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CONCERTO GAUCHO H h CONCERTO Q GAUCHO R ! for Trumpet & Orchestra by Kevin M. Walczyk composed for Tim Morrison c ¢ KEVELI MUSIC KM h INSTRUMENTATION solo trumpet in B-at 2 utes (2nd doubling piccolo) 2 oboes 2 B-at Clarinets (2nd doubling B-at bass clarinet) 2 bassoons 4 horns in F 2 trumpets in B-at 2 trombones tuba timpani 3 percussion harp strings PERCUSSION BATTERY P E R C U S S I O N 1 bell tree - 2 wire brushes extended half way; 1 triangle beater congas - 2 wire brushes extended half way; 1 snare stick back & hand shaker xylophone - 3 medium mallets bongos - 2 snare sticks P E R C U S S I O N 2 triangle (suspended) - triangle beater; hand dampening suspended cymbal - 2 felt timpani sticks medium wood dumbeg - snare stick (back) & hand P E R C U S S I O N 3 marimba - 4 soft mallets; 4 medium mallets cabasa suspended cymbal - 2 snare sticks (backs) shaker large wood dumbeg - snare stick & hand tambourine - 2 snare sticks; thumb roll & hand c PROGRAM NOTES Concerto Gaucho was composed for Oregon native and trumpet virtuoso Tim Morrison. The works central building blocks stem from African-influenced music of Uruguay, which is the birthplace of Oregon Symphony Music Director Carlos Kalmar to whom the work is dedicated. The gaucho was characterized as a horseman who freely traversed and lived off the unclaimed lands of Uruguays Río de la Plata region. The gaucho symbolized freedom and mobility during the rst half of the nineteenth Century and came to represent a national, heroic archetype in Uruguay and throughout the southern cone of South America. Typically equipped with a guitar, the gaucho was a wandering minstrel of sorts performing music that described the vagabonds life. The trumpet soloist is the protagonist of Concerto Gaucho, which features two distinctive musical identities indigenous to the Río de la Plata region the candombe and the milonga. The slow, lyrical middle section of the concerto is based on the song form milonga, which was a hallmark of the Payadores (folk singers of improvised verse) who, by the end of the nineteenth Century, played a vital part in preserving the image of the now vanishing world of the gaucho. Subject matter of the milongas lyrics favored political, historical, and patriotic subjects that helped chronicle real historical events and pay tribute to local heroes, especially the gaucho of the first half of the nineteenth Century. Concerto Gauchos milonga is newly composed but features musical traits characteristic of the payadores song, including its distinctive rhythm. The rigid formal scheme is structured on the payada a singing duel between two payadores (or in the case of the concerto, interplay between the trumpet soloist and the orchestra). The payada form of the milonga utilizes décimas, ten-line stanzas with specific rhyme patterns. The wordless milonga of Concerto Gaucho utilizes the same décima structure but replaces the rhyme scheme with corresponding phrase structures. The two sections surrounding the concertos milonga are created from the energetic candombe an African-derived rhythm that has been an important influence on Uruguays music culture for more than two centuries, including the dances associated with the candombe that are performed by costumed dancers during Carnival. Candombes unique rhythmic structure is gained by the layering of three, separate drum patterns named for the specific drum that performs each pattern the piano drum, chico drum, and the repique drum. The three short, repetitive drum patterns that comprise the candombe along with the madera, the rhythmic key to candombe, provide nearly all of the rhythmic elements for the outset sections of the concerto. As with the formal construct found in the concertos milonga section, the décima plays a vital role in structuring the two, combined candombe sections. Similar to the fast-slow-fast structure of traditional concerto form, Concerto Gauchos three sections are performed without interruption that, in combination with a reprise of the candombe for the third section, gives it a sense of one large, continuous musical expression. Concerto Gaucho pays tribute to the wealth of historically-enriched music indigenous to Uruguay that is rarely heard outside of its region. ! KM Transposed Score COMPOSED FOR TIM MORRISON & CARLOS KALMAR Funded in part by grants from the American Music Center & Western Oregon University Duration: 18' 30" CONCERTO GAUCHO Kevin M. Walczyk distant, solemn q = 60 bold, freely marcato b Solo Trumpet in Bb j . & ≈ Œ ≈ n . . 3 < 4 F bä bä 1 & Ó Œ J ‰. Œ J‰. Ó Flutes pic. P P bä bä 2 (doubling Piccolo) 4 & Ó Œ J ‰. Œ J‰. Ó P P ä ä 1 & Ó Œ J ‰. Œ J‰. Ó Oboes P P ä ä 2 & Ó Œ J ‰. Œ J‰. Ó P P 1 & Clarinets in Bb 2 (doubling Bs. Cl.) & 1 ? Bassoons 2 ? & 4 Horns in F & harmon mute stem 1/2 out ä ä 1 . . & Ó Œ J ‰ Œ J‰ Ó Trumpet in Bb harmon mute stem 1/2 out F F ä ä 2 Ó Œ ‰. Œ ‰. Ó & J J F F ? 2 Trombones & Tuba ? Timpani ? bell tree 2 wire brushes extended half way P a a a e 1 ÷ $ ‰ŒÓ $ ‰ŒÓ Ó $ ‰Œ r J J J c Ptriangle tri. beater P u a a a s 2 ÷ w w Ó s marimba i p 4 soft mallets o bb bb 3 n & Ó Œ J ‰ Œ J ‰Ó P P a [ a [ ÎÎÍ¿ÍÎÎÎ b . b 5 b 5 b 5 & Œ Harp (do not dampen) p b [b b [b b b & b b b distant, solemn P p div. mute q = 60 O. O O O Oj O O O I . O. bO w O wO wO O bO O wO O & b. b bO bw w w ‰ b bO b w Ó b b N Violin div.πmute ∂ J ∂ b. bw w w b w II 4 . b w w w b w & J ‰ Ó N muteπ ∂ ∂ Viola O. O O O O O O O D . O w w w ‰ O w Ó 4 J N muteπ ∂ ∂ Violoncello ? O j O bbO. bbwO wO wO O ‰ bbO wO O Ó N π ∂ ∂ Contrabass t © 2006 by KevEli Music 1368 NW Zinfandel Ct. | McMinnville, Oregon 97128 All rights reserved. Printed entirely in the USA. Unauthorized duplication prohibited. for inquiries contact: [email protected] www.kevelimusic.com KM 8 legato 3 3 3 3 3 solo . & . ## . n ‰ n Œ ≈ < # # < n < . . n . . 3 # n - < < - b F #ä bä 1 & Œ J ‰. Ó Œ J‰. Ó fl. P P to . ä ä 2 # b & Œ J ‰. Ó Œ J‰. Ó P P ä ä 1 # & Œ J ‰. Ó Œ J‰. Ó ob. P P ä 2 n ä & Œ J ‰. Ó Œ J‰. Ó P P 1 & cl. 2 & 1 ? bsn. 2 ? & hn. & 1 #ä ä . . & Œ J ‰ Ó Œ J‰ Ó trp. F F 2 ä ä & Œ # ‰. Ó Œ ‰. Ó J J F F ? trb. tuba ? tmp. ? p e 1 $ a $ a r ÷ Ó Œ J ‰ Ó J ‰Œ c P P u s 2 a a s ÷ Ó Œ Ó i p p o # b n 3 n# b Œ n ‰Ó Œ J ‰Ó & J a P a P w [ b b 5 & Ó Œ 6 Œ hp. p [b b & Ó Œ Œ P p j I O O O O O O O O Œ ##nO O‰. nO wO O ŒÓ Œ bbO O wO wO & Œ # ‰ n w Œ bbO w w N vn. ∂ J ∂ ßp π n w w w II # w b w w & Œ J ‰. ŒÓ Œ N ∂∂ ßp π va. #O O O wO O O wO wO D Œ # ‰. ŒÓ Œ O J N ∂ ∂ ßp π vc. ? j O O O O O O O Œ nnO O ‰. w ŒÓ Œ w w N ∂ ∂ ßp π cb. t Concerto Gaucho 2 KM CANDOMBE 17 kinetic 15 3 q = 84 solo Œ & - w . . n- p 1 & fl. 2 & 1 & ob. 2 & 1 & cl. 2 & 1 ? bsn. 2 ? & hn. & 1 & trp. 2 & ? trb. tuba ? tmp. ? congas 2 wire brushes extended half way p e 1 > > r ÷ ‰ ‰ ‰ ‰ ‰ ≈ ‰ ‰ ‰ ‰ ‰ ‰ . J J . J J . J . J J . J J . J J . c > tri. hand dampen (+) u P F P s 2 + o + + o + + o + + o + + o + + o + + o + + o + s ÷ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ i cabasaP o 3 - . - . - . - . - . - . - . - . n ÷ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ & P & hp. & 17 kinetic no mute q = 84 I O & O Ó vn. N unis. no mute jeté simile 3 3 3 3 3 II j j j j j j j j j j j j j j & Ó ‰ [ j ‰‰ ‰ j ‰‰ ‰ ‰ Œ ‰ ‰ ‰ ‰ ‰ j ‰‰ ‰ j ‰‰ N col Flegno battuto non div. no mute > > > > > > > > va. O j > > j j > > j j > > j > > j j > > j j > > j D Ó ‰≈ ‰‰. ‰≈ ‰‰. ‰≈ Ó ‰≈ ‰‰. ‰≈ ‰‰. ‰≈ ‰‰. N J J J J J > > > > > percussive > > > > > > no mute F pizz. vc. > >>> ? O . j . é . j . é . . j . é . j . é . j . é Ó ‰ Œ‰J J ‰ ‰ Œ‰J J ‰ ‰ jŒ≈ ‰ Œ‰J J ‰ ‰ Œ‰J J ‰ ‰ Œ‰J J ‰ N >> F pizz.> cb. t Ó ≈ >> > > >percussive > F 3 Concerto Gaucho KM 25 smooth, agile 23 - - . solo # . j # & -. ≈ ≈ ≈ ≈ # ‰ ≈ ≈ ≈ ≈ ≈ # P 1 & fl. 2 & 1 & ob. 2 & 1 & cl. 2 & 1 ? bsn. 2 ? & hn. & 1 & trp. 2 & ? trb. tuba ? tmp. ? p e 1 > > > > r ÷ . ‰ ≈ . ‰ ‰ . . ‰ ‰ . . ‰ ‰ . . ‰ ≈ . ‰ ‰ . c J > J J J J J J J > J J u F P p F P s 2 + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + + o + s ÷ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ i p o F 3 - . - . - . - . - . - . - . - . - . - . - . - . - . - . - . - . - . - . - . - . - . - . - . - . n ÷ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ p & hp. & 25 unis.
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