Miguel Hernandez and flamenc

14 Jun Miguel Hernandez and flamenc

Miguel-Hernández-Foto1-300x298Winds of people.


We find so few cases copies of Miguel Hernandez as the time to show the consistency that life and work are to attend as an indivisible whole in the life of an author.Miguel Hernandez was born into the world of poetry from earliest childhood goatherd, with the hardship and difficulties arouse the need in a humble family, just uneducated or media of any kind. From these almost impossible, bad schooled and removed by force of circumstances studies, Miguel was able to learn and absorb all the resources of poetic language to become a unique, bright and earthy, transparent and universal poet. The chiaroscuro of his many misfortunes served in a stunning sense of strength and courage to rise above all obstacles on the path of personal and artistic standards still very young and in the shadow of the imponderable Generation of ’27, we They became an essential author. His poetry rooted in the people, in nature and in what he called “the three wounds” of life, love, death, force meets an intuition drinking both the poetic tradition the more contemporary social realism or modernism. Is Miguel Hernandez, an exemplary case of self-education that by way of reading and expressive sensitivity reaches extraordinary heights in a dramatic circumstances that marked his biography until his dreadful death from tuberculosis in prison with 31 years of Alicante. The voltage and current of his life is his work in a crystal form. Republican, war and horror enthusiasm, loving candor and end repression following his arrest on the flight to Portugal and disease in multiple criminal visiting him in the fierce repression and neglect led to his early death.

The poet-shepherd shows us how to transform painful circumstances in outburst and elevation, and from the most humble beginnings can be a unique example of life and dedication to the service of a generous and invigorating passion that has at its center the individual and also the surrounding society, that humble people, humiliated and subjected to ignorance and injustice.With his poetry Miguel Hernandez we opened the window of sensitivity and love for life and indelible craving for freedom always precarious, always subject to the most undesirable excesses.







You can fit the poetry of M. Hernandez on flamenco styles? It was a challenge I try, although some poems musician Enrique Morente few years ago.

The greatest difficulty was undoubtedly the pace, devilish and demanding rhythms of flamenco styles, the famous bar. There was no doubt in his lyrics, their contents were flamingos. They are deep, senses, dramatic lines that inevitably coincide with the general background of flamenco song ever … after several attempts in our workshop Flemish However student-Ace

IES H. Lanz, we conclude that yes, that was possible. Pronatura and the result of those tests came a soleá apolá (old style almost obsolete) for “Yuntero child.” “Harvesters”, conceded by joy. “Elegy” by Malaga. “Soledad” tientos … etc.

















CHILD Yuntero

Meat yoke is born

More humiliated how beautiful

Pursued with the neck

For the yoke in the neck

This hungry child pains me

Like a great thorn

And his live ashen

Stir my soul oak

Who will save this boy

Less than a grain of oats?

Whence will hammer

Executioner of this chain?

That comes from the heart

What men laborers

That before man are

And they have been yunteros children.



I want to be crying the gardener
of the earth you occupy and fertilize,
soul mate, so early.

A hard slap, an icy blow,
an invisible ax murderer,
a brutal shove has knocked you.

Early death raised the flight
early the morning he rose early,
early’re rolling on the floor.

At winged souls of roses
almond cream I testify,
we have to talk about many things,
soul mate, partner.




This autumn nap

Under this colossal elm

That and its round leaves

The wind begins to take

You give me your full

Sweet and lonely solitude.

A bird only

The same for all naps

Typing in poplar

His musical Trinada

Veloz, as if

Hurry to finish

What I love you! What I appreciate!

This ringing to give

This autumn nap

Under this colossal elm

So sweet, so full

And so lonely loneliness



Winds of people take me,
winds people dragged me,
I sprinkled the heart
and throat winnowed me.

If I die, I die
with my head held high.
Dead and twenty times dead,
his mouth against the program,
I have tightened the teeth
and determined chin.


Cogedme, cogedme.

Let me, let me

Beasts, men, shadows,

Suns flowers, seas


Let me.

Fandangos de Huelva


Next to the river transparent

The blonde star colora

And rising aura Ruffles

Leda crying Pastor

Their pastor has left!

In the city he left

And he left her alone

At the edge of livestock

Mas takes his old verve,

And beautifully serene,

Buries his black worth

Among lhasa river waters

Sacred silence reigns …

No longer cries the shepherd!

After crying it seems

Calling, their cattle!



Andalusians of Jaén,
proud harvesters of olives,
tell me from your soul: who,
who raised the olive trees?

It’s not up nothing,
neither money, nor the Lord,
but the quiet earth,
work and sweat.

Your blood, your life,
not the operator
who became rich in the wound
generous sweating.

Andalusians of Jaén,
proud harvesters of olives,

Andalusians of Jaén,

Ask my soul: who,
who are these trees?

Jaen, arise brave
about your moonstones,
not going to be a slave
to all your olive groves.

Within the clarity
of oil and aromas,
indicate your freedom
your freedom hills.

Miguel Hernandez Flamenco


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Metamorphic Transformation

Observing metamorphic transformations in nature allows us to extrapolate that method to humans and the arts. That is to say, the foundational substance becomes a supporting substance retained in the new identity. These essential elements are absorbed, now invisible to the observer, while the transformed form creates a stunning awareness of the new.

Likewise, our compositions make use of a similar pattern of creative mutation, if you will. We begin with folk songs that poet Federico Garcia Lorca chose, rescued from oblivion, transcribed for the piano and performed in various venues. Following a trajectory of revealing hidden elements, we submit them to an unexpected metamorphic process. The melodic essences of the old songs are those that give musical meaning to different poems that Lorca wrote.

Additionally, in his short life, he created diverse artistic works, including poetry, music, and literature. He also created formidable works for the theater, while also embracing other mediums such as painting. His contemporaries and artistic collaborators included Joan Miro and Salvador Dali.

“Lorca in the Keys of Hands and Voice,” a concert conceived and presented by Adam Kent and Fernando Barros, is a musical innovation inspired by Lorca’s example. Lorca collected melodies from the Spanish folklore repertoire and transcribed them for the piano using two different concepts: 1) adapting the old melodies to various of his poem, as for example, ANDA JALEO to the poem “Preciosa y el Aire”; and 2) singing the old songs using the expressive, emotive characteristics inherent in flamenco music.

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Email: barroslirola@gmail.com