Without a doubt, one of the most important singers in the history of flamenco es Antonio Fernandez Diaz, PhosphoriteBorn in the Cordoba town of Puente-Genil on August 3, 1932, played a fundamental role in the era known as the Revaluation of the Cante in the 1950s and 1960s. A topic we will address in this article. First, let's get to know this unique artist better, very briefly: his childhood, background in singing, and his first forays into the cante.
The Beginning
Fosforito was born on August 3, 1932, into an extremely poor family consisting of his parents and eight children, and grew up in a large house with more than forty neighbors. Like many children of that time, he suffered a very difficult childhood in the midst of the post-war period, being forced from a very young age to contribute to the household economy by helping his father, who was a house painter, and receiving very little academic training. Precisely, his first contact with the cante It is through his father, an amateur singer who was called Fosforito because of his resemblance to the singer from Cadiz. Francisco Lema Ullet (1869-1940, alias Old Fosforito, and some cousins who played the guitar. The truth is that, from a very young age, within the family, he became fond of cante, a concern that he began to cultivate in Puente-Genil and that led him to sing in taverns, grocery stores and livestock fairs in the region in exchange for "a few copper coins"" [1]. Also, Fosforito took advantage of the great atmosphere flamenco from his town, learning from local singers such as José Bedmar El Seco, Juan Hierro, Malospelos and others who frequented this beautiful town in Cordoba such as Child of the Rose, Fina de Casares and the great Cayetano Muriel Niño de Cabra.
Therefore, we are talking about a self-taught singer forged in the most difficult years of the Franco dictatorship. An era dominated by Flamenco Opera, stage in the history of flamenco which begins in the second decade of the 20th century and ends in the middle of the same, in which the cante, in general, is performed in large venues – theaters and bullrings – with a musical repertoire in which the interpretation of the cantes more jondos –tonás, seguiriyas or soleares– in favor of cantes lighter –cantes round trip, fandangos and his own creations - imposing an aesthetic dominated by high melodic registers, falsetto technique, melodies loaded with melismas and orchestration. It is in this context that Fosforito, in theaters and colmaos throughout Andalusia - especially in the provinces of Córdoba, Málaga and Cádiz -, established himself as a singer, not allowing himself to be influenced by this cantaora aesthetic. [2], maintaining a more sober and austere form which is the one that triumphs in the I National Competition of Cante Jondo From Cordoba held in 1956, thus beginning a new stage of the flamenco.
«The stage of Revaluation of the Cante It was a paradigm that focused on the recovery of the repertoire of musical forms abandoned during the Flamenco Opera, the search for a theory of flamenco and a conception of it as a music of long tradition"
The Revaluation of the Cante
Beginning in the 1950s, a combination of factors began to emerge in Spain (economic reform, tourism, and emigration) that enabled the Franco regime to open up politically, economically, and socially. We must not forget that we were coming from a period—Flamenco Opera—in which, coinciding with the harshest period of Franco's regime, he had used the flamenco as a propaganda medium for the regime, appropriating it and presenting it as a purely Spanish product. To this end, according to some experts, its gypsy element was eliminated in terms of its origin and a change in the musical repertoire was produced in favor of another based on the cantes mentioned above, some cantes less jondoThey are tragic and therefore suitable for a wider audience. [3].
In this context, we highlight a series of events that will provoke a new historical and conceptual paradigm of flamenco, beginning the stage known as the Revaluation of the Cante. A paradigm that focuses on the recovery of the repertoire of musical forms abandoned during the Flamenco Opera, the search for a theory of flamenco and a conception of it as a music of long tradition. In order to achieve these objectives, the following events were very relevant: recording of the first discography anthology of flamenco, appearance of the first tablaos, peñaflamenco shows and summer festivals, book publication Flamencolodge, the celebration of the 1st Córdoba Competition, and the emergence of Mairenism. Of all these, we highlight the last two.
In 1956, the XNUMXst Competition was held Cante Jondo from Córdoba. Designed by the poet and flamencologist from Ponta Delgada Ricardo Molina y Anselmo Gonzalez Climent, its fundamental objective was the same as that of the Granada Competition of 22, namely: "To recover the most traditional repertoire of cante which at that time was diluted in songs and cantes seasoned with spectacular melismas due to the notable increase in the audience that experienced the genre with the move from cafés cantantes to flamenco opera houses”[4]. This contest was Fosforito's absolute confirmation as an artist., by winning all the first prizes.
And between the fifties and sixties, the Mairenismo movement emerged in an impressive way. Certified by its authors Ricardo Molina and the singer Antonio Mairena in the work World and forms of the cante flamenco (1963), his intention was to highlight the gypsy element through a supposed secular tradition, based on a series of cantebasic songs that he attributed to a group of old gypsy singers from lower Andalusia.
It is in this context of the fifties and sixties, with the rebirth of intellectual and artistic interest towards a flamenco more traditional and jondo, but seasoned with a huge dose of gypsyism, is where the importance of the figure of Fosforito must be placed. A singer who, although he possessed the much sought-after musical aesthetic, was neither a gypsy nor a member of the famous triangle.
That absolute triumph of Fosforito marked the turning point in his artistic career. From that moment on, he became a leading figure, performing in theaters and stages around the world, beginning a series of recordings that are now references for artists, fans, and researchers. Furthermore, it allowed him, from the 1960s onward, to share the headliner at major festivals. flamencos summer, competing head to head with the other two great figures, in this case of gypsy ethnicity, of that time, Camarón de la Isla and Antonio Mairena, with whom he maintained a magnificent relationship of cordiality and respect. A circumstance that, in our opinion, constituted quite a feat in a time dominated by the Gypsy movement imposed by Mairenaism. That in this first edition of the Córdoba competition, a singer of Fosforito's caliber and with an aesthetic in the orbit of what is considered Gypsy was the winner. [6] –rough voice, melismatic austerity, expressiveness and sense of rhythm–, but who was not a gypsy nor did he belong to the famous triangle, served to make it understood that el flamenco, as a musical art, goes beyond races and geographies. As a skill, it is something that, based on natural talent, is acquired through work and dedication, fostered by the musical environment. This was demonstrated at the time by the many fans and singers who followed the maestro's school. In this sense, Ricardo Molina acknowledged after his triumph: "Spain is today phosphorized, much more than the juries themselves who consecrated the singer from Puente-Genil” [7].
After the contest
After the contest, Fosforito began a meteoric artistic career that led him to achieve great recognition, to name just a few.: Honorary Professor of the Faculty of the University of Alcalá de Henares, Ondas Award, Gold Medal of Andalusia, Gold Medal of Fine Arts, V Golden Key of Cante and Honorary Member of the Royal Academy of Córdoba. A career in which he toured stages around the world alongside the best guitarists of the time, including Paco de Lucía, Vargas Araceli, Juan Serrano, Alberto Vélez, and Juan Maya. Marote, Juan Habichuela, Manolo Cano, Enrique de Melchor, Paco Cepero or Pepe Habichuela.
He also recorded an impressive and essential discography that, if we had to define it with a single term, it would undoubtedly be that of encyclopedismThere are very few singers in the history of flamenco with such an exhaustive and complete knowledge of the canteIt's like Fosforito's. In his extensive discography he captured almost all of palos of the flamenco, delving into some of them through their variations. With its malagueñas, granaínas, cañas, polos, bulerías, cantes of Levante, seguiriyas, soleares, tonás, tangos, fandangos, cantiñas, peteneras, abandolaos, bamberas, villancicos, saetas, serranas, livianas, farruca, etc., we are faced with a stylistic repertoire that is a must-listen and study for anyone who wishes to delve deeper into the cante flamenco.
Jose Manuel Gamboa It is very clear: "If the Hispavox Anthology was key to the development of already prominent fans and even professionals, Fosforito's albums were key for the vast majority. The enormous number of people who delved into the secrets of flamenco, into the endless array of styles, is incalculable. flamencos, through Fosforito” [8].
«With regard to his role as an interpreter, it is worth highlighting his extraordinary singing ability with a millimetric intonation, wide vocal range, incredible musical memory to retain countless and complex melodic lines, impressive sense of time and exhaustive knowledge of the guitar and, therefore, of the harmonization of the cantes »
His singing style
In our opinion, with Fosforito we are above all dealing with a brilliant musician. A musician who, in addition to mastering his performance, excels at creation.
Regarding his role as an interpreter, it is worth highlighting his extraordinary singing ability with a millimetric intonation, wide vocal range, incredible musical memory to retain countless and complex melodic lines, impressive sense of time and exhaustive knowledge of the guitar and, therefore, of the harmonization of the cantes. It also shows a great balance between musical quality and expressiveness by combining a correct command of the musical parameters of the cante –tuning, rhythm and diction– with a great capacity for transmission translated into unparalleled body gestures.
It is also worth highlighting his singing personality and creativity, qualities that have led him to enhance the repertoire of the cantes. Thanks to his peculiar melodic/rhythmic concept of musical interpretation, we observe a turning point in numerous cantes. In the opinion of the North American scholar Estela Zatania, "Fosforito's contributions can be summarized in a constant rhythmic renewal of the cantetraditional styles, tight timing, phrasing with rhythmic accents. The recording he made with the flamenco dancer Manuela Vargas set the standards for the cante for dancing, particularly peteneras, taranto, cantiñas, caña or tientos, which are still popular today. He put some canteSat Camarón, and thanks to this we can enjoy the soleá apolá that the man from the Island recorded. Fosforito's version of the seguiriya de Juanichi the Handler It incorporates a mysterious modulation to the major tone that many current singers have adopted.” [9].
On the other hand, thanks to his self-taught intellectual training, Fosforito, in addition to being a scholar of flamenco, has stood out for being a great creator of letters, both of his cantes like those recorded by other singers, such as Camarón de la IslaHe himself acknowledged it in an interview: "I am a very restless man, I am self-taught. I have always been restless. Since I was a child, I have written a lot. There are many people who have sung to me, from Juan Valderrama, Chiquetete, and Juan Linares. Even Camarón He recorded me. Good, but not intellectual. When I was ten years old, there was no electric light in my house. With a piece of candle, Doña Conchita, a neighbor across the street, would lend me books. And when I was ten, I read Thomas Mann with a candle that blinded me, glued to the balcony. I've always had many interests, but I've made myself completely alone. [10].
In short, we are faced with an essential artist in the history of flamencoA singer who, in addition to creating new canteand having a broad command of the repertoire, he offered a very personal flamenco aesthetic that was very influential in the era of the Revaluation of Cante. Also He dignified the profession of singer with a work ethic in which effort, seriousness, aesthetics, honesty and responsibility were his hallmarks. Despite coming from the lowest strata of society and growing up in years when the artist flamenco I was going through a lot of “fatigues”" [11], his professional career symbolizes a testimony to follow for his colleagues. ♦
[1] “-And so, at eight years old he was already singing in the taverns of Puente Genil, which is already precocious.
"Yes, in exchange for a few copper coins (he smiles somewhat sadly). And I sang at the cattle fairs, in the warmth of those handshakes and the drink that confirmed the deal. There I was, meeting singers on the road who, like me, were making a living.". Luque, Rosa (interview)), Phosphorite Essence of Cante, Córdoba: Diario Córdoba SA., 2016. Page 22.
[2] “In an interview with the scholar Francisco Vallecillo, we read about the singers who influenced him most: José El Seco, Cayetano de Cabra, Aurelio de Cádiz, Ezpeleta, Antonio el Herrero, Tomás Pavón. Juan Mojama, Antonio Mairena…”. Núñez, Faustino, Phosphorite Essence of Cante, Córdoba: Diario Córdoba SA., 2016. Page 22.
[3] “We had gone through such a great tragedy that people didn't want tragedies and then there was a type of people with a beautiful voice, with some canteThey were more inconsequential, lighter, and people got hooked on them.”. ... ". Núñez, Faustino, Phosphorite Essence of Cante, Córdoba: Diario Córdoba SA., 2016. Page 36.
[4] Núñez, Faustino, Phosphorite Essence of Cante, Córdoba: Diario Córdoba SA., 2016. Page 36.
[5] Recording of his performance at the Mairena Festival in 1970. He performed peteneras with Paco de Lucía on guitar. Aside from the maestro's extraordinary performance, the audience's overwhelmingly favorable reaction is also noteworthy.
[6] Ricardo Molina himself pointed it out: “Although Fosforito is not a gypsy, his cante It is within the gypsy stylistic orbit. That is, it responds to what essentially should be the cante jondo". Álvarez Caballero, Ángel, Flamenco Arto, Volume IV, Madrid: Ediciones Orbis, SA, 1994. Page 143.
[7] Del Cid, Paco, Phosphorite Essence of Cante, Córdoba: Diario Córdoba SA., 2016. Page 70.
[8] Gamboa, José Manuel, A history of the flamenco, Madrid: Espasa Calpe, SA, 2005. Page 146.
[9] Núñez, Faustino, Phosphorite Essence of Cante, Córdoba: Diario Córdoba SA., 2016. Page 66.
[10] https://cordopolis.eldiario.es/n-b/fosforito-viejo-cantaor_1_6994983.html
[11] “And of course, since I was born in 1932, as you know, I was caught up in the whole war. All the colors passed through my town: blue, red… all the colors. And well, this war and the postwar period, I endured all the hardships. From a very young age, I had to start looking for a living.”. Ibid.
