During the sixteenth century endechas and romances, Jewish cultural element par excellence, were the dominant means of expression in the Canary Islands. For centuries were the shaped most important artistic expression after the conquest of the Canary Islands.
All songs in Canary Islands had a strong influence from sephardi world. The chosen instrumentation includes four sounds: the inevitable presence of Renaissance guitar and flutes; proximity influences of North African culture, with darbouka bendir and indigenous Berber with pitos, chacaras .....
In Canary survived Sephardic songs and dances more than anywhere else in the world . Note that many of them have been altered slightly in their lyrics or melodies but even today there are many Sephardic songs in the Canary Islands few examples are:
Textos sefardita y del romancero de Tenerife. Melodía sefardita-
A LA UNA NACÍ YO
Romance de Garafía. La Palma. Melodías sefardita y del romancero popular canario.
CASOME MI MADRE
Romance de Gran Canaria. Melodías del romancero de San Nicolás de Tolentino, Agüimes y Telde-Gran Canaria.
LA INFANTINA
Romance de La Palma. Melodía sefardita y Tajaraste (baile) de la Gomera
OYE, ALMA, LA TRISTEZA
Romance de La Oliva-Fuerteventura. Melodía de Gran Canaria y Canarios.
LAS TRES CAUTIVAS
Romance de La Palma. Melodía sefardita
ENDECHA POR LA MUERTE DE GUILLÉN PERAZA
Romance de Lanzarote. Melodía sefardita.
LA HERMANA CAUTIVA
De G. Sanz y F. Guerau
XÁCARAS Y CHÁCARAS
Textos de Gran Canaria y El Hierro. Melodía popular canaria según D. Pisador
ENDECHAS CANARIAS
Romance de Gran Canaria. Melodía sefardita y Canto de la Meda del Hierro
QUIÉN TUVIERA LA VENTURA
Canciones de cuna sefardita, de Santa Cruz de La Palma y de Tacoronte Tenerife.
NANI, NANI Y ARRORRÓ
Romance de La Palma. Melodía sefardita.
CAMINO DE BELÉN
POR QUE LLORAS BLANCA NINA, MORENA ME LLAMAN and other.
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