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Day 5 of September, four in the afternoon, the beginning of the Entrance of Moors and Christians of Villena is let feel by a great bullicio in the environs of “the Losilla” and the New street. Banda Municipal de Música de Villena begins its formation, surrounded by a crowd that waits for with great illusion the magical moment.

A year more, some celebrations more and again all reunited to live that moment.

In the assistants one notices a great nervousness and sense of expectancy while the great silence becomes. It is the moment. The baton of the director is raised in the low air and to take the first chords of the pasodoble “the Entrance” at the same time as the town of Villena explodes of joy and nerves, being ovationed the beginning of some new celebrations in Honor to our Employer. Tears, emotion, calls to relatives who are far for sharing with them that moment, with villeneros that still being outside in those dates do not want to lose that so special moment and that as much it means for us.

The flag of Banda Municipal de Música is raised to the wind and begins the parade. All applaud to the passage of our band, eager of celebration and moved to their step.
 
“The Entrance”, this piece of the villenense teacher Quintín Esquembre (1885 - 1965) has become a symbol of our celebration, our property to Villena and is able to move year after year with its force and simplicity to us. Because this one was the characteristic of the order of accomplishment of the pasodoble “the Entrance”, simplicity.

In its book “Music and the Bulls”, Sanz de Pedre writes: “The remarkable musician born in Villena was not only Chapí. Also the teacher Quintín Esquembre is natural of the beautiful population, which he loves with immense filial affection. To being possible it, never needs of its small mother country in the traditional dates of the celebrations, that give to principle the 5 of September of every year, and that their compatriots denominate with “the day of the entrance”, in touching recollection of the victorious penetration of the Christians to release the city of the Moors. The countrymen of the teacher Esquembre came asking for the villenense composer in diverse opportunities who composed an evocative pasodoble of this historical and descriptive local event, with the warning of which the composition was, on a par, simple, easy and, mainly, he frees of instrumental difficulties, every time he was fundamentally destined to being interpreted by a modest band of recent creation, integrated in his totality by boys of Villena who alternated, in his majority, his occupations craftswomen with the musical liking. As in any occasion that was to render tribute to its native earth, the teacher Esquembre did not take in giving top to the desire of his countrymen, with so happy result that year 1925 began in Villena the Celebrations of “Moors and Christians” with the opening of “the pasodoble Entrance” of whose success they give faith, since then, the public worldwide and the best instrumental sets than take it in their repertoire.”

The order was realised in 1922 by its friend and countryman the teacher Francisco Bravo, at that time founding and director of Banda Municipal de Villena.

Day 2 of April of 1965, at the age of 80 years passed away in Madrid Quintín Esquembre, composite, soloist of guitar and violoncello you title of the Banda Municipal of the capital of Spain. In tribute to the memory of the villenense musician missing person, his nephew Francisco Poveda Esquembre, published an article for the Villena Magazine of that year in which, talking about to the pasodoble “the Entrance” he shelp: “There is counted the author because of the title of this pasodoble, and without varying nor one she eats in his narration, he shelp. - “In my town they are celebrated, in honor of our Virgin, Maria of the Virtues, some traditional celebrations of Moors and Christians in the month of September. Day 5, the whole town leaves to its outskirts to see arrive at the Virgin when it is brought from the Sanctuary. To this end the “puppets” of sides “Moor” and “Christian” march past by the main streets, joy floods and colorful, to they are of vibrant pasodobles. The parade or “the Entrance” that therefore we called it, is headed by the Banda Municipal of the town. My good friend Francisco Bravo, director of them at that time, reorganized, with a good handful of young people, Banda Municipal de Villena, and e a writing told me: quintín, do a beautiful pasodoble to me and that is not difficult, so that they can touch the boys easily to it. I tried to take care of to him, and as everything what it takes control of love and simplicity is beautiful, thus this work was born”.
 


Later letter to this pasodoble was put that says thus:

As saturated flower of April

That of fragrance and coolness one fills,

They are your women, Villena nobleman

That you overwhelmed them with enchantments thousands.

And to that race that you shelter gentile,

It wants to offer up a sad coplero you,

Its filled song of sincere love

That it was inspired by your pensil.

A pasodoble for created you

My soul has filled

Of deep inspiration;

Because their notes seem outcries

Sent with flowers

Of the garden of your mansion.

Villena…

You can show pride

To have in ground yours

Good the noblest woman and.

The woman who by its enchantment

Nor a star fulge as much.

And although you nest under the sky

The gentile orchards,

I strive with sleeplessness

To offer flowers you thousands

To your beautiful and santo ground.

But the popularity of “the Entrance” is of that nature in which the work straightens up over its author acquiring a species of anonymous quality and settling in the collective memory besides the person who created it. This, in the particular case of “the Entrance”, gives rise to so colorful phenomena because a compound music originally for the celebrations of Moors and Christians of Villena, where his author perfectly is met and celebrated, is gotten to turn into hymn of the celebrations of San Roque de Peñafiel (Valladolid) with a barbárica expression and a as different title as the Chúndara. And later it gets to be one of the more elegant, touching and popular pasodobles bullfighting.

Indeed Quintín Esquembre reached early glory, in the field of the composition, thanks to this pasodoble, during years 20 when he already resided in Madrid. In a much more elitist land that the one of the pasodoble, Esquembre reached official recognition as composer when receiving a honorary mention by a quartet of cord presented to the National Prize of Music of 1926. For these same national contests, towards 1928, Estampas de Goya composed its, a orchestral suite that was not awarded, although that year had the consolation of which another work hers, Guitar Andalusian, in whom it transferred to the symphony orchestra his deep knowledge of the flamenco guitar, outside worn for the first time under his own baton by the Orchestra of the Palace of Music, more well-known as Lasalle Orchestra, by his director, the philharmonic patron and colorful José Lasalle dandy. On the occasion of this opening, the critic of Heraldo de Madrid observed. “The Lasalle orchestra has presented to us a new composition Spanish author: Guitar Andalusian. The teacher Quintín Esquembre, his author, is a distinguished musician, guitarist and in addition good connoisseur to our rates and Andalusian songs. Its predilection by the pure-blooded national instrument has taken to dedicate to the guitar this symphonic, evocative composition to him of the flamenco style. Soleá, the rollover and the joy, so characteristic and animated, render attractive to the work, tried well orchestrally and in which the lyricism and the enthusiasm beat. The public phelp affectionate applause to the author who directed the orchestra with authority”.

On the other hand, Joaquín Turina, as critical of the Debate, he wrote: “It is necessary to notice that Esquembre, artist of talent, in addition to composer, is guitarist. Its Guitar Andalusian is very nice, and although it is a Andalusia to flower leather, is made and good taste sincerely, without arriving at vulgar tambourine of bazaar and containing, however, felt pieces”.

Conscious surely that symphonic or camelística music was little propitious spaces to prevail when the institutional supports were directed to the young cutting edge composers dela Generation of the 27, Esquembre tried to lay way in a more compatible sort to its sensitivity and appropriate to its formation as was the Zarzuela and, the 27 of January of 1932, after years of work and deep study of the Aragonese folk music, wore for the first time in the Reina Victoria de Barcelona theater the Zarzuela If you go to Calatayud.
 


The ABC newspaper of the next day inserted these notes referred to the Zarzuela of Esquembre:

“It obtained, from the first scenes, to interest and to satisfy to the public and this one during all the representation did not stop in its manifestations of affability and affection to authors and you interpret. The book sets out to undo the legend created by the popular song of the Dolores, being its very right development. As far as music we have to say that one is a honest score and about inspired melody”. However, in spite of the hopes and illusions that Esquembre deposited in this work, one did not become to represent after its opening.

If there is something surprises in the study of life of Quintín Esquembre is his little dedication to the composition of music for guitar, still more when the few original works that composed are valuable contributions to the guitarrístico repertoire. The most assiduous dedication of Esquembre to the guitar was during years 20, being the first guitarist in offering a wireless recital in Spain the 11 of 1924 July.

Between its works for guitar they emphasize “Guitar Andalusian”, “Shining Waltz”, “Beach Song” or “the Tap-danced one”.

Esquembre had a great number of disciples, excelling, by the international dimension of its races, Vicente Gómez that prevailed in Hollywood, Ángel Iglesias, Luis Maravillas and Antonio Albanés; it had Dutch remarkable foreign students as the Koos Tigres and Joshua Heygen or the WilliamGómez Gibraltarian and disciples had tre who also emphasized in the guitarrística profession: Meme Chacón, Ana María Loyzaga and Carmen González. Rollers they have been fundamental in the perpetuation of the memory of Esquembre as one weighs flame in the inhospitable history of the guitar.

In 2008 a concert of classic guitar was realised in Madrid Tribute to the Teacher Quintín Esquembre, one of the last tributes dedicated to the villenense teacher. Of the materials of this concert some notes for this Note article have been extracted “for a tribute by Javier Suárez Pajares”.

But, however, annually the City of Villena, realises its own tribute to the author and his work “the Entrance” when meeting to celebrate, with great joy, the starting of the Parade that takes its name so and being touched with this moment magician for all the villeneros. Unique moment that combines festero feeling, music, tradition and history.

Pedro Mateo Melenchón
Published in the special Magazine “Day 4 That Outside” of the 2009
 
 

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