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Tell me about the farruca...

	Vicente Amigo

It's a commitment I'd had with myself for some time now. There are passages, there are notes that are over twenty years old. Since I learned Manolo Sanlúcar's farruca. They were ideas, notes I had that I'd kept putting off. I think you develop things when their time comes. With what you used to have and with what you have now. At present it all fits together. I've been able to give it my vision, which is what I wanted. This shows that there are things in music that have no time, that are timeless. I've had very nice experiences with this farruca.

And ‘Oriente mediterráneo’?

It's a zapateado that's along the lines of what I did in ‘Vivencias imaginadas’. But it has a different focus on rhythm where it comes in through bulerías. At times the melody seems to be brought in from classical music.

What premises do you start off with when creating your compositions?

That comes out naturally, but you have to work to achieve it. You've got to seek it out. When you find it it's because you're searching. You're always thinking of melodies, of music. Even though you haven't got the guitar in your hands, you've got the music in your head. That's why you can come across a melody while walking down the street. You can find something at any moment.

Is it more complicated for you to compose for yourself or for others? Are you more demanding with yourself?

Composing for guitar is more complicated than composing for cante. It's easier to bore people with an instrument than with a voice. What it's about is for you not to get bored and to do what you really want.

	"It's easier to bore people with an instrument than with a voice"

Is being personal complicated?

I don't know. If anybody knows they should tell me (he laughs). I confine myself to being so.

Now that the public has certain expectations created by your music, do you find it harder to satisfy?

The other question was good. But this one's good, too (he jokes). I find it more complicated to satisfy myself. I've been vulnerable since I have reason. Then one is aware of what's happening and starts to have fears. But that's been like that for a very long time. That's always there. I have a great deal of respect for all that.

What do you try to get across with your music?

My life. I try to do things clearly. To tell you what you already know, because we have all tasted pain, sweetness and bitterness. But I say it my way. I capture my life in my music.

Vicente Amigo

What moment is concert flamenco guitar at?

At a wonderful moment. There are a great many very good guitarists. Though it's always been hard to stand out, now it's even more so. After where guitar has been placed by Paco de Lucía, Manolo Sanlúcar... the things that've been done. But you manage to stand out through hard work.

Are you managing to educate the public?

The public is educated. The thing is that this is a road that's not built overnight. For flamenco music to be considered has taken its time. I don't think we're anyone to educate the public. I believe that's in the hands of those in power. The interests are there. The record companies, too. Many times they differ a bit from what the artists want.

Is the guitarist the great creator within flamenco?

Some guitarists are creators. And some cantaores and bailaores.

Lately, the guitarists I've interviewed have brought up the problem that the guitar is running the risk of losing its flamenco sound upon evolving and mixing with other types of music. What do you think about that?

I don't think so. A flamenco guitarist is one because he's grown up with it since he was a boy, and flamenco isn't going to be lost just because of one kind of flamenco. What does get lost is as soon as something is called flamenco which isn't. Many times it's said that something gets away from flamenco, and it might never have been in it. Flamenco is a very old thing you have to have gone deep into. You have to have studied, to have absorbed. But besides, I'm nobody to talk about this (he jokes).

Do you believe in duende?

Of course I do. Definitely.

And what is it?

I've tried to define it many times. The latest definition I have of duende says it is the means an artist finds to reach what he understands as essence.

And art?

It's like a science of beauty. It's reflecting life with the greatest possible beauty through music, painting, sculpture...

Is there purity in flamenco?

There's purity in everything. What happens is that it has several readers and several readings. The purest thing to me is what originates from yourself starting off with what the rest have done and with respect for where you're going. In purity there has to be respect.

You have a record company project. How's it going?

I have a project to make a label with Lidia Fernández. Well, in reality it's already done. It's going to be called ‘V2 Amigo’. I'm going to lay down my criteria here in the sense of choosing people I like in order to try and contribute something different to them. It's about promoting young people. I think it's something nice in that sense.

Finally, when and where does your tour of this new album begin?

It starts in Japan in May. I'm looking forward to beginning, but this month's going to be hard with the matter of promotion and I've also got to sit down with the musicians to see the repertoire and start playing.

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