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TRACK LISTING
1. Agua e vinho Egberto Gismonti (1947) (2:49) 2. Choro Melancólico Laurindo Almeida (1917-1995) (3:02) 3. Como llora una estrella Antonio Carrillo (1892-1962) (4:04) 4. Barcarole Alexander Tansman (tema de Él) (0:50) 5. Un día de noviembre Leo Brouwer (1939) (4:25) 6. Evocación José Luis Merlín (1952) (1:43) 7. Preludio en do menor Agustín Barrios Mangoré (tema de Ella) (1:09) 8. Introducción a los ojos de la amada Baden Powell (1937-2000) (4:14) 9. Melancolía, monotonía y nostalgia Rodrigo Riera (1923-1999) (3:57) 10. Preludio do menor Agustín Barrios Mangoré (1885-1944) (2:26) 11. Solitario Baden Powell (3:26) 12. Vals sin nombre Baden Powell (3:12) 13. Canción triste Carlos Fariñas (1934-2002) (2:48) 14. Barcarola Alexander Tansman (1897-1986) (3:29) 15. Yano Mori Dusan Bogdanovic (1955) (4:50) 16. Melodía Sentimental Heitor Villalobos (1887-1959) (4:12) 17. Canción a Laura Carlos Fariñas (2:17) 18. Yano Mori Dusan Bogdanovic (despedida en la estación Atocha) (1:21) 19. Canción triste Carlos Fariñas (adiós entre los amantes) (1:10)
Total time: 56:12
VALS SIN NOMBRE
GUITAR: FRANCISCO BERNIER
STORYBOARDS: DAVID PÉREZ PECO
SCREENPLAY “THERE WERE THE BODIES FLOAT”: ROYDS FUENTES IMBERT
SCREENPLAY “ALONSO”: ADYEL QUINTERO DÍAZ
In his work entitled “Composing for the Films”, Theodor W. Adorno claims that the relationship between sound and picture “is only the most characteristic facet of the function delegated to music in the industrial society’s culture”. Our collection called Cinema Dreams is a magnificent adventure born from the friendship that unites me with the great musician and guitarist Francisco Bernier, and with Spanish illustrator and sketch artist David Pérez Peco.
“Cinema Dreams” aims to create a singular discourse between music specifically composed for guitar and film. This type of dialogue offers complex resonances that overcome the degenerating function of music, often imposed upon by the transcendent motion picture industry in its strategy to standardize taste.
Keeping this goal in mind, we decided to publish unpublished cinematic scripts, in parallel to works pertaining to guitar repertory. Contrarily to popular processes, these scripts were written by contemplatively listening to the works, thus reversing the traditional process of incidental music, composed in a mere response to the demands of the film industry.
Royds Fuentes-Imbert,
Art Director of Contrastes Records
shipping and handling incl.
