Paco Pena Misa Flamenca (CD) Album (SAME DAY SHIPPING)

Description: The Academy of St. Martin in the Fields Chorus conducted by Laszlo Heltay La Susi, Rafael Montilla "El Chaparro", Dieguito, Antonio Suarez "Guadiana" Flamenco singersPaco Peña, Tito Losada, José Losada, Diego Losada Guitarists/José Losada, César Victoriano Percussion CANTO DE ENTRADA: El Chaparro3.50 CANTO PENITENCIAL - Tientos3.01 KYRIE - Granainas: El Chaparro3.05 GLORIA - Fandangos: Dieguito, Guadiana4.15 CREDO - Peteneras - Jaleos: La Susi, Dieguito8.12 SANTO - Tanguillos: Dieguito2.55 PADRE NUESTRO - Martinete: El Chaparro3.20 CORDERO DE DIOS - Bulerías4.03 CANTO EUCARISTICO Y DESPEDIDA8.14Reminiscencia del Cordero de Dios: CorosBamberas: El Chaparro, Dieguito.Alegrías: GuadianaTotal playing time40.55A Digital Recording.Recorded on 20th and 21st December 1990 in London.• 1991 Nimbus Records Limited. © 1991 Nimbus Records LimitedFlamenco embodies a perpetual paradox in its having arisen through the meeting of two distinct, contradictory cultures; the Mediterranean and the Castillian. In Andalucía both cultures remain polarised: the natural environment is Mediterranean; the Castillian is imposed. Through that very duality one comes to understand the love of freedom and yet the resigned acceptance of an oppressed existence that flamenco expresses.God comes to flamenco from without, manifesting Himself in a brilliant blue sky, golden fields of wheat, vast expanses of vines and olive trees, in the warm swell of the rolling landscape of Andalucía and in the mass of lush vegetation of the Sierra. The Bishop of Woolwich, John A.T. Robinson, maintains that man encounters God from within, whereas the Andalucían in his quintessentially flamenco form will discover Him in external elements: Baroque images of Christ in Agony, Virgin Mothers, the Son of God emerging from a mound of red carnations, or the Virgin, adorned in exquisite jewellry, under the cloak of a serene blossom-scented night. The saeta, the Easter flamenco song, is faith made manifest and explicit through cries wrenched from the soul. Born in the flamenco heart, it sears the throat and reaches up towards those selfsame holy images. In them, we all converge to experience marvellously paradoxical feelings of Love and Death, in spring-time.A northern European mind may find it strange that a man who is in communion with God, in the collective spirit, could experience the existential anguish that the cries of the flamenco song seem to express. Could it simply be that, in flamenco, the singer is trying to find God in a situation of extreme emotional stress, that which is the realm of the duende - indefinable peak of artistic communication - and that he is doing so aided merely by his own human resources, as in a Greek tragedy?How can the flamenco singer, an extrovert by nature, say when singing soleares:"Leave me alone this evening - I want to commune with myself - it is God that must listen to me"? When he was Bishop of Córdoba, Monsignor Cirarda once observed: "The singer is usually a soloist, supported and accompanied by the guitar. The people listen in attentive silence for the most part, content at times to express their sense of spiritual harmony with the song through very soft clapping or by breaking into a final exclamation of enthusiasm. Would there be a legitimate place for this in the Divine Liturgy? Could flamenco singing in the Mass become a spectacle in itself that might distract attention from the altar rather than help bringing the faithful closer to the mystery of the Eucharist? My fears were allayed," Cirarda continues, "when I first presided over the celebration of a flamenco mass, in which the singers, one after another, employed their art to send the sacred texts soaring on wings of sound.... I was astonished to find that I could tangibly feel the devotion of the people, and I myself felt a quiver of intense religious emotion at certain moments. And I discovered that silence can be - is, on many occasions - a profound form of active participation in the celebration of the Liturgy; at least in Andalucía, when the prayers of the Divine Liturgy are lifted to the Lord through the medium of our flamenco song."The Flamenco Mass presented on this recording adapts melodic and rhythmic nuances from the flamenco heritage to the texts of the Liturgy which are in turn transcribed into rhyming songs with simple, direct language. It is introduced by a siguiriya. Heard in the open spaces of the street or the public square the siguiriya sounds like the song of the Islamic muezzin. It is a particularly fitting comparison in the context of this Flamenco Mass, and a close association can be made with the "call to prayer" that used to fly through the air from the minarets of the mosques of Córdoba, Málaga and Granada in broken and wavering guttural voices, rough-edged and strong, with melancholic turns that later, in flamenco, become an expression of suffering. The voice of the muezzin or the pealing of church bells, both represent the call to a universal rite, one which in times past would have seemed appropriate within the environment of an Andalucían mosque, where Moslems, Christians and Jews once prayed together.Before the existence of cities and states, of civilisation and politics, there was a cultural manifestation of Man in Nature. Art already existed before "the Scriptures" ;Art, in the form of Man's relationship with God, the God who manifests Himself through Nature. So, it was through Nature that the prime relationship between Man and God took place. Indeed the more deeply we immerse ourselves in tradittons and the greater our perception of their origins, the closer we come to finding a meeting point for all men. Flamenco lies in those origins and the cries of its siguiriya have remained pure and uncontaminated, similar to the rivers of ancient times. Those who truly feel the flamenco tradition, therefore, must inevitably believe in God, in Nature and in Man.The Mass continues with the Canto Penitencial, an act of penance in the form of tientos with flamenco voices and choir, followed by the Kyrie in the form of granainas, a beautiful Andalucían aria, and then the Gloria, as fandangos de Huelva, which always sound glorious but even more so in this instance, with such a rich spectrum of tonalities. Reserved for the Credo is the romantic peteneras, followed by a series of melodic decorations with an insistent beat, that evoke sounds of suffering, of convicts marching to the gallows, while by contrast the choir's harmonies cut through with a splash of light. Flamenco is just that; it moves from grief to happiness and from happiness to grief in a single leap: you never know whether it is breaking free or becoming more deeply involved.Following the tanguillos (Santo), sung by the chorus (as they must be if one respects their true popular expression) we move on to the prophetic voice of the martinete in the Padre Nuestro. Then comes the Cordero de Dios (Lamb of God) embodying that polarisation of tendencies that exist in the Andalucían soul: the choir sings the first verse, and after a transitional state, as though searching for definition, the flamenco ensemble bursts into the bulerías. The moment of the Eucharist - "Lord I am not worthy' - is expressed in the form of bamberas, the pastoral flamenco song par excellence, culminating in the final part (Despedida) with alegrías de Cádiz, the apotheosis of rhythmic grace.© 1991 Agustín Gómez ORDER BEFORE 2 PM CENTRAL - SAME DAY SHIPPINGPRMCD245

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