CAÑIVIDEO-COMO LLORA-ENGLISH

Highlight of "COMO LLORA EL VIENTO"

FIRST PART

"Como Llora el Viento-1" (Mauricio Sotelo)

Commissioned by the Canary Islands Music Festival 2008

"Como Llora el Viento-2" (Mauricio Sotelo)
Commissioned by the Canary Islands Music Festival 2008

SECOND PART

(Cañizares Flamenco Trio with Baile)

"Lejana"- Balada

CAÑIZARES

"Palomas" - Vals

CAÑIZARES

"Como Dos Niños" - Colombiana

CAÑIZARES

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ARTISTIC INFORMATION

Music: Mauricio Sotelo

& Cañizares
Musical Direction: Cañizares
Choreography: Fernando Romero

& Ángel Muñoz
Producción: JMC Music Productions S.L.
Duración Total: 70 minutes
Entreacto: 15 minutes

First Parte (25 minutes)

Como Llora el Viento
CAÑIZARES with Orchestra

Second Parte (45 minutes)
CAÑIZARES Flamenco Trio with Baile (Dance)

1. Como Dos Niños (Colombiana)
2. La Pajarraca (Bulerías)
3. Aroma de Libertad (Tanguillos)
4. Del Horizonte Vienen (Tangos)
5. Lejana (Balada)
6. Toca Madera (Tango-Rumba)
7. Tacita de Plata (Alegrías)
8. Palomas (Waltz)
9. Lluvia de Cometas (Rumba)

Guitar: CAÑIZARES
Second Guitar: Juan Carlos Gómez

Percussion: Rafa Villalba

Baile (Dance): Fernando Romero

The greatest difficulty for a composer wanting to write for the guitar is unquestionably the playing technique of the instrument; that creating the notes depends on the position of the left hand. It is almost impossible to write properly for guitar if one hasn’t played it with one’s own hands, hasn’t felt the intense vibration of the strings in one’s own fingertips and thus also of course learnt its limits.

The process of composition for this piece began with the search for a “scordatura” ( a modified tuning), which should form the harmonious centre of the whole composition (C, G, d, G sharp, B, D sharp), well beyond the conventional guitar sound. This is a kind of harmonic axis of gravitation or “sun chord” of a system of “innumerable suns” (Giordano Bruno).

The scordatura requires that the playing technique of the instrument be devised anew. Thus one begins by playing the open strings in the air – arpeggio espressivo –, then the fingers slowly paraphrase, braid, weave a spiral of sound on the fingerboard. For this centrifugal movement into the interior of a new sound quality, the left hand must “learn” anew to wander over the neck of the guitar, to orient itself, to find its place, and it is the right hand which shows it how it can permeate a space which is indistinguishable from that of the immemorial “song of sighs” of flamenco. The right hand traverses regions which awake memories in us of the playing of guitar in the Solea, the Bulería, the Taranto or the Seguiriya. It is the remarkable fingers of my friend Cañizares which – like a hand ignited by the dawn of a breaking day – produce this new sound which unites in itself elegance and a somehow old taste.

Mauricio Sotelo
Madrid, January 23, 2008

"Como LLora el Viento"