253-Coll de Roses (OST Documentaries)

With the generic name of Coll de Roses I call the work commissioned by the international wine cellar Espelt-Coll de Roses, to make the music of audiovisuals incorporated into the ambitious project WINE MUSEUM COLL DE ROSES, where the visitor interactively and emotionaly understands the art of wine creation.

This museum was created in 2011, in the castle of the farm that they acquired for that purpose in the same city of Roses (Girona-Catalonia).

The original commission was made to create the music for the 5 audiovisuals that are part of the visit to the Museum, and it was done and delivered. These 5 audiovisuals enter the visitors who are attending the Museum in the five phases that the grape has to live to be transformed into a good wine. And each of them bears the name of the hall of the Museum where each section is narrated by audiovisual means, objects, sculptures and even smells.

The five rooms of the Museum are the followings:

Taking advantage of the effort to bring together so many musicians (symphonic orchestra, ethnic flutes, solo voice, guitars, double bass, piano, drums and percussions), I proposed to do some additional themes to complete the work so that they could use them, if they wanted, in the rooms annexed to the Museum and these were:

-Coll de Roses (Main theme) (piano music) (3'34)

-Harvest festival (chamber music) (3'23)

-Winter, spring, summer (chamber music) (6'47)

-The vintage (chamber music) (3'26)

-Rachenitza (chamber music) (3'05)

-Suite (orchestral music) (10'31)

• Orchestra: Sofia Film Orchestra-Studio Primo
• Concertino: Chavdar Valkov
• Piano: Biser Genev
• Director: Grigor Palikarov
• Voice: Susanna del Saz
• Guitars: Josep Traver
• Flutes and various wind instruments: Xavi Lozano
• Drums and percussions: Cidon Trindade
• Double bass: Franco Molinari
• Piano: Paco Viciana 

from Cd Coll de Roses (2011)

 

As an anecdote, let me tell you that when we went to record the symphony orchestra part in Sofia, Bulgaria, the orchestra musicians told me that I had used a rhythm formula very typical of this country: The Rachenitza, and I can assure you that it was something totally involuntary, coincidences of my attentive ear that it should know and I didn't.