Flamenco Romantico

1. Armonía (Harmony) (Bulería)
To strive for harmony – a high value and a cherished possession. There is much calm power in it. This composition is dedicated to all who are searching for harmony. Considering the cheerful and bright nature of the bulería, the word might derive from ‘burla’ (mockery), hence ‘burlería’. It has been around since the end of the 19th century and has developed out of the soleá, whose rhythm is used, but played much faster. Therefore the bulería is a cheeky, mostly quick and lively dance in 12/4 metre. It is very popular due to its versatility. There are two varieties: the dance-bulería with its many different styles and the ‘bulería a golpe’ which is more for listening. It is also called ‘bulería por soleá’, a style which is, according to experts, older than the actual bulería. The bulería is maybe the most flexible form of flamenco, yet in its complexity the hardest to interpret.

2. Bailando (Dancing) (Tangos)
The tangos in Flamenco has various different forms of expression, e.g. the tangos from Cádiz, from Triana, Jerez and Málaga. Researchers agree that the cradle of this rhythm lies between Cádiz and Sevilla. It has however nothing in common with the Argentinean tango. There is a theory that it developed out of dancing songs of the 19th century, which slowly evolved into what we call ‘tangos’ today. It is an easily accessible rhythm in 4/4, and can be played in any key.

3. Añoranza De Amor (Longing for Love) (Romanza)
As in every genre there is a long tradition among flamenco composers to write romantic pieces, which often cannot be assigned to any specific “form” or rhythm.
All human beings are looking for that all-encompassing love. This longing can become so obsessive that ‘love’ itself is overlooked. This composition expresses the beauty of real longing for pure love. May all of us see it and find fulfilment in it!

4. Con Temperamento (With Temperament) (Bulería)
A Cante festero (festive song) of the gypsies. In its origins the bulería is often played fast and in a ‘cheeky’ manner. In this piece it is rooted in the power of Andalusian earth and its temperamental dance. The bulería is a flamenco dance which belongs to the cante chico (“small” or “light” cheerful song). The etymology of its name is uncertain. There is a theory that it has something to do with the Spanish word ‘burlarse’ – to fool, to mock. It is counted in alternating 6/8 – 3/4 metres. About the zapateados (‘feet’) and palmas (clapping): traditionally the dancers wear shoes with ‘nailed’ heels, with which they tap the rhythms. They don’t however do this, when the singer sings his verses. There is a complex interplay between song and dance which is not readily obvious for the audience but which nevertheless follows strict rules. The many-faceted interplay between lightning-fast footwork and slow passages create the appeal and beauty of flamenco dance. The typical flamenco style is very close to earth with many impulses pointing downwards, as opposed to the typical ballet dance which is often imbued with a kind of ‘floating’ lightness. The palmas (rhythmical clapping) play a significant role in the bulerías. There are two kinds of palmas: the palmas claras or palmas agudas, a loud, sharp, whip-crack kind of clapping, and the palmas sordas, which sound soft and dull.

5. Confianza (Confidence) (Taranta)
The taranta and taranto, a form which presumably has its roots in the province of Almería (Andalusia), belongs to the Cantes de Levante and there to the so-called ‘Cantes de las minas’. The taranta, typically a “free” version, has always had strong Arabian influences in its melodies. The lyrics of the songs hint at a connection to the hard life full of deprivation of the Andalusian miners. After its emergence in Almería this singing style spread to other areas such as Linares and other mining towns in Jaén and Murcia and especially in La Unión. This is the root from which all the other ‘cantes mineros’ developed.

6. Energía Pura (Pure Energie) (Zambra)
Zambra means ‘Moorish festivity’. The zambra appears to have emerged at the beginnings of flamenco and is a form rarely played today. Today there is a dance, which actually consists of three dances: the Alboreá, the Cachucha and the Mosca, which mark three points in a gypsy wedding. The zambra is an Arabian-inspired dance form, which is performed especially in Granada in the caves of the Sacro Monte. In earlier times “zambra” meant the performance as well as the location, in which it was performed. Zambras with their repetitive bass lines played with the thumb, and their typical Arabian melodies played with the 2nd, 3rd and 4th fingers on the guitar, evidence the closeness to the Arabian world.

7. En La Noche (In the Night) (Rondeña)
Spending the first night together – what unbelievable power, purity and inspiration for each person! This composition describes the depth of feelings as the togetherness progresses.
According to legend this form of flamenco originates with the “bandoleros” (bandits) of the rugged mountains around the city of Ronda. It is not clear if the name derives from the town of Ronda, or from the expression ‘ir a rondar’ (to follow a woman). It is a very old ‘Fandango abandolao’ with a strange melody, which is frequently used to end a malagueña. In this music a certain prevailing dissonant mood is achieved by de-tuning two strings on the guitar.

8. Recuerdos En Tremolitos (Memories in Tremolos) (Tremolo guitar solo)
I wrote this composition twenty years ago. Much has happened in the meantime. Time for remembering and time for being thankful.
The playing technique of the tremolo is similar to that of the classical guitar, on which it is played with thumb, 4th, 3rd and 2nd fingers. In flamenco it is played with thumb, 2nd, 4th, 3rd, 2nd fingers.

9. Porque? (Why?) (Granaina - guitar solo)
Why do some things happen, the bad as well as good? Often you can understand them, but you can’t find a real reason for them.
The granaina belongs to the group of the Levantes. It is sung and played freely and adopts, like the malagueña, the form of the fandango. Most of the experts think that Antonio Chacón, who lived in Granada for a period around 1890, invented it by using the melody of a malagueña as a base.

10. Paseo En La Selva Verde (Green Forest Promenade) (Percussion solo: Daniel “Topo” Gioia)
The candombe rhythm is the only African rhythm which has survived in the huge area of the Rio De La Plata in South America. This rhythm, mainly played in Uruguay, leads the listener on a romantic stroll through a beautiful live forest – one of the most tranquil and contemplative things lovers could do together. All of the bird calls and forest sounds were played and recorded by the percussionist in a single solo performance..

11. Volando (Flying) (Bulería Lenta)
Sometimes the inspiration for musical thoughts or ideas is sparked off by small, but significant and deep experiences with a person – as often happened to me.
In this piece the bulerías, actually a cante festero (festive song) of the gypsies with an infectious fast rhythm, is treated very gently, quietly and romantically.

12. Juntos En La Inspiración (Together in Inspiration) (Rumba)
After all the traditional roots of the Andalusian and Arabian cultures, this piece has a playful rhythm and melody, building a bridge to a more cosmopolitan and free musical existence. In a world that culturally moves ever closer together, this rumba can be interpreted by musicians everywhere.
The rumba, a “Cante de ida y vuelta“ of Afro-Cuban origins is a fast rhythm from Latin America. It became popular in Andalusia during the period of variety theatres, when singers increasingly adapted to the tango. One of the first to record rumbas was La Niña de los Peines. Later two more schools emerged: one in Catalonia, the Rumba Catalana and one in Madrid, the Caño Roto.