Bolero Flamenco, Romance de Alhama

13 Abr Bolero Flamenco, Romance de Alhama



And walked the Moorish king – the city of Granada
Elvira door from -. to that of Vivarrambla
Oh my Alhama!Cards you were coming – that Alhama was won.
The letters poured into the fire – and the messenger killed,
Oh my Alhama! -Dismounted from a mule – and ride a horse;
. by Zacatín up – it had risen to Alhambra
Oh my Alhama!

As in the Alhambra he was – at the same point commanding
their trumpets touch – his añafiles silver.
Oh my Alhama!

And the boxes of war – haste touch the gun,
because he heard his Moors – those of the valley and Granada.
Oh my Alhama!

The Moors that are heard – that the bloody Mars flame,
1:00 to 1:02 a Dos – great battle has been joined.
Oh my Alhama!

There Fablo an old Moor – fablara this way:
‘What you call king, – what is this call
Oh my Alhama!

-Habéis Know, friends, – a new unhappy:
that Christians bravery – and we have won Alhama.
Oh my Alhama!

Singer: Fernando Barros
Guitarist Jonathan Morillas
Saz Baglama and Mandolin: Jesus Ballesteros
Dancer: Naima Lopez
Percussion: Single Sergio

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Metamorphic Transformation

Observing metamorphic transformations in nature allows us to extrapolate that method to humans and the arts. That is to say, the foundational substance becomes a supporting substance retained in the new identity. These essential elements are absorbed, now invisible to the observer, while the transformed form creates a stunning awareness of the new.

Likewise, our compositions make use of a similar pattern of creative mutation, if you will. We begin with folk songs that poet Federico Garcia Lorca chose, rescued from oblivion, transcribed for the piano and performed in various venues. Following a trajectory of revealing hidden elements, we submit them to an unexpected metamorphic process. The melodic essences of the old songs are those that give musical meaning to different poems that Lorca wrote.

Additionally, in his short life, he created diverse artistic works, including poetry, music, and literature. He also created formidable works for the theater, while also embracing other mediums such as painting. His contemporaries and artistic collaborators included Joan Miro and Salvador Dali.

“Lorca in the Keys of Hands and Voice,” a concert conceived and presented by Adam Kent and Fernando Barros, is a musical innovation inspired by Lorca’s example. Lorca collected melodies from the Spanish folklore repertoire and transcribed them for the piano using two different concepts: 1) adapting the old melodies to various of his poem, as for example, ANDA JALEO to the poem “Preciosa y el Aire”; and 2) singing the old songs using the expressive, emotive characteristics inherent in flamenco music.

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