Flamenco, in its strictest sense, is a professionalized art-form based on the various folkloric music traditions of southern Spain in the autonomous communities of Andalusia and Murcia. In a wider sense, it refers to these musical traditions and more modern musical styles which have themselves been influenced by and become blurred with the development of flamenco over the past two centuries, it includes cante, baile, jaleo and pitos. The oldest record of flamenco dates to 1774 in the book Las Cartas Marruecas by José Cadalso. Flamenco has been associated with the Romani people in Spain; the origin of flamenco is a subject of disagreement. The Diccionario de la lengua española attributes the creation of the style to the Spanish Romani. Of the hypotheses regarding its origin, the most widespread states that flamenco was developed through the cross-cultural interchange between native Andalusians, Castilians and Sephardi Jews that occurred in Andalusia; the early 20th century poet and dramatist Federico García Lorca wrote that the presence of flamenco in Andalusia predates the arrival of Romani people to the region.
Flamenco has become popular all over the world and is taught in many non-Hispanic countries the United States and Japan. In Japan, there are more flamenco academies. On November 16, 2010, UNESCO declared flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity. There are many suggestions for the origin of the word flamenco as a musical term but no solid evidence for any of them; the word was not recorded as a musical and dance term until the late 18th century. One theory, proposed by Andalusian historian and nationalist Blas Infante in his 1933 book Orígenes de lo Flamenco y Secreto del Cante Jondo suggested that the word flamenco comes in fact from the Hispano-Arabic term fellah mengu, meaning "expelled peasant"; this term referred to the many Andalusians of the Islamic faith, the Moriscos who remained, in order to avoid religious persecution, joined with the Roma newcomers. Another theory is that the Spanish word flamenco could have been a derivative of the Spanish word flama, meaning "fire" or "flame".
The word flamenco may have come to be used for fiery behaviour, which could have come to be applied to the Gitano players and performers. Palos are flamenco styles, classified by criteria such as rhythmic pattern, chord progression, stanzaic form and geographic origin. There are over 50 different palos, some are sung unaccompanied while others have guitar or other accompaniment; some forms are danced. Some are reserved for men and others for women while some may be performed by either, though these traditional distinctions are breaking down: the Farruca, for example, once a male dance, is now performed by women too. There are many ways to categorize Palos but they traditionally fall into three classes: the most serious is known as cante jondo, while lighter, frivolous forms are called cante chico. Forms that do not fit either category are classed as cante intermedio; these are the best known palos: Alegrías Bulerías Bulerías por soleá Caracoles Cartageneras Fandango Fandango de Huelva Fandango Malagueño Farruca Granaínas Guajiras Malagueñas Martinete Mineras Peteneras Rondeñas Saeta Seguiriyas Soleá Tangos Tanguillos Tarantos Tientos Villancicos A typical flamenco recital with voice and guitar accompaniment, comprises a series of pieces in different palos.
Each song of a set of verses, which are punctuated by guitar interludes called falsetas. The guitarist provides a short introduction which sets the tonality, compás and tempo of the cante. In some palos, these falsetas are played with certain structures too. Flamenco uses the Flamenco mode, in addition to the major and minor scales used in modern Western music; the Phrygian mode occurs in palos such as soleá, most bulerías, siguiriyas and tientos. A typical chord sequence called the "Andalusian cadence" may be viewed as in a modified Phrygian: in E the sequence is Am–G–F–E. According to Manolo Sanlúcar E is here the tonic, F has the harmonic function of dominant while Am and G assume the functions of subdominant and mediant respectively. Guitarists tend to use only two basic inversions or "chord shapes" for the tonic chord, the open 1st inversion E and the open 3rd inversion A, though they transpose these by using a capo. Modern guitarists such as Ramón Montoya, have introduced other positions: Montoya himself started to use other chords for the tonic in the modern Dorian sections of several palos.
Montoya created a new palo as a solo for guitar, the rondeña in C♯ with scordatura. Guitarists have further extended the repertoire of tonalities, chord positions and scordatura. There are palos in major mode; the minor mode is restricted to the Farruca, the milongas, some styles of tangos, bulerías, etc. In general traditional palos in major and
José María Gallardo Del Rey
José María Gallardo Del Rey is a Spanish musician and composer. He has received international awards, both for his compositions. Born in Seville, Gallardo Del Rey started his career at the age of nine, his training as a classical guitarist has been enriched by his intense relationship with the world of flamenco. The combination of both styles has created a unique way to interpret and understand Spanish music, which contributed to projects like: his work as adviser to Paco de Lucía in his debut with the Concierto de Aranjuez. In 2003, Gallardo Del Rey composed his Lorca Suite as a tribute to Federico García Lorca and based on the poet's folk song compilations Canciones Españolas Antiguas, for which he composed harmonisations and link passages that fuse classical and flamenco techniques, his composition Glosas, commissioned by SLO Symphony Artistic Director Michael Nowak, received its premiere in March 2011. He has worked with Yehudi Menuhin, Jean-Pierre Rampal, Seiji Ozawa, John Williams, Kaori Muraji, John Axelrod, Sir Neville Marriner, Philippe Entremont, Leo Brouwer, Michael Novak, Karel Mark Chichon, Elton John, Ros Marbá, García Asensio, Josep Pons, José Ramón Encinar.
Gallardo Del Rey has recorded sixteen albums: as a soloist, with his chamber orchestra La Maestranza and in many collaborations. His music has been choreographed by dancers such as Víctor Ullate and Lola Greco. Suite Sevilla, JMS France – with Rafael Riqueni. Al Aire Español. Concierto Romántico, SLO, EEUU – with SLO Symphony, Michael Novak. La Maestranza, France – with La Maestranza Chamber Group; the Trees Speak, Deutsche Grammophon. Rodrigo Guitar Concertos, Classic FM – with Orquesta Nacional de España, Rafael Frühbeck de Burgos. 14 Maneras De echarte De Menos, Deutsche Grammophon – with Ezequiel Cortabarría. Noches De San Lorenzo, AE Ediciones. Pasión Española, Deutsche Grammophon – with Orquesta de la Comunidad de Madrid, Miguel Roa, Plácido Domingo. Reyana, AE Ediciones, Mexico – with Anabel García del Castillo. Habanera – Canción Del Amor, Deutsche Grammophon – with Elīna Garanča, Alberto Barletta, Enrico Maria Baroni, Roberto Vozmediano, Geri Brown, Massimo Macr, Cesare Maghenzani. My Spain, Deutsche Grammophon – with La Maestranza Chamber group.
Glosas, SLO 2013 EEUU – with SLO Symphony, Michael Novak, Anabel García del Castillo. Reyana plays Editorial Reyana -- with Anabel García Del Castillo. Diego de Araciel, obras de cámara para cuerdas, SEM – with Cuarteto Canales. Lo Cortés No Quita Lo Gallardo, Editorial Reyana – with Miguel Ángel Cortés. Sakura Variations, Gallardo Del Rey Ediciones – with Ayaka Tanimoto. Official website
Palau de la Música Catalana
The Palau de la Música Catalana is a concert hall in Barcelona, Spain. Designed in the Catalan modernista style by the architect Lluís Domènech i Montaner, it was built between 1905 and 1908 for the Orfeó Català, a choral society founded in 1891, a leading force in the Catalan cultural movement that came to be known as the Renaixença, it was inaugurated February 9, 1908. The project was financed by the society, but important financial contributions were made by Barcelona's wealthy industrialists and bourgeoisie; the Palau won the architect an award from the Barcelona City Council in 1909, given to the best building built during the previous year. Between 1982 and 1989, the building underwent extensive restoration and extension under the direction of architects Oscar Tusquets and Carles Díaz. In 1997, the Palau de la Música Catalana was declared a UNESCO World Heritage Site along with Hospital de Sant Pau. Today, more than half a million people a year attend musical performances in the Palau that range from symphonic and chamber music to jazz and Cançó.
The Palau is located in the corner of a cramped street, Carrer Palau de la Música, Carrer de Sant Pere Mes Alt, in the section of old Barcelona known as Casc Antic. Most of the other prominent modernista buildings, those designed by Antoni Gaudí, for example, are located in the chic 19th-century extension of the city known as the Eixample; the design of the Palau is typical of Catalan modernism in that curves predominate over straight lines, dynamic shapes are preferred over static forms, rich decoration that emphasizes floral and other organic motifs is used extensively. In contrast to many other buildings built in the modernisme style, however, it must be said that the design of the Palau is eminently rational, it pays strict attention to function and makes full use of the most up-to-date materials and technologies available at the beginning of the 20th century. As Benton has pointed out, "To eyes unaccustomed to the architecture of Barcelona, the impression of a riot of ornament lacking any logic or control seems overwhelming.
And yet the building follows the exhortations of the rationalists. The structure, in brick and iron, is expressed." Its walls are the first example of curtain wall structures. The wealthy citizens of Barcelona, who were becoming more sympathetic to the Renaixença at the time the Palau was built, asked its architect for building materials and techniques that symbolized the Catalan character. In response, he commissioned and gave great creative freedom to a variety of local artisans and craftsmen to produce the fabulous ornamentation and decorative structural elements for which the Palau is famous; the rich decoration of the façade of the Palau, which incorporates elements from many sources, including traditional Spanish and Arabic architecture, is married with the building's structure. The exposed red brick and iron, the mosaics, the stained glass, the glazed tiles were chosen and situated to give a feeling of openness and transparency. Miguel Blay's massive sculptural group symbolizing Catalan music on the corner of the building does not impede the view into or out from the interior.
As Carandell and co-authors have pointed out, in the Palau "the house as a defense and protected inner space has ceased to exist." Two colonnades enjoy a commanding position on the second-level balcony of the main façade. Each column is covered uniquely with multicolored glazed tile pieces in floral designs and is capped with a candelabrum that at night blazes with light. Above the columns are large busts of Giovanni Pierluigi da Palestrina, Johann Sebastian Bach, Ludwig van Beethoven on the main façade and Richard Wagner on the side; the top of the main façade is graced by a large allegoric mosaic by Lluís Bru that represents the members of the Orfeó Català, but it is impossible to see it from the narrow street below. Guests entered the Palau from the street through two arches supported by thick pillars that opened into the vestibule; the former ticket windows, which are located in the center pillar, are beautiful concentric arches adorned with floral mosaics of various materials created by Lluís Bru.
The ceiling of the vestibule is decorated with glazed ceramic moldings that are arranged in the shape of stars. From the vestibule, on the left and right, grand marble staircases ascend from between crowned lamps on columns to bring visitors to the second floor; the balustrades of the staircases marble, are supported by unusual transparent yellow glass balusters. The underside of the staircases is covered with tiles that form gleaming canopies on either side of the vestibule. Today, guests enter the Palau through the foyer, created in the renovations of Tusquets and Díaz from what were the headquarters of the Orfeó Català; the large space of the foyer is more soberly decorated than the rest of the Palau, but the wide exposed brick arches with their marvelous glazed green and yellow ceramic flowers recapitulate the ornamentation of the rest of building. The foyer features a large counter where tapas and beverages can be served to concert-goers or visitors who are touring the building; the bar is situated between massive pillars of brick and is illuminated from behind by expansive stained-glass panes that are suspended above it.
A glass case in the foyer displays the Orfeó Català's banner, which bears its crest embroidered on fabric in the modernisme style. The Lluís Millet hall is a salon located on the sec
Narciso Yepes was a Spanish guitarist. He is considered one of the finest virtuoso classical guitarists of the twentieth century. Yepes was born into a family of humble origin in Region of Murcia, his father gave him his first guitar when he was four years old, took the boy five miles on a donkey to and from lessons three days a week. Yepes took his first lessons in Lorca." His family moved to Valencia when the Spanish Civil War started in 1936. When he was 13, he was accepted to study at the Conservatorio de Valencia with the pianist and composer Vicente Asencio. Here he followed courses in harmony and performance. Yepes is credited by many with developing the A-M-I technique of playing notes with the ring and index fingers of the right hand. Guitar teachers traditionally taught their students to play by alternating the index and middle fingers, or I-M. However, since Yepes studied under teachers who were not guitarists, they pushed him to expand on the traditional technique. According to Yepes, Asencio "was a pianist who loathed the guitar because a guitarist couldn't play scales fast and legato, as on a piano or a violin.'If you can't play like that,' he told me,'you must take up another instrument.'"
Through practice and improvement in his technique, Yepes could match Asencio's piano scales on the guitar. "'So,' he said,'it's possible on the guitar. Now play that fast in thirds in chromatic thirds.'" Allan Kozinn observed that, "Thanks to Mr. Asencio's goading, Mr. Yepes learned "to play music the way I want, not the way the guitar wants." The composer and pianist George Enescu would push Yepes to improve his technique, which allowed him to play with greater speed. On 16 December 1947 he made his Madrid début, performing Joaquín Rodrigo's Concierto de Aranjuez with Ataúlfo Argenta conducting the Spanish National Orchestra; the overwhelming success of this performance brought. Soon afterwards, he began to tour with Argenta, visiting Switzerland, Italy and France. During this time he was responsible for the growing popularity of the Concierto de Aranjuez, made two early recordings, both with Argenta – one in mono with the Madrid Chamber Orchestra, the second in stereo with the Orquesta Nacional de España.
In 1950, after performing in Paris, he spent a year studying interpretation under the violinist George Enescu, the pianist Walter Gieseking. He studied informally with Nadia Boulanger; this was followed by a long period in Italy where he profited from contact with artists of every kind. On 18 May 1951, as he leant on the parapet of a bridge in Paris and watched the Seine flow by, Yepes unexpectedly heard a voice inside him ask, "What are you doing?" He had been a nonbeliever for 25 years content that there was no God or transcendence or afterlife. But that existential question, which he understood as God's call, changed everything for him, he became a devout Catholic. In 1952 a work, Yepes claims to have written when he was a young boy, became the theme to the film Forbidden Games by René Clément. Despite Yepes's claims of composing it, the piece has been attributed to other authors. In the credits of the film Jeux Interdits, however, "Romance" is credited as "Traditional: arranged – Narciso Yepes."
Yepes performed other pieces for the Forbidden Games soundtrack. His credits as film composer include the soundtracks to La Fille aux yeux d'or and La viuda del capitán Estrada, he starred as a musician in the 1967 film version of El amor brujo. In Paris he met Maria Szumlakowska, a young Polish philosophy student, the daughter of Marian Szumlakowski, the Ambassador of Poland in Spain from 1935 to 1944, they married in 1958 and had two sons, Juan de la Cruz, Ignacio Yepes, an orchestral conductor and flautist, one daughter, Ana Yepes, a dancer and choreographer. In 1964, Yepes performed the Concierto de Aranjuez with the Berlin Philharmonic Orchestra, premièring the ten-string guitar, which he invented in collaboration with the renowned guitar maker José Ramírez III; the instrument made it possible to transcribe works written for baroque lute without deleterious transposition of the bass notes. However, the main reason for the invention of this instrument was the addition of string resonators tuned to C, A#, G#, F#, which resulted in the first guitar with chromatic string resonance – similar to that of the piano with its sustain/pedal mechanism.
After 1964, Yepes used the ten-string guitar touring all six inhabited continents, performing in recitals as well as with the world's leading orchestras, giving an average of 130 performances each year. He recorded the Concierto de Aranjuez for the first time with the ten-string guitar in 1969 with Odón Alonso conducting the Orquesta Sinfonica R. T. V. Española. Apart from being a consummate musician, Yepes was a significant scholar, his research into forgotten manuscripts of the sixteenth and seventeenth centuries resulted in the rediscovery of numerous works for guitar or lute. He was the first person to record the complete lute works of Bach on period instruments. In addition, through his patient and intensive study of his instrument, Narciso Yepes developed a revolutionary technique and unsuspected resources and possibilities, he was granted many official honou
The cor anglais or English horn in North America, is a double-reed woodwind instrument in the oboe family. It is one and a half times the length of an oboe; the cor anglais is a transposing instrument pitched in a perfect fifth lower than the oboe. This means that music for the cor anglais is written a perfect fifth higher than the instrument sounds; the fingering and playing technique used for the cor anglais are the same as those of the oboe and oboists double on the cor anglais when required. The cor anglais lacks the lowest B♭ key found on most oboes and so its sounding range stretches from E3 below middle C to C6 two octaves above middle C; the pear-shaped bell of the cor anglais gives it a more covered timbre than the oboe, closer in tonal quality to the oboe d'amore. Whereas the oboe is the soprano instrument of the oboe family, the cor anglais is regarded as the tenor member of the family, the oboe d'amore—pitched between the two in the key of A—as the alto member; the cor anglais is perceived to have a more plaintive tone than the oboe.
Its appearance differs from the oboe in that the reed is attached to a bent metal tube called the bocal, or crook, the bell has a bulbous shape. It is much longer; the cor anglais is notated in the treble clef, a perfect fifth higher than sounding. Some composers notated it in the bass clef, when the lower register was persistently used, several other options were employed. Alto clef written at sounding pitch is used by as late a composer as Sergei Prokofiev. In late-18th- and early-19th-century Italy, where the instrument was played by bassoonists instead of oboists, it was notated in the bass clef an octave below sounding pitch. French operatic composers up to Fromental Halévy notated the instrument at sounding pitch in the mezzo-soprano clef, which enabled the player to read the part as if it were in the treble clef. Although the instrument descends only to low B♮, continental instruments with an extension to low B♭ have existed since early in the 19th century. Examples of works requiring this note include Arnold Schoenberg's Gurre-Lieder, Gustav Mahler's Das Lied von der Erde, Heitor Villa-Lobos's Chôros No.
6, Karlheinz Stockhausen's Zeitmaße. Antonín Dvořák, in his Scherzo Capriccioso writes for the cor anglais down to low A, though it seems unlikely that such an extension existed. Reeds used to play the cor anglais are similar to those used for an oboe, consisting of a piece of cane folded in two. While the cane on an oboe reed is mounted on a small metal tube covered in cork, there is no such cork on a cor anglais reed, which fits directly on the bocal; the cane part of the reed is longer than that of the oboe. Unlike American style oboe reeds, cor anglais reeds have wire at the base 5 mm from the top of the string used to attach the cane to the staple; this wire serves to stabilize tone and pitch. The best-known makers of modern cors anglais are the French firms of F. Lorée, Marigaux and Rigoutat, the British firm of T. W. Howarth, the American firm Fox Products. Instruments from smaller makers, such as A. Laubin, are sought after. Instruments are made from African blackwood, although some makers offer instruments in a choice of alternative woods as well, such as cocobolo or violet wood, which are said to alter the voice of the cor anglais reputedly making it more mellow and warmer.
Fox has made some instruments in plastic resin and in maple. The term cor anglais is French for English horn, but the instrument is neither from England nor related to the various conical-bore brass instruments called "horns", such as the French horn, the natural horn, the post horn, or the alto horn; the instrument originated in Silesia about 1720, when a bulb bell was fitted to a curved oboe da caccia-type body by the Weigel family of Breslau. The two-keyed, open-belled, straight tenor oboe, more the flare-belled oboe da caccia, resembled the horns played by angels in religious images of the Middle Ages; this gave rise in German-speaking central Europe to the Middle High German name engellisches Horn, meaning angelic horn. Because engellisch meant English in the vernacular of the time, the "angelic horn" became the "English horn". In the absence of any better alternative, the curved, bulb-belled tenor oboe retained the name after the oboe da caccia fell into disuse around 1760; the name first appeared on a regular basis in Italian and Austrian scores from 1741 on in the Italian form corno inglese.
The earliest known orchestral part for the instrument is in the Vienna version of Niccolò Jommelli's opera Ezio dating from 1749, where it was given the Italian name corno inglese. Gluck and Haydn followed suit in the 1750s, the first English horn concertos were written in the 1770s; the Schwarzenberg Wind Harmonie of 1771 employed 2 Cor Anglais as well as 2 Oboes, 2 Bassoons and 2 Horns. The Prince Fürst Joseph Adam Johann Nepomuk Franz de Paula Joachim Judas Thaddäus Abraham von Schwarzenberg was a keen boar hunter and so most employed Oboe de Caccia players, which explains the preference for the new Cor Anglais as opposed to the Clarinet. Johan Went was 1st; the first Oboe Trios were co
The guitar is a fretted musical instrument that has six strings. It is played with both hands by strumming or plucking the strings with either a guitar pick or the finger/fingernails of one hand, while fretting with the fingers of the other hand; the sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning; the modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument. There are three main types of modern acoustic guitar: the classical guitar, the steel-string acoustic guitar, the archtop guitar, sometimes called a "jazz guitar"; the tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber.
The classical guitar is played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term "finger-picking" can refer to a specific tradition of folk, blues and country guitar playing in the United States; the acoustic bass guitar is a low-pitched instrument, one octave below a regular guitar. Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer and a huge variety of electronic effects units, the most used ones being distortion and reverb. Early amplified guitars employed a hollow body, but solid wood guitars began to dominate during the 1960s and 1970s, as they are less prone to unwanted acoustic feedback "howls"; as with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars and solid-body guitars, which are used in rock music.
The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the development of blues and rock music, both as an accompaniment instrument and performing guitar solos, in many rock subgenres, notably heavy metal music and punk rock. The electric guitar has had a major influence on popular culture; the guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, country, folk, jota, metal, reggae, rock and many forms of pop. Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, a flat back, most with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.
The modern word guitar, its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة and the Latin cithara, which in turn came from the Ancient Greek κιθάρα. Which comes from the Persian word "sihtar"; this pattern of naming is visible in setar and sitar. The word "tar" at the end of all of these words is a Persian word that means "string". Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are cited as their most influential predecessors, the European lute and its cousin, the four-string oud. At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina and the so-called guitarra morisca; the guitarra morisca had a rounded back, wide fingerboard, several sound holes.
The guitarra Latina had a narrower neck. By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, these two cordophones were referred to as guitars; the Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is considered to have been the single most important influence in the development of the baroque guitar. It had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a cut waist, it was larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, more like a larger version of the contemporary four-course guita
Luis Manuel Molina
Luis Manuel Molina de Varona is a Cuban musician, concert guitarist, arranger, musical director and radio producer. Luis Manuel Molina was born in Havana, Cuba, on February 25, 1959, he studied the average level in the Amadeo Roldan Conservatory with Professor Flores Chaviano, graduated with a Bachelor of Music degree, specializing in guitar at the Instituto Superior de Arte in Havana with professors Carlos Molina, Isaac Nicola and Jesus Ortega. Molina received master classes from important figures such as Leo Brouwer, Alirio Díaz, Ichiro Suzuki, Costas Cotsiolis, Manolo Sanlúcar and Monica Rost. La balada azul, 1979 Las Bienaventuranzas, 1993 Te doy gracias, 1994 Ave María, 1997 Cantata gesta luminosa, 1988 Romance para dos almas, 1979 Capricho místico para una guitarra solitaria, 1986 Serenata del Ángel, 1990 Tres evocaciones españolas, 1992 Externsteine, 1992 Bocetos de ultramar, 1994 Oración y Tarantella Fantástica, 1998 Sonata No.1 "El Valle de los Templos", 1998–99 Adagio para el Gentilhombre de Aranjuez, 1999 Poema Idílico, 2000 Balada para el Caballero, 2002 Sgt.
Pepper`s Fancy, 2002 Vals para una Ninfa, 2005 Oricalco, 2006 Talismán y Arabescos, 1995 Souvenir de Aha-u-sen, 1991 Divertimento, 1992 Fantasía para la Dama del Lago Bullensee, 1995 Ofrenda para una flor, 1995 Taj Mahal, Idilio de los Amantes, 2002 Sinfonía de Gilgamés, 2008–09 El Hada de los Sortilegios, 2007 Preludio y Toccata, 1979 Un otoño en Weimar, 1982, para flauta recorder y dos guitarras La música de la casa de nadie, 1989 para flauta, clarinete, corno francés y guitarra. Pastoral y danza rustica, 1992 Suite cubana, 1993 Como un ángel cruzando por mi ventana... 1996 Oración por los cinco, 2013 La gata que iba sola, 1988 Peter Pan, 1990His works have been published in the Editorial Alpuerto of Madrid and Nogatz Verlag Hubertus Editorial Düsseldorf, Germany. He participated as musical arranger and performer in the Holy Mass celebrated in Havana on the visit of Pope John Paul II and again played similar roles in the Mass celebrated in the capital by Pope Benedict XVI, he directs and conducts two specialized radio programs in music, Radio Musical Nacional CMBF.
These programs are: Early Friends of the Guitar. He directs and writes the musicians section in Time on the same station, he is co-author of The Beatles in Havana. He has published numerous articles in journals such as the Journal of country WAVE Marti Studies Center. Write the notes to the programs of the National Symphony Orchestra of Cuba. In April 1993 his "Divertimento" was performed by the Guitar Orchestra of the Conservatory of Shenandoah, USA, his Symphony of Gilgamesh was released in Cuba at the Teatro Amadeo Roldán for Guitar Orchestra Rheine and the Habanera Sonantas Orchestra. Rheine Guitar Orchestra of Germany has included in his album Live Fancy composition for the Lady of the Lake Bullensee, he participated in the Festival of Contemporary Music Havana. Performing as a soloist at festivals XXI, XXI and XXIII of The Footprint of Spain starred in the 60th Anniversary Gala for the Foundation of the National Ballet of Cuba, he performed in the Gala for the 50th Anniversary of UNEAC Foundation in the presence of the President of the Republic of Cuba, Raúl Castro Ruz, prominent personalities of the National Culture.
I act in the Gala for the 25th Anniversary of the Foundation of the Spanish Ballet of Havana. He did the art direction and participated as a performer in the concert "From Me to You", dedicated to Sir George Martin, in which Molina released his solo guitar composition "Sgt Pepper's Fancy", written for the occasion and dedicated to Martin. With his group Magical Beat, he participated in music festivals held in the Beatles Sandals Royal Hicacos Hotel in 2011 and 2012 as a session musician, participated in the recordings of the albums Expedition by Cuban singer-songwriter Silvio Rodríguez, Songs of Good Love by José María Vitier; the Glauber Rocha room International School of Film and Television, in San Antonio de los Baños, has served as the setting for several of his concerts as a classical guitarist. Géminis Cuarteto Orfeo Cuarteto Metamorfosis Quinteto Eclosión Magical Beat Hungary: International Guitar Concours of Esztergom and Keszthely. Nicaragua: Participation in the premiere of the work Canto General by Mikis Theodorakis, under the composer's direction.
Czechoslovakia: Interpodium International Festival of Bratislava and International Festival of Ostrava. Germany: he gave concerts and master classes in the International Festivals of Guitar of Markneukirchen and Rotenburg. Spain > as member and Director of the "Duo Cáliz" with flutist Diana López Moyal in V International Festival of Guitar of Ponferrada having a memorable performance in the Athenaeum of Madrid with public's success and critic. They both sustained work encounters with the teacher Joaquín Rodrigo. In 1995 he gave concerts in the city of Segovia. Poland: Festival of Guitar Lodz. Italy: guitarist and mandolinista of the Company of Operetta of the Theater Bellini of Naples, in collaboration with the Theater of the Opera and the National Ballet of Cuba, Concerts in Naples, San Remus, Viterbo, Vercelli, Lecce, Ravenna, Bassano dei Grappa, Reggio Emilia, Riccione, Rosetto degli Abruzzi, Rovigo, Palermo, Agrigento, Brindisi, Ascoli Piceno, Senigallia, Ferrara and Cal