Composed in June 2013, Raymi is a programmatic work in four movements. Elements such as polyphony, polyrhythm, and body percussion are fundamental pillars. From a single theme this work offers the listener a diverse world of colors and sensations that, however, does not move away from the autochthonous and traditional.
The general structure of the work is conceived in the following forms: "Allegro - Sonata", "Rondo and Coda", which allows to distinguish the following movements:
I) EL INCA - the Inca
II) DANZA DEL SOL - dance of the sun
III) DANZA DE LA LUNA Y RITUAL - dance of the moon and ritual
DETAILS OF THE WORK
Piccolo, 2 Flutes, 2 Oboes, English horn, 2 B-flat Clarinets, 2 Bassoons, Contrabassoon, 4 French horns, 3 B-flat Trumpets, 2 Trombones, Bass trombone, Tuba, Timpani, 4 Percussionists, String orchestra
I) EL INCA
The composer uses traditional harmony to recreate the sunrise on the majestic Inca land; the radiant sun rises majestically lighting the front of the working Indian. The main theme, which appears in the English horn at the beginning of the work, represents the Sun god Inti, while the brass use contemporary harmony to express another musical idea: the majesty of the Inca before his people.
II) DANZA DEL SOL
This movement is written in the form "Allegro - Sonata".
In the festivals of the Inti Raymi, it is traditional to dance accompanied by the rhythm of the Sanjuanito. The people worship the god Inti through an extremely masculine dance that the composer conceives within a harmonic context of vanguard through a marked polyrhythm in which the "ostinato" of the sanjuanito is present. Meanwhile, the main theme, in the winds, stands out as a strong warlike dance.
The tuba announces the arrival of the Shaman who directs the ceremony. The development of the movement is a dance that becomes ever more intense, majestic and dramatic. The dance reaches its climax at the recapitulation of the main theme, the dance of the Sun. The Shaman, now represented by the French horn, is reintroduced and announces the arrival of the women. The dance ends little by little as indigenous participants sit around the sacred circle.
III) DANZA DE LA LUNA Y RITUAL
A polyrhythmic ostinato of the ropes announces that the night has come. The atmosphere becomes calm and, with the subtle intonation of the cello and the French horn, appears the theme of the goddess Quilla (Moon goddess). The effect of “harmonics” on the saucers, interpreted with bowed strings, symbolizes the night, while the chords maintain a harmonic foundation so that the winds can intervene with variations of the main theme of this movement.
Abruptly appears the Shaman who invokes the gods to celebrate a ritual next to the town. To the war horns (horn and tuba) are added the people who cry to the gods, represented by the ropes and winds, and sing (literally) and hit the floor with the feet.
The development begins with solo flute and uses elements of the main theme. This culminates with the arrival of the sun god and the moon goddess, their themes now intertwined.
Its meaning is "Festival" in Kichwa language.
This last movement presents the form "Rondo" with a final Coda.
The party begins with a "Yumbo" rhythm. Various thematic variations in festive character gives an atmosphere of a great celebration. The ritual that is created in the sacred circle makes men and women chant the names of their gods: "Inti Raymi!" (Feast of the Sun) and "Quilla Raymi!" (Feast of the Moon) with rhythmic accompaniment (To the rhythm of the Yumbo) of their feet.
The party continues to make a brief recount of the previous themes leading to an energetic final coda led by the brass, where the theme of the sun god appears majestic and imposing until the orchestra joins the spirit of the people who with energy herald the gods with the shout: "Raymi ha!