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Pataruco

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Ricardo Lorenz

Ricardo Lorenz (trans. Travis Higa)


Subtitle: Concerto for Venezuelan Maracas


General Info

Year: 1999 / 2019
Duration: c. 15:00
Difficulty: (see Ratings for explanation)
Original Medium: Maracas and orchestra
Publisher: Lauren Keiser Music Publishing
Cost: Score and Parts – Rental   |   Score Only (print) - $110.00


Instrumentation

Full Score
Solo Venezuelan Maracas
Flute I-II
Oboe
English Horn
Bassoon
Contra-Bassoon
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
B-flat Soprano Saxophone
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone
C Trumpet I-II
Horn in F I-II
Bass Trombone
Euphonium
Tuba
String Bass
Harp
Timpani
Percussion, including:

  • Bongos
  • Crotales
  • Marimba
  • Vibraphone
  • Wood Block
  • Xylophone


Errata

None discovered thus far.


Program Notes

Pataruco was originally composed for percussionist Ed Harrison, one of the leading exponents of maracas technique in the U.S. The solo part showcases Harrison's specialty, the style of maraca playing found only in the folk music of Venezuela and Colombia. In their original context, the virtuosic gestures performed by the maracas are never notated. They are transmitted aurally. Devising a system to notate this performance practice presents a serious challenge for both composer and performer: it can become an obstacle rather than an aid to express the subtle nuances of this seemingly arcane performance style.

After consulting with Ed Harrison, and after studying Javier Álvarez's Temazcal, the only other score I was familiar with that incorporated this specific performance practice, I decided to approach the maraca part by notating the resulting rhythmic patterns rather than notating the intricate mechanics that must take place in order to create the desired effects (as in the case of Álvarez's Temazcal). Therefore, the solo part is meant for percussionists experienced in this particular technique, and it will make sense only to such percussionists. Dynamic markings in the maraca part do not indicate different volume levels in the traditional sense. Instead, they indicate different intensity of articulation in addition to different orientations of the maracas in space. The maracas should never be amplified.

Motivated in part by his desire to perform Pataruco, Venezuelan maraca virtuoso Manuel Alejandro Rangel conceived and published in 2017 a groundbreaking method of playing and notation maracas titled Cinco Movimientos son la Clave. The wind symphony version of Pataruco includes both Lorenz's original solo part as well as Rangel's edition that relies on his own method.

- Program Note by transcriber


Commercial Discography

None discovered thus far.


State Ratings

None discovered thus far.


Performances

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Works for Winds by this Composer


Resources