XIII CICLO LAS BANDAS DE LA PROVINCIA EN EL ADDA. SOCIETAT MUSICAL CULTURAL D’ALCOLEJA

Programa:

JUAN TORREGROSA i SEVILA. EMILIA MARTÍN – pasodoble – approx. 5’
Emilia Martín was the sister of the founder of the Alcoleja Band, the village priest, Mr. Miguel Ángel Martín i Penalba. Juan Torregrosa and he maintained a very close friendship, which led the composer to dedicate a pasodoble to his sister. This pasodoble has been part of the society’s musical journey, as it has been performed in numerous concerts both within and outside the municipality of Alcoleja.

MIGUEL PICÓ i BIOSCA. ALCOLECHA – pasodoble – approx. 5’
Miguel Picó i Biosca was the band’s second conductor. Out of the affection he felt for the village and its people, he dedicated a pasodoble to it: ALCOLECHA. This pasodoble has become an emblem of the association, especially when performed in parades, such as the FSMCV’s 50th anniversary parade along Micer Mascó Street in Valencia on 26 May 2018, among others.

Manuel Penella Moreno (Valencia 1881 – Mexico 1939). VALENCIAN RHAPSODY – 5’30’’
Work composed in 1918.

FRANCISCO CARCHANO i MOLTÓ. RAMÓN PETIT – Christian march – 3’30’’
Francisco Carchano, with strong ties to the village of Alcoleja, was a co-founder of the Societat Musical Cultural d’Alcoleja in the 1990s, after some years of decline. Carchano trained the village’s youngest members in solfège and instruments. As the band’s third conductor, together with Ramón Petit, he wrote a Christian march dedicated to the Christian Captain of the Comparsa Almogàvars of Ibi in 1993, Mr. Ramón Vilaplana. It became a benchmark of festive music in the region, and today this piece is a true anthem of the Moors and Christians festivities.

Leopold Magenti Chelvi (Alberic 1894 – Valencia 1969). MEDITERRANEAN IMPRESSIONS – 25’10’’
Work from 1956.

TOMÁS OLCINA i RIBES. PRESIDENT LLINARES – pasodoble – approx. 5’
José Antonio Llinares i Igual took over from Francisco Carchano in 2007. His father, Antonio Llinares i Llinares—who was President of the Societat Musical Nova d’Alcoi and musical advisor to the Associació Sant Jordi—was also a member of the Alcoleja Band, and held great affection and admiration for the musical society we form. Tomás Olcina i Ribes, a native of Gorga, dedicated this pasodoble to him as a result of their friendship.

José Calixto Serrano Simeón (Sueca 1873 – Madrid 1941). THE CARNIVAL PRINCE – 12’15’’
Work from 1914.

DANI IBORRA PELLÍN. 75 YEARS OF THE BAND* – pasodoble – approx. 6’
A wind band is much more than the instruments that make it up, because above all are the people who bring them to life. “75 Years of the Band” is a tribute to each of the musicians who, after their daily routine, picked up their instrument and went up to the Patronat to rehearse, note by note, the works later enjoyed by the people of Alcoleja.

This pasodoble is dedicated to all those musicians, but also to the teachers who taught them and to everyone who has ever applauded them—sharing the joy of the celebration, fellowship, and the sense of belonging to the village that unites us: Alcoleja.

Through “75 Years of the Band” we will travel across a soundscape that begins with the notes of the Hymn to Saint Vincent Ferrer, composed by the priest and teacher of Alcoleja in the 1930s, José Maria Zaragoza i Barber, “el Retoret Vellet”, as our grandparents called him. The introduction continues with variations on the Cant de l’Aurora, which will appear adapted to the cheerful, festive character of the pasodoble.

On our journey through Alcoleja’s music, it was essential to visit popular songs; that is why the piece evokes our voices in the square, singing out loud: “And I say this here, in Penàguila and in Benasau,” which is the Alcoleja adaptation of Antonio Molina’s “Como en España ni hablar.”

The final stop on our route takes us to the Gozos to Saint Vincent Ferrer, possibly the most beautiful piece in Alcoleja’s musical repertoire, on which the last section of the pasodoble is based—what musicians call “the trio.” Even so, the harmony is used only symbolically, while the notes of l’Aurora become far more recognizable again, now heard in the countermelody.

During our journey we have passed through the Square, the church, the Patronat, and the streets of Alcoleja. At the end, we can only wish that every note of this pasodoble conveys joy, celebration, and fellowship to all the people of Alcoleja—and above all, our deepest gratitude to the musicians who were part of our Band in the past, who are part of it today, and who will be part of it in the future: our beloved Societat Musical Cultural d’Alcoleja.