TORRE DE LA REINA

Piccolo

Flute 1, 2

Oboe 1

Oboe 2 / English Horn

Bassoon 1, 2

Eb Clarinet

Bb Clarinet 1, 2, 3

Bass Clarinet 

Alto Sax. 1, 2

Tenor Sax. 1, 2 

Baritone Sax.

•

Piano*

•

Horn in F 1, 2, 3, 4

Bb Trumpet 1, 2, 3, 4

Trombone 1, 2, 3

Bass Trombone

Flugelhorn 1, 2

Euphonium 1, 2

Tuba

•

Violoncello*

Contrabass*

•

Timpani

Percussion 1

(Cymbals, Bass Drum, Tam tam)

Percussion 2

(Triangle, Tambourine)

Percussion 3

(Mark Tree, Tubular Bells, Triangle, Tam tam)

Percussion 3

(Suspended Cymbal, Tambourine, Whip)

Mallets

Compulsory piece for LXXVI Certamen Nacional de Bandas de Música “Ciutat de Cullera” 2024

Origin and Legend of the Torre de la Reina Mora de Cullera

The Torre de la Reina Mora, or Moorish Queen’s tower, was originally one of the entrance towers to the second ring of city walls, or the castle’s albacara. In the 17th century, after centuries of military inactivity and in a significant state of abandonment, it became a hermitage.  The name Santa Anna comes from the patronage under which the hermitage was named, first dedicated to Saint Raphael and later Saint Anne.

Like many emblematic buildings, the tower has its own legend, which tells that a Moorish woman – married to a rich merchant whom she despised – fell in love with the son of the qadi, or Islamic judge. Over time, the lovers concocted a plot to kill her husband. But a parrot that the rich merchant had brought from distant lands revealed the lovers’ plan to his owner, and finally they themselves were executed for their deceit.

TORRE DE LA REINA

I. Presentación

After his wife’s infidelity has been revealed by the parrot, the husband brings the situation to the attention of the authorities, who condemn the lovers to death by execution. All of this is presented by superimposing rhythmic patterns, along with the interplay of intertwining and counterpointing themes, leading us by way of conclusion to a grandiose finale. After a pleasant introduction, the English horn acquaints us with the Moorish Queen’s theme, one that reappears throughout the work, carried by several instrumental groups, and in different variations. This gives way to the husband’s theme, entrusted to the horns, an idea that, like the opening theme, is reaffirmed throughout. After these two themes have been introduced, a third appears, played by the woodwinds, which alludes to the Queen’s jovial nature. Although married at her father’s decree, she preserves her youthful, enlightened spirit.

II. Conflict

This second movement, with its forthright Damascene allusion, aims to immerse us in the fascinating world of ornaments that characterize the Arab world. Dissonances carried by the horns, fusing first with the woodwinds and then with the brass, present the conflict of this furtive affair between the Queen and her lover, even as they plan her husband’s demise.

III. Final

After his wife’s infidelity has been revealed by the parrot, the husband brings the situation to the attention of the authorities, who condemn the lovers to death by execution. All of this is presented by superimposing rhythmic patterns, along with the interplay of intertwining and counterpointing themes, leading us by way of conclusion to a grandiose finale.