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 20th 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."
