BARROQUEANA SUDAMERICANA No.2

Given the great response that the Barroqueana Venezolana concert series received from audiences and musicians, Efrain Oscher began a second series of concerts, this time combining elements of South American folk music with baroque forms and structures. This series was written between 2018 and 2020 for a soloist accompanied by strings and harpsichord or guitar. Barroqueana Sudamericana No. 2 was premiered in Germany by Efrain Oscher on flute and Jorge Paz on guitar and the ensemble Nuevo Mundo.
This piece for flute, strings and harpsichord portrays the music of Uruguay, Oscher's birthplace. Similar to the Barroqueanas Venezolanas, the tempo indications in these compositions refer to the folk music style or the baroque style on which the respective movement is based.
The designation Allegro Piazzollato in the first movement alludes to the Argentinian composer Astor Piazzolla and his personal tango composition style, which is as popular in Uruguay as it is in his home country. Here, elements of Piazzolla's music such as syncopated chords and melodies or his walking bass are mixed with baroque techniques such as the fugue.
In the second movement, Zamba Affettuosa, the tempo marking alludes to the Argentinian folk dance zamba, which is fundamentally different from the Brazilian samba. The designation Affettuoso, which means loving, tender, is an homage to Telemann's Flute Sonata in G major. Although the harmonies in this movement are more modern, the strings provide a complex, baroque-like counterpoint.
Milonga is a popular style of music that appears in some variations in both humorous and nostalgic folk songs and in dances performed on tango balls. The tempo marking of the third movement, Allegro Milonguero, is indicative of this style, as performed by Uruguayan singer Alfredo Zitarrosa. The opening uses the indecisive and dissonant entries of the strings over the ostinato flute pattern to create a playful atmosphere. The middle section, Poco Meno Mosso, evokes the nostalgic sounds of the pampas, and the final section uses the famous pattern used by Piazzolla in Libertango, dividing a duple meter into two groups of three and one group of two to add energy to the end of the piece.

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