“El salado”

“El salado”

Calixto Raúl Araújo Monroy (Colombia)

The "bullerengue senta'o", so called because of its paused character, begins the piece with a somewhat mysterious entrance of the gaita accompanied by a drum roll on timbales, over which an accentuated rhythm appears on taiko drums, over which the gaita sings a phrase repeated three times, accentuating its soloist presence.

It then begins its sonorous display accompanied by brass in sforzando, marking a suggested Am G, while pizzicato strings and clarinets in 2 voices confirm the hint of tonality, ending with a repeated phrase imitated by violins and cellos in fifths and ends with a roll of timpani and cymbals.

A bagpipe solo creates the uncertainty towards part 2 which simulates the chaos of the massacre: the taiko rhythm, the brass in forte in A and Bb, the violins on semiquavers and semitones, the bagpipe screams and a delirious and amorphous mixed choir resembles the chaos of the living, the dead and the souls... redoble and final gong.

The lumbalú is a musical form that, in the palenque, conceived as a settlement of black maroons, allowed the burial rite of their dead to be performed.

In itself, this transcendental moment in the life of a community implies a feeling of pain that relatives and mourners express through song. This part of the composition begins with two fragments recorded in situ by Colombian researchers that contextualize us both in rhythm and in the singing mass: the shriek of pain together with the recited text "ay'io mío" which implies an "Ay'io Dios mío" and the chorus with the percussion enthrone us in the meaning of the composition.

We take as reference this phrase from the original audio and based on it a mixed choir responds to the lament of the lumbalú over the melodic phrase suggested by the palenqueros. We develop the idea on the Sim, the Em and the Am to which a mezzo-soprano voice is superimposed reaffirming the lament. Subsequently, the choral part is repeated, enhanced by the rhythmic percussion of the timpani and the ostinato of the cellos and basses in arpeggio. It ends with the timpani roll and the gong.

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