Antonio Serrano

Antonio Serrano
Antonio Serrano Photo credit: Antonio Barce
Antonio Serrano and the Ciudad de Almería Orchestra conducted by Michael Thomas Photo credit: Antonio Barce
  • country:Spain
  • region:Madrid
  • style(s):20th Century, Classical Music
  • label:not signed
  • type:Solo
  • gender:male
  • artist posted by:Kamala Producciones

Line up

  • Antonio Serrano (Harmonica)


Antonio Serrano adapts and performs with great success “El Sombrero de Tres Picos” (The Three-Cornered Hat) Suite I & II (1919), by Manuel de Falla, for Harmonica and Orchestra

"Antonio Serrano's approach is different, and the result is outstanding"
- Bahía de Cádiz daily

Serrano’s arrangement elegantly and successfully displays the melodic, harmonic, rhythmic, and contrapuntal possibilities of the chromatic harmonica, keeping the original work intact and changing only the orchestration, thus assigning the harmonica a leading role throughout the piece. Nothing is superfluous and nothing is missing in this precise arrangement of one of the most inspired scores by Spanish maestro Manuel de Falla.
It premiered successfully last November 13, at the Auditorium in Cádiz, within the XVIII Manuel de Falla Festival of Spanish Music, together with the Ciudad de Almería Orchestra directed by Michael Thomas.
These two suites bring together the most outstanding pieces of Falla's classic ballet “The Three-Cornered Hat” which discovered his music to the world in 1919 after its premiere in London by Sergei Diaghílev's Russian ballets, choreographed by Leonide Massine and with sets and costumes by Pablo Picasso.
"This might be an excellent opportunity" read the concert program "to confirm that the harmonica deserves more attention than it’s had until now, due to the vagaries of music history."
According to the chronicle which appeared in the local daily Diario Bahía de Cádiz: “Antonio Serrano's approach is different, and the result is outstanding. He finds a balance between the soloist’s deserved prominence and the orchestra, thus implementing consistency and honesty to the transcription of Manuel de Falla’s Suites, which he respects to a fault. The interpreter’s mastery and the harmonica’s sonic potential were perceived clearly during Serrano’s solos”.