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6006-Booklet-CD-Danzas-Canciones-Y-Nanas.Pdf mcq iberian colours DANZAS, “ “CANCIONES NANAS y MARIA CAMAHORT VIOLETA GARCÍA LAURA RUHÍ SERGIO SERRA ÁNGEL RETAMERO Our MprojectARIA CAMAHOrt QUIntet present it in a new and innovative way, presents IBERIAN COLOURS, merging art music with oral tradition A MUSICAL JOURNEY TO in a unique project. DISCOVER THE relatIOnshIP betWEEN SpanIsh MCQ has performed at some classICAL repertOIRE AND of the most prestigious venues traDITIOnal MUSIC, sharIng in UK, including: Kings Place, WITH THE auDIence THE Southbank Centre, Milton Court, VIVID COLOURS, earthY Cervantes Theatre and The Sage. TEXTURES AND RHYTHMS OF Festivals include: London Guitar SpanIsh MUSICAL art. Festival, Edinburgh Guitar Festival, North-East Guitar Festival, Buxton Festival, Festival Francisco Tárrega The Maria Camahort Quintet was (Benicàssim), Clásicos en Verano born in November 2011 out of the (Madrid), Festival Áureo Herrero desire to increase the possibilities in (Ávila), Música a Boqueta Nit chamber music. Guitarist and arranger (Alicante) etc. Maria Camahort leads this project which was created alongside Violeta MCQ’s main aim is to create honest García (voice and violin), Laura Ruhí and beautiful performances, bringing (soprano), Sergio Serra (cello), and to the audience the music, stories, and Ángel Retamero (percussion). flavor that are essential to Spanish music. Both during the arranging The characteristic timbre of the process and during rehearsals, the quintet creates a unique and highly quintet keeps this pursuit in the original musical experience. They forefront of their minds, always iberian colours approach the chosen repertoire and searching for a way to achieve it. mcq Nuestro proyecto MCQ’S secOND album se funden entre ellas para formar una DANZAS, CANCIONES Y NANAS nueva sonoridad. brIngs THE quIntet’S En su segundo disco Nanas, Canciones ORIGInal apprOach TO y Danzas, MCQ amplía su proyecto incorporando musica íntegramente traDITIOnal MUSIC FROM de raíz popular (canciones sefardíes, AROUND THE penInsula, coplas), música de influencia flamenca y as WELL as MUSIC WITH nuevas composiciones. flamencO Influences, WORKS BY RENOWNED SpanIsh MCQ ha actuado en algunas de las COMPOsers, AND OTHER salas más prestigiosos del Reino Unido: CONTEMPOrarY WORKS. Kings Place, Southbank Centre, Milton Court, Cervantes Theatre y The Sage. Han participado en destacados festivales: Maria Camahort Quintet nace de la London Guitar Festival, Edinburgh Guitar voluntad de crear nuevas posibilidades Festival, North-East Guitar Festival, dentro del mundo de la música de Buxton Festival, Festival Francisco cámara. Maria Camahort (guitarra y Tárrega (Benicàssim), Clásicos en Verano arreglos) crea este proyecto en noviembre (Madrid), Festival Áureo Herrero (Ávila), del 2011 junto a a Violeta García (voz y Música a Boqueta Nit (Alicante) etc. violín), Laura Ruhí (soprano), Sergio Serra (violonchelo) y Ángel Retamero MCQ aspira a hacer de los conciertos (percusión). experiencias bellas en las que se ponga en común el acercamiento genuíno de cada Con el proyecto Iberian Colours, el músico al repertorio, para así proponer quinteto acerca al público obras de al público nuestra vivencia honesta reconocidos compositores de una forma de la musicalidad, historias y sabores realmente original, en la que las tímbricas contenidos en la herencia de compositores propias de la música clásica y popular y tradición musical española. Prelude SuiteVICENTE asenc Valenciana,IO Throughout the 1930s, (1908 – 1979). Asencio can be discerned clearly Valencia experienced a studied in Barcelona with in his compositions, creative outburst of renewal Frank Marshall and in Paris where popular melodies led by Manuel Palau and with Turina and Halffter. appear, ranging from his disciples, under the He composed numerous literal imitation, to a label “Youth Group”. At a orchestral works but was newly cultivated creation, time in which Andalusian particularly attracted to in line with the advanced regionalism was dominant, guitar music. He founded nationalism of the Palau and the “Youth Group” the Castelló de la Plana twentieth century. sought inspiration in his Conservatoire and was own Valencian roots. The professor at the Valencia “Youth Group” introduced Conservatoire. themselves with the publication of a manifesto for Asencio’s compositions a nationalist musical revival. had thematic and melodic Soon after, Valencia became inspiration in popular the capital of the Second Valencian music, as well Republic (1936 -1937), and as harmonisation and developed into a very active impressionistic textures. The cultural movement. popular Valencian element One of the members of the “Youth Group” was composer Vicente Asencio mcq iberian colours We aspire to the realization of a vigorous and rich Valencian musical art (…) which brings into universal music the subtleties and the emotions of our people and landscape. (…) However, it is not enough to write works. There is a need for an environment that welcomes them and feels them as its own. This requires (...) the utmost interest (...) from the provincial cultural corporations. (…) Manifest del Grup dels Joves (1934) (Vicent Garcés, Lluís Sánchez, Emili Valdés, Ricard Olmos, Vicent Asencio) DITIOnalהקינרֺומMorenikasepharDIC tra Sephardic music has its lyrics, but the original skinned” women are roots in the traditions of melodies and rhythms common in Sephardic the Jewish communities have been lost. Instead, repertoire and in in medieval Spain and the music has adapted songbooks from the Portugal. Since then, it to each of these areas, Spanish Renaissance. has picked up influences assimilating North In Spanish folklore, from Morocco, Turkey, African ululations, “whiteness” is associated Greece, Bulgaria and Balkan rhythms and the with purity, while other places where Arabic maqam mode. “darkness” is associated Spanish and Portuguese with the spice of life. Jews settled after their Morenika is one of the Ladino songs reflect the expulsion from Spain most popular Sephardic Spanish attitude of “dark” in 1492 and from wedding songs, usually piquancy as opposed Portugal in 1496. sung during the bridal to angelic “whiteness”. processions to the In many of these songs These song traditions groom’s house. This there is also an implicit spread to Morocco Ladino song derives from sense that such women (Western Tradition) a Spanish renaissance were of lesser status… and several parts folksong about a Moorish …this is the case of of the Ottoman girl, which in turn was Morenika, a beautiful Empire (Eastern inspired by the biblical song that MCQ started Tradition). Nowadays “sh’charchoret” (“dark performing thanks to a Sephardic communities girl” in Jewish tradition). collaboration with oboist share many of the same Songs about “dark- Clara Pérez Sedano. M.quIROGA, S. valverDE verdes R. DE leÓN הקינרֺומ Both sides of the Civil War had coplas escape her grim daily reality into the rich Ojosin common. They were for the people a poetic world of her own internal self. cathartic expression of their longings, their cry for freedom, victory and celebration The range of references to light, colour and of life. In the ‘40s the fascist state begun taste communicate the complexity of her to use copla to exalt the national values of feelings. The evocative music suggests hidden the regime. They made it the token song meanings that no censor could remove (for of a hermetic, purely Spanish, folklore. example in the instrumental interlude). Somehow, the copla genre managed to There is no set way to interpret coplas. The keep its soul and survive, with a kind of origin of the genre is subject to debate. It sophisticated double discourse. Franco is related to the 18th poetic Spanish form imposed censorship on lyrics (in Ojos called copla. These were poems which Verdes, “mancebía” -brothel-, was replaced quickly became popular and started to be with “casa mía”). Nevertheless, copla still sung. In both cases the poet/composer’s told the stories of the oppressed. It became authorship fades in the oral tradition. the genre of secret dreams and identities. Significantly, drag artists played an essential This version of Ojos Verdes was created in role in its rebirth in the Spain of Democracy. 2009, the first collaboration between Violeta García and Maria Camahort. Violeta knows Ojos Verdes presents in a self-contained copla through the women in her family from narrative the intimate memories of a León. In Ojos Verdes, Violeta incorporates woman. As woman and sex-worker, labelled some of the elements of her mother’s way of as ignorant and depraved, she dares to singing it, her main and most valued source. el MaquisPOpular FROM GALICIA / LEÓN / asturIas GALICIA AND LEÓN WERE The Federation of Guerillas of León-Galicia was AMOng THE REGIONS WHERE formed in ‘42 in Ferradillo, bringing toghether THE fascIst MILItarY fighters from Galicia, León and Asturias. It was uprISIng FIrst spreaD at the first guerilla group after the Civil War and the THE start OF THE CIVIL most important organised resistance against fascist War. TO save THEIR LIVES domination in Spanish territory. MANY CIVILIANS FLED THE CITIES TO THE MOuntaINS Its strengths were: the solid support and cover WHERE, IF NOTHIng else, THE provided by many villages and individuals (the so- ISOlatION, THE vegetatION called “enlaces”), their knowledge of the territority, AND THE terraIN WOULD and the ideological diversity and explicit rejection prOTECT THEM. THE of any political proselytism amongst them. Guerilla “escapaDOS” WERE SOON organisations that formed after ‘44 in other regions JOINED BY OTHERS, startIng took it as a model. GUERIlla Warfare IN THE MOuntaINS AND becOMIng This song is a call to arms and for unity among the part OF What TURNED guerrillas. The starting point for this version of the Out TO be A natIONWIDE song was the ‘a capella’ voice of Manuel Zapico, an phenOMENON, THE “MaquIS” Asturian who also created this melody & lyric. This MOVEMENT. is another example of oral Spanish popular music & poetry, similar to copla in that whoever sings one of these songs was knowingly letting it go into the realm of popular collective memory & imagination. mcq iberian colours Guerrilleros de Galicia, del Bierzo y de la Cabrera.
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