Harawi

Harawi can mean:

Harawi (genre)

Harawi, in Bolivia jarawi or arawi (Quechua for poem, poetry, hispanicized spellings haravi, jaravi), is an ancient traditional genre of Andean Music and also indigenous lyric poetry. Harawi was widespread in the Inca Empire and now is especially common in countries that were part of it: Peru, Bolivia, Ecuador, partially Chile and Argentina. Typically, harawi is a moody, soulful slow and melodic song or tune played on the quena (flute). The words of harawi speak of love (often unrequited), plight of ordinary peasant, privations of orphans, etc. Melodies are mainly in minor pentatonic scale.

History

First recorded harawi lyrics related to the Inca era. Some of the extant songs may also have the same age. Later harawi became the basis for mestizo genre yaravi.

"Harawi language"

In Andean villages, there is still a tradition: a guy, in love with a girl, expresses his feelings by playing one of many well-known harawis on the flute not far from her house . She recognizes the melody and remembers words of this song to understand what kind of feelings does a guy experience.

Harawi (Messiaen)

Harawi is a song cycle for soprano and piano, written by Olivier Messiaen in 1945.

Harawi is the first part of Messiaen's 'Tristan Trilogy', preceding the Turangalîla Symphony and the Cinq Rechants (both completed in 1948). The cycle takes its name from the 'Harawi' or 'Yaravi', a love song genre of Andean music which often ends with the death of the two lovers, thus providing a vehicle from the composer's exploration of the theme of love-death central to the myth of Tristan and Isolde. These themes are explicitly stated in the work's subtitle: "Chant d'amour et de mort" ("Song of love and death"). The ideas of love-death may have had a deeper personal significance to Messiaen, whose first wife, Claire Delbos had begun to suffer from mental illness in the years preceding Harawi's composition. Though the work bears no explicit dedication to Delbos, it is impossible to consider that her condition cannot have been at the forefront of the composer's mind while working on the cycle.