The last quarter of the programming of the Peña Flamenca The Silversmith, the dean of the peñas, it couldn't have gotten off to a better start. Granada is a land of artists, but above all, it's a land of guitarists. Historically, there has been a host of great guitarists who, while not justly recognized, have left a legacy that other flamenco regions would envy. From the brothers Little sheep To the youngest of today's artists, all have been among the greatest, especially as accompanying guitarists. And they have drawn from all sources to distinguish themselves. This is precisely what a young but established guitarist like Alvaro MartineteHis school, his roots, his homeland is Granada. However, his playing covers such a wide range that it's not always easy to guess. Because Álvaro has had many teachers, and not all of them were guitarists. That's the wisdom that treasures his touch. When you let yourself be advised by artists, fans and/or guitar makers, the vision you have of the flamenco grows exponentially.
In the case of Álvaro, his connection with the Jerez master is well known. Gerardo Nunez. But his concerns have led him to explore other territories. That's where Granada's greats come into play, such as Miguel Ochando, Bean and so many who have left a mark and a legacy.
He presented himself in an unusual way. He entered through the door where the fans enter, the back door. playing without a microphone, crossing the aisle to get on stageA chair and a microphone. Alone. Singing with my hands.
The performance he presented was a highly successful combination, combining songs from his first album with new creations that will be included in his new one. Thus, we appreciated a progressive evolution in technique and compositional ability, but above all, in the quality of his playing, not based on speed or flat technique, but rather a very mature, calm, and brilliant delivery.
He started with a granaína from the upcoming album. Clean, polished arpeggios, simple but high-quality tremolos, and above all, a distinct personality. He didn't need the typical legato to make the playing more discernible, yet it was still a traditional modernity that ended with bulerías measures. This creation is a tribute to his maestro Ochando. In his tarantas, he expressed the same intentions as when he won the bordón minero de La Unión, since it was the same piece.
"Martinete is a guitar virtuoso. Miss a note, son! Oh no, everything's in its place. The cleanliness of his hands shone in every note, but even more so the creativity of each of his compositions, each one more beautiful than the last."
When he later began a zapateado, some in the audience mistook it for alegrías, and even confused me in some passages. The similarities with the essence of some of the maestro's touches Manolo Sanlucar on your disk bullfighting They seemed present and evident to me. It may be the writer's ear, but sonically everything reminded me of Manolo.
From there it moved to the Ronda language. Álvaro explained the origin of the name. Customs Street and how, after a conversation with the guitarist Francisco Manuel Díaz, He took the name of this Madrid street. Martinete is a guitar virtuoso. Miss a note, son! But no way, everything's in its place. The cleanliness of his hands shone in every note, but even more so the creativity of each of his compositions, each one more beautiful than the last.
In the solea por bulerías he once again demonstrated that the guitar has no limits, at least for him. Hence a fan shouting at him: "Álvaro, how difficult it is to fill such a large stage with just one instrument, and you fill it and have more than enough!" Words are unnecessary. Let his hands speak for themselves, cantein his hands.
There would still be guajiras, also from the album that is about to be released, superb alegrías and a final party with bulerías in which different schools could be appreciated. Sparks of the toque de Morao and a recollection of a falseta, details of Gerardo Núñez or of the Granada school which, without being the most popular, also has its particularities.
Overall, Álvaro demonstrated that he masters all the techniques of flamenco guitar, but above all, he demonstrated that he masters the most important: that of transmitting with his hands and the strings of the sonanta, that of contributing with a solid, constructive foundation, without resembling anyone, but reminiscent of so many masters.
Credits
Recital by Álvaro Martinete
Peña The Silversmith. Granada
April 26th 2025
Guitar: Álvaro Martinete
