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A Sense of Time

by Efraín Amaya

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Canción última Pintada, no vacía: pintada está mi casa del color de las grandes pasiones y desgracias. Regresará del llanto adonde fue llevada con su desierta mesa, su ruinosa cama. Florecerán los besos sobre las almohadas. Y en torno de los cuerpos elevará la sábana su intensa enredadera nocturna, perfumada. El odio se amortigua detrás de la ventana. Será la garra suave. Dejadme la esperanza. Miguel Hernández (1910-1942) LAST SONG Painted, not vacant, is my house with the color of the grand passions and misfortunes it will come back from weeping where it was taken with its deserted table with its ruinous bed kisses will bloom on the pillows and around the bodies will rise the sheet its intense vine nightly perfumed the hatred cushions behind the window it will be the soft paw leave me the hope Miguel Hernandez (1910-1942)
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La Clepsidra Daba el reloj las doce… y eran doce golpes de azada en tierra… …¡Mi hora! –grité– … El silencio me respondió: – No temas; tú no verás caer la última gota que en la clepsidra tiembla. Dormirás muchas horas todavía sobre la orilla vieja, y encontrarás una mañana pura amarrada tu barca a otra ribera. Antonio Machado(1875-1939) THE CLEPSYDRA It was chiming twelve and there were twelve strokes of the hammer on earth My hour! I cried the silence answered me do not be afraid you will not see the last drop fall that trembles in the clepsydra you will sleep many hours yet on the old bank and one pure morning you will find your boat tied to a new shore Antonio Machado (1875-1939)
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Como Anacreonte Yo, como Anacreonte, quiero cantar, reír y echar al viento las sabias amarguras y los graves consejos, y quiero, sobre todo, emborracharme, ya lo sabéis... ¡Grotesco! Pura fe en el morir, pobre alegría y macabro danzar antes de tiempo. Antonio Machado(1875-1939) LIKE ANACREONTE I, like Anacreonte, want to sing, smile, and throw to the wind the wise bitterness and sober advice and I want above all to get drunk then you know it grotesque pure faith in dying, poor happiness and macabre dancing before it is time
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Flashbacks 03:48
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Polaris 07:36

about

Like many Latin American composers, folk influences are prominent in my music. For Venezuela, the folkloristic tradition is a result of three intersecting cultures: the Spanish tradition (which is itself a melting pot), the African tradition (brought by slaves), and the aboriginal Indian tradition. The first two—curiously the two foreign cultures—are the most explicitly represented in Venezuela folklore. Spain, as the colonizing power from which we inherited our prevailing language and social structure, brought the European music system, which quickly dominated the evolving musical culture.

These influences were apparent not only in music notation and style in the folk tradition, but also in the instruments that were used to make the music. The guitar and ancestors of the modern harp came from Spain and other parts of Europe. In Venezuela, as in other South American countries, they were adapted to local styles as they began to interact with other traditions. The African influence is evident in Venezuelan folklore not only through a wide variety of percussion instruments and rhythms, but also through a social structure that made music virtually inseparable from ritual and dance. This fusion resulted in a colorful and rich musical language, which one can see in contemporary dances such as the joropo, merengue, samba, cumbia, and salsa.

The rhythms of these and other dances are the salient characteristics of my music, but there are two additional elements as well. The first is counterpoint, a prominent element in Venezuelan folk music of today, which can be heard in Flashbacks. The other influence is an attraction to modes, which in my music shows up as a constant confrontation between dissonance and modality.

credits

released May 22, 2001

Carnegie Mellon Wind Ensemble, Alberto Almarza, flute, Luz Manríquez, piano, Jeanne Wentworth, voice, Cuarteto Latinoamericano, Drew Fennell, trumpet, Andrew Augustine, Trumpet, Scott Bohannon, French horn, Mark Snyder, trombone, Christopher Meeder, tuba, Gerardo Salazar, percussion, Scott Bell, oboe, Patrick Leyden, Clarinet, Philip Pandolfi, bassoon, Robert Skavronski, double bass, Efraín Amaya, conductor and piano

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Efraín Amaya Minot, North Dakota

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