Coplas a la muerte de su padre, de Jorge Manrique (2010)
Produced by Casariego, this cd-book transforms the spanish literary classic in a "21st century codex" sang by Amancio prada, illustrated by the poet and graphic artist Juan Carlos Mestre and with writen calligraphy by Pablo González. Amancio Prada performs the forty couplets of Jorge Manrique with his voice and guitar accompanied by Josete Ordoñez´s flamenco guitar, Eduardo Laguillo´s piano, a cello duet and a mixed flamenco chorus, with the special collaboration of La Shica.
Amancio Prada: "I have tried the chord music, the harmony from the elegiac and sensible gravity of the Coplas along with the verdure´s exaltation of the eras, the gallants and ladies, the jousting and tournaments, the clothes, the scents, surfaces, embroideries and crests...from the always living live. A sing to unlimited longing, a way to preserve alive what has died, because as true as that only what lives can die, only what died has lived".
The Coplas (Couplets or Stanzas) on the death of his father, also named as Coplas to the death of the maestre don Rodrigo, or simply the Coplas of Jorge Manrique, are an elegy composed by Jorge Manrique in memory to the death of his father, the Maestre of Santiago don Rodrigo Manrique. Writen at least in large part after November 11th, 1476, decease date of don Rodrigo manrique, it represents one of the capital spanish literary works, and with no doubt the best lyric from the Castillian poetry of the Medieval times. This piece is composed by forty couplets (Manriquean Stanzas) writen in eight- and four-syllable lines with every third line being a "quebrado" (half line). They belong to the poetic genre of the funeral elegy or "planto", and it is a critical relfection about life, fame, fortune and death, through christian resignation. It is inspired by the previous classics and medievals from the same genre and from the Eclcesiastes, but it also has allusions to their recent history of Castilla and to their present events.
The poet Juan Carlos Mestre, author of the wathercolours and prints from the book, declares: "I have followed closely the gestation of the work of Amancio Prada with Jorge Manrique, his deep capacity to reveal the celebratory root that goes further the elegiac speech. There is in the Manriquean Stanzas the gaze of the one that listens to the other voice that lies beneath, as a treassure waiting to be discovered under the rhetoric of its time. What Amancio has done is to read the indefatigable strenght of its freshness, the greatness of what can still nowadays touch from those genuine verses, the effect of their radical modernity in our contemporary conscience. I think that the contact zone, to be said, lies in the harmonious substance, in the freedom with which Prada has learned to emotionally listen to the perishable of nature as an emancipated music fro the death; a fearless voice to the passing of time that creates future poetry from the words of the past. I have tried to follow this track, the spiritual vibration from that gesture, as something as consoling as his music, some reafirmation of the art of life over the nature´s mystery of the death senses."