ROMANCE Abenamar

Romance border that have adapted to flamenco music. It is a composition that premiered to commemorate the Millennium of the Kingdom of Granada.
The pace is tientos flamingos and aderezamos him with an instrumental sound of Andalusian music.

ROMANCE Abenamar
Abenamar, Abenamar, Moro Moors,
the day you were born
Great signs had!
Was the calm sea,
the moon was full.
Moro born in this sign
should not tell a lie.
There answered the Moor,
Well hear what he would
say: ‘I’ll tell you, sir,
Though it kills me,
because I am the son of a Moor
and a captive
Christian, –
and boy I was a child
my mother told me
not to tell a lie,
it was great villainy:
thus question king
. That truth would say
‘I thank you, Abenamar,
Aquesta your courtesy.


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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Email: barroslirola@gmail.com