All about flamenco. Spanish flamenco dance in Spain

This dance-music style originated in the most passionate country in the world - Spain.

It includes more than fifty varieties, each of which has its own unique features and characteristics.

Most often, flamenco songs and dances are accompanied by a guitar or percussion: playing the percussion box, rhythmic clapping, and sometimes castanets. Each flamenco performer has his own designation, for example, singers are called "cantaors", dancers "bailaors", and guitarists "tocaors".

History of the origin of flamenco

The origins of this incendiary passionate dance should be sought among the elements of the Moorish musical culture, however, in addition to it, one can single out the significant influence of gypsy melodies, as well as movements inherent in this particular nomadic people.

Back in the 15th century, from Byzantium, which at that moment was going through a period of collapse, gypsies arrived and began to create their own new house on the southern coast of the country, in the province of Andalusia.

In accordance with their customs, they began to adopt and rethink the musical preferences and traditions of the locals. In addition to bringing their own elements of culture, travelers also managed to harmoniously combine Jewish, Moorish and Spanish traditions to end up with a charming, mysterious, energetic and passionate style - flamenco.

For a long time this direction was considered "closed", because the gypsies preferred to spend time in their isolated groups, but at the end of the 18th century, persecution nomadic people ceased, and flamenco gained true freedom, having conquered the stage of cafes and taverns.

And now, at the end of the 20th century, flamenco began to gradually absorb incendiary Cuban motifs and jazz melodies. In addition, the dance "intercepted" the most beautiful elements of classical ballet.

The founder of flamenco as a separate, independent direction is considered to be Joaquin Cortes, who brought a special “live” note to this dance, transforming it into a full-fledged art form.

Complex rhythm, specific technique, as well as freedom for creativity and improvisation make flamenco an unusual, exciting style, but quite difficult to perform. In order not to lose the original sound and not to waste all the knowledge and techniques accumulated over the centuries, most often, even in our time, all masters try to pass them on to the most talented and devoted students who are ready to devote their lives to honing their skills and teaching a new generation of dancers.

A little about the classification of styles

If we consider the styles of flamenco, based on their individual characteristics, then we can, first of all, point out that they differ from each other in a unique rhythmic pattern. The most popular drawings, today, are deservedly considered:

Solea;
Tona;
Fandango and Seguiriya.

Of course, flamenco has had a huge impact on many musical and dance styles in the world. Over the past decades, completely new directions of this rhythmic, passionate dance have appeared, which were created as a result of the interaction of traditional Spanish culture with various melodies. For example:

flamenco rock;
flamenco pop;
flamenco jazz;
gypsy rumba and more. others

However, there are still true connoisseurs of the "original" dance, who strictly follow all the traditions and laws, which has two sides - positive and negative. In fact, it is impossible to get hung up on only one technique, even if it is dominant, because it is impossible to know the true essence of this bewitching, alluring dance that continues to win the hearts of people around the world. Flamenco is like a living organism that needs to constantly develop in order not to lose its charm, and “stopping” this process is the same as going against nature.

There is even a special direction in history called "flamencology" - it studies flamenco - its appearance, development and interaction with other cultures. Also, its goal is to preserve traditions so that future generations can enjoy this enchanting art, despite the development of technological progress and the decline in the popularity of classical dances.

Invariable attributes of flamenco dance

By far the most important element of every flamenco dancer's appearance is the long, traditional dress called "bata de cola", which is a "floor-length" dress, most often made of multi-colored material in small patterns or polka dots, which is richly decorated with frills. and frills. The progenitors of this dress were the outfits worn by gypsies. And, perhaps, the main highlight of the dance is a kind of “game” with the hem, during which a charming woman must make complex, original, harmonious figures, which, in fact, are not so easy to come up with.

If we talk about the traditional form of clothing for a male balayor, then it should include dark trousers, a white shirt with loose sleeves, a short bolero vest, and a bright wide belt.

Another of the classic elements of flamenco attire is a beautiful Spanish shawl with long tassels - it either twists around the dancer's body, emphasizing the feminine features of her silhouette, or falls from her shoulders and forms, in a way, "wings" of a large, fabulous, excellent bird.

Also, often a lady takes with her a large Spanish fan or castanets. Despite the fact that they are, by all accounts, an indispensable part of the accompaniment for dancers, most often the rhythm is beaten off with the snapping of fingers or tapping of the heel. In fact, castanets are more of a hindrance than a useful attribute, because they occupy the hands and significantly “cut down” the possibility of expressive, passionate playing of fingers and hands.

Temperamental, incendiary flamenco will not leave anyone indifferent. The legs themselves will move to the beat of passionate music, and the palms will tap out an expressive rhythm

Flamenco culture was formed in the southern part of the Iberian Peninsula, mainly in Andalusia. In general, flamenco culture includes musical art. To a large extent, this is guitar, vocal art, dance, theater and characteristic style clothes. The term "flamenco" is closely connected with the culture and life of the gypsies, in Andalusia for 150 years it meant precisely this nation. There are other versions of this term: in Spanish, flamenco, in addition to gypsies, also meant “Fleming” and “flamingo”. A version of the origin of the term is also possible from the Latin flamma - fire. Obviously, each interpretation partially corresponds to the truth, and, taken together, they create a holistic image of the entire flamenco culture.

The history of the origin of the dance

For a long time, the gypsies were considered the only carriers of the flamenco culture. They arrived in Spain in the 15th century from Byzantium, and began to absorb the local traditions of music and dance. And in Spain there was a strong influence of Arab, Moorish culture. So, the gypsies, having absorbed Spanish, Arabic, Jewish traditions, and combining them with their own original culture, created such a unique phenomenon as flamenco. They lived in closed, isolated groups, and flamenco was an isolated art for a long period. But in the 18th century, with the end of the persecution of the gypsies, flamenco "went free" and immediately gained popularity.

In the 20th century, flamenco was enriched with Cuban traditions, jazz variations. Spanish classical dance movements also began to be used in flamenco culture. Now flamenco enjoys well-deserved popularity: it is danced by professionals and amateurs, flamenco festivals are regularly held, there are numerous schools of this type of dance.

What is flamenco?

All Spanish dances are based on folk art. Flamenco dances are often performed accompanied by castanets, handclaps - palmas, blows to the percussion box (cajon). It is impossible to imagine flamenco without traditional attributes - a long dress, a fan, sometimes a shawl, which the dancer wraps around her figure, then unwinds. An indispensable moment of the dance is the dancer's play with the hem of her dress. This movement is reminiscent of gypsy origin flamenco.

Spanish dance melody is quite often in 3/4 time signature, but it can also be in 2/4 or 4/4 time signature. Flamenco is characterized by the movements of zapadeado - tapping the rhythm with heels, pitos - snapping fingers, palmas - clapping hands. Many flamenco performers refuse castanets, as they do not give the opportunity to fully express the expressiveness of the hands. Hands in Spanish dance work very actively. They give the dance expressiveness and grace. The floreo movement - turning the brush with its opening - is simply mesmerizing. It resembles a flower that gradually blooms.

Kinds

Under the general name of flamenco, many Spanish dances are united, including allegrias, farruca, garrotin, bulleria and others. There are many styles of flamenco that differ in rhythmic patterns. The most famous of them:

• Palos
• Fandango
• Solea
• Segiriya

The flamenco country style includes dancing, singing, and playing the guitar.

The art of flamenco, being synthetic, uniting the culture of East and West, influenced the formation of musical and dance styles around the world. Formed modern types of flamenco:

• gypsy rumba
• flamenco pop
• flamenco jazz
• flamenco rock and others.

Flamenco Features

Flamenco dance and music are characterized by improvisation. A complex rhythmic pattern, an abundance of melismas and variations make it difficult to accurately notate music and record dance movements. Therefore, in the art of flamenco, an important role is given to the teacher, through whom the original culture is passed down from generation to generation. Flamenco has influenced Latin American music, jazz. Modern ballet masters and choreographers see in the art of flamenco a great scope for self-realization and the introduction of new ideas.

Flamenco harmony combines features of both modality and classical-romantic tonality. The two most recognizable modalisms in flamenco are the Phrygian turnover and the Gypsy scale (otherwise called the "Arabian scale"). Phrygian turnover, for example, is found in soleares, in most bulerias, sigiriyas, tangos and tientos, gypsy gamma - in saet.

The typical chord progression, called the Andalusian cadenza in Spain, is a local variation of the Phrygian turnover, for example, Am-G-F-E. The pitch system based on the use of such a cadence is called in the flamenco literature "Andalusian", "Phrygian", or "Dorian" mode (it should not be identified with the monodic Phrygian and Dorian modes in ancient and medieval music). According to the famous flamenist guitarist Manolo Sanlúcar, in this mode the chord E(E major) is the tonic, F(F major) has a harmonic dominant function, while Am(A minor) and G(G major) play the role of subdominant and mediant, respectively. According to another (more common) point of view, the tonic in this case is the A minor chord, and the dominant chord is the E major chord. In connection with the typical disposition of consonances in flamenco forms, the dominant chord turns out to be metrically strongest (“strong” because ends period), hence the alternative name for this type of pitch structure is the dominant mode.

Guitarists use two main fingering variations of the Andalusian cadenza - "por arriba" ("above") and "por medio" ("in the middle"). The capo is widely used for transposition. The "por arriba" variant corresponds (when played without a capo) to a chord progression Am-G-F-E, variant "por medio": Dm-C-B-A. Modern guitarists, such as Ramón Montoya, have come to use other fingering variants of the Andalusian cadence. So Montoya started using variations: Hm-A-G-F# for rams, Em-D-C-H for granadins (granaines) and C#m-H-A-G# for miners. Montoya also created a new genre of flamenco for solo guitar, rondenha, with cadence F#m-E-D-C#, performed with scordatura (6th string: re; 3rd: f sharp). These variants include, as additional constructive elements, the sound of open strings on non-chord steps, which has become a specific feature of flamenco harmony in general. Later guitarists continued to expand the range of fingering variants and scordatura used.

Some styles of flamenco use the major scale of the harmonic key, this cantinha and alegria, guajira, some buleria and tones, as well as bondage(variety sigiriya). The minor scale is associated with farruka, milonga, some styles tango and buleria. In general, traditional major-minor styles are limited in harmony to the use of two-chord (root-dominant) or three-chord (root-sub-dominant-dominant) sequences. However, modern guitarists have introduced the practice of replacing chords (Eng. Chord substitution ), transitional chords, and even modulation.

Fandango and its derivative styles such as malaguena, taranta and cartagenera use two modes: the guitar introduction is in Phrygian mode, while the introductory chant is in major, with a transition back to Phrygian towards the end.

Singing

Flamenco singing is characterized by the following features:

1. Vividly dramatic, often tragic character (in most styles).
2. Melodic improvisation based on a relatively small set of traditional melodic types.
3. Extremely rich ornamentation (melismatics).
4. The use of microintervals, i.e. intervals smaller in magnitude than a semitone.
5. Portamento: Often the transition from one note to the next takes place using a small, smooth "approach" to the next note, i.e. the notes are not played immediately exactly (in terms of pitch).
6. Narrow tessitura: Most traditional flamenco songs are limited to a sixth (four and a half tones) range. Melodic diversity is achieved by singers through the use of various timbre and dynamic shades, microintervals, melismatic variation, etc.
7. Persistent repetition of one note and the notes adjacent to it in the chromatic scale (also used in guitar playing).
8. The lack of a stable regular meter of the vocal part, especially in the genres kante jondo, such as sigiriya and others (at the same time, a non-metric vocal melody can be superimposed on a metric instrumental accompaniment).
9. Decrease in intensity from the beginning to the end of a vocal phrase.
10. In many styles, such as solea or sigiriya, the melody tends to follow nearby steps. Jumps through a step or more are much less common (however, in fandango and styles derived from it, jumps through three or four steps are often found, especially at the beginning of each line of the song, which presumably indicates more early origin songs of this style, influenced by Castilian music).

Compass

The most famous palos - tone, solea, saeta and sigiriya (toná, soleá, fandango, seguiriya) - belong to the category of cante jondo (cante jondo, or cante grande - the historical core of flamenco, the oldest musical and poetic tradition of Andalusia). The opposite category is [cante chico] (cante chico), or cante flamenco (cante flamenco); it includes, for example, the genres of alegria (alegría), buleria (bulería), farruca (farruca). Both categories (hondo and chico) include singing, dancing, and playing the guitar as the main trinity, however, the most ancient forms of flamenco are sung without instrumental accompaniment, and in its most modern versions there are many imported instruments from the violin and double bass to exotic percussion instruments of the East and Latin America, such as cajon, darbuka, bongo, etc.

Flamenco has had a great influence on many dance and music styles around the world. In recent decades, mixed varieties of flamenco and other genres have appeared: flamenco pop, flamenco jazz, flamenco rock, flamenco fusion, gypsy rumba and others.

There are adherents of flamenco who honor its traditions, which has both positive and negative sides. Strict adherence to tradition makes it impossible to deeply understand flamenco. Flamenco genres (singing, dancing, melody) are like a living organism, which requires their constant development, and without development there is no life. But along with the developing flamenco, there is also a scientific direction "flamencology"(a book under this title was written by Gonzalez Clement in 1955 and gave its name to this section of art history), flamenco scholars are studying the origin of flamenco and its “true” style, traditions, etc. Until now, on a par with supporters of the purity of the flamenco style ( purists) there are also adherents of its new forms and sounds.

Confession

Flamenco festivals

Among the most significant cities where flamenco exists today are Cadiz, Jerez, Seville, Cordoba, Granada, Barcelona and Madrid. Each of these cities has its own musical specificity, its own traditions and peculiarities.

In Spain

One of the most respected, the largest flamenco festival in Spain takes place every two years in Seville under the name " ". This festival was founded in 1980 . True lovers of flamenco come here from all over the world to see the best artists: bailors, cantaors and guitarists.

Cordoba hosts an annual International Guitar Festival " GUITARRA”, with a performance at which the glory of talented young guitarists Vicente Amigo and Paco Serrano began.

Annual cante grande festivals, cante flamenco festivals and others take place all over Spain.

In Russia

International Flamenco Festival "¡VIVA ESPAÑA!". The largest flamenco festival in Russia, held in Moscow (since 2001).

1- Russian Flamenco Festival (unavailable link since 23-05-2013 (2141 days)) "- is held for the first time in 2011. The festival will bring together only the world's outstanding flamenco stars.

Petersburg is taking place annual festival called "Northern Flamenco". In addition, the Cana Flamenca festival takes place twice a year.

In the world of modern guitar music in Kaluga, since 1997, the annual festival "Guitar World" has been operating, the participants of which are various flamenco groups from Russia and Spain, and many bright names of foreign guitarists, from world famous ones, such as Al di Meola (2004), Ivan Smirnov ("talisman" of the festival), Vicente Amigo (2006), Paco de Lucia (2007) and others.

In 2011, the Flamenqueria House of Flamenco was opened in Moscow - the first flamenco school in Russia with permanent Spanish teachers.

In other countries

Every year, since 2004, the Flamenco Festival in London has been held in February. One of the largest flamenco festivals outside of Spain has been taking place in the American city of Albuquerque, New Mexico for over 20 years. In Ukraine, flamenco was represented by festivals in Kyiv (until 2006), Odessa (Festival of Flamenco and Latin American Culture in 2011) and Lviv (since 2010). Flamenco is widely represented at the Nelly Supure invites festivals, which have been held since 2010 in Kyiv, Sevastopol, Sauvignon.

Notable flamenco artists

• Niña de los Peines, Lola Flores , Fosforito, Niña de La Puebla,
• Ramon Montoya Sr. Ramon Montoya), Paco de Lucia ( Paco de Lucia), Vicente Amigo ( Vicente Amigo), Manolo Sanlucar ( Manolo Sanlucar), R. Rikeni ( R. Riqueni), Paco Serrano ( Paco Serrano), Rafael Cortes ( Rafael Cortes)(guitar)
• Antonio Gades and Mario Maia ( Mario Maya) (dance)
• Camaron de la Isla ( Camaron de la Isla) and Enrique Morente (singing)
• Blanca del Rey Blanca Del Rey)
• Antonio Canales ( Antonio Canales)
• Antonio el Pipa, Javier Martos (dance)
• Maria Moya (dance)
• Gipsy Kings, Manzanita (guitar, singing)
• Santa Esmeralda (disco, plus guitar)
• Eva La Yerbabuena ( Eva La Yerbabuena)
• Estrella Morente
• Marina Heredia

• Flamenco dancer Joaquín Cortés is the Roma Ambassador to the European Union.
• "Duende" - the soul of flamenco, also translated from Spanish as "fire", "magic" or "feeling". “Only one duende is not capable - to repeat. Duende does not repeat itself, like the appearance of a stormy sea.
• Up to the second half of XIX For centuries, gypsies have performed barefoot flamenco.

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An excerpt characterizing Flamenco

Any conclusion of history, without the slightest effort on the part of criticism, falls apart like dust, leaving nothing behind, only as a result of the fact that criticism chooses a larger or smaller discontinuous unit as the object of observation; to which it always has the right, since the historical unit taken is always arbitrary.
Only by allowing an infinitely small unit for observation - the differential of history, that is, the homogeneous drives of people, and having achieved the art of integrating (taking the sums of these infinitesimal ones), can we hope to comprehend the laws of history.
The first fifteen years of the nineteenth century in Europe represent an extraordinary movement of millions of people. People leave their usual occupations, rush from one side of Europe to the other, rob, kill one another, triumph and despair, and the whole course of life changes for several years and represents an intensified movement, which at first goes on increasing, then weakening. What is the reason for this movement or according to what laws did it occur? asks the human mind.
Historians, answering this question, describe to us the deeds and speeches of several dozen people in one of the buildings of the city of Paris, calling these deeds and speeches the word revolution; then they give detailed biography Napoleon and some sympathetic and hostile people, talk about the influence of some of these people on others and say: this is why this movement came about, and these are its laws.
But the human mind not only refuses to believe in this explanation, but directly says that the method of explanation is not correct, because in this explanation the weakest phenomenon is taken as the cause of the strongest. The sum of human arbitrariness made both the revolution and Napoleon, and only the sum of these arbitrariness endured and destroyed them.
“But whenever there were conquests, there were conquerors; whenever there were coups in the state, there were great people,” says history. Indeed, whenever there were conquerors, there were also wars, the human mind replies, but this does not prove that the conquerors were the causes of wars and that it was possible to find the laws of war in the personal activity of one person. Whenever, looking at my watch, I see that the hand has approached ten, I hear that the evangelization is beginning in the neighboring church, but from the fact that every time the hand comes to ten o'clock when the evangelization begins, I I have no right to conclude that the position of the arrow is the cause of the movement of the bells.
Every time I see a locomotive move, I hear a whistle sound, I see a valve opening and wheels moving; but from this I have no right to conclude that the whistling and the movement of the wheels are the causes of the movement of the locomotive.
The peasants say that a cold wind blows in late spring because the oak bud unfolds, and indeed, every spring a cold wind blows when the oak unfolds. But although I do not know the cause of the cold wind blowing during the unfolding of the oak, I cannot agree with the peasants that the cause of the cold wind is the unfolding of the bud of the oak, simply because the force of the wind is beyond the influence of the bud. I see only the coincidence of those conditions that exist in every life phenomenon, and I see that, no matter how much and no matter how detailed I observe the hand of the clock, the valve and wheels of the steam locomotive and the bud of the oak, I will not know the cause of the blagovest, the movement of the steam locomotive and the spring wind. . To do this, I must completely change my point of observation and study the laws of motion of steam, bells and wind. History should do the same. And attempts to do so have already been made.
In order to study the laws of history, we must completely change the object of observation, leave the kings, ministers and generals alone, and study the homogeneous, infinitesimal elements that guide the masses. No one can say how far it is given to a person to achieve understanding of the laws of history by this way; but it is obvious that on this path only lies the possibility of capturing historical laws, and that on this path the human mind has not yet put one millionth of the effort that historians put into describing the deeds of various kings, generals and ministers and to presenting their considerations on the occasion of these deeds. .

The forces of the twelve languages ​​of Europe broke into Russia. The Russian army and the population retreat, avoiding a collision, to Smolensk and from Smolensk to Borodino. The French army, with an ever-increasing strength of swiftness, rushes towards Moscow, towards the goal of its movement. The strength of its swiftness, approaching the target, increases like an increase in the speed of a falling body as it approaches the earth. Behind a thousand miles of a hungry, hostile country; dozens of miles ahead, separating from the goal. This is felt by every soldier of the Napoleonic army, and the invasion is advancing of itself, by the force of swiftness alone.
As the Russian army retreats, the spirit of anger against the enemy flares up more and more: retreating back, it concentrates and grows. A collision occurs near Borodino. Neither army disintegrates, but the Russian army immediately after the collision retreats just as necessarily as a ball rolls necessarily, colliding with another ball rushing at it with greater swiftness; and just as necessary (although having lost all its strength in the collision), the rapidly scattered ball of invasion rolls over some more space.
The Russians retreat a hundred and twenty miles - beyond Moscow, the French reach Moscow and stop there. For five weeks after that there is not a single battle. The French don't move. Like a mortally wounded animal, which licks its wounds while bleeding, they remain in Moscow for five weeks without doing anything, and suddenly, without any new reason, they run back: they rush to the Kaluga road (and after the victory, since again the battlefield was left behind them near Maloyaroslavets), without entering into a single serious battle, they run even faster back to Smolensk, beyond Smolensk, for Vilna, for the Berezina and beyond .
On the evening of August 26, both Kutuzov and the entire Russian army were sure that battle of Borodino won. Kutuzov wrote to the sovereign in this way. Kutuzov ordered to prepare for a new battle in order to finish off the enemy, not because he wanted to deceive anyone, but because he knew that the enemy was defeated, just as each of the participants in the battle knew this.
But that same evening and the next day, news began to come, one after another, of unheard-of losses, of the loss of half of the army, and a new battle turned out to be physically impossible.
It was impossible to fight when information had not yet been collected, the wounded had not been removed, the shells had not been replenished, the dead had not been counted, new commanders had not been appointed to the places of the dead, people had not eaten and had not slept.
But at the same time, immediately after the battle, on the next morning, the French army (according to that impetuous force of movement, now increased, as it were, in the inverse ratio of the squares of distances) was already advancing of itself on the Russian army. Kutuzov wanted to attack the next day, and the whole army wanted it. But in order to attack, the desire to do so is not enough; It is necessary that there was an opportunity to do this, but there was no such opportunity. It was impossible not to retreat one march, then just as it was impossible not to retreat to another and a third march, and finally on September 1, when the army approached Moscow, despite all the strength of the rising feeling in the ranks of the troops, the force of things demanded in order for these troops to go beyond Moscow. And the troops retreated one more, to the last crossing and gave Moscow to the enemy.
For those people who are accustomed to thinking that plans for wars and battles are drawn up by generals in the same way that each of us, sitting in his office over a map, makes considerations about how and how he would order in such and such a battle, questions arise why Kutuzov did not do this and that during the retreat, why he did not take a position before Filey, why he did not immediately retreat to the Kaluga road, left Moscow, etc. People who are used to thinking this way forget or do not know those inevitable conditions in which the activity of any commander-in-chief always takes place. The activity of a commander has not the slightest resemblance to the activity that we imagine sitting freely in an office, analyzing some campaign on the map with a known number of troops, on either side, and in a certain area, and starting our considerations from what someday famous moment. The Commander-in-Chief is never in those conditions of the beginning of some kind of event, in which we always consider the event. The Commander-in-Chief is always in the middle of a moving series of events, and in such a way that he is never, at any moment, in a position to consider the full significance of an ongoing event. The event is imperceptibly, moment by moment, cut into its meaning, and at every moment of this consistent, continuous cutting out of the event, the commander-in-chief is at the center of the most complex game, intrigues, worries, dependence, power, projects, advice, threats, deceptions, is constantly in the need to respond to the innumerable number of questions put to him, always contradicting one another.
We are seriously told by military scientists that Kutuzov, much earlier than Filey, had to move troops to the Kaluga road, that even someone proposed such a project. But in front of the commander in chief, especially in difficult times, there is not one project, but always dozens at the same time. And each of these projects, based on strategy and tactics, contradicts one another. The business of the commander-in-chief, it would seem, is only to choose one of these projects. But he cannot do that either. Events and time do not wait. He was offered, let's say, on the 28th, to go to the Kaluga road, but at that time Miloradovich's adjutant jumps up and asks whether to start a deal with the French now or retreat. He needs now, this minute, to give the order. And the order to retreat knocks us off the turn onto the Kaluga road. And following the adjutant, the quartermaster asks where to take provisions, and the head of hospitals - where to take the wounded; and a courier from St. Petersburg brings a letter from the sovereign, which does not allow the possibility of leaving Moscow, and the rival of the commander-in-chief, the one who undermines him (there are always such, and not one, but several), proposes a new project, diametrically opposed to the plan for entering the Kaluga road; and the forces of the commander-in-chief himself require sleep and reinforcements; and the venerable general, who has been bypassed by the award, comes to complain, and the inhabitants plead for protection; an officer sent to inspect the area arrives and reports the exact opposite of what the sent officer said before him; and the scout, the prisoner, and the reconnaissance general all describe the position of the enemy army in different ways. People who are accustomed to not understanding or forgetting these necessary conditions for the activity of any commander in chief present us, for example, the situation of the troops in Fili and at the same time assume that the commander in chief could completely freely resolve the issue of abandoning or defending Moscow on September 1, while in the situation of the Russian army five versts from Moscow, this question could not have arisen. When was this issue resolved? And near Drissa, and near Smolensk, and most palpably on the 24th near Shevardin, and on the 26th near Borodino, and every day, and hour, and minute of retreat from Borodino to Fili.

Russian troops, retreating from Borodin, stood at Filey. Yermolov, who had traveled to inspect the position, drove up to the field marshal.
“There is no way to fight in this position,” he said. Kutuzov looked at him in surprise and made him repeat the words he had said. When he spoke, Kutuzov held out his hand to him.
“Give me your hand,” he said, and turning it so as to feel his pulse, he said: “You are not well, my dear. Think what you are saying.
Kutuzov on Poklonnaya Gora, six versts from the Dorogomilovskaya outpost, got out of the carriage and sat down on a bench on the edge of the road. A huge crowd of generals gathered around him. Count Rostopchin, having arrived from Moscow, joined them. All this brilliant society, divided into several circles, talked among themselves about the advantages and disadvantages of the position, about the position of the troops, about the proposed plans, about the state of Moscow, and in general about military questions. Everyone felt that although they were not called to the fact that although it was not called that, but that it was a council of war. The conversations were all kept in the area of ​​general questions. If anyone reported or learned personal news, then it was said in a whisper, and immediately turned again to general questions: no jokes, no laughter, no smiles were even noticeable between all these people. Everyone, obviously, with an effort, tried to keep to the height of the situation. And all the groups, talking among themselves, tried to keep close to the commander-in-chief (whose shop was the center of these circles) and spoke so that he could hear them. The commander-in-chief listened and sometimes asked again what was said around him, but he himself did not enter into a conversation and did not express any opinion. For the most part, after listening to the conversation of some circle, he turned away with an air of disappointment - as if they were talking about something completely different from what he wanted to know. Some spoke of the chosen position, criticizing not so much the position itself as the mental faculties of those who had chosen it; others argued that the mistake had been made earlier, that it was necessary to accept the battle on the third day; still others talked about the Battle of Salamanca, about which the Frenchman Crosar, who had just arrived, in a Spanish uniform, spoke about. (This Frenchman, together with one of the German princes who served in the Russian army, sorted out the siege of Saragossa, foreseeing the opportunity to defend Moscow in the same way.) In the fourth circle, Count Rostopchin said that he and the Moscow squad were ready to die under the walls of the capital, but that everything nevertheless, he cannot but regret the uncertainty in which he was left, and that if he had known this before, it would have been different ... The Fifths, showing the depth of their strategic considerations, spoke about the direction that the troops would have to take. The sixth spoke complete nonsense. Kutuzov's face became more preoccupied and sadder. Of all the conversations of these Kutuzov saw one thing: there was no physical possibility to defend Moscow in the full meaning of these words, that is, to such an extent there was no possibility that if some crazy commander in chief gave the order to give battle, then there would be confusion and battles all it wouldn't have happened; it would not be because all the top leaders not only recognized this position as impossible, but in their conversations discussed only what would happen after the undoubted abandonment of this position. How could the commanders lead their troops on the battlefield, which they considered impossible? The lower commanders, even the soldiers (who also reason), also recognized the position as impossible and therefore could not go to fight with the certainty of defeat. If Bennigsen insisted on defending this position and others were still discussing it, then this question no longer mattered in itself, but mattered only as a pretext for dispute and intrigue. Kutuzov understood this.
Benigsen, choosing a position, ardently exposing his Russian patriotism (which Kutuzov could not listen to without wincing), insisted on defending Moscow. Kutuzov clearly saw Benigsen's goal as clear as day: in case of failure of the defense, to shift the blame on Kutuzov, who brought the troops without a battle to Sparrow Hills, and in case of success, to attribute it to himself; in case of refusal, to purge oneself of the crime of leaving Moscow. But this question of intrigue did not occupy the old man now. One terrible question occupied him. And to this question, he did not hear an answer from anyone. The only question for him now was: “Is it possible that I allowed Napoleon to reach Moscow, and when did I do this? When was it decided? Was it really yesterday, when I sent the order to Platov to retreat, or on the evening of the third day, when I dozed off and ordered Benigsen to give orders? Or even before?.. but when, when was this terrible thing decided? Moscow must be abandoned. The troops must retreat, and this order must be given. To give this terrible order seemed to him one and the same thing as to refuse command of the army. And not only did he love power, got used to it (the honor given to Prince Prozorovsky, under whom he was in Turkey, teased him), he was convinced that the salvation of Russia was destined for him and that because only, against the will of the sovereign and according to the will of the people, he was elected commander in chief. He was convinced that he alone, and under these difficult conditions, could keep at the head of the army, that he alone in the whole world was able to know the invincible Napoleon as his opponent without horror; and he was horrified at the thought of the command he was to give. But it was necessary to decide something, it was necessary to stop these conversations around him, which were beginning to take on a too free character.
He called the senior generals to him.
- Ma tete fut elle bonne ou mauvaise, n "a qu" a s "aider d" elle meme, [Is my head good, bad, but there is no one else to rely on,] - he said, getting up from the bench, and went to Fili, where his crews stood.

In the spacious, best hut of the peasant Andrey Savostyanov, a council met at two o'clock. The peasants, women and children of the large peasant family crowded into the black hut across the canopy. Only Andrei's granddaughter, Malasha, a six-year-old girl, to whom the brightest, after caressing her, gave a piece of sugar for tea, remained on the stove in a large hut. Malasha timidly and joyfully looked from the stove at the faces, uniforms and crosses of the generals, one after another entering the hut and taking seats in the red corner, on the wide benches under the icons. Grandfather himself, as Malasha Kutuzova internally called him, sat separately from them, in a dark corner behind the stove. He sat sank deep into a folding chair, and incessantly grunted and straightened the collar of his coat, which, although unbuttoned, still seemed to pinch his neck. One by one, those who entered approached the field marshal; to some he shook hands, to others he nodded his head. Adjutant Kaisarov wanted to draw back the curtain in the window against Kutuzov, but Kutuzov angrily waved his hand at him, and Kaisarov realized that his Serene Highness did not want to be seen on his face.
So many people gathered around the peasant's spruce table, on which lay maps, plans, pencils, papers, that the batmen brought another bench and put it at the table. The newcomers sat on this bench: Yermolov, Kaisarov and Tol. Under the very images, in the first place, sat with George on his neck, with a pale sickly face and with his high forehead, merging with his bare head, Barclay de Tolly. For the second day already, he was tormented by a fever, and at that very time he was shivering and breaking down. Uvarov was sitting next to him, and in a low voice (as everyone else said), he was telling Barclay something, making quick gestures. Small, round Dokhturov, raising his eyebrows and folding his hands on his stomach, listened attentively. On the other side, Count Osterman Tolstoy, leaning his broad head with bold features and sparkling eyes, leaned on his arm, seemed lost in his own thoughts. Raevsky, with an expression of impatience, curling his black hair at the temples with a habitual forward gesture, looked first at Kutuzov, then at front door. Konovnitsyn's firm, handsome and kind face shone with a gentle and sly smile. He met Malasha's gaze and made signs to her that made the girl smile.
Everyone was waiting for Bennigsen, who was finishing his delicious dinner under the pretext of a new inspection of the position. They waited for him from four to six hours, and during all this time they did not start the meeting and carried on extraneous conversations in low voices.

There are many styles of flamenco. There are the most popular and constantly used, there are those that few people know about - experts in this art.

It is believed that three types of songs first appeared - tona(tones), seguirilla(segiriya) and solea(solea). They later became the basis for the basic styles of flamenco. Tona is performed a cappella, segiriya and solea - under guitar accompaniment. Each style of singing had its own special rhythmic structure (compass).

All major flamenco styles are divided into 10 groups.

SOLEA (SOLEA)

The solea group includes bulerías por soleá, bulerías, caña y polo, jaleos, alboreá, bambera, romances, giliana. The styles in this group have a 12 beat compass with downbeats at 3-6-8-12 for solea and 12-3-6 for buleria. These are works of a tragic mood.

Solea- one of the main flamenco styles, possibly originating from the vicinity of Cadiz or Seville. AT genre classification flamenco belongs to the cante jondo class. Traditionally, soleares are performed to the accompaniment of one guitar.

Solea is one of the palo flamenco with the largest number of traditional songs, which is especially appreciated by the listeners.

The solea compass (rhythm) has 12 beats and is most widely used in flamenco. Some palos get their rhythmic pattern from the solea, such as bulerias por solea, palo type Cantiñas: alegrias, romeras, mirabras, caracoles and to some extent bulerias. The solea's rhythmic pattern is formed by groups of two and three beats, but the strong beats are located at the ends of the groups, and not at the beginning, as is customary in Western music.

Compass solea (with a strong beat on 3,6,8,10,12):

1 2 3 4 5 6 7 8 9 10 11 12

However, this is only the main structure (foundation), which is not actually heard in "palms"(clapping), at the guitar, or at the dancer's feet. It is a kind of grid in which flamenco performers themselves create a rhythm that can change. There are many patterns of soleares rhythmic pattern (from very simple to very intricate). Rhythm depends on the mood the artist wants to convey, or the purpose of the song (for a solo performance or for a dance).

Unlike bulerias or cantinhas, which are played in the same tempo, solea is usually played in rubato, which means the tempo slows down and speeds up. In such cases, try not to use claps or percussion instruments.

Solea has many varieties associated with the origin of a particular area of ​​Andalusia. These are the soleares from Alcala, the soleares from Triana, from Cadiz, from Jerez, from Lebrija or Utrera.

CANTINAS

This group includes alegrias, cantiñas, caracoles, mirabrás, romeras. These are 12-beat rhythms with strong beats on 12-3-6-8-10 , with a cheerful mood of the works.

ALEGRÍ AS (ALEGRIAS)

It's palo by rit it looks like salta. The name of the style literally translates as "joy". Cheerful, cheerful dance. The birthplace of alegrias is the city of Cadiz, the time of appearance is the beginning of the 19th century. The impetus for the emergence of this style was the victory of the Spaniards and Aragonese over the troops of Napoleon. Cadiz was one of the few cities in Andalusia that, thanks to its geographic location it was hard to win. Often couplets of alegrias tell about this event. The dance often uses movements from the national Aragonese jota.

Compass alegrias (with a strong beat at 3,6,8,10,12):

1 2 3 4 5 6 7 8 9 10 11 12

This style is part of the Cantiñas (Spanish: folk songs) group and is usually performed at a fast tempo (120-170 beats per minute). Melodies with a similar tempo are generally used for dancing, while slow alegrias melodies are more preferred for singing.

BULERIAS

Boo leria is “the living grace of the gypsy south of Andalusia”. This style gives the performer the greatest freedom to improvise. In bulerias there is an echo of all the songs of Andalusia. Here you can hear allegrias, and fandanguillo, and even soleares. These songs are lively, cheerful and full of stormy emotions, but plaintive notes, typical of solea, also slip through them. It is believed that buleria originated on the Mediterranean coast, their sound is reminiscent of the sound of the sea - sometimes serene and calm, sometimes stormy and dangerous. In buleria you can meet all the emotions that the human soul is capable of experiencing. This music sounds every time in a new way, while always recognizable. It is based on improvisation, but, nevertheless, there are quite rigid rhythmic limits. Other features of buleria are bright personality guitars in the performance of songs, buleria is called the basis of flamenco guitar playing. At first, the only purpose of singing was to accompany the dance, and it obeyed a strict rhythm. Later, the cantaors complicated the buleria and gave it greater rhythmic flexibility. A feature of the buleriya dance - the buleriya of the fiesta - is the semicircle formed by the participants, from which they come out one after another to perform the solo dance part.

Buleria is one of the youngest styles. She first appeared on the stages of theaters and cafes cantante in late XIX century and was performed as a "dessert" after a tense performance of dramatic cante jondo songs. In the 20s of the XX century, it was already formed and recognized along with other styles. Now it is one of the most beloved and frequently performed styles of flamenco.

The buleria compass consists of 12 beats, begins with a non-accented note:

1 2 3 4 5 6 7 8 9 10 11 12

1 2 3 4 5 6 7 8 9 10 11 12

Other options:

1 2 3 1 2 3 1 2 1 2 1 2

12 1 2 3 4 5 6 7 8 9 10 11

TANGOS(TANGOS) and TIENTOS (TIENTOS)

This group includes : tangos, garrotín, tientos, marianas, farruca, tanguillo y zapateado, zambra. The styles of this group have a 4-beat compass, although it is more correct to count the tangos in 8 beats, as the Spaniards do.

TANGOS(TANGOS)

The name "tangos" comes from "tanga" - a booming sound, the noise of a blow, also means swaying. Perhaps another origin - from the verb "tangir", i.e. play a musical instrument. The word has come to be used to refer to different styles of dance on both sides of the Atlantic, making it difficult to find the roots of the dance, although it is not difficult to identify common forms with Argentine tango. Obviously, American music influenced its development - the result of contacts with Cuban music affected, although this dance originates in Cadiz. Here we should talk about the lively, rhythmic percussive style of dance, which, together with bulerias, forms the basis of flamenco. It was performed in elegant and graceful movements, quickly and mischievously. Its rhythm is easy to remember, the dance allows for variability in postures and improvisation. In its simplest form, without the complex movements of the pros, tangos can be performed by almost anyone.

The tangos follows the Andalusian key, although there are variants, especially in Triana or Granada, that stick to major or minor. Tangos and rumba have now become quite similar, although the main differences (in guitar playing) have been preserved. Tango is characterized by the selection of chords, the designation of a couple by a sharp plucking of the strings. In the case of rumba, the guitar sounds continuously. The main keys: la - si flat, mi-fa. Tangos is one of the main styles of flamenco, as well as one of the most ancient.

There are many different types of tangos, depending on the place of its origin - Cadiz, Seville, Jerez or Malaga, but almost always it is singing accompanied by dancing.

Tango Compass:

The first beat is unstressed, the next three are percussion.

AMERIKANOS (AMERIKANOS)

A separate place is occupied by the americanos style group. These include: guajiras, colombianas, peteneras, rumbas, milonga y vidalita, that is, everything that appeared under the influence of the culture of Latin America. These styles have a 4 beat compass.

RUMBAS(RUMBA)

The rumba dance has two sources - Spanish and African: Spanish melodies and African rhythms. The mood is festive.

On the one hand, in melodic terms, rumba is similar to models of the Cuban character guarachero, on the other hand, flamenco dance has found in rumba one of the most sensual rhythms in the list of flamenco styles. The movement of the hips, as well as the provocative swaying of the shoulders, turned the dance performance of the rumba into an extravagance of the sensuality of a dancer in the purest Cuban style, which contributed to the rapid spread of flamenco rumba as a style for a large number spectators.

The Spanish rumba is very lively and festive, it is rhythmic and constantly allows for improvisation. Perhaps that is why it was the rumba that became the symbol of flamenco as a free, free dance.

Rumba compass:

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

GUAJIRA (GUAJIRA)

This dance and song come from Cuba. "Guajiro" in translation means: a peasant, folk song, very common in Cuba.

Guajira, as a dance, originates from the first half of the 20th century, as an accompaniment to the singing of the same name. He leads his rhythm and harmony from the Cuban punto (punto cubano), a style borrowed in his time in Cuba and transferred to the Canaries, where there was a mixture with local dances. According to many experts, this style should be defined as Cuban punto. The richness of its melody guajira owes to the famous cantaor Pepe Marchena, who evolved his guajira into an instrumental style and a very beautiful melody "Contigo me caso indiana". In the 1930s and 1940s, this style was very popular, accompanying the dance of the same name, which has now practically disappeared. These are flamenco songs based on Cuban folklore. Her couplets relate mainly to Havana and its inhabitants, the dominant themes are about love and nostalgia. Couplets of 10 eight-syllable verses. By nature, the guajira is very cheerful and rhythmic. It is characterized by softness and has a salon character. The game is played only in major. In the traditional version, the duration of the game is short, because as soon as the sound of heels begins, the accompaniment ceases to be melodic and only clearly sets the rhythm for the dancer. On the contrary, instrumental variations on the guajira theme, which appeared later than the original version, are very melodic and abound. digressions. An indispensable attribute of the dance is the use of a fan; a shawl is also sometimes used.
Guajira compass twelve-lobed. Unlike the styles of the soloa group, the compass begins with a downbeat (downbeat at the beginning of the bar):

12 1 2 3 4 5 6 7 8 9 10 11

Other styles (information in progress)

G ENEROS de FOLKLORE

These are folk "near-flamenco" or folklore styles: campanilleros, zambra del Sacromonte, nanas, panaderos, pregón, sevillanas, villancicos, zorongos. We have the most common Sevillana.

F ANDANGOS

This group includes fandangos of all genera and species - fandangos naturales, fandangos por soleá, fandangos por bulerías, fandangos atarantados, fandangos comarcales (de Huelva: de Alosno, de Rebollo, del Cerro etc).

MALAGUENAS

These styles come from the city of Malaga: verdiales, malagueñas, jabera, rondeña, granaína y media granaína. Compass 6-part and 12-part.

(Information taken from El Monte Andi's book "Flamenco. Secrets of Forgotten Legends")

Andalusia is the very south of the Iberian Peninsula, the southern gate of Europe, through which countless peoples have passed for three thousand years. Their traditions and culture, as if in a cauldron, were mixed here and were something new to the world, an exclusively local product. Flamenco is one of the best dishes that emerged from this cauldron and spread throughout the world.

We do not know the original meaning of this word. And why! Flamenco is a song and dance with which a person expresses his joy and sorrow. It can be frivolous, dressed in polka-dot dresses with ruffles and frills, or it can be thoughtful, suffering, raising its hands to the sky in impotence.

Antonio Machado (1875-1939)

Kante hondo

Hushed, I unwound wearily
a tangle of thoughts, hardships and despondency,
when through the open window,
from a summer night hot as the desert

came the groan of a drowsy melody -
and, telling a weeping cantilena,
broke the strings into gloomy trills
the melody of my native villages.

... There was Love, crimson, like a flame ...
And a nervous hand in response to roulades
took off with a shiver of a golden sigh,
which turned into a starfall.

... And Death was, with a scythe over his shoulders ...
- I imagined her like this as a child -
the skeleton that roamed the roads...

And, loudly echoing the peace of death,
hand on disturbed strings
dropped like a coffin lid.

And the orphan cry breathed like the wind,
sweeping up the ashes and blowing up the ashes.

In addition to the Arabic, Jewish and even African musical traditions, the formation of flamenco song features was influenced by two facts: the use of Greek-Byzantine church singing in Spain in the early Middle Ages and the resettlement of a large number of gypsies at once, again from the Byzantine Empire, after its fall under the blows of the Ottomans. in 1453

For several centuries, the ingredients were mixed, and in the XVIII century. formed new style. At first it belonged to large gypsy families, played only for their own in the patio. Singing and dancing was as necessary to them as breathing. Flamenco is characterized by impulsiveness and improvisation, where the singer (kantaor) and the guitarist, the singer and the dancer (baylaor) are in dialogue. By the end of the century, flamenco took to the streets, occupied taverns and inns. Now this style has more than 50 varieties. It is performed to the guitar, to the sound of a cajon (percussion box) and castanets.

Here are some of the styles and their content:
Tientos sings of wisdom;
Sigiriya (Siguirilla) reflects on life and death;
Farruca speaks of moderation and simplicity;
Fandango sings about love and sorrow;
Solea seethes with passion;
Alegrias entertains with elegance and grace;
Tangos (Tangos) and Bulerias (Bulerias) are raging with fun and enthusiasm.

Having reached its heyday in the 1920s, flamenco experienced a crisis in subsequent years. Commercialization and professionalization led to the emasculation of his spirit. Disputes began about the purity of style, about the legitimacy of innovations. However, being the product of a fusion of many traditions, flamenco cannot help but embrace new elements. So, in 1995, the singer Enrique Morente performed the poems of Federico Garcia Lorca to the music of thrash metal.

The now living guitarist Paco de Lucia, one of the creators of the new flamenco style, combines it with modern music and Brazilian rhythms. It was he who first used the cajon after receiving it as a gift in Peru in the 1970s. Since then, it is difficult to imagine a flamenco concert without a cajon.

Antonio Gades, one of the most titled dancers in Spain, received in 1988 National Award Dance for "his contribution to establishing a link between the flamenco tradition and contemporary trends, in Spanish dance." The writer Caballero Bonald said of him: “His dance hides all the depth folk custom. <>Perhaps the most important artistic merit of Antonio Gades was that he managed to introduce the tragic frenzy of flamenco into the expressive grace of academic and school dance. The sophistication of gestures, the presence of classical hand movements are combined here with the open frenzy of the Gypsy-Andalusian dance.

Joaquin Cortes, who represents Roma in the European Union, has created his own style that includes flamenco, classical ballet and jazz. Some may not like the glamorous image of the Spanish dance, but a talented dancer made it famous and popular all over the world.

Federico Garcia Lorca (1898 — 1936 )

Portrait of Silverio Franconetti (Gypsy Vignettes), 1921

Gypsy string copper
and the warmth of Italian wood -
that's what it was
the singing of Silverio.
Italy's honey to our lemons
went along
and gave a special taste
I cry him.
A terrible cry was torn out by the abyss
this voice.
The old people say - move
hair,
and melted mercury
mirrors.
Sliding through the tones, never
didn't break them.
Still break flower beds
master was rare
and rise from silence
gazebos.
And now his chant
melts in the last echoes,
clean and complete
melts in the last echoes.

Speaking of inspiration, Lorca distinguished three types of it: "angel", "muse" and "duende". “The angel illuminates, but he himself is high above the person, he overshadows him with grace, and the person, not knowing painful efforts, creates, loves, dances”; "The muse dictates, and sometimes it whispers." Angel and muse descend. For the third state, one must fight: "Duende is power, not labor, battle, not thought." “Duende is possible in any art, but, of course, it is more spacious in music, dance and oral poetry, which need to be embodied in a living human body because they are born and die forever, but live in the moment.”

To illustrate the duende, Lorca told the following story: “One day, the Andalusian singer Pastora Pavon, the Girl with Combs, a gloomy Spanish spirit with a fantasy to match Goya or Rafael El Gallo, sang in one of the taverns of Cadiz. She played with her dark voice, mossy, shimmering, melting like pewter, wrapped him in strands of her hair, bathed him in manzanilla, led him into the distant deaf jungle. And all in vain. There was silence around.<>Only a malicious little man, like those springy imps that jump out of a bottle, said in an undertone: “Long live Paris!” - and this sounded: “We do not need any inclinations or training. Something else is needed."

And then the Girl with the Combs jumped up, wild as an ancient mourner, drank a glass of fiery casaglia in one gulp and sang, with a scorched throat, without breath, without a voice, without anything, but ... with duende. She knocked out all the supports of the song in order to give way to the violent burning duende, the brother of the Samum, and he forced the audience to tear their clothes, as Antilles negroes tear them in a trance in front of the image of St. Barbara. The girl with the crests lost her voice because she knew that these judges did not need a form, but her nerve, pure music- incorporeality, born to fly. She sacrificed her gift and skill - pushing the muse away, defenseless, she waited for the duende, begging to make her happy with a duel. And how she sang! The voice no longer played - it was pouring with a stream of blood, genuine, like pain itself, it branched with a ten-fingered hand on the nailed, but not resigned feet of Christ, sculpted by Juan do Juni ”(Lectures and speeches: Duende, theme with variations (1930)).

Isn't that what delights us most about flamenco? Duende can be shown by a person who has experienced a lot, therefore, not young and flexible, but mature and wise ones become outstanding performers. They may not be able to get an incredible shot at high speeds, but they can put their heads and wave their arms in such a way that goosebumps run all over the audience.

You should also not think that flamenco is available only to the Spaniards. At one of the festivals, the hall gave a standing ovation to a Japanese dancer who infected everyone with his emotions. In Moscow for 12 years now international festival"¡Viva España!", where Russian (and not only) performers demonstrate their technique and charisma to the jury and just connoisseurs of this culture. In big cities there are various flamenco schools where they teach fractions, compass, playing the castanets, and most importantly, the ability to carry oneself and hold one's head high.

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