Sumaqllaña (Farewell) : for symphony orchestra
by Andrián Pertout (2000)
Also known as: Farewell
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Version: This product features the Orchestral music version of this work
Library shelf no. CD 910 [Available for loan]
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Sumaqllaña (Farewell) : for symphony orchestra (arranged for The Foundation Orchestra) / Andrián Pertout.
Library shelf no. Q 784.2/PER 5 [Available for loan]
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'Sumaqllaña' or 'Farewell' stands as a dedication to the late Aleksander Herman Pertout (b Slovenia, 1926; d Australia, 2000), and is an artistic representation of his departure from his Slovenian homeland - following the Second World War - and his ensuing search for adventure in the faraway lands of South America.
The work attempts to achieve this illusion of travel via a series of contrasting Afro-Peruvian rhythmic constructs. The title 'Sumaqllaña' has been derived from Quechua (also referred to as Runasimi or 'Mouth of the People'), which was the official language of the great Inca Empire of Tawantinsuyu during the fifteenth and sixteenth centuries. This was a vast kingdom, encompassing most of modern day Peru, Bolivia, Ecuador, northern Chile and north-western Argentina. Quechua was to then become banned by the Spanish conquistadors after the great Inca revolt of Tupaq Amaru II in 1780, although in recent times Peruvian President Juan Velasco (1968-75) restored its official status. Today Quechua has ten million speakers, which is half of the population living on the Andean highlands, making it the largest indigenous language of the region. The musical traditions today referred to as 'Afro-Peruvian' are the legacy of African slaves, who were introduced into the Spanish colony of Peru during the sixteenth century to labour in the gold and silver mines of the high Andes.
'Sumaqllaña' incorporates three Afro-Peruvian rhythms: Festejo, Landó and Marinera, which are traditionally performed on the cajón or 'box'. According to the description given in the published article 'Afro-Peruvian Traditions' by William David Tompkins, "The cajón is a simple wooden box about 50 centimetres high, 30 wide and 25 deep, with a sound hole about 10 centimetres in diameter in the back. The player normally sits on top of the cajón, rhythmically striking the front and sides of it with his hands."
Instrumentation: There are 2 different arrangements:Large orchestra arrangement: Piccolo, flute, alto flute, 2 oboes, cor anglais, soprano clarinet in E flat, 2 clarinets in B flat, bass clarinet, 2 bassoons, contra-bassoon, 4 horns in F, 3 trumpets in B flat, 3 tenor trombones, tuba, timpani, percussion (3 players), piano, harp, strings (220.127.116.11.8). Symphony orchestra arrangement (arranged for The Foundation Orchestra): Piccolo, flute, 2 oboes, 2 clarinets in B flat (doubling bass clarinet in B flat), bassoon, contra-bassoon, 4 horns in F, 3 trumpets in B flat, 3 trombones, tuba, timpani, percussion (3 players), piano, harp, strings (18.104.22.168.4).
Duration: 6 min.
Difficulty: Medium — Suitable for Community or Youth Orchestra
Contents note: Festejo -- Landó -- Marinera.
Dedication note: Dedicated to the memory of Aleksander Herman Pertout
First performance: 13 Oct 03. Annual Awards Banquet of the Andean Explorers Foundation & Ocean Sailing Club, El Dorada Show Room, Reno, Nevada, USA
The composer notes the following styles, genres, influences, etc associated with this work:
Quechua Inca Empire of Tawantinsuyu, Afro-Peruvian rhythms, Festejo, Landó and Marinera
In 2001, Sumaqllaña reached the second stage of judging prior to the semi-finals of Masterprize 2 (Royal College of Music, London).
Work revised March 2002
- Influenced by: Afro-Peruvian music
Performances of this work
13 Oct 03: Annual Awards Banquet of the Andean Explorers Foundation & Ocean Sailing Club, El Dorada Show Room, Reno, Nevada, USA
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