|
NormanKliman -> RE: Cantes de Silverio Franconetti (Oct. 20 2010 14:59:16)
|
quote:
I found a cante similar to this one on your page
Yeah, Manolo Caracol's version of that cante. If I remember right, "Enrique" was one of Caracol's ancestors (Enrique Ortega) and Silverio supposedly sang that letra after his friend Enrique had died.
quote:
It also mentions that Silverio learned the cantes from Diego El Fillo, who's younger brother was killed in Silverio's cafe, and after that Silverio took off to Spanish America.
The story is that Silverio's family moved to Morón. He used to listen to gitanos sing at a blacksmith's forge near his house. Shortly after that, El Fillo started to frequent Morón and encouraged Silverio to continue learning to sing. At that time, El Fillo was a well-known professional singer and Silverio was just 10 years old.
El Fillo's brother was supposedly named Juan Encueros and they say he was stabbed to death during a fight at a bar (I don't know if it was Silverio's café). Supposedly, it was discovered after the fight that he'd been stabbed through his cape (I guess a hole in the cape coincided with the knife wound), and the conclusion was that he'd been stabbed in the back or something. Some doubt the whole story, although there's a very old reference to El Fillo having a brother named Juan Encueros or something very simlilar (might be in Demófilo's book, written in the late 1800s). Mairena sang a letra (siguiriya attributed to El Fillo) about the murder of Juan Encueros:
Mataste a mi hermano
ayy yyy yyy yyyyyy no te he perdonado
tú lo has matado
tú lo mataste liadito en su capa
sin hacerte nada
Silverio sang professionally in Seville, Cádiz and Madrid before leaving for Latin America, so it seems that he wasn't the one who killed El Fillo's brother. Pepe el de La Matrona claimed that Silverio did actually kill someone and had to leave the country for that reason, but José Blas Vega, in his biography of Silverio, wrote that he'd found no kind of evidence to support what Pepe had said. Some people have tried to "connect the dots" and claim that El Nitri's supposed refusal to ever sing in front of Silverio was because of one of those murders. Silverio went to Buenos Aires; Demófilo wrote that he spent eight years in Montevideo (Uruguay). I read somewhere that he was an officer in the military in Uruguay and that there might be some kind of official military records with information on him (full name: Silverio Franconetti y Aguilar).
There's a lot more information to be found in Demófilo's book and José Blas Vega's biography of Silverio.
quote:
...the past remains a big mystery. A lot of stories, more or less the same...
Using anthologies and track titles can be even more confusing for at least two reasons: (1) Anthology liner notes are syntheses of information appearing in books and specialized magazines, and this information changes all the time as more conclusive research is published. Also, the information isn't always extracted correctly from its sources. (2) Sometimes a singer or the producer of a recording will attribute an entire track to an artist when only one of the cantes actually has to do with the attribution, and often the letra is the only connection to the artist in question. For example, Mairena's "Mis recuerdos de Charamusco" starts with a soleá attributed to Silverio (style 2). They say that someone played this track for one of Charamusco's children and the man immediately said that it had nothing to do with his father's cante. I always wondered if he'd only heard that first cante.
|
|
|
|
