Singing vidalita

09 Ene Singing vidalita

My childhood memories are of a courtyard in Seville,
and a clear orchard where the lemon; One
my youth, twenty years in the land of Castile,
my history, some cases do not want to remember.

Not a seducer Would flow nor a Bradomín have been
-and you know my clumsy indumentario- dressing,
but I got the arrow assigned me Cupid,
and as they may have loved hospital.

There is in my veins blood drops Jacobin,
but my verse flows from serene spring;
and, more than a man who knows how to use his doctrine,
I am, in the best sense of the word, good.

And when the last day of the trip,
and from the ship is to never have to turn,
I find a light board luggage,
almost naked, as the sons of the sea.
Antonio Machado

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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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