me.


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Im going to talk about the Andalusian copla a style very popular in Spain in the ninete en forties. Thesongs talk about love, passion and overflowing feelings. The style is very popular even today. Concha

Piquer, Antonio Molina or Roco Jurado were some of the most important copla singers.

When singing Andalusian copla, the rules of pronunciation are very important. You need to learn

Andalusian pronunciation which is very different from Castilian. The songs are composed in such a way

that standard pronunciation will not fit with the syllabification.


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N te debo. N me pas.Si fui mala o buenaolvalo ya.To te lo ha pagaomi carne morena,no maldigas payo,estamos en paz.

No te quiero. No me quieras.Si to me lo disteyo n te pe,

no me eches en caraque to lo perdistetambin a tu vera...yo to lo perdi.

Bien pag.si yo soy la bien pag,porque mis besos cobry ti me supe entregpor un puao de parn...Bien pag.Bien pag.Bien pag fue esta muj.

No te engao, quiero a otro.

No pienses por eso que farsa te fu,no ca en sus brazos:le di slo un beso,el nico beso que yo no vend.

N te po. N me llevo,entre estas paredesto me lo dej:joyas y vestosque t me compraste,mi nombre y mi vaque yo te entregu.

Bien pag.Me llaman la bien pag,porque mis besos cobry a ti me supe entregpor un puao de parn.Bien pag... Bien pag...Bien pag fue esta muj.

I owe nothing, I ask nothing.If Im good or bad,dont think about this.Everything was paidby my brunette bodyyou cant complain, payo,for now were in peace.

I dont love you, you dont love me.All the things you gave me,I didnt request.

Now you say Im guiltyof all your disgraces,But I lost it all, too. Now I cant have rest.

Well paid one,they call me the well paid oneBecause my kisses I sold,And I let you be my manFor all the dough I could hold.Well paid one, well paid one,Well paid one, but still left cold.

Now youre saying Im unfaithful,

Theres another man, I dont mind to tell.But I didnt chase him,I gave him just one kiss,It was the only kiss that I didnt sell.

I ask nothing. Ill take nothing.Among these four walls,everything I leave.The jewels and dressesthat you used to buy me,My life and my good name,That I cant retrieve.

Well paid one,they call me the well paid oneBecause my kisses I sold,And I let you be my manFor all the dough I could hold.Well paid one, well paid one,Well paid one, but still left cold.


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In the 17t century, monologues sung by women became very famous in Spain. These songs were performedin the middle of theatre plays or zarzuelas. The songs talked about social, political topics, or love. It wasGoyas time and the majas, majos and petimetres world.


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In the 19th century, the first caf-concert opened and cupl, in a very early stage, began to be performed in this

kind of places together with flamenco.

The most popular caf-concerts were in Andalusia. In Spain flamenco were sung at home, in private

celebrations and performed spontaneously in taverns. It was the first time that people could enjoy shows every

night in this kind of establishments.


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In caf-concerts, the style evolved, grew and improved. The songs were very erotic and daring. At the end of the19th century, the style was called cupl because of the French influences and it was the start of the Golden Age

of cupl in Spain.

The difficulty of cupl songs lies on the interpretation. It must be very suggestive, flirting and sensual. Cupls

contain erotic lyrics, some of them explicit and some not. What is important is not what it is said, but how,

expressed by gesture and body language in general. And the voice must be sensual, velvety, and breathless.

But I want to share with you a story, a love story. The story of Anita Delgado and Maharajah of Kapurthala.


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Anita was an Andalusian girl. The family immigrated to Madrid and she began to sing in a caf-concert.

Anita and Maharajah met in this caf when he travelled to Madrid to attend the wedding of King Alfonso the

thirteenth (13th) and Maharajah fell in love with her. But she rejected him and Maharajah le ft Spain. Anitas

friends convinced her to respond to his letters and Anita did so. Finally they got married and Anita moved to

India.


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Yo me voy todas las tardesA merendar al hotel ritzY tras el tsuelo hacer mil locurascon un galn que est loco por m.Juntos a bailar salimos,nos enlazamos con pasiny al final tengo yo que decirletoda llena de miedo y rubor:

Ay, por favor,No me baile ust as,

Ay, no por dios,Que me siento morir.Tenga ust en cuenta que mira mamY si se fija nos va a regaar.Ay, sultemeNo me oprima usted ms,Pues le dirsi me quiere asustarQue soy cardaca y por esta raznNo debo llevarmeNingn sofocn.

Las mams cotorreandoToman el t sin advertir

Que en el salnAl bailar las parejasHablan de amor con atroz frenes

A las tres o cuatro danzasSuele crecer nuestra ilusinY al final tengo yo que decirleRebosante de satisfaccin:

Ay yo no sLo que pasa por m!Pero ya veQue me siento felizSiga bailando aunque mire mamQue si se irrita ya se calmar

Ay qu placerEs bailar un fox trotCon un doncelQue nos hable de amor

Aunque cien aos llegase a vivirYo no olvidaraLas tardes del ritz.

Every day theres a tea partyat the hall of hotel Ritz,and after teaI get bad and mischieviouswith a gentleman crazy for me.We go out to dance together,full of passion well embrace,and at the end I have to tell himtrembling with a flushing face:

Oh, please, dear sirdont be dancing like that.

Oh, no, my gosh,for I fear I will die.Doncha see my moms looking at usand if she spots us shes gonna be mad.Please let me go,please dont press me against you,or I will shoutif you give me a spook.Because you know that my hearts very weak,and for that reasonI must have no grief.

The moms in their endless chatterare having tea and they wont see

that while they dancein the hall, every couplewill talk about love endlessly.

After having three or four dancesour excitement grows and grows,and in the end I have to tell himwith a cheerful and bright glow:

Oh, I dont knowwhat has happened to me,but as you seeIm as happy as can be.Please lets keep dancing though mama gets mad,if now shes angry shell later be calm.

Oh, what a joyis to dance a Fox Trotwith a young ladwho speaks about love.

If for a century I got to liveId never forgetthe afternoons at the Ritz.


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In caf-concerts the combination of cupl

singers and flamenco singers gave birth to a

new style, the Andalusian copla. One of the

first singers was Raquel Meller. She was a

cupl singer at the beginning, but later she

evolved into Andalusian copla.


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Los militares y los paisanosLlevan mi nombre como banderaY dicen todos los gaditanosLola, lolita, la piconera.Desde puerta tierra,

Al barrio la via,Seores, qu guerra, ay lola, lolita!,Que forma esta nia,que forma esta nia.

Dnde va tan bonita,

lola lolita la piconera,Que a la vez que va andando,va derramando la primavera

A cantar en un tablaoLas espinas de un querQue en la boca lha dejaoLa amargura de la jiCon que viva andalusia!Y la pena que se muera!Y esa copla tan sentaQue canta lolalola, lolita la piconera!

A los que sufren el mal de amores

Sin s ni bruja ni curandera,Los pone genos de sus doloresLola, lolita la piconera.Pues tengo yo un cantePa los amorosQue cura al amante, ay, lola, lolita!,De pena y olvo, de pena y olvo.

Dnde va tan bonita,Lola lolita la piconera,Que a la ves que va andando,va derramando la primavera

A cantar en un tablaoLas espinas de un querQue en la boca lha dejao

La amargura de la jiCon que viva andalusia!Y la pena que se muera!Y esa copla tan sentaQue canta lolalola, lolita la piconera!

All men in Cdiz adore a womanfor all the joy that shes always bringing.Soldier or not, everyone likes singingLola, Lolita , la piconera.From Puerta Tierra,to Barrio la Via,sirs , what a commotion, ay Lola, Lolita!When she fills the streetswith love and emotion.

Where are you going so pretty,

Lola Lolita la piconera,when you see her strolling,youve got to love her, spring comes rolling.She will sing in a tablaoabout anguish caused by love,a bitterness in her mouthleft by pains from long ago.

And long live Andalusia!Forget the pain and the sorrow.Lets sing today and tomorrowwith all our feeling and passion,the same as Lola... Lola, Lolita la piconera!

If your hearts broken, shes just the person

wholl cure your bleakness and make you happy. No need for doctors, no need for magic,just Lola, Lolita la piconera!For Ive got a coplathat mends every sadnessand heals any sorrow, ay, Lola, Lolita!,no matter its badness, no matter its badness!

Where are you going so pretty,Lola Lolita la piconera,when you see her strolling, youve got to love her, spring comesrolling.She will sing in a tablaoabout anguish caused by love,a bitterness in her mouth

left by pains from long ago.And long live Andalusia!,Forget the pain and the sorrow.Lets sing today and tomorrowwith all our feeling and passion,the same as Lola... Lola, Lolita la piconera!


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Pilar Lirio

Hispasong CEO

[email protected]

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