Located in the UK
Located in the USA
Located in Europe
- Carlos Surinach
Ritmo Jondo, Flamenco for Orchestra (1953)
- Associated Music Publishers Inc (World)
- 1(pic)1(ca)11/1110/timp.2perc/str; 3 hand clappers
- 20 min
Programme Note
The three Flamenco rhythms, “Ritmo Jondo”, were first performed in a concert of percussion music at the Museum of Modern Art, New York, on May 5, 1952. The separate movements of drawn from Spanish gypsy sources:
Bulerias: A gay, fast, Flamenco dance, improvisatory in character, with shifting rhythms. The dancer punctuates the guitar and vocal accompaniment with heel-stamping and finger-snapping, while the onlookers interject rhythmic hand-clapping and shouts to spur the dancer on.
Seata: A slow ritual song of Seville, sung in the streets during the Good Friday procession. Instruments are prohibited during this season; however, muffled drums are often employed, adding to the mournful mood of lamentation.
Garrotin: A violent temperamental dance of Flamenco origin, accompanied only by snatches of melody, sung by the dancer and the staccato clapping rhythms of the surrounding observers. Their loud cries of “Ole!” incite the dancer or ever wilder displays of passion.
Note to the performers—
The hand-clapping should be clear and distinct, sounding like percussion, and carefully blended in ensemble with the timpani and tamburo.
Bulerias: A gay, fast, Flamenco dance, improvisatory in character, with shifting rhythms. The dancer punctuates the guitar and vocal accompaniment with heel-stamping and finger-snapping, while the onlookers interject rhythmic hand-clapping and shouts to spur the dancer on.
Seata: A slow ritual song of Seville, sung in the streets during the Good Friday procession. Instruments are prohibited during this season; however, muffled drums are often employed, adding to the mournful mood of lamentation.
Garrotin: A violent temperamental dance of Flamenco origin, accompanied only by snatches of melody, sung by the dancer and the staccato clapping rhythms of the surrounding observers. Their loud cries of “Ole!” incite the dancer or ever wilder displays of passion.
Note to the performers—
The hand-clapping should be clear and distinct, sounding like percussion, and carefully blended in ensemble with the timpani and tamburo.
—Carlos Surinach
