Surcari Concert Report

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I attended the concert of Surcari presented by Maxwell Shepherd Concert Series on Thursday, November 10, 2016, at 7:30 p.m. The venue was the University of Connecticut Greater Hartford Campus. The program began with Vientos del Sur, which is traditional Bolivian song that translates into South Winds.
The sheer energy of that first chord from the acoustic guitar marked the beginning of a night of beautiful cultural music. It opens up with the quick strumming of the acoustic guitar and later follows the bass pipes and pan pipes. The piece sets with a major key in common time. The disjunct melody gives off a jumpy sound that gives an imagery of gusty winds. This imagery is further emphasized by the allegretto tempo which makes the feel much more
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Pizarro Cerrón. The song started in a major key in common time in moderato. The ensemble was made up the cuatro, acoustic guitar, and pan pies. The intro was purely instrumental but the cuatro and guitar musician started to sing. The male voice was the main melody which the female voice harmonized along. The phrase “Mambo que rico el mambo, mambo de machaguay” was repeated several times in the song which I assume is the main line. The cana flute repeated the main melody and then to a subtle yet exciting conclusion
The seventh piece they performed was Tico Tico, a Brazilian choro song written by Zequinha Abreu. Tico Tico is a song that depicts a type of sparrow. The song opened in a major key in common time in allegro. The piece was similar to the arrangement of Pájaro Chogüí, not it both depicted bird but the same instruments were played. I personally liked Pájaro Chogüí better because of the several trills, but this song surprised me in its wide range of
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The song was in a major key in common time in moderato. One thing that grabbed my attention is that the variations do not overlap. Every variation ends before the next one starts. The center section of the song was very pleasant and met its end with a gracefully end.
The fourteenth piece they performed was El Diablo Suelto composed by Venezuelan musician and composer, Heraclio Fernández. The song translates into “The devil on the loose” and is a popular waltz and forms part of Venezuelan folk culture. The piece is in 6/8 in presto. The pan flutist once again showcases his mastery of his flute with his rapid and dexterous playing.
The fifteenth piece they performed was El Cumbanchero composed by Puerto Rican composer, Rafael Hernández. The song was rearranged by the composers to imitate bongos. The song opened up in a major key in common time in allegro. The melody reminds me of a staircase shape. Most striking was the range of dynamics throughout the piece. The song starts in mezzo piano but in the center section is was suddenly fortissimo. Overall, this was an exciting

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