Kuarist & CMC Garaikideak
UARIST, a term created from a combination of words in esperanto, meaning “four”. As well as the goal of this language is the integration and the global communication, the project that have shaped these young artists linked works of recent creation with a repertoire classic, traditional, always from the perspective of a set of saxophones.
He began his career opening the Festival of Contemporary Music “NAK 2020” with the show “Connection”, building bridges between music tradition and the avant-garde, and qualifies for the final stage of the international contest of chamber music of “La Folia Nuova”. In 2021 collaborates with the narrator and actress Bethlehem Otxotorenaen the preparation of a didactic concert children entitled “Kua – Kua...Kuarist!” , a show based on the Greek mythology about the little ones to the music of the ensemble of saxophones.
In the season 2022/2023 elaborates two proposals: The concert “Sounds of Summer” that relates to works of classical music with different moments and emotions associated with the summer, and the project “From mythos to Logos, along with the CMC Garaikideakde Pamplona, where she has premiered three pieces of music based on japanese mythology, composed and in charge for the training. In 2023 obtained the 1st prize in the International Music Competition New Creation Re_Cre@.
Your next proposals are the presentation of the concert “Music and Power,” a show in collaboration with the open university, which examines the historical relationship between the musical production of baroque and classical, and the mechanisms which legitimized the great european monarchies. Have been awarded at the Meetings of Navarre of Art Young 2023, where they will present the concert “myths sound” in the season 2023/2024.
The musicians that make up this quartet have received training in classical and contemporary in prestigious conservatories such as the PESMD Bordeaux, Nouvelle-Aquitaine, the Conservatory of Music of Castilla y León, the Conservatorio Superior de Música de Navarra, Conservatori Superior de Música de les Illes Balears and the Superior Conservatory of the Principality of Asturias.
Kami........................................Yolanda Fields Bergua
Yokai..................................... David Cantalejo Gomez
Sawaru*................................ Ignacio Fernandez Galindo
The origin of the universe was the myth. The first explanations of the cause and the foundation of reality is based on narratives fantastic that tried to organize and give coherence to the phenomena that shaped the evolution of the world and humanity. In our days, the mythology still serves as an inspiration to a multitude of artistic and philosophical doctrines, and the pursuit of knowledge is still based on those earlier stories and magic were the germ of a multitude of cultures.
“Myths sound” proposes a reflection avant-garde that directly connects these mythological stories with a speech original musical. The show takes as a reference the japanese mythology, and his narratives about the origin of the universe, the role of the humanity or the introspection as a means of connection with a reality supraterrenal. Using representative elements of the writing, and music traditional japanese describe these phenomena and mythological in its purest essence, seeking to weave a connection between the mythical universe and understanding.
In this way, it aims to bring the myth to the ears of the here and the now, recall our past more remote and magical and travel the origins of humanity in creating universes hybrids between dreams and reality.
Kami. Es the story of some of the gods present in the indigenous religion of Japan, shintoism. Your oldest book, the Kojiki, arises this work. Tells the story as Izanami – the goddess of creation and death – begets Amaterasu (goddess of the sun), to Tsukuyomi (god of the moon), and Susanoo (the god of sea, storms, and battles). Throughout the piece plays a significant role in the sound of the sea that surrounds the island mythical Onogoro, where we develop the narrative and the present through a drum ocean. Fûjin (god of wind) also has a significant role throughout the work.
Yokai. It is inherent in the human being, the superstition of the unknown. In Japan there is a word to define all beings, feelings and experiences that are unexplained: the Yokai, demons and specters of japanese mythology. This is the name that encompasses many species with different characteristics: ancestral spirits that surround us in our day-to-day, demons that lurk in the night, spirits who return to seek revenge or demons who has the ability to change shape to coax the children, and then become who you really are. These demons appear represented during the work through the element multiphonicthat appears at the start (the Yokai in its natural state), and then its transformation over the work, to re-appear in its natural form in the climax.
Sawaru. In japanese, two verbs basic to designate the action of “touch” for what it is important not to get confused when they read / write: Sawa-ru (sawa–ri-masu) and Fu-reru(fu-remasu). These two verbs are not exactly synonyms, and there are small differences in use and meaning between the two (besides that belong to different models of conjugation). Generally, while SAWARU is more direct or rude (touch, toquetear, groping...), FURERU tends to be more subtle (rubbing, touching, a little bit, touching with a finger, feeling from a approximation for the more general...)
In this musical, the interesting thing is that constant dialectic between tension and resolution, but from the shape and structure. As well as in a work of visual artwe speak of the “visual weight”, here we'll talk about the reasons underlying a structure a transformation finite. What will be enough five minutes to recognize the elements in attentive listening? Of course yes. The time is also interpretable.
Leire Unzué Villanueva
Carmen Ferrando Christopher
Josu Marauri Barbarin
Sergio Slavic Arraiza
Plaza de Cairasco, 1, Las Palmas de Gran Canaria
Day: Friday, December 8.
Time: 10:00 am – 10:20h
Active and Listening Congress Members: free
Resto de público (venta online): 6€ (opcional: venta de entradas en taquilla del Gabinete Literario el día del concierto)