A journey to the heart of the flamenco music of Jorge Pardo, an essential…
Great Performances - Albéniz: Portraits of Spain
- Description
- Reviews
- Citation
- Cataloging
- Transcript
View on the Pragda STREAM site
Like Scarlatti before him, Isaac Albeniz was a keyboard composer captivated by Spain. Scott Yoo travels with guitarist Manuel Barrueco and pianist Juan Perez Floristan through the great Spanish cities of Andalusia, to see how Albeniz captured their culture, history, and sounds in a brilliant series of musical portraits, his most celebrated works.
Series Description
Join Scott Yoo, renowned violinist and conductor of the Mexico City Philharmonic, in Now Hear This, a new documentary miniseries presented by Great Performances that merges music, storytelling, and travel, as he chases the secret histories of some of the greatest music ever written.
Citation
Main credits
Lynch, Harry (film director)
Lynch, Harry (screenwriter)
Lynch, Harry (film producer)
Yoo, Scott (host)
Other credits
Cinematography, Brian Nelligan, Therese Tran; editing, Ginny Patrick, Yusef Svačina.
Distributor subjects
Culture + Identity; Music; Iberian Studies; BiographyKeywords
00:00:00.000 --> 00:00:01.185
Viewers like you make
this program possible.
00:00:01.209 --> 00:00:03.459
Support your local PBS station.
00:00:05.417 --> 00:00:07.101
Scott Yoo: Coming up
on "Great Performances,"
00:00:07.125 --> 00:00:08.476 line:20%
I'm Scott Yoo.
00:00:08.500 --> 00:00:11.101
Isaac Albéniz was
a Spanish composer
00:00:11.125 --> 00:00:13.727
who drew his
inspiration from Spain.
00:00:13.751 --> 00:00:16.226 position:80%
Man: And he tried to
capture, let's say,
00:00:16.250 --> 00:00:18.351
the essence of Spain.
00:00:18.375 --> 00:00:20.101 position:80%
He was trying to get
all of these colors
00:00:20.125 --> 00:00:22.768 position:80%
of our country
into his music.
00:00:22.792 --> 00:00:24.935
[Piano plays]
00:00:24.959 --> 00:00:26.351
Yoo: He created hundreds
of musical portraits
00:00:26.375 --> 00:00:29.101
of its cities and towns,
mostly in Andalusia.
00:00:29.125 --> 00:00:32.727 position:80%
Woman: The real reason
why I brought you here
00:00:32.751 --> 00:00:34.602
is because the guitar
would sound amazing here.
00:00:34.626 --> 00:00:36.976
Yoo: To appreciate
how he did it,
00:00:37.000 --> 00:00:38.643
I needed to understand
the character of its people...
00:00:38.667 --> 00:00:41.976
@La guitarra...
00:00:42.000 --> 00:00:43.185
@digamos que te saca el alma.
00:00:43.209 --> 00:00:45.935
[Bells tolling]
00:00:45.959 --> 00:00:47.459
Yoo: the personality
of its cities...
00:00:49.542 --> 00:00:52.476 position:20%
the flavor of its heritage.
00:00:52.500 --> 00:00:55.083
[Men singing in Spanish]
00:00:57.500 --> 00:01:00.643
Come with me on "Now Hear This"
00:01:00.667 --> 00:01:04.185
to get to know Albéniz
through "Portraits of Spain."
00:01:04.209 --> 00:01:08.000
♪
00:01:14.417 --> 00:01:16.167
[Piano playing] ♪
00:01:17.334 --> 00:01:21.268
Yoo: Spain.
00:01:21.292 --> 00:01:22.894
I first came here
a few years ago to get to know
00:01:22.918 --> 00:01:25.643
the music of Domenico Scarlatti,
00:01:25.667 --> 00:01:28.375
and since then,
it's been etched in my memory...
00:01:31.792 --> 00:01:35.125
the light...
00:01:37.000 --> 00:01:39.083
the landscape...
00:01:40.542 --> 00:01:42.999
the architecture...
00:01:44.792 --> 00:01:46.292
the food...
00:01:47.459 --> 00:01:49.125
the music and dance.
00:01:50.959 --> 00:01:53.810
All of these inspired
a late 19th-century composer
00:01:53.834 --> 00:01:57.518
Isaac Albéniz to capture them
00:01:57.542 --> 00:02:00.584
in musical portraits of Spain.
00:02:04.334 --> 00:02:08.852 line:20%
40 years ago,
Manuel Barrueco adapted
00:02:08.876 --> 00:02:11.685 line:20%
the piano works of Albéniz
for the guitar.
00:02:11.709 --> 00:02:16.018 line:20%
Today, Juan Pérez Floristán
champions them
00:02:16.042 --> 00:02:18.727 line:20%
on their original instrument.
00:02:18.751 --> 00:02:23.185
Manuel and Juan would be
my guides to Albéniz.
00:02:23.209 --> 00:02:26.542
♪
00:02:28.083 --> 00:02:31.894
Bravo.
00:02:31.918 --> 00:02:33.101
Thank you.
00:02:33.125 --> 00:02:34.101
Beautiful. So Albéniz.
00:02:34.125 --> 00:02:36.393
I don't know
his music very well.
00:02:36.417 --> 00:02:37.476
Tell me about him.
00:02:37.500 --> 00:02:39.101
Well, he's probably
the greatest,
00:02:39.125 --> 00:02:42.018 position:80%
most famous
guitar composer
00:02:42.042 --> 00:02:43.602 position:80%
that never wrote
for the guitar.
00:02:43.626 --> 00:02:44.935
[Laughter]
00:02:44.959 --> 00:02:46.643
I mean, he mainly composed
for this instrument,
00:02:46.667 --> 00:02:49.185
for the piano,
because he was himself
00:02:49.209 --> 00:02:51.351
a virtuoso,
a piano virtuoso,
00:02:51.375 --> 00:02:54.810
and he tried to capture
in his music,
00:02:54.834 --> 00:02:57.810
let's say,
the essence of Spain.
00:02:57.834 --> 00:02:59.976
For example, you have
the Phrygian mode,
00:03:00.000 --> 00:03:02.560
which is so typical
from flamenco,
00:03:02.584 --> 00:03:04.435
which sounds like this.
00:03:04.459 --> 00:03:06.042
♪
00:03:07.375 --> 00:03:11.351
Not only that.
00:03:11.375 --> 00:03:13.101 position:20%
he tried to capture the spirit
of some cities from Spain.
00:03:13.125 --> 00:03:16.185
He composed pieces naming
them Sevilla, Cadiz,
00:03:16.209 --> 00:03:20.143
um, Jerez, Asturias,
many, many of them.
00:03:20.167 --> 00:03:24.975
So he was very interested
in Spain as a source
00:03:24.999 --> 00:03:28.018
of inspiration
for his music,
00:03:28.042 --> 00:03:30.018
and of course, another source
of inspiration for him
00:03:30.042 --> 00:03:32.268
was the king
of the Spanish instruments,
00:03:32.292 --> 00:03:35.351
which is the Spanish guitar,
la guitarra española.
00:03:35.375 --> 00:03:38.768
The open strings,
the tremolando,
00:03:38.792 --> 00:03:41.059
the arpeggios,
the repeated notes,
00:03:41.083 --> 00:03:43.643
all of that you would
rarely find in music
00:03:43.667 --> 00:03:47.018
before this revolution,
00:03:47.042 --> 00:03:49.476
but after Albéniz,
that became a typical thing
00:03:49.500 --> 00:03:53.643
for Spanish
composers to do.
00:03:53.667 --> 00:03:55.810 position:80%
And It's funny.
The repeated note...
00:03:55.834 --> 00:03:57.143
Yes.
00:03:57.167 --> 00:03:58.351 position:80%
you know, the
one note repeated,
00:03:58.375 --> 00:03:59.727
that's a very difficult
thing in the piano,
00:03:59.751 --> 00:04:01.143 position:80%
and that's an easy
thing on the guitar.
00:04:01.167 --> 00:04:02.334
♪
00:04:07.334 --> 00:04:17.334
♪
00:04:28.417 --> 00:04:33.143
So that's much harder
on the piano, I would imagine.
00:04:33.167 --> 00:04:35.435
It is, it is.
00:04:35.459 --> 00:04:36.810 position:20%
Hands overlap constantly,
00:04:36.834 --> 00:04:38.810 position:20%
and then we have the jumps.
00:04:38.834 --> 00:04:40.351
You have it
in the same place. We don't.
00:04:40.375 --> 00:04:42.810
If you want, I can show you
now "Asturias" on the piano.
00:04:42.834 --> 00:04:44.476
Please, yeah.
00:04:44.500 --> 00:04:45.792
How it sounds.
00:04:46.959 --> 00:04:48.876
♪
00:04:53.876 --> 00:05:03.852
♪
00:05:03.876 --> 00:05:08.393
Yoo, voice-over: Only
a Spanish composer would write
00:05:08.417 --> 00:05:10.268
a piano piece so inspired
by the guitar
00:05:10.292 --> 00:05:12.685
that it fits better
on that instrument.
00:05:12.709 --> 00:05:16.975
Albéniz created music
with such Spanish personality
00:05:16.999 --> 00:05:20.435
that to fully appreciate it
I'd need to understand
00:05:20.459 --> 00:05:23.059
the personality
of Spain itself...
00:05:23.083 --> 00:05:25.250
♪
00:05:28.083 --> 00:05:32.393
and I'd start with its sound,
00:05:32.417 --> 00:05:34.351
its soul, the guitar,
00:05:34.375 --> 00:05:37.310
and with the people
00:05:37.334 --> 00:05:38.643
who bring it to life.
00:05:38.667 --> 00:05:40.226
In Granada, Manuel
and I went to see one
00:05:40.250 --> 00:05:42.834
of Spain's great makers
and philosophers of the guitar
00:05:43.125 --> 00:05:47.101
Rafael Moreno
00:05:47.125 --> 00:05:49.018 position:20%
with Deya Pijuan, who runs
00:05:49.042 --> 00:05:50.918
the Institute for the Promotion
of the Guitar.
00:05:53.417 --> 00:05:56.667
@Es muy importante amarútu profesión, creo.
00:05:57.083 --> 00:06:01.185
@Hacer la cosa bien...
00:06:01.209 --> 00:06:03.268
@Hacer la cosa bien cuestaúmenos que hacerla mala.
00:06:03.292 --> 00:06:08.143
@Yo no quiero dinero; yo loúque quiero dejar un legado.
00:06:08.167 --> 00:06:11.918
@He restaurado unasúguitarras de maestros
00:06:14.709 --> 00:06:19.018
@antiguos,úy he aprendido mucho.
00:06:19.042 --> 00:06:20.976 line:20%
Ole.
00:06:21.000 --> 00:06:22.143
@Porque una guitarra,
00:06:22.167 --> 00:06:23.768
@cuando la abra,úes como un libro.
00:06:23.792 --> 00:06:25.518
@Si sabes leer, no?
00:06:25.542 --> 00:06:27.976 line:20%
Nice.
00:06:28.000 --> 00:06:30.143 line:20%
Cada guitarrero lo da
una forma diferente?
00:06:30.167 --> 00:06:32.959
@Sí, cada uno esúpersonal en su trabajo.
00:06:33.167 --> 00:06:36.935 line:20%
OK.
00:06:36.959 --> 00:06:38.476
@Que debe de serúasí, creo yo.
00:06:38.500 --> 00:06:41.059
@Como inclusoútocar la guitarra.
00:06:41.083 --> 00:06:44.792
@El mismo instrumento enúdos manos distintas
00:06:45.209 --> 00:06:49.185
@no sonará igual.
00:06:49.209 --> 00:06:50.894
@La misma obra.
00:06:50.918 --> 00:06:53.042
@La guitarra, creo...
00:06:53.209 --> 00:06:57.435
@digamos que te saca el alma.
00:06:57.459 --> 00:07:01.101
@Si tú eres agresivo,útocas agresivo.
00:07:01.125 --> 00:07:04.101
@Si eres dulce, tocas dulce.
00:07:04.125 --> 00:07:06.560
@La sacará más seguro.
00:07:06.584 --> 00:07:08.059 line:20%
Just like everything
in life.
00:07:08.083 --> 00:07:09.226
@Practicamente. Toda la vida.
00:07:09.250 --> 00:07:11.810
Would you like to play
one of his instruments?
00:07:11.834 --> 00:07:13.310 position:80%
I would love to play
one of his instruments.
00:07:13.334 --> 00:07:15.810 line:20%
Yoo: Está bien?
00:07:15.834 --> 00:07:16.876
@Vale. Sí.
00:07:20.250 --> 00:07:24.393
[Manuel playing guitar]
00:07:24.417 --> 00:07:26.334
♪
00:07:31.334 --> 00:07:41.334
♪
00:07:46.167 --> 00:07:51.018
Yoo: Outside of Granada,
in the tiny town of Lanjarón,
00:07:51.042 --> 00:07:54.351
we visited husband and wife
guitar makers
00:07:54.375 --> 00:07:56.459
Ana Espinosa and René Baarslag.
00:07:59.417 --> 00:08:01.751
The beginning is that.
00:08:03.918 --> 00:08:07.268 position:80%
Is this made
from a tree?
00:08:07.292 --> 00:08:08.852
From animals.
00:08:08.876 --> 00:08:10.310
This is just like,
uh, Stradivari
00:08:10.334 --> 00:08:12.226 position:80%
or other
violin makers?
00:08:12.250 --> 00:08:14.476
I mean, this is
the same now
00:08:14.500 --> 00:08:16.560 position:20%
that it was 300 years ago,
400 years ago.
00:08:16.584 --> 00:08:18.310 position:80%
Yes. Yes.
Incredible.
00:08:18.334 --> 00:08:21.226
Yes. Ha ha ha!
00:08:21.250 --> 00:08:23.226
So every time you use
this glue,
00:08:23.250 --> 00:08:25.935 position:80%
you have to do it fast.
00:08:25.959 --> 00:08:27.894
Yes.
00:08:27.918 --> 00:08:29.018 position:80%
Otherwise, it's no good.
00:08:29.042 --> 00:08:30.643
No.
00:08:30.667 --> 00:08:32.101
And What if you put it
in the wrong place?
00:08:32.125 --> 00:08:35.852
No, it's not possible.
00:08:35.876 --> 00:08:38.435
You cannot make
a mistake.
00:08:38.459 --> 00:08:39.810
No, you can't.
00:08:39.834 --> 00:08:42.709
♪
00:08:47.709 --> 00:08:57.685
♪
00:08:57.709 --> 00:09:01.185
René: The inlay in
the top of the guitar, it's more like
a signature
00:09:01.209 --> 00:09:03.018 position:80%
from the guitar builder
00:09:03.042 --> 00:09:04.935 position:80%
than the signature
that's on the paper.
00:09:04.959 --> 00:09:07.792
This one is something
you invent yourself.
00:09:11.834 --> 00:09:14.500
This mark.
00:09:16.000 --> 00:09:17.643
How many little wooden dots
are there in this,
00:09:17.667 --> 00:09:21.393
just what I'm holding?
00:09:21.417 --> 00:09:23.018
That's 120, 240,
I think.
00:09:23.042 --> 00:09:26.185
This is 240 dots?
00:09:26.209 --> 00:09:30.059 position:80% line:20%
No, maybe more.
00:09:30.083 --> 00:09:31.518 line:20%
[Laughter]
00:09:31.542 --> 00:09:32.768 line:20%
♪
00:09:32.792 --> 00:09:36.351 line:20%
Yoo: Is it a lonely life
to be a guitar maker?
00:09:36.375 --> 00:09:39.059
René: It's a lonely work, yes,
00:09:39.083 --> 00:09:41.042
but on the other hand, it's--
it's like a meditation job.
00:09:42.584 --> 00:09:47.226
You can't work a little
half-hour in this work.
00:09:47.250 --> 00:09:51.101
You have to work
2 or 3 hours,
00:09:51.125 --> 00:09:53.643
and you get in a very
profound concentration,
00:09:53.667 --> 00:09:56.935
which is not possible
in much jobs,
00:09:56.959 --> 00:10:00.018
which is the good side.
00:10:00.042 --> 00:10:01.810
And of course, it changes
because you work
00:10:01.834 --> 00:10:02.935
with your wife.
00:10:02.959 --> 00:10:04.602
Yeah, but you
can concentrate.
00:10:04.626 --> 00:10:08.101
We see each other
most of the day,
00:10:08.125 --> 00:10:10.643
so--ha ha--there's no
problem in the concentration,
00:10:10.667 --> 00:10:15.185
but it's better to
be together, yeah.
00:10:15.209 --> 00:10:17.727 position:80%
Yoo: What is it like to
hear your own instrument
00:10:17.751 --> 00:10:19.810
being played for you?
00:10:19.834 --> 00:10:21.894
He play,
but I don't play,
00:10:21.918 --> 00:10:23.268
but when I'm listening
to Manuel,
00:10:23.292 --> 00:10:26.810
for example,
it's very magical, no?
00:10:26.834 --> 00:10:29.810
This work, and finally
Manuel is coming,
00:10:29.834 --> 00:10:33.685
and he's playing. Ha ha!
00:10:33.709 --> 00:10:36.375
♪
00:10:41.125 --> 00:10:44.894
♪
00:10:44.918 --> 00:10:47.518 line:20%
Back in Granada,
Deya took us to the Bañuelo,
00:10:47.542 --> 00:10:50.643 line:20%
an ancient Moorish bath.
00:10:50.667 --> 00:10:53.685
Deya: It was built
around the 11th
00:10:53.709 --> 00:10:55.435 position:80%
or the 12th century,
00:10:55.459 --> 00:10:57.018
and it was used throughout
until the 16th century.
00:10:57.042 --> 00:11:00.435
A bath, meaning you took
a hot bath here?
00:11:00.459 --> 00:11:03.143
Oh, yes, yes, yes.
00:11:03.167 --> 00:11:04.935
You have the hot caldera,
the hot boiler under it.
00:11:04.959 --> 00:11:08.476
People would come here,
have the hot bath,
00:11:08.500 --> 00:11:10.727 position:80%
the warm bath,
the cold bath.
00:11:10.751 --> 00:11:12.143 position:80%
It's a spa.
Yeah, basically.
00:11:12.167 --> 00:11:14.602
But the real reason why
I brought you here is
00:11:14.626 --> 00:11:16.518
because I think,
Manuel, that a guitar
00:11:16.542 --> 00:11:18.226
would sound
amazing here.
00:11:18.250 --> 00:11:19.351
Really? You think so?
00:11:19.375 --> 00:11:20.560 position:80%
In this space, yes.
00:11:20.584 --> 00:11:21.518 position:80%
Let's give it a try.
00:11:21.542 --> 00:11:22.959
♪
00:11:27.959 --> 00:11:37.959
♪
00:12:27.959 --> 00:12:31.685 position:20%
Yoo: Above Granada, we'd visit
its great Moorish palace, the Alhambra, famed for its
architecture and design,
00:12:31.709 --> 00:12:35.643 position:20%
with historian and guide,
00:12:35.667 --> 00:12:37.042
María José Rubio.
00:12:39.500 --> 00:12:44.101
This looks like
classical Spanish design,
00:12:44.125 --> 00:12:47.560
to me anyway.
00:12:47.584 --> 00:12:49.059
Yeah, but it all comes
from the Moorish,
00:12:49.083 --> 00:12:51.059
the Muslim times.
00:12:51.083 --> 00:12:52.852
They used the two
basic shapes of geometry,
00:12:52.876 --> 00:12:56.351
which is the circle
and square.
00:12:56.375 --> 00:12:59.268
For example, if we see
the star here,
00:12:59.292 --> 00:13:01.810
it's an 8-point star,
which is made
00:13:01.834 --> 00:13:04.393
with a circle and two squares
rotated inside the circle.
00:13:04.417 --> 00:13:08.351
Mmm. Nice. And is
that deliberate?
00:13:08.375 --> 00:13:11.709
Yes, because for a square,
it represents Earth,
00:13:11.959 --> 00:13:16.101
the four cardinal points,
00:13:16.125 --> 00:13:18.185
and the circle
represents heaven.
00:13:18.209 --> 00:13:20.727
What about the colors?
00:13:20.751 --> 00:13:21.852
Tell me about
the colors.
00:13:21.876 --> 00:13:23.602
They are based on
the rotation
00:13:23.626 --> 00:13:27.393
and translation we can
find now in geometry,
00:13:27.417 --> 00:13:31.310
and we didn't know that
until we had computers.
00:13:31.334 --> 00:13:35.351
That's why we have congress
of mathematicians coming
00:13:35.375 --> 00:13:39.059
to study the Alhambra
because it's all here.
00:13:39.083 --> 00:13:42.976
There are mathematical
riddles encoded
00:13:43.000 --> 00:13:44.727
in the walls?
Yes.
00:13:44.751 --> 00:13:46.351 position:80%
Really?
It's not improvised.
00:13:46.375 --> 00:13:49.185 position:80%
Really?
00:13:49.209 --> 00:13:50.643
It's theoretical, yes.
00:13:50.667 --> 00:13:52.351
All mathematics, basically.
00:13:52.375 --> 00:13:53.602
That's incredible.
00:13:53.626 --> 00:13:54.876 position:80%
Come on.
I'll show you more.
OK.
00:13:55.999 --> 00:13:59.894
Maria: So this is
the traditional architecture
00:13:59.918 --> 00:14:02.602
in their houses.
00:14:02.626 --> 00:14:04.560
Very humble in the outside,
00:14:04.584 --> 00:14:07.727
and all the wealth
and the beauty in the inside.
00:14:07.751 --> 00:14:11.226
Yoo: Yeah. You can't tell
how beautiful this is
00:14:11.250 --> 00:14:12.602
from the outside.
00:14:12.626 --> 00:14:14.476
Maria: So we have here
another of the palaces
00:14:14.500 --> 00:14:16.792 position:80%
where we can enjoy the views
of the old city of Granada.
00:14:18.042 --> 00:14:22.751
Before this was built,
that was the old city.
00:14:23.834 --> 00:14:28.268 position:80%
Yoo: This view out
there is incredible.
00:14:28.292 --> 00:14:30.768 position:20%
So actually, we have a big
footprint of this culture,
00:14:30.792 --> 00:14:34.351
for example, in our language.
00:14:34.375 --> 00:14:36.560
One of the most beautiful,
my favorite word
00:14:36.584 --> 00:14:38.560
in Spanish, is ojalá.
00:14:38.584 --> 00:14:40.935
Comes from lau sha Allah,
ojalá, God willing.
00:14:40.959 --> 00:14:44.476 position:80%
It's Arabic.
00:14:44.500 --> 00:14:45.976
It's Moorish origin,
and we use that
00:14:46.000 --> 00:14:48.435
nowadays a lot actually,
00:14:48.459 --> 00:14:50.500
but also other words like,
for example, algodón.
00:14:51.167 --> 00:14:55.435
It's al quatan,
it's cotton.
00:14:55.459 --> 00:14:57.643
I see.
Your cotton.
00:14:57.667 --> 00:14:59.810
Alcohol is from
al kuhul, alcohol.
00:14:59.834 --> 00:15:03.727 position:80%
Alcohol is
a Moorish word.
00:15:03.751 --> 00:15:05.727 position:80%
Yeah.
No kidding.
00:15:05.751 --> 00:15:07.351
Almost all the words
beginning
00:15:07.375 --> 00:15:09.059
with al comes from...
00:15:09.083 --> 00:15:11.602 position:80%
Algebra.
00:15:11.626 --> 00:15:12.976
Yeah, algorithm.
00:15:13.000 --> 00:15:14.059
Algorithm.
Yes.
00:15:14.083 --> 00:15:15.226 position:80%
No kidding.
00:15:15.250 --> 00:15:16.518
All the words
like azúcar.
00:15:16.542 --> 00:15:19.393
It comes from
al sukar, sugar.
00:15:19.417 --> 00:15:22.351
How many Moorish words
made their way
00:15:22.375 --> 00:15:24.310
into the Spanish
language?
00:15:24.334 --> 00:15:25.976
It's about 10%
of the Spanish vocabulary...
00:15:26.000 --> 00:15:28.810
That's a lot!
That's a lot.
00:15:28.834 --> 00:15:30.185
comes from the Andalusian
Moorish dialect.
00:15:30.209 --> 00:15:32.935 position:80%
No kidding.
00:15:32.959 --> 00:15:34.143
Also in our character,
00:15:34.167 --> 00:15:36.226
we have the Mediterranean
character
00:15:36.250 --> 00:15:38.018
all around
the Mediterranean.
00:15:38.042 --> 00:15:40.435
We say,
"One face, one race."
00:15:40.459 --> 00:15:43.542
It's in our genes.
00:15:45.459 --> 00:15:49.310
Yoo: We explored this with Juan
00:15:49.334 --> 00:15:51.351
at the Foundation
of Three Cultures,
00:15:51.375 --> 00:15:53.226
which celebrates
the Moorish, Jewish,
00:15:53.250 --> 00:15:55.393
and Christian cultural exchange
of the Mediterranean.
00:15:55.417 --> 00:15:59.226
[Juan playing piano]
00:15:59.250 --> 00:16:01.459
♪
00:16:06.459 --> 00:16:16.459
♪
00:16:56.459 --> 00:16:59.393
Bravo.
00:16:59.417 --> 00:17:01.393
Thank you.
00:17:01.417 --> 00:17:02.852
So That was
the "Albaicín."
00:17:02.876 --> 00:17:04.727
Have you been
to el Albaicín?
00:17:04.751 --> 00:17:06.975
Is that the thing you can
see from the Alhambra?
00:17:06.999 --> 00:17:08.810 position:80%
Absolutely.
It's incredible.
00:17:08.834 --> 00:17:10.685
Stunning, right?
It's incredible.
00:17:10.709 --> 00:17:12.727
So Albaicín was
the Arabic Moorish quarter,
00:17:12.751 --> 00:17:16.727
neighborhood.
00:17:16.751 --> 00:17:18.143
You can see that when
you walk through it,
00:17:18.167 --> 00:17:20.101
the streets, how they are
like this and so narrow,
00:17:20.125 --> 00:17:23.518
and, you know, even
the mystery of what
00:17:23.542 --> 00:17:26.560
are you going to encounter
around the corner.
00:17:26.584 --> 00:17:28.894
I think that mystery,
it's very well encapsulated
00:17:28.918 --> 00:17:31.810
in the beginning
of the piece of "El Albaicín."
00:17:31.834 --> 00:17:35.417
♪
00:17:38.626 --> 00:17:42.852
It's this mysterious theme.
00:17:42.876 --> 00:17:44.810
You don't know what's
going to happen,
00:17:44.834 --> 00:17:45.894
and then mayhem unfolds,
00:17:45.918 --> 00:17:48.685
all the music, the sound,
the fire, and comes this.
00:17:48.709 --> 00:17:52.250
♪
00:17:57.500 --> 00:18:01.685
And listen to this scale.
00:18:01.709 --> 00:18:03.125
♪
00:18:04.709 --> 00:18:09.268
It's the Moorish quarter,
no doubt about it,
00:18:09.292 --> 00:18:11.975
but the other thing is that
this piece, "El Albaicín,"
00:18:11.999 --> 00:18:14.143
is so pianistic.
00:18:14.167 --> 00:18:16.685
Now, you take
"Torre Bermeja," for example,
00:18:16.709 --> 00:18:18.727
another piece by Albéniz,
00:18:18.751 --> 00:18:20.768
and there you still find
this mixture
00:18:20.792 --> 00:18:22.894
of pianistic style
but also guitaristic style.
00:18:22.918 --> 00:18:26.975
For example, for me,
the beginning would sound
00:18:26.999 --> 00:18:30.125
perfect on a guitar,
which does like this.
00:18:30.626 --> 00:18:34.375
♪
00:18:39.375 --> 00:18:49.375
♪
00:18:50.667 --> 00:18:55.059
Doesn't it?
Manuel: Yeah, it does.
00:18:55.083 --> 00:18:57.018
So do you play
those notes
00:18:57.042 --> 00:18:58.393
when you play
this piece?
00:18:58.417 --> 00:18:59.351
Yeah, I do.
00:18:59.375 --> 00:19:00.935
It's just that
the order of the notes.
00:19:00.959 --> 00:19:02.768
You know...
Ah!
00:19:02.792 --> 00:19:04.268
you have these groups
of 3s, you know,
00:19:04.292 --> 00:19:05.768 position:20%
and the way it is,
the second, third, and...
00:19:05.792 --> 00:19:07.602
♪ Ta ka ta da da da da ♪
00:19:07.626 --> 00:19:09.143
And then guitar
that becomes--
00:19:09.167 --> 00:19:10.393
You don't do that?
00:19:10.417 --> 00:19:11.976
It's possible,
but it becomes very awkward.
00:19:12.000 --> 00:19:14.393 position:80%
Can you show me?
00:19:14.417 --> 00:19:15.685
Yeah, sure.
This is what's written.
00:19:15.709 --> 00:19:18.310 position:80%
That's not good?
00:19:18.334 --> 00:19:20.476
Is that comfortable
for you?
00:19:20.500 --> 00:19:21.643
Not at all.
Ha! OK.
00:19:21.667 --> 00:19:22.894 position:80%
So what do you play?
00:19:22.918 --> 00:19:24.310
I do.
00:19:24.334 --> 00:19:26.226
Aha. Slightly
different.
00:19:26.250 --> 00:19:28.226
But you see, I think
at the end of the day,
00:19:28.250 --> 00:19:30.560
composers are trying to use
our instruments to get
00:19:30.584 --> 00:19:33.976
to an idea which
is unattainable.
00:19:34.000 --> 00:19:37.268
Even the middle section.
00:19:37.292 --> 00:19:39.185
Is that pianistic,
guitaristic,
00:19:39.209 --> 00:19:41.185
or even maybe it's a singer
accompanied by a guitarist,
00:19:41.209 --> 00:19:43.768
like a serenade.
00:19:43.792 --> 00:19:46.500
♪
00:19:47.999 --> 00:19:52.685
And the singer on top of that
or even two singers.
00:19:52.709 --> 00:19:56.209
You could imagine
two female singers singing.
00:19:56.459 --> 00:20:00.209
♪
00:20:04.125 --> 00:20:08.101
A man responds.
00:20:08.125 --> 00:20:09.602
♪
00:20:09.626 --> 00:20:12.810 position:80%
Wow. He really pushed
the piano to its limits.
00:20:12.834 --> 00:20:14.894
Absolutely.
00:20:14.918 --> 00:20:16.435
Imagination is more
powerful than instruments,
00:20:16.459 --> 00:20:18.935
I would say.
00:20:18.959 --> 00:20:20.727
Beautiful.
00:20:20.751 --> 00:20:22.476
[Manuel playing guitar]
00:20:22.500 --> 00:20:24.167
♪
00:20:24.999 --> 00:20:28.751
♪
00:20:33.751 --> 00:20:43.751
♪
00:21:08.834 --> 00:21:12.584
♪
00:21:17.584 --> 00:21:27.584
♪
00:21:34.209 --> 00:21:36.894
Yoo: You know, I heard that
00:21:36.918 --> 00:21:38.518
Córdoba was at one point
00:21:38.542 --> 00:21:39.935
the most advanced city
in the world.
00:21:39.959 --> 00:21:42.310 position:80%
Manuel: It was!
And they were ahead
00:21:42.334 --> 00:21:44.226
in many fields--
math, science,
00:21:44.250 --> 00:21:47.018 position:80%
the arts,
also literature.
00:21:47.042 --> 00:21:49.476
They translated a lot
of the Greek works
00:21:49.500 --> 00:21:51.268
into Arabic,
and then other Europeans
00:21:51.292 --> 00:21:54.018
would translate
into their languages.
00:21:54.042 --> 00:21:56.351
It was apparently also
very beautiful, very clean.
00:21:56.375 --> 00:21:59.518
They had running water,
they had sewage,
00:21:59.542 --> 00:22:01.852 position:80%
so it didn't smell
like I know like a lot
00:22:01.876 --> 00:22:05.918
of other cities did
at the time.
00:22:08.626 --> 00:22:13.310
So It's my understanding
that this place is called
00:22:13.334 --> 00:22:15.268
the Alcázar
of the Catholic Kings.
00:22:15.292 --> 00:22:18.125
So it's already
a combination of Moorish,
00:22:19.250 --> 00:22:23.476
"alcázar,"
and Catholicism.
00:22:23.500 --> 00:22:26.018
This is the start of
the Catholic era of Spain.
00:22:26.042 --> 00:22:29.685
That's correct, yeah.
00:22:29.709 --> 00:22:30.975
And it's fascinating to me.
00:22:30.999 --> 00:22:32.351
You see the layers
of civilization.
00:22:32.375 --> 00:22:34.435
There's the Roman layer
with the pillars,
00:22:34.459 --> 00:22:36.143
and then there's
a Moorish layer,
00:22:36.167 --> 00:22:38.476
and then suddenly after that,
you have the Catholic layer.
00:22:38.500 --> 00:22:41.727 position:80%
Actually, I'm told
that inside is the desk
00:22:41.751 --> 00:22:44.268
on which Columbus
signed the agreements
00:22:44.292 --> 00:22:46.852 position:80%
for his trips
to the New World, so--
00:22:46.876 --> 00:22:49.435
In this building?
00:22:49.459 --> 00:22:50.685 position:80%
In this building, yeah.
00:22:50.709 --> 00:22:51.975
It's incredible.
00:22:51.999 --> 00:22:53.602
You want to go inside?
Yeah.
00:22:53.626 --> 00:22:55.435
[Manuel thumps guitar]
00:22:55.459 --> 00:22:58.602
[Thump]
00:22:58.626 --> 00:23:01.751
♪
00:23:02.042 --> 00:23:06.560
Manuel: This place is
also a museum,
00:23:06.584 --> 00:23:08.768 position:80%
and this here, it's
a second-century Roman,
00:23:08.792 --> 00:23:12.768
actually a floor,
00:23:12.792 --> 00:23:14.226 position:80%
that was found
in Córdoba in '59,
00:23:14.250 --> 00:23:16.059 position:80%
and it was brought
and assembled here.
00:23:16.083 --> 00:23:18.435
Wow.
00:23:18.459 --> 00:23:20.560
Can you imagine how
difficult this was
00:23:20.584 --> 00:23:23.143
to put back together
and not on a floor, on a wall?
00:23:23.167 --> 00:23:26.810
I cannot imagine.
00:23:26.834 --> 00:23:27.810
It's impossible.
00:23:27.834 --> 00:23:29.768
So Córdoba really was
a melting pot
00:23:29.792 --> 00:23:33.476
of first the Romans,
then the Moorish influence,
00:23:33.500 --> 00:23:37.852
then the Christian
influence.
00:23:37.876 --> 00:23:39.185
There's
a Jewish influence, too.
00:23:39.209 --> 00:23:40.351
As well, yes.
00:23:40.375 --> 00:23:41.393
And now us.
00:23:41.417 --> 00:23:42.792
♪
00:23:47.792 --> 00:23:57.768
♪
00:23:57.792 --> 00:24:01.518
♪
00:24:01.542 --> 00:24:05.292
♪
00:24:10.292 --> 00:24:20.292
♪
00:24:31.250 --> 00:24:35.143
[Tolling]
00:24:35.167 --> 00:24:38.250
♪
00:24:43.250 --> 00:24:53.250
♪
00:24:59.626 --> 00:25:03.310 line:20%
[Juan playing piano]
00:25:03.334 --> 00:25:05.500
♪
00:25:08.500 --> 00:25:12.250
♪
00:25:17.250 --> 00:25:27.250
♪
00:26:47.250 --> 00:26:50.476 position:20%
Yoo: Early in the morning,
00:26:50.500 --> 00:26:51.935
at the famous fish market
of Jeréz,
00:26:51.959 --> 00:26:54.185
probably the only one
in the world
00:26:54.209 --> 00:26:56.143
where the fishmongers sing
for their supper,
00:26:56.167 --> 00:26:58.894
chef Julián Olivares is
their first customer,
00:26:58.918 --> 00:27:02.059
in search
of the freshest seafood.
00:27:02.083 --> 00:27:04.375
♪
00:27:12.959 --> 00:27:17.059
[Man singing in Spanish]
00:27:17.083 --> 00:27:19.351
[Piano continues]
00:27:19.375 --> 00:27:21.459
♪
00:27:25.667 --> 00:27:29.518
Ha ha ha!
00:27:29.542 --> 00:27:31.560
[Cheering]
00:27:31.584 --> 00:27:33.834
♪
00:27:35.417 --> 00:27:39.935
Yoo: Jesús, what fish
do you have here?
00:27:39.959 --> 00:27:42.018 line:20%
Esto es
maravilloso todo.
00:27:42.042 --> 00:27:43.975 position:80% line:20%
Tengo pescado y marisco
muy fresco y muy bueno.
00:27:43.999 --> 00:27:46.351
@Is that boquerones?
00:27:46.375 --> 00:27:47.602 position:80% line:20%
Boquerones.
00:27:47.626 --> 00:27:48.643 position:80% line:20%
Boquerones plateado.
00:27:48.667 --> 00:27:50.310
@Mi favorito.
00:27:50.334 --> 00:27:51.643 position:80% line:20%
Ha ha! Y el mío.
00:27:51.667 --> 00:27:54.226
@Where did thisúfish come from?
00:27:54.250 --> 00:27:56.518 line:20%
De donde viene
esto pescado aquí?
00:27:56.542 --> 00:27:57.975 position:80% line:20%
De aquí de la zona.
00:27:57.999 --> 00:27:59.101 line:20%
Son todo de aquí
de la bahía.
00:27:59.125 --> 00:28:01.268 line:20%
From the bay here.
00:28:01.292 --> 00:28:02.268 line:20%
El Golfo de Cádiz.
00:28:02.292 --> 00:28:03.643 line:20%
Sí.
00:28:03.667 --> 00:28:04.810 line:20%
Julián: El pescado
se ha traído
00:28:04.834 --> 00:28:06.643 line:20%
de un barco
esta noche,
00:28:06.667 --> 00:28:07.976 line:20%
y ahora lo
tenemos aquí.
00:28:08.000 --> 00:28:09.435 position:80% line:20%
Jesús: Yo me he
levantado a las 3:30
00:28:09.459 --> 00:28:11.727 position:80% line:20%
para comprar
a las 5:00.
00:28:11.751 --> 00:28:14.476 position:80% line:20%
De todo lo que
compro diariamente,
00:28:14.500 --> 00:28:17.059 position:80% line:20%
lo mejor se lo
selecciono a él.
00:28:17.083 --> 00:28:19.310 line:20%
He gets the best
of what he buys.
00:28:19.334 --> 00:28:21.852 position:80% line:20%
Julián: Esta tarde
vamos a comer pulta.
00:28:21.876 --> 00:28:24.226
@Yoo: OK. Langostinos?
00:28:24.250 --> 00:28:26.143 line:20%
Langostinos.
00:28:26.167 --> 00:28:27.185
@Excelente.
00:28:27.209 --> 00:28:29.810 line:20%
Y un poquito del atún.
00:28:29.834 --> 00:28:32.393 line:20%
Atún de almadraba,
00:28:32.417 --> 00:28:34.310 line:20%
que es de aquí
solamente.
00:28:34.334 --> 00:28:36.185 line:20%
Es una forma
de captura
00:28:36.209 --> 00:28:37.810 line:20%
de tenemos aquí
en la bahía.
00:28:37.834 --> 00:28:39.975 line:20%
También lo vaís
a probar.
00:28:39.999 --> 00:28:40.999 line:20%
@Perfecto.
Muy bien.
00:28:42.292 --> 00:28:44.976
Yoo: The seafood may be
as local as you can get,
00:28:45.000 --> 00:28:47.393
but the other ingredients
are also a part
00:28:47.417 --> 00:28:49.584
of a shared heritage.
00:28:51.542 --> 00:28:53.143 line:20%
So what are you
making for us?
00:28:53.167 --> 00:28:54.810 position:80% line:20%
Julián: Lo que
vamos hacer es
00:28:54.834 --> 00:28:56.310 position:80% line:20%
un tartar
de langostinos,
00:28:56.334 --> 00:28:58.685 position:80% line:20%
envuelto con un
atún de almadradaba.
00:28:58.709 --> 00:29:01.185 line:20%
Hacemos una leche
de tigre como
00:29:01.209 --> 00:29:02.935 position:80% line:20%
se fuera un ceviche,
00:29:02.959 --> 00:29:04.351 position:80% line:20%
que aquí también
nosotros tenemos
00:29:04.375 --> 00:29:05.727 line:20%
tradiciones de allí,
del Peru.
00:29:05.751 --> 00:29:08.976 line:20%
Entonces, solo estos
se lo agregamos.
00:29:09.000 --> 00:29:12.018 line:20%
So this is a ceviche,
a little bit?
00:29:12.042 --> 00:29:13.560 line:20%
Como una especie
de ceviche.
00:29:13.584 --> 00:29:14.975 line:20%
Correcto.
OK.
00:29:14.999 --> 00:29:16.226 line:20%
Un poquito de tomate,
que previamente
00:29:16.250 --> 00:29:18.351 position:80% line:20%
los hemos escaldado.
00:29:18.375 --> 00:29:20.560 line:20%
Tomatoes also came from
the new world, right?
00:29:20.584 --> 00:29:22.143 line:20%
Claro, pero estos no.
00:29:22.167 --> 00:29:24.476 line:20%
Estos los hemos
comprado.
00:29:24.500 --> 00:29:25.935 line:20%
Pero el origen, sí.
Vinieron de allí.
00:29:25.959 --> 00:29:28.476 line:20%
And certainly,
Tabasco Sauce
00:29:28.500 --> 00:29:29.935 line:20%
comes from America.
00:29:29.959 --> 00:29:31.101 line:20%
Un toquecito de
picante, sí.
00:29:31.125 --> 00:29:34.185 position:80% line:20%
Lo que hacemos es,
macerar un poquito,
00:29:34.209 --> 00:29:37.852 line:20%
y en esta lamina
de atún
00:29:37.876 --> 00:29:39.975 line:20%
lo que hacemos es.
00:29:39.999 --> 00:29:41.476
@Manuel:úEso se ve increíble.
00:29:41.500 --> 00:29:43.393 line:20%
Lo que hacemos es
hacer un rollito.
00:29:43.417 --> 00:29:46.435 line:20%
Tenemos un ajo blanco.
00:29:46.459 --> 00:29:48.602 line:20%
Esto es: pan, ajo, unos
cacahuetes, y melón.
00:29:48.626 --> 00:29:53.310
@También los cacahuetesúson del nuevo mundo, no?
00:29:53.334 --> 00:29:55.185 position:80% line:20%
Claro.úY el chile también?
00:29:55.209 --> 00:29:56.976 line:20%
El chile también.
00:29:57.000 --> 00:29:57.976
@And chile also.
00:29:58.000 --> 00:29:59.935
In a certain sense,
almost all food is a fusion
00:29:59.959 --> 00:30:02.894
between sort of the New World
and the Old World.
00:30:02.918 --> 00:30:04.768 line:20%
Tenemos un unión,
00:30:04.792 --> 00:30:06.226 line:20%
siempre vinculado
uno con otro,
00:30:06.250 --> 00:30:08.185 line:20%
y tenemos tendencias.
00:30:08.209 --> 00:30:09.975 line:20%
@Y ahora mismo pues la verdad que
si.
00:30:09.999 --> 00:30:12.268
I think what happened
is the countries,
00:30:12.292 --> 00:30:13.852
European countries,
had their colonies,
00:30:13.876 --> 00:30:15.602
and it expanded
their taste.
00:30:15.626 --> 00:30:17.185
Their palate.
Yeah, sure.
00:30:17.209 --> 00:30:18.852 line:20%
Mira.
00:30:18.876 --> 00:30:20.894
@Que bonito.
00:30:20.918 --> 00:30:22.476
@Beautiful, huh?
00:30:22.500 --> 00:30:24.226 line:20%
Es demasiado
bonito para comer.
00:30:24.250 --> 00:30:26.727 position:80% line:20%
No, hay que
comerlo siempre.
00:30:26.751 --> 00:30:29.226
@I'll eat it.úDon't worry about it.
00:30:29.250 --> 00:30:31.643 position:80% line:20%
Y ahora vamos
a saltear lo pescado
00:30:31.667 --> 00:30:33.393 line:20%
que hemos comprado.
OK!
00:30:33.417 --> 00:30:34.602 line:20%
Piensa? Muy bien.
00:30:34.626 --> 00:30:36.209
♪
00:30:38.417 --> 00:30:42.310
[Sizzling]
00:30:42.334 --> 00:30:44.334
♪
00:30:49.334 --> 00:30:59.334
♪
00:31:03.083 --> 00:31:07.643
@Y esto, lo tapamosúun poquito, dos minutos.
00:31:07.667 --> 00:31:11.727
@Y ahora, vaís al comedorúy yo llevo la comida.
00:31:11.751 --> 00:31:14.935 position:80% line:20%
Muchas gracias!úDe nada.
00:31:14.959 --> 00:31:16.810
@Gracias.
00:31:16.834 --> 00:31:17.894
OK.
00:31:17.918 --> 00:31:19.209
♪
00:31:26.125 --> 00:31:29.918
♪
00:31:33.125 --> 00:31:36.918
♪
00:31:41.918 --> 00:31:51.918
♪
00:32:14.083 --> 00:32:15.975
Bravo.
00:32:15.999 --> 00:32:18.185
So that's a barcarolle.
00:32:18.209 --> 00:32:19.560
It's a barcarolle,
yes.
00:32:19.584 --> 00:32:20.727
It's a boating song.
Yeah.
00:32:20.751 --> 00:32:22.768
You can really feel
the ship kind of swaying
00:32:22.792 --> 00:32:24.560
back and forth
when you play.
00:32:24.584 --> 00:32:26.727
That's what
I'm trying to do,
00:32:26.751 --> 00:32:28.143
to make it swing
like that.
00:32:28.167 --> 00:32:29.560
It's actually called
"Mallorca," right?
00:32:29.584 --> 00:32:30.894 position:80%
"Mallorca."
Which is an island, right?
00:32:30.918 --> 00:32:33.435
It is an island
in the Mediterranean.
00:32:33.459 --> 00:32:36.602
It's so interesting.
00:32:36.626 --> 00:32:38.268
Obviously, the sea,
the ocean is such a source
00:32:38.292 --> 00:32:41.351
of life for us,
00:32:41.375 --> 00:32:43.226
but it's also
a source of culture.
00:32:43.250 --> 00:32:44.894
Yeah.
Right.
00:32:44.918 --> 00:32:46.310
I mean, We got language
in the Americas from Europe.
00:32:46.334 --> 00:32:49.268
We got music, we got food,
00:32:49.292 --> 00:32:51.018
but it also went
the other way around.
00:32:51.042 --> 00:32:53.310 position:80%
Well, you know,
a good example is
the tango by Albéniz
00:32:53.334 --> 00:32:55.435
that we're going
to play
00:32:55.459 --> 00:32:57.018
because the tango
developed from
the habaneras.
00:32:57.042 --> 00:33:00.101
The habaneras
is Havana songs,
you know.
00:33:00.125 --> 00:33:02.685
Oh, habanera, Havana.
Yeah.
00:33:02.709 --> 00:33:06.351 position:80%
Havana in Spanish
is Habana con "b."
00:33:06.375 --> 00:33:08.852
So habanera is
what it is.
00:33:08.876 --> 00:33:10.351
Oh, right.
00:33:10.375 --> 00:33:12.975 position:80%
At that time,
Cuba was Spain.
00:33:12.999 --> 00:33:14.643
Cuba was actually
the last colony.
00:33:14.667 --> 00:33:16.476 position:80%
So there you can see,
going to one port first,
00:33:16.500 --> 00:33:19.643 position:80%
then to Argentina,
and then back to Spain.
00:33:19.667 --> 00:33:22.393
Well, let's play the--
00:33:22.417 --> 00:33:23.685
Yeah, let's do it.
00:33:23.709 --> 00:33:24.894
All right.
I'll get my violin.
00:33:24.918 --> 00:33:25.959
All right.
00:33:27.083 --> 00:33:28.167
♪
00:33:36.751 --> 00:33:40.500
♪
00:33:45.709 --> 00:33:49.459
♪
00:33:54.459 --> 00:34:04.459
♪
00:34:59.000 --> 00:35:00.375
[Applause]
00:35:02.667 --> 00:35:05.435
Yoo: Oh, here it is.
00:35:05.459 --> 00:35:07.852 line:20%
Bueno, ha llegado.
00:35:07.876 --> 00:35:10.476 line:20%
Solamente queda,
comerlo.
00:35:10.500 --> 00:35:12.393
@Bravo. Bravo.
00:35:12.417 --> 00:35:13.518 line:20%
OK. Fantastic.
00:35:13.542 --> 00:35:14.643
Muchas gracias.
Gracias!
00:35:14.667 --> 00:35:15.643
OK. let's eat.
00:35:15.667 --> 00:35:16.935
All right.
00:35:16.959 --> 00:35:19.292
[Hoofbeats]
00:35:37.542 --> 00:35:42.018 position:80%
Juan: Here in Spain,
the sense of place,
00:35:42.042 --> 00:35:44.894 position:80%
belonging
to a specific place
00:35:44.918 --> 00:35:46.393
is very important.
00:35:46.417 --> 00:35:47.727
For example, when you read
00:35:47.751 --> 00:35:48.976 position:80%
about Rafael Nadal,
00:35:49.000 --> 00:35:50.643
the tennis player,
00:35:50.667 --> 00:35:51.976
you usually read,
00:35:52.000 --> 00:35:53.143
"Rafael Nadal, Mallorca."
00:35:53.167 --> 00:35:55.059
It's very important to
mention where are you
00:35:55.083 --> 00:35:58.560
specifically in Spain.
00:35:58.584 --> 00:36:00.310
Usually, I'm asked,
"Oh, so where do
you come from?"
00:36:00.334 --> 00:36:02.518
And then I say,
"Sevilla,"
00:36:02.542 --> 00:36:04.226 position:80%
and I can see their
faces going on like
00:36:04.250 --> 00:36:06.226
they're imagining,
"Oh, Sevilla!"
00:36:06.250 --> 00:36:09.185
Because, you know,
it conjures up
different images
00:36:09.209 --> 00:36:11.975
if you are from Granada
than if you are
00:36:11.999 --> 00:36:13.727 position:80%
from Santiago
de Compostela.
00:36:13.751 --> 00:36:16.268
And that was also
a very clear thing
for Albéniz.
00:36:16.292 --> 00:36:19.059
For us, at least
Spaniards,
00:36:19.083 --> 00:36:21.268
it puts you in
a mindset almost.
00:36:21.292 --> 00:36:23.810 position:80%
It's like you have
certain images
about those cities.
00:36:23.834 --> 00:36:27.226
I don't know if
the same thing happens
to you, for example.
00:36:27.250 --> 00:36:29.643
I mean, now that we've been
in Andalusia for a while,
00:36:29.667 --> 00:36:31.810
I can really feel
what it means to be
00:36:31.834 --> 00:36:34.310
in a place like Seville.
00:36:34.334 --> 00:36:36.185 position:80%
Absolutely.
You can relate
00:36:36.209 --> 00:36:37.602
to that sense
of place we have.
00:36:37.626 --> 00:36:39.727
[Manuel playing guitar]
00:36:39.751 --> 00:36:41.059
Juan: So, guys,
why don't we go
00:36:41.083 --> 00:36:42.810
inside the Alcázar
de Sevilla?
00:36:42.834 --> 00:36:44.101
Do you know it?
00:36:44.125 --> 00:36:45.393
No, I have
never been in it.
00:36:45.417 --> 00:36:46.976
Well, it's one
of the most
00:36:47.000 --> 00:36:48.059
beautiful monuments
in Spain.
00:36:48.083 --> 00:36:50.310
It's here in Seville,
00:36:50.334 --> 00:36:51.351
and it's
in the style Mudéjar
00:36:51.375 --> 00:36:53.226
because the Christian kings
did it
00:36:53.250 --> 00:36:55.768
but in the style
of the Moor people
00:36:55.792 --> 00:36:58.018
that were beforehand.
00:36:58.042 --> 00:36:59.834
♪
00:37:04.834 --> 00:37:14.834
♪
00:38:05.500 --> 00:38:10.059 position:80%
Manuel, voice-over:
So This is actually
00:38:10.083 --> 00:38:11.768
the Manuel de Falla
Auditorium,
00:38:11.792 --> 00:38:13.143 position:80% line:20%
which was built
upon his house.
00:38:13.167 --> 00:38:15.476 line:20%
His house is right
below us here.
00:38:15.500 --> 00:38:17.976
He spent here many years,
and it was one
00:38:18.000 --> 00:38:19.975
of his most productive years
of his life as a composer.
00:38:19.999 --> 00:38:24.560
Yoo, voice-over: We met Juan
again, this time in Granada,
00:38:24.584 --> 00:38:27.393
to talk more
about pride of place.
00:38:27.417 --> 00:38:30.810 position:80%
Yoo: So, Juan, we're
here in De Falla Hall.
00:38:30.834 --> 00:38:33.185
Why are we
in De Falla Hall?
00:38:33.209 --> 00:38:35.351
Juan: Well, Manuel de Falla
is one of our main figures
00:38:35.375 --> 00:38:38.143
in our musical history
in Spain.
00:38:38.167 --> 00:38:41.059
We had many so-called
nationalist composers,
00:38:41.083 --> 00:38:44.226
which had a different
meaning back then.
00:38:44.250 --> 00:38:46.185
I'm talking
about 19th, 20th century.
00:38:46.209 --> 00:38:48.727
We have Albéniz,
Granados, Turina,
00:38:48.751 --> 00:38:51.351
and Manuel de Falla.
00:38:51.375 --> 00:38:53.059
It's also true that they
were not the first ones.
00:38:53.083 --> 00:38:56.935
Like, They had a previous
mentor or teacher,
00:38:56.959 --> 00:39:00.476
who was Pedrell.
00:39:00.500 --> 00:39:01.975
Actually, I don't know
if you know him.
00:39:01.999 --> 00:39:03.101 position:80%
Never heard of him.
00:39:03.125 --> 00:39:04.602
Well, Pedrell, he's not
such a great composer,
00:39:04.626 --> 00:39:06.602
not at all,
but he was a great teacher,
00:39:06.626 --> 00:39:09.018
and he was the first one
to start thinking,
00:39:09.042 --> 00:39:11.351
"OK, Brahms, Wagner,
all of those are great,
00:39:11.375 --> 00:39:15.185
"but they're German,
00:39:15.209 --> 00:39:16.976
"and when I compose
'classical music,' let's say,
00:39:17.000 --> 00:39:21.185
"shouldn't I go
to my own musical roots,
00:39:21.209 --> 00:39:24.059
"like the folklore
I grew up with?
00:39:24.083 --> 00:39:27.810
"Maybe our folklore is
a valid source
00:39:27.834 --> 00:39:30.935
"of inspiration
for composing.
00:39:30.959 --> 00:39:33.268
"Maybe that's the source
of inspiration
00:39:33.292 --> 00:39:36.143
I should be using."
00:39:36.167 --> 00:39:38.643
And that's kind of
revolutionary back then,
00:39:38.667 --> 00:39:40.894
and maybe Manuel de Falla
was the one who tried
00:39:40.918 --> 00:39:44.059
to go maybe deeper,
to go back in time
00:39:44.083 --> 00:39:48.435
to the more primitive stuff
00:39:48.459 --> 00:39:50.101
of our folklore
of Spanish sounds.
00:39:50.125 --> 00:39:52.852
So he sounds harsher,
00:39:52.876 --> 00:39:54.810
harsher than Albéniz,
for sure.
00:39:54.834 --> 00:39:56.976
Actually, that's
why nowadays audiences
00:39:57.000 --> 00:40:00.643
maybe they tend to
prefer Albéniz,
00:40:00.667 --> 00:40:02.643
which sounds like--
I don't know--
00:40:02.667 --> 00:40:04.310
it's like smelling
some flowers, some roses,
00:40:04.334 --> 00:40:07.476
the red wine in a salon.
00:40:07.500 --> 00:40:09.894
And de Fallas' music
is more a strong cognac.
00:40:09.918 --> 00:40:12.935
It's harsher.
00:40:12.959 --> 00:40:14.602
It's more even cubist
like Picasso.
00:40:14.626 --> 00:40:17.226
So Manuel de Falla actually
his main piece
00:40:17.250 --> 00:40:20.852
for piano solo is called
"Fantasía Bética."
00:40:20.876 --> 00:40:24.894
He could have called it
"Spanish Fantasy,"
00:40:24.918 --> 00:40:27.226
"Fantasía Española,"
but it was "Fantasía Bética"
00:40:27.250 --> 00:40:30.018
because Betis was
the Latin Roman name
00:40:30.042 --> 00:40:33.310
that was given to
this area of our country,
00:40:33.334 --> 00:40:35.185
to the south of Spain,
to Andalusia.
00:40:35.209 --> 00:40:37.894
So he's going to this
even archeologist's sense
00:40:37.918 --> 00:40:40.310
of, like, this is
the real stuff.
00:40:40.334 --> 00:40:42.643
Mmm. Are we going to
hear this real stuff
right now?
00:40:42.667 --> 00:40:45.125 position:80%
Absolutely.
Fantastic.
00:40:47.083 --> 00:40:49.727
And by the way, there's one
word I didn't mention,
00:40:49.751 --> 00:40:52.101
which is flamenco, which all
of these composers loved,
00:40:52.125 --> 00:40:56.727
and it was a great
influence for all of them,
00:40:56.751 --> 00:40:59.185
but maybe Manuel de Falla
was the one
00:40:59.209 --> 00:41:02.292
to best capture its spirit.
00:41:05.292 --> 00:41:07.250
♪
00:41:10.959 --> 00:41:14.709
♪
00:41:19.709 --> 00:41:29.709
♪
00:42:09.709 --> 00:42:12.542
♪
00:42:17.334 --> 00:42:21.560 position:20%
[Camera shutter clicking]
00:42:21.584 --> 00:42:24.143 position:80%
Can you imagine
00:42:24.167 --> 00:42:26.059 position:80%
if this
were your backyard?
00:42:26.083 --> 00:42:28.975
I would love that.
Ha ha ha!
00:42:28.999 --> 00:42:31.602
You know, It's amazing
that we're here
00:42:31.626 --> 00:42:33.435
on top of La Plateria,
00:42:33.459 --> 00:42:35.226
which is the most
famous flamenco peña
in the world.
00:42:35.250 --> 00:42:36.852
Really?
Yeah.
00:42:36.876 --> 00:42:38.976
And The biggest influences
in flamenco,
00:42:39.000 --> 00:42:41.894
we have
the gypsy neighborhood,
00:42:41.918 --> 00:42:45.476
we have the Moorish,
the Alhambra,
00:42:45.500 --> 00:42:47.643 position:80%
the Jewish neighborhood,
and then the Christians.
00:42:47.667 --> 00:42:49.852
So flamenco is a mix.
00:42:49.876 --> 00:42:51.560
It is, it is.
00:42:51.584 --> 00:42:53.435
Actually, we need to go,
because we're
00:42:53.459 --> 00:42:55.226 position:80%
going to hear
a performance.
00:42:55.250 --> 00:42:56.560 position:80%
Let's go.
OK, let's do it.
00:42:56.584 --> 00:42:57.751
OK.
00:42:59.042 --> 00:43:00.643
Yoo, voice-over: Downstairs
in the Plateria's main room,
00:43:00.667 --> 00:43:02.976
we'd meet musicians
Antonio "El Turry,"
00:43:03.000 --> 00:43:05.810 position:20%
Vero La India,
and José Fermín Fernández,
00:43:05.834 --> 00:43:09.417 position:20%
to hear the sound that inspired
the nationalist composers.
00:43:09.792 --> 00:43:13.959
[Tapping flamenco beat]
00:43:17.209 --> 00:43:21.185
[Guitar playing]
00:43:21.209 --> 00:43:23.334
♪
00:43:28.334 --> 00:43:38.334
♪
00:44:30.250 --> 00:44:34.059
[Shouts]
00:44:34.083 --> 00:44:35.417
♪
00:44:40.417 --> 00:44:50.417
♪
00:45:00.751 --> 00:45:03.226
@Yoo: Antonio,úqué es el flamenco?
00:45:03.250 --> 00:45:06.435 line:20%
El flamenco es
una forma de vivir
00:45:06.459 --> 00:45:10.518 line:20%
en nuestra cultura.
00:45:10.542 --> 00:45:11.810 line:20%
Their way of life,
their culture.
00:45:11.834 --> 00:45:13.518 position:20% line:20%
Es la forma con la que
nosotros ganamos la vida.
00:45:13.542 --> 00:45:16.083 line:20%
Y bueno, una forma
de sentir, también.
00:45:17.876 --> 00:45:21.852 line:20%
Es nuestro vida,
00:45:21.876 --> 00:45:23.310 line:20%
en resumen, la verdad.
00:45:23.334 --> 00:45:25.643 line:20%
El flamenco,
como toda la música,
00:45:25.667 --> 00:45:28.685 line:20%
tiene un origen.
00:45:28.709 --> 00:45:30.975 line:20%
Y uno de sus grandes
orígenes del flamenco,
00:45:30.999 --> 00:45:33.435 line:20%
y del cual nacen mucho
de los grandes estilos,
00:45:33.459 --> 00:45:35.894 line:20%
o de los "palos" que hay,
es la soleá.
00:45:35.918 --> 00:45:38.768 position:20% line:20%
Y en mi humilde opinion,
es la madre del flamenco.
00:45:38.792 --> 00:45:40.975 position:80% line:20%
Manuel: This is
the cante jondo,
00:45:40.999 --> 00:45:42.768 position:80%
which means
the deep song,
00:45:42.792 --> 00:45:44.476 line:20%
which is the basis
of all flamenco.
00:45:44.500 --> 00:45:47.185 line:20%
Y vamos a cantar un
poquito por soleá.
00:45:47.209 --> 00:45:49.518
@Amable.
00:45:49.542 --> 00:45:51.083
♪
00:45:56.083 --> 00:46:06.083
♪
00:46:08.125 --> 00:46:12.059
[Vocalizing]
00:46:12.083 --> 00:46:14.209
♪
00:46:19.209 --> 00:46:29.209
♪
00:46:39.209 --> 00:46:43.042 line:20%
♪ Me preguntan
si te quiero ♪ ♪ Y yo digo que ni verte ♪
00:46:47.584 --> 00:46:51.334 line:20%
♪
00:46:55.417 --> 00:46:59.602 line:20%
♪ Yo digo que ni verte ♪
00:46:59.626 --> 00:47:03.542 line:20%
♪ Yo digo que
ni verte ♪
00:47:08.667 --> 00:47:13.101 line:20%
♪ Te quiero más que
a mi madre ♪
00:47:13.125 --> 00:47:16.226
Yoo, voice-over: In this
deep song, I could hear it all--
00:47:16.250 --> 00:47:20.602
the Spanish scale of the guitar,
00:47:20.626 --> 00:47:23.935 position:20%
the Moorish call to prayer,
00:47:23.959 --> 00:47:26.226
the culture and pride,
00:47:26.250 --> 00:47:29.226
a mixture that could only come
from this place.
00:47:29.250 --> 00:47:33.500 position:20%
♪ Estas jugando conmigo ♪
00:47:34.292 --> 00:47:38.459
♪ Como quien juega ♪
00:47:40.709 --> 00:47:44.727
♪ Al billar ♪
00:47:44.751 --> 00:47:47.417
♪
00:47:48.999 --> 00:47:53.417
♪ Como quien juega
al billar ♪
00:47:54.000 --> 00:47:58.209
♪ Como el que juega ♪
00:47:59.999 --> 00:48:03.976
♪ Al billar ♪
00:48:04.000 --> 00:48:06.584 position:20%
♪ Pero te voy hacer una ♪
00:48:09.334 --> 00:48:13.542
♪ Que tiene ser sonada ♪
00:48:16.250 --> 00:48:20.542 position:20%
♪ Pero te voy hacer una ♪
00:48:22.500 --> 00:48:26.709
♪ Que tiene ser sonada ♪
00:48:34.042 --> 00:48:36.500
[Stomp, feet tapping]
00:48:43.417 --> 00:48:47.518
[Percussion playing]
00:48:47.542 --> 00:48:49.727
♪
00:48:49.751 --> 00:48:52.476
Yoo: UÚrsula López is
the artistic director
00:48:52.500 --> 00:48:55.268
and choreographer
of the legendary
00:48:55.292 --> 00:48:57.393 line:20%
Ballet Flamenco of Andalucía.
00:48:57.417 --> 00:49:00.435 line:20%
UÚrsula: Paso, paso.
Golpe, golpe.
00:49:00.459 --> 00:49:03.101 line:20%
♪
00:49:03.125 --> 00:49:06.667
♪
00:49:11.667 --> 00:49:21.667
♪
00:49:23.626 --> 00:49:27.518
[Applause]
00:49:27.542 --> 00:49:28.976
Yoo: Bravo.
00:49:29.000 --> 00:49:31.101 position:80%
Fantástico.
00:49:31.125 --> 00:49:32.935
Bravo, bravo.
00:49:32.959 --> 00:49:33.975 line:20%
Gracias, gracias.
00:49:33.999 --> 00:49:35.351
@Qué es el BalletúFlamenco de Andalucía?
00:49:35.375 --> 00:49:39.018 line:20%
El Ballet Flamenco
de Andalucía es
00:49:39.042 --> 00:49:40.751 position:80% line:20%
una institución cultural
del gobierno de Andalucía.
00:49:41.250 --> 00:49:45.685 line:20%
Su función
es la puesta en valor
00:49:45.709 --> 00:49:49.351 line:20%
y la preservación
del flamenco.
00:49:49.375 --> 00:49:51.810
@So this is a governmentúinstitution that
00:49:51.834 --> 00:49:53.143
@preserves flamenco.
00:49:53.167 --> 00:49:54.560 position:80% line:20%
Yes.úIt's amazing.
00:49:54.584 --> 00:49:55.727
@Cuanto años.
00:49:55.751 --> 00:49:57.226 line:20%
Tiene 30 años ya.
00:49:57.250 --> 00:49:58.351
@30 years. Increíble.
00:49:58.375 --> 00:50:01.542
@Porque Albéniz esúimportante en España?
00:50:02.500 --> 00:50:06.685 position:80% line:20%
Desde todos
los tiempos,
00:50:06.709 --> 00:50:08.810 line:20%
desde hace más
de cien años,
00:50:08.834 --> 00:50:10.602 line:20%
que trabajamos
con Albéniz,
00:50:10.626 --> 00:50:12.268 line:20%
es un clásico,
00:50:12.292 --> 00:50:14.768 position:80% line:20%
es una seña de identidad
00:50:14.792 --> 00:50:16.976 position:80% line:20%
también de nuestro país,
00:50:17.000 --> 00:50:18.602 line:20%
de España, de Andalucía,
y del flamenco.
00:50:18.626 --> 00:50:21.226 line:20%
Porque para mi
Albéniz era flamenco.
00:50:21.250 --> 00:50:23.476 line:20%
Cuál es el proceso,
00:50:23.500 --> 00:50:24.976 line:20%
después de escoger
una obra de Albéniz,
00:50:25.000 --> 00:50:27.101 line:20%
como presentarla?
00:50:27.125 --> 00:50:28.727 position:80% line:20%
Los guitarristas han
hecho una adaptación
00:50:28.751 --> 00:50:31.393 position:80% line:20%
de esa música de
Albéniz, a la guitarra,
00:50:31.417 --> 00:50:33.894 line:20%
con las palmas,
el cajón,
00:50:33.918 --> 00:50:35.976 line:20%
dándole
un aire más flamenco.
00:50:36.000 --> 00:50:37.852 position:20% line:20%
Y que vamos a ver ahora?
00:50:37.876 --> 00:50:40.018 position:80% line:20%
Ahora vamos
a ver una pieza
00:50:40.042 --> 00:50:41.143 line:20%
que me encanta
de Albéniz,
00:50:41.167 --> 00:50:42.685 position:80% line:20%
que es El Puerto.úOK.
00:50:42.709 --> 00:50:44.310 position:80% line:20%
Venga, vamos chicos!
00:50:44.334 --> 00:50:45.810 line:20%
[Percussion playing]
00:50:45.834 --> 00:50:47.375 line:20%
♪
00:50:50.000 --> 00:50:53.792
♪
00:50:58.792 --> 00:51:08.792
♪
00:52:38.792 --> 00:52:40.226
Yoo: Getting closer
to the people, the character,
00:52:40.250 --> 00:52:43.685
and the spirit of Spain
has given me a clearer picture
00:52:43.709 --> 00:52:47.375 position:20%
of Albéniz
and his musical portraits,
00:52:47.792 --> 00:52:51.976 position:20%
and it's given me an idea.
00:52:52.000 --> 00:52:54.476
If and when I compose
my own music,
00:52:54.500 --> 00:52:57.292
what portraits
of what places might I paint?
00:52:57.834 --> 00:53:02.751
Maybe we'll both find out
next year on "Now Hear This."
00:53:03.500 --> 00:53:07.476
I'm Scott Yoo.
00:53:07.500 --> 00:53:09.292 line:20%
♪ ♪
00:53:15.459 --> 00:53:19.292 line:20%
♪ ♪
00:53:25.459 --> 00:53:29.292 line:20%
♪ ♪
00:53:29.792 --> 00:53:33.626
♪ ♪
00:53:40.834 --> 00:53:44.667
♪ ♪
Distributor: Pragda Films
Length: 60 minutes
Date: 2023
Genre: Expository
Language: English
Grade: Upper Elementary School, Middle School, High School, College, Adults
Color/BW:
Closed Captioning: Available
The is title is available for licensing on the Pragda STREAM site.
Existing customers, please log in to view this film.
New to Docuseek? Register to request a quote.
Related Films
An unorthodox walk through new flamenco by way of nine portraits of figure,s…
Celebrate Latin music with the Raices Jazz Orchestra, with originals and…