Manuel Muñoz Alcón. Sanlúcar de Barrameda (Cadiz), 1943. Guitarist. His first teacher was his father, Isidro Sanlúcar, a baker and old style guitarist, who frequently came home with people who were fond of cante and playing; from his childhood he was exceptionally skilled to follow in his steps. His brothers also decided on the same vocation and, among them, Isidro. However, those who had the greatest influence on his beginnings, as he declared himself, were Niño Ricardo and Diego el del Gastor. The former due to his sensitivity, his fundamental contribution to the flamenco guitar, his playing that was so impregnated with feeling, and the latter for his really old air ... While he learned, he worked at the bakery with his father, until he was fourteen, when he began to act professionally in the company of Pepe Marchena. He was not yet thirty when he was considered at the height of his career, due to the publication in 1972 of his recorded anthology Mundo y formas de la guitarra flamenca.
He soon began to research, aware that the guitar had infinite possibilities that had hardly been explored. The most ambitious of his contributions to the art is his constant striving to integrate flamenco in symphonic music. Several works of the greatest interest which have placed his name among the great composers of our time, encourage this concern by the creator: Fantasía para guitarra y orquesta, Trebujena, Medea and Soleá - that toured the world as a ballet -, Tauromagia or Aljibe. Some of them were recorded. The guitarist explained his guiding intentions: "I wish the experts in universal music to understand that they may approach flamenco, so they do not consider it something tribal and topical, so they see a branch of music in flamenco that allows very profound musical analysis and has extraordinary poetic and musical quality". Going into the same problem, he declared on an nother occasion: "Flamenco is a philosophy, the way of thinking and feeling of a whole people and its historical tradition. That is why I feel the need to tell more things about flamenco with other sounds and I take to the orchestra and try to get the orchestra to play siguiriyas, but take note, not for the orchestra to accompany siguiriyas and a singer, but for the orchestra to take on the feeling of the flamenco and, as if it were a sole instrument, to tell that spirit and magic sound of flamenco". Manolo Sanlúcar also composed a sort of flamenco opera on an idea by Lebrijano, to be played on the stage, although it has not yet been produced: Ven y sígueme. He has performed in some films. TRACK LISTINGS [01]. Puertatierra (Alegrías) [02]. Puerto de Málaga (Malagueñas) [03]. Recuerdo de Javier Molina (Farruca) [04]. Caminito de Alcalá (Soleares) [05]. Patio Jerezano (Bulerías) [06]. El Cañaveral (Guajira) [07]. Llanto Minero (Tarantas) [08]. Castellanas (Bulerías clasicas) [09]. Los Caireles (Zapateado) [10]. Pincelada (Tientos) MP3 - 320 kbs: 100 MB + Covers * Manolo_Sanlucar_-_Recital_de_Flamenco<http://rapidshare.com/files/294836027/Manolo_Sanlucar_-_Recital_de_Flamenco.rar> * --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "Gugukluhayat" group. To post to this group, send email to [email protected] To unsubscribe from this group, send email to [email protected] For more options, visit this group at http://groups.google.com/group/gugukluhayat?hl=en -~----------~----~----~----~------~----~------~--~---
