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Richard Jernigan -> RE: Rocio Marquez canta no sé que (May 11 2017 22:33:02)
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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.
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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.
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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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