Is Atlantis a myth? Until recently it has been recognized without any further the veracity of Plato's Timaeus and Critias, and scholars have just tried to find the location of Atlantis. In a relatively recent period, by the end of the Quaternary, to the west of Strait of Gibraltar sank a vast continental region formed by large islands, and traces of this cataclysm are still visible. Both east and west banks of the Atlantic Ocean are bordered by deep longitudinal passages. From Gough islands to the Jan Mayen island there are still a number of volcanoes which mark Africa and the eastern edge of the ocean trench, and the Azores, Madeira, the Canary Islands and Cape Verde were the last vestiges of the continent disappeared.
Anyway, Atlantis has been chosen the reference in the fiftieth anniversary of the death of Manuel de Falla (1996), for a tribute from the world of guitar to this composer, and so was born this work as a command from guitarist Pablo de la Cruz and the International Spring Festival Andrés Segovia. The title chosen for me is a clear allusion to the northern limit of the missing continent. Despite appearances, Jan Mayen is not a concerto for guitar and orchestra in the strict sense, but rather a work for orchestra with a prominent role for solo guitar, but also for percussion, whose presence is even greater –almost constant– along its course. It is articulated in one movement divided into five sections with classical reminiscences: Introduzione, Allegro, Adagio, Cadenza and Finale. Above the technical construction –based in serial and random procedures– it will not be difficult to find in the work the evocation of Spanish folk rhythms, flamenco and Japanese koto.
Recording: Pablo de la Cruz (guit.) - Orquesta Sinfónica de Czestochowa –
Dir.: Tomás Garrido – CD “Música para un paisaje - Cuentos de la
Atlántida” – Acte Préalable – AP0041 – Czestochowa (Polonia), 1999
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