Also a younger generation of choro performers has been inspired by the experiments of RadamГ©s Gnattali, an example is the quartet ensemble, Quatro A Zero. RadamГ©s Gnattali's influence as a renewer of the choro genre cannot be overestimated - his work as a composer, pianist, arranger and conductor had a profound effect on the conception of choro with performers like Jacob do Bandolim and later the Camerata Carioca featuring stellar instrumentalists like Joel Nasciemento, Mauricio Carrilho, Henrique Cazes and Raphael Rabello a.o. RadamГ©s Gnattali's ensemble was considered to be an experimental unit expanding the sound of the traditional Regional, the music performed also expanded the boundaries of the classic choro composition by incorporating other influences from various sources, erudite as well as popular forms including jazz harmony. Less often the piano or the accordion has been used as solo voices in the traditional choro Regional,however, notable exceptions being Grupo Chiquinha Gonzaga featuring the majestrina at the piano - or, from a later period, the RadamГ©s Gnattali Sexteto featuring two pianos, accordion and electric guitar as alternating solo voices. The young flutists in this talented group wore matching T-shirts and red shoes and were impressive with their energy, musicality, and enthusiasm for the challenging music they were playing.Traditionally choro performance has been closely related with the Regional, an ensemble using acoustic instruments like violГЈo (6 & 7 cordas), cavaquinho, pandeiro for accompaniment and bandolim or reed (flute, clarinet or saxophone) playing the melody. 41, three movements of Seven Southern Sketches by Sonny Burnette, and the second movement of Benjamin BooneвЂ™s VictoriaвЂ™s Secret Gift. Walters, Ricky LombardoвЂ™s arrangement of Carole Bayer Sager and David FosterвЂ™s вЂњThe Prayer,вЂќ two movements from Salvador BrotonsвЂ™ Flute Suite, Op. Its program included Christopher CaliendoвЂ™s вЂњLa Milonga,вЂќ Scenes from the West by Harold L. The second group to perform was the Orange County School of the Arts Flute Ensemble Kaleidoscope! Colors of the West Coast with conductor, Janelle Barrera. Next were Peter SenchukвЂ™s вЂњJazz ConcertinoвЂќ with soloist Ellen Burr and his arrangement of David Clayton-ThomasвЂ™s вЂњSpinning WheelвЂќ with soloist Ali Ryerson. Its included вЂњFor EllaвЂќ by Peter Senchuk-a jazz reimagining of BeethovenвЂ™s вЂњFГјr EliseвЂќ-and the world premiere of Sonata of Native American Dances: Music from the Four Corners, an arrangement of traditional songs by Emily Senchuk, with soloist Joanne Lazzaro. The first group to perform on SaturdayвЂ™s Flute Choir Lobby Concert was the Los Angeles Flute Orchestra, conducted by Peter Senchuk. The program ended with вЂњApanhei-te CavaquinhoвЂќ by Nazareth from a collection of Brazilian music. It was obvious that the group was enjoying the music. вЂњChiveyвЂќ by Nicole Chamberlain required a number of extended techniques and beatbox techniques, which were performed energetically. 66вЂќ by Debussy followed by RozmanвЂ™ Little Suite of Mythological Beings, in which you could imagine the creatures scampering about. Conducted by Carmen Lemoine, the program opened with вЂњArabesque No. The first group to perform on Fridays concert was Wichita State UniversityвЂ™s FluteShox: a well-prepared group of high school and college students playing an exciting and challenging program. The program ended with my 'Postcards from Pikes Peak,' which had been commissioned by the Pike's Peak Flute Choir in Colorado Springs. 107' by Cecil Effinger, which had been commissioned by Amy Rice-Young for her then-new publishing company ALRY Effinger had been one of Rice-Young's professors.

Also on the program was 'Bourree' by J.S.

It opened with the theme song for the television show 'Wild, Wild West' by Richard Markowitz, bringing back memories of both the show and its song. The second group to perform was the Rocky Mountain Flute Choir (formerly ALRY Flute Choir), an adult ensemble conducted by Shawana Quirk.

Apanhei-te cavaquinho flute