Recommendation: Sanzio strikes again!

Sanzio, the guy whose video I wrote about the other day, has just uploaded another lovely version of Tico Tico - just wished he would have used something else but those dreary fibre castanets from Castañuelas del Sur... ;P

He does, however, have lots of other videos with castanets that are more kind to sensitive ears, and all with an impressive amount of talent! I only wish I could play half as well as him :/

Check out his channel for more of his amazing playing at

http://www.youtube.com/user/sanzioonofre?feature=watch!

Playing: Basic Playing Techniques

For those of you knew to the playing of castanets, here will follow a very short introduction to the basic techniques used :

(Keep in mind that these instructions are for those who hold the castanets with the hembra/alto in the right hand, and the macho/tenor in the left. I myself am left handed and therefore I have to reverse these instructions.)

1. Single stroke/golpe with the left hand – TA: The most basic stroke, used to keep the basic rhythm and pulse.
2. Single stroke/golpe with the right hand – PI: used mainly for accents
3. Roll/carretilla – RIA. Usually performed with the dominant hand, and is performed with all four fingers hitting the castanet rapidly in succession. It is important that the strokes are not slurred but each stroke of the fingers clearty articulated. A complete roll if then finished of with a single TA (RIA can be broken down as RI + (T)A = RIA). Some pieces might require a roll performed by the other hand, which is then finished of with a golpe of the dominant hand, and that is notated with RAI, RIA in reverse.
4. Simultaneous single stroke – TAN: Performed by both hand making a single stroke at the same time.
5. ‘Clack’/posticeo – TIN: a very distinct, almost gulping sound produced by hitting the the open pairs against each other and letting each pair close. Think of it as performing a TAN but using the castanets instead of the fingers.

How to perform the singles strokes is up to the individual perfomer. I myself tend to use the middle finger when playing softer strokes, and combined middle and ring finger for louder notes. It is important, however, that every stroke should be as close to the middle as possible for the best sound.

If you’ll watch the following video you will see members of TOCS explaining and performing the various strokes (in Catalan with Castilian subtitles, but you don’t have to speak Spanish if you read the above to understand the gist of it).

About: Materials

Today I thought I would talk a little about the various materials used for making castanets, and give my opinions about them. Let me know in the comments if you agree or disagree with me :)

History has known castanets to be made out of metal, wood, ivory, marble etc, but the traditional Spanish castanet as we know it today are usually made out of some variety of Micarta or various traditional woods. Of course, there are novelty castanets in every possible material, but real musical instruments are much more restricted in what they use.

I will discuss the various Micarta types, the two most common wood and ivory – which is often seen in historical castanets and have an intriguing sound. There are many more woods used, eg. rosewood and chestnut, but among professional instruments they have only very limited use.

Micarta: Micarta is a registered trademark for high-pressured laminates consisting of sheets of glassfibre, cloth or paper that have been impregnated with phenolic resins, and cure under high pressure and temperature to form laminates. Castañuelas del Sur predominately uses these various types in their production, even going as far as producing “wooden” castanets – which actually is thin wooden slices impregnated in resins.

One major advantage with these kinds of material is that the instruments are nearly impervious to changes in humidity and temperature, and often will have a higher volume. However, for me the setbacks far outweigh the benefits: the tone produced by most of these are simply unfit for any musical oeuvre. The tone could best be described as cold, and very often even harsh – which when used in dancing is of minor importance and perhaps even is an advantage as to not getting lost in between the guitar and the footwork used. If you’re just going to use them in dancing, or if you’re a beginner without the know-how of caring for various woods, I would recommend; but if you’re a serious musician, I would not.

Courtesy of Debenham Auction House

Ivory: We all know the history of ivory and it’s current status of ivory – which is a real shame, considering how beautiful it is, and how musical! One of my dreams is one day owning a pair of ivory castanets, because I simply love their sound! If you watch this clip of Belen Cabanes talking about and performing with an ancient pair given to her by José de Udaeta, you will notice their delicacy – while their tone is somewhat faint, it is still very strong and clean with no ringing overtones. Lucero Tena has stated that while they may have limited use, and not be of real musical value, there are certain pieces and genres where the delicate sound is preferred.

Owned by Lucero Tena, in grenadilla

Ebony/Grenadilla: These are the woods most favoured by professional performers, and for very good reasons – they are both extremely dense and hard, and can withstand long hours of intense playing, and they are very easy to look after and care for. Grenadilla especially is very popular for it’s purity of tone. The main downside with either wood is that they, as any wood, are sensitive to major shifts in humidity and temperature, so it’s important not to shock them, and keep them in their cases when not being used. As I live in Sweden where the temperatures are radically different from Spain, I occasionally oil the inside of my castanets to avoid drying out and cracking (the exteriors are kept moist by the hands’ natural oils). Grenadilla, and to a certain extent ebony, also have the major advantage not shared by any other material in they that are ‘played in’ over extended periods of use – don’t expect a pair of grenadilla instruments to sound the same when you purchased it as it will five years later! The tone mellows and soften, loses some of the harshness necessary of any wooden instrument, and gains in an openness of tone – and in high quality examples there will be subtle but very definite overtones after a while. It’s easy to understand why ebony and grenadilla are the choice of most professional players!

(Are you curious as to what my personal preferences are? I have a pair in gaiacum which I use very often to practice with, but for serious playing I resort to either my lignum vitae pair, or of course my grenadilla ones!)

Article: 'This lady speaks with her castanets'

Diari de Sabadell,

March 21, 1998

In early 1998 the independant and bilingual local magazine Diari de Sabadell published a short but interesting with the singular Emma Maleras – a feisty ol’ gal! Read how she snaps when the author Victor Colomer asks her about the habit of orchestral castanets with handles!

“Emma Maleras: castanet dignity

'The castanets are as much Andalucian as Catalan'

Probably the most universal sabadellese, her method of learning the castanets are used in so many countries around the world, that her town Ripollet has dedicated a square to her.

At 14 she had a career as a pianist, but she always made a living out of dancing, her profession. After the age of 40 she developed a method for the castanets that still today is considered the best-

Emma Maleras I Gobern, 78, teached until her retirement at the Institut del Teatre in Barcelona, which has just honoured her with the Premi d’Honor, another award alongside

Carmen Amaya International Master and the Medal of Artistic Merit by the Ministry of Culture in 1992.

‘Playing the castanets is as difficult as playing the piano or the guitar’

How did one learn the castanets before you?

Look, ria-ria-pita, ria-ria-pita and Ole! studies!

There wasn’t a method?

The most comprehensive was twelve folios and my six courses and eleven books! It took 30 years of correction because there were no precedents!

Because you were wrong?

Not because I was wrong, but I started at a high level. I always made it easier for people who don’t know music. I have a method for children

Do you have to know music to play castanets?

Sure. I teach my students music – at least the rhythm section. If you don’t know music you can never accompany a pianist or an orchestra. You got to have the keys!

They didn’t not accept the castanets in a symphony orchestra before you?

No.

But they are very old.

And how old they are. They are found already in the tomb of Tutanchamen.

And very flamenco.

No! That the castanets are andalucian is another myth that must be debunked. The castanets have always been played in all of Spain. But it wasn’t until after the ria-ria-pita era in the 20^th century that they were in included in the classical dance schools. They are as much Andalucian as Catalan.

And so, from the dance, you knew the castanets.

Yes. Unlike the other dancers who knew nothing of music, I had an entire piano career. So I realized I was playing a musical instrument without a method.

Why does the symphony orchestra play the castanets with a handle?

It’s barbaric! Some hold a castanet up high like a triangle and strike it with the other hand. That might be okay. But using a handle, please! It’s the greatest injustice! The orchestra wants the sound of the castanets but don’t know how.

How is that possible?

I don’t understand it. The final jota of “Sombrero de tres picos” is lamentable! If the dancers that jumped and swayed played it well or really well, how is it a man that does nothing plays that bad? No expression, no nothing.

Maybe because it doesn’t pass through is hands.

I don’t know. In all my life I have only taught two classical percussionist. And the classical composers don’t write more than a few black notes.

How do you write?

Look! This method I had to invent myself. It’s much more accurate, indicating hands, fingers, everything.

How many countries in the world know this notation?

Many, but it’s taught the most in Germany.

I see it as despised.

There has always been much contempt for the castanets. They think it is easy but it is as difficult as the piano or the guitar.

But more limited in sound, no?

No. With the castanets you can do forte, piano, crescendo, diminuendo…

Did you say piano?

Sure. Many people say “this lady speaks with her castanets”. If you give yourself entirely to the music you can speak with the castanets.

Can they transmit something more than joy?

Sure. The gaiety of castanets is pure folklore. I play a sonata in F minor by Scarlatti that is very fine, very romantic. With the castanets you can express very delicate feelings. And not just Granados and Albéniz, but Schumann, Bach and Strauss.

And yet they aren’t recognized by conservatories.

Right. The triangle, drums and cymbals that have no expressive value are considered for musical carees, and the castanets are still considered as belonging to flamenco and parties.

Ria-ria-pita."

Article: Lucero Tena & her 'little instruments'

I found this interesting little interview with Sra. Tena on a spanish website, and I thought I would share it with all of you who like me doesn't speak spanish - however I can understand written spanish to the extent that I hopefully won't make a complete fool out of myself with this translation. Any suggestions, please comment!

"Lucero Tena (Durango, Mexico, 1938) is pure energy, which is released through the sound of her ‘little instruments’.

You’re about to play alongside Banda Municipal in the Comunitat Valenciana commemorative consert at the Palau de la Música de Valencia. Excited?

Very much! For me this is an important recital, and is a great pleasure to be bart of this great celebration of this land. Especially important to me is that I was invited by Fernando Bonete, director of the Banda Municipal, with whom I have worked before. I also like to remember that the first time I performed with a band, they came from Alaquàs.

Your castanets have travelled the world.

I have been in 64 countries, but in my heart I carry the fact my little instruments, my castanets, are made in Valencia. They are made by the master craftsman José Tárrega Peiró. He is the only one who has made them for me throughout the years and I consider us family. We have spent many hours together and he has always made the castanets like I wanted. My castanets are only made here.

The maestro Joaquín Rodrigo, also from Valencia, has composed two pieces exclusively for you and your castanets.

It’s true. He came to see me and told me that the had composed to pieces. It was nice.

How many pars of castanets do you own?

Today I use about 10 pairs, but I have around 60. But, they demand much care. Even a minimal fissure requires their retirement. Therefore no one can touch them, including aiport security personel, who are surprised at my case with castanets and that they can’t touch them.

Are you thinking about one day hanging up your castanets?

As long as my fingers can play, I won’t give them up. At the moment I gave up dancing, the only thing that remained was my playing.

Is there anobody carrying on this legacy?

There is no school that teaches the castanets as a solo instrument, and that is a real shame.

How did you passion for the castanets start?

I started dancing and playing when I was four. It all started with a disease. When I was a child I accidentally ate some bad cheese, and contracted the Maltese Fever, and to cure me the doctor recommended much exercise. In my time gyms like today didn’t exist, and therefore I dedicated my self to dancing where it all began. My teacher, with whom I started was Emilia Díez, and later on I was lucky enough to work with Carmen Amaya, in my opinion the best dancer of all times.

How did you come in contact with Amaya?

With ‘my Carmen’, as I call her, I spent more than three years. I came to work with her by accident. I went to ask her if she would give me classes but she told me no, but I could help her out at her rehearsals and I learned a lot by that. When her sister and prima ballerina in a show became ill, she asked me if I would replace her, and naturally I said yes."

[read the original here!]

About: El Puente/The Bridge

As I previously stated in the post about the anatomy of the castanets, I have my own personal theory about the origin of the name 'bridge' for the upper part of the castanets: since the castanets in their current form is most closely related to the various forms of the greek κρόταλα/krotala (clappers), it is in my opinion likely that the name stems from the thin strip of leather that was used on the greek instruments to connect the two pieces of wood/shells/whatever that was used to make the sounds, and which thus acted as a "bridge". I found this short video on Youtube demonstrating what the greek predeccesors might have looked like, and you can see what I mean. Please let me know if anybody has any further information :)

Article: Lucero Tena In France

In this interview before her perfomance at last years Violon sur le Sable, a musical in the french city of Royan, the sublime Lucero Tena speaks about her background in dance, how she began dancing at the tender age of 4 and later studied with the legendary flamenco bailaora Carmen Amaya. She continues: 'after the dancing, I choose to focus solely in the castanets!'

Whether performing on stage with just a piano, a guitar or even a symphony orchestra the article states that she has a special charm and a singular talent, that has raised these 'double musicals' to the level of a soloist instrument.

Performing with a symphony orchestra is also exactly what she did - on the sand! As the name of the festival suggest, it takes place on the beaches of Royan. 'It is lovely to walk along the shores [...] and to perform on the sand, it is an exceptional experience' says Lucero.

[read the original here!]

Recommendation: Youtube video

Ever heard Tico Tico? I bet you have, and the version recorded by the Andrews Sisters is one of my all time favorite songs!

I would also be willing to bet a fair amount of money you haven't heard it played on castanets, right? Well, look what I found on Youtube:

This guy is amazing! Check out his channel for more videos of his amazing fingerwork!

About: The Anatomy of Castanets!

For a newcomer to the world of castanets, there is an array of confusing words thrown around in conjuction with them, so here I will try to explain all the parts of the castanet with names in both spanish and english!

1. Orejillas / Ears
The small protruberances on each side, meant for stabilizing the position under the thumb. You will find on some models aimed mostly at teachers that the ears are a lite more pronounced, simply as an aid during long hours of teaching.

2. Puente / Bridge
The upper part of the castanet, including the ears and the holes for the thread. The classical design features a raised bridge, but many models nowadays are level with the shell, making a smooth surface on the entire exterior. As to the word bridge I haven't been able to find an explanation, but my guess is that it stems from older varietes, such as those found in ancient Greece, where you had thongs of leather with a shell fastened to each side, with the strip of leather serving as a "bridge" between the two.

3. Concha / Shell
Simply the concave exterior, or the playing surface. Most often round, slighty reminiscent of a scallop, they can be found in other shapes.

4. Labios / Lips
The rim on the inside, around the heart. The thickness/width of the lips is one of the deciding factors on the sound quality.

5. Corazon / Heart
The sound box, which truly is the heart of the castanets. The depth of the heart is the single most important factor in the sound of the castanets, with some newer models aimed for outdoor perfomances and such having double or even triple tiered sound boxes.

6. Punto / Point
The point is exactly that - the "point" where the two halves meet, thus producing the sound. If you'll look at a castanet from the side you will see that the side are slightly valved, thus the only points of the two halves that make contacts are the inside of the bridge where they pivot, and the point. Much care is lavished on the point in the manufacture process, since this is actually where the sound is initiated. The proper sound is determined by the heart, but without a decent point the sound couldn't actually be achieved!

Player: José Udaeta

The second in a series of short introductions to well known players of the castanets. All of these short entries will be found on the page "Players" in the left menu! More exhaustive biographies will follow later! 

JOSÉ da UDAETA

After Emma Maleras, José Udaeta might be the most recognized name to castanet aficionados. Born in the same year as Emma, 1919, his family wanted him to go into medicine. He began studying medicin but secretly took dance courses, and soon he began focusing solely on dancing. Making his debut with the Madrid Opera Company, he spent over 50 years as proponent of both classical and traditional spanish dances.

Not only was he born in the same year as Emma Maleras, he also studiet castanets for her, which became is main interest after the mid-70s. A profilic perfomer - Herbert Von Karajan once invited him to the Salzburgischer Festspiele! - he perfomed in several dozens of countries around the world, and in 1985 he authored one of the definitive works on castanets, 'Die Spanische Kastagnetten'.

He died peacefully in 2009, leaving his collection of castanets to the Institut del Teatre, where he began studying under Emma Maleras. A trip there is well recommended to enthusiasts!

Player: Emma Maleras

This will be the first in a series of short introductions to some of the well known castanet players. All of these short entries will be found on the page "Players" in the left menu! More exhaustive biographies will follow later! 

EMMA MALERAS

Perhaps the most well known, and beloved, figure in the world of castanets today is Emma Maleras (i Gobern)! Born in 1919, she already as a young girl showed interest in spanish dance - one of her idols were the legendary Antonia Mercé/La Argentina - and she studied both classical and folklorical dances at a very high level.

Coming across the castanets in many varietes of dance, and frustrated at the lack of any real and serious castanet studies, she deviced not only a notation for the castanets, but a whole methodology of castanet studies, leading to her becoming a professor in castanets at the Institut del Teatre in 1973. Among her many pupils through the year, one can find such names as José de Udaeta and Consol Grau (both of whom you can read more about below)!

She apparently semiretired in the sixties, and the latest photos and videos I've seen of her seem to stem from the nineties, so if anyone has any information about here today please contact me - crotalogia@gmail.com!

Emma Maleras y su Ballet Español

Here is a lovely find on the internet today! A vinyl rip of the legendary Emma Maleras and her Spanish Ballet performing four numbers.

1. Punto Cubano
A happy cubanesque number. Maybe a little trivial, but the castanet arrangement is spot on!

2. Fiesta de los Fandangos
More somber than the preceding piece, it showcases the versatility of the castanets - that it is not only suited for expressing ligther moods.

3. Ole Tus Pies
As you could expect from the title, it not only features the castanets, but also what I believe to be Señora Maleras stampeding footwork! The second half offers a change in mood, but the rolling castanet licks combined with the sound of her heels makes this, for the general public, the quintessential "spanish" music.

4. La Clara Fuente
Here the ferocious playing of the castanets totally overpowers the entire orchestra, leading to what almost feels like a battle between the two. Need I say who goes away with the victory? ;)

I couldn't find any dates for this, but the orchestral backing does give it a very 60's mood, for whatever reason, and I think that would be an educated guess.

DOWNLOAD HERE!

[Originally posted at cantaresviejos.blogspot.com!]

Introduction

Hi there!

I thought I would tell you all a little bit about myself, my name is Marcus Larinen, a 26 year old finn born and raised in Sweden - and a long time aficionado of the castanets/castanuelas/crotales/etc!

Music in general is one of the major spices of live, one which I could not do without, and I believe the same goes for many of you! Ethnomusicology especially has been a particular interest of mine, even though ethnic percussion has never been 'my thing'.

The castanets, however, are a totally different story! Many people may find their sound uninspriring and boresome, but then they have never heard the likes of Lucero Tena or Emma Maleras! I remember my first encounter with real castanet playing, via a Youtube video with José Udaeta performing together with Consol Grau and Montserrat Carles of the TOCS - and I was hooked!

The virtuosity displayed by them, and the life with which they managed to imbue these small carved pieces both touched me and intrigued me, and of course I had to begin playing the castanets myself, and in the years since my first encounter my love affair as cooled and been lit aflame again many times, but they will never leave me!

I hope this blog might help any and all interested in the castanets, whether listener or practicioner! If you have any questions or suggestions, feel free to contact me at crotalogia@gmail.com!

I thought I would end this first post with a picture of a recent purchase: an instructional DVD, one pair of fibre castanets from Castanuelas del Sur, and one in grenadilla from Castanuelas del Jale!