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Poema del cante jondo de federico garcia lorca professional#
It cannot be that the most moving and profound songs of our mysterious soul should be maligned as mean and debauched it cannot be that they wish to fasten that thread which links us to the impenetrable Orient to the neck of the drunkard’s guitar it cannot be that they seek to stain the most diamantine of our songs with the clouded wine of the professional scoundrel. You have all heard of cante jondo, and indeed have a more or less precise idea of it…yet it is almost certain that for those of you who are not initiated into its historical and artistic transcendence it evokes a certain immorality, the atmosphere of taverns, rowdiness, the ethos of the café dance floor, a ridiculous sobbing, something typically Spanish, in fact – yet we must suppress this feeling for the sake of Andalusia, our millennial spirit and our individual hearts. It is a noble work of patriotism that we are trying to realize a work of salvation, a work of friendship and of love. Gentlemen, the musical soul of the race is in grave danger! The artistic riches of a whole people are on their way to oblivion! It seems that each day which passes another leaf falls from the wondrous tree of Andalusian lyric, old men carry to the grave the priceless treasures of past generations, and an avalanche, gross and stupid, of cheap music obscures the delightful popular culture of all Spain. The group of enthusiastic friends and intellectuals who support the idea of this festival are sounding no less than an alarm. You are gathered together tonight, in the salon of the Centro Artístico, to hear my humble, yet sincere words, and I wish them to be luminous and profound, so as to convince you of the marvellous artistic truth contained in primitive Andalusian song, that which is called deep song, cante jondo. (A lecture given in Granada, 19th February 1922) Where the original works are not in the public domain, any required permissions should also be sought from the representatives of the Lorca estate, Casanovas & Lynch Agencia Literaria. Please note that Federico García Lorca's original, Spanish works may not be in the public domain in all jurisdictions, notably the United States of America. This work may be freely reproduced, stored and transmitted, electronically or otherwise, for any non-commercial purpose. Kline © Copyright 2008, All Rights Reserved. At the height of the Tower of Comares in the Alhambra. "The author's enthusiasm for his subject and the clear-cut relationship he underscores between cante jondo and Lorca's verse encourage the reader to return to the Poema del cante jondo and the Romancero gitano with an increased understanding of their roots.( Importancia histórica y artística del primitivo canto Andaluz llamado ‘Cante Jondo’ 1922) Throughout, Stanton illuminates a new dimension of the poet's work. Part III explores the mythic quality of Lorca's art in relation to cante jondo. In part II, he searches for direct and-far more important-indirect echoes of this music in his work.
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Stanton examines Lorca's theoretical and practical approach to cante jondo, the traditional music of Andalusia, as seen in his lectures on the subject and in the 1922 concurso. His first book was dedicated to his music teacher, who instilled in him a love for the world of art and creation. At a very early age he began to study piano, and during his adolescence, music and poetry competed for primacy among his interests. As a child, Lorca imbibed traditional Andalusian songs from the lips of the family maids, whom he would remember with affection years later. The two arts were closely related to each other throughout his career. With literature, music constituted the most important activity of poet and playwright Federico Garcia Lorca's life.