It is the land of Soria arid and cold. (2)
In the hills and mountains bald
pradillos Green, ashen hills,
Spring passes,
among the fragrant herbs Leaving
Her tiny white daisies.

The earth does not revive the dream field (2)
At the beginning of April is Nevada
‘s back Moncayo,
Walker carries in his scarf
wrapped throat and mouth
covered And pastors spend their long capes.

They are April waters thousand
blows the wind mostly cloudy,
overcast and cloudy Among
Pieces of indigo sky.

Water and sun. The iris shines.
In a distant cloud,
A yellow spark.

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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