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THE SHOW
La Nuu perform medieval songs and develope them through jazz, indian music, improvisation and multiple elements taken from apparently immiscible backgrounds.
The
result of this mixture was initially surprising even for the performers
themselves.:
- Those sounds were incredibly beautiful, delicate… delicious !!
- Those sounds were incredibly beautiful, delicate… delicious !!
The show is called Beyond space and time...
It joins past and present following eastern and western musical traditions.
BIO
La Nuu
The idea was conceived in
early 2017 and materialized in a private concert at the Monastery of Les Avellanes (Spain) which was recorded in order to
show the proposal.
The initial cast was focused
on the medieval harp, an instrument whose limitations were inadequate to
satisfy the claims of the show. The recruit of the harpsichord dimensioned the proposal
extraordinarily. In addition to the melodic, harmonic and contrapuntal
possibilities of the instrument, music started flowing almost by itself as Patricia’s improvising ability on it is
amazing.
In the concert that we offered
in the aforementioned Monastery of Les
Avellanes we also experimented playing some of the pieces on the organ of
the church. A sample of this successful attempt was reflected in the video
recordings of the concert and, since then, it is a possibility that we offer.
Apart from receiving a solid
academic training in classical and ancient music, Patricia has been main member of spanish pop band Lagarto
Amarillo with which she has toured Spain in several concert tours and massive
shows. In this context she trained as a singer, a quality that now looks
charmingly in La Nuu.
The development of each
composition has been done avoiding most of the usual topics in this type of
proposals and respecting the essence of the compositions both in the harmonizations
and in the improvised passages. Josep-Manel’s
self-taught character becomes clear at this point, since his way of harmonizing
and improvising does not respond to the standards of a particular style.
Moreover, one of the main peculiaritys
of La Nuu’s repertoire is the preferential
choice of burdon music. Because of
that, instrumental exploration easily leads to hypnotic environments which have
an exquisite beauty. The modal character of burdon
music, based on simple monophonic melodies without chord progressions, has
many similarities to Indian classical music, based on raagas.
Ramón explains that the
concious listening to the tabla touched such a deep part of himself that he not
only embarked on a path to meet the instrument but everything surrounding. In
the sacred city of Rishikesh he learned the basics of the instrument, but also
the basics of Indian classical music and philosophy. Long stays in Rishikesh
with walks along the banks of the Ganges, yoga practices at Shivanda Ashram,
and hours and hours of classes and tabla practice helped him growing as an
artist, but also as a person.
The tabla transmits all this bakground
and when it is put at the service of the beautiful songs of the repertoire of La Nuu the result is real poetry.
With the kanjeera, an
instrument that must be played using quite a complex technique used in carnatic
music (classical music of South India) Ramon
also provides a powerful sound that impacts on the most rhythmic and
amalgamated medieval themes of the repertoire of La Nuu.
