SUITE TRAFALGAR javier galiana - Martinico
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javier galiana SUITE TRAFALGAR
The Trafalgar Suite premieres in November 2015 in Seville in Big-Band format, under the direction of
Miguel López and Julián Sánchez as trumpet soloist.
Now a revision of the score is presented in a more chamber format and more faithful to the first musical idea,
which draws on the current third stream, jazz and Manuel de falla. In fact, the work could be considered a tribute
to the compositions of the gaditano in the key of jazz, although the material is original.
The dodecateto is composed of two violins, two cellos, a wind quintet in which the oboe of the classical formation
is replaced by a trumpet; so: trumpet, flute, clarinet, horn and bassoon. The orchestration is completed with a trio
of drum jazz, double bass and piano to the command of this trip.
A suite is a collection of dances. They take here, dances of flamenco origin as a starting point to open cracks in
their rhythms and harmonies, to allow a more free touch. The common thread is the plot in the opening, the
interludes and the end, in which the same material is treated in different ways to invite us to the next dance.
Orchestration has been the most beautiful challenge for composition, and jazz has been the genre with which all
music has been treated.
"It's comforting to know that someone composes today without forgetting
of the maxim of thrilling the listener."Listening to the Trafalgar Suite has illuminated my day. It is a sincere, poetic, vital, inspired, seductive, naughty and
imaginative chamber work; adjectives that derive from the being and art of this beloved teacher that is Javier
Galiana, a constant and tireless creator of personal universes that evoke landscapes, images, smells, that awaken the
imagination and smiles. And what a wonderful group of musicians and people has gathered to carry out this new
and fertile project to which I wish a lot of continuity. "
Marco Mezquida, pianista
"This music is a great joy, an open dance under the southern sun. One stays as escandilao ... as when, after a nap on
the beach, you can barely open your eyes before so much light.
When hearing it, pleasure awakens a hope: here, we can verify that there is a generation of gifted musicians full of
taste and joy who wants to develop a consolidated and contemporary language for a new Andalusian music that also
knows how to be a stranger to itself. And the world needs this solar son, which reminds us that music is the ultimate
playground for freedom. "
Raúl Rodríguez, músico y antropólogo"You enter the theater. The lights go out and he starts playing the Big Band. You
do not have a detailed program in your hand and you let yourself go. You
suppose that being the first piece this will be warming up. The climax begins to
grow and you open your eyes and ears. I am well surrounded by colleagues who
know a lot. We look at each other incredulously and we are amazed. The piece
continues to grow. We have a quarter of an hour and that's great! It is the
"Trafalgar Suite", but we only learned about it minutes later when that paradise
ends. Wonderful!. I comment with my colleagues and the same thing happens to
me: I had not enjoyed so much with something so good that I was caught
almost by surprise, with the attitude of a pioneer explorer. A delight ... and a
luck. "
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Napster Yo u t u b eJ AV I E R G A L I A N A
Born in Cádiz in May 1975. He began his classical Record with jazz musicians like Pedro Cortejosa or Nono
piano music studies in a self-taught way until he moved Fernandez. With musicians from Cádiz, he joins two
to Barcelona where, after studying for one year at groups that are still working on the current scene:
the Taller de Musics, he entered the first class of "Tomato, trio y cebolla", with whom he records an album
EsMuC (Superior School of Music of Catalonia ). that pays homage to Bola de Nieve and "Tumbando a
There he studied piano-jazz with Lluis Vidal and Monk", a group that has already released two albums.
Joan Díaz, arrangements with Lluis Vergés and Together with Raimundo Amador he records on
improvisation with Joan Monné and Agustí television and plays live with Pasión Vega, while he
Fernández. He graduated with an outstanding in moves to Lisbon where he will spend three years.
his final project on the hybridization between jazz
and flamenco that he evaluated, among others, From there he works in theater projects with the
Carles Benavent. company Chirriquiteula and replaces Chano
Domínguez in the show "Flameco Hoy", directed by
He combines studies with professional activity: classes at Carlos Saura, touring Latin America and playing in the
various music schools in Barcelona and playing with Generalife Gardens, in Granada or the Maestranza
various bands of many styles. He then entered (2003) as a Theater in Seville. He composed and recorded the music
keyboardist for Radio Bemba (Manu Chao's live band), for two animated short films (by Fran Bravo and Javi
touring throughout the Americas and Europe. He also Verdugo, respectively) and composed the music for two
founded his own training: Javier Galiana & Spice plays: Los Mutantes in Germany, and for La Cabal Teatro
Berberechos, with whom he edited two recordings and in Cádiz.
played in various jazz festivals, not only national
(Barcelona and Madrid, among others) but abroad: Produces the music of two albums by Guillermo Rayo
Hungary, Albania, Vietnam and Cambodia. and arranges a good part of the show "Entre Cuerdas" by
After finishing his studies, he records a live album with Silvia Pérez Cruz, presented at the Donosti Jazz Festival
the Sonora Big Band de Cádiz with his own and recently released on disk.
compositions and arrangements, in which artists such as
Chano Domínguez and Javier Ruibal participate. Later He has produced the music of "Espejo: capricho
he moved to Rio de Janeiro where he spent a season escénico", under the direction of Javier Viana, resulting
playing with Rio de Janeiro musicians and making a in the edition of a book-disc presented in the birthplace
remarkable recording with the trumpeter Altair Martins. of García Lorca.
cts with Alex O'Dogherty and records with Javier Orti. He
Back in Spain, he works with flamenco artists such as also edits a work with the "Garum Trio" (with his own
Ginesa Ortega, Mercedes Ruiz and David Palomar. He songs), together with David León and Joan Masana, and
works as a pianist at the Institut del Teatre de composes the "Trafalgar Suite" for his own band and for
Barcelona, accompanying classical, Spanish and Big Band (version that premieres with the BAB in
contemporary dance. Make the first recording with different festivals of jazz with artists like Perico
Julián Sánchez (Aires, volume I) of what will be the Sambeat), both formats recorded and about to be
most lasting musical adventure (currently they have edited, as well as the solo piano version, "Cadiz inside a
three edits published and two projected) until now. At piano", with poems by David Monthiel.
the same time he inaugurated the discography of "La
Canalla" as musical director, with whom he continues In recent years he has been a piano teacher and
after three recordings. composer of the Flamenco de la Esmuc master and has
taught piano, harmony and musical aesthetics at the
Camm de Malaga.He was born in Huétor Vega (Granada) in 1980. At age 9, being a member of the
Music Band of his people, his uncle Luis gives him some recordings of Benny
Carter, Roy Eldridge and Charlie Parker. Since then he has immersed himself in
jazz, combining it with his studies of classical music at the Conservatory of Music
JULIÁN SÁNCHE Z
of Granada and of musical teaching at the University. He moved to Barcelona
where he obtained the Advanced Degree in Jazz from the ESMUC. He
trumpet
complements his training in New York, where he travels periodically to perfect
with musicians such as Joe Magnarelli, Ralph Alessi, Tony Malaby, Bill Mchenry,
Ingrid Jensen and Avishai Cohen among others.
He has played with great musicians in projects such as Chano Domínguez "New
Flamenco Sound", "Flamenco Big Band" by Perico Sambeat, Bruce Barth, Dave
Santoro and Rudy Royston, Jorge Pardo, Rubem Damtas, "Nou Nonet" by Joan
Monnè, "Horacio Fumero Trio ", Jordi Rossy, Paul Stocker, Samuel Torres, Dick
Oatts, Bob Mintzer, Enrique Oliver Quintet, Ramon Cardo, Toni Belenguer,
Tomasito," El Piraña ", Mario Rossy," Sonora Big Band de Cádiz "," Young Big
National Band "," Big Band of Terrassa "," Big Latin Band of Barcelona "," Pedro
Cortejosa Septet ", Juan Galiardo, Sergio Pamies Group," Big Acustic Band
"BAb", "La Canalla", Javier Ruibal, Miguel Poveda , Michael Tomas, among
others. He has performed at national and international jazz festivals such as the
San Sebastian Jazz Festival, the North Sea Jazz Festival, the Nice Jazz Festival,
the Vienna Jazz Festival, the Terrassa Jazz Festival, the Voll-Damm Barcelona
International Jazz Festival, the Jazz Festival of Madrid, Jazz on the Coast
(Granada), Jazz in Situ of Quito (Ecuador), Jazz Festival Warsaw (Poland), and
venues such as the Carnegie Hall in New York.
From his compositional work are born his own projects such as: "Sánchez &
Galiana Dúo", together with the pianist Javier Galiana with whom he records
Aires Vol.1 (2009) and Aires Vol.2 (2011) the latter in collaboration with the string
quartet Murillo ; "Syndicato Ornette" with saxophonist Ernesto Aurignac,
drummer Ramón Prats and bassist Paco Weth with whom they have released
their live concert "Live at Clasijazz"; "Parkerland Nonet" with his disc Parkerland;
"Free Art Ensemble" (FAE) together with great emerging musicians in the current
national jazz; "Tumbando a Monk", Latin-jazz sextet that pays tribute to
Thelonious Monk. He has also received a scholarship from the Government of
Andalusia and the Government of Catalonia and was the winner of the II
International Soloists Competition of Alcañíz (Teruel).
In his pedagogical role he has been a jazz trumpet teacher, initiation to Jazz and
combo in numerous courses, highlighting his work in the Superior Conservatory
of Music of the Liceu in Barcelona, and Conservatory of Music "Joaquín Rodrigo"
in Valencia.Born in Malaga in 1988, he has a long career in the world of classical music
before devoting himself fully to jazz and modern music. He began his studies at
the age of eight at the Ateneo de Málaga and graduated in 2010 at the Superior
Conservatory of the same city, having completed the Bachellor of Music at the
Royal College in London. From age 12 to 19 he is part of the OJA (Young
flute FERNANDO BROX Orchestra of Andalusia) with which he performs various tours throughout the
peninsula, performing concerts in the most important theaters and auditoriums
in the country: Auditorio Nacional de Madrid, Auditorio Manuel de Falla de
Granada, Gran Teatro de Córdoba, etc. He also travels to Venezuela to
participate in an exchange with the Simon Bolivar Youth Orchestra. During these
years he works with important directors and professors such as: Michael Thomas,
Daniel Barenboim Wissam Boustany, Javier Perianes, Juan Ronda, Juan Carlos
Chornet, Pablo Gonzalez, Josep Maria Brotons, etc. He is also part of the
Barenboim-Said Academy of Orchestral Studies, where he is taught by the
soloist of the Staats-Kapelle Orchestra of Berlin, Thomas Beyer.
At the same time he develops a great interest in jazz and modern music,
and begins to study in a self-taught way to collaborate shortly after with
musicians like Ernesto Aurignac (forming part of his Orchestra and recording
the album UNO), Enrique Oliver, Julián Sánchez, Juan Galiardo or Javier
Galiana. Fernando Brox has shared the stage with musicians such as Perico
Sambeat, Toni Belenguer, Dani Pérez, Ramón Prats, Martín Leiton, José
Carra and Arturo Serra. Since 2015 he lives in Barcelona, where he
collaborates with musicians such as Dimitri Skidanov, Aldo Cavigglia, Manel
Fortiá, Roger Gutiérrez, Juan Pablo Bálcazar and Iván González, among
others.
In 2015 he won the best soloist award with Daniel Torres Quintet at the
Jazz Gate Competition, a festival held in Alhaurín de la Torre, Málaga
He currently leads his own project as an instrumentalist and composer, Brox
Quartet, with Toni Saigi, Andreu Pitarch and Pau Sala. In addition, he is part
of several projects at a national level, such as Chiva Quartet, by Juan Pablo
Balcázar, together with Marco Mezquida and Juan Berbín. He also
collaborates in the personal project of the Cádiz-born percussionist and
guitarist Carlos Cortés Bustamante and is a regular contributor to Martín
Leiton's Big Band.
As a teacher, she teaches Transverse Flute Jazz at the Taller de Musics Es-
Cola in Barcelona.clarinete EMILIO PARRILLA Parrilla is an Andalusian clarinetist based in the Netherlands. In 2013 he finishes the top grade and the master of jazz at the KONCON (Royal Conservatory of The Hague) in Holland. With his own projects (Emilio Parrilla Acoustic Band, Naftule) and collaborations (66Whales, THEO, Koncon Big Band, L'Chaim) he has played in important festivals and theaters in Europe and Asia: North Sea Jazz (Holland), Taichung Jazz Festival (Taiwan) ), Altstadtzauber Festival (Austria), Arkhangelsk Festival (Russia), Three Cultures Music Festival (Spain), Jeju Art Festival (Korea). In 2015 he receives the PAD award for the best original dance music, with the play "El Soberao". In the last years he has recorded two albums of his own: "Naftule's Journey" with his jazz / klezmer / theater Naftule group and "Tribute to Jimmy Giuffre" with Emilio Parrilla Acoustic Band.
Born in Caldes de Montbui (Barcelona), he studied bassoon
and piano in his native town and at the Conservatories of
fagot ARNAU COMA Salamanca and the Basque Country (Musikene).
In 2001 he began his professional activity that led him to
play with many Spanish symphony orchestras: Orchestra of
the Teatre del Liceu, OBC, Castilla y León Symphony
Orchestra, Philharmonic Orchestra of Galicia, City of
Granada Orchestra, Symphonic Orchestra of Valles, Bilbao
Symphony Orchestra , among other.
He has played in most important stages of the country
(Palau de la Música in Barcelona, National Auditorium,
Palau de la Música in Valencia, Auditori de Barcelona,
Alfredo Kraus Auditorium in Las Palmas, Miguel Delibes
Auditorium in Valladolid, Manuel de Falla Auditorium
Granada, etc.), as well as in New York (Carnegie Hall),
Buenos Aires and Mendoza (Argentina), Sao Paulo (Brazil),
Nicosia (Cyprus). Frankfurt (Germany), Ferrara (Italy).
He has played under the direction of teachers such as Franz
Brüggen, Robert King, Josep Pons, Kristof Penderecky, and
accompanying first figures such as Josep Carreras, Joaquín
Achúcarro, the Labéque sisters, Mathias Goerne, Vadim
Repin, etc.trompa F C O . J AV I E R C Á M A R A Born in Seville, he regularly collaborates with orchestras such as the Málaga Philharmonic Orchestra (OFM), the Málaga Provincial Symphony Orchestra (OSPM), the Bética Chamber Orchestra of Seville (OBC), the Andalusian Lyric Theater Orchestra (TLA), etc. He is a member of the Municipal Music Band of Málaga, and of the Young Orchestra of Andalusia (OJA). He has played as a soloist with the orchestra and band of the Professional Conservatory Martín Tenllado, with the Municipal Band of Málaga, and with the Municipal Band of Fuengirola. He has received classes of horn players as: Stefan Dohr, Will Sanders, Daniel Bourgue, Raúl Díaz, Ab Koster, José Vicente Castelló, Cayetano Granados, among others, and has been directed by directors such as: Manuel Hernández Silva, Edmon Colomer, Ira Levin, etc.
CLAUDIA SANSÓN violín Born in Cádiz, he studied music at the Higher Degree in Music at the ESMUC (Barcelona), earning a Distinction in his final project La voz Flamenca del Vioin. Performs the Artist Master in Performance at the Guildhall School of Music & Drama in London. He has participated in both national and international festivals. He has participated in projects of musicians such as Joan Albert Amargós, Feliu Gasull, among others, and has trained with artists such as Agustí Fernandez, Juan Parrilla, David Takeno, etc. He has collaborated with orchestras such as the London Symphony Orchestra and the Symphony Orchestra of the Gran Teatre del Liceu, Barcelona.
violín LUZ PRADO Luz Prado (Málaga, 1985) understands what touches and touches what she does not understand. He graduated from the Superior Conservatory of Music and, from then on, balanced between systematized work and creative disorder. His concern for the experimental, has led him to be part of scenic, poetic and audiovisual projects. Create LOOPA !, a collective of musical experimentation that seeks contamination with other arts and believes in collaborative creation. His project Lugar / Lagar that delves into the roots of Malaga folklore of the Verdiales has been awarded in 2015 with one of the artistic production scholarships of INJUVE. In the field of improvisation, he develops the free jazz quartet One Two Free Fall with trumpeter Julián Sánchez, with whom he also participates in the Improvisation Orchestra R.I.P and in the organization of meetings and sessions of improvisers. In the field of the scenic, it is part of Gramática de los Mamíferos, a contemporary flamenco show by bailaora María del Mar Suárez. Together with the poet Violeta Niebla and the actress Alessandra García, she carries out Hombro Cabeza Hombro, a scenic research project that collaborated with the Russian Museum of Saint Petersburg / Malaga and Matadero Madrid.
AMALIA CHUECA violonchelo Amalia Chueca is from Granada, with a degree in Musicology and Superior Violoncello. As a composer, she has made several projects merging acoustic and electronic sounds and soundtracks such as the documentary "The speed of our thoughts", "Upwards. Understanding Mars "(recently broadcast on RTVE) or" Deconstructing the Light ". As a jazz performer, he spent two years in New York, participating in Big Bands such as the University of Massachusetts at Amherst, the "Orchestra of the Harlem School of the Arts" or the "Karl Berger's Stone Workshop Orchestra". He has been part of the John Elhis training in New York and Italy (In this Lifetime, 2015) playing with a wide cast of musicians including Thomas Heberer, David Perrott, Brian Melick, Rob Henke, Eric Halvorson, Matt MacDonald and others, making several recordings. In Spain he has different projects and records with his current training, Sense of Values Quartet.
violonchelo ALBA HARO AAt the age of 5, she began musical training in the city of Barcelona, where she graduated years later in the specialty of interpreting in the classical and contemporary modality, obtaining honors in the final project at the Escuela Superior de Música. of Catalunya, ESMUC. The concern for the versatility of the cello, leads her to collaborate in projects ranging from classical, flamenco, theater or the dance in different formations and working with artists such as: Carles Santos, Piturrino and me Ute Lemper and Bcn216 Tribute to Kurt Weill Noa, Joan Manel Serrat, Bcn 216 Veus de la Mediterrànea Festival Sir Neville Marriner, Gianandrea Noseda, Cadaques Orchestra J.J. Cale, Primavera Sound, Rafael Amargo Opera and flamenco Carme Portaceli, Jane Eyre adaptation, an autobiography - Teatre Lliure. As well as record collaborations with Silvia Pérez Cruz, among others, in the tribute to Maria Mercè Marçal, Catorze poemes, catorze cançons.
JOAN MASANA contrabajo Born in Barcelona in 1977, he graduated in the Jazz Classroom of Barcelona, where he obtained the title of Middle Grade in modern music and jazz. Then, he receives improvement classes with professors such as: Carlos Belafonte, Horacio Fumero, Joan Rectoret, Michel Hatzieorgiou, etc. In 2000 he decided to move to Andalusia, where he began to collaborate with the guitarist Emilio MAya from Granada, playing in festivals in London, Italy, Poland, Bulgaria ... In Granada he also collaborated with flamenco artists such as: Marina Heredia, David Carmona, Jorge Pardo or Rubem Dantas. From 2003 he moved to Jerez de la Frontera, where he collaborated with the French bailaora "La Rubia", performing at the Métisson Festival (Marseille) or the Half Note Club (Athens), together with Marseille guitarist Antonio "el Negro". In Jerez he comes in contact with artists such as: Juan Moneo "el Torta", José Gálvez, Sergio Monroy. Since 2009, he studies double bass attending seminars with professors such as Ben Street, Deejay Foster, Dave Santoro, Javier Colina. He has played with musicians such as: Michel Godard, Kim Plainfield, Jonathan Kreisberb, Pascuale Grasso, Ernesto Aurignac, Enrique Oliver, José Carra, etc. Since 2009, he has also collaborated with flamenco artists such as: José el Francés, Chonchi Heredia and guitarists from Níto García and Tito Alcedo, performing at the Canne de Sucre Festival (Port- au-Prince, Haiti 2009), the Jazz Festival of Ceuta (2010 ) and at the Copenhagen Jazz Festival (2013).
Baterista, percusionista and producer of autodidact formation and settled
down in Cádiz. His versatility as an instrumentalist and his way of
understanding and accompanying music has led him to work on very
different language projects ranging from jazz, flamenco and world music
to electronic music, pop or free improvisation.
He has played with: Jorge Pardo, Raimundo Amador, Carmen Linares,
Jorge Drexler, Randy Brecker, Javier Ruibal, Nono García, Antonio
D AV I D L E Ó N
Lizana, Borja Barrueta, José Manuel León, La Shica, Pedro Cortejosa,
drums
Tito Alcedo, Antonio Gómez, Free Art Ensemble , Funkdacion, Martín
Leiton, Juan Villar, Boris Larramendi, La Mari (Chambao), Paul Stocker,
Julián Sánchez, Bobby Martínez, Juan Galiardo, Albert Cirera, Diego
Carrasco, Toni Mora, Celia Mur, Damon Robinson, Felix Slim, David
Pastor , Pepe Bao, Luis Balaguer, Kike Per-domo, Nantha Kumar, Javier
Galiana, Eric Sanchez, Miguel Angel Lopez, Car-los Pino, Kind of Cai, 7
Sois 7 Luas Orkestra, Arturo Serra, José Peixoto, Pepa Niebla, Enrique
Oliver, Paco Perera, Yuka Imaeda, Candelaria, José Carra, João Frade,
Michael Olivera, Elie Massias ... etc.
He has recorded drums and percussion in more than 40 record
productions with national and international artists.
As a producer, he has worked with: Mujer_Klórica, Juan Luis Pineda,
Liona, Merche Corisco, SBT, Eight, Pedro Javier Cabrera, María Cavaes,
Multiver-so, Javier Galiana, Verdeo ..., sharing credits with musicians such
as: Jerry González, Tomasito, Tino di Geraldo, Ramón Cardó, Vanito
Brown, Rubem Dantas, Joaquín Calderón, Diego del Morao, El Cañejo,
Manolo Carrasco, etc. He has toured and performed at jazz, flamenco
and world music festivals in Spain, Czech Republic, Tunisia, Denmark,
Italy, Holland, Morocco, USA, Venezuela, Turkey, Algeria, Portugal,
Gabon, Sâo Tomé, Croatia, Slovenia, Israel and Cape Verde.
Currently, he works as a freelance and co-leads avant-garde free
improvisation projects such as Corleone or Galileon.He started working in 2004, when I finished my studies in sound in Madrid.
He worked as an assistant at Puntapaloma Studios, until 2005, participating
in multiple productions until 2008 (Chambao, India Martínez, etc). He
continued to work as a live technician, touring Spain as a monitor and PA
sound CURRO UREBA technician (Manolo Sanlúcar and the Malaga Symphony Orchestra, La
Canalla, Etnosur Festival, Viña Rock, Benicàssim, Jerez Flamenco Festival ...),
besides practicing as a teacher at ESAMA High School (Seville). From 2007 to
2009, he directed the recording studios Doghouse, in Seville, during this
period a multitude of productions (El Barrio, Carmen Linares, Viaje a 800,
Pasión Vega or Reincidentes, among others.)
He currently directs "Trafalgar Estudios", where many recordings have been
made, including: Juanito Makandé, "Muerte a los pájaros negros" (2015) -
Premio de la música 2016 -; Antonio Carmona, "Mencanta" (2017); Sergio
Albacete, "Now"; Javier Galiana, "Suite Trafalgar"; Pedro Cortejosa,
"Amar" (2017); One two, free, fall, "One two" (2017); Liona & Serena Strings,
"Sefarad" (2017); David Carmona, "A dream of madness" (2017); Jose Manuel
León and Alicia Carrasco, "The goods of our land"; Zakk, "Zakk" (2017); Nono
García and Tito Alcedo, "Titonete" (2017); Antonio Lizana, "Chimeras del
mar" (2015); Pedro Cortejosa, "12 days" (2015); Knocking down Monk, "Nobody
knows this mystery" (2016); Culture Off, "Five Seconds" (Culture probase) in
2016; Ian Scionti Trio, "Open field" (2015); Mimes on the Radio,
"Homónimo" (2016); The Wise Guys Octet, "The magi are coming" (2015);
Taliesyn, "Wounds" (2016); The Farelli, "Omertá" (2016); Antonio Gómez
Quartet; Atavism, "Disintegration" (2015) and "Inert" (2017); Merche Corisco;
Gabacho Maroconnection, "Bissara" (2014); Mr. Groovy and the Blue Heads, "We
are more" (2015) and "Direct in Plaza de Bilbao" (2017); Yves Vandewalle, "A
place in the world" (2015); La Canalla, "Flowers and weeds" (2009), "Our daily
bar" (2012) and "Love in crisis" (2017); Big Menu, "The Real" (2015); Bourbon,
"Fango" (2013) and "Devastación" (2015); Manolo Sanlúcar didactic work
(2009-present): recording, mixing and mastering for CD and cinema. With the
participation of Tomatito, José Mercé, Farruquito, Marina Heredia, Arcángel,
Paco Cepero, Manolo Sanlúcar, Miguel Poveda, Manolo Franco, Carmen
Linares, Diego del Morao, Serranito, Eva Yerbabuena, Javier Barón, Pedro
Sierra, M. Angel Cortés , etc.OBERTURA
Se parte del silencio, que la percusión rompe.
Acaso, junto con el grito, el primer velo que puso la humanidad al mundo.
La llamada de la trompeta nos lleva a la primera danza.
SOLEDAD DEL FARO
Robándole una corchea a la Soleá, la melodía podría ser del primer Falla.
La trompeta y la flauta flirtean entre ambas exposiciones del tema.
INTERLUDIO I
Reaparece el paseillo jónico, que cita casi literalmente, el comienzo del concierto para clave de Don Manuel.
La respuesta, saltarina nos lleva al cielo abierto.
El mar, sus habitantes, el viento…
MAR DE FONDO
Ahora es el tanguillo el que ha perdito tres corcheas en el oleaje.
La tierra removida colorea el mar hasta que un revolcón nos lleva a un sueño de ahogados en el jazz.
Luego, el placer del clarinete y vuelta al juego con las olas.INTERLUDIO II
De nuevo el paseillo mientras se deshace el intenso oleaje y la ventolera.
GUAJIRA DEL PALMAR
Entre la contradanza, la habanerita, esta guajira que alguna vez conoció a Bill Evans
y sube (¿o baja?) por las mismas escaleras que Pedro, el del lobo.
Sobre ellas, se permite jugar el comandante.
INTERLUDIO III
Variación en tono menor del paseillo y la respuesta insolente, sobre el aire galante de la pieza.
El piano se asoma, observando desde fuera de la orquesta.
Ya no señorea, pues acaba de andar descalzo por la playa.B I Z N A G A M A L D I TA
Cruzar un poco al lado mediterráneo y agrietar la Malagueña o el Verdial.
Así, fandango cojo en cinco por cuatro, con aroma de azahar.
Sobre fondo de cine, bailan el piano, la trompeta y la flauta.
Al final, son los tambores.
ERIZADA CALETERA
Se recuperan unas bulerías compuestas hace más diez años.
En ese tiempo, la orquestación ha madurado, aunque el piano eléctrico quiere ser púber.
En su origen: la playa, unos vasos de manzanilla, el garabato y las pozas llenas de erizos.
¡Vámonos, vámonos!
FINAL
Se recoge el material, del paseillo y se densifica sobre triadas que querrían ser sinfónicas.
A estas alturas, los tejedores del último velo se han desnudado y,
bañándose en el mar de la música nos regalan otros tiempos al que los relojes noC O N TA C T O Marina Fernández info@martinico.es +34 653 647 138
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