Shows
chanelandoMalagueña del Mellizo by Sernita de JerezMalagueña de Enrique el Mellizo, greatly performed by Sernita de Jerez with the guitar of Manuel Morao.t is the famous malagueña del Mellizo, a personal reinterpretation of a folkloric song to which Enrique contributed its finesse, depth and musical logic. In fact, the first Flamenco form of this Folkloric song comes from the Twin.
He takes elements from other cantes such as Polo Tobalo and it has been suggested that he was inspired by phrases from the Gregorian, the Mellizo creates a work of timeless art. Malagueña del Mellizo is often said to have a free rhy...
2018-09-0202 minchanelandoTangos de Frijones by Antonio MairenaTangos de Frijones, performed by Antonio Mairena with the guitar of Melchor de Marchena.
The contributions that Antonio Vargas "Frijones" made to Flamenco are part of the fundamentals of this music. Essential pieces in the evolution of this art and a sample of the musical wealth of the Roma culture in Flamenco.
2018-08-2602 minchanelandoSiguiriya de Frijones by Ramón MedranoRamón Medrano performs Siguiriya de Frijones, in 1971 with the guitar of Felix de Utrera.
Antonio Mairena himself said: "Frijones had a very beautiful shade, like a drop of perfume that did not resemble any ... pure essence that enhanced every Cante that impregnated." This is evident in the style attributed to him by Siguiriya and which is nothing more than a reinterpretation of Paco la Luz's Jerez Cante.
Source: www.canteytoque.es
2018-08-2601 minchanelandoSolea de Frijones 4 by Antonio MairenaFourth style of Soleá de Frijones, performed by Antonio Mairena in 1974 with the guitar of Paco de Lucía.
Recent research indicates that Frijones may have been Antonio Vicente Rafael María de Regla Vargas Fernández, born in 1846 in Jerez and the first cousin of la Serneta.
This style consists of Frijones 2 preceded by two lines of verse that form a melodic arc. This is one of a series of styles that adapts three-line verse to four-line musical phrases.
Source: www.canteytoque.es
2018-08-2600 minchanelandoSolea de Frijones 3 by Pastora PavónSecond melodic style of Soleá de Frijones, performed by Pastora Pavón in 1933 with the guitar of Antonio Moreno.
Recent research indicates that he may have been Antonio Vicente Rafael María de Regla Vargas Fernández, born in 1846 in Jerez and the first cousin of la Serneta.
The descent from the seventh degree to the tonic, in different forms, is in la Andonda 2, José Yllanda 2, Juaniquí 1-2 and Triana anonymous 2. Luis and Ramón Soler state that Pastora Pavón, Antonio Mairena and Rafael Romero attributed this cante to José Yllanda.
Source: www.canteytoque.es
2018-08-2600 minchanelandoSolea de Frijones 2 by Tomás PavónSecond melodic style of Soleá de Frijones, performed by Tomás Pavón in 1947 with the guitar of Melchor de Marchena.
Recent research indicates that he may have been Antonio Vicente Rafael María de Regla Vargas Fernández, born in 1846 in Jerez and the first cousin of la Serneta.
This is the most popular of Jerez styles. The first line reaches a higher note than the preceding style. Luis and Ramón Soler describe the unique structure of this style, in which the third sung line is linked to the second, the fifth is linked to the fourth and the si...
2018-08-2600 minchanelandoSoleá de Frijones 2 by Pastora PavónSecond melodic style of Soleá de Frijones, performed by Pastora Pavón in 914 with the guitar of Luís Molina.
Recent research indicates that he may have been Antonio Vicente Rafael María de Regla Vargas Fernández, born in 1846 in Jerez and the first cousin of la Serneta.
This is the most popular of Jerez styles. The first line reaches a higher note than the preceding style. Luis and Ramón Soler describe the unique structure of this style, in which the third sung line is linked to the second, the fifth is linked to the fourth and the sixth...
2018-08-2600 minchanelandoSoleá de Frijones 1 by Pastora PavónFirst style of Soleá de Frijones, performed by Pastora Pavón in 1914 with Luís Molina.
Recent research indicates that Frijones may have been Antonio Vicente Rafael María de Regla Vargas Fernández, born in 1846 in Jerez and the first cousin of la Serneta. This style was much more frequently recorded in the past. The melody of the first sung line is in Manuel Cagancho 2, Aurelio Sellés, Enrique el Mellizo 3, Antonio Ballesteros, Antonio Mairena 2 and Pepe el de la Matrona 2.
Source: www.canteytoque.es
2018-08-2600 minchanelandoSoleá de Frijones 1 by Manuel TorreFirst melodic style of the Frijones Solea. Performed by Manuel Torre in 1909 with the guitar of Juan Gandulla.
Recent research indicates that Frijones may have been Antonio Vicente Rafael María de Regla Vargas Fernández, born in 1846 in Jerez and the first cousin of la Serneta. This style was much more frequently recorded in the past. The melody of the first sung line is in Manuel Cagancho 2, Aurelio Sellés, Enrique el Mellizo 3, Antonio Ballesteros, Antonio Mairena 2 and Pepe el de la Matrona 2.
Source: www.canteytoque.es
2018-08-2600 minchanelandoJuan Talega SolearesJuan Fernández Vargas was born in Dos Hermanas in 1891 and died in 1971. He was the son of Agustín Talega, the nephew of Joaquín el de la Paula, and the cousin of Manolito de María. This cante seems to be based on la Serneta 1. In the versions of Talega and others, the melody goes no higher than the fifth degree, although el Sevillano and other singers push up to the sixth degree, which is a characteristic detail of la Serneta 1. The melody of the first line is in Joselero and Noriega. The descending leg of the melodic arc...
2018-08-2600 minchanelandoSoleares of Agustín TalegaAgustín Fernández Franco was born in Alcalá de Guadaíra in 1853 and died in Dos Hermanas in 1919. He was the brother of Joaquín el de la Paula, the father of Juan Talega and uncle of Manolito de María. The first sung line is the descending leg of the melodic arc heard in the style attributed to Juan Talega.
The audio is performed by his son Juan Talega in 1959 with the guitar of Paco Aguilera
2018-08-2600 minchanelandoJoaquín el de la Paula Soleá 3Third style of Joaquín el de la Paula soleá, performed by Perrate de Utrera, in 1962 with the guitar of Eduardo el de la Malena.
Nearly always, this style is sung with three-line verse as the last of a series of soleás. The first line is fragmented into several sung lines, each starting with the last vowel of the end of the preceding line. The tension climaxes at the start of the second line of verse and the rest of the cante is sung straight through. Singers sometimes add characteristics of other styles to the conclusion. There are similarities bet...
2018-08-2600 minchanelandoJoaquín el de la Paula Solea 2Second style of Joaquín el de la Paula Soleares, performed by Juan Talega, nephew of Joaquín, in 1962 with the guitar of Eduardo el de la Malena.
This style is normally sung immediately after Joaquín el de la Paula 1 in transition to more dramatic styles. However, several different ways of singing this cante have been developed over time, and it can even be used to conclude a series of soleás. This style is very similar to la Roezna 2, but the second line of verse includes the fifth or even sixth degree, while la Roezna 2 goes no higher than...
2018-08-2600 minchanelandoJoaquín el de la Paula Soleá 1First style of Joaquín en de la Paula Soleares performed by Juan Talega, nephew of Joaquín, with the guitar of Eduardo el de la Malena in 1968.
Joaquín Fernández Franco was born in Alcalá de Guadaíra in 1875 and died in 1933. He was the brother of Agustín Talega and the uncle of Juan Talega and Manolito de María. This classic four-line starting style has long been one of the most popular soleás, although none of the styles attributed to Joaquín were recorded before the mid-1920s. It is interesting to compare the melody and struct...
2018-08-2600 minchanelandoSiguiriya del Mellizo 2Second style of Siguiriya del Mellizo performed by Antonio Mairena in 1958 with the guitar of Juan Moreno.
Francisco Antonio Enrique Jiménez Fernández was born in Cádiz in 1848 and died in 1906. It is thought that el Mellizo recreated this style based on certain cantes from Triana. Although this singer is closely associated with Cádiz, his siguiriyas correspond to the styles of Los Puertos, as is also the case of the styles of Curro Durse.
The first lines of this style are sung with a very original melody. Luis and Ramón Soler note that the first half of th...
2018-08-2501 minchanelandoSiguiriya del Mellizo 1First style of Siguiriya del Mellizo, performed by Antonio Mairena in 1965 with the guitar of Felix de Utrera.
Francisco Antonio Enrique Jiménez Fernández was born in Cádiz in 1848 and died in 1906. It is thought that el Mellizo recreated this style based on certain cantes from Triana. Although this singer is closely associated with Cádiz, his siguiriyas correspond to the styles of Los Puertos, as is also the case of the styles of Curro Durse. Luis and Ramón Soler indicate that this cante bears similarities to Frasco el Colorao and Antonio Cagancho (air of Triana) and el Pl...
2018-08-2501 minchanelandoSoleá del Mellizo 3Third style of Solea del Mellizo performed by Juan Mojama in 1939 with the guitar of Ramón Montoya.
Francisco Antonio Enrique Jiménez Fernández was born in Cádiz in 1848 and died in 1906.
In this Soleá the melody in the first sung line is in Manuel Cagancho 2, Frijones 1, Aurelio Sellés, Antonio Ballesteros, Antonio Mairena 2 and Pepe el de la Matrona 2. Although this style was recorded on many occasions at the beginning of the 20th century, it is rarely sung today.
Source: www.Canteytoque.es
2018-08-2500 minchanelandoSoleá del Mellizo 2Second style of Solea del Mellizo amazingly performed by Manuel Torre in 1922 with the guitar of "El Hijo de Salvador".
Francisco Antonio Enrique Jiménez Fernández was born in Cádiz in 1848 and died in 1906.
There are similarities between this style and Joaquín el de la Paula 3, as both make use of the seventh scale degree in the first half of the verse, but the first sung line of the soleá of Joaquín reaches only the sixth scale degree before going on to the seventh in the following sung lines, and this soleá of Enrique el Mellizo goes st...
2018-08-2500 minchanelandoSoleá del Mellizo 1La niña de los peines performing Solea del Mellizo in his first stile por Soleá in 1913 with the guitar of Luís Molina.
Francisco Antonio Enrique Jiménez Fernández was born in Cádiz in 1848 and died in 1906. This differs from other opening styles like Joaquín el de la Paula 1 and la Serneta 1 in the high notes in the melody in the first half of the verse. In the second half, the ending is very similar to that of la Serneta 1 and 2 in the melody and in the "ay" that links the lines of verse. Enrique's son "el Morc...
2018-08-2500 minchanelandoAlegrías de CádizEn este audio escuchamos la interpretación de Aurelio Sellés de las Alegrías de Cádiz. Un estilo en el que la figura de Enrique el Mellizo es esencial en la transición de estilo folclórico a flamenco. Aurelio es un auténtico maestro en los cantes de su tierra y proporciona un perfecto ejemplo para su estudio.
2017-10-2900 minchanelandoTientos Tangos de Enrique El MellizoPastora Pavón interpreta los Tientos Tangos gaditanos de Enrique El Mellizo. Se dice que están inspirados en un cante del jerezano Diego el Marrurro y que finalmente El Mellizo les daría esta forma que permaneció y es hoy día uno de los cantes más interpretados del repertorio flamenco actual.
2017-10-2901 minchanelandoSaeta Manuel TorreManuel Torre Saeta audio mp3. Audio con acompañamiento de banda de semana santa.
2017-10-2601 min