LOS IMPOSSIBLES - Tarantino, De Lorenzi, Bardoscia

LOS IMPOSSIBLES ( CVLD273 )

Author : AAVV
Performer : Luca Tarantino (baroque guitar), Vito De Lorenzi (tabla and percussions), guest artist: Marco Bardoscia (double bass)

Tracks

01 - Jacaras (A. de S. Cruz) 5:44
02 - Gallardas(G. Sanz, A. de S. Cruz, S. de Murcia) 4:54
03 - Canario sobre la C (A. de S. Cruz, G. Montesardo, G.B. Abatessa) 4:18
04 - Fandango, Fandango indiano (S. de Murcia, E-Mn Ms. 811) 7:34
05 - Capona quarta (F. Valdambrini) 3:54
06 - Otros Canarios (S. de Murcia) 6:10
07 - Canarios (S. de Murcia) 3:01
08 - Preludio (G. Sanz) 3:07
09 - Folias Gallegas (S. de Murcia) 7:01
10 - Los Impossibles (S. de Murcia) 5:30
11 - Ciacona (G. P. Foscarini, Alessandro Piccinini) 4:18
12 - La Jota (S. de Murcia, E-Mn Ms. 811) 7:15

24bit/96kHz original recording made at Chora Studi Musicali, Monteroni di Lecce, Italy on July 2015

Production: VELUT LUNA / Executive Producer: Marco Lincetto / Artistic Direction: Luca Tarantino / Recording Supervisor: José Luis Molteni / Balance Recording, Editing and Mix: Valerio Daniele / Mastering: Marco Lincetto at Velut Luna Studio / Photos: Lu Negro / Layout: Image / Sales Manager: Patrizia Pagiaro

Notes

This album sets to music an imaginary encounter. A guitarist-composer from the late seventeenth century in Spain, in search of dances and songs, comes across a Tabla player, a distant descendant of those nomadic families who, from India, since the late Middle Ages, migrated through Anatolia throughout Europe, finding stable abode in Spanish Andalusia, already a land of coexistence between Jews and Arabic-speaking Moors.

Plausible, but impossible. As impossible is the encounter between the baroque guitar, the greatest interpreter of the tendency towards ornamentation that has characterized all Spanish culture since the Renaissance, and the Tabla, a pair of drums that are a symbol, together with the Sitar, of the mature phase of Indian classical music.

The languages ​​of the two instruments have a common characteristic: the Glosa (Vistar, in Indian), that is, the variation on the theme, which introduces new thematic ideas, which in turn are the subject of glosas. It is said that in Andalusia this new mix gave birth to Flamenco.

We imagined that this repertoire would allow the two instruments to dialogue, starting from the few sources, written and oral, that would soon become, in the world, the music of the Spanish gypsies par excellence.
It was February 2011 when Marco Bardoscia, double bass player and composer from Salento, artistic director of the SoundMakers festival, proposed to Luca and Vito to perform together in an improvised and unexpected concert. The theme of the festival in fact included the organization of impromptu meetings not agreed upon between musicians who were very distant from each other in style, studies, language.
Luca comes from the conservatory and ancient music, Vito from world music with a degree in Indian classical music.
From there it is a moment to realize that tabla and lutes can go well together.
Delicate and perfect instruments, built with a subtle balance between mixtures of materials chosen by tradition, by masters who for centuries have handed down, by word of mouth for the most part, the secrets of working ebony, leather, mother-of-pearl, ivory, pitch, gut, rosewood, fir, parchment in order to accompany the song, the dance, the movements of the soul, the praise of the supreme.
Separated from other musical projects, the duo members waited until 2013 to be able to play together again, thanks to the birth of Desuonatori, a coordination of self-productions for the socialization of unreleased music in new contexts of fruition, from an idea of ​​Valerio Daniele, guitarist and producer, architect of the linguistic revolution that has affected traditional Salento music since the 2000s. The duo has thus started to be heard again, performing in festivals and house concerts.

In 2015, having taken the name Los Impossibles (from the title of a piece by Santiago de Murcia, on the bass of the Vacas, the Spanish version of the Italian Romanesca), the duo's repertoire focuses mainly on the interpretation of the Italian and Spanish repertoire of the 17th and 18th centuries for baroque guitar. In fact, on this instrument, the first attempts to approach popular music of unwritten tradition by musicians of cultured background are documented since the early 17th century (three centuries before the birth of modern ethnomusicology).
Our reading of the sources starts from Girolamo Melcarne, known as Il Montesardo, author in 1606 of the first collection of guitar tablatures, and goes as far as Santiago de Murcia, a Spanish composer who in the early 18th century transcribed for his instrument, in addition to minuets, low arias and allemandes, also Indian music, such as the Fandango, the Cumbee, Zarambeque, without however sparing Follies and Tarantellas.