La Tempranica

Notas

Juan Arnau and Carlos María Gómez: La Zarzuela, vol.. 2, p. 187.

Baltasar Saldoni: Diccionario Biográfico-Bibliográfico de Efemérides de Músicos Españoles, Ed. facsímil a cargo de Jacinto Torres, Madrid, 1986, 4 vols.

Julián Romea Parra: La Tempranica, Madrid, Sociedad de Autores Españoles, 1907.

El Heraldo de Madrid, 20-IX-1900.

El Liberal, 20-IX-1900.Juan Arnau and Carlos María Gómez: La Zarzuela, 4 vols., Madrid, Zacosa, 1979, vol. 4, p. 654.

Julián Romea Parra: La Tempranica, Madrid, Sociedad de Autores Españoles, 1907.

The song and dance known as the zapateado flamenco was developed in the middle of the nineteenth century. It was generally accompanied by the guitar, and in its dance version, the feet perform a rhythmic combination of sounds alternating between heel and toe movements.

The tango flamenco is a song and dance in 2/4 or cut common timing. Although in this case it is in 6/8, the two-beat metre is still conserved, there being three notes per beat instead of two. The tango is considered one of the basic flamenco styles and its origins date back to the earliest manifestations of this art form, although the first written references didn’t appear until the middle of last century.

Numerous theories exist regarding the origins of the tango, the most popular of which being that of a Latin-American origin, and more concretely a Cuban one. It would have arrived in Cuba from Andalusia, and have been adapted to the peculiarities of the songs and dances characteristic of this country. On the other hand, other scholars, such as Manuel Ríos Ruiz, Ricardo Molina, Antonio Mairena and José Blas Vega believe the tango flamenco is a mere derivation of the logical evolutionary process of the songs and dances present since ancient times in the Andalusian tradition. The tango was at the height of its popularity during the nineteenth century, becoming a very popular form among zarzuela composers, who were frequently given to including it in their works. Notwithstanding, the tangos that appear in zarzuelas are not a literal model of the low-Andalusian tangos, all their weight resting on the text, which are more “spicy”, more intentional. It is even said that a combination of these tangos zarzueleros with the most melodious and sensorial Andalusian ones, could have been the origin of the Creole tangos known today.