![]() ^ Anonymous, "Silvestre Revueltas: Sensemayá (score)".strings: violins (1st and 2nd), violas, violoncellos and basses.timpani and percussion (3 players): xylophone, claves, maracas, raspador, gourd, small Indian drum, bass drum, 2 tom-toms (high and low), cymbals, 2 gongs (large and small), a glockenspiel.brasses: 4 horns in F, 4 trumpets in C, 3 trombones and a tuba.woodwinds: 4 flutes (2 doubling piccolos), 2 oboes, an English horn, a piccolo clarinet in E-flat, 2 soprano clarinets in B-flat, a bass clarinet, 3 bassoons, a contrabassoon.The score of the second version of Revueltas's composition calls for a large orchestra consisting of: ![]() The coda feels like the final dropping of a knife. The rhythm becomes even more obsessive, and finally the music reaches a massive climax during which both themes are played, overlapping, sometimes in part and sometimes in whole, by the entire orchestra in what sounds like a musical riot. This recapitulation brings with it a mood of foreboding. The brass take up this new theme and bring it to a climax, after which the music returns to its opening texture. Eventually the horns blast as loudly as they can, with obsessive trills on the low clarinets far underneath, and the strings enter with the slashing second theme. Other brass join in to play the theme, growing louder and more emphatic, but rigorously yoked to the underlying rhythm. The tuba then enters playing the first of this work's two major themes, a muscular, ominous motif. Soon a solo bassoon enters playing an eerie but rhythmic ostinato bassline. The work begins with a slow trill in the bass clarinet as the percussion plays the sinuous, syncopated rhythm that drives the work. As one advertising blurb for the score describes it: In 1938, he expanded it into a full-scale orchestral work for 27 wind instruments (woodwinds and brass), 14 percussion instruments, and strings. Revueltas first composed Sensemayá in Mexico City in 1937, in a version for small orchestra. This chant "mayombe, bombe mayombé", is an example of Guillén's use of repetition, derived from an actual ceremony. One of the main motives in Sensemayá is based on this word mayombero. In Sensemayá, the mayombero leads a ritual which offers the sacrifice of a snake to a god. He is knowledgeable in the area of herbal medicine, as well as being the leader of rituals. In this poem we meet an adept known as the mayombero. African religions were transmitted from generation to generation. The poem "Sensemayá" is based on Afro-Cuban religious cults, preserved in the cabildos, self-organized social clubs for the African slaves. Canto para matar una culebra :¡Mayombe-bombe-mayombé! :¡Mayombe-bombe-mayombé! :¡Mayombe-bombe-mayombé! :La culebra tiene los ojos de vidrio :la culebra viene y se enreda en un palo :Con sus ojos de vidrio, en un palo :Con sus ojos de vidrio :La culebra camina sin patas :La culebra se esconde en la yerba :Caminando se esconde en la yerba :Caminando sin patas :¡Mayombe-bombe-mayombe! :¡Mayombe-bombe-mayombé! :¡Mayombe-bombe-mayombé!
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