The copla will soon be 100 years old. Is this genre as important as it seems to be?
July, 02; 2019. By
This publication has easily proved that it will soon be one hundred years since the time when Spain sang and listened to the Andalusian copla, that musical genre cultivated since the 1920s in Spain and with resounding success from the 1930s to the 1960s. of the last century. But is the copla as a musical genre so important a century since its splendor? Are Quintero, Leon and Quiroga, the masters of the copla, as brilliant as they seem?

At this moment we have to say that after a brief approach towards the genre known as Andalusian copla (or Spanish copla, terms that are often substitutes), in this editorial we had a fearful fear that Andalusia as a region of Spain and its vast and rich music was going to "conquer the world" of culture on an international level. We want to say fear but in reality it is not an idea that we dislike too much, rather we have used that expression (that of fear) for journalistic stylistic purposes.

Well, that fear has dissipated when studying the figure of the three composers-lyricists par excellence of this musical genre: the trio known as Quintero, León and Quiroga. Apparently this trio, of pure Andalusian strain since the three components were Andalusian by birth and by heart, composed more than 5,000 coplas throughout his career, and this editor, without knowing them in depth, went into a depression thinking that possibly any attempt to succeed in art without being Andalusian was going to be meritorious but not definitive. To this we must add that Andalusia is the birthplace of outstanding artists throughout history, such as Velázquez (Sevillian), Picasso (Malaga) or Paco de Lucía (Cádiz).

When in this editorial we passed through the sieve of the internal critic the couplets that sounded the most in the last century, we realized that most of them did not have enough quality to remain interesting once their period of splendor had passed, mainly due to the lack of musical quality in the majority of compositions, in the opinion of this publication, that allowed themselves to be carried away by the intrinsic sound of the musical genre in question but were not able to cross the borders of their own time. Thus, we can quote, so that there are no misunderstandings, that, always in the opinion of this publication, the best copla that has been written is the one known as "Y sin embargo te quiero", followed by two or three more examples such as "Ay pena, penita, pena", "La zarzamora", "Yo soy esa", and some other in a very inferior level musically speaking.

Therefore, the trio formed by Quintero, León and Quiroga composed more than 5,000 songs of which three or four remain for the memory. These numbers, as the dear reader will appreciate, are unbalanced. Prolific production but few successes capable of breaking the space-time barrier. Therefore, we could clearly state that "the copla is not as fierce as it is painted" and that if a rebirth takes place at the age of one hundred it will be small and rather with the intention of remembering past moments but knowing that the music itself that is included within this genre is not of much quality.

Contrast this fact with the amazing quality of many of the compositions that embrace, for example, the Mexican bolero; there is the long list of successes that we all know, such as "Bésame mucho", "Sabor a mi", "Contigo aprendí", "El reloj", "Aquellos ojos verdes", "Quizás, quizás, quizás", and many others, without being exhaustive.

Therefore, all those that we want to devote to art and are not Andalusian, we can breathe, for the moment, calm; there is a trickle of hope for those who want to be artists without being Andalusian. And there is no worse punishment in this world than being Andalusian and not having grace, just as there is no greater glory than not being Andalusian and having it.