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Miguel Ángel Remiro
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In 2003 I was commissioned to compose and compile a book on flamenco pieces for piano by the "Flamenco-live" editorial. This was due to the none inexistence of a market for this type of repertoire.

This is how " five flamenco pieces for piano" came about, which at that moment was the only album of flamenco pieces for piano (repertoire for nowadays, as in the 19th centerury there were many collections of this type). From there on and due to a worldwide interest it caused after this publication, I then thought of the possibility to carry out a very personal dream of mine which was to form an " Ensemble" by joining two musical traditions together that never really were totally separated in Spain; "serious music" and popular music form.

My musical life goes through different stlyles of music, like jazz, flamenco, argentinean tango and popular music in general on the one side, and then on another side, I also go through classical music or "serious music", or however you want to call it. That is why I had always thought, that classical music had to do with something pertaining to the world of Apollo and so dionisis without any doubt ruled on what ever was to be considered the other kind of popular music forms, and hence, I always believed for the need to join these two forces together which I consider them to be a complement of one another, and so therefore following the principal of Ortega, " the uncultured life is barberic, though culture devitalized is Byzantinism.

What I actually was intending to do is be creating spanish music of the 21st century, following the wake of such musicians as Albeniz and Falla who utilized those two traditions of music inorder to create their own kind of music. Already, when still a conterpoint student, I wrote a fuge, " Fugerias nº1. fuge for bulerias" (which surprised my teacher) and when I formed this ensemble I decided to carry out what I myself had marked out then when I happened to write that particular fuge. I'd be a sinner if when I speak about this inspring process I don't also include a very special mention to thank Astor Piazzolla.

From Piazzolla I took into account two very important things. Like he once said "there are many who want to be reinventing the tango, however they lack either studies or talent". This kind of advise encouraged me to study composition with a real passion as I knew I'd be using it in later on in the the future in my very own vision on flamenco. And as far as for talent goes this is something I cannot give my opinion on. Other aspects of works by Piazzolla that were able to have influence on me were his arrangements for chamber formation.
Mainly in his last quintets and especially in the ryhthmic organization of polyphony, a technique if well I haven't literally utilized for the evident remoteness inbetween tango and flamenco, it did help me to understand by using it as a model to later on develope on my own composition wthin this area.

My love for flamenco and the excuse of the publication for the piano pieces gave me the oportunity to be able to materialize an idea that I had already been thinking about way way back before.
Create music which already has been wriitten by way of traditional "serious music " or european culture and at the same time give back the vitality that the bizantine "contemporary music" had seemed to have snacthed away then.

From there, is where flamenco derives a role and it's power. With all this in mind, the only thing I really intend is to continue on with a dialogue that for more then over five centuries ago still remains to be fertil and should have never ever been interupted; popular ibearic music along with the european "serious music".

A dialogue that has far more than demonstrated it's fecundation till this very day.