MARÍA DOLORES GAITÁN – ALHAJAS

18,00 

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TRACKLIST

Claude Debussy
Preludios
1 | La Puerta del Vino 3’34’’
2 | La sérénade interrompue  2’48’’
3 | La terrasse des audiences du Clair de lune 4’00’’ 

Aziz Samsaoui
4 | Al Maqam: Improvisación en Nahawand 3’48’’

Dia Succari
5 | La nuit du Destin 10’42’’

Isaac Albéniz
6 | “Zambra granadina” (danza oriental) 3’43’’
de la Suite nº 2 op.97
7 |“El Corpus Christi en Sevilla” 9’17’’
de la Suite Iberia
8 | “Córdoba” de Cantos España op.232 6’14’’ 

David del Puerto
9 | El mirlo en la corte de los Omeyas
(Homenaje a Ziryab) 12’17’’
I. Jardin de Bagdad
II. El mirlo viajero
III. Córdoba

 Nikolaj Andreevič Rimskij-Korsakov
Scheherazade op.35 12’25’’ 
10 | IV “Festival en Bagdad. El mar.
El barco se estrella contra un acantilado coronado por un guerrero de bronce”
(piano arrang. por Paul Gilson)

Anónimo Popular
11 | Lamma Bada Yathanna (Moaxaja) 2’13’’
12 | Li Habibi (Nuba) 2’02’’
(arrang. por Ricardo Rodriguez Cuadros)

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Description

MARÍA DOLORES GAITÁN – ALHAJAS

María Dolores Gaitán, piano | Aziz Samsaoui, kanún

MUSICAL INSPIRATION

According to the accurate words of Reynaldo Fernández about “Orientalism”, we delve more properly to know the meaning that this term can have in cultured music and likewise, value the “Jewels” project in its search to make accessible and deciphering the Eastern world in the Europe of al-Andalus, the name given by Muslims in the Middle Ages to the Iberian Peninsula.

“Europe in the contemporary stage, that is, since the French Revolution, generates a concept of orientalism and a peculiar vision of Islamic cultures. In this search for his identity in moments of crisis, he motivates the need for the different, the different, as a self-affirmation of his own existence and custom. Thus, the Orient is the dream, the myth, a kind of earthly paradise as well as its opposite, the evil, the mysterious, the unusual. In the midst of this scenario, Europe invents an Orient to its measure”.

“Orientalism in European music”| Reynaldo Fernandez Manzano

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