{"id":6699,"date":"2026-10-27T14:06:34","date_gmt":"2026-10-27T14:06:34","guid":{"rendered":"https:\/\/accademiaclub.com\/album\/las-idas-y-las-vueltas-2\/"},"modified":"2026-10-27T14:06:34","modified_gmt":"2026-10-27T14:06:34","slug":"las-idas-y-las-vueltas","status":"publish","type":"album","link":"https:\/\/accademiaclub.com\/en\/album\/las-idas-y-las-vueltas\/","title":{"rendered":"Las idas y las vueltas"},"content":{"rendered":"

This content is exclusive to Accademia Club members.<\/p>Become a member<\/a>

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Las idas y las vueltas: Mestizo Music<\/strong><\/p>\n\n\n\n

Colonial Baroque music in dialogue with flamenco<\/p>\n\n\n\n

If cross-cultural fusion and the exchange of ideas are the engine that drives musical innovation, the Spanish colonisation of the Americas \u2013 with the resulting encounter between European, American and African civilisations \u2013 pushed that machine of creation, evolution and the birth of new musical styles to its limits. The exchange of rhythms, melodies and cadences that would later give rise to jazz was, centuries earlier, the very origin of flamenco.<\/p>\n\n\n\n

Through the cities of Andalusia and the Americas, songs and dances circulated in fusion and confusion, going out, coming back and going out again, from the Gulf of Guinea to the Caribbean and from there to Triana and the Gulf of C\u00e1diz. It was a true, delocalised<\/em>, seething melting pot<\/em>, in which j\u00e1caras, fol\u00edas and chaconas were the common heritage of popular and art music alike: guarachas by Z\u00e9spedes that remind us of the tanguillos of C\u00e1diz, medieval romances handed down by word of mouth, fandangos old and new, seguiriyas with passacaglia<\/em> chords\u2026 Music written down centuries ago, into which we can breathe new life today with the spontaneous intuition that good musicians and good flamenco bring us.<\/p>\n\n\n\n

Two creative spirits such as Fahmi Alqhai and Arc\u00e1ngel seek out these paths, still unexplored today, through the mutual fertilisation of flamenco and Baroque music, two of the most fertile musical styles. Arc\u00e1ngel and Alqhai engage in dialogue in search of a past and a present shared through music, the universal path to brotherhood between peoples and cultures. Both are artists of unclassifiable personality, rigorously trained in their own fields but experimental in spirit, and in an exercise of freedom they let themselves be carried away by pure musical instinct. Who knows whether \u2013 unexpectedly, naturally, intuitively \u2013 they might not bring us the first scents of the lost paradise that no musicologist has ever found: primitive flamenco.<\/p>\n\n\n\n

Juan Ram\u00f3n Lara<\/p>\n\n\n\n

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LAS IDAS Y LAS VUELTAS<\/p>\n\n\n\n

Fahmi Alqhai (FA) viola da gamba and musical direction<\/em>
Arc\u00e1ngel (A) cantaor flamenco \/ flamenco singer<\/em><\/p>\n\n\n\n

ACCADEMIA DEL PIACERE
Mariv\u00ed Blasco (MB) soprano<\/em>
Miguel Angel Cort\u00e9s (MA) flamenco guitar<\/em>
Rami Alqhai (RA) viola da gamba<\/em>
Johanna Rose (JH) viola da gamba<\/em>
Juan Ram\u00f3n Lara (JR) violone<\/em>
Vicente Parrilla (VP) recorders<\/em>
Enrique Solinis (ES) baroque guitar, theorbo & archlute<\/em>
Pedro Estevan (PE) percussion<\/em>
Agust\u00edn Diassera (AD) flamenco percussion<\/em>
David \u201cChupete\u201d (CH) <\/em> castanets<\/em>
Joaqu\u00edn Rodero (JO) oud<\/em>
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The lands & the roots<\/strong><\/p>\n\n\n\n

    \n
  1. Ton\u00e1 (traditional) 1.29
    A<\/li>\n\n\n\n
  2. La Spagna (anon. 15th c.) 3.11
    FA RA JH JR VP ES PE<\/li>\n\n\n\n
  3. Romance del Rey Moro & Grana\u00edna (Luis de Narv\u00e1ez, fl. 1526-1549 & traditional) 4.17
    MB A FA MA RA ES PE AD<\/li>\n\n\n\n
  4. Las morillas de Ja\u00e9n (anon. c. 1500 from Cancionero de Palacio) 3.47
    A MB FA MA RA JH JR VP ES PE AD JO<\/li>\n\n\n\n
  5. Jaleos (traditional) 3.54
    A MB FA MA RA JH JR VP ES PE AD JO<\/li>\n<\/ol>\n\n\n\n

    Mestizo music<\/strong><\/p>\n\n\n\n

      \n
    1. Vidalita (traditional) 7.01
      A FA MA RA JH JR ES PE AD<\/li>\n\n\n\n
    2. Fol\u00edas (various authors, c. 1700) 5.35
      FA MA RA JH JR ES PE CH<\/li>\n\n\n\n
    3. Siguiriya (traditional) 5.22
      A FA MA RA JH JR ES AD<\/li>\n<\/ol>\n\n\n\n

      The dances<\/strong><\/p>\n\n\n\n


      9. Guaracha & Guajira (Juan Garc\u00eda de Z\u00e9spedes, c. 1619-1678 & traditional) 5.58
      A MB FA MA RA JH JR VP ES PE AD
      10. No hay que decirle el primor (X\u00e1cara & Buler\u00eda) (anon. 17th c. & traditional) 5.30
      A MB FA MA RA JH JR VP ES PE AD<\/p>\n<\/div><\/div><\/div>\n<\/div><\/div>\n\n\n\n

      Track notes <\/h2><\/div>\n\n\n\n
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      \n
      \n

      Las idas y las vueltas
      <\/h4><\/div>\n\n\n\n
      <\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
      \n

      Ton\u00e1 (traditional) 1.29<\/p>\n\n\n\n

      La Spagna (anon. 15th c.) 3.11<\/p>\n\n\n\n

      Romance del Rey Moro & Grana\u00edna (Luis de Narv\u00e1ez, fl. 1526-1549 & traditional) 4.17<\/p>\n\n\n\n

      Las morillas de Ja\u00e9n (anon. c. 1500 from Cancionero de Palacio) 3.47<\/p>\n\n\n\n

      Jaleos (traditional) 3.54<\/p>\n\n\n\n

      Vidalita (traditional) 7.01<\/p>\n\n\n\n

      Fol\u00edas (various authors, c. 1700) 5.35<\/p>\n\n\n\n

      Siguiriya (traditional) 5.22<\/p>\n\n\n\n

      No hay que decirle el primor (X\u00e1cara & Buler\u00eda) (anon. 17th c. & traditional) 5.30<\/p>\n\n\n\n

      Guaracha & Guajira (Juan Garc\u00eda de Z\u00e9spedes, c. 1619-1678 & traditional) 5.58<\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

      <\/p>\n\n\n\n\n\n

      <\/p>\n","protected":false},"excerpt":{"rendered":"

      Winner of the Giraldillo award at the Bienal de Flamenco, \u201cLas idas y las vueltas\u201d freely explores the original links between flamenco and Baroque and colonial music<\/p>\n","protected":false},"featured_media":4553,"parent":0,"template":"","estilo":[107],"class_list":["post-6699","album","type-album","status-publish","has-post-thumbnail","hentry","estilo-renacimiento-en"],"_links":{"self":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/album\/6699","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/album"}],"about":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/types\/album"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/media\/4553"}],"wp:attachment":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/media?parent=6699"}],"wp:term":[{"taxonomy":"estilo","embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/estilo?post=6699"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}