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<<Enrique Morente opened his heart to me and made me understand the meaning of flamenco>>

Madrid's Mauricio Solto (1961), is in a happy moment of his career.

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<<Enrique Morente opened his heart to me and made me understand the meaning of flamenco>>

Madrid's Mauricio Solto (1961), is in a happy moment of his career. Being the Festival's resident composer allows those who attend the concerts to hear a piece by an author with a unique timbre and concept that are difficult to find in Spanish contemporary music. He seems content, even though he has been through some difficult times. His joy is infectious.

-What was your reaction when they said you would be the resident composer at the Granada Festival?

It is a dream for me because it represents my long-standing relationship with flamenco. This has also been a source of my love and respect for the art. I was once unable to understand the music. I'm sorry for anyone who believed that Sotelo was insane and now likes sevillanas and rumbas>>. They don't know the immense riches and unfathomable legacy that jondo has.

It was not an easy road to flamenco discovery.

Since Enrique Morente received me with such kindness when I first approached him, it has been a long journey. It has been an honor to see what has happened.

-When was your first relationship with the Festival?

-It was 2005 during the time of Enrique Gamez when we performed the 'Sonnets Of Dark Love' with Poveda, Arcangel and in homage to Luigi Nono.

-With which flamenco artists did you work with between then and now?

-With many, including Enrique Poveda or Poveda himself, to Carmen Linares and Marina Heredia, who both sang in my 1998 opera in Munich.

-What was Antonio Moral's proposal for you to declare your status as resident composer

I thought it appropriate to use a viola because it can be dark and lends itself to evoking the timbre of a singer or singer to communicate works that would reach the general public. Tabea Zimmermann was chosen as the resident artist. This was also a huge success. She is the only person who can reflect this particular sound reality.

That's it. First, let me say that I don't have the intention of rewriting old flamenco songs for an orchestra. I only did so to incorporate them into the work with a soloist. Although there is a reference to Seguidilla del Marruro's old cantes, the territory where I work is imaginary. It wants that old voice, that authentic flamenco metal. So, we start with a lament. We have the solea and buleria in the middle. Then we move to a whisper stage. We then went through the threshing and the martinete. The amateur public will be able to recognize the cantes and the echoes from old cantes. The title is a tribute to Enrique Morente who named his legendary album this way.

What was your relationship like with him?

-I was 18 when I went to Vienna. Faustino Nunez was the one who introduced us. I shared with him the idea for the project that I was working on at the time. It was based on Tomas Luis de Victoria's 'Responsorios de Tinieblas'. We walked for hours through the Segovia forests, talking about everything. He was open to me and I learned the meaning of flamenco. I also had the chance to hear the song that is sung together as a family when the doors are shut.

-Tonight, Juan Carlos Garvayo from Granada will perform his work Entra el alba en la Alhambra’ in addition to the OCG.

Juan Carlos is also a remarkable musician. He is very flamenco. He has been exploring this dimension of his art, just like everyone else. He was a contemporary musician when I first met him, but he is now a master of classical jondo.

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