It offers a pilgrimage through the history of the Camino de Santiago, through its protagonists, through and also through the person. pregregorian christian music. These were the three starting points for Ricardo Llorca (Alicante, 1958) to compose. walker craftOratory created by order of the Cathedral of Santiago de Compostela, which will serve to celebrate Pope Francis’ visit to this temple.
The pandemic prevented the pope from traveling to Spain, but this cantata will premiere on the 20th at the Auditorio de Galicia in Santiago. This Royal Galician Philharmonicunder the flag Alexis Soriano; HE University of Leon Angel Barja Choirdirected by Aitor Olivares García; Alicante soprano Susana Cordon; tenor José Luis Sola, narrator Eva Guillamón and organist Fernando Buide will bring this score to life.
Parts of the Codex Calixtinus
Some notes where the composer recreated pre-Christian music and overlaid text Fragments of the Codex Calixtinus, A mid-12th century manuscript, testimonies of pilgrims to Santiago, and Pope Benedict XVI. Santiago Cathedral in 2010 and Pope Francis at his first Mass Sistine Chapel as pope on March 14, 2013. Collected texts are attached to them. pilgrimage diaries of her aunt Concha Llorca Zaragoza.
heat an hour longIt offers sonorities including: prehistoric inspiration eastern character, Alicante batre songsthe melodies that the author has known since childhood and passed on from generation to generation, in connection with the tasks of plowing, mowing or collecting land, became an inspiration Agnus Dei oratory
In this musical journey of Ricardo Llorca, there is also oriental inspired sounds reflected in ufrom the Hindu tabernacle, gong, or melismas belonging maronite catholic church which can be heard entrancewith the voices of soprano and tenor.
“What the soloists will say are the texts of the pilgrims gathered in the Codex Calixtino, which I adapted and placed into music. Fragments of the sermons of the Popes and of my aunt Concha Llorca are what is told».
a different speech
“I wanted to an unused speech. I offered to do a work with music that precedes the Gregorian chant, which is oriental,” the composer confirms. commission just before the pandemic. “He wanted to do an oratorio using music similar to Maronite, Copts and Santiago Cathedral, it seemed like a good idea.”
Likewise, he suggested using «middle eastern or arabizant songs proven to be weighbridge de batre that they were from the villagers of Alicante; These are Arabic songs from a generation of peasants. Óscar Esplá also has several ».
Ricardo Llorca claims very satisfied with the outcome of this project. “It seems original to me because it is not an oratorio and I take back the essence of Christian music» provides the composer this weekend Started rehearsals with the choir in Leon and next week he’s going to Santiago to do it with the Royal Philharmonic Orchestra of Galicia.
idle trade Will be also on disc, under the Sony Classical label. When they are done it will be within four days of the premiere recording sessions of this recording
international orbit
Llorca has experience in multiple disciplines and highlights her work as: Assistant Conductor at The New York Opera Society and in institutions as a programmer of cycles and seasons Queen Sofia Spanish InstituteLincoln Center for the Performing Arts (New York City), Italian Embassy in Washington DC, National Gallery in Washington DC, The Lyric Opera of Chicago, United Nations (New York City), The World Financial Center (New York City), Toulouse Opera , Chicago Cultural Center, or Saint Petersburg Philharmonic.