Excerpt from Malagueña noicon Performed by Clélia Iruzun
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Originally the sixth movement of the Suite Andalucia by Ernesto Lecuona, who also provided it with Spanish lyrics, the song "Malagueña" has since become a popular, jazz, marching band, and drum corps standard and has been provided with lyrics in several languages.

Notable vocal performances[link]

A German language version, sung by Caterina Valente, with Werner Müller's Orchestra, was very popular in the United States (not making the Billboard chart, but charting on Cash Box, peaking at position #42) in February 1955. She also has sung Malaguena in Spanish. English lyrics had been written by Marian Banks^[1] and a later charting version was recorded by Connie Francis in 1960 that reached #42 on Billboard's chart as the flip side of her #1 pop smash "My Heart Has A Mind Of Its Own." It is a Spanish folk song and is usually played on a piano at a fast pace with a repeating pattern.

Notable instrumental performances[link]

"Malagueña" was recorded by the composer as a piano solo on the 1955 RCA Victor LP Lecuona Plays Lecuona. The recording is available on RCA/BMG CD compilations / reissues.^[2]

Bill Holman's arrangement for the Stan Kenton Orchestra, reimagined the song as a fiery big band showpiece. Performances of this arrangement appeared on Kenton's 1961 album Adventures in Jazz and on the 1962 American TV show, Jazz Scene USA.^[3]

Marco Rizo solo piano performance of Malagueña can be found in Lecuona, a Musical Legacy.^[4] Rizo, who in 1938 became the official pianist of the Havana Philharmonic, performed under the direction of Maestro Ernesto Lecuona and gave duo piano recitals with Lecuona in 1939.

Carlos Montoya adapted it for flamenco style guitar, and it was the title track on his 1961 live album, "Malagueña" on the RCA Victor lablel. ^[5] This recording was influential in the piece becoming a guitar standard, even though it was originally written for piano.

Other popular versions[link]

American guitarist Roy Clark recorded an instrumental version of "Malagueña" and also performed the song in an episode of the US TV show The Odd Couple.^[6] Rock versions have included an instrumental version by Bill Haley & His Comets recorded live in Sweden in 1968 (it was a staple of their live shows in the 1960s and 1970s, usually performed by guitarist Nick Nastos). An instrumental version by Ritchie Valens was released years after his death. A surf instrumental version of "Malagueña" has been performed by the Trashmen, the Bambi Molesters, and Albatross, and is part of an arrangement of Misirlou by Dick Dale and others. The genealogy of this arrangement is not known. Other instrumental versions were provided by New Orleans piano virtuoso James Booker, legendary New Orleans guitarist Snooks Eaglin (as "Funky Malagueña), Brian Setzer on his album Ignition, Dave Salyer on Red Hot Guitar, and Buckethead on From the Coop. "Malagueña" was also loosely adapted in 1991 by American thrash metal band Tourniquet for their instrumental song "Viento Borrascoso" (an acoustic version was released in 1998).

Drum corps / Marching band[link]

"Malagueña" is one of the most often performed pieces in drum & bugle corps and marching competitions.^[7] One of the most well known performances of this piece in recent years has been as part of the Broadway musical Blast!, a fusion of Corps style musical arrangements and field (stage) movements with traditional theatric elements. The best known performance of Malagueña is regarded as the Madison Scouts Drum and Bugle Corps show in 1988, many witnesses call it a legendary moment in the Drum Corps activity.

“Malagueña” has been performed numerous times by the University of Massachusetts Minuteman Marching Band, and as such, has become one of the songs most identified with the group. The University of Minnesota hockey pep band also plays the song after each home win by their men's hockey team. The Madison Scouts Drum and Bugle Corps won their second DCI World Championship with a program including the work. Performed by Florida State University's Marching Chiefs as well, in addition to being played by the Pride of Oklahoma Marching Band. Other corps to perform the piece include the Boston Crusaders, the Velvet Knights, The Cadets, the Hawthorne Caballeros and the Hanover (PA) Lancers, Norwood Park Imperials of the Chicago area.

In figure skating[link]

Sasha Cohen, a ladies U.S. figure skater, used this song as her short program in the 2002-2003 and 2003-2004 figure skating seasons.

Kristi Yamaguchi, a ladies U.S. figure skater, used this song for her long program in the 1991-1992 season, the year she won the Olympic gold medal.

References[link]

External links[link]

• ASCAP: MALAGUENA (FROM SPANISH SUITE "ANDALUCIA")
• List of recordings of the song

Malagueña by Julio Romero de Torres (1917).

Malagueña is the feminine form of the Spanish language adjective malagueño / malagueña, 'pertaining to Málaga', a Spanish port city.

Malagueña may also refer to:

• Malagueña (genre), a Venezuelan genre of folk music
• Malagueña (song), the sixth movement of the Suite Andalucia by Ernesto Lecuona
• Malagueñas (flamenco style), the flamenco palo or style
• Malagueña Salerosa, a Mexican song by Elpidio Ramírez, Roque Ramírez and Pedro Galindo

Other:

• Malagueña, a woman from Málaga
• Malagueña, the second movement of Dmitri Shostakovich's Fourteenth Symphony
• Malagueña, the second movement of Maurice Ravel's Rapsodie espagnole
• Malagueña, a piece from Spanish composer Isaac Albéniz' famous piano composition España, Opus 165

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Three singers-a trio-singing a song while accompanied on a lute played by one of the singers. Das Konzert [The Concert] (c. 1490, Lorenzo Costa).

In music, a song is a composition for voice or voices, performed by singing. A song may be accompanied by musical instruments, or it may be unaccompanied, as in the case of a cappella songs. The lyrics (words) of songs are typically of a poetic, rhyming nature, though they may be religious verses or free prose.

A song may be for a solo singer, a duet, trio, or larger ensemble involving more voices. Songs with more than one voice to a part are considered choral works. Songs can be broadly divided into many different forms, depending on the criteria used. One division is between "art songs", "pop songs", and "folk songs". Other common methods of classification are by purpose (sacred vs secular), by style (dance, ballad, Lied, etc.), or by time of origin (Renaissance, Contemporary, etc.).

A song is a piece of music for accompanied or unaccompanied voice or voices or, "the act or art of singing," but the term is generally not used for large vocal forms including opera and oratorio.^[1] However, the term is, "often found in various figurative and transferred sense (e.g. for the lyrical second subject of a sonata...)."^[1] The noun "song" has the same etymological root as the verb "to sing" and the Oxford English Dictionary (OED) defines the word to mean "that which is sung" or "a musical composition suggestive of song." The OED also defines the word to mean "a poem" or "the musical phrases uttered by some birds, whales, and insects, typically forming a recognizable and repeated sequence and used chiefly for territorial defence or for attracting mates." ^[2]

Cultural types[link]

Art songs[link]

Art songs are songs created for performance in their own right, usually with piano accompaniment, although they can also have other types of accompaniment such as an orchestra or string quartet, and are always notated. Generally they have an identified author and composer and require voice training for acceptable performance. German-speaking communities use the term art song ("Kunstlied") to distinguish so-called "serious" compositions from folk song ("Volkslied"). The lyrics are often written by a poet or lyricist and the music separately by a composer. Art songs may be more formally complicated than popular or folk songs, though many early Lieder by the likes of Franz Schubert are in simple strophic form. They are often important to national identity.

Art songs feature in many European cultures, including but not limited to: Russian (romancy), German (Lieder), Italian (canzoni), French (mélodies), Scandinavian (sånger), Portuguese (canções), Spanish (canciones). There are also highly regarded British and American art songs in the English language. Cultures outside of Europe that have a classical music tradition, such as India, may or may not feature art songs. The accompaniment of European art songs is considered as an important part of the composition.

The art song of the period in which they originally flowered is often a duet in which the vocalist and accompanist share in interpretive importance. The pieces were most often written to be performed in a home or salon setting, although today the works enjoy popularity as concert pieces. The emergence of poetry during this era was much of what inspired the creation of these pieces by Brahms, Schumann, Schubert and other composers. These composers set poems in their native language. Many works were inspired by Johann Wolfgang von Goethe and Heinrich Heine. Another method would be to write new music for each stanza to create a unique form; this was through-composed form known in German as durchkomponiert. A combination of both of these techniques in a single setting was called a modified strophic form. Often romantic art songs sharing similar elements were grouped as a song cycle.^[3]

Folk songs[link]

Folk songs are songs of often anonymous origin (or are public domain) that are transmitted orally. They are frequently a major aspect of national or cultural identity. Art songs often approach the status of folk songs when people forget who the author was. Folk songs are also frequently transmitted non-orally (that is, as sheet music), especially in the modern era. Folk songs exist in almost every culture.

Popular songs[link]

Modern popular songs are typically distributed as recordings and are played on the radio, though all other mass media that have audio capabilities are involved. Their relative popularity is inferred from commercially significant sales of recordings, ratings of stations and networks that play them, and ticket sales for concerts by the recording artists. A popular song can become a modern folk song when members of the public who learn to sing it from the recorded version teach their version to others. Popular songs may be called pop songs for short, although pop songs or pop music may instead be considered a more commercially popular genre of popular music as a whole.

See also[link]

Wikiquote has a collection of quotations related to: Song

• Air (music)
• Animal song: bird song, whale song, zoomusicology
• Aria
• Ballad
• Canticle
• Category:Musical forms
• Hymn
• Instrumental
• Lied
• Madrigal (music)
• Song structure (popular music)
• Vocal music
• Theme song
• Poem and song
• Singing

References[link]

Further reading[link]

• Marcello Sorce Keller (1984), "The Problem of Classification in Folksong Research: a Short History", Folklore, XCV, no. 1, 100- 104.

Ernesto Lecuona y Casado (August 6, 1895 - November 29, 1963) was a Cuban composer and pianist of Canarian father and Cuban mother, and worldwide fame. He composed over six hundred pieces, mostly in the Cuban vein, and was a pianist of exceptional quality.^[1][2]

Biography[link]

Lecuona was born in Guanabacoa, Havana, Cuba. He started studying piano at an early age, under his sister Ernestina Lecuona, a famed composer in her own right. He later studied at the Peyrellade Conservatoire under Antonio Saavedra and the famous Joaquin Nin. Lecuona graduated from the National Conservatory of Havana with a Gold Medal for interpretation when he was sixteen. And he performed outside of Cuba at the Aeolian Hall (New York) in 1916.

Ernesto Lecuona: dedicated to Gonzalo Roig

He first travelled to Spain in 1924 on a concert tour with violinist Marta de la Torre; his successful piano recitals in 1928 at Paris coincided with a rise in interest in Cuban music.

He was a prolific composer of songs and music for stage and film. His works consisted of zarzuela, Afro-Cuban and Cuban rhythms, suites and many songs which are still very famous. They include Siboney (Canto Siboney), Malagueña and The Breeze And I (Andalucía). In 1942, his great hit, Always in my heart (Siempre en mi Corazon) was nominated for an Oscar for Best Song; however, it lost to White Christmas. Lecuona was a master of the symphonic form and conducted the Ernesto Lecuona Symphonic Orchestra, employing soloists including Cuban pianist and composer Carmelina Delfin. The Orchestra performed in the Cuban Liberation Day Concert at Carnegie Hall on October 10, 1943. The concert included the world premiere of Lecuona's Black Rhapsody. Lecuona gave help and the use of his name to the popular touring group, the Lecuona Cuban Boys, though he did not play as a member of the band. He did sometimes play piano solos as the first item on the bill.

In 1960, thoroughly unhappy with Castro's new régime, Lecuona moved to Tampa and lived on West Orient Street with her relative, singer Esperanza Chediak. Lecuona lived his final years in the US. He died 3 years later at Santa Cruz de Tenerife at age 68, and is interred at Gate of Heaven Cemetery in Hawthorne, New York; his will instructs that his remains be repatriated once the current régime runs its course. A great deal of Lecuona's music was first introduced to mass American audiences by Desi Arnaz, a fellow Cuban and Lucille Ball's spouse.

Ernesto Lecuona
circa 1935

Lecuona's talent for composition has influenced the Latin American world in a way quite similar to George Gershwin in the United States, in his case raising Cuban music to classical status.

Ernesto and Ernestina's cousin Margarita Lecuona was another accomplished musician and composer. She was the author of the song "Babalú", made popular in the Latin American world by Miguelito Valdés, and in the United States by Desi Arnaz (who, contrary to popular folk lore, did not write the song).

Selected compositions[link]

For piano[link]

• Suite Andalucía
  • Córdova/Córdoba
  • Andalucia/Andaluza
  • Alhambra
  • Gitanerías
  • Guadalquivir
  • Malagueña
• San Francisco El Grande
• Ante El Escorial
• Zambra Gitana
• Aragonesa
• Granada
• Valencia Mora
• Aragón

The grave of Ernesto Lecuona in Gate of Heaven Cemetery

Waltz[link]

• Si menor (Rococó)
• La bemol
• Apasionado
• Crisantemo
• Vals Azul
• Maravilloso
• Romántico
• Poético

Others[link]

• Ahí viene el chino
• Al fin te vi
• Amorosa
• Andar
• Aquí está
• Arabesque
• Bell Flower
• Benilde
• Burlesca
• Canto del guajiro
• Cajita de música
• Como el arrullo de palma
• Como baila el muñeco
• Dame tu amor
• Danza de los Ñáñigos
• Danza Lucumí
• Diario de un niño
• Ella y yo
• ¡Echate pa'llá María!
• El batey
• El miriñaque
• El sombrero de yarey
• El tanguito de mamá (también llamada A la Antigua)
• En tres por cuatro
• Eres tú el amor
• Futurista
• Gonzalo, ¡no bailes más!
• Impromptu
• La 32
• La primera en la frente
• La Comparsa
• La conga de medianoche
• La Habanera
• La danza interrumpida
• La mulata
• La negra Lucumí
• La Cardenense
• Los Minstrels
• Lola Cruz
• Lola está de fiesta
• Lloraba en sueños
• Mazurka en glissado
• Melancolía
• Mientras yo comía maullaba el gato
• Mis tristezas
• Muñequita
• Negra Mercé
• Negrita
• ¡No hables más!
• No me olvides
• No puedo contigo
• Orquídeas
• Pensaba en ti
• Polichinela
• ¿Por qué te vas?
• Preludio en la noche
• ¡Que risa me da! Mi abuela bailaba así
• Rapsodia Negra
• Rosa, la china
• Tú serás
• Tres miniaturas
• ¡Y la negra bailaba!
• ¡Y sigue la lloviznita!
• Yo soy así
• Yumurí
• Zapateo y guajira
• Zenaida

Lecuona was included as a character in the novel The Island of Eternal Love, by Miami-based Cuban writer Daína Chaviano, together with other important names in Cuban music.

References[link]

1. ^ Orovio, Helio 2004. Cuban music from A to Z. Revised by Sue Steward. ISBN 0-8223-3186-1 A biographical dictionary of Cuban music, artists, composers, groups and terms. Duke University, Durham NC; Tumi, Bath.
2. ^ Díaz Ayala, Cristóbal 1981. Música cubana del Areyto a la Nueva Trova. 2nd rev ed, Cubanacan, San Juan P.R. p135 et seq.

Cuba portal

• List of Cubans

External links[link]

• at the Songwriters Hall of Fame
• Piano Rolls (The Reproducing Piano Roll Foundation)

José Pascual Antonio Aguilar Barraza^[1] (May 17, 1919 – June 19, 2007) most commonly known as Antonio Aguilar, nicknamed "El Charro de México", was a Mexican film actor, singer, producer and screenwriter. During his career, he made over 150 albums, which sold 25 million copies, and made 167 movies.^[2] Aguilar was best known in cinema for his participation in films concerning the Mexican Revolution, its heroes, and its folk songs or corridos. He won the Premio ACE for Best Actor for his eponymous role in Emiliano Zapata.^[3] Aguilar was also awarded with the Special Golden Ariel for his invaluable contribution and spreading of Mexican cinema.^[3]

He married actress-singer Flor Silvestre after meeting her during the filming of a motion picture. Their sons, Antonio Aguilar Jr. and Pepe Aguilar also entered into the film and music industry. Antonio Aguilar along with his family are known together as La Dinastía Aguilar, or "The Aguilar Dynasty".

Antonio de Jesús: Dueño de Perapple

Acting career[link]

Aguilar began his acting career in 1952 during the Golden Age of Mexican cinema. He is credited with popularising la charrería, considered to have originated in Mexico, to international audiences.^[2]

Antonio Aguilar was the first Mexican performer to mix rodeos and concerts while touring his show in Latin America and the United States.^[4] He made 167 movies and has been compared to American actors like Roy Rogers, Gene Autry, and Ronald Reagan.

In the 1950s, Aguilar was cast in a series of films centered on rural hero "Mauricio Rosales" in El rayo justiciero (1955), La barranca de muerte (1955), La sierra del terror (1956), La huella del chacal (1956), La pantera negra (1957), La guarida del buitre (1958), and Los muertos no hablan (1958). A total of seven low-budget ranchera films produced by Rosas Films S.A.

Aguilar gained cinematic notice when cast in Ismael Rodríguez's Tierra de hombres in 1956. Other collaborations with Rodríguez include La Cucaracha (1959) and Ánimas Trujano (1962), where he received starring roles. Amongst his best ranchera films are Yo... el aventurero (1959), Caballo prieto azabache (1968) El ojo de vidrio (1969), and Valente Quintero (1973). Aguilar appeared in American western films like 1969's The Undefeated starring John Wayne.^[2] He also made a memorable starring role alongside Flor Silvestre in Triste recuerdo (1991).

Aguilar's star on the Hollywood Walk of Fame

For contributions to the recording industry, Antonio Aguilar Barraza was honored with a star on the Hollywood Walk of Fame at 7056 Hollywood Boulevard.^[5] He was similarly honored with his handprints and star on the Paseo de las Luminarias in Mexico City for his work in movies and in the recording industry.

Musical career[link]

Antonio Aguilar began his recording career in 1950, eventually making over 150 albums and selling more than 25 million records. He was known for his corridos with some of his best known songs, including "Gabino Barrera", "Caballo Prieto Azabache", "Albur de Amor", and "Un Puño De Tierra".^[2] Antonio was also largely responsible for the renewed popularity of the tambora music in the mid 1980s, when he single-handedly resuscitated the genre with the hit "Triste Recuerdo". To this day he has been the only Hispanic artist to sell out the Madison Square Garden of New York City for six consecutive nights on 1997.^[6][7]

Family[link]

Ángela and Jesús, Antonio's parents, had six other children: José Roque, Salvador (dec.), Guadalupe (dec.), Luis Tomás (dec.), Mariano (dec.) and Josefina. Aguilar was married to actress Flor Silvestre (born Guillermina Jiménez Chagoya), and one of their children, José "Pepe" Aguilar, is among Mexico's most popular modern singers. In addition to Pepe Aguilar, he had another child with Flor Silvestre who is the eldest, Antonio Aguilar, Jr. Aguilar's grandchildren include Emiliano, Aneliz, Leonardo, and Ángela are Pepe Aguilar's children. María José and Flor Susana are Antonio Aguilar Jr's. children.^[2]

Death[link]

Portrait of Antonio Aguilar at his funeral.

On June 18, 2007, Doctors announced that Antonio was no longer responding to treatment and was expected to pass away before the end of the night. On June 19, 2007, the doctor spoke out to the media that Aguilar was still alive, and his body was responding to the medication but was still in critical condition. While there, the family received visits from many famous people including Vicente Fernández.

Aguilar died on June 19, 2007 at 11:45 p.m. from pneumonia. His coffin was carried through the streets of Zacatecas, the state capital, and was honored at a memorial service attended by hundreds at a church there.

His body was then taken to the hamlet of Tayahua, about 100 kilometers (62 mi) to the south, where residents waited in the streets to bid Aguilar a final farewell before he was buried at his family's "El Soyate" ranch nearby, the government news agency Notimex reported.

Obituaries appeared in many newspapers, including Los Angeles Times (US), New York Times (US), Washington Post (US), The Guardian (UK) and The Independent (UK). News of Antonio’s death were reported in newspapers of many Spanish-speaking countries, including Guatemala (El Periodico), Honduras (La Tribuna), El Salvador (El Diario de Hoy), Nicaragua (El Nuevo Diario), Costa Rica (Diario Extra), Venezuela (Correo del Caroní), Peru (Crónica Viva), Colombia (El Tiempo), Ecuador (El Diario) and Chile (El Mercurio).

References[link]

External links[link]

• Antonio Aguilar at the Internet Movie Database
• Antonio Aguilar's movies at TKcine
• Pepe Aguilar's website - Antonio Aguilar's son
• Obituary in the Houston Chronicle