The project “Nomads: Roots, Winds, & Strings” was born in one of the many unofficial guitarreadas (similar to a pena, or a jam session) that happen in homes throughout Austin every week. Here, people come together to share music, meet new friends, and in the best circumstances, start new projects. Alison and Eduardo had a similar vision to combine their love of world music with their classical training by making arrangements or traditional melodies for classical instruments; and South America was the obvious place to start. The tradition of bringing folk music to the classical stage isn’t new in South America. In fact, as early as the 17th century, Jesuit missionaries were including native South American instruments in their compositions. The pieces we play have their roots in everything from indigenous ceremonies to festive parties. We hope to evoke the spirit of this music in each of you!
Moleque Moura Domingos Pecci
Choro (Portuguese: "cry" or "lament"), also popularly called chorinho ("little cry" or "little lament"), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music.
Maracaibo en la Noche Jesus Reyes
The Venezuelan waltz is a hall dance and accompanying musical genre that was popularized in 19th-century Venezuela. The two main types of waltz were the hall waltz and the popular waltz. The former was typically performed on the piano. The popular waltz was performed on traditional regional instruments, often the violin and the bandola accompanied by guitar, triple, and cuatro. Most popular waltzes had anonymous composers.
Tusuy Tacana & Yuracare Traditional
Amazonas (Brazil, Bolivia, Ecuador, Peru)
Transcendental ceremonial music of the Tacana and Yuracare cultures of the Bolivian Amazonian tropic.