The Art of Guitar Flamenco by Pepe Romero: Recuerdos de la Alhambra, Fiesta en Jerez .. (Ct.rc.)

[@classicalmusicreference]

Album available // The Art of Flamenco by Pepe Romero 🎧 Qobuz (Hi-Res) bit.ly/43xO6BI Tidal (Hi-Res) bit.ly/3NcKUWK 🎧 Apple Music (Lossless) apple.co/45JHy4Q Deezer (Hi-Fi) bit.ly/3qs0YuZ 🎧 Amazon Music (Hi-Fi) amzn.to/3IQV2lC Spotify (mp3) spoti.fi/42nGsbS 🎧 KZbin Music (mp4) bit.ly/3CbPiyR SoundCloud bit.ly/3oIDXU1 🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic, AWA日本… Celedonio Romero (1913-1996) 00:00 Noche en Malaga (Remastered 2023, Los Angeles 1960) Folk Dance 04:52 Medias Granadinas (Remastered 2023, Los Angeles 1960) Francisco Tárrega (1852-1909) 10:09 Recuerdos de la Alhambra (Remastered 2023, New York 1962) Folk Dance 13:45 Zapateado del Perchel (Remastered 2023, Los Angeles 1960) Folk Dance 17:04 Alegrias por Fiesta (Remastered 2023, Los Angeles 1960) Folk Dance 21:04 Fiesta en Jerez (Remastered 2023, New York 1962) Complete Remastered edition (The Art of Flamenco by Pepe Romero) available on: Qobuz (Hi-Res 24/96), Apple Music, Amazon Music, Tidal, Deezer, Spotify, KZbin Music...: kzbin.info/www/bejne/qGXZgJ2Vmt97ZpY Guitar: Pepe Romero Recorded in 1960-62, at Los Angeles and New York New mastering in 2023 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr Flamenco, the Spanish folk dance as interpreted, improvised, and embellished by the gypsy, is often considered the most spectacular and colorful manifestation of Spanish culture. The term, with its connotations of flashy costumes, castanets, and passionate emotions, is nevertheless shrouded in obscurity as far as its origins are concerned. The gypsies first arrived in Spain around the middle of the Fifteenth century, but it was not until they settled in the cities, in the Eighteenth century, that they began to realize the commercial value of their singing, dancing, and guitar playing. The name flamenco only began to appear in the early Nineteenth century and then in reference to the Andalusian gypsies themselves rather than to their music or dancing. It is thought by some authorities that the term derives from the word Flemish, for the Spaniards believed that the gypsies came to Andalusia from Flanders during the reign of Charles V. Spain was conquered by the Moors in 711 A.D, and Arabic derivations for the word flamenco have also been noted: Felag-mengu (fugitive peasant) and fel-lah-mangu (singing farm hand) are just two examples. Another explanation derives flamenco as a slang expression, referring to the flashiness or cleverness (flama, or "flame") of the gypsies, who by the beginning of the Nineteenth century were starting to thrive through their music in the more prosperous centers of Spain, such as Sevilla, Cádiz, Jerez, and Málaga. Performances of Cante Flamenco (flamenco songs), as they now came to be called, coupled with dance proved an attractive lure to café customers, and what had been a folk art soon became an active profession for the gypsies. The demand for singers, dancers, and guitarists also was responsible for the large increase in the quality and variety of dances- dances that were culled from all the regions of Spain, added to and improvised on through the gypsies' own flamboyant temperament. Flamenco, the expression of a proud people who were often treated with cruel disdain and suspicion, is in fact a combination of music, dancing, and singing. A development since the Nineteenth century has been to divorce the music from the other elements, with the performance of flamenco on the solo guitar as a new tradition, much as a hit song from a musical comedy might be played by an orchestra alone. The flamenco guitarist has at his disposal a number of special techniques that make his art such an exciting one to hear. Each performer stamps his own individuality on a song by means of a falsetta, a musical variation, elaboration, or fill-in of the basic melody. The most typical flamenco sound is the rasgueado, a flourish-like effect produced by the fingers of the right hand scraping across the strings while a chord is held by the left hand; this lusty strumming provides the basic rhythm of flamenco. The guitarist will often accentuate certain beats by tapping on the top of the guitar in the area to the right of the first string and near the bridge; this procedure, called martillo, simulates the taconeo, or heel work of the dancer. Another rhythmic technique, the tambor (bass drum), is caused by having the thumb strike the strings with a snapping motion; the soundboard vibrates with a drum-like effect, and the strings also resound with whatever chord is being held by the left hand. Above all, however, it is the breathless virtuosity and moody intensity of the player himself that really reveals the true flamenco. The selections in this album display the virtuosity of Pepe Romero, as well as the many moods and passions of Andalucía, the division of southwest Spain which includes the eight provinces of Sevilla, Huelva, Córdoba, Cádiz, Almeria, Granada, Jaén, and Málaga. **Noche en Málaga** (Night in Málaga) is an original composition (the only one in the album) by Celedonio Romero (1913-1996), based on the Malagueña, probably the most famous of all flamenco rhythms. The familiar bass line in 3/4 has inspired many composers (Lecuona, Albéniz, etc.) to write their own variations of this characteristic music of Málaga. As Málaga was his birthplace and home for most of his life, Pepe has a special affinity for the Malagueña, which the famous Spanish poet Garcia Lorca has called, "the song of the people who think with their heart." Celedonio Romero's version starts with the traditional theme, then goes into composed variations, which are set off by a return to three bars of the original theme between each variation. The piece is extremely difficult to play, and demands a superb technique. **Medias Granadinas** take their name from the romantic city of Granada, last stronghold of the Moors, who were expelled from it in the 15th century. The Moorish feeling is strong in the Granadinas, which express the profound melancholy of the cante jondo. Francisco Eixea Tárrega (1854-1909), sometimes called "the Chopin of the guitar," studied at the Madrid Conservatory of Music, where he also taught as a professor for the majority of his life. His innovations in technique, mainly concerned with the position of the hands, the placing of the fingers, and the manner of plucking, led to a complete renewal of interest in the guitar, as did also Tárrega's enormous list of original compositions. The highly virtuosic tremolo study, **Recuerdos de la Alhambra** (recollections of the Alhambra, the fortress palace of the Moorish kings in Granada) is among the most popular of these. Equally voluminous is the composer's extensive list of transcriptions: Bach fugues, movements of Beethoven's symphonies, selections from the favorite piano pieces by all the Romantic composers, through even operatic excerpts by Wagner, all of which were designed to prove that the guitar was an instrument worthy to play the music of the greatest masters. **Zapateado del Perchel** (in 6/8) is a form of tanguillo, a very colorful dance. The Zapateado (zapato means shoe), literally, is "work done with the shoe." The dancer's body does not move; the dance is done with the feet only. It comes from Málaga originally, where it was danced without guitar. Today, however, it is always danced with guitar accompaniment, and always played in C Major. ***Alegrias por Fiesta***, a dance rhythm, is gayer and brighter in tempo than the Alegrias por Rosas (see above), although like the Alegrias por Rosas it derives from the Soleares. **Fiesta en Jerez** : Jerez is, of course, the famous Andalusian town that is noted for producing sherry. The setting for a flamenco fiesta in a town such as Jerez was described by Julián de Zugasti in 1870 in his book on banditry: dancers, singers, and onlookers gather together in a house for an evening's entertainment. All kinds of steps are improvised around the strict, age-old dance forms, while the spectators clap their hands in active participation. The livelinesS of the party increases as the girls and boys become tipsy, chattering and laughing in couples; choruses then are sung as a toast to the tumblers of wine sitting on a table; the drink is praised for its excellence and downed, and the fiesta continues until the early hours of the morning. Manuel de Falla - El Amor Brujo (Marina de Gabarain - ref.record.: Ernest Ansermet / Remastered): kzbin.info/www/bejne/gJm9YqynjLGBqLs

[@fransmeersman2334]

Many thanks for this magnificent remastering of the art of this great artist !

[@user-fu6tt8qq4v]

아름다운 기타 연주곡 잘 들었습니다~감사합니다~🎵🎸🌿🍀☘🌹🌹☘🍀🌿❤❤수고 많으셨습니다~☕

[@alejandrosotomartin9720]

16 and 18 years when he recorded these discs. Very impressive.

[@mlliarm]

!!!

[@muhsinkanadikirik678]

Awesome performance!👏🎼🎶🤝🎵🙏

[@joseluizfrancis-cresciment6747]

Muito bom 🎸 Pepe Romero é da mesma estirpe dos grandes guitarristas da Espanha como Andrés Segovia, Narciso Yepes , Paco de Lúcia, Granadas e tantos outros

[@mariagomezacebo]

From Spain: thank you. Gracias😃

[@steveegallo3384]

@mariagomezacebo -- .....and from Acapulco.....mil Gracias!

[@MinhGuitarPassion]

super🎉🎉🎉❤❤❤

[@classicalmusicreference]

Complete Remastered edition (The Art of Flamenco by Pepe Romero) available on: Qobuz (Hi-Res 24/96), Apple Music, Amazon Music, Tidal, Deezer, Spotify, KZbin Music...: kzbin.info/www/bejne/qGXZgJ2Vmt97ZpY Flamenco, the Spanish folk dance as interpreted, improvised, and embellished by the gypsy, is often considered the most spectacular and colorful manifestation of Spanish culture. The term, with its connotations of flashy costumes, castanets, and passionate emotions, is nevertheless shrouded in obscurity as far as its origins are concerned. The gypsies first arrived in Spain around the middle of the Fifteenth century, but it was not until they settled in the cities, in the Eighteenth century, that they began to realize the commercial value of their singing, dancing, and guitar playing. The name flamenco only began to appear in the early Nineteenth century and then in reference to the Andalusian gypsies themselves rather than to their music or dancing. It is thought by some authorities that the term derives from the word Flemish, for the Spaniards believed that the gypsies came to Andalusia from Flanders during the reign of Charles V. Spain was conquered by the Moors in 711 A.D, and Arabic derivations for the word flamenco have also been noted: Felag-mengu (fugitive peasant) and fel-lah-mangu (singing farm hand) are just two examples. Another explanation derives flamenco as a slang expression, referring to the flashiness or cleverness (flama, or "flame") of the gypsies, who by the beginning of the Nineteenth century were starting to thrive through their music in the more prosperous centers of Spain, such as Sevilla, Cádiz, Jerez, and Málaga. Performances of Cante Flamenco (flamenco songs), as they now came to be called, coupled with dance proved an attractive lure to café customers, and what had been a folk art soon became an active profession for the gypsies. The demand for singers, dancers, and guitarists also was responsible for the large increase in the quality and variety of dances- dances that were culled from all the regions of Spain, added to and improvised on through the gypsies' own flamboyant temperament. Flamenco, the expression of a proud people who were often treated with cruel disdain and suspicion, is in fact a combination of music, dancing, and singing. A development since the Nineteenth century has been to divorce the music from the other elements, with the performance of flamenco on the solo guitar as a new tradition, much as a hit song from a musical comedy might be played by an orchestra alone. The flamenco guitarist has at his disposal a number of special techniques that make his art such an exciting one to hear. Each performer stamps his own individuality on a song by means of a falsetta, a musical variation, elaboration, or fill-in of the basic melody. The most typical flamenco sound is the rasgueado, a flourish-like effect produced by the fingers of the right hand scraping across the strings while a chord is held by the left hand; this lusty strumming provides the basic rhythm of flamenco. The guitarist will often accentuate certain beats by tapping on the top of the guitar in the area to the right of the first string and near the bridge; this procedure, called martillo, simulates the taconeo, or heel work of the dancer. Another rhythmic technique, the tambor (bass drum), is caused by having the thumb strike the strings with a snapping motion; the soundboard vibrates with a drum-like effect, and the strings also resound with whatever chord is being held by the left hand. Above all, however, it is the breathless virtuosity and moody intensity of the player himself that really reveals the true flamenco. The selections in this album display the virtuosity of Pepe Romero, as well as the many moods and passions of Andalucía, the division of southwest Spain which includes the eight provinces of Sevilla, Huelva, Córdoba, Cádiz, Almeria, Granada, Jaén, and Málaga. ***Noche en Málaga*** (Night in Málaga) is an original composition (the only one in the album) by Celedonio Romero (1913-1996), based on the Malagueña, probably the most famous of all flamenco rhythms. The familiar bass line in 3/4 has inspired many composers (Lecuona, Albéniz, etc.) to write their own variations of this characteristic music of Málaga. As Málaga was his birthplace and home for most of his life, Pepe has a special affinity for the Malagueña, which the famous Spanish poet Garcia Lorca has called, "the song of the people who think with their heart." Celedonio Romero's version starts with the traditional theme, then goes into composed variations, which are set off by a return to three bars of the original theme between each variation. The piece is extremely difficult to play, and demands a superb technique. ***Medias Granadinas*** take their name from the romantic city of Granada, last stronghold of the Moors, who were expelled from it in the 15th century. The Moorish feeling is strong in the Granadinas, which express the profound melancholy of the cante jondo. Francisco Eixea Tárrega (1854-1909), sometimes called "the Chopin of the guitar," studied at the Madrid Conservatory of Music, where he also taught as a professor for the majority of his life. His innovations in technique, mainly concerned with the position of the hands, the placing of the fingers, and the manner of plucking, led to a complete renewal of interest in the guitar, as did also Tárrega's enormous list of original compositions. The highly virtuosic tremolo study, ***Recuerdos de la Alhambra*** (recollections of the Alhambra, the fortress palace of the Moorish kings in Granada) is among the most popular of these. Equally voluminous is the composer's extensive list of transcriptions: Bach fugues, movements of Beethoven's symphonies, selections from the favorite piano pieces by all the Romantic composers, through even operatic excerpts by Wagner, all of which were designed to prove that the guitar was an instrument worthy to play the music of the greatest masters. ***Zapateado del Perchel*** (in 6/8) is a form of tanguillo, a very colorful dance. The Zapateado (zapato means shoe), literally, is "work done with the shoe." The dancer's body does not move; the dance is done with the feet only. It comes from Málaga originally, where it was danced without guitar. Today, however, it is always danced with guitar accompaniment, and always played in C Major. ***Alegrias por Fiesta***, a dance rhythm, is gayer and brighter in tempo than the Alegrias por Rosas (see above), although like the Alegrias por Rosas it derives from the Soleares. ***Fiesta en Jerez*** : Jerez is, of course, the famous Andalusian town that is noted for producing sherry. The setting for a flamenco fiesta in a town such as Jerez was described by Julián de Zugasti in 1870 in his book on banditry: dancers, singers, and onlookers gather together in a house for an evening's entertainment. All kinds of steps are improvised around the strict, age-old dance forms, while the spectators clap their hands in active participation. The livelinesS of the party increases as the girls and boys become tipsy, chattering and laughing in couples; choruses then are sung as a toast to the tumblers of wine sitting on a table; the drink is praised for its excellence and downed, and the fiesta continues until the early hours of the morning. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr

[@dejanstevanic5408]

Beautiful... TY

[@andreuibars1361]

Olé!

[@wojciechaleksander3236]

Super🤗

[@fabrisoto]

👏🏽🌹👏🏽🌹👏🏽🌹👏🏽

[@mfuttersack]

Très beau

[@daulab]

💖

[@alejandrosotomartin9720]

16 and 18 years when he recorded these discs. Very impressive.

[@ericrenner4411]

I'm not typically this guy to correct people in a youtube comment but it was unbelievable to think a teenager could play this way. So, I checked the dates. The video description said he was born 1913, and recorded these in ~1960. So he was in his 40s

[@ericrenner4411]

I couldn't believe it because there is real emotion in these recordings. I believe a teenager could play these songs technically well but not with the emotion of a life lived with happiness, love, suffering, etc.

[@alejandrosotomartin9720]

@@ericrenner4411 en.wikipedia.org/wiki/Pepe_Romero Born in 1944, so he was 16yo when recorded it. You are confusing him with Celedonio Romero, who was composer, guitarrist and the father of Pepe Romero. You welcome.

[@ericrenner4411]

Ah okay. I misunderstood. Thanks. Very impressive

[@frankayudas5164]

Pepe was born in 1944