THE DREAM OF AVALON

Suite for Flamenco guitar & Orchestra

By

JOSE LUIS DE LA PAZ

Arrangements by

ALEX CONDE

Ithaca is comprised of traditional flamenco structures, such as Fandangos, Solea, Seguiriya and Guajira, whose compositions were inspired by Jose Luis’ visions of a traveler looking for his place in the world. This journey is expressed through each of Avalon’s movement’s, in waves rhythms and textures that heighten the richness of the Flamenco genre.

BOOKING

 

World Fusion Events

Laura Martínez

laura@WorlFusionEvents.com

Phone: +1 503 236 3721

 

Miami Office (Logistisc and Personal Att)

Damaris Ferrer

nuflamenco2@gmail.com

Phone: +1 786 252 1544

Jose Luis de la Paz, 1967

Bio

 

Jose Luis is an award-winning guitarist, recognized in all the disciplines of the Flamenco Art. He is a composer, virtuoso and performer whose original compositions range from the most traditional up to the most experimental forms in flamenco music.

 

He has collaborated with the LA Philharmonic and Maestro Gustavo Dudamel and most recently, Rodriguez debuted in Miami a new piece of musical history entitled "Avalon" - Suite for Flamenco Guitar and Orchestra.

In 2016 he was nominated for the US Artist Felloship.

Collaborators //

Avalon
Suite For Flamenco Guitar & Orchestra

ABOUT THE SUITE

 

Dos Orillas is a Suite for flamenco guitar and orchestra composed by Maestro Jose Luis Rodriguez with orchestrations by Maestro Alex Conde.

 

This Suite is divided into 7 independent pieces, each sub-divided into 4 movements; making this 45 minute work one of the longest and most elaborate pieces for Flamenco Guitar and Orchestra.

 

Avalon is comprised of traditional flamenco structures, such as Fandangos, Solea, Seguiriya and Guajira, whose compositions were inspired by Jose Luis’ visions of a traveler looking for his place in the world. This journey is expressed through each of Avalon’s movement’s, in waves rhythms and textures that heighten the richness of the Flamenco genre.

 

Alex Conde perfectly understood the musical colors and textures that Jose Luis was seeking, and thus was able to mix elements of the classical and the flamenco in a way that opened the dialog between flamenco and classical musicians with regards to how the two languages can be used simultaneously without one or the other loosing its identity.

 

“Avalon comes from my own desire to seek ways of bringing Flamenco music to new audiences and spaces just as my mentor, Mario Escudero, did. Through his compositions and his vision of the music, I entered into an understanding of the classical music language, techniques and compositional forms, which greatly influenced my work as a Flamenco guitarist and composer. In Avalon, both languages embrace each other and journey together.

ELENCO -  COLLABORATORS

 

Jose Luis de la Paz (guitar)

Berto Boyd (guitar)

Adolfo Herrera / Sudhi Rajagopal (percussion)

 

Federico Britos (Master Concert) - optional

 

Jose Luis de la Paz (composer and musical director)

Alex Conde (orchestration / arrangements)

Berto Boyd (guitar transcriptions)

Piles Editorial (exclusive score sell)

SCORES

Available by request

REPERTOIRE

 

Act I

Amanecer 

Departure (Fandango & Alegria)

Act II

Mirando al Horizonte (Buleria)

Act III

Aquella Luz 

Centrum (Soleá)

Act IV

La Fuente Vieja (Seguiriya)

Act V

Viaje de Regreso (Guajira)

 

Total Duration: 45 min

THE CREATIVE PROCESS

In many aspects, Avalon is part of the legacy of Maestro Mario Escudero, one of the pioneers who brought elements from the classical music to flamenco in the 40’s and 50’s.

 

The creative process for Avalon began in 2012, when Jose Luis met Alex Conde while on tour in California. It was during that time that they both realized that their artistic interests and visions were similar and that they wanted to create a work that could remove the stereotype from flamenco by demonstrating that it’s language could be utilized within the classical form without having to loose its identity. Both composers also believe in the importance of opening the dialog between the popular learning and the written language.

 

Alex Conde and Jose Luis decided to start this work through the creation of some short pieces for guitar and string arrangements. These sorter works were then used independently in concerts; creating a platform on which to begin to try out the compositions and continue to build on the idea of fluid communication amongst the musicians.  After developing the aesthetic of the pieces, Jose Luis and Alex began the arrangements, which they then had the opportunity to test out, in 2013, on the student’s of the Oakland School of Arts, conducted by Omid Zoufonoun. It was after the success of that concert that they decided to continue the work and create a Suite.

From that point on, they began working at a slow but steady pace, as there was no immediate budget for the project, using recordings, skype and sound emulators to begin to further understand how the multiple layers of instrumentations would ultimately sound.

 

The biggest challenge then was the issue of how to transcribe Jose Luis’s guitar score so that it could be passed on to the conductor. For this purpose they called on Berto Boyd, who is both e classical and Flamenco guitarist, well versed in utilizing available technology to create the transcriptions via recording sessions with Jose Luis. The process of transcribing the intricate work of Jose Luis took over five months and also resulted in an online resource for guitarists called “www.flamencoguitarclass.com”.

 

At the end of 2014, as Avalon was almost completed, Miami Dade County Auditorium commissioned the works premier as part of their October 2015 season. At that time, Jose Luis approached violinist Maestro Federico Britos (Latin Grammy Award honoree 2016), to ask him for help in putting together the orchestra and for him to sit as master concert.

 

On October 30, 2015, 3 years after the start of the project, Avalon premiered with a 25 musicians orchestra (Chamber Orchestra or Sinfonietta), solo guitar by Jose Luis de la Paz, second guitar by Berto Boyd, third guitar Rodrigo Valdez, percussionist Antonio Camuñez, violinist Federico Britos, and conductor Omid Zoufonoun. 

TECH RYDER

 

Individual Monitors

 

3 monitors (2 guitars)

1 monitor  (percussion)

1 monitor (conductor)

1 monitor (voice)

2 side-fields

8 separate monitor mixes

 

Percussions

 

1 Cajon

1 Djembe

1 Box 

Big frame drum or Tom

Effects

 

Instruments (35 music stands and light)

 

2 flamenco/classical guitar 

1 Percussionist

12 Violins

6 violas

4 cellos

3 double-bass

2 flutes

2 clarinets

2 oboe

2 bassoon

2 french horn

2 trumpet

2 trombone 

2 classical percussions (timpani, cymbals, snare)

 

Other

 

Reverb Lexicon or similar (we could need 2 effects at the same time)

Parametric Equalizers

Cd player or mini-jack cable 

Black Stands

Platform for guitarist 

Platform for conductor

 

NOTE: Please, let us we know if you need more information or have any questions via e-mail:

lundg@gmail.com or by phone: 305.803.6375 or 786.252.1544, if any of these conditions cannot be met or if the changes are going to be considerable.