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Old and classical guitar.
Listening guide. Special Feature
Before Paco de Lucía
Silvia Calado, February 2004
The first observation that will be made by all enthusiasts who have a flashback
look into flamenco guitar history is the scarcity of titles. And that has an explanation.
The 'bajañí' was an instrument at the absolute service of cante
until well into the 20th century, when the theater format - the so-called flamenco
opera - enables its emancipation. Since then, the guitar has been an instrument
of accompaniment, and it will therefore be necessary to trace in the old cante
recordings to discover its original modes.
José Cepero and Luis Maravilla
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Although note has been made of nineteenth-century tocaores
such as El Murciano, Trinitario , Bernardo Troncoso, José Toboso,
Julián Arcas, Maestro Patiño, Antonio Pérez, Paco el Barbero,
Juan Gandulla Habichuela and Paco el de Lucena, it will be necessary to go a bit
forward in time to find the first sound recordings of the six strings. Remaining
as testimony is the 'Método de guitarra por música y cifra' guitar
method which classical and flamenco guitarist Rafael Marín published in
1902, a genuine treasure which is not only a faithful summary of toque up to then,
but also a true guide for later guitarists.
The oldest flamenco discography contains, backing the greatest
cantaores of the early last century, the live toque of Miguel Borrull Sr., Luis
Maravilla, Salvador Román 'El Tuerto Salvaorillo', Niño Pérez,
Antonio Moreno, Javier Molina, Ramón Montoya...
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Above all, Ramón Montoya. And the thing is that the Madrid-born guitarist
is the one who set the music for most flamenco styles, teaming up with cantaor
Antonio Chacón, besides being the first solo tocaor in the history of the
jondo genre ... and with international exposure. Beginning in 1936, the guitarist
makes his way into the European and American classical music circuit, with great
success with the public; a facet that he did at the same time with accompaniment
for voices not only of flamenco, but also of variety songs. The comment by Nicolás
Callejón, who accompanied his first recording as a soloist, entitled 'Arte
clásico flamenco' ('Classical Flamenco Art'), turns out to be a most current
recommendation: "Those who are interested in the genesis of styles and the
development of folk arts will be able to study this album to the most advantage".
That phrase could be applied to the compilations which are currently in the catalogue
such as the double album 'Ramón Montoya. El genio de la guitarra flamenca',
by Sonifolk; and 'Ramón Montoya. Grandes figuras del flamenco. Vol. 5',
by Harmonia Mundi. The perfect complement for those guitarists who know music
is the transcription book 'Ramón Montoya. Arte clásico flamenco',
which includes his creations through fandangos de Huelva, granaína, soleares,
malagueña, siguiriya, minera, guajira, rondeña, tientos and tanguillo,
taranta, milonga and alegrías, as well as explanations on technique and
rhythm.
An account must also be given of the importance of the followers of those first
guitarists such as Manolo de Huelva, accompanist for Manuel Torre and Antonio
Chacón, a concert performer from an early age and, among other merits,
the official guitarist of Granada's Cante Jondo Contest in 1922; and Perico el
del Lunar, who crossed over the Jerez School and the legacy of Javier Molina to
become one of the most sought-after and respected guitarists of his time. A great
expert on cante, he directed the first anthology of cante flamenco, released by
Hispavox in 1954, one of the basics of the so-called recovery period.
With the bases set up and the way open, around the middle of the century a
new generation of guitarists begins to delve deeply into that line of creation
and, in a way, of freedom. Niño Ricardo, Esteban Sanlúcar, Melchor
de Marchena, Sabicas and Diego del Gastor star in this, shall we say, pre-revolutionary
stage of toque flamenco. (The revolution, we well know, comes with Paco de Lucía
beginning in the '60s... but that is another story). This batch of guitarists
consolidates the emancipation of toque, steering towards other courses in which
each one enriches the sources he has drawn on with his respective stylistic mark,
both local and personal. There are compilations of cantaores from the period which
are true showcases of accompanying guitar at the time. That is the case of records
like 'Canalejas de Puerto Real. Grabaciones discos de pizarra. 1930', where Esteban
Sanlúcar, Manolo de Huelva and Niño Ricardo play, among others;
and that of 'Carbonerillo. Grabaciones discos de pizarra. 1930', with the guitar
of Sabicas, Miguel Borrull Jr. and Niño Ricardo (both, slate record recordings).
Niño Ricardo, as González Climent wrote in 1957, achieved "the
converging synthesis of the classical guitar of flamencoism and the dizzily-evolving
guitar of the modern age". To which he added that he harmonized "the
solemnity and the suggestive schematization of Ramón Montoya with the most
exquisite contributions of current toque, in which Ricardo is precisely the boss,
more or less". For that reason, he was the reference for later generations.
Paco de Lucía himself recognizes that "all of us young guys used to
model ourselves on him and tried to learn and copy him". He left compositions
which, because of his extensive collaboration with Juanito Valderrama, are known
popularly. A fine example of his scores can be found in compilations such as 'Niño
Ricardo. Grandes figuras del flamenco. Vol. 11' and 'Niño Ricardo. Historia
del flamenco', among others. The sheet music book 'El genio de Niño Ricardo',
which comes along with the record, is the perfect complement for scholars.
Continues
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magazine@flamenco-world.com
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