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!]

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!]