The wind cried / to see how big the wounds were / in my heart.Īl hombre que está queriendo / Jasta e noche en la cama / Er queré le quita er sueño.įor the man whose love is deep / Even at night in his bed / Love robs him of sleep. There’s a halo round the moon / my love has died.Įl aire lloró / al ver las “duquitas” tan grandes / e mi corazón. Tomorrow, we will continue the Lorca examination with a discussion of his essay “Juego y teoría del duende”. Quite simply, c ante jondo stirs the blood. I have included some of my favorite lyrics below, as well as a magnificent video showcasing the art form in motion. With two lines, the poets sing their sorrow with a poignancy that no novelist could duplicate if they wrote a thousand pages. It begins with a single, soaring voice, followed by a lyric stretching toward the stars. The key component of deep song is the gypsy siguiriya. For Lorca, however, deep song was the purest Spanish music, “akin to the trilling of birds, the crowing of the rooster, and the natural music of forest and fountain.” This contention is still debated today, and most believe that cante jondo is a piece of flamenco, rather than a separate entity. It was Lorca’s contention that flamenco was “a mere consequence” of deep song. Lorca feared that deep song would be lost or overshadowed by flamenco, which was wildly popular in cafés in the 1920’s. It became something of an obsession for Federico García Lorca, who delivered a lecture urging Spanish youth to preserve the art form. This musical form, highly influenced by the gypsy presence in Spain, flourished in rural towns and the countryside. Today I want to touch on the Andalusian music known as cante jondo, or “deep song”. “When I sing as I please, I taste blood in my mouth.”
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