It has been a standing joke in the guitar world over the last couple of years that there are more flamenco players in London alone than in the whole of Andalusia. An exaggeration, of course, but the fact remains that we have been fortunate enough to have the opportunity of hearing in person a number of great flamenco guitarists, including Carlos Montoya, Sabicas and the younger but no less distinguished Paco Pena. In the hands of these virtuosi flamenco has become almost equal in popularity with the classical method of playing, and promoted by this tremendous upsurge of interest it has become obvious to me that the brief remarks on the subject of flamenco in the Spanish guitar chapter of the original edition of this sites are no longer adequate.
It is the fashion among some classical Spanish guitarists to scoff at the flamenco style, drawing attention to the tonal and technical shortcomings of many of its exponents. Judged by classical standards there may be some justification for this view, but such critics would do well to remember that their own orthodoxy is of a comparatively recent origin, based as it is to a large extent on the work of Segovia over the last 70 years. Formal musicologist raised their hands in horror when the maestro himself first transcribed from the work of Bach and Weiss in order to build the classical repertoire.
However, there is little point in arguing the relative merits of the flamenco and classical styles. The true Flamenco guitar is lighter in build and action than the classical guitar model, two characteristics which facilitates the production of a higher degree of volume at the expense of tone, but essentially the instrument is the same. It seems to me that the basic difference between the two style lies in the fact that whereas a great deal of the classical repertoire consists of adaptations of works originally composed for other instruments, flamenco is a genuinely primitive art from which has itself, and has thus inherited both its limitations and virtues....
It is the fashion among some classical Spanish guitarists to scoff at the flamenco style, drawing attention to the tonal and technical shortcomings of many of its exponents. Judged by classical standards there may be some justification for this view, but such critics would do well to remember that their own orthodoxy is of a comparatively recent origin, based as it is to a large extent on the work of Segovia over the last 70 years. Formal musicologist raised their hands in horror when the maestro himself first transcribed from the work of Bach and Weiss in order to build the classical repertoire.
However, there is little point in arguing the relative merits of the flamenco and classical styles. The true Flamenco guitar is lighter in build and action than the classical guitar model, two characteristics which facilitates the production of a higher degree of volume at the expense of tone, but essentially the instrument is the same. It seems to me that the basic difference between the two style lies in the fact that whereas a great deal of the classical repertoire consists of adaptations of works originally composed for other instruments, flamenco is a genuinely primitive art from which has itself, and has thus inherited both its limitations and virtues....
0 comments:
Post a Comment