Antonio Cruz García, known as Antonio Mairena (Mairena del Alcor, Seville Province, Spain, 1909 – Seville, 1983) tried to rescue a type of flamenco, which he considered to be pure or authentic. He rescued or recreated a high number of songs that had been almost lost, and also published several books and articles to divulge his views on flamenco and flamenco history. He considered himself as heir to the art of Manuel Torre, the most classic flamenco singer from Jerez, and also acknowledged the influence of other masters like Tomás Pavón or Joaquín el de la Paula.
He won several awards, the most important of which was the Llave de Oro del Cante (Gold Key of Flamenco Singing), which he obtained in the third Concurso de Córdoba (Contest of Córdoba). It is common belief that the contest was organized especially to grant him the award, and that the appearance of a contest was contrived to have a good excuse to grant him this honour, although some flamenco historians justify this on the grounds that he deserved the award for the service he had rendered to the art of flamenco (Álvarez Caballero 1995).
He excelled in the most serious, solemn palos of Gypsy origin (often known as Cante Jondo), like Tonás, Martinetes, Soleá, and Seguidillas, of which he recorded all or most of the traditional songs and variations. The value of his artistic legacy is controversial. On the one hand, some flamenco fans and critics[who?] consider him to be a model to imitate, an impersonation of the most authentic flamenco, and a restorer of traditional forms. On the other hand, others[who?] disregard him as excessively orthodox, academic, and cold, and regard his views on flamenco as paralysing and a threat to the future evolution of the flamenco art. They also often accused of ethnic bias, as he tended to overemphasize the quality of flamenco styles which were of gypsy origin, while looking down to anything non-gypsy.
It is frequently stated that some of the songs he rescued from oblivion had in fact been created by him, although he always denied it, as he believed that in flamenco there was no scope for new creations, and modern singers had to limit their work to the traditional songs inherited from the tradition. However, many of the songs he rescued are now part of the usual repertoire of flamenco artists.
- Fiesta por bulerías y fandangos (1941)
- Bulerías y fandangos (1941)
- Disco de Tánger (1944)
- Bulerías y soleares (1950)
- Bulerías jerezanas y fandangos (1950)
- Alegrías y seguidillas (1950)
- Bulerías y soleares (1950)
- Con Antonio y Carmen Rojas al baile (1952)
- Disco de Londres (1954)
- Cantes de Antonio Mairena (1958)
- Sevilla cuna del cante flamenco (1959)
- Cinco grabaciones en disco de amianto para uso personal de Antonio Mairena (1960)
- Antología del cante flamenco y cante gitano dirigida por Antonio Mairena (1960)
- Duendes del cante de Triana (1963)
- Noches de la Alameda (1963)
- Tangos de Andalucía (1963)
- La llave de oro del cante flamenco (1964)
- Cien años de cante gitano (1965)
- La gran historia del cante gitano-andaluz (3LP) (1966)
- Sevilla por bulerías (1967)
- Festival de Cante Jondo Antonio Mairena (1967)
- Misa flamenca en Sevilla (1968)
- Mi cante por Saetas (1969)
- Honores a la Niña de los Peines (1969)
- Mis recuerdos de Manuel Torre (1970)
- La fragua de los Mairenas (1970)
- Cantes festeros de Antonio Mairena (1972)
- Grandes estilos flamencos (1972)
- Antonio Mairena y el cante de Jerez (1972)
- Cantes de Cádiz y los Puertos (1973)
- Triana, raíz del Cante (1973)
- Grabación de su participación en el Festival de la Unión (1974)
- Esquema histórico del cante por siguiriyas y soleares (1976)
- El calor de mis recuerdos (1983)
ÁLVAREZ CABALLERO, Ángel: La discoteca ideal del flamenco, Editorial Planeta, Barcelona, 1995 ISBN 84-08-01602-4
- Centro Informático Científico de Andalucía - Discografía de Antonio Mairena.