tangos (flamenco)
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| tangos (flamenco) | |
|---|---|
| Name | Tangos (flamenco) |
| Stylistic origins | Seville, Cádiz, Andalusia |
| Cultural origins | 19th century Spain |
| Instruments | Guitar, Cajón, Palmas, Castanets |
tangos (flamenco) Tangos (flamenco) is a traditional palo of flamenco originating in Andalusia with deep roots in 19th-century Seville and Cádiz. It functions as a lively and rhythmic form within the flamenco repertory and has been interpreted by a wide range of artists and companies from La Argentinita to Paco de Lucía. Tangos occupies a central place in the repertoires of major institutions such as the Teatro Real and international festivals including the Festival de Jerez.
Origins and History
Tangos developed in urban contexts alongside other palos like Fandango and Soleá in Seville, Cádiz, and Triana during the 19th century, interacting with performers and venues such as cafés cantantes, Teatro Apolo, and itinerant troupes linked to figures like La Niña de los Peines and El Mellizo. Its evolution reflects exchanges involving communities associated with Roma artists, connections to Havana, Buenos Aires and the broader Atlantic world, and intersections with composers and impresarios including Pablo de Sarasate, Manuel de Falla, and Rafael de León. The palo entered classical concert programs through adaptations by ensembles like Ballet Nacional de España and soloists such as Carmen Amaya and later integrated into recordings by labels including Hispavox and Philips Records.
Musical Characteristics
Tangos is defined by a 4/4 rhythmic compás comparable to forms performed by artists such as Vicente Amigo, Tomatito, and Pepe Habichuela, featuring strong downbeats and syncopation used by accompanists like Sabicas and Niño Ricardo. Melodic lines often utilize phrygian inflections similar to those in works by Manolo Sanlúcar and harmonic approaches seen in collaborations with orchestras like Orquesta Nacional de España or arrangers such as Mario Maya. The form supports variations in tempo and dynamics practiced by interpretations from Antonio Mairena to Enrique Morente, and its modal palette appears in modern settings by Diego El Cigala and Estrella Morente.
Dance and Choreography
Tangos choreography emphasizes grounded footwork, marcajes, and compás organization employed by companies such as Antonio Gades Ballet, Compañía María Pagés, and choreographers like Cristina Hoyos and José Greco. Stage permutations by dancers including Sara Baras, Farruquito, and Isabel Bayón incorporate castanets associated with practitioners tying to venues like Teatro de la Zarzuela and festivals such as Bienal de Flamenco de Sevilla. Pedagogical lineages through conservatories like the Conservatorio Superior de Música de Córdoba and studios linked to maestros such as El Niño de la Alburquerque preserve characteristic pasos and escobillados.
Lyrics and Themes
Tangos lyrics frequently treat urban life, longing, satire, and fiesta scenarios present in repertories recorded by singers like La Niña de los Peines, Antonio Mairena, Camarón de la Isla, Diego el Cigala, and Remedios Amaya. Poetic contributions from authors and letristas connected to flamenco melodrama include figures who collaborated with Federico García Lorca, Rafael de León, and poets such as Antonio Machado while theatrical tangos have been set in revues at venues like Teatro Calderón. Interpretations by cantaores like La Perla de Cádiz, El Lebrijano, and José Mercé often foreground narrative voice, compás placement, and call-and-response with palmeros and bailaores.
Instruments and Accompaniment
Guitar accompaniment in tangos follows techniques refined by virtuosos including Paco de Lucía, Sabicas, Manolo Sanlúcar, Vicente Amigo, and Tomatito, with rhythmic support from percussionists using the cajón as popularized by members of Paco de Lucía's ensembles and percussionists who collaborated with Camarón de la Isla. Palmas patterns, jaleos, and compás are provided by communities and performers tied to peñas and tablaos such as Los Gallos and La Taberna de Carmen, while arrangements for orchestral settings have been realized by the Orquesta de la Comunidad de Madrid and conductors who worked with dancers like Vicente Escudero.
Regional Variations and Influence
Regional expressions of tangos can be traced across Seville, Cádiz, Huelva, and Granada, with local schools and cantaoras such as La Perla de Cádiz, Niña de los Peines, and ensembles from Jerez de la Frontera contributing distinct sonorities. The palo has informed and been influenced by genres such as rumba flamenca, sevillanas, and transatlantic forms in Argentina and Cuba, involving musicians like Astor Piazzolla in cross-genre dialogues and inspiring adaptations by world-music artists affiliated with festivals such as Montreux Jazz Festival and labels including ECM Records.
Notable Performers and Recordings
Key recordings and performances of tangos include versions by La Niña de los Peines, Paco de Lucía (notably on albums produced with Camaron de la Isla), Camarón de la Isla, Enrique Morente, Estrella Morente, Diego El Cigala, Antonio Mairena, Pastora Pavón, Carmen Amaya, Sara Baras, Vicente Amigo, Tomatito, Manolo Sanlúcar, Pepé de Lucía, Niño Ricardo, Sabicas, La Perla de Cádiz, Remedios Amaya, El Lebrijano, José Mercé, Diego el Cigala, María Jiménez, La Argentinita, Antonio Canales, Farruquito, Cristina Hoyos, María Pagés, Rafael Farina, Rosa Montero and ensembles like Ballet Nacional de España. Landmark venues and festivals hosting celebrated tangos include Teatro Real, Teatro de la Zarzuela, Festival de Jerez, Bienal de Flamenco de Sevilla, and international stages such as Carnegie Hall and Royal Albert Hall.