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Kira and Jan's Trip

Title: Kira and Jan's Trip

Composer: Salvador Brotons

Instrumentation: Children's Choir, Flute, Clarinet, Percussion, Piano, 2 Violine,Viola, Cello and Contrabass

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4,16 € tax incl.


The price is for the vocal part (the general score is also available) - I wrote “El Viatge de Kira i Jan” (Kira and Jan´s Journey) during the Summer of 2003. It was commissioned by the project Cantània of the Consorci de l'Auditori i l'Orquestra, El Consell Comarcal del Vallès Oriental, l'Ajuntament, el Teatre Auditori and l'Associació Cultural de Granollers and L'Escola Municipal de Música de Girona. The objective of this project is to bring music to children by getting them involved in singing. The piece is conceived for a big children´s choir and an instrumental ensemble of nine players (string quintet, piano, flute, clarinet, and percussion). The singing part is often written as a single voice (unison) in order to make the choir part easier and to make it accessible to everybody with the work and assistance of the school music teachers. The instrumental parts, however, are thought out to be performed by professional musicians. I was very interested in this project as it can become an instrument for a cooperative and educational endeavor with a great artistic and human dimension addressed to all youth, where there is so often a lack of motivating musical projects. I asked the well-known poet and writer Susanna Rafart, with whom I feel closely connected by a special friendship, to write a story with a moral content which can be fun and profound at the same time.  The result is “El Viatge de Kira i Jan” which fits in perfectly with the future celebration in Barcelona of the Cultural Forum. The text is very much alive and rich in detail, and makes people reflect on the idea of supporting, respecting, using, and protecting all languages and cultures of the world. Each language, in spite of the number of people that speaks it, is a whole world that needs eveyrbody´s respect. Musically speaking, after an instrumental Prelude which was written “a posteriori” the piece follows the rhythm of the narration by the two main characters, followed by sung numbers which comment and make the story move on.  The journey breaks through this scheme alternating the music with the narration. The result is a number with great dynamism in a journey which begins in Africa, continues in the Middle East, then China, and ends in South America.