Master of the flamenco guitar
10-28-78
Carlos Montoya speaks two languages. The first is music; the other is Spanish. At 74, he is the world's most famous master of flamenco — the ancient folk music of the Spanish gypsies, which Montoya performs with dazzling speed and dexterity1. On October 29 he will give a major concert at Avery Fisher Hall.
With more than 30 albums to his credit, Montoya is the most recorded flamenco guitarist in history. He is thoroughly2 committed to his instrument. It is not merely his living, but his life. He is a pure gypsy — "on all four sides," as the Spanish say. Maybe that explains why he likes to tour from January to May and from October to December every year, almost nonstop, across the U.S. and Canada, to South America, Europe and the Far East. He has been a Westsider since the 1940s and has rented the same Westside apartment since 1957. Yet when people ask Montoya where he lives, he is likely to reply, "On airplanes."
An American citizen for more than 30 years, he is perhaps the first persons ever to acquire citizenship3 after answering "no" to the question, "Do you like the American form of government?" Because of his poor English, he had misunderstood the query4. He corrected himself, and that night played for President Harry5 Truman.
Montoya's wife, Sally, is his steady helpmate. Since their marriage in 1940, she has been his manager, interpreter and best friend. He still speaks little English, so interviews with him are often ponderous6 three way affairs. When I arrived at the Montoyas' residence late one morning, he was very polite, but eager to get the interview over with. "Vamos," he said. His demeanor7 changed when he discovered that I was able to understand his crisp, precise Spanish when spoken slowly. We quickly dispensed8 with the interpreter.
Does he consider flamenco to be the highest art attainable9 on the guitar? Sitting upright in an overstuffed chair, he smiled benignly10 and said, "Not all the flamenco guitarists are artists. There are many guitarists, but in the world there are only two or three artists on the flamenco guitar. … Most musicians are technicians. I think that to play flamenco as it should be played, you have to be an artist. The music is either very bad or very good. People who hear the performance may applaud both the technician and the artist. But afterward11, if the performer was not an artist, they forget what they have heard."
The smile remained on his face, and he began to use his hands with much expression as he continued. "I carry the music inside me. I want to touch inside the heart of the public. That's what I always aim for. My music is sincere. It is very human. I believe it should be listened to closely. That is why I play concerts."
He was, in fact, the first prominent flamenco guitarist to go solo. Until Montoya started giving one-man concerts in 1948, flamenco was strictly12 a music to accompany singers or dancers, who added to the rhythm with castanets, snapping fingers and feverishly13 clicking heels. When faced with Montoya's guitar alone, the audiences did not catch on immediately. But as soon as they learned to appreciate the full range of his artistry, his career was assured.
Many of the sound effects produced by a whole flamenco group can be duplicated by Montoya alone. His left hand can play a melody and tap out a rhythm independent of what the right hand is going. To add to the excitement, Montoya never plays a piece the same way twice. One reason is that improvisation14 is the essence of flamenco. Another is that he has never learned to read music.
"Flamenco guitar is more popular than ever right now," said Montoya. "Young people like it; I perform at a lot of colleges. I also perform with many symphony orchestras to play my Flamenco Suite15.
That composition, which Montoya co-wrote and premiered in 1996, is the first flamenco piece ever to be written for a full orchestra. The guitar sections, appropriately, allow for some improvising16. Other works by Montoya, mainly his arrangements of age-old gypsy themes, have been transcribed17 and published for the benefit of fellow guitarists. However, as Montoya pointed18 out, "the style you can write. But all the notes — it is impossible. So, my written works are simplified."
Born in Madrid, he took his first guitar lesson at the age of 8, and by his early teens was performing regularly in cafes. He toured extensively until World War II broke out, when he more or less "settled" in New York. In truth, he has never been content to settle anywhere. He spends several months each year in Spain. And when he's on tour, said his wife, "he gets restless staying around the hotel, and likes to visit all the sights in the area."
Sally Montoya, a slender, graceful19 native New Yorker who met Carlos while her father was working for the Foreign Service, was once a Spanish-style dancer herself, but gave it up because "I obviously didn't dance as well as Carlos plays. I'm a casualty of his success." The couple has two sons.
Except for travel, Carlos Montoya has few interests outside his work. "Music and family — that's all," he said quietly. "To be an artist, you must be a slave to the instrument and to the public. To play the guitar is a serious thing — not a game. To me, it is a complete life."
点击收听单词发音
1 dexterity | |
n.(手的)灵巧,灵活 | |
参考例句: |
|
|
2 thoroughly | |
adv.完全地,彻底地,十足地 | |
参考例句: |
|
|
3 citizenship | |
n.市民权,公民权,国民的义务(身份) | |
参考例句: |
|
|
4 query | |
n.疑问,问号,质问;vt.询问,表示怀疑 | |
参考例句: |
|
|
5 harry | |
vt.掠夺,蹂躏,使苦恼 | |
参考例句: |
|
|
6 ponderous | |
adj.沉重的,笨重的,(文章)冗长的 | |
参考例句: |
|
|
7 demeanor | |
n.行为;风度 | |
参考例句: |
|
|
8 dispensed | |
v.分配( dispense的过去式和过去分词 );施与;配(药) | |
参考例句: |
|
|
9 attainable | |
a.可达到的,可获得的 | |
参考例句: |
|
|
10 benignly | |
adv.仁慈地,亲切地 | |
参考例句: |
|
|
11 afterward | |
adv.后来;以后 | |
参考例句: |
|
|
12 strictly | |
adv.严厉地,严格地;严密地 | |
参考例句: |
|
|
13 feverishly | |
adv. 兴奋地 | |
参考例句: |
|
|
14 improvisation | |
n.即席演奏(或演唱);即兴创作 | |
参考例句: |
|
|
15 suite | |
n.一套(家具);套房;随从人员 | |
参考例句: |
|
|
16 improvising | |
即兴创作(improvise的现在分词形式) | |
参考例句: |
|
|
17 transcribed | |
(用不同的录音手段)转录( transcribe的过去式和过去分词 ); 改编(乐曲)(以适应他种乐器或声部); 抄写; 用音标标出(声音) | |
参考例句: |
|
|
18 pointed | |
adj.尖的,直截了当的 | |
参考例句: |
|
|
19 graceful | |
adj.优美的,优雅的;得体的 | |
参考例句: |
|
|
欢迎访问英文小说网 |