Compañía Nacional de Danza

As a matter of fact, Duato has followed the concerto’s musical guideline to reflect, with eight pairs of dancers -distributed in pas de deux, pas de trois, solo, pas de six …, a succession of splendid scenes within an intimist context. The dominating atmosphere of the choreography suggests landscapes which are typically Spanish. On his part, Joaquín Rodrigo has based his work on an anonymous Spanish madrigal dating back to the Renaissance period, titled Felices ojos míos.
The composer has made the following comment on his work: “This concerto has freed itself of the classical melodic architectures and, the established dialogue and the concerto style adopted in its composition notwithstanding, it resembles more a suite, even though the supporting element is the variation. Each of the variations or episodes are described by their respective titles, which give a score is characterized by a delicate poetical sketch. Occasionally, and due to the theme’s origin, the episodes are of a modal or archaic nature; in other episodes, the melody acting as a filament all through the work is inundated by a more popular feeling”. Nacho Duato’s interest and tendency to use his roots is a constantly recurring feature of his work. The music, the popular feeling, the colour of the land, are values employed by Duato to establish, in his own style, a mutual relationship between all the elements, where the movement merges with the environment that has been created. In Concierto Madrigal, far from basing himself on a specific line of argument, Nacho Duato has let himself become envelopped by the colour of nature, allowing us to discover a poetical feeling: the song of the people.

JOAQUÍN RODRIGO

The music used for this ballet is the Concierto Madrigal for two guitars and orchestra by the Spanish composer Joaquín Rodrigo. This composition has inspired Nacho Duato to make a choreographical illustration of eight of the ten short movementes of which the concerto consists. As a matter of fact, Duato has followed the concerto’s musical guideline to reflect, with eight pairs of dancers -distributed in pas de deux, pas de trois, solo, pas de six… – a succession of splendid scenes within an intimist context. The dominatiog atmosphere of the choreography suggests landscapes wihc are typically Spanish.

On his part, Joaquín Rodrigo has based his work on an anonymous Spanish madrigal dating back to the Renaissance period and called Felices ojos míos.

The composer has made the following comment on his work: “This concerto has freed itself of the classical melodic architectures and, the established dialogue and the concerto style adopted in its composition notwithstanding, it resembles more of a suite, even though the supporting element is the variation. Each of the variations or episodes are described by their respective titles, which give a clue of hte works´s atmosphere or scenery. The entire score is characterized by a delicate poetical sketch. Ocasionally, and due to the theme´s origen, the episodes are of a modal or archaic nature; in other episodes, the melody acting as a filament all through the work is inundated by amore popular feeling”.

Nacho Duato´s interest and tendency to use his roots is a constantly recurring featrue of his work. The music, the popular feeling, the colour of the land, are values employed by Duato to westablish, in his own style, a mutual relantionship between all the elements, whre the movement merges with the environment that has been created.

In Concierto Madrigal, far from basing himself on a specific line of argument, Nacho Duato has let himself become envelopped by the colour of nature, allowing us to discover a poetical feeling: the song of the people.