The commemorative work of the 400th anniversary of the writing of the Town Charter of Chella (Valencia), has been premiered on December 16, 2011 in J\u00e1vea (Alicante), during the Christmas concert by the Wind Orchestra of the Professional Conservatory of Music of J\u00e1vea.<\/p>\n
During the Reconquest of James I in 1250, the Moors who remained in Chella surrendered to him and the farmhouse was donated by James to Pere Dovit, although it was later reintegrated to the crown. In 1341, Pedro IV of Aragon ceded it to Tom\u00e1s de Ulmis and in 1356 it passed to the Count of Denia, who sold it in 1382 to Pedro Escintelles, who in turn sold it to Alfonso, Duke of Gand\u00eda. On the death of Alfonso, Chella again became part of the crown but soon returned to the hands of the Dukes of Gandia and the Counts of Oliva. In the 16th century it became a possession of the Borja family. The resident Moors revolted during the rebellion of the Alpujarras (1568 to 1571) during the reign of Philip II. In 1571, they were defeated and expelled. New loyal Moors repopulated the municipality but would also abandon it in 1609 during the expulsion of the Moors decreed by Philip III in 1609.<\/p>\n
Chella would be abandoned for two years with 90 houses built, that could have been the end of the population. In 1611, vassals of Carlos de Borja arrived in Chella to rebuild it and settle as its new settlers. That same year, on July 11, the town charter was drawn up, making the founding of the town official.<\/p>\n
In this way we find typical elements of Islamic-African folklore such as modal scales (Macamat), rhythms, dances and instruments such as the Darbuka, the Djembe or the recorder (similar to the Ney flute) as well as fluctuations and microtonal turns typical of oral traditions. These Arab reminiscences are based on the use of variation and improvisation as a correspondence with the typical improvisation of Arab folklore (Taksim). We also find references to Western music of the time (ca. 1600) such as the use of commemorative fanfares, use of modal turns, tonal\/modal ambiguity and especially with the appearance of a quotation from the motet \"O magnum mysterium\" by T. L. de Victoria (c. 147 to 165).<\/p>\n
The work is structured as follows:<\/p>\n
- Introduction (ch. 1-17): as a preliminary fanfare where the main elements of the work are presented.<\/p>\n
- 1st section (c. 18-30): in the form of a prayer, the recorder (imitating the Arabian Nay flute) exposes a theme with microtonal turns that culminates in a Darbuka improvisation.<\/p>\n
- 2nd section (c. 31-140): a main theme appears in the form of an Arabian dance which varies constantly in all its elements by way of improvisation and written ornamentation emulating the improvisation techniques of the music of Islam (Taksim). At the end of this section the dance will be gradually diluted and absorbed by a melodic element that represents the extinction of Islam and the transition to the West.<\/p>\n
- 3rd section (c. 141-179): another solo appears, in this case of saxophone, which contrasts with the first flute solo (West vs. Islam). In the course of this solo section it will progressively resemble a quote from the motet \"O magnum mysterium\" by T. L. de Victoria representing the \"Christianization\" of the West. At the end of this section appears an elaborate transition with elements of the initial fanfare.<\/p>\n
- 4th section (c. 180-245): this section represents the conflict of the two cultures, elements and resources of the previously mentioned sections appear, although with a greater preponderance of elements of western tradition that lead to an \"Andante majestuoso\".<\/p>\n
- 5th section (c. 246-273): \"Andante majestuoso\" which represents the victory of the West over Islam and takes up the elements of the initial fanfare. However, not all the section has that victorious air, elements of distorting and dissonant character appear... a shadow, a doubt, a question... why was not possible the coexistence?....<\/p>\n
This work can be presented in two versions; a purely musical version or a version with a narrator who recites texts of the time (Cervantes, Quevedo, G\u00f3ngora, Lope de Vega, Juan del Enzina...) interspersed with the music.<\/p>","protected":false},"excerpt":{"rendered":"
\"Cantares de la nueva tierra\" has been written to commemorate the 400th anniversary of the Carta Puebla de Chella (Valencia).<\/p>","protected":false},"featured_media":994,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}}},"product_brand":[],"product_cat":[24],"product_tag":[63],"class_list":{"0":"post-993","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-sinfonicas","7":"product_tag-jose-miguel-fayos-jordan","8":"desktop-align-left","9":"tablet-align-left","10":"mobile-align-left","11":"ast-product-gallery-layout-horizontal-slider","13":"first","14":"instock","15":"downloadable","16":"virtual","17":"taxable","18":"purchasable","19":"product-type-simple"},"acf":[],"yoast_head":"\n