Encuentros – Suite para flauta y guitarra Op. 19 (2016 – Rev. 2020)

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Piece for flute and guitar in four movements. Work with influences of music from Brazil, Spain and Venezuela, which demand from both musicians  the best of their skills on playing.                                                                                                                                                                                      

I.- Voyage

II.- Ponteio e Berimbau

III.- Mediterráneo

IV.- Entreverao con Aliño  

Estimated during: ca. 20 minutes               .                                                                            

Format: PDF (files encrypted – password included)      

Composed between 17 and 26 August 2016, it consists of four movements quite marked contrasts. The work describes a sort of raised several meetings under the use of both instruments. The first, the fact of that the composer knows both instruments very well but never had in mind to compose some music for this format.  Other remarkable aspects within the multiple “encounters” that the work refers to, arise from the use of the musical material implicit in every movement. 

I.- Voyage.

Raising the primary encounter of both soloist (flute and guitar) begins the first movement Voyage (journey in English). This movement evokes a little tribute to those loved that were gone, but begin a journey into other dimensions, to a peaceful place. (Contradictory to the initial concept of “encounter”, seems a bit a farewell instead). In the middle of the movement seems the reaction from those that “were on the ground” while our well loved one became the journey to other planes beyond of the physical one: Anger, despair, loneliness. The movement concludes with the inexorable: the journey has started, and with it, our own journey into the earthly world must to continue. Musically speaking, the composer explore the possibilities of the utilization that  the use of harmonics on the guitar (both, natural and artificial) offers to create certain atmospheres of serenity and tranquility, as well as the capability of sustain some harmonic planes by using chromatic internal lines. In the flute, explore the dynamic ranges in search of the necessary acoustic balance regarding his musical partner.

II.- Ponteio y Berimbau

Other of the “encounters” that the work refers on this Suite for flute and guitar appears on the second movement Ponteio y Berimbau. Native from Brazil, the first Ponteio refers to the “plucking” (the note-to-note playing in virtuosos way) on the guitar characteristic of many genres of Brazilian music, especially in the low register of the instrument), while Berimbau refers to a percussive string instrument with which the acrobatic struggles called “capoeira” is accompanied. With this instrument is played a well determined «touches» (rhythmic patterns). Musically the structure is based on the A-B-A form, being the highest brightness the Ponteio regarding the execution of both musicians, and the Berimbau within its pattern rhythmic in obstinato let the guitar introduce certain effects used by renowned Brazilian guitarist Baden Powell simulating the referred instrument.

III.- Mediterráneo.  

Encounter with memories, with the land you left behind in search of a better future. Encounter with the hope of a new life, but also the encounter with uncertainty… Although the author of the work has not European ancestry, the harmonic discourse based on the Andalusia Cadence evokes the feelings described above. Here also can see the encounter of two given situations referred to the Mediterranean Sea: The exile of the Europeans who came to our lands but with the memory of his land, and the other one current and dramatic: Those who venture to sail this sea looking for escape from armed conflicts in Africa, Middle East, South Asia, the Balkans, etc., many of them found death under its waters. Musically speaking, it has an A-B-A structure, having a central episode with cadenzas of both instruments in “Flamenco” style. Somewhere in the central episode appear a vague evocation of the first movement Voyage, although not in explicitly was, but perhaps on intentionality.

IV.- Entreverao con Aliño.

The Entreverao is known in Venezuela as a kind of popular dish in the plains consisting of pieces of various meats skewered with a rod, without discriminating the type or origin of the same or the order in which they appear willing (can be beef, offal, etc.). The Aliño (dressing) is a kind or condiment that eventually comfortable diner like to add. After this culinary description, and returning to work in its closing movement, Entreverao con Aliño presents a last encounter: The most popular subgenres of popular music of the Venezuelan Llanos (“planes” in the English translation, located in a vast region extending from central Venezuela to the western, bordering the Colombian eastern plains). In less than four minutes parade before us San Rafael, Quitapesares, Pajarillo (in a long deployment) Seis por Derecho, Seis Numerao, Quirpa, Mamonales and Diamantes, almost imperceptibly linked and united by the same force of this music, his strong temper and diaphanous cadence. Musically stands recreation on the guitar of instruments of these lands, as are the llanera harp and the bandola, and the “recio” singing (one of the ways of singing on the llanos, often loudly) in the flute. Additionally, in the entrance of the flute is called the «circular breathing» technique, for the purpose of «hyperbolization» the so-called initial «Tañio» with which the llaneros singers often start his singing. As for the Aliño (dressing) to which the title refers, it is small changes in the original harmonic structure of some genera by various methods (use of pedal, harmonic substitutions, out of tune notes, re-harmonization, etc.), which added an element of surprise in harmonic structures already determined in each of the genres of this «menu”.