Utwory na płycie:

• Romanze del Moro
• Romanze de Bernardo
• Romanze de Bernardo del Caprio
• Romanze de Durandarte
• Romanze de Gerineldo
• Romanze de Alfonso V
• Romanze del Conde
• Romanze Bernal
• Romanze de Jose
• Romanze de la Monja
• Romanze Reina
• Romanzes Maria Antonina
• Romanze del Conde Sol
• Romanze las senas
• Romanze de Don Buesco
• Por una Iglesia
• Bulerias Aparcadas

Romance del Moro que reta a Valencia, “O Valencia”
Romance de Bernardo al pie de la torre. Banando está las prisiones. Entrevista con el Rey
Romance de Bernardo del Carpio, con cartas y mensajero. “Bernardo estaba en el Carpio”
Romance de Durandarte
Romance de Gerineldo
Las quejas de Alfonso V ante Nápoles. Luis Panete
Romance del Conde Grifos Lombardo, Los gitanitos del Puerto
Romance Bernal Francés y Romance del prisionero. “Ay tin tin que en la puerta llaman”
Romance de José Cándido, “Ay, en el puerto murió el Candio”
Romance de la Monja contra su gusto, “Mi padre me metió a monja”
Romance Reina y Hermana cautivas. “Caballeritos y hombres buenos” Luis Panete
Romances Maria Antonia y Muerte y boda contrastadas. “Ay Maria Antonia”
Romance del Conde Sol. “Grandes guerras se publica”
Romance Las senas del Esposo. “Estando un día en mi portal"
Romance de Don Bueso y la Hermana cautiva. “Y al pasar por los torneos”
Por una iglesia mayor (2a parte del Romance de José Cándido)
Bulerías aparcadas. Luis Panete, Jesús Núnez:
guitarra

This recording, featuring the flamenco singers Juan de los Reyes Pastor and José Luis Suárez ‘Panete’ and the guitarist Jesús Núnez, is based on work coordinated and documented by Luis Suárez and was recorded and produced by Eduardo Paniagua. It presents and analyses an exceptional repertoire of the ballads of Andalusian Gypsy families of Cadiz and Seville. The Poetics and Tradition of The Ballads of Gypsies of Lower Andalusia. Luis Suárez Ávila. Culturas Populares 2006 (fragments) Since scholars like me have taken an interest in collecting ballads from the oral tradition of the Gypsies of Lower Andalusia, flamenco song styles such as corridos, corridas, and carrerillas have come to be known as ballads, even by the singers themselves. And it is true they are ballads, many with a very long and old traditional life. The nature of the Gypsy Romancero anthology of ballads makes compilation and processing particularly challenging. On the one hand, the repertoire is extremely rich, rare and unusual and, in some cases, cryptic, making it very difficult to identify and collect. On the other hand, in addition to knowing the ‘complete’ versions, an in-depth knowledge of the oral ballad tradition was essential in order to be able to detect fragments, which, steeped in tradition, had become embedded within a series of bulerías por soleá or among the lyrics of tonás, and had developed into something entirely different. Guillermo Castro Buendía Gypsies can sing the same ballad lyrics to different tonadas, or tunes, which means that the tonadas have had a life of their own apart from the ballad. Juan de Reyes used to say, ‘You sing it one way or another depending on how you feel’ The most sung tonadas are in the style known as ‘Tonada del Puerto,’ to use the term coined by Luis Suárez, and a variation of a type of martinete that is very common among flamenco singers.