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A Sertaneja: String Orchestra Conductor Score

$7.00 USD
$7.00 USD
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A Sertaneja Cover Image
A Sertaneja: String Orchestra Conductor Score

A Sertaneja: String Orchestra Conductor Score

To Her, from the Hinterlands

By Francisca Chiquinha Gonzaga / arr. Dion Morales

Grade: 2

Item: 36-50255184
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Description
A Sertaneja: "To Her, from the Hinterlands," originally composed for voice and piano, musically paints a picture of Chiquinha's love of the hinterland --- the land behind the body of water --- Rio de Janeiro, Brazil. Through flowing slurs, dotted rhythms, 3/4 time in D minor, and the passing of melody between the strings, Dión Morales's level 2 arrangement celebrates the lapping waters around Rio de Janeiro and a graceful dance from Brazilian culture by one of its beloved composers, Chiquinha Gonzaga. Students will love playing A Sertaneja. (2:00)

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Additional Details
Series: LudwigMasters Developing Strings
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-887483-2
ISBN13: 978-1-63-887483-6
UPC: 735816214968
SKU: 36-50255184
Instrumentation: String Orchestra, Ensemble Works

More about this title

About the Composer: Fransisca Chiquinha Gonzaga

Chiquinha Gonzaga (1847-1935) was a pioneering Brazilian pianist, composer, and conductor who broke barriers in a male-dominated classical music world. Her prolific output spans salon pieces, operettas, and orchestral works that drew deeply from Brazilian musical traditions, particularly the rhythms and melodies of Rio de Janeiro's cultural landscape.

As both a performing musician and a composer, Gonzaga championed Brazilian music at home and abroad, earning recognition as one of the most significant figures in 19th-century Brazilian classical music. Her works remain central to the repertoire because they authentically reflect the voice of Brazilian culture while meeting the technical standards of European concert music.

Why we love this

Dión Morales's arrangement captures everything that makes Gonzaga's original vision sing: the gentle sway of 3/4 meter, the lyrical interplay between string sections, and the unmistakable character of Brazilian melody. Grade 2 students get to experience genuine cultural music rather than an approximation, and the piece's modest technical demands let them focus entirely on the phrasing and elegance that make it memorable.

What to expect

Water lapping against stone, light moving across a landscape, the gentle sway of traditional dance. The piece unfolds with a dreamy quality that never becomes saccharine, grounded by Gonzaga's compositional craftsmanship and the warm character of 3/4 time moving through D minor.

Who it's for

Grade 2 string orchestras ready to expand beyond European salon repertoire and explore authentic Brazilian composition. Conductors seeking culturally meaningful music that doesn't sacrifice melodic beauty or musical substance will find a mature, engaging work that students can grow into.

How to get the most out of it

  • Shape the flowing slurs with a continuous bow contact; these phrases should breathe like vocal lines rather than snap into distinct bows.
  • Balance the melody as it passes between violin sections and lower strings; each voice should have time to sing without drowning surrounding parts.
  • Keep the dotted rhythms relaxed and almost dance-like; excessive precision here works against the piece's graceful character.
  • Use the 2-minute duration to establish a single, unhurried tempo from the opening; resist the urge to rush even when orchestration thickens.

How to use it

Position this alongside other world music selections to celebrate Brazilian composers, or pair it with other Gonzaga arrangements to build a mini-retrospective of her salon works. Its moderate length (2:00) makes it ideal for a concert opening that sets an elegant, culturally expansive tone.

Skills your students will build

  • Phrasing long, connected melodic lines across multiple measures
  • Reading and executing flowing slurs with musical intention
  • Navigating 3/4 meter with confidence and swing
  • Balancing ensemble voices when melody migrates between sections
  • Responding to dotted rhythmic figures with style rather than mechanical precision

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