Great reference of folk in Galicia with international echowill be accompanied by the Collegiate Folk Group of the Sar, part of a two-day event, which starts tomorrow at 6:00 p.m. in Horta with performances by traditional music and dance groups from the aforementioned neighborhood and from Devagarinho, before (1 pm), a vermouth session with Comando Curuxás. There is also an exhibition called Retail Galiciaorganized by Montse Liñares Bello in the cloister.
Carlos Núñez (Vigo, 1971), travels from the French capital, where he played the bagpipes in a recital of the Celtic Beethoven project, with a stop at the Saint Denis Cathedral, the patron saint of Paris, sharing the stage with the National Orchestra of Brittany.
Verbal Carlos without pause or haste, friendly and didactic in his treatment, attends EL CORREO in a telephone conversation that opens by reviewing his affection for Compostela and closes by asking to respond later when requesting some cultural recommendation.
Return to Santiago, a city of a special monumentality that saw the opening of any new tour like few others.
Yes. This concert in Sar is the first of the summer tour and I am very excited to start in Santiago because the last concert we gave was in Paris and I have the feeling of doing the Camino de Santiago… In the same way that there is a Paris of the people, there is a Santiago of monuments and a Santiago of the people, and performing in the Colexiata do Sar, next to a 12th-century Romanesque temple, means doing a very close concert, with neighbors and people from the area, little less than a concert where friends are made. And another precious thing that we discovered last year, when we played for the first time in that place, something that we are already turning into a tradition, is that everything makes sense. We are next to the river Sar, which theoretically is the communication of Santiago with the sea, the one of the famous journey of Santiago by sea from afar, which reaches Galicia through Iria Flavia upwards. Santiago is not a place lost in the interior without a context, it was always connected with the sea. Rosalía de Castro had several houses in the Sar and when she saw the river from her house she called it… Or sea.
Where will the repertoire go on this return to the Galician capital?
There will be music from Calixtine Codexmusic from a thousand years ago, even a little bit of Celtic Beethoven, of course, until joining bagpipes and trap, which is what we have just joined in “Danza de espadas”, a song recorded with a 19-year-old producer, joining as well as the world of electronic music… It will be for all ages and all audiences.
We gave the last concert in Paris and I have the feeling of doing the Camino de Santiago
In 2022 he collaborated with Baiuca, a musician from Catoira closely linked to Santiago. They recorded a song called “Solstice” together, how do you rate this intergenerational meeting embodied in music and a meeting in Praza da Quintana?
It was a beautiful collaboration. Baiuca is 30 years old and I really like that people from her generation are working with traditional music without complexes. When I started we were almost Martians, it was difficult to be taken seriously. It was clear to me that I wanted to study music to dedicate myself to playing the bagpipes and flutes, but it seemed impossible. On the other hand, today, the youngest have no complexes towards traditional music and mix it with all kinds of current genres. I had already worked with electronic music, since 1999, from the second album (Os amores libres), where we worked with people from Real World, those Peter Gabriel studios, or with Hector Zazou, a musician from Paris. Electronic music is a world, not all of it is made with beat and for dancing… And I loved working on that song with Baiuca.
The aforementioned last single, “Danza de Espadas”, comes co-produced by Yung Denzo, how do you know each other?
We are going to do the “Dance of Swords” for the first time live at the concert in Santiago… Yung Denzo is the son of a classmate of mine, Eva Román. We studied together at the Martín Códax school in Vigo. His son is a genius of urban music and we brainstormed, brainstormed, and when he produced this song and we recorded together, I told him: ‘Bring your vision of urban music to this.’ Baiuca is 30 and Yung Dezo is 19. The wonderful thing about traditional music is that it touches all generations, it is the truth and the basis of everything.
The youngest have no complexes towards traditional music and mix it with all kinds of current genres
Is electronic and urban music right now coming to revitalize traditional music?
Yes, yes, yes, because also, what we call urban music comes from roots, it didn’t come out of nowhere. And the most curious thing is that genres like trap have 80% of the melodies in one mode, in a type of scale, called Doric, which is the majority scale, for example, in medieval cantigas such as Las cantigas de Santa Maria, for example.
Who would you resurrect for a dream musical collaboration?
A collaboration that remained pending for me, although we were in contact for years and spoke by phone because he lived in Mexico at that time, in Playa del Carmen, where he lived hidden in a house, was with Paco de Lucía. I was preparing La farruca with him, we had been preparing it for years and what happened happened, it left us before its time (2014). That would have been one of my dream collaborations, as were the ones I did with the Chiftains. My teachers were always people from previous generations, from whom I learned a lot and now that I am 50 years old, the curious thing is that I turn my eyes towards the youngest. I learn a lot from 18-year-old boys and girls, who give you a new and different vision.
2023-06-30 05:44:39
#concert #Colexiata #Sar #Santiago #people
