MOORISH AND GYPSY ELEMENTS IN FLAMENCO

Press, Volume XCVII, Issue 28618, 21 June 1958, Page 4

MOORISH AND GYPSY ELEMENTS IN FLAMENCO

With the exception of a few aficionados- who have treasured records of such arists as Nina de los Peines, there are probably very few Christchurch persons who had hearo flamenco before the arrival of Luisillo and his Spanish Dance Theatre. Flamenco is like no other European folk music It is a branch of cante hondo (deep, or profound, song) the traditional music of Andalusia, which has been submitted to gypsy treatment. But all the exotic qualities of flamenco do not come from ' the gypsies alone. Its origins in Spain go back to the eighth century, when the Moors occupied the southern part of Spain. Until the end of the 15th century when the Moors were finally expelled, the music of Andalusia was fused with the music of the Moors. During those seven centuries the complex Arabic rhythms, microtonic Arabic scales, with the tone divided into three instead of two. and an oriental profusion of melodic decoration became commonplace. Early in the ninth century. Ziryab, a famous composer and singer came from Bagdad and settled at Cordoba where he taught singing and attained great fame.

In the middle of the 15th century the gypsies first entered Spain. The gypsies are renowned as musicians > but they have no music of their own. It is their custom to adopt the music of their hosts. But when the gypsies borrow another nation’s music they do not leave it unchanged. They add fire and wildness to the music, often exaggerating certain features.

Thus with the addition of Semitic elements from the Sephardic Jews, cante hondo was evolved.

In the 19th century the old gypsy cante hondo was taken up and given the gvpsy treatment once more. The result is flamenco. It is a more “gypsified.” more modern form of cante hondo

Flamenco is among the most rhythmic and highly decorated folk music in the world. The decqrations are elaborate and complicated, often taking the form of a slow trill gradually growing faster and changing in rhythm. Repeated notes —repeated almost ad infinitum—and the use of intervals which do not occur in the accepted Western scale are other -features of flamenco. Long drawn-out dimuendos are loved by flamenco singers, who usually display breath control of the highest order.

The flamenco singer’s vocal production often sounds strange to the non-Spanish ears. The flamenco singer’s tone has been described as resembling the oboe, whereas the vocal ideal in other parts of Europe is the flute. The flamenco voice is harsh and dark. A strong vibrato is often used although this is a feature also of the voices of many Spanish opera and concert singers, as anyone who has heard Conchita Supervia will know.

Flamenco is still a living folk art in Spain, unlike much European folk music Anyone who will allow himself to become accustomed to its peculiar oriental characteristics will find its vibrant, passionate melodies and its tense, exciting rhythms irresistible.