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A beautiful 2 bedroom condo that feels like a detached home. The unit has many upgraded features including granite countertops in the kitchen, gorgeous wood flooring, dual-paned windows and an insulated roof. Great location in the Poway Unified School District with many nearby grocery stores and restaurants.
The unit also comes with an additional storage area, a covered patio, and in-unit washer and dryer. Listing Agent: Ryan Jellison. Facts and Features.
Sanz, Gaspar – Gallarda y Villano
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Léon Berben - Joan Cabanilles: Tientos, Pasacalles y Gallardas mp3 album
The Sephardic Jews' ancestors were finally expelled from Spain in and spread around the Mediterranean. Ladino, is based on medieval Romance languages from the Iberian Peninsula along with vocabulary, morphological and phonological features adopted from Hebrew and the local languages of the peoples that surrounded the Jews in the various countries where they settled. The latter is the only genre that is unique to the Sephardic tradition while the first two can be found in Spanish non- Sephardic sources as well.
The performed repertoire of Ladino songs was maintained mostly by oral transmission, primarily by women. The romances, for example, were sung as lullabies and were therefore transferred by mother to child. Yet, coplas were mostly printed and distributed in chapbooks and were sung by male singers. Flamenco is an Andalusian art form from the southern region of Spain that includes instrumental music, singing and dance.
Theories as to how and when flamenco took shape are highly contested and informed by modern ideologies, but it is agreed that its creators were active in Andalusia, most especially the gitanos the Roma people who settled in Spain around the 16 th century. It is also agreed that flamenco acquired its present-day style around the end of the 18 th century, but only developed into the coalesced art form known as flamenco around the middle of the 19 th century.
The chronology of the historical development of Sephardic music and flamenco shows the distance separating the two traditions. The Gitanos arrived in Spain during the 15 th century, only a few decades before the Jews were expelled in It therefore seems unlikely that Sephardic Jews could have interacted with the gitanos, having left shortly upon the arrival of the people who brought the seeds of flamenco to Spain.
Moreover, the Jewish expulsion from the Iberian Peninsula occurred centuries before flamenco actually existed in its present form. For example, a common hypothesis among flamenco musicians and flamencologists is that the Petenera genre of flamenco is of Jewish origin, although this has not been proven by solid research.
The melodies of the Sephardic song are usually borrowed from or influenced by the music of the surrounding cultures where the Sephardic Jews lived. For example, melodies of the Sephardic Jews from Morocco are related to Moroccan music. Therefore one could assume pre th century contacts between flamenco and Sephardic music, but such an assumption cannot be supported by any tangible evidence.
Yet, modern texts nurtured such a connection in the context of the rapprochement between Sephardic Jews and contemporary Spain. Two musicians who fuse these two genres are the Israeli singer Yasmin Levy and the guitarist Baldi Olier. This Sephardic and flamenco fusion often causes confusion among their audiences. This song's beautiful melody comes from the Greek song Nas Balamo that was set to Spanish lyrics for the soundtrack of the movie Vengo , dir.
Tony Gatlif where it is performed in a flamenco style, achieving international fame. On the other hand, a few flamenco artists have taken interest in Sephardic music and have attempted to merge the two genres. An actual connection between the two genres is the romance genre. The Sephardic romance is a type of narrative poem, a ballad, which originated in medieval Spain. The romance consists of an indefinite number of sixteen-syllable lines. Each line is divided by a caesura into two hemistiches of eight syllables each. Romances were common in Spain already in medieval times and the exiled Sephardic Jews remembered and continued to sing romances in their new hosting countries.
Throughout the years, the melodies of the romancero have changed and were borrowed from or influenced by the music of the non-Jewish society. In flamenco, there is a style called romance , which shares similar themes and structures with the Sephardic romances, as the gitanos also adapted the same texts to their music. Therefore, although there is no musical connection between the Sephardic and flamenco romance traditions, textual similarities can be found.
I would like to discuss now one romance whose contemporary performance fuses between Sephardic music and flamenco: Mor Karbasi's version of La Gallarda matadora The killer lady. La Gallarda matadora is found in two repertoires of Sephardic romances: in the Eastern-Mediterranean Sephardic communities such as in Greece and Turkey, and in the North-Moroccan communities. Although the first version has been recorded in some interesting commercial renditions, e.
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The romance begins with La Gallarda a lady brushing her hair by a window. Upon seeing a knight passing by, she invites him to come up. The knight comes up and sees a hundred heads hanging from the olive trees. He does not try to escape, but rather eats and sleeps with La Gallarda.
In the middle of the night he notices that she is moving in bed, and asks her why. She responds that she is looking for her dagger, but the knight already has it and uses it to kill her. Then he knocks on the door so that the doorman would let him out.