Las Vacas (Eijkhout, Victor)

Contents

Performances

Recordings

MP3 file (audio)
VictorEijkhout (2011/9/10)

Performers Victor Eijkhout, recorders
Publisher Info. Victor Eijkhout
Copyright
Misc. Notes These file(s) are part of the Werner Icking Music Collection, and are also included in the Mondrup Recorder Collection.
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MP3 file (audio)
Papalin (2012/10/1)

Performer Pages Papalin (recorder ensemble)
Publisher Info. Papalin
Copyright
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Sheet Music

Scores and Parts

PDF typeset by Unknown
VictorEijkhout (2011/9/10)

Publisher. Info. Victor Eijkhout
Copyright
Misc. Notes These file(s) are part of the Werner Icking Music Collection, and are also included in the Mondrup Recorder Collection.
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PMLP243475-vacas-score.pdf

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VictorEijkhout (2011/9/10)

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VictorEijkhout (2011/9/10)

PDF typeset by Unknown
VictorEijkhout (2011/9/10)

PDF typeset by Unknown
VictorEijkhout (2011/9/10)

PDF typeset by Unknown
VictorEijkhout (2011/9/10)

PDF typeset by Unknown
VictorEijkhout (2011/9/10)

PDF typeset by Unknown
VictorEijkhout (2011/9/10)

PDF typeset by Unknown
VictorEijkhout (2011/9/10)

Publisher. Info. Victor Eijkhout
Copyright
Misc. Notes These file(s) are part of the Werner Icking Music Collection, and are also included in the Mondrup Recorder Collection.
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PMLP243475-altoone.pdf
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General Information

Work Title Las Vacas
Alternative. Title
Composer Eijkhout, Victor
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation 8 recorders: AATTTBBGb

Misc. Comments

"Las Vacas" is a set of variations, based loosely on the renaissance ground bass by the same name. The opening states the descending bass line, starting on A and finally ending on D, but after a few variations an F appears under the opening A, changing the tonality. Yet a few variations later, a B-flat is put under the F and A, leading to a chord that is anachronistic by several centuries. The final variations turn the bassline upside down, going from D up to A.

While the chord structure of this piece is sometimes far removed from the renaissance idiom, the variations end almost invariably on open fifths, maintaining the archaic feel.