Approximate time: 7:30 minutes/ eight note=178 bpm
Woodwinds: Flute/Piccolo Flute, Soprano Saxophone/Flute, Alto Saxophone/Flute, Tenor Saxophones/ Flute, Bass Clarinets/Bass Clarinets (2)
Brass: Horn in F, Trumpets in Bb/Flugelhorns (2), Bass Trombone, Cimbasso
Rhythm Section: Piano, Electric Guitar, Drum set, Double bass
Strings: Violins (2), Viola, Violoncellos (2)
Voice: Mezzo Soprano/Soprano
Note: parts available for Bassoon & Contrabassoon in substitution of Bass Clarinet #2/Baritone Saxophone#2, and other combinations upon request.
Printing: Score-Tabloid (11x 17), Parts-Letter (8.5 x 11)
Through- composed piece with a heavy dose of rhythm section and horn playing. The fanfare in 7/8 in the beginning gets re-visited a few times throughout the piece. The woodwinds play flourishes of notes that require rehearsal. Ample opportunity to improvise on various sections of this piece for many members of the ensemble. While this piece changes meter constantly, the eight-note relationship to the beat remains constant.
Thoughts on the compositional process:
At the time I was writing this composition, I remember sitting in Plaza Santo Domingo in the city of Oaxaca, jonesing for the possibility of having the enchanting and uncanny voice of Areni Agbabian, as I had composed this piece with her voice in mind. Ishuakara was a difficult song to leave alone too. I don't think I have re-written any other tune as much as I have this one. I am pleased to say that Ishuakara has been “carved out” to reveal its essence, and no more re-writes will be needed. Ishuakara, which means “rebirth” in the Zapoteco language, was truly that.
Future Perks: In time to come we will have available little video snippets of Jose Gurria (composer), Marc Lowenstein (conductor), as well as some of the featured soloists on each tune of the album. In this way, there will be a broader and more in-depth comprehension of the interpretative aspects of every piece of music. Stay tuned!!!