Roots | Gabrielle Liriano

Roots
For Full Orchestra

Composed by Gabrielle Liriano

2021

Performed by the Montclair State University Symphony Orchestra

At the Alexander Kasser Theater

Program Notes:

The origin idea for this piece comes from my desire to showcase Palo music in a classical orchestral context.

Palo is a Dominican sacred and folk music that I grew up listening and dancing to. It can be found through the island of the Dominican Republic. The drum and human voice are the principal instruments. Palo is played at religious ceremonies - usually coinciding with saint's days - as well as for secular parties and special occasions. Its roots are in the Congo region of central-west Africa, but it is mixed with European influences in the melodies. Palos are related to Dominican folk Catholicism, which includes a pantheon of deities/saints. Palos are usually associated with the black and mixed populations. They can be seen in different regions of Dominican Republic with variations.

Palo music is played on long drums termed palos. The word palos means sticks, and therefore all Dominican palos drums are instruments made from hollowed out logs. The head of the drum is made of cowhide and it is attached to the log portion with hoops and pegs in the Eastern region, or with nails in the Southwest. There is a master drum (palo mayor) which is the large, wide drum played with slimmer drums (alcahuetes) alongside: two in the East or three elsewhere. Palos are usually played with güiras, which are metal scrapers. They may also be played with maracas, or a little stick used to hit the master drum, called the catá.

Palos are associated with the Dominican brotherhoods called cofradías.

Originally, the brotherhoods were composed solely of males. As time progressed, females and family inheritance maintained the brotherhoods’ sanctity. Each brotherhood is devoted to a particular saint. Therefore, it is the responsibility of the brotherhood is to honor the saint with a festival. Historically, cofradías were established on principles similar to those of the Mediterranean guild-based societies and those founded by Africans that inhabited southern Spain. Through colonization and the slave trade, these traditions were brought to the Dominican Republic.

Palo music is generally played at festivals honoring saints (velaciones) or during other religious events. The configuration of instruments present depends on the region in which these events take place. Palo drums are played with the hands, held between the legs, and tied to the palero's waist by a rope. The three paleros each play a distinct beat on their palos, which ultimately blend together. While they play their drums, one of the paleros simultaneously sings verses of a song. The surrounding audience often invokes spirits of ancestors or saints, and it is not unusual to encounter participants becoming possessed at these events.

This piece is a celebration of my heritage and ancestry. By incorporating aspects of Palo music in a traditionally Euro-centric style of music I hope to expand the boundaries for what is possible in contemporary classical music as it reflects the eclectic collage of where I come from. I hope to specifically illuminate the underrepresented aspects of my identity in composition as it is those aspects that can create uniqueness and innovation in the long history and tradition classical music.

Performing my music is a rebellious act.

Centuries of composers have been misguided to dismiss the study of complex rhythm and groove as it is a subject associated with the music of Africa. Now with time and exhaustion of European principles we must look to the countries of Africa with reverence for our missing education on one of the vital ingredients of music.

I hope you enjoy the kaleidoscope of colors and weaved rhythms that come together to make this piece come alive!

This piece is dedicated to all the ancestors that came before me. May I honor their lives with music.