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LOS IMPOSSIBLES

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Code: CVLD 273

Author: AAVV
Performer: Luca Tarantino (baroque guitar), Vito De Lorenzi (tabla and percussions), guest artist: Marco Bardoscia (double bass)
Support: cd

It was February 2011 when Marco Bardoscia, bassist and composer from Salento, artistic director of festival SoundMakers festival, asked Luca and Vito to perform together in a improvised and unexpected gig. The festival main theme included the organization of last minute meetings between the musicians so far apart in style, studies, language.
Luca comes from classical academic studies and early music, Vito from world music, with a degree in Indian classical music.
To realize that tabla and lutes can get along is a snap.
Delicate and perfect instruments, built with fine balance between mixtures of materials chosen by tradition, by teachers that have handed down ,orally for a large part, the secrets of ebony, leather, mother of pearl, ivory, pitch, gut, rosewood, fir, parchment in order to accompany the singing, the dancing, the motions of the soul and praises to the supreme.
Kept separated by other musical projects, the members of the duo waited until 2013 to be able to play together again, thanks to the birth of Desuonatori, a coordination of self-productions for the socialization of unreleased music in new contexts of use, the brainchild of Daniel Valerio, guitarist and producer, creator of the linguistic revolution that has affected the traditional music of Salento since 2000. The duo moved back to be heard, performing in festivals and house concerts.
In 2015, the duo changed its name to Los Impossibles (the title of a song by Santiago de Murcia, based on the ground of the Vacas, the Spanish version of the Italian Romanesca) the duo's repertoire focuses mainly on the interpretation of the Italian and Spanish six-eighteenth century repertoire for baroque guitar. On this instrument in fact, starting from the very beginning of 1600, are documented the first attempts to approach to the popular music of unwritten tradition by professional musicians (three centuries before the birth of modern ethnomusicology).
Our reading of the sources, from Girolamo Melcarne Montesardo, author in 1606 of the first known collection of a tablature for five-course guitar, ahead to Santiago de Murcia, Spanish composer who transcribed for this instrument, as well as minuets, arie gravi and allemande, also the music of the Indians, like the Fandango, the Cumbee and Zarambeque, along with Folias and Tarantellas.

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