Энрике Эль Меллизо

Энрике Эль Меллизо

Энрике Хименес Фернандес (1 декабря 1848–30 мая 1906 г.), известный как Энрике Эль Меллизо , был известным певцом фламенко , самым влиятельным в развитии стилей Кадиса Фламенко. Вместе с Сильверо Франконетти и Антонио Чаконом он считается одной из самых важных фигур в развитии фламенко. Он был автором одного из самых важных стилей Малагья и, как сообщается, создал или разработал некоторые стили Soleares , Alegrías и Tangos . Устная традиция также гласит, что он был создателем Тиньос .

Биография

Согласно его свидетельству о рождении, он родился в Кадисе , сын Антонио Хименеса, бойня. Имя матери опущено, отмечая, что он был незаконнорожденным сыном. Несмотря на его прозвище Меллизо (то есть близнеца ), у него не было братьев -близнецов, но унаследовал прозвище своего отца.

He inherited his father's profession, and performed only occasionally in the cafés cantante in Cádiz, refusing to become a professional. He never travelled out of his native town. Nevertheless, his fame grew in all Andalusia, and singers from other towns travelled to Cádiz to hear him. According to some testimonies, he had a moody character. Although he was normally a sociable character, he fell into crises in which he escaped all company in solitary places. He died at 58 years old, of tuberculosis. Although at the time of his death, some flamenco recordings have already been done, he never went into a recording studio. His styles, though, were preserved by other singers, mainly from Cádiz, who knew them directly or indirectly. His legacy has been kept alive by singers like his brothers Enrique and Antonio, Aurelio Sellé, El Niño de la Isla, Manolo Vargas, La Perla de Cádiz, Chaquetón, Pericón de Cádiz, Manolo Caracol, Chano Lobato and many others.

His musical legacy

The main creation of El Mellizo was his malagueña, totally innovative at the time, which approximated this style, originally not linked to gypsies, to the more gypsy style of singing. According to tradition, he created that malagueña style after a love disappointment in which he fell into one of his periods of solitary wandering. During that time, he went into a church and was inspired by a priest singing the preface to the Catholic mass. In remembrance of this, the preface of the mass is sometimes sung nowadays as an introduction to his malagueña. The style certainly bears some reminiscence to a liturgic chant.

According to the opinion of critics, it was Enrique el Mellizo who first sang the malagueña as a cante libre, that is, without a definite metre or rhythmic regular pattern.

Other contributions that are attributed to him (mostly based on oral tradition and unproved) are the following:

• He was the first to sing Alegrías as cante para escuchar (song for listening), as opposed to cante para bailar (song for dancing). Originally, Alegrías were a palo (musical form) intended for dance only. He would have enriched the melodic line to make them apt as recital pieces.
• He was the creator of tientos, basing its melodies on styles of flamenco Tangos. This theory is contested by critics who think it was singer Diego El Marruro who did this.
• He created or developed several styles of soleá
• He contributed to the development of flamenco tangos, enriching it musically.
• He was the creator of the saeta por seguiriyas, applying features of the seguiriya to traditional saetas
• He also created or developed several seguiriya styles.

External links

• Biography (in Spanish)
• Samples of Malagueña del Mellizo
• Образцы стилей сигуия от El Mellizo
• Образцы стилей Soleares от близнецов

Источники

Алварес Кабаллеро, Ангель "Энрике Эль Меллизо, гигант" в El Cante Flamenco , Редакционный альянс, Мадрид, 1998

Мартин Салазар, Хорхе: Лос -Кантес Фламенко , провинциальный совет Гранады