Terral 2015. Alrededor del Flamenco (On Flamenco). ATANOSS Project
When flamenco was barely born, in the middle of the eighteenth century, a Neapolitan named Domenico Scarlatti and a Catalan named Antonio Soler, managed to codify the essence of Andalusian folklore through their music for harpsichord. We can hear their fascination with the Spanish musical canon and how they express it in their sonatas, using a multitude of references to the echoes of guitars, castanets, tambourines, and melancholic melodies from the flamenco singing style.
These pieces, reinterpreted with piano and castanets, were not composed to be accompanied or danced to. And it's there, in the search for synergy, where the brazen aural invasion of the castanets enriches each sonata, adorning melodies, adding off-beat timings and polyrhythms, and becoming a part of the composition, reaching a virtuosic level.
The idea of a combination of two contrasting elements such as the piano and castanets came from the contact established between Carmen García Jara and Ricardo Ocaña Valero, both teachers at the dance conservatory, accompanist and Spanish dance teacher, respectively. Their artistic curiosity gave birth to this proposal, enriched by their relationship with the music used in dance, which is well known for its components.
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