Beata Viscera
The Chamber Music Cycle of Auditorio de Tenerife presents the concert Beata Viscera, by Daniel García Trio and Vandala.
Throughout its history, jazz has been characterised by its harmonic freedom and improvisational genius. In turn, early music (from the Ars Antiqua up to the Renaissance, from Perotin to Gesualdo) found its most expressive language in dissonance and chromaticism.
Beata Viscera is not a typical blend of styles from such different time periods as jazz and Renaissance music, but rather, it delves into the essential elements of both: the modality, the colour, the creativity, the amazement, spirituality, and corpulence of our world, a world that, although entrenched in the 21st century, is still shook by the same passions, interests, and doubts that moved the start of the Modern Era.
This project is led by the composer and performer Daniel García, who undertook academic training in Spain and Berklee, and gained experience on the main jazz stages in Europe. He is accompanied by two virtuosos of the distinction of Pablo Martín Caminero on bass and Borja Barrueta on percussion, and the polyphony group VANDALIA, a benchmark of historically informed vocal performance in our country.
Daniel García Trio
Daniel García, piano
Pablo Martín Caminero, double bass
Borja Barrueta, percussion and lap-steel
Vandalia
Rocío de Frutos, soprano
Gabriel Díaz, countertenor
Jorge Enrique García, countertenor
Andrés Miravete, tenor
Javier Cuevas, bass
Musical adaptation, composition and direction: Daniel García Diego
Pérotin “le Grand” (1160-1230)
Beata Viscera
Juan del Enzina (1468-1529)
Amor con Fortuna (Love with Fortune)
Francisco Guerrero (1528-1599)
Ave Virgo Sanctissima
Alonso Lobo (1555-1617)
Versa est in Luctum
Carlo Gesualdo (1566-1613)
Moro, lasso, al mio duolo
Tomás Luis de Victoria (1548-1611)
O Magnum Mysterium
William Byrd (1543-1623)
Ye Sacred Muses
Mateo Flecha “El Viejo” (1481-1553)
El fuego (The fire)
“The musical concept of García Diego is very interesting and opens up a world of new unsuspected sounds for both jazz performers and Renaissance musicians. In fact, during the performance of the work, moments of extreme beauty were achieved. [...] Render unto Caesar that which is Caesar’s: a deep and complex concept that is also beautiful.”
Michael Thallium, Scherzo magazine, March 2021
“Together, they achieved their mission, getting this music to have a dialogue in perfect communion and Renaissance polyphonic singing, properly transformed. A successful combination.”
Juan José Roldán, El Correo de Andalucía, 16-3-2023
“Daniel García not only dominates the styles he played with, jazz and Renaissance polyphony, he also displayed a very deep understanding of the greatest hits of the 16th century which served as his starting point. The arrangements flowed naturally from one style to another –with blasts of Debussy here and vocal swing there–, but they also made it possible to hear, with even greater clarity than in their original state, the structure of those works by Enzina or Guerrero, and made them more understandable for the spectator than many historically informed yet severe versions that we are unfortunately accustomed to. (…) The work of the vocal group was splendid in a difficult and unusual repertoire –which requires a lot of concentration and fine detail–, the jazz trio was able to alternate sophisticated improvisations with support in the style of the basso continuo, and, above all, it was delightful to see musical intelligence in action”.
Juan Ramón Lara, Diario de Sevilla, 16-3-2023
Access is only allowed to children over five years of age.
For further information, please check the general purchase terms and hall conditions.
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