Since , Mauricio Sotelo has written a great number of pieces in which the Flamenco gets a strong presence. But why? The first has to do with the guitar itself. When he was a child, the composer chooses this instrument to begin his musical studies. As he will say many years later, the guitar is closely linked to Flamenco with all its symbolic and artistic imaginary. The second has to do with Flamenco as a way of thinking and creating music that embodies all Sotelo's compositional questions.
The matter was, therefore, to go beyond the topic, to erase the boundaries and to hold a musical land where it could be possible to create a new kind of tradition, a new form of contemporary Flamenco. Sotelo quickly understood that the cante was the key to open a wide door in Flamenco music, not only because of its aesthetic and artistic qualities but also of its technical and strictly music attributes.
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And the composer found them in Enrique Morente 's singing. As an experienced and wise cantaor, Morente came to Sotelo's life in to participate in the premiere of Tenebrae Responsoria. From the turn to the 21st century, Sotelo is immersed in a deep research into de timbric qualities of the cante flamenco and, specifically, that of Enrique Morente's.
Being helped by the composer Fernando Villanueva Ciudad Real, and using programmes like AudioSculpt or Sonogram, the composer has managed to extract the cante's whole physical spectrum. From this huge source of material, Sotelo establish a sound palette to create every piece.
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This kind of creative method has led to Sotelo's music being dubbed 'spectral Flamenco', in a sort of adaptation of the French Spectral Music. Sotelo has recently begun to introduce a flamenco female dancer in his pieces.
Maybe not the first in his catalogue but the most relevant pieces with bailaora are: Muerte sin fin with cantaor and ensemble, Muerte sin fin Here, Sotelo's efforts are directed to create not only a conversation or a dialogue, but a new idiom, a contemporary understanding of what flamenco has to be today.
It's obvious that the baile has a strong presence. In this sense, Luz sobre lienzo has to be seen maybe a main example.go to link
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Here we find how the composer has absorbed the deep conscience of what this tradition has to mean to the musician: after the years of study and the hours spent in developing the technique, flamenco —and also any kind of music or art— is a sort of inner language in which memory and experience are re-invented. The composer, in this case, is meant to make the occasion to happen, that is, to create, through the score and above all through a close work with the musicians, a new artistic milieu.
In Sotelo's hands, flamenco is no longer an exotic musical style linked to the conventional topics of the Spanish touristic image or a bourgeois approach of a strictly academic composer. Flamenco is today, with his work, an art that can be naturally integrated in the avant-garde expressions of contemporary art and music.
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