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Gabriela Lena Frank

Publisher: G. Schirmer

Elegía Andina (2000)
G Schirmer Inc
Sub Category
Chamber Orchestra
Year Composed
11 Minutes
Programme Note
Gabriela Lena Frank Elegía Andina (2000)
Composer note:
Elegía Andina for Orchestra (2000) is dedicated to my older brother, Marcos Gabriel Frank. As children of a multicultural marriage (our father being Lithuanian-Jewish and our mother being Chinese-Peruvian-Spanish), our early days were filled with Oriental stir-fry cuisine, Andean nursery songs, and frequent visits from our New York-bred Jewish cousins. As a young piano student, my repertoire included not only my own compositions that carried overtones from Peruvian folk music but also rags of Scott Joplin and minuets by the sons of Bach. It is probably inevitable then that as a composer and pianist today, I continue to thrive on multiculturalism. Elegía Andina (Andean Elegy) is one of my first written-down compositions to explore what it means to be of several ethnic persuasions, of several minds. It uses stylistic elements of Peruvian arca/ira zampoña panpipes (double-row panpipes, each row with its own tuning) to paint an elegiac picture of my questions. The flute part was particularly conceived with this in mind but was also inspired by the technical and musical mastery of Floyd Hebert, principal flutist of the Albany Symphony Orchestra. In addition, as already mentioned, I can think of none better to dedicate this work to than to "Babo," my big brother — for whom Perú still waits.

— Gabriela Lena Frank

In the Elegia Andina (2000) flute and clarinet suggest bird songs over clip-clopping temple blocks. The music becomes more agitated, chattering and chugging, and brasses lead a sort of danse macabre, but the ending is quiet, two flutes in happy duet.
Scott Cantrell, Dallas Morning News,20/07/2009
Thirteen-minutes long, Elegía Andina (Andean Elegy) evokes the young American's Peruvian heritage with folkish tunes, with ornamental fillips, played by one and two flutes and clarinet. Strings build up glowing chords, pulse and shimmer, punctuated by clip-clops of temple blocks. After an agitated section, with blasts of brass and booms of percussion, the music retires quietly. It's an attractive piece, and music director Miguel Harth-Bedoya coaxed a carefully gauged, affecting performance.
Scott Cantrell, Dallas Morning News,03/02/2008
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