This project was born to make known to the public the relationship between music and Cervantes, delving into the reception of Quixote under different ways of expression. Cervantes acts in his works not only as a receiver of the musical reality of his time, but also as a diffuser of songs through recurring appearances in works such as Don Quixote, or in his Comedies and hors d’oeuvres, in the Parnassian Journey or The galatea. The presence of musical instruments in his books is very wide, mentioning the albogues, harps, bandurrias, guitars, dulzainas, flutes, vihuelas, etc. Also reflected more than ninety musical topics that are mentioned in their texts and have more than a hundred different musicalizations, such as: King Don Alonso, the folios, the escarramán, the canary, etc. Also in the works of Cervantes the social condition of the musicians is reflected, even the writer uses in them a very precise musical vocabulary appearing terms like counterpoint, chorus or discantar.
If we go into the subject of the presence of the musical fact in Don Quixote, we will have to say that there are numerous factors that foster musical influences in Cervantes, making for example, the writer take care of the soundscape of the scene. An example is found in [Don Quixote, II, IX, 695] where the episode begins with a veiled allusion to the romance of Count Claros reflecting a textual fragment in which one can read: “Midnight was by edge, little more than , when Don Quixote and Sancho left the mountain and entered El Toboso. ” The previous allusion to the romance of Count Claros made it possible for a multitude of variations to come to the mind of the reader, which were made about the romance in the sixteenth century by vihuelists such as Mudarra, Narváez, Pisador and Valderrábano.
All the above is only a small part of what has been taken into account to carry out this project, apart from incorporating pieces created for the occasion by the composer Said Ruiz, in which the reception of Don Quixote is proposed.
Apart from Said’s pieces, the program will include pieces by Valderrabano, Gaspar Sanz, Alonso Mudarra, Mario Castelnuovo Tedesco, Fleta or Hermann Reutter.
As in the project the Six Doncellas of Juan Ramón Jiménez, we have had illustrations by Laura Ferreiro and the dramatization in some points of the program of Esther Acevedo.