An unforgettable evening ahead…
FLAMENCO, PIANO Y ALEGRÍA!
Award winning Spanish pianist ANDREA BENABENT and Houston’s premier flamenco performing company SOLERO FLAMENCO in a not to miss evening of Piano, Song, Guitar, Dance & Castanets in the beautiful acoustics of Westbury Baptist Church, Houston, TX
Saturday, Oct. 19, 7:30pm
Tapas Meet & Greet following performance.
Presented by Westbury Performing Arts Series and La Casa de España en Houston.
Andrea Benabent, Piano
Irma La Paloma, Cante
Jeremy García, Guitar
Solangel Lali Calix, Baile
Andreina Pereira Nuñez, Baile
#soleroflamenco #artenergypassion #flamenco #flamencoarts #classical #piano #houstonperformingarts #houstonartscommunity #themusicofSpain #flamencoandclassical
La Casa de España en Houston @Westbury Baptist Church Andrea Benabent Irma La Paloma Jeremy Garcia Solangel Lali Calix Andreina Pereira Núñez
Westbury Performing Arts Series
La Casa de España en Houston
presents
PIANO, FLAMENCO y ALEGRÍA
Program
Andrea Benabent - Piano
Solero Flamenco
Irma La Paloma - Cante
Jeremías García - Guitarra
Solangel Lali Calix - Baile
Andreina Pereira Nuñez - Baile
Rincones de Andalucía
Andrea Benabent
Alegrías de Cádiz
Canción del Amor Dolido
Song of Suffering Love
Canción del Fuego Fatuo
Song of Will-o’-the-Wisp
Manuel de Falla (1876-1946)
Composer/Arr. Jeremy García
Asturias
Isaac Albéniz (1860-1909)
Suite Andaluz
Sevillanas Siglo XVIII
Zorongo
Los Cuatro Muleros
Federico García Lorca (1898-1936)
Composer/Arr. Jeremy García
Garrotín
Salve Rociera
Manuel Pareja Obregón (1933-1995)
Tangos
Program Notes
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Rincones de Andalucía -
Andrea Benabent
"Rincones de Andalucía" is a vibrant composition that captures the diverse rhythms and rich imagery of southern Spain. Through a tapestry of musical ideas, it evokes the essence of Andalusian culture, blending traditional melodies with modern influences, showcasing the region's unique spirit and character.
__________
Alegrías de Cádiz
Letra Popular
Alegrías is a palo or style of flamenco consisting of a 12 beat compás or rhythm. The word is the plural of happiness, it is a vibrant and joyful style of expressive song, dynamic guitar, and upbeat rhythms and movement. Alegrías are popular in the coastal city of Cádiz as are other styles in the Cantiñas family of cante or flamenco song,
El del pelo anillao
que a mi me mira
un beso de su boca
va y me lo tira...
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Canción del Amor Dolido,
Song of Suffering Love
Manuel de Falla (1876-1946)
María de la O Lejárraga García, Lyrics Jeremy García, Composer/Arr.
Candela is in turmoil as she is haunted by her husband’s ghost. She has heard rumors of his infidelities. She feels loss, sadness, doubt, anger, betrayal.
"Cuando el fuego abrasa,
Cuando el río suena,
Si el agua no mata el fuego,
A mi el pesar me condena!
A mi el querer me envenena!
A mí me matan las penas.”
When the fire burns,
when the river roars,
if water does not kill the fire, Suffering condemns me! Love poisons me!
Sorrow kills me.
__________
Canción del Fuego Fatuo,
Song of the Will-o’-the-Wisp
Manuel de Falla (1876-1946)
María de la O Lejárraga García, Lyrics Jeremy García, Composer/Arr.
"In folklore, a will-o'-the-wisp, will-o'-wisp, or ignis fatuus (Latin for 'foolish flame'; (ignes fatui), is an atmospheric ghost light seen by travelers at night, especially over bogs, swamps or marshes."
Candela canta...
"Lo mismo quer fuego fatuo,
lo mismito es er queré,
Le juyes y te persigue,
le yamas y echa a corré
Malhaya los ojos negros
que le alcanzaron a ver!
Malhaya er corazón triste
que en su llama quizo arder!
Lo mismo quer fuego fatuo
se desvanece er queré."
Candela sings...
The same as the will-o’-the-wisp,
such is love,
You run from it, and it follows,
you summon it, and it runs.
Damned are the black eyes
that managed to see it,
damned is the sad heart
that in its flame wished to burn,
just as the will-o’-the-wisp,
love vanishes.
__________
Asturias - Isaac Albéniz (1860-1909)
Originally titled “Leyenda" by Albéniz, the piece was named Asturias posthumously by Hofmeister, a German publisher who included it in "Suite Española” in 1911. In essence, although so named after Spain’s northern region of Asturias, Albéniz was inspired by the musical traditions of Andalucía in the south including granaínas, bulerías, and the dynamics and rhythmic intensity of flamenco.
__________
Sevillanas del Siglo XVIII
Federico García Lorca (1898-1936) Jeremy García, Composer/Arr.
"!Viva Sevilla, viva Sevilla!" And ode to the capital of Andalucía, the lyrics speak of the beauty and spirit of Sevilla, her inhabitants, of the beautiful face of La Macarena, patron saint of the Romani, of the breathtaking sight of the el Río Guadalquivir filled with white sails.
Sevillanas are a folkloric dance derived from the Seguidilla Manchega which acquired flamenco traits and to date is performed with song, guitar, dance, and often castanets. It is the most popular dance in southern Spain’s festivals, romerías, and gatherings.
¡Viva Sevilla!
Llevan las sevillanas en la mantilla
un letrero que dice: ¡Viva Sevilla!
¡Viva Triana!
¡Vivan los trianeros, los de Triana! ¡Vivan los sevillanos y sevillanas!
Zorongo Gitano
Federico García Lorca (1898-1936) Jeremy García, Composer/Arr.
The Zorongo presents the contrast between the excitement of youth and the wisdom acquired with the passing of time. The result is the conviction that what is most important is to love and be loved.
"La luna es un pozo chico,
las flores no valen nada,
lo que vale son tus brazos
cuando de noche me abrazan.”
The moon is a shallow well,
flowers have no worth,
that which is of worth are your arms that embrace me in the night.
Los Cuatro Muleros
(The Four Muleteers)
Federico García Lorca (1898-1936) Jeremy García, Composer/Arr.
One of the most recognized antique popular songs of Andalucía, Los Cuatro Muleros (The Four Muleteers) enchants with its catchy melody, thus it has been used in military and political campaigns. The original version is in the voice of a young woman who points out to her dear mother that one of the four mules men is her betrothed. Satirical and whimsical, it can be interpreted as her fantasizing of a romance from afar or revealing a secret love.
"De los cuatro muleros que van al río, el de la mula torda es mi marío."
Of the four mules men that go to the river,
the one with the spotted mule is my betrothed.
__________
Garrotín
Letra popular
This palo of the flamenco repertoire is whimsical with a catchy chorus. Its lyrics perhaps originate in the Asturian Garrotiada, however, its rhythmic meter is that of flamenco tangos. Garrotín was quite popular until the 1930’s. The great bailaora Carmen Amaya kept this style alive in the 1970’s through her powerful song and dance.
Pregúntale a mi sombrero,
mi sombrero te dirá
las noches que he pasaito yo en vela y el relente que a mi me da
Al garrotín, al garrotán,
a la verita vera de San Juan
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Salve Rociera del Olé -
Manuel Pareja Obregón (1933-1995)
This hymn is attributed to the great pianist and composer Manuel Pareja Obregón who in 1967-1968 composed it as part of a mass dedicated to La Virgen del Rocío or Madonna of El Rocío, patron saint of Almonte, a province of Huelva, Spain. The Salve Rociera del Olé’s exalting melody and lyrics have become a universal hymn when each year during spring over a million people join in pilgrimage to the Shrine of El Rocío.
Dios te salve María,
del Rocío señora,
luna, sol, norte y guía
y pastora celestial
Olé, olé...
__________
Tangos
Jeremy García, Composer/Arr.
Letra popular
Tangos became part of the flamenco repertoire when the Cuban Habanera and Tango made their way to Cádiz. Influenced by contradanzas and Afro-Cuban rhythms, these songs gave way to the tango de Cádiz or tanguillos, tientos (first name for tangos), and eventually tangos and various derivatives. The many styles of tangos flamencos include Tangos de Cádiz, de la Carlotica, de Málaga, de Triana, de Extremadura, de Granada, and others.
A tos los ojitos negros
los van a prender mañana
tu que negros los tienes
échate un velo a la cara
Program notes by Irma La Paloma