How a City Sings from November to November
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A01=Federico Garcia Lorca
Author_Federico Garcia Lorca
Category=AV
Category=DC
Category=DNL
Category=DNT
eq_anthologies-novellas-short-stories
eq_art-fashion-photography
eq_bestseller
eq_biography-true-stories
eq_fiction
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eq_music
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eq_poetry
forthcoming
Product details
- ISBN 9781961056121
- Weight: 454g
- Dimensions: 152 x 229mm
- Publication Date: 09 Jun 2026
- Publisher: Swan Isle Press
- Publication City/Country: US
- Product Form: Paperback
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Illuminates the place of music in the life and poetry of Federico García Lorca.
“Yo ante todo, soy músico,” Federico García Lorca once remarked: “Before all else, I am a musician.” Whether seated at the piano, collecting folksongs on his travels through Spain, or composing music for his plays, few poets have lived music so deeply. For Lorca, songs were “living creatures.” How a City Sings from November to November: Lorca on Music brings together for the first time in English the poet’s writing on music and musicians. In these pages, through lectures, letters, and interviews, Lorca celebrates the musical seasons of Granada, “a city enclosed by mountains and made for music”; the sources of cante jondo (flamenco deep song); the haunting melodies of Spanish cradle songs; and the dance of La Argentina. He describes learning the guitar, staging Spanish ballads in Buenos Aires, and listening to spirituals in New York. In bed with a fever, he compares it to a “delicate tempo rubato of Chopin.” Based on recent archival research, edited and newly translated by noted Lorca scholar Christopher Maurer, this collection offers an intricate and enjoyable counterpoint to Lorca’s poetry and theater.
“Yo ante todo, soy músico,” Federico García Lorca once remarked: “Before all else, I am a musician.” Whether seated at the piano, collecting folksongs on his travels through Spain, or composing music for his plays, few poets have lived music so deeply. For Lorca, songs were “living creatures.” How a City Sings from November to November: Lorca on Music brings together for the first time in English the poet’s writing on music and musicians. In these pages, through lectures, letters, and interviews, Lorca celebrates the musical seasons of Granada, “a city enclosed by mountains and made for music”; the sources of cante jondo (flamenco deep song); the haunting melodies of Spanish cradle songs; and the dance of La Argentina. He describes learning the guitar, staging Spanish ballads in Buenos Aires, and listening to spirituals in New York. In bed with a fever, he compares it to a “delicate tempo rubato of Chopin.” Based on recent archival research, edited and newly translated by noted Lorca scholar Christopher Maurer, this collection offers an intricate and enjoyable counterpoint to Lorca’s poetry and theater.
Federico García Lorca (1898–1936) is Spain’s best-known and most beloved poet and playwright. Christopher Maurer is professor of Spanish at Boston University. He is editor and translator of Sebastian’s Arrows: Letters and Mementos of Salvador Dalí and Federico García Lorca, New Letters to a Young Poet, and The Complete Perfectionist, all published by Swan Isle Press.
