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Rocio Marquez canta no sé que
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Richard Jernigan
Posts: 3430
Joined: Jan. 20 2004
From: Austin, Texas USA
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 RE: Rocio Marquez canta no sé que (in reply to Piwin)
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quote:
ORIGINAL: Piwin
quote:
If she is truly an artist, she must create according to her own experience. Whether older male aficionados of cante (like us) appreciate her art is a different question.
Agreed (except that she's actually a little bit older than me)
And she's been very clear about her approach: "el flamenco como reproduccion no tiene ningun sentido". Which I wish quite a few cantaores who are just trying to sound like Camaron would hear.
<snip>
How the younger artists relate to cante and how cante relates to them is a tricky issue IMO. But it's really a more general issue about art itself and how much of it is "representation" or pretence. A friend of mine who played flute at one of the major orchestras in Paris told me that she approached every piece as theatre and would try to put herself in the mindself required for a given piece, somewhat like an actor.
<snip>
In a sense, it's almost as if the relationship of any artist to their art is always vicarious. Then perhaps there are degrees of vicariousness?
I haven't been to Paris in years, so I don't know how the "classical" music scene is going there. It is reasonably vigorous here in Austin, compared to many other places, but commands only a tiny audience relative to that of the vaunted "live music" scene here. I include in the "classical" audience that of the world's largest and most active classical guitar society, which also presents artists like Tomatito and Niño de Pura.
I bring it up because the "classical" musicians are generally obliged to be in the same position as your friend the flutist. No one in the present day can lay claim to the experiences that led to the music of Bach, Beethoven or Brahms, just to name the notorious "three B's" of my youth.
Many more people here would rather hear somewhat simpler musical thoughts on contemporary life than stunningly virtuosic reflections of past glories.
I have said here before that for me one of the great attractions of Willie Nelson is the absolute authenticity of his accent. It reminds me vividly of the rural Texas of my youth, a culture still strongly alive.
Summer before last I attended the whole series of concerts of the Miró Quartet performing the complete String Quartets of Beethoven. At the end of the last one I turned to my companion and said, ¨The world is a better place for Beethoven having been in it.¨ I am aware of being in only a very small minority holding this opinion at present.
As the experiences that led to the creation of cante fade from public consciousness, is it not to be expected that cante itself should follow suit? Since some of it is great art, it may never die out completely, but it may be reduced to an ever smaller audience of connoisseurs. Sorry-- aficionados.
RNJ
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Date May 11 2017 22:33:02
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BarkellWH
Posts: 3458
Joined: Jul. 12 2009
From: Washington, DC
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RE: Rocio Marquez canta no sé que (in reply to Piwin)
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quote:
I interpreted the photo as a reference to Pepe Marchena, to whom she dedicated that particular CD. For some reason, the sharply dressed white suit makes me think of him (except he always had the hat).
The white suit makes me think of Tom Wolfe, the literary "enfant terrible" (and social critic) of the 1960s through the 1980s who always wore (and still wears) a white suit. Wolfe has written many books, all of them sharp, incisive critiques of various elements of society, but his greatest was "Radical Chic and Mau Mauing the Flak Catchers," in which he described a party Leonard Bernstein had in his Park Avenue apartment in 1969, with several Black Panthers as guests of honor. Many of his guests were what at that time were known as "Limousine Liberals" who thought it was the height of "chic' to be rubbing shoulders with the Black panthers. The wealthy white liberals were tripping all over themselves wanting to contribute to the Panthers' cause. Wolfe caught the pretentiousness of Bernstein and his white guests perfectly. Marvelous book, and very funny.
Bill
_____________________________
And the end of the fight is a tombstone white,
With the name of the late deceased,
And the epitaph drear, "A fool lies here,
Who tried to hustle the East."
--Rudyard Kipling
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REPORT THIS POST AS INAPPROPRIATE |
Date May 11 2017 22:56:57
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BarkellWH
Posts: 3458
Joined: Jul. 12 2009
From: Washington, DC
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RE: Rocio Marquez canta no sé que (in reply to Richard Jernigan)
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quote:
As the experiences that led to the creation of cante fade from public consciousness, is it not to be expected that cante itself should follow suit? Since some of it is great art, it may never die out completely, but it may be reduced to an ever smaller audience of connoisseurs. Sorry-- aficionados.
As more and more flamenco becomes "fusion," and in order to be "relevant" to today's younger audience's (who haven't a clue regarding the roots of the genre) becomes folded into "World Music," however that is defined at any given time, it will die out as we know and appreciate it. There will always be a small niche for those who love the flamenco we know and appreciate, but it will be so small that, as I mentioned in a previous thread, it will be a sort of living museum, much like the Folger Consort in Washington, DC, who play medieval and renaissance music on period instruments. The Folger Consort has a small but devoted following. So will flamenco as we know it in the not-too-distant future. Performances will be considered "period pieces."
Bill
_____________________________
And the end of the fight is a tombstone white,
With the name of the late deceased,
And the epitaph drear, "A fool lies here,
Who tried to hustle the East."
--Rudyard Kipling
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REPORT THIS POST AS INAPPROPRIATE |
Date May 12 2017 15:25:44
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