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Scott Yoo: Coming up
on "Great Performances,"

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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!

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[Percussion playing]

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♪

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
♪ ♪