Lamento Quichua

Performance Time: 1:30

Lento ( e = 104 )

by Luis Gianneo
arranged by Matthew Naughtin

Violin 1

b
& b b 42

- .
p

- .

- .

- n

Violin 2

b
& b b 42

- .
p

- n .

- .

n F

P

B b b b 42 j j

Viola

? b 2
bb 4

Cello

Vla.

Vc.

Bass

b
&bb

b
&bb

B bbb
? b
bb

? b
bb

Vln. 2

Vla.

Vc.

Bass

b
& b b .
b
& b b .

- .

B bbb
? b
bb
? b
bb

n .
p

- .
p

15
Vln. 1

Vln. 2

con vib. (like drumbeats)

pizz.

Vln. 1

pizz. con vib. (like drumbeats)

? b 2
bb 4
p

Bass

# -

b.

- .

- .

- .

cresc.

cresc.

cresc.

cresc.

n.
F

j
# n

j
# n.
F

j
n b

- n .

- .

- n .

- .

cresc.

- .

- .

- - -

dim.

dim.

.
-

n - -
-

dim.

dim.

Copyright 2004 by Matthew Naughtin

dim.

Lamento Quichua - P. 2
22
Vln. 1

Vln. 2

Vla.

Vc.

Bass

bb

& b # p
b
& b b
n p
B bbb
p
? b
bb

n - -

- -

- n n. .
F

cresc.

n .
- . - - - . -
cresc.
F
- .. # n
n.
J
F
cresc.

arco

.
.

>
>

j

>
>

n
n

cresc.

arco

? b
bb
p

- -- n n.

cresc.

Freely, quasi cadenza

# n
n ,
n
bb b R
#

&

n # n
5
f ad lib.
b

& b b n #

B bbb #

nn

? b
bb

30
Vln. 1

Vln. 2

Vla.

Vc.

Bass

? b n
bb

35

Vln. 1

Vln. 2

Vla.

Vc.

Bass

Slowly

b
& b b n
p
b
&bb
p
B bbb #
p
? b
b b n
p
? b bb
p

# f
n f
# f
# # f
# f

U
n U
U
# U
n
U
-

,
,

- n. n .

F espr.
- n b. # .

F espr.
. # n b .
&
F espr.
pizz. (L. H.)
. n r .

n + + +
arco
F

pizz.

.
F

rit.

42

ad lib.

U
>

43 n # - - n - # - - n j
42
P
f
ad lib.
,
U
>
34
2 U

#
n

n - # - - - n
F
,
U
U
U

43
42

Tempo I ( e = 96 )

43

43

- . - #

- . -

n
+r + +
n

42

n n n
ad lib.

43

34 J
f

. # n .
b 43 j
f+
+r + +
+r + +
j
. n . n
n

3
4
J
f
. 43 j
.

42

42

B 42

42

42

Lamento Quichua - P. 3
42
Vln. 1

A tempo

b
& b b 42

ad lib.

Vln. 2

Vla.

Vc.

Bass

b
& b b 42
p
.
B b b b 42 # n
p
pizz. (L. H.)
. r
? b 2
b b 4 + + +
arco
p
? b 2
b b 4 .
p

..
>>

b
& b b .

U
2
4

Tempo I ( e = 96 )

2
4

43 j

2
4

+r + +
+
j
3
4
J

2
4

43 j

2
4

49
Vln. 1

n n
3 n
4
P
U
3 j
4

- .

- n

pizz.
j

p

p

- .
p

- .
p

- n

arco

pizz.

pizz.

b.

- .

- .

cresc.

Vln. 2

b
& b b .

- .

.
cresc.

Vla.

B bbb

cresc.

Vc.

? b
bb

cresc.
Bass

? b
bb

# -

b
j
j

& b b .
# n.
n b.

F
B bbb

F

n -

cresc.

55
Vln. 1

b
&bb

n.

F
Vln. 2

Vla.

Vc.

? b
bb
F

Bass

? b
bb
F

j
# n.

b
b

Lamento Quichua - P. 4
61
Vln. 1

b
&bb

n
p

Vln. 2

b
&bb

- n -

B bbb

>

Vla.

Vc.

Bass

? b
bb

? b
bb

68

Vln. 1

b
&bb

Vln. 2

b
&bb

Vla.

B bbb

n >

#
- n -

n >
P

>
P

pizz.

pizz.

? b
bb

Bass

? b
bb

F
Vc.

(solo) espr.

niente
arco

>
P
arco

>
P

j
U

U
j

pizz.

pizz.

Luis Gianneo (1897-1968) was born in Buenos Aires into a musical family of Italian immigrants. He began his musical studies at an early
age under the leading teachers of the time and formed a violin and piano duo with his brother Miguel, performing many of his own first
chamber and piano compositions. In 1921 he married the pianist and singer Josefina Ghidoni, and in 1923 moved with his family to the
northern city of San Miguel de Tucumn, working as a teacher at the Tucumn Instituto Musical, of which he later became director. For
twenty years he continued in Tucumn as a teacher, pianist and orchestral conductor, active with his wife in stimulating local musical life.
At the beginning of 1939, some months before the outbreak of war, Gianneo returned to Buenos Aires, where he continued teaching and
composing until his death in 1968.
Quichua Indians were the dominant people of the ancient Empire of Peru, and are still the largest homogeneous body of Indians in
existence, constituting the bulk of the rural population of Peru and Ecuador. The name--written also Qquichua, Quechua, Kechua--most
probably signifies those who "speak correctly." The foundations of Quichua history are hidden in mythic traditions, but the sequence of
events may be traced with fair degree of probability back to about the year 1000. According to tradition their culture hero appeared first
at Tiahuanuco (Lake Titicaca); he brought about order upon earth and apportioned its sovereignty among four rulers. Their great god was
the Sun, from whom the Incas themselves claimed descent, although the white-skinned and bearded culture hero Vriacocha ("Sea Foam"),
apparently a personification of the dawn, was regarded with almost equal veneration. The emperor was the great high priest of the nation.
The ceremonial forms were elaborate and magnificent and without the bloody rites so frequent in other native cultures. The great Temple
of the Sun in Cuzco contained a massive golden image of the sun, and the walls and roof were covered with plates of solid gold, which the
unfortunate Atahualja delivered in vain as a ransom to the treacherous conquistador Pizarro. It is in architecture and engineering that the
Quichua have left their most enduring monument. Their temples, fortresses, canals, and stupendous mountain roads are still the wonder of
every traveler; and the great imperial highway stretching along the Andes for a thousand miles from Cuzco to Quito was the equal of any
of the famous Roman roads, and is still in good preservation.