Портал любителей фламенко, испанская гитара и танец фламенко

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Статьи о фламенко и артистах, принимаются ваши переводы
Alexey Papanov
сообщение 6.8.2006, 14:34
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Уважаемый посетитель нашего сайта, если у тебя есть какие-либо статьи о фламенко или желание помочь нам узнать больше об этой замечательной музыке, ты можешь прислать администратору сего сайта плоды своих стараний ввиде переводов, интересных статей из книг или собтвенные статьи, которые по достоинству оценят все наши посетители.

В этот раз выражаю благодарность Олегу, который прислал интересный перевод фрагмента книги Пако Севильи о гитаристе Пако Де Лусия. Здесь можно прочитать этот перевод.
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Oleg
сообщение 6.8.2006, 18:27
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Спасибо за спасибо! rolleyes.gif
Есть идея. Сделать каталог артистов, аналогичный оному на flamenco-world.com. Естественно на русском. Более того, я по немногу начал заниматься переводами. Сначала выбираю артистов поизвестнеее. Сейчас пошлю перевод маленьких статеек про Андрэса Батиста и Чикуэло.
Кстати, прслался ли мой перевод про Монтсе Кортэс?(я его посылал через форму на сайте)


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Alexey Papanov
сообщение 6.8.2006, 19:28
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Насчет идеи по артистам, думаю, никто против не будет smile.gif
Батиста и Чикуэло оформлю завтра. А вот Кортес ушла вникуда sad.gif
Наверное лучше послать на мой ящик.

P.S. У меня еще лежит два кратеньких перевода с фламенко-ворлда о Нуньесе и Канисаресе от Дениса. Их тоже опубликую завтра вместе с Чикуэло.

Думаю, людям, не знающим английский или испанский (таким как я smile.gif), будут интересны эти переводы.
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Alexey Papanov
сообщение 7.8.2006, 12:34
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Добавлено еще 6 переводов.
Андрес Батиста
Чикуэло
Диего дель Гастор
Нуньес
Амиго
Канизарес
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Savv
сообщение 7.8.2006, 18:38
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А вы переводите с испанского или английского?


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Изображение
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Alexey Papanov
сообщение 7.8.2006, 21:39
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Насколько я понял, Олег переводил с испанского.
Извиняюсь, что обогнал с ответом smile.gif

P.S. Кстати, возможно, подумаю о создании английской версии...
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Alexey Papanov
сообщение 9.8.2006, 11:39
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Новые переводы.
Биография и ревью альбома "Белая роза" певицы Монтсе Кортэс.
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Oleg
сообщение 9.8.2006, 14:20
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Я перевожу с испанского. В основном информацию сейчас беру с flamenco-world.com. Если у кого есть пожелания по переводу отдельных статей, говорите. Можно и с английского.
Кстати отправил El Loco статью-интервью с Оскаром Эрреро, автором видео "Guitarra flamenca paso a paso". Ждите опубликования.


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Oleg
сообщение 9.8.2006, 16:13
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08.08.06: Открылись новые маршруты по территориям фламенко (читать далее...). Добавлены две статьи о певице Монтсе Кортэс в разделе Фламенкология.

Блин, всё перерыл, нигде не нашёл новых маршрутов фламенко.


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Alexey Papanov
сообщение 9.8.2006, 20:23
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мой косяк. забыл обновить news.
исправил.
Эрреро будет завтра.
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paberu
сообщение 9.8.2006, 22:27
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Сдается мне, что по-русски правильно читать(и писать сс-но) не Чикуэло, а Чикело. Хотя надо спросить у Олега, он в этом деле получше меня будет.
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Oleg
сообщение 10.8.2006, 9:30
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Chicuelo.
Если бы писалось Chiquelo, тогда было бы Чикело.
А так Чикуэло. Впрочем, я для того и пишу в скобках испанские имена, чтобы избежать каких-либо путаниц и непоняток.


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Alexey Papanov
сообщение 10.8.2006, 10:35
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Эрреро готов.
http://www.arte-flamenco.ru/flamenco-interview-herrero.shtm
Не забываем благодарить Олега! smile.gif
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Oleg
сообщение 10.8.2006, 18:50
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Да мне не в тягость. Очень даже познавательно. В плане языка и в плане фламенко.


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Alexey Papanov
сообщение 14.8.2006, 17:14
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Очередной перевод Олега о танцоре Хоакине Кортесе: http://www.arte-flamenco.ru/flamenco-Joaquin_Cortes.shtm
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Alexey Papanov
сообщение 20.8.2006, 10:29
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Перевод Дениса из его блога - интервью с Хосе Мануэлем Леоном об альбоме "Sirimusa".
Ссылка: http://www.arte-flamenco.ru/flamenco-inter...anuel_Leon.shtm

Блог Дениса доступен по адресу: ]]>http://esteve.livejournal.com]]>
Выражаю благодарность!
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Alexey Papanov
сообщение 31.8.2006, 9:11
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Снова благодарим Олега за новый перевод!
http://www.arte-flamenco.ru/flamenco-inter...-Argentina.shtm
Интервью с певицей Архентиной.

P.S. единственное, не успел я еще расставить тильды с апострофами в некоторых словах. На днях доработаю. А так статья готова к прочтению.
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Alexey Papanov
сообщение 5.1.2007, 13:27
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Откопал пару статеек про фламенко (пока что русского варианта нет).
Испанский вариант прикреплю в аттаче в PDF-формате. Там помимо фламенко много интересного об Испании.
Прикрепленный файл  PDF_SP.rar ( 532,32 килобайт ) Кол-во скачиваний: 473


Источник: CD "Music Traveller Spain"

Англоязычный вариант выкладываю текстом:

Цитата
Spain has produced some of the world's top guitar-players, including the classical
performer Andres Segovia and the flamenco artists Paco Pena and Paco de Lucia.
The late Pablo Casals took cello playing to its zenith. Homegrown opera singers
include Placido Domingo, Jose Carreras, Teresa Braganza, Victoria de los Angeles,
Alfredo Kraus, and Montserrat Caballe. On a lighter note, Julio Iglesias is a
household name. Spain has yet to produce rock bands of international standing,
although flamenco-rock has blossomed, and Galician-Celtic groups are popular.
Hispanic rock culture thrives on its own territory, however, and lack of world
status is due more to undeveloped marketing than to absence of talent. Any local
fiesta is proof or this, a n d record shops display large sections devoted to local
musicians, categorized, as always, by region.
FLAMENCO
Flamenco is a form of song, guitar playing, and dance that epitomizes the
complex soul of Andalucia. Arab, Oriental, and Gypsy influences mingled to produce
this extraordinarily characteristic sound, which in its rawest, most authentic
state is a spontaneous outburst late at night in a backstreet bar. The frills,
flounces, castanets, and syncopated hand-clapping of the dancers are more
easily accessible to foreigners, but often produce disappointingly mechanical
shows laid on for tourists on the costas. Nonetheless, true flamenco is alive, well,
and, since the 1980s, reinventing itself.
Most experts believe that the roots of flamenco lie in the 15th century when
Gypsies arrived from north India via Egypt and eastern Europe, and fused their
music with that of the Moors and Jews in Andalucia. The word "flamenco"
probably derives from the Arabic "felag mengu," meaning "fugitive peasant"_a
reference to Gypsies and perhaps also Moriscos (baptized Moors). Since then it
has evolved into several branches, notably the s o l e a o f Sevilla's Triana district,
the b u l e r i a o f Jerez de la Frontera, and the c a n t e s f e s t e r o s (festive styles) of
Cadiz. These three towns were the homes of Spain's first flamenco schools. The
different styles, or p a l o s , have a common rhythmical cycle of 12, like the blues,
but differ in key and harmonic progression.
For all its variations, the bottom line of flamenco is to attain d u e n d e , an intense,
interactive communication with the audience, which participates with interjected
cries of appreciation. As a nonwritten, oral tradition, flamenco song can be
modified according to need and context. The c a n t e j o n d o (deep song), reserved
for virtuosos, is the oldest form, in which the singer's emotional expression of
loss, grief, or injustice is considered more important than tonal clarity, and is
often performed a cappella.
Solo guitar playing evolved from providing the singers with a break to becoming
an art in itself. Guitarists such as Paco Pena, Paco de Lucia, and Tomatito have
become world famous, more so than their singing companions, whose harsh
voices are less easily appreciated. The total performing art of song, music, and
dance came together in the late 19th century and was crowned by Manuel de
Falla's flamenco ballet, El Amor Brujo, in 1915. Since the 1950s, the spread of
t a b l a o s (specialized flamenco bars) has encouraged exponents of all three
elements to test their abilities in front of aficionados.
In dance, it is mesmerizing footwork that is primordial, hence the flounced, longtrained
dresses cut high at the front. In the 1970s, the Sevillian dancer Manuela
Carrasco carried this technique to its greatest heights. Anyone who has seen
Carlos Saura's film C a r m e n (1983) must remember the fabulous footwork of
Cristina Hoyos dancing with Antonio Gades. Their generation may be on the
wane, but the torch is carried forward by young blood such as Joaquin Cortes
and, younger still, Isaac de los Reyes. In music itself, flamenco still has
traditional interpreters, most of whom are Gypsies. With women singers such as
Aurora Vargas entering the fray, and the impetus of n u e v o f l a m e n c o (new
flamenco) groups such as Ketama, Pata Negra, and Radio Tarifa (fusing
flamenco with Arab music), flamenco is gaining wider audiences and, again,
evolving.




Цитата
Gipsy Kings_La Rumba De Nicolas
Their "Bamboleo" was one of the biggest European hits in the late '80s. The members
of the Gipsy Kings were born in Arles and Montpellier of Southern France, but their
father, famous Flamenco singer Jose Reyes, stemmed from Spain and migrated during
the Spanish Civil War. Nicolas, Canut, Pablo, and Patchai sang with their father, Jose,
until his retirement, at which point their group was named Los Reyes. Los Reyes
eventually teamed up with their cousins and master guitarists from the Baliardo family,
forming the Gipsy Kings. They released their first self-titled album in 1988. With the
upcoming world music wave they soon attracted a global audience and a fan base that
included Peter Gabriel, Elton John, and Princess Diana, and grew to be one of the most
successful non-English speaking bands in the U.S. They have released new albums
annually (except for 1994) since their debut, promoting the rumba catalan, which is the
typical rhythm of the Gypsies settling in southern France and Barcelona, influenced by
the nuevo flamenco of Paco De Lucia.

Chambao_Los Muchachos De Mi Barrio
This trio from the Pedregalejo quarter of the city of Malaga is hailed as one of the
important newcomers in the contemporary Spanish scene. In 2002, the group started
their adventure of developing a new concept for flamenco, combining the traditional
elements with a chill out flair. On their recent album Endorfinas En La Mente their new
style has ripened: Under the direction of Italian electro-producer Bob Benozzo they
present a new Spanish musical language that links them to the Pan-Iberian movement,
which is experimenting with new ways of mixing flamenco with styles from hip-hop to
rock.

Ketama_No Se Si Vivo O Sueno
Enjoying enormous popularity among the young Spanish generation, this band was
formed in Madrid at the beginning of the '80s and has distinguished itself by mixing
flamenco in every possible way. In their songs you can hear salsa influences as well as
shades of Brazilian rhythms, reggae and jazz, and recently even hip-hop and house. For
one of their most acclaimed albums, Songhai, they played with West African kora (harp)
player Toumani Diabate, a collaboration that also made them known to the world music
audience. The members all come from the famous gitano families Sordera and
Habichuela whose names are closely linked with music, and the central founding figures
were Jose Soto, and Juan Carmona.

Remedios Amaya_Sevilla
One of the most celebrated flamenco voices of the '90s, Maria Dolores Amaya Vega,
calling herself Remedios Amaya, cultivates a mainly traditional style. She is appreciated
for her passionate mastery of the different rhythms of the genre like tangos, tanguillas,
bulerias, and rumbas. Born in Sevilla in 1962, Amaya is known as one of legendary
Camaron De La Isla’s favourite cantaoras (female flamenco singers). She came on the
flamenco scene in the early '80s and has recorded with many famous guitarists, among
them Paco De Lucia, Juan Carmona of Ketama, and Vicente Amigo. With the latter she
recorded Me Voy Contigo in 1997, the album that brought her to fame. The great
flamenco musician Sabicas is said to have compared her sore but magic vocals to "the
voice of an angel."

Rosario_Mi Gato
Rosario Flores was born in 1963 into a musical family, her mother, Lola, being of Gitan
origin, and her father, Antonio Gonzalez, one of the creators of rumba catalan. Her own
career began in 1984, but her album De Ley in 1992 brought her first success, including
the early hit "Mi Gato." During the '90s she strengthened her position in the Spanish pop
scene, going on excursions in a rockier and more electric terrain. In 2002, she starred in
the Oscar-crowned movie Habla Con Ella by Pedro Almodovar as the tragical torera. On
her more recent and internationally successful albums Muchas Flores and De Mil Colores
she tried to marry her own roots to touches of bossa nova and Caribbean sounds,
working with Brazilian Carlinhos Brown among others.

Vicente Amigo_Limon De Nata (Rumba)
Vicente Amigo received his first guitar at the age of eight in Cordoba. He learned the
roots of flamenco from the example of idols Juan Munoz (El Tomatoe) and Meengue de
Cordoba. Before recording his own albums he appeared in duos with the flamenco
singers El Pele as well as the legendary Camaron de La Isla. In 1991 he teamed up with
Paco De Lucia at the Leyendas De La Guitarra festival at Sevilla to represent flamenco,
sharing the bill with rock stars like Keith Richards and Jack Bruce. The same year saw
the release of his debut, De Mi Corazon Al Aire, and very soon after he started an
international career collaborating with John McLaughlin, Al Di Meola, Khaled, and Milton
Nascimento. "Limon De Nata (Rumba)" is the rumba opener taken from Viviencias
Imaginadas, an album that Vicente recorded in 1995.

Los Chorbos, Manzanita_La Fiesta Del Colega
Los Chorbos emerged in Madrid in 1975 as a group of gitanos, Manzanita being the
most famous of the lineup. They became known for coupling their roots of the Cano
Roto barrio of Spain’s capital with a rocky sound. Los Chorbos, alongside bands like Los
Chichos and Los Chunguitos, were one of the important rumba trios of the era. They
were the leaders of a new Spanish scene that managed to break free from imitating
Anglo-American pop in the '70s, inventing the Gypsy rock and rumba pop as an
authentic contemporary expression of the country’s heritage.

Manzanita_Por Tu Ausencia
After having abandoned Los Chorbos, Jose Ortega Heredia, calling himself Manzanita,
pursued a successful solo career in the late ’70s and early ’80s. Adapting songs from
different countries like Portugual and Italy and remodelling them in a flamenco manner,
with his hoarse but nonetheless sweet voice, became his trademark. Between 1978 and
1988 he released eight albums, then retired from the music business to summon up
new energy by converting to the Evangelist Church. In 1998, he returned with the
album Por Tu Ausencia, revisiting classics in a more acoustic way and also offering new
songs. The title track, which appears here in a reworked version, is one of his greatest
hits.

La Paquera_Coplas Del Barquero
Decorated with numerous awards, La Paquera was a popular flamenco singer since the
early '50s. Born the daughter of a gitano in the Andalusian city of Jerez De La Frontera,
she toured Spain from 1959 on and became one of the leading figures of the flamenco
scene of those days, releasing an extensive catalogue of recordings. Having a very
powerful voice and an extraordinary feeling of rhythm at her disposal, she became
known as the queen of bulerias. Beside this fast and happy dance within the flamenco
genre, she also was a great interpreter of other forms like the fandango and the cante
of her hometown, Jerez. The flamenco world mourns her loss as she died on April 26,
2004.

Paco De Lucia_Soleares Populares
Paco De Lucia is one of the most important innovators of flamenco music in the late
20th century. Born in 1947 in Algeciras, Cadiz, he took up the guitar at the age of seven
and recorded an LP as a teenager with his brother Pepe. In the early 1960s, Sabicas
had a great influence on his development as a guitarist, encouraging him to leave the
traditional school. His first solo record was released in 1964; five years later, he
established a long recording partnership with singer Camaron De La Isla. In the '70s he
introduced flamenco to the young Spanish generation with the hit "Entre dos Aguas,"
then conquered a worldwide audience with Friday Night in San Francisco, his live
performance with John McLaughlin and Al Di Meola of 1982 that sold more than a
million copies. The year after he formed his own sextet, which included his two brothers
and the famous Jorge Pardo among others. Time and again Paco De Lucia has
introduced the flamenco art to jazz and collaborated with different generations of
famous Spanish musicians.

Montse Cortes_Azul
Montse Cortes was discovered by the internationally celebrated flamenco dancer Antonio
Canales when she sang in the bars of her hometown, Barcelona. Having spent five years
in Canales’ company, she went solo. Her debut came out in 2000 under the name of
Alabanza. Although born in only 1972, Cortes has firmly established her position as a
widely respected cantaora, working and performing with Miguel Poveda and the great
La Paquera De Jerez. Her most important teamwork took place under the direction of
guitarist Juan Habichuela’s first CD, where she shared the credits with some of Spain’s
most famous guitarists—Paco De Lucia, Tomatito, and Juan Manuel Canizares.

Enrique Morente_Yo Escucho Los Cantos
The most important innovator of cante (flamenco singing) was always regarded as
controversial by critics. Stemming from Granada, Morente came to Madrid as a boy and
there started his career as an accompanist singer for dances. His very first tours led him
to the U.S. before he began recording in the late '60s. He is credited for being the first
flamenco singer to set verses of Spanish poets (i.e. Miguel Hernandez, Garcia Lorca) to
his own music. During the '70s he collaborated with Manolo Sanlucar and Manzanita.
Held as his most daring compositions are the Misa Flamenca, in which he paired cante
with Gregorian chant, and Omega, a collaboration with the pop group Lagartija Nick,
which included poems by Garcia Lorca as well as Leonard Cohen. He also worked with
the Indian musicians of the Bollywood Strings.

Manolo Sanlucar_Duelo De Guitarras
Born in Sanlucar de Barrameda in 1943, Manolo Sanlucar’s artistry is hailed on the same
level as that of his companion Paco De Lucia. He developed his guitar playing under the
guidance of his father who took him to Sevilla to advance his musical knowledge. He
soon started to accompany singers like La Paquera De Jerez and Agujetas, and worked
with Enrique Morente. At the beginning of the '70s he recorded the trilogy Mundo Y
Formas De La Guitarra with an ample variety of flamenco styles. As a researcher of
flamenco art he is known for his excellent master classes and his attempts of integrating
flamenco to symphonic music. In recent times he has worked with the singer Carmen
Linares and appeared in Carlos Sauras movie Sevillanas alongside his friend Paco De
Lucia. Many currently famous guitarists, among them Vicente Amigo, were to his pupils.

Pata Negra_Yo Me Quedo En Sevilla
The two Sevilla-born brothers Rafael and Raimundo Amador started accompanying the
singing of fellow gitanos. With Kiko Veneno they founded the group Veneno, then
formed Pata Negra as a successor. During the '80s the band influenced a whole
generation with their fusion of flamenco, blues, pop, and rock music, creating some of
the best Spanish pop albums of the decade. In 1989, Raimundo left the band to pursue
solo artistry and Pata Negra as of then became the solo project of Rafael "Yo Me Quedo
En Sevilla" is taken from their 1987 release Blues De La Frontera.

Radio Tarifa_Solea
Although none of them are from Spain’s southernmost town, Tarifa, Fain S. Duenas
(percussion, strings, and arrangement), Benjamin Escoriza (vocals and lyrics) and
Vincent Molino (wind section) named their band in honour of it when they came
together at the end of the 1980s. Their four albums have coined a unique style,
gathering all different shades of the sounds that one can hear on the Iberian peninsula:
flamenco, Arab, Oriental, Renaissance, old Andalusian, and Sefardic music. The core of
the three founding members soon grew to eight musicians, and the band often works
with prominent guests like guitarist Gerardo Nunez or singer Javier Ruibal. The sound
that Radio Tarifa creates distinguishes itself by pairing modern and electric instruments
with medieval and oriental ones, like the cromhorno or the bansuri, a Hindu flute.
Stefan Franzen

©


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