“Gallardo del Rey, 50 years on guitar” by José María Velázquez-Gaztelu

It all started on a day of Kings, when his uncle, “Andalusian of pure strain music aficionado”, gave the child José María Gallardo del Rey (Barcelona, ​​1961) a guitar in whose case, keeping a premonitory dream, was the score of the Concierto de Aranjuez. Of course, it was not the first thing he played with nine years during his debut in Seville, but in 1990 he directed in Osaka the work of Joaquín Rodrigo, interpreted by the Telemann Chamber Orchestra, with an exceptional soloist, Paco de Lucía.

“Music is an indispensable part of people. It is in all the parameters of life, from the pumping of the heart, which already has a rhythm and which, if we put a metronome, we will not go wrong, until the cry of a newborn, which can be a ‘quejío ‘ Any moment of existence is blessed by music. ” So, using Nietszche’s phrase as a motto, “Without music life would be a mistake”, Gallardo del Rey now publishes in double CD 50 years is nothing (Universal), a selection of thirty pieces, which are the soundtrack of his “love story with the guitar”, in which he includes a good number of his own compositions, on the one hand, and on the other, performances that range from JS Bach to Piazzola or from Mendelssohn to Falla, through García Lorca, Bacarisse or Rodrigo.

“Rhythm is more important than metrics, emotion than perfection, that’s what flamenco teaches you”

Motherly gratitude

“I always like to say that the instrument I play is the Spanish guitar, because I feel that I cover those two aspects, the classical and the flamenco, that nourish my soul as a creator and my journey as an interpreter”. A classic flamenco guitarist, a flamenco guitarist who plays classical? “I will never thank my mother enough that before I entered the conservatory I would study with a flamenco guitarist. This fact was crucial in my career, since it made me aware that rhythm is more important than metrics, that emotion is more important than perfection and that, first of all, the identity language that flamenco provides you by playing a instrument like the Spanish guitar is something unpayable when you have it since childhood “.

Gallardo del Rey, who has shared the stage with John Williams, Menuhin, Rampal, Ozawa, Elton John or Rostropovich, and has offered concerts at the Champs Elyseé Theater, Paris Comic Opera, Vienna’s Konzerthaus, Royal Theater, National Auditorium of Madrid Music, Stravinski Auditorium of Montreaux, Performance Arts Center of California or Carnegie Hall of New York, now chooses what for him are his most representative works in order to celebrate that half century of incessant professional activity, which has resulted in result an extensive record work of the first magnitude. “I wanted to do a compilation to attend a repertoire that encompassed a double criterion: on the one hand, with a look at what the guitar is as a solo instrument, but I did not want to forget that other dimension that is to share the stage with other artists , with other musical genres and with other instruments. Hence, in this journey through the fifty years have had a significant representation my recordings with Teresa Berganza, Plácido Domingo, Ezequiel Cortabarría, that great Argentine flautist, the guitarist Miguel Ángel Cortés, my flamenco brother, or the singer Paco del Pozo, That I admire. The world of classical guitar is very lonely and does not usually share its space. The opposite of flamenco, where before becoming a concert player you have to go through that kind of conservatory that is the accompaniment to dancing and singing. ”

From the height of the fifty years full of sounds that flow from the guitar itself, from that watchtower of travel, of theaters in the confines of the world, of encounters and countries, from that open and endless field, where memory is veiled and almost it does not cover the passage of time, the world can be seen in another way. Then we prefer the silence of the blurring images. “More than maturity, I choose the term perspective. When you’ve played an instrument for so many years, you leave a little of that stage to see yourself from the outside, you are aware of where you are and where you have been so as not to repeat mistakes and also to joyfully celebrate having made the music that fills you “.

José María Velázquez-Gaztelu