SARAVÁ
SARAVÁ (2013) OVERTURE FOR ORCHESTRA | Homage to Vinicius de Moraes
Commissioned by Fundação OSESP | c.a. (5 minutes)
Commissioned by Fundação OSESP | c.a. (5 minutes)
RENTAL INFORMATION
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instrumentation
Piccolo
Flute 1-2
Oboe
English Horn
Eb Clarinet
Bb Clarinet
Bb Bass Clarinet
Bassoon 1 & 2
Horn 1-4
Trumpet 1-4
Trombone 1-2
Bass Trombone
Tuba
Timpani
Percussion 1-3 (*)
Harp
Piano
Strings
Percussion 1:
Vibraphone (may be bowed or struck)
Xylophone
Lg. Bass Drum
Caxixis (2)
Susp. Cymbal
Egg Shaker
Glockenspiel
Whip
Tambourine
Tam Tam (may be bowed or struck)
Percussion 2:
TamTam (may be bowed or struck)
Sizzle Cymbal
Drumset:
(18 inch china cymbal and dark washy crash cymbal)
Muted med. Bass drum
Hi-hat
Muted floor tom
Congas (hi & low)
Med. Gong
Woodblocks
*(Jam block (conductor’s baton)
Vibraslap
Floor Tom
Aquaphone
Percussion 3:
Crotales
Lg. Bass Drum
Djembe
Ocean Drum (large)
* Tam Tam (may be bowed or struck)
program notes:
Homage to Vinicius de Moraes
Saravá, for orchestra is an homage to Vinicius de Moraes, a Brazilian poet, playwright, diplomat, songwriter and lyricist of a great number of songs which became classics in the Brazilian music repertoire. The piece celebrates his life and legacy, highlighting aspects of his career which encompasses an enormous body of works, including essays, poetry, lyrics and his famous play Orfeu da Conceição, later adapted into the film Black Orpheus.
During the course of this piece, there are hints from his encounters and collaborations with some of Brazil’s most celebrated composers, such as Antonio Carlos Jobim, Claudio Santoro, Baden Powell, Edu Lobo, Ary Barroso, Pixinguinha, Toquinho, among others. The work itself is not necessarily tied to the musical sonorities of his time; in fact, it was conceived as a rhapsody: free, emotional and exuberant in character as I saw fit to celebrate such an iconic and seminal composer.
Saravá, for orchestra is an homage to Vinicius de Moraes, a Brazilian poet, playwright, diplomat, songwriter and lyricist of a great number of songs which became classics in the Brazilian music repertoire. The piece celebrates his life and legacy, highlighting aspects of his career which encompasses an enormous body of works, including essays, poetry, lyrics and his famous play Orfeu da Conceição, later adapted into the film Black Orpheus.
During the course of this piece, there are hints from his encounters and collaborations with some of Brazil’s most celebrated composers, such as Antonio Carlos Jobim, Claudio Santoro, Baden Powell, Edu Lobo, Ary Barroso, Pixinguinha, Toquinho, among others. The work itself is not necessarily tied to the musical sonorities of his time; in fact, it was conceived as a rhapsody: free, emotional and exuberant in character as I saw fit to celebrate such an iconic and seminal composer.