Diáspora

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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•D I Á S P O R A I

Sefarad en el corazón de Marruecos

 


Mara Aranda vuelve sobre el repertorio tradicional de los judíos españoles en la diáspora tras tres discos previos: ‘Música i cants sefardís d’Orient i Occident’ (Galileo-mc, 2009), Sephardic Legacy (Bureo Músiques 2013) y ‘La música encerrada’, junto a Capella de Ministrers (2014), dedicados a esta tradición. Su trabajo de investigación la ha llevado a viajes de residencia en Salónica (Grecia), Estambul (Turquia) y Jerusalén (Israel), previos a la grabación de estos trabajos, para recabar información, de fuentes originales, y completar el repertorio musical que no puede entenderse desligado de su contexto histórico y cultural.

La atracción que ejerce este repertorio musical abarca a diferentes tipos de investigadores: antropólogos, musicólogos y etnomusicólogos, lingüistas, novelistas, periodistas o historiadores, público en general…especialmente a partir del siglo XIX cuando se redescubre casi accidentalmente la realidad sefardí que, por su riqueza incalculable pasa a ser un valor patrimonial de la Humanidad.

Abraham B. Yehoshua, el renombrado escritor israelí de origen sefardí, en su artículo Beyond Folklore sugiere que ‘la identidad sefardí contiene tres componentes: cristiano, musulmán y judío. Estos tres elementos estarían mezclados de forma inseparable en el recuerdo de una asombrosa simbiosis cultural’ que en ‘Sefarad en el corazón de Marruecos’, encontraremos representados a través de la maestría de músicos de diferentes culturas y músicas y cantos de estas tradiciones ancestrales.

 


contacto España: Juan Pablo Marco – Teléfono +34 669 927 297
contacto internacional: Günther Weise – Phone +49 9664 1857

After three previous albums Mara Aranda again returns to the traditional repertoire of the Spanish Jews in the diaspora: “Música i cants sefardís d’Orient i Occident” (Galileo-mc, 2009), “Sephardic Legacy” (Bureo Músiques 2013) as well as “La música encerrada”, recorded together with Capella de Ministrers (2014), were all dedicated to this tradition. Her research work has taken her to Thessaloniki (Greece), Istanbul (Turkey) and Jerusalem (Israel), prior to the recording of these works, to gather information from original sources and to complete the musical repertoire that can not be understood disconnected from its historical and cultural context.

This musical repertoire attracts different types of researchers: anthropologists, musicologists and ethnomusicologists, linguists, novelists, journalists or historians, the public in general … especially since the nineteenth century when the Sephardic culture was rediscovered almost accidentally, and because of its immeasurable richness became a patrimonial value of mankind.

Abraham B. Yehoshua, the renowned Israeli writer of Sephardic origin, suggests in his article Beyond Folklore that “Sephardic identity contains three components: Christian, Muslim and Jewish. These three elements, inseparably merged, form an astonishing cultural symbiosis”, a symbiosis which we find represented in “Sefarad en el corazón de Marruecos”, the new work of Mara Aranda.
The songs tell us about the daily life of the Sephardic people, songs they shared when they participated in celebrations and feasts, or songs they sung in the intimacy of their homes. Generation after generation passed on melodies, rhythms and the feelings of their people only by word of mouth until this day.

Of Arabic-Andalusian tradition the music ranges from popular folk songs to virtuosic interpretations, elements of a classical Arabic music, revealing us the inner feeling of this people for whom music and poetry were the two outstanding ways they cultivated to draw nearer to God and to express even the most subtle movements of the soul. Christian tradition is included by some instrumental passages of the “Cantigas de Santa Maria”, which merge these tow realities, combining arduousness, care, sensibility and the wisdom of great mean who were despite their personal creed able to work for a higher and more noble aim, transcending their identity into time.