How is it possible find one’s own personality within the multiple forms of traditional Flamenco, so often played and revisited ? Soleá, bulerías, peteranas or tarantas..all these styles are the heart and soul of Flamenco. This is the question Maël Goldwaser poses during his solo performance. He does not endeavour to recreate a historical Flamenco but rather offers a modern music relying on the rigour of this musical tradition to unfold.
I started to play the Flamenco guitar when I was 13 and developped musically within this culture. I rapidly decided that I wanted to perform my own music. The different forms of Flamenco are very restrictive : the ryhmical structure and tonality are mostly not left up to the composer. I nevertheless try to find enough space within this structure to express myself as a musician. When I compose a piece in a specific Flamenco style, I not only strive to respect rythmical structures and tonalities but also to remain true to the spirit of the style, and ultimately, to express something personal, offering my own version of a Soleá, Siguiriya, Taranta, and so on.
My musical notions however, do not always correspond to a specific Flamenco style. They often clash with the possibilities offered by traditional forms. Rather than consider this as incoherent, I prefer to see this duality as fecund, enriching my music with a specific vitality. There is also space in my recital for compositions corresponding to no Flamenco style at all, which enables me to express certain musical ideas without forcing them into a specific structure.
In short, Flamenco provides me with a framework I can explore and a tradition on which I can base and play my own music. Flamenco’s apparently rigid forms provide my compositions with rigour, thus giving my work coherence and meaning.