Voces de mi tierra for flute, cello and piano (2003)
Program notes by Elisenda Fábregas
Voces de mi tierra (Voices of my homeland) was written for the Meininger-Trio in occasion of an all- Spanish music concert in Meersburg, Germany, on May 25. Voces de mi tierra is a tribute to my native country and to the Spanish music that I love so much. Even though the melodies are distinctively Spanish I have not borrowed from Spanish music folklore.
I. El cortejo (The courtship) – Two contrasting themes interact and influence each other changing their characters as they become one at the end of the movement. A decisive and rhythmic first theme (A) is influenced by another highly contrasting theme (B) – evocative, fluid and lyrical. Theme B is introduced without great fanfare, almost as a transition, but towards the end transforms theme A into a slow-moving melodic line, ending in a passionate climax. Theme B nests itself into A becoming one.
II. Noche en la Alhambra (Night in the Alhambra) – During my student years, I spent two summers in Granada hearing many memorable concerts and flamenco music in la Alhambra and the Albaicin. This movement honors my memories of la Alhambra through the sounds of a flamenco song. This song, full of melismas and grace notes, is first introduced by the cello, and in subsequent variations the song is taken over by the flute and the piano.
III. La moza y el gitano (Scherzando) (The peasant and the gypsy) is full of folk-like melodies and dance rhythms. The melody in the flute introduces the first theme, full of happiness and energy but quite graceful (“la moza”). A few measures later, a new melody in minor full of syncopations (“the gypsy”), is introduced by the cello. Most of the movement is a representation of their interaction and games. The movement ends when the first theme (“la moza”) in the minor mode leading without a break to the fourth movement.
IV. Gigue consists of a variation of the first theme of the Scherzando (III). It is very driven and it can be imagined as the “la moza” trying to escape from “el gitano” in the third movement.