Text Contents of Chaski’s Press Kit

"I liked the songs. I liked the instruments. I liked the dances. I liked the music."

"a very pleasant regional repertoire performed excellently by a group of virtuosos"

"...the performances are technically smooth and confident, sparked by a sense of play and inherent sensitivity to the simple beauties of the melodies."

"...ALL this wonderful mysterious music..."

1. Explore our website to see what we do.
2. or call us at (512) 320-0613 to tell us what date(s) you'd like to book us and where the event(s) will take place.
3. We will get back to you within a couple of days with our availability and fee.
4. When we agree on the terms, we'll write up a contract and collect a deposit.
5. We'll provide you with promotional and program material as needed.

Blurbs
Biographical Information
Instruments
Technical Specification Sheet
Suggested Spoken Introduction
Concert Menu
Reviews
Repertoire
Stage Plot
Download mp3 of Chaski's School Announcement
Chaski's Policy for Access and Accommodations for Patrons with Disabilities

Click on photo for large file version.

Blurbs

25-word blurb

Chaski performs Latin American folk music for all ages in programs that feature traditional instruments, colorful costumes, cultural insight, dances, musical demonstrations, and audience participation.

35-word blurb

Chaski performs and records Latin American folk music that features traditional instruments, colorful costumes, cultural insight, Andean dances, and audience participation.  Instruments include flute, zampoñas (panpipes), quena, harp, cuatro, guitar, charango, bombo, maracas, and more.

45-word blurb

Chaski performs Latin American folk music in programs that feature traditional instruments, colorful costumes, cultural insight, Andean dances, and audience participation.  In festivals, concerts, youth programs, and lecture/demonstrations, Chaski plays flute, zampoñas (panpipes), quena, concert harp, Venezuelan cuatro, guitar, charango, bombo, maracas, and more.

98-word blurb

Chaski means “messenger” in the Incan language of Quechua. In the spirit of this Andean traveler, Chaski brings to its audiences music from Latin America and Spain, exploring stirring Andean festival tunes, haunting Sephardic music, spicy Argentine tangos, flashy Brazilian chôros, and much more.  Performances incorporate audience participation, colorful costumes, cultural insight, historical context, and folk dance demonstrations that enthrall even the most fidgety listener.  Audiences join in the clapping, stomping, and singing as Chaski adeptly shares its mastery of such instruments as flute, sikus (panpipes), quena, transverse flute, harp, accordion, Venezuelan cuatro, guitar, charango, bombo, and maracas.

141-word blurb

Chaski transcribes and arranges folk music primarily from Latin America and Spain and performs for all types of audiences.  We capture the essence of the music based on our knowledge of the cultural and historical traditions from which it comes and present it using indigenous and concert instruments.  We are accomplished performers of the following instruments:  flute, quena, zampoñas (panpipes), alto flute, transverse flute, harp, guitar, charango, cuatro, ronroco, bombo, chajchas, maracas, matraka, and various whistles and bird calls.  Our concerts include written and spoken comments describing the music, culture, history, instruments, and dances and we usually wear typical Andean clothing.  We involve the audience by inviting them to clap particular rhythms, stomp their feet when cued, and sometimes come on stage to join us on percussion.  We have independently produced five albums of our repertoire on compact disc and cassette.

Chaski means “messenger” in the Incan language of Quechua. In the spirit of this Andean traveler, Chaski performs music from Latin America, incorporating colorful costumes, traditional dances, cultural insight, audience participation, and musical demonstrations. Chaski has performed together since 1985 and has toured Texas, New Mexico, Arkansas, California, Washington DC, Costa Rica, Venezuela, England, and Scotland under the auspices of Texas Commission on the Arts and other generous sponsors of the arts. Visit www.chaskimusic.com to learn more about Chaski's tours, five recordings, and many instruments.

Biographical Information 

Adrienne Inglis    flutes, zampoñas, quena
Shana Norton    harp, accordion
Dan Dickey    guitar, charango

Chaski began performing classical flute and harp music in April of 1985.  Venezuelan songs that Adrienne’s mother had brought from her homeland gradually made their way into Chaski’s repertoire.  Shana and Adrienne joined the University of Texas at Austin Brazilian and Andean Music Ensembles to learn more about depth and variety of Latin American music.  The success of their expanded repertoire led them to welcome guitarist Dan Dickey into the group in about 1991.

Adrienne Inglis received music degrees from Lewis and Clark College and the University of Texas at Austin.  She teaches flute at Southwestern University, played flute with the Wild Basin Winds and Mid-Texas Symphony, and recently recorded on the soundtracks of SpyKids 2 and Kill Bill: Vol. 2.  Shana Norton graduated from Abilene Christian University and attended the Eastman School of Music.  She plays principal harp with the Mid-Texas Symphony and Hot Springs Music Festival and extra with the San Antonio Symphony.  Dan Dickey earned degrees in Spanish and American Studies and Folklore from the University of Texas at Austin.  For many years he led the UT Austin Andean Music Ensemble and Mariachi.  He teaches Spanish at St. Andrew's Episcopal School, performs with Los Romanceros, and writes educational materials.

Chaski’s albums are available on compact disc at our performances, by mail, and online/retail in Austin at CD Baby and  Waterloo Records (call 512-474-2500 or email info@waterloorecords.com for availability).

Instruments

accordion:  twelve-bass, two and one-half octave piano accordion
afoxé:  percussion instrument played by rubbing strings of beads around a cylinder
alto flute:  modern flute that plays one fourth lower than a regular concert flute
bass flute:  modern flute that plays one octave lower than a regular concert flute
bombo:  goatskin drum from Bolivia carved out of a tree trunk
cavaquinho:  high-pitched, four-stringed instrument from Brazil
chajchas:  goat toe rattle from Bolivia
charango:  ten-stringed instrument sometimes made from an armadillo shell
claves:  pair of hardwood dowels struck together
cuatro:  four-stringed ukulele-like instrument from Venezuela
doumbek:  Middle-Eastern ceramic hand drum with pitch variation
flute:  modern concert flute made of platinum, gold and silver
güiro:  fish-shaped scraper from the Caribbean used throughout Latin America
guitar:  six-stringed strummed instrument widely used throughout Latin America
harp:  Pilgrim Progress pedal harp
maracas:  gourd rattles typical in Caribbean countries
matraka:  noisemaker in the shape of a box with a handle used in festivals
nightingale call:  bird call made by the Acme Company and designed to imitate the nightingale
ocarina:  clay flute
palmas:  rhythmic hand clapping
pandeiro:  Brazilian tambourine
pajarito:  Bolivian water whistle bird call used for Christmas music
quena and quenacho:  pre-Columbian vertical notched flutes from Bolivia made of cane
rondador:  type of panpipe unique to Ecuador
ronroco:  large charango with a deep pitch
tamborim:  small Brazilian hand-held drum
tarka:  recorder-like wind instrument made of mahogany
transverse flute:  Baroque flute made of boxwood; a copy of an early eighteenth century Thomas Lot flute
triangle:  triangular metal alloy percussion instrument with a metal striker
vihuela:  five-stringed curved back guitar typical of central México
zampoñas:  panpipes from Bolivia made of cane
The four sizes used in our performances are toyos, semi-toyas, zankas, and ikas (from large to small).

Technical Specification Sheet

• Stage, uncarpeted and sturdy enough for dancing, at least 10 x 12 feet and preferably raised about 15 inches
• Public address system with six microphones (two with booms) and sound engineer for outdoor performances or for audiences larger than 100 
• PREFERRED STAGE PLOT
• Green room or other private area for resting and changing
• Barrier-free access for loading harp or able-bodied persons to assist
• Well-lit stage so that music and harp strings are easily visible
• Three straight-backed chairs with no arms
• Three sturdy black music stands
• One table about 3 x 6 feet
• Room-temperature drinking water on stage for three people
• Table and chair to sell Chaski’s recordings at performance
• Protection from extreme temperatures and weather

Suggested Spoken Introduction

Concert Menu

Important:  The fees below do not include travel and lodging expenses.  Concerts outside of Austin are subject to a minimum fee.

New!!  South American Dance Workshop $600 ($800 outside of Central Texas)
Chaski will perform, teach, and coach a selection from the following dances:  Venezuelan joropo, Bolivian morenada, Peruvian marinera, Peruvian huayno, Bolivian huayño, and Bolivian cueca.  This exciting new workshop suits all ages and dance abilities.  (About 45 minutes)

La costa y la cordillera $2400
This program highlights the striking variety of South American music.  We present African-influenced music from the coast (la costa) of Brazil and Venezuela, songs in the ancient Andean languages of Quechua and Aymara, and love songs, dances, and festival music as enjoyed throughout the Andes mountains (la cordillera).  (About 90 minutes including intermission)

Spain and the New World $2400
Recognizing the musical heritage carried from Spain to the "New World" by the conquistadores, this program takes the audience back a millennium to Spanish Sephardic music and to Incan traditions of the Andes.  As the two worlds meet, the music reflects the inevitable mingling of ideas and creates a spectacular array of classical Spanish compositions, indigenous festival music with subtle touches of the Iberian Renaissance, and Latin American mestizo music that speaks from the hearts of our century's peoples.  (About 90 minutes including intermission)

Concerti $2400
Orchestras may choose from these three selections:  (1) Louis Spohr’s Concertante arranged by Chaski for flute, harp and orchestra, (2) the famous W. A. Mozart Concerto in C major for flute, harp and orchestra, and (3) Three Latin American Dances for indigenous instruments, harp, and orchestra arranged especially for Chaski by David Pinkard.

Back to top           Home

Choral Concerts $1200 ($2400 outside of Central Texas)
Choral groups can enjoy masterful accompaniment with indigenous and concert instruments of such compelling choral works as Navidad Nuestra and Misa Criolla by Argentine composer Ariel Ramírez and Misa trinitaria by Adrienne Inglis.

Lecture/Demonstration of Latin Folk Music $600 ($800 outside of Central Texas)
This special treat for a university, library, or museum concert series or other occasion features the history, culture, and folklore of Latin America and Spain presented with live music, costumes, and explanatory remarks.  (About 45 minutes)

Master Classes for flute, harp, chamber or Latin music $600 ($800 outside of Central Texas)
Chaski offers master classes on standard flute and harp solo literature as well as chamber music for winds, strings, and/or harp.  For those communities blessed with a novice Latin folk group, Chaski will coach the group on stylistic and technical points, answer questions and provide background and repertoire information.  (About two hours)

Weddings and Receptions—ask for quote
Chaski occasionally plays for weddings and receptions, especially for those bridal couples with family ties to South America.  A wedding ceremony ($600 plus travel expenses, if out of Austin) includes 20-30 minutes of background music before the ceremony, any special music during the ceremony, and music for a few minutes after the ceremony as guests exit.  The bridal couple is entitled to meet with members of Chaski once during the planning stages to determine musical selections, cues, dress, locations, etc.  Chaski is available to attend the wedding rehearsal only if paid at the reception music rate indicated below.  Special musical requests may be granted if music is provided well in advance.  Tunes not in Chaski's current repertoire cost $50 extra per tune.  A deposit of $200 is required for Chaski to reserve the date.  No fee discounts are available for weddings.  Chaski plays background music for receptions as well, for any special occasion for $350/one hour, $650/two hours, or $950/three hours, plus travel expenses if out of the Austin area.  Chaski charges a flat fee of $100.00 to bring its own sound system, if the venue is able to provide a functioning electrical outlet.  For every half hour late the event begins, Chaski charges an additional $150.

Reviews

"The folk ensemble Chaski added authentic accompaniement, along with the evening's virtuoso performance—Adrienne Inglis  on the flute, quena (straight Andean flute), zampoñas (panpipes) and chajchas (rattles)."  —Michael Barnes, Austin American-Stateman, 5 December 2000

"Before accompanying the [San Antonio Society Society] chorus for "Misa Criolla," red-poncho-clad Chaski presented a brief, entertaining solo set using panpipes, cuatro and other traditional instruments.  Two folk selections were followed by a nicely contoured adaptation of a Vivaldi flute sonata featuring Adrienne Inglis as quena (rustic flute) soloist."  —Diane Windeler, San Antonio Express News, November 2000

"Chaski was an Incan postman, a messenger who literally ran between villages with the news.  Local trio Chaski spreads the word too, their message simple:  Enjoy the sweet folk sounds of Latin America.  Made up of Shana Norton on harp, vocals, and accordion, Adrienne Inglis on flutes, toyos, tarka, maracas, zampoñas, quena, and vocals, and Dan Dickey on requinto, pito, tarka, gritos, guitar, cuatro, charango, and vocals, Chaski has performed in Texas since 1991.*  On their fourth release Unay, the trio braids a convincing 50-minute , 17-track lacework of mostly Peruvian and Bolivian music.  "Boquita de cereza" is an upbeat Bolivian opener, driven by charango (small shell-backed guitar) and güiro (ridged scraper), with a characteristic quena (sonorific wooden flute).  On Unay, Chaski does an untraditional thing for a Latin American album by including three Sephardic songs, music of the Spanish Jesw expelled by the Spanish crown around the same time Columbus invaded America.  Because Sephardic songs like "Adío Querida" have the same acoustic lightness and lyrical reality as the Andean works, they mesh well here.  Unay is a decidedly local affair, and boasts being "arranged, produced, recorded, mixed, mastered, and manufactured in Austin."  No arguments with the results, an even-paced and enjoyable listen." —David Lynch
[*actually 1985]

Back to top           Home

"...realmente me admiré de la capacidad musical y el profesionalismo de tí, Adrienne, por lo cual te felicito, en mi tienes a un admirador de tu talento y valorador de la sencibilidad del artista en este Arte." —Ramiro De La Zerda, Fortaleza, julio 2000

From first grade students at St. Andrew's Episcopal School after our November 1998 concert:
 

Dear Chaski, I like your instruments. Do you do that every year? Love, Thea

Dear Chaski, I like the music. Love, Ali

Dear Chaski, I loved your music. I loved the harp. It has a pretty sound. Love, Cydney

Dear Chaski, Thank you for coming. It was fun. Maybe you can come again. Love, Meagan.

Dear Chaski, Than you for coming to the small gym. I like your music. Your music was awesome. I hope you can come to St. Andrew's Episcopal School again. Like three more times. Love, Richard

Dear Chaski, I loved the music you guys made. My favorite song you made was the one where you danced with the handkerchiefs. Love, Simone

Dear Chaski, I really liked when you danced. It was fun and and I liked the music and your daughter (Mira Dickey) was good at the violin. Love, Henden

Dear Chaski, Thanks for coming to the school. I really liked the play. Love, Claire

Dear Chaski, Thank you for coming. It was pretty music. I loved it. Maybe I can play with you. Love, Aubrey

Dear Chaski, Thanks you for coming to play for us at St. Andrew's. Love, Sam

Dear Chaski, Thank you for the music. We like it. It was good. Please do it another time. Love, Blair

Dear Chaski, I liked the music. The music was awesome. Love, Alec

Dear Chaski, I liked the play. It was fun. I like the first part when you were running around the gym playing the music. Love, Graham

Dear Chaski, Thank you for coming to St. Andrew's. I hope that you had fun at St. Andrew's. Love, Kyle

Dear Chaski, I'm glad you got to come to our school. I like the music. You all play good. Love, Mollye

Dear Chaski, I loved the music and I like the songs. Love, Chad

Dear Chaski, Thank you for coming. Will you come again? I like how you sing. How do you do the drum? I like your songs. From, Alex

Dear Chaski, I like the first song. Why does the first song not have any words? I love all the songs. I like the clapping songs. Thank you for coming. From Erika Ho

Back to top           Home

Dear Chaski, Thank you for coming. I liked the flute thing. Why did the harp have different color strings? Did you practice? How do you play so well? How do you know so many songs? Love, Kira

Dear Chaski, I liked when you played the flute. I wish that you could come back some time. From, Claire

Dear Chaski, I liked the songs. I liked the instruments. I liked the dances. I liked the music. I liked the boot music the best. From, Sam

Dear Chaski, I liked the music. It was good. You were good. I liked clapping. I liked the harp. I liked the dances or song. And I liked the Thanksgiving song. From, Kelsey

Dear Chaski, Thanks for doing the show! I like the music! Señor Dickey, can you teach me to play the guitar? I wish I could play the percussion. It was fun watching. From, Mason

Dear Chaski, Your music was the best. I liked the dances and the boot music and the kids. Thank you for coming. Love, Burton

Dear Chaski, I liked the play! I liked when you picked the kids. From, Will Bnoscky

Dear Chaski, I liked the music. You were great. I liked when you danced. Thank you for coming. That was the greatest song. From, Andy

Dear Chaski, I like your band. The last song was the best. Do y'all have a band? I like your music. Thank you for coming. Love, Welsey

Dear Chaski, Thanks for coming to my school. My favorite song was the first song. Could you come to my school again? I liked the songs. You were the best singer I have ever heard of. Love, Teddy

Dear Chaski, I wish that you picked me. I liked it a lot. I liked the music. It was fun. Love, Thomas

Dear Chaski, I like the show. How did you know all those songs? How do you know how to play songs? Can you come again, please? Thank you for coming. Love Michelle

Dear Chaski, I liked the music. Thank you for coming. That was great music. That was really good. The music was cool. From, Will M.

Dear Chaski, I love your music. Thank you for coming. Your music was great. You were great. I liked the part where the children got to play. From, Evans

Dear Chaski, I liked when we clapped! Why didn't you pick me? I liked the music. I like the guitar. That was the best. From, Cartera

Dear Chaski, I liked the songs. I liked the instruments. I liked the people who played. I liked the songs the best. I liked clapping. From, Walker
 

"Most interesting stuff here. Chaski takes traditional South American styles played on instruments like a 'bird-shaped clay flute,' 'Bolivian cane panpipes' (zampoñas), 'Mexican rain stick' and 'Bolivian goat toe rattle' (chajchas) and add[s] Western flute and harp, remaining, it appears, true to the spirit of the folk material they deliver. The Andean ambiance is lovingly recorded, and the music is as much a subtle pleasure as an education in native South American sounds and styles." —Rob Patterson, The Austin Chronicle, 1995

Back to top           Home

"Chaski offered music of composers from the Americas and enchanted with their mastery of all the subtle variations of the harp-flute duo possibilities as well as their artistry as soloists Norton's exquisite phrasing and control of many different touches and her sensitive dynamic choices and execution were perfectly matched by Inglis' smooth, warm tone and cantabile expression Inglis' beautifully polished tone was evident in each movement, whether she played fluid melodic lines or dispatched rapid and brilliant passages with flair." —Penelope Kosztonyik, Bryan-College Station Eagle

"This local duo hardly swims the mainstream of Austin music . . .Inglis and Norton's technical precision, as well as the dulcet tone of their principal instruments, contrasts with the rougher-hewn textures of original-instrument Andean music. . .  It's winsome music, played with verve and skill, and I'm not damning it with faint praise when I say that this tape makes an amiable accompaniment to an overcast dusk or a candlelit dinner.  Better yet, catch Chaski in person around town."
Brett Campbell, The Austin Chronicle, February 9, 1990

"...the performances [on Chaski's cassette tape] are technically smooth and confident, sparked by a sense of play and inherent sensitivity to the simple beauties of the melodies."
 Ann McCutchan, Austin American-Statesman, February 15, 1989

"We tiptoed in to find harpist Shana Norton playing solo on the Venezuelan Concierto en la Llanura (Song of the Prairie).  It looked like a conventional concert harp,...but she didn't play it in a conventional way.  She swayed like a sprite, long black hair trailing behind, as her hands danced over the strings and played percussion on the sound board--not just single notes, but tone sequences.  Adrienne Inglis joined in with her silver flute for a flowing, whirling dance called El Diablo Suelto.  And then switched to panpipes for a Bolivian folk song named for Lake Titicaca.  It was the first time I'd seen them played live.  Entranced by the mellow, half-mournful sound and the sensuality of the instrument's peculiar, breathy articulation, I marveled at the variety of flutes invented by the creatures of this planet.  They finished up with their own set of variations on Tico-tico No Fubá, described by Inglis as 'the song that Carmen Miranda made famous,' or perhaps the other way around."
 Dyanne Fry, The Austin Chronicle, September 30, 1988

"Flutist Adrienne Inglis and her harp accompanist, Shana Norton gave a flawless performance. While we have had other superb music evenings in the university artist series, the combination of nearly incredible breath control by Ms. Inglis on the flute with the harp produced the most magical event of the series." —Gene Preston, U. S. Embassy in Costa Rica, 1986

"   their inherent sense of ensemble was apparent, especially in passages where they shared the melody.  Flutist Inglis has an especially delicate touch with ornamentation and gave a dazzling reading of P. A. Génin's ubiquitous Carnival of Venice."
 Jerry Young, Austin American-Statesman, June 17, 1986

Repertoire

Ariel Ramírez composed the Argentine zamba Alfonsina y el mar (Alfonsina and the Sea) that tells the tragic story of Alfonsina Storni.  As a rebellious university professor and poet in the earlier part of this century, she led an unconventional, bohemian life.  Suffering from cancer, she chose to end her life by walking quietly into the sea she loved so dearly.  The newspaper for which she wrote a column received her final poem by mail shortly after her death.  This poem served as the basis for the lyrics of this song.  Her statue now stands at Mar del Plata, the site of her suicide.

The inspiring lyrics and beautiful melody of Alma, corazón, y vida (Soul, Heart, and Life) by Adrian Flores, make this Peruvian vals a classic.  "I have only these three little things to offer you:  soul to win you over, heart to love you, and life to live by your side."

Angélica, a zamba argentina by Roberto Cambare, exemplifies the vivid pain of a sad love song so typical of this genre.  "If your affection were an eagle and my poor soul a dove, my trembling heart would bleed in its talons and you would show no pity."

The haunting Peruvian yaraví, Antara, features the quena and quenacho, ancient flutes of the Andes.

Back to top           Home

Back to top           Home

Back to top           Home

La puñalada (The Stab to the Heart), by Uruguayan composer Pintín Castellano, exemplifies the milonga, a dance closely related to the tango.

Las dos puntas (The Two Points) is a Chilean cueca about a traveler who has a sweetheart on each side of the Andean cordillera.  He crosses the mountains back and forth and always enjoys a warm welcome when he arrives.

Chaski interprets and embellishes the Legend theme from Pokémon the Movie 2000 as an Andean yaraví and huayño.  In the movie, the melody plays a crucial role in restoring peace to the world.

Los mamonales (The Mamón Groves), a Venezuelan joropo features the harp and celebrates the orchards of the mamón, a small tart tropical fruit.

The legendary tango singer, Carlos Gardel, recorded the Argentina tango, Madreselva (Honeysuckle), by Francisco Canaro and Luis César Amadori.  Tango argentino, as a dance form, is best viewed as from afar.  The dancers have each succumbed to the allure of the tango’s mystique, its passion, and its uniquely improvisational format.  Each tango belongs to the couple—a communication between themselves only in direct relationship to the invitation of the music and its musicians.

Digno García's Paraguayan melody, Madrecita, demonstrates the beauty of harp music so typical of Paraguay.

This Peruvian huayno features the charango and was composed by the accomplished charanguista, Julio Benavente Díaz.  The title, Mala yerba (The Weed), reflects how unneeded and unwanted an Indian man felt while traveling to the city.

Composed by Adrienne Inglis in the style of a Bolivian huayño, Maysajata cutayana (Inside Out) features the chromatic zampoñas.  The “C” section of the piece has a short theme followed by its retrograde, in which the notes are played in reverse order.

Adrienne Inglis' composition, Misa trinitaria, a six-movement Latin American folk mass, celebrates Trinitarian theology and enhances the familiar Spanish-language worship liturgy with traditional folk musical styles from Perú, Bolivia, Venezuela, and Argentina.  In addition to being incorporated into a worship service, Misa trinitaria may be performed as a concert piece.  This composition may be sung by a treble choir and optional soli men's voices or presented as a chamber piece with the members of Chaski.

Entrada (auki auki)
Señor, ten piedad (vidala andina)
Gloria (huayño boliviano)
Credo (merengue venezolano)
Santo (saya boliviana)
Cordero de Dios (zamba argentina)

Moliendo café (Grinding Coffee), by Venezuelan composers Hugo Blanco and J. M. Perroni, uses Caribbean salsa rhythms to reflect the sounds of grinding coffee in the tropical evenings at the coffee plantations.

A variety of folk instruments demonstrates Christmas music from Latin America.  Niño lindo and Cantemos, cantemos are popular examples of the lively Venezuelan Christmas songs known as aguinaldos and performed tonight on harp and cuatro.  Vamos, Pastorcitos from Colombia uses the quena and its bigger sibling, the quenacho.  Bolivian Christmas music differs from other genres only in its lyrics and use of bird whistles.  Villancico is a Christmas song in the style of an Afro-Bolivian saya.  En nombre del cielo employs three sizes of zampoñas and the lyrics tell of Mary and Joseph’s efforts to find lodging.  Performed on quena and harp, De tierra lejana venimos is a song of the wise men.

Naquele tempo (In that Time), a chôro-serenata by well-known Brazilian composers, Pixinguinha and Benedito Lacerda, shows the softer, more lyric side of the popular chôro genre.  Chôros began in late nineteeth century Rio de Janeiro as groups of serenaders performing European-derived music and grew into a style that blends the popular Brazilian dances, maxixe and samba.

Ojos azules (Blue Eyes) are rare in Bolivia but the lyrics of this huayño are very typical of the altiplano or high plateau region in the Andes mountains.  The melancholic and bitter lyrics tell of taking poison as the only way to forget a lost love.  This hopeless mood characterizes the difficult and brutal life in the Andes.

Street festivals in Bolivia feature endless parades of dancers and bands in elaborate costumes that satirize historical and mythical personalities, including the devil, Spanish conquistadores, and African slaves.  Oruro by G. Rojas Enríquez, named for the Bolivian city, and Mariposa (Butterfly) by Gumercindo Lidicio, are well-known morenadas for which the dancers don intricate masks with exaggerated Negroid features.  Be prepared to clap and stomp your feet when we give you the cue.

A Venezuelan joropo with curiously symbolic lyrics, Pajarillo verde (The Little Green Bird) will get even sleepy toes tapping.

Pájaro chogüí (The Chogüí Bird), a Paraguayan galopa by Indio Pitaguá, recounts the tale of a Guaraní Indian boy hiding in a tree when his mother startles him with her call.  He falls to his death but is magically transformed into a chogüí bird.  Today in the orange groves of Paraguay the song of the chogüí reminds us of the Guaraní boy.

Sanjuanito by Gilbert Fabré epitomizes the style of Ecuador's most well-known musical genre.

This group of love songs played on transverse flute and harp represents centuries of Sephardic music in Spain.  Si la mar era de leche (If the Sea Were Made of Milk) speaks of a man willing to die for his love.  Una tarde de verano (A Summer Afternoon) tells the story of a Spanish gentleman who travels in search of a wife and finds instead his sister who had been abducted by the Moors.  The rose blooms (La rosa enflorece) in May but one man’s soul is dark from the pain of love.

Se va el caimán is a cumbia colombiana by José María Peñaranda.

This sikuriada represents the Andean tradition of performing sikus, the Quechua word for zampoñas in Spanish and panpipes in English.  Typically, a group of musicians plays in hocket fashion, where each half of the group plays half of the diatonic scale and the melody is shared.  The musicians often compose the songs cooperatively to prepare for a festival.

Chaski based its version of the charming Shaker song Simple Gifts on Aaron Copland’s arrangement for voice and piano.

The Christmas music of Venezuela presents a spirited alternative to the usual English and American hymn-like carols.  The 2/4 meter of the aguinaldo has a triplet first beat and duple second beat, making it sound almost in 5/8 time.  Sois la prometida does not enjoy the fame of some other aguinaldos but has unusual chord progressions and a likable melody.  The lyrics focus on the Virgen Mary as the chosen mother of the coming Messiah.

The Baroque Largo and Allegro ma non presto movements from Antonio Vivaldi’s  Sonata VI in G minor for flute lend themselves surprisingly well to the Andean vidala and huayno rhythms.  Transposed to A minor and transformed from flute and basso continuo to quena, charango, and harp, this work merges two styles from different times and opposite hemispheres.  The result recalls the plaintive songs and lively dances which have strong roots in both musical traditions.

R. Carlos Nakai composed Song for the Morning Star in the style of the Native American flute music he knew as a youth.

Sumampu represents the Andean tradition of performing sikus, the Quechua word for zampoñas in Spanish and panpipes in English.  Typically, a group of musicians plays in hocket fashion, where each half of the group plays half of the diatonic scale and the melody is shared.  The musicians often compose the songs cooperatively to prepare for a festival.

A study in contrasts, Tango-Etude No. 3 for solo flute by Argentina’s most famous tango composer, Astor Piazzolla, demonstrates the angular and exaggerated musical style characteristic of this dance form.

Teus Olhos (Your Eyes) by Ataulpho Alves and Roberto Martins is an example of the Brazilian chôro genre that descended from a combination of the Hungarian polka and Afro-Brazilian percussive rhythms.

Back to top           Home

Considered a second national anthem, the cueca Viva mi patria Bolivia (Long Live My Fatherland Bolivia) expresses great love and devotion to Bolivia and encourages others to do likewise.

---

Home

Chaski performs and records Latin American folk music that features traditional instruments, colorful costumes, cultural insight, Andean dances, and audience participation.  Instruments include flute, zampoñas (panpipes), quena, harp, cuatro, guitar, charango, bombo, maracas, and more.

Chaski's Home Page About Chaski Concert Schedule and Menu Press Kit	Albums and music:     Viracocha (2005)        Unay (2000)         El sariri (1995)           Pacha Mama (1991)             Chaski (1989) Order Albums and Sheet Music	Photo Gallery and Reviews 2004 Twentieth Anniversary UK Tour Policy for Patrons with Disabilities Chaski Triathletes Links	Curriculum Materials for Schools Instruments
Join Chaski's email list!  The Latin American folk music trio, Chaski announces concerts, tours, and recordings using this yahoogroups.com service.  We will keep notices to a minimum, will not share your name with anyone, and you may unsubscribe at any time.  To subscribe send a blank email to chaskimusic-subscribe@yahoogroups.com or enter your email address in the box below. Subscribe to chaskimusic Powered by groups.yahoo.com	Chaski P. O. Box 4303 Austin, Texas 78765 tel (512) 320-0613 (512) 912-8096 Please do not steal music or movies from composers and musicians by downloading it without paying. Please visit www.apple.com/itunes or your local record store to support the artistic endeavors of your favorite musicians.  ¡Gracias!	www.chaskimusic.com	Web site prepared by Dan Dickey, April 1997 Maintained by Adrienne Inglis updated 22 Feb 06 Copyright 1997-2006 Chaski