為了能夠找到同好來支持並且推廣深沈之歌比賽，法雅聚集了一票厲害的音樂家跟藝術家。當中有年輕的詩人費德里戈·加西亞·洛爾卡。23歲的詩人洛爾卡成為推廣比賽第二積極的人物。他藉著演講跟撰寫散文來推廣此次比賽。第三個重要策劃者是出身巴斯克地區的畫家 Ignácio Zuloaga. [13] 參與活動的古典音樂家有 Joaquín Turina, Federico Mompou, Conrado del Campo, 跟 Oscar Esplá, 還有鋼琴家兼作曲家 María Rodrigo, 紐約的作曲家兼指揮家 Kurt Schindler 古典吉他手 Andrés Segovia, 波蘭歌手 Aga Lahowska, 流行樂吉他手 Manuel Jofré,知名的安達魯西亞詩人 Juan Ramón Jiménez 也加入了。還有作家 Ramón Pérez de Ayala 跟 Tomás Borrás, 超現實主義畫家 Manuel Ángeles Ortiz。 Centro Artístico of Granada 組織也參與籌備，另外還有教育界的教授例如 Francisco Giner de los Ríos 跟音樂學及作曲教授 Felipe Pedrell (他是法雅的音樂老師).[14]
後來並且加入了法國作家 Maurice Legendre, 音樂評論家包括馬德里報紙"El Sol"的 Adolfo Salazar。[1][2][3][4][5]
法雅也打算邀請法國音樂家拉威爾跟俄國的史特拉汶斯基，但是市政府拒絕提供提供旅費。 [6]
The Alhambra in Granada, from Mirador de San Nicolás.
比賽的經費來源是由格拉那達市政府所提供，[31][32] 但也不是沒有人反對。 當信徒讚揚佛朗明哥的古老跟純淨，是從人類靈魂的泉源產生，同時也有批評者指出，有時佛朗明哥是在不良場所表演劣質的音樂跟表演。[33] 比賽的支持者們，認為自己是這脆弱的佛朗明哥藝術的拯救者，對於他們對手的指控有點無法招架。[34] 為了擺脫這些不必要的包袱，比賽稱呼這種藝術形式為"深沈之歌"而不是"佛朗明哥"。[35][36] 所以法雅說：「我們是要淨化並且復興這可敬的"深沈之歌"，並不是已經墮落的"佛朗明哥"，不要把這兩者搞混了。」(Queremos purificar y hacer revivir ese admirable cante jondo, que no hay que confundir con el cante flamenco, degeneración y casi caricatura de aquél.)[37][38]
在市政府，是否要財務支持深歌大賽的論戰持續進行著，而募款也繼續著。[39] 關於佛朗明哥本質的爭論，持續到現在還進行著。像是一個大湯鍋裡面煮著一堆帶著刺的原料，包括了社會階級、跟種族、更多時候是表演者的才能、正統性、靈感。 佛朗明哥是一種充分發展的音樂形式，分析的角度可能應該從人類學跟音樂學，這些爭論隨然常被提起，也常常被忽略。[40][41][42] 隨著日期的接近，比賽的場地由阿爾拜辛區的 San Nicolás 廣場，改成阿爾罕布拉宮。[43]
一個退休很久的72歲佛朗明哥歌手Diego Bermúdez Cala(藝名El Tenazas), 意外成為比賽的超級明星。他從家鄉 Puente Genil 花了三天走了大概一百公里到格拉那達去參加比賽。[61] 很明顯的，三十年前被刀尖刺穿肺部，導致他從佛朗明哥圈子提早退休了，這項比賽讓他重享他生命中的重要時刻。他演唱的曲式是屬於上一個時代的，很多人覺得 Bermúdez 的歌唱聽起來，似乎就是得到傳奇歌手Silverio Franconetti的真傳; 雖然一些其他人說他不知道怎麼唱歌，只會調情。[62][63] "El Tenazas 知道古老的曲調，並且用非常佛朗明哥風味的方式去詮釋它們，他用一種幾十年來沒人聽過的純粹佛朗明哥方式歌唱，尤其是在 siguiriyas, 孤調, and cañas (Silverio Franconetti 最喜歡的曲式之一).[64] 在聽到El Tenazas (意思是：鉗子)歌唱時"把他的歌聲拋到天上"，Antonio Chacón驚呼了"老天爺，我聽到了甚麼！"[65] 法雅後來 1939 年因為佛朗哥將軍打贏了西班牙內戰，而流亡到阿根廷的時候，還帶了一份 El Tenazas 的錄音(Cantos de Diego Bermúdez)去。[66]El Tenazas 很享受他突然回復的名氣，藉此他接下來就在西班牙各地巡迴演出佛朗明哥歌唱。但很可惜的，一年後他就去世了。[67] 另外一個首獎得主是年僅十二歲的 Manolo Ortega，後來被稱為El Caracol, 出身於一個知名的鬥牛士跟吉普賽家庭，後來獲得的極大的名聲，也引起了很大的爭議。[68][69] 另一個贏家是出身格拉那達的流行歌手Francisco Gálvez Gómez (Yerbagüena), 他以當地一個教堂火災為題材，即興寫了佛朗明哥歌詞來表演，讓觀眾留下深刻印象。[70] 總共有十個參賽者贏得了數目不等的獎金。[71][72]
專家表演
專業佛朗明哥藝術家在比賽中雖然不能參加有獎金的比賽，依然還是被尊崇的，並且列為特別來賓，包括了女歌手Pastora Pavón (La Niña de los Peines),[73]、男歌手Manuel Torre, 女舞者Juana la Macarrona. 還有男歌手Antonio Chacón, 被選為評審。這四位當時已經很有名了。在一幅繪畫中畫出了藝術家們在比賽舉辦人面前表演，La Niña de los Peines, 前面提過的退休的El Tenazas) 還有創新的佛朗明哥吉他手 Ramón Montoya Salazar。[74] 另外也有一位在巴黎開佛朗明哥咖啡館的 Amalio Cuenca 也被選為評審。[75] 專業藝術家從從西班牙各地甚至外國來參加比賽。
在比賽中，偉大的 Manuel Torre 配著當地 Sacromonte 區的吉普賽女人的擊掌，吟唱了歡愉調(alegrías)。 María Amaya La Gazpacha 唱了喧戲調(bulerías)跟tarantas，由Pepe Cuéllar 彈吉他幫她伴奏。
[76] Ramon Montoya, Manolo de Huelva, 跟 José Cuéllar 這三位被比賽聘請的吉他手，組成了吉他三重奏，為年長的舞蹈大師Juana la Macarrona （頁面存檔備份，存於網際網路檔案館）表演的 alegrías 舞蹈伴奏。[77][78] La Macarrona 她在比賽途中有時候會大聲喊叫:"¡Lapoteosis! ¡Es lapoteosis!"意思類似於"打雷了！"。[79] 在比賽中一場表演，Antonio Chacón 唱歌 Ramón Montoya 伴奏，一個衣衫藍縷的吉普賽女人安靜的哭泣，站起來抬起頭，配著音樂跳了一首極為動人且優雅的孤調。她其實是幾十年前一個有名的佛朗明哥舞者 La Golondrina[80]
Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d editión 1998, with new preface at ix-cviii by Andrés Soria), at lxi, lxx, and 54-57.
Barbara Thiel-Cramér, Flamenco. The Art of Flamenco, Its History and Development until our Days (Lindingö, Sweden: Remark 1990 [Swedish], 1991 [Spanish, German, English]) at 51–52.
Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d edition 1998) at 13-23, 17. Thesoleares in Falla's La Vida Breve is mentioned, during a review of Falla's classical compositions relating to flamenco music. Molina Fajardo at 15 gives his opinion as to how in general Falla incorporated flamenco elements in his art: by drinking in and assimilating their spirit, and then expressing their musical essence. Later he comments on the pervasive use of flamenco in Noches en los Jardines de España, El Amor Brujo, and El Sombrero de Tres Picos.
Betty Keim, "Manuel de Falla: the Guitar and his Music" in The Guitar Review (Winter 1976) 41:22-23, wherein Keim mentions the melodies inspired bycante jondo, and the "rasgueado" and "punteado" in his Noches en los Jardines de España, which ends with a sevillana.
Cf., Lynn Garafola, Diaghilev's Ballets Russes (Oxford Univ. 1989) at 88-90, discussing Falla and flamenco dance projects circa 1916-1917. Falla's El Sombrero de Tres Picos [The Three-cornered Hat;Fr: Le Tricorne], choreographed by Leonide Massine, designs by Pablo Picasso, was produced by the Ballets Russes in 1919. Garafola (1989) at 88, 243, 253.
The flamenco and Spanish origin of both the music and the dance in Le Tricorne is described by Léonide Massine in his My Life in Ballet (London: Macmillan 1968) at 114-118, 122.
Betty Keim, "Manuel de Falla: the Guitar and his Music" in The Guitar Review (Winter 1976) 41:22-23. Keim mentions several other examples of Falla's use of flamenco: the modified farruca for the "Miller's Dance" [Danza del Molinero] in his El Sombrero de Tres Picos (at the end the miller becomes "possessed by the duende"); and, the "falsetas" and "paseos" in his Siete Canciones Populares Españoles (1914), where she again remarks that his piano pieces seem "written as if they were guitar music," especially regarding the "Polo", as well as the "Seguidilla Murciana". Keim also references the memorable "Ritual Fire Dance" in his El Amor Brujo, which is performed at night in a Gypsi camp.
Manuel de Falla, El "cante jondo" (canto primitivo andaluz), a folleto (Granada: Urania 1922); included in Molina Fajardo,Manuel de Falla y El "Cante Jondo" (1962, 1998) at 209-226 [Byzantine liturgical at 209-210; Arabic, Moorish at 210-211, 225-226; Gypsies of India at 211-216]; and collected in Falla's Escritos sobre música y músicos (Madrid: Espasa-Calpe 1950, 1972), Apéndice at 137-155. Falla here refers to his former music professor Felipe Pedrell (1841-1922).
Cf., Peter Crossley-Holland, "Ancient Greece" at 92-103; and, Alec Robertson, "Byzantine and Russian Rites" at 201-208; in: Robertson and Stevens (eds.), The Pelican History of Music (Penguin Books 1960).
Cf., Adolfo Salazar, La Música de España (Madrid: Espasa-Calpe 1953), vol. I at Chap. III/1: 137-149. Also, the religious music of the Jews, who had arrived in Hispania by 300 C.E. Salazar, La Música de España (1953), v. I at I/5: 42-46.
Cf., Julián Ribera y Taregó, La Música de las Cantigas (Madrid 1922), translated and abridged by Eleanor Hague and Marion Leffingwell as Music in Ancient Arabia and Spain (Stanford Univ. 1929).
Aziz Balouchi, Cante Jondo. Su origen y evolución (Madrid: Editiones Ensayos 1955) at 30-38. The author, a sufi, discusses the spirit of Indo-Pakistani music, then describes six principal modes. A "tree" is shown (at 37) whose fruit is cante jondo, i.e., "serranas,soleares, polos, seguirillas, cañas". Earlier the author speculates that Ziryab the famous Persian musician, who arrived in Moorish Spain during the 9th century, was a master of "la música persa-baluchi," had studied "el cantar Sindhi" in India, and brought with him to Spain "la música indostánica". Balouchi (1955) at 24-28, 26.
Bernard Leblon, Gypsies and Flamenco (Univ.of Hertfordshire 1995). Leblon, who favored the view of a strong Gitano influence on the art, addresses the theories proposed by Falla (at 85-91). Leblon discounts Falla regarding the Byzantines, then endorses influence by the Moors. Regarding India and Gitano contributions to flamenco, Leblon writes that here Falla makes five points: 1) "use of intervals less than a demi-tone" (smallest interval common to western music) to modulatekeys; 2) "a melodic ambitus which rarely exceeds the limits of a sixth" (ninehalf-notes); 3) "repeated, almost obsessive use of a single note" often with appoggiatura; 4) melody rich in ornamentation, suiting the emotion of the lyrics; 5) "shouts [jaleos] used by our people to excite the dancers and guitarists" following ancient custom. Leblon (1995) at 88.
Manuel de Falla, El "cante jondo" (canto primitivo andaluz), a folleto (Granada: Urania 1922); included in Molina Fajardo,Manuel de Falla y El "Cante Jondo" (1962, 1998) at 209-226, 217-225; collected in Falla's Escritos sobre música y músicos (Madrid: Espasa-Calpe 1950, 1972), Apéndice 137-155. Falla noted that the foreign borrowing of Spanish music went beyond rhythm (usual with dances of other European countries, e.g., the jig, the saraband, the gavote, the minuet); it went further, to the basic modes of expression found in Spanish music. Falla (1922), reprinted in Molina Fajardo (1998) at 218.
Gilbert Chase, The Music of Spain (New York: W.W.Norton 1941; rev.ed., New York: Dover 1959) at 289-304, "The Spell of Spanish Music". Gilbert discusses Falla at 182-197.
The list would include these composers and works: Mikhail Glinka (Jota Aragonesa, 1845), Georges Bizet (Carmen, 1875), Nikolai Rimsky-Korsakov (Capriccio Espagnol, 1887),Claude Debussy (Ibéria, 1905-1908), Maurice Ravel (Rapsodie espagnole, 1907, and Boléro, 1928).
"Pues bien, señores: ese tesoro de belleza, no sólo amenaza ruina, sino que está apunto de desaparecer para siempre." "El canto grave, hierático de ayer, ha degenerado en el ridículo flamenquismo de hoy." Manuel de Falla, "La proposición del cante jondo" en El Defensor de Granada (March 21, 1922), reprinted in Molina Fajardo, Manuel de Falla y El "Cante Jondo" (1962, 1998) at 169-175, 173. "Well, gentlemen, this beautiful treasure not only is about to collapse, but may disappear forever." "The song of gravitas, majestic yesterday, has sunk now to this absurd flamenquismo."
An entry ticket to the event reads: "Concurso y Fiesta del Cante Jondo, Corpus 1922. Entrada de Silla Preferente, para los días 13 y 14 de Junio. Entrada por la Puerta de Justicia. Preséntese a toda reclamación." Molina Fajardo (1998), insert at 129.
Would "renacieron en toda su pureza esos cantos de maravilla, que constituyen uno de los más legítimos orgullos de música natural europea". Manuel de Falla, "La proposición del cante jondo" (Granada 1922), reprinted in Molina Fajardo (1962, 1998) at 169-175, 174-175.
Timothy Mitchell, in his Flamenco Deep Song (New Haven: Yale University 1994), disputes the very notion of a traditional "purity" as advanced by Concurso proponents. For example, regarding the seguiriya gitana Mitchell describes it as a result of "lower-class gitanos, payo [non-Gitano] ruffians, blind beggars, female mourners for hire, and proletarian youth" which later was evolved in the 19th century by "professional cantaores" entertaining within the cultural maze of Spanish society, at venues including "private juergas [parties] and public saloons." Mitchell (1994) at 168.
Written application for support was made on December 31, 1921, giving artistic and cultural reasons as redacted by Miguel Cerón, and signed by several dozen adherents. Molina Fajardo,Manuel de Falla y El "Cante Jondo" (1962, 1998) at 51-58, 51-53; also, Solicitud Al Ayuntamiento de Granada reprinted in Molina Fajardo (1998) as Apéndice II at 163-167.
"We want to purify and renew the admirablecante jondo, which is not to be confused with flamenco, a degeneration of it, almost a caricature." 法雅寫給倫敦評論家 John Trend 的信, Molina Fajardo 引用在 Manuel de Falla y El "Cante Jondo" 書中，(1962; 1998) 76-77 頁。
Among factors in the cauldron are the dynamic opposition of flamenco tradition versus innovation, the latter frequently including interpenetration with other musical styles. E.g., Manuel Ríos Ruiz, Ayer y Hoy del cante flameno (Madrid: Ediciones ISTMO 1997) at 85-95. Recent decades have seen Nuevo Flamenco emerge with rock and jazz connections.
Flamenco motivation is notoriously difficult to pin down. "Existe en plenitud anárquica, independiente de todo acicate organizado." "Fully anarchic, blind to organized incentives." Anselmo Gazález Climent, Flamencología. Toros, Cante y Baile (Madrid: Editorial Escelicer 1955, 1964) at 272. See Gazález Climent's comments on the nuance involved in the rôle of La guasa (the tricky, humorous rustic), at 329-341.
On occasion political passions may be stirred, in a sociological view of the art: as embodying the anguished expression of the poor, the oppressed classes. Yet to the contrary, others see flamenco performers of the past, who were often short of resources, as influenced by their wealthy patrons who had a taste for the exotic. An ethnic dimension also arises: as to how much the art owes to its strong Gitano elements, or to the Andalusian. Altogether contrary is the opinion that in flamenco what one hears is the cry of the soul, transcending class, patrons, ethnicity, etc. Wide-ranging views are held by flamencologos on the art and on what motivates a performer. E.g., Anselmo Gazález Climent, Flamencología. Toros, Cante y Baile (Madrid: Editorial Escelicer 1955, 1964); William Washabaugh, Flamenco. Passion, politics and popular culture (Oxford: Berg 1996) at 31-38.
Andrés Soria, "Prefacio" at lxix, in Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d edition 1998, with new preface at ix-cviii by Soria).
The performance of flamenco is very difficult and demanding; only someone who devotes a great deal of their life's nurture to the art will be able to express its subtleties and nuance, its drama and simplicity; often but not always such refinement will acquire wide attention. Cf., Paco Sevilla, "Introductory History of Flamenco, Part II" in Jaleo VIII/2, originally published in Guitar and Lute (March 1983), at ¶14.
The elimination of all professionals from the contest was considered a mistake by many flamencos, for there were those who had not fallen to the era's commercial tendencies. An example would be the professionals hired by the Concurso, the cantaora Pastora Pavón (La Niña de los Peines), the cantaor Manuel Torre, and the bailaora Juana la Macarrona. These had, unlike many paid performers of that decadent era, maintained a purity in their approach to flamenco. Cf., D.E.Pohren, Lives and Legends of Flamenco (Madrid 1964, revised 1988) at 73.
Paul Hecht in his The Wind Cried (New York: The Dial Press 1968) at 105-107, describes a "dream vision of a flamenco contest" in which the performers and local aficionados are given preference. Lasting at minimum several weeks, it would begin with a banquet and include hotel accommodations. Before each session time would be allowed for thawing out the voice and interacting with the listeners. At extra-official Juergas flamenco's "pure spontaneous essence" would be given rein.
The liviana (derived from "liviano" meaning "light, frivolous" and also "the donkey who leads the pack") is a type of siguiriya sung without accompaniment. Andrés Batista, Maestros y Estilos. Manual flamenco (Madrid 1985) at 18-19, 74-75.
Marice Legendre, "El Corpus de Granada in 1922: El Cante Jondo" in the periodical Le Correspondant of Paris, July 1922; cited by Molina Fajardo (1998) at 131-132.
A storm threatened the first night, but the air remained light. The second night rain began to fall, yet the audience remained. Molina Fajardo, Manuel de Falla y El "Cante Jondo" (1998) at 132, 140.
Believed for the most part to be of Gitano (Gypsi) origin. I.e., by D. E. Pohren, Lives and Legends of Flamenco. A Biographical History (Madrid: Society of Spanish Studies [1964] 1988) at 17-20.
The brief Concurso prize and contest rules are reprinted in Manuel de Falla, Escritos sobre música y músicos (Madrid: Espasa-Calpe 1950, 1972), at 156-162 in the Apéndice, following his essay "El Cante Jondo (Canto Primitivo Andaluz)" at 137-155; translated as On Music and Musicians (London: Marion Boyars 1979), at end of Appendix (99-117).
The Alhambra had been the site of the opening for Falla's opera El Sombrero de Tres Picos [French: Le Tricorne] three years ealier in 1919. Léonide Massine, My Life in Ballet (London: Macmillan 1968) at 142.
Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Univ.de Granada 1962; 2d ed. 1998) at 116. It was Claude Debussy who had first shown Falla how to find the flamenco's true spirit in the guitar music of the cante jondo. Ibid. at 17-18.
Nota Bene: Segovia at this time played flamenco as well as classical guitar (to the latter he would soon devote his entire effort). Pohlen, Lives and Legends of Flamenco (Madrid 1964, revised 1988) at 73.
Cf., Betty Keim, in her "Manuel de Falla: the Guitar and his Music" published in The Guitar Review (Winter 1976) 41:22-23, notes that Falla called meeting Claude Debussy the "turning point" of his career. Falla wrote the Homenaje following Debussy's death in 1918, then gave it to the guitarist Miguel Llobet. The score is widely acclaimed for its mastery of the instrument and, while not flamenco, its beauty resonates with the music of Andalusia.
Puente Genil is about 50 km. south of Córdoba. Diego Bermúdez was born 1850 at Morón de la Frontera about 70 km. southwest of Puente Genil. Pohlen, Lives and Legends of Flamenco (1988) at 71.
Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 218-219. Burmúdez "había dejado de cantar treinta años antes al perder facultades a causa de una puñalada recibada en el pulmón durante una reyerta." His punctured lung, Ibid. at 218. Fixed to a wall of a cafe in Puente Genil could later be seen a certificate signed by Antonio Chacón that the Concurso had awarded to Tío Bermúdez (at 219). The walk from Puente Genil to Granada for the Concurso was said to have taken him only three days, but long and exhausting ones; but some doubt he walked the distance (at 218).
Before he died el Tío Tenazas traveled Spain performing his prize-winning singing style but, as his innovations had already been copied by younger singers, the tour was evidently not well received. Timothy Mitchell, Flamenco Deep Song (Yale Univ. 1994) at 171.
Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 219-220. Yerbagüena figured in the novel La oración de la tarde by González Anaya. The poet Alvarez de Cienfuegos recited at his burial.
Eduardo Molina Fajardo lists the prize winners in his Manuel de Falla y El "Cante Jondo" (Univ. de Granada 1962; 2d ed. 1998) at 141-142. The top two prize winners received 1000 pesetas each, with total prize money for the contestants being almost 5000. Yet he cites a newspaper of Seville to the effect that the biggest winners was the Concurso organizer, Centro Artístico, who after event expenses, with the gate (6,000 pesetas) added to public funding, managed to come out ahead. Molina Fajardo (1998) at 142.
Álvarez Caballero, El cante flamenco (1994) at 217 puts the gate at 30,000, and at 213 puts the public funding at 12,000. Expense amounts do not seem to be stated.
D. E. Pohlen, Lives and Legends of Flamenco (Madrid 1964, revised 1988) at 273 (Cuenca). Also, Pohlen's literary portraits at 112-114 (Pavón), at 91-97 (Torre), at 212-215 (Macarrona), and at 76-80 (Chacón).
Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d ed. 1998) at 136-139. María Amaya was also a prize winner. Ibid. at 142.
"A few nights of brilliance." "Great has been the success of the Concurso." Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d ed. 1998) at 144.
The sevillano Rodriguez de Leon writing in El Sol lamented the Concurso as cause of the "funerales por el alma del cante, muerto recientemente en Granada, a manos de los intelectuales... ." Cited by Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 217. I.e., the lamented Concurso has caused "funerals for the soul of the cante, recently dead in Granada, at the hands of the intellectuals."
The initial elation and sense of accomplishment by those attending the event was manifest. Yet following the Concurso, in addition to the usual sniping at success in the press, there was a distressing sense of loss felt by the Concurso organizers. Hence they abandoned pursuit of their original long-term goals, plans scheduled to be implimented following the Concurso event.
"It was disillusioning to the organizers that the true purpose of the concurso failed, at least during their lifetimes. ... The Granada contest was designed as only the first step. As a followup, they intended to open flamenco schools in Andalusian cities and to hire flamenco's old-timers to instruct the youngsters in the pure cante. The Centro Artístico of Granada, which was to have played an important part in this plan, at the last minute pulled out, and the whole idea collapsed." D.E.Pohren, Lives and Legends of Flamenco (Madrid: Society of Spanish Studies 1964, revised 1988) at 73-74.
Yet the continuance of "Concurso" events in different cities and the current spread offlamenco schools perhaps means "that Manuel de Falla's dream may yet come true". D.E.Pohren (1964, 1988) at 74. Or perhaps now his dream has been realized, in part.
