Dorantes, gypsy from Lebrija, know Scarlatti's work, italian classical composer, when he was a piano student at the Superior Conservatory of Music of Seville and then, He was struck by recognizing flamenco features in some of his Sonatas., when there were not many publications that talked about it yet. For Dorantes, Scarlatti, He was the first composer who knew how to integrate perfectly into his own style, flamenco cadences and melodies without explicitly citing them but making them their own, visualizing tonality and modality as a unique form and therefore carrying part of the flamenco that he heard and marveled at, in some way to structural classical music for the recognition and admiration of the composers of the time, certainly, They did not contemplate this music of the common people, as music with national identity.
Dorantes has been doing work that is quite conceptually similar to Scarlatti., in his works he does not fuse styles, Instead, it prioritizes the integration of elements that do not distort the substance, even if the form. He does not introduce what he learned during his studies into his flamenco works., but it manages to forge a unity between both worlds, so that in pieces full of classic resources, flamenco explodes in the heart of the listener.
Dorantes, one of the least conventional flamenco composers of his time, resumes these works years later, from a perspective with flamenco roots and knowing what this was, the musical culture to which it belongs, the source of inspiration that enabled Scarlatti to achieve a richness of sound unknown in the baroque. A tribute to Domenico Scarlatti with Dorantes on the harpsichord, piano and electronic pianos, and a singing training, double bass and percussion, for a trip in time, a walk through history, a sonorous dream of flamenco in 1730, yes indeed, It is not about dusting off a score and reinterpreting it as is., but to return his works to the 21st century to incorporate them into new creations of a flamenco musician. Inspiration backwards?