“Without doubt, Don Quijote wants to give us music, and it will be not bad, being his” (Don Quijote II, XL VI)
This project was born to announce to the people the existing relation between the music and Cervantes, going deep into the reception of the Quijote under different expression ways. Cervantes operates in its works not only like a recipient of the musical reality of its time, but also like a singings diffuser across appearances appellants in works like, Don Quijote, or in its Comedies and appetizers, in the Trip of Parnassus or Galatea. The presence of musical instruments in its books is very wide, because there are mentions to the rustic flutes, harps, bandurrias, guitars, pipes, flutes, vihuelas, etc. Also we can find mentions to more than ninety musical topics and that have more than one hundred of different musical representations, as for example: King don Alonso, the folías, the Escarramán, the Canario, etc. Also we can find in Cervantes material, elements of the social condition of the musicians, including musical vocabulary like “contrapunto”, “coro” o “discantar”.
If we penetrate into the topic of the presence of the musical fact in Don Quijote, we have to say that there are numerous the factors that propitiate the musical influences in Cervantes, doing for example, that the writer takes care with the setting of the scene. We find an example in [Don Quijote, II, IX, 695], where the episode begins with an allusion to the romance of Count Claros reflecting a textual fragment in which it is possible to read: “it was more or less a midnight when don Quijote and Sancho left the mountain and entered the Toboso». The previous allusion to the romance of Count Claros brings to the mind of the reader many changes, which were realized on the romance in the XVIth century on the part of vihuelistas like Mudarra, Narváez, Pisador and Valderrábano.
The previous thing there is a small part of what was born in mind to realize this project, apart from incorporating pieces created for the occasion by the composer Said Ruiz, in which the reception of the Quijote appears.
In addition to the Said pieces, in the program there will be present pieces of Valderrabano, Gaspar Sanz, Alonso Mudarra, Mario Castelnuovo Tedesco or Hermann Reutter.
As in the project Six Maidens of Juan Ramón Jiménez, also we realize the show with illustrations of Laura Ferreiro and the dramatization in some points of the program of Esther Acevedo.