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Digital sheet music: LEYENDAS I Year: composed in 2021
Genre:INSTRUMENTAL MUSIC ARGENTINE Duration: twenty-one minutes. Composer: DIEGO CACEFFO  Ensemble: STRING QUARTET, BANDONEON, GUITAR AND DOUBLE BASS. This product includes a file with the general score and seven files with the parts. 
Hello, I’m thankful to you for accepting my music. You are acquiring a piece of high artistic and cultural value.Argentina is a multicultural country, and it’s a constant, fascinating and inevitable work for the genuine artist to synthesize the rich sound-emotional environment that nurtured him and of which he is a part, in an artistic and personal language that helps to keep alive, current and renewed that legacy. LEYENDAS I is part of that work that i’ve been doing since years ago.LEYENDAS I:is a work in six movements commissioned by Rob Bangert and Helena Ruegg, two musicians who are doing a very important job of spreading of new music promoting and encouraging the appearance of new compositions. I used different characters form old argentine legends as triggers for the different emotional climates that i developed in the course of the work. The movements are:-Paraná Guazú: It is a heartfelt tribute to a river that is very important in my personal history as well as important in Argentine history and geography. The Paraná River flows into the Río de la Plata in the shape of a delta. All generations of my family has lived in some of the islands of that delta. My grandfather was a musician for the dances that were performed there. I based this movement on the Chamamé rhythm, characteristic of the folk music of the cultures influenced by this river and declared intangible cultural patrimony of humanity very recently. I chose a bandoneon solo, instrument whose sound was and still being a constant part of the everyday soundscape and which is a traditional instrument in many regions of Argentina. The fact that it is a solo brings an ideal intimate atmosphere to express deep things.-El corazón de Telésfora: Telésfora Castillo is the character of an old Argentine legend from the Santiagodel Estero province. The legend is about a woman who appeared at dances and danced alone without stopping all night long zambas, gatos, chacareras and escondidos (old traditional dances of the area). This movement is a rondó in which I put various emotional climates into play based on the rich and deep folkloric legacy of this area and imagining the moods of Telésfora during the dance. I have danced these dances in folkloric festivals and I know the depth and subtlety of the zamba and the great collective force that is unleashed in the chacarera.
-Telesita y el amor: La Telesita (that’s how folks refer to Telésfora) never knew love, or perhaps she always loved in silence. The beautiful melody of this short movement has perhaps all the nostalgia that a zamba can contain. It is on that rhythm, the zamba, that I based this composition.
 
-Danza en la Salamanca: Salamanca is the cave where the Zupay (devil) makes his meetings and finalizes his contracts by stealing souls. In these meetings gato is danced, an ancient dance on which this movement is based. When a musician plays his instrument too well, it is rumored in the town that he surely has made a pact with the Zupay in Salamanca.
 
-El Yasí, la luna y el río: The Yasí Yateré is a character from a legend of Guaraní origin (a great aboriginal nation originating from the Paraná river area, still in force in northeastern Argentina). It’s about a goblin who takes children who don’t nap, locks them in his cabin and erases their memory so that they lose their identity. Beautiful legend that highlights the importance of keeping cultural memory alive. Judging by the music of this movement, the Yasí is contemplating a beautiful full moon that is reflected brilliantly in the waters of an immense river that advances incessantly towards its final destination.
 
-Telésfora, locura y fuego final: Some people say she went mad and dancing she got too close to a campfire. Thus, her dress began to burn and she continued dancing until she was burned to death. Others say that after the dance she fell asleep near the campfire (she was homeless and very poor) and she burned herself while she slept. A beautiful fugitive ending, sustained by the deep force of a chacarera theme, configures the final point of the work. Excited to be able to share my music, I leave this work in your hands in a sincere attempt to add quality to your repertoire and contribute to the diffusion and enhancement of the culture of my region.