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Electronic Theses, Treatises and Dissertations The Graduate School
2006 Roberto Sierra's Missa Latina: Musical Analysis and Historical Perpectives Jose Rivera
Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
ROBERTO SIERRA’S MISSA LATINA: MUSICAL ANALYSIS
AND HISTORICAL PERPECTIVES
By
JOSE RIVERA
A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy
Degree Awarded: Summer Semester, 2006
Copyright © 2006 Jose Rivera All Rights Reserved
To my lovely wife Mabel, and children Carla and Cristian for their unconditional love and support.
ii
ACKNOWLEDGEMENTS
This work has been possible with the collaboration, inspiration and
encouragement of many individuals. The author wishes to thank advisors Dr.
Timothy Hoekman and Dr. Kevin Fenton for their guidance and encouragement
throughout my graduate education and in the writing of this document. Dr. Judy
Bowers, has shepherd me throughout my graduate degrees. She is a Master
Teacher whom I deeply admire and respect. Thank you for sharing your passion for teaching music. Dr. Andre Thomas been a constant source of inspiration and
light throughout my college music education. Thank you for always reminding
your students to aim for musical excellence from their mind, heart, and soul.
It is with deepest gratitude that the author wishes to acknowledge David
Murray, Subito Music Publishing, and composer Roberto Sierra for granting permission to reprint choral music excerpts discussed in this document. I would
also like to thank Leonard Slatkin, Norman Scribner, Joseph Holt, and the staff of
the Choral Arts Society of Washington for allowing me to attend their rehearsals.
I am indebted to Anna Ruth Garrison, and Rachael Dumas for their
editing expertise. I could not have finished this document without their support
and guidance. I would especially like to acknowledge Dr. Luis Olivieri, Donald
Thomspon, Dr. Robert Smith, and Dr. Dale Olsen for their encouragement.
Finally, I would like to thank composer Roberto Sierra for his support and
generosity throughout this study.
iii TABLE OF CONTENTS
List of Figures ...………………………………………..……………………………. vi List of Tables…….....…………………………………………………………………..vii Abstract ………………………………………………………………………………..viii
Chapter
1. INTRODUCTION…..………………………………………………………..…1
2. HISTORICAL PRECEDENTS…………………………………………………5
Development of the Choral Music Tradition in Puerto Rico.………5 Early Development‐The Sacred Background………………………....7 20th Century Choral Music of Puerto Rico …….…………………….18
3. ROBERTO SIERRA: INTRODUCTION TO HIS LIFE AND MUSIC…………………………………………………………………...29
Early years and Music Education…………………………………….37 Compositional Style and Output.………… …………………...…….33 Choral Works…………………………………………………………...38
4. ANALYTICAL NOTATIONS ON SIERRA’S MISSA LATINA
Background.…………………………………………………………...…47 Premiere and Reception..…………………………...... 49 Stylistic Considerations…………………………………………………52 Musical Analysis: Introitus .…………………………..………………..55 Musical Analysis: Kyrie ………………...…………………...... 60 Musical Analysis: Gloria …………………………...... 64 Musical Analysis: Credo ………………………………...... 77 Musical Analysis: Offertorium ……………………………...... 89 Musical Analysis Sanctus: ……………..…………………...... 93 Musical Analysis: Agnus Dei………………………………………… ..99
5. SUMMARY AND CONCLUSIONS………………………………………..105
iv
APPENDIX A: MISSA LATINAʹS TEXT……………………………………….…..111
APPENDIX B: SIERRA’S LIST OF WORKS…………………………………..…...117
APPENDIX C: SELECTED DISCOGRAPHY……………………………………...123
APPENDIX D: COPYRIGHT PERMISSION…………...………………………….148
REFERENCES….……………………...………………………………………………126
BIOGRAPHICAL SKETCH…………………………………………………...... 132
v LIST OF FIGURES
Figure Page 3.1 Cantos Populares. Canto Matutino……………………………...... 39 3.2 Cantos Populares. Nocturno. Superimposed rhythmic patterns…. 40 3.3 Guakia Baba. Tresillo figure cyclical patterns juxtaposition……… 43 3.4 Lux Aeterna. Canonic rhythmic passages………………………….. 46 4.1 Da pacem domine original chant in D Phrygian ………………….. 56 4.2 Introit. Da pacem domine in D Phrygian ………………………... 56 4.3 Introitus. Superimposed Gloria patri and Laetatus sum texts …… 58 4.4 Introitus Coda. Introduction of the tresillo rhythmic figure …... 60 4.5 Kyrie. Introduction (Octotonic)…………………………………… 61 4.6 Kyrie. Introduction of the tresillo motive ………………………. 62 4.7 Christe eleison. Tresillo and quintillo rhythmic motives ……….. 63 4.8 Gloria in excelsis. Tresillo used as a meter……………………….. 67 4.9 Baritone incipit Laudamus te’s montuno section ...... 68 4.10 Gloria. Glorificamus te ...... 69 4.11 Gloria. Domine Deus final phrase ………………………………... 72 4.12 Gloria. Qui sedes a deteram Patris ……………………………...... 73 4.13 Gloria. In Gloria dei Patris. Subject. Fugato section……………… 75 4.14 Gloria. Fugato section. Subject inverted and transposed ………. 76 4.15 Gloria. Return of the A section ……………………………………. 77 4.16 Credo. Credo principal motives …………………………………… 79 4.17 Credo. In unum Dominum motive ………………………………... 80 4.18 Credo. Et incarnatus est……………………...……………………... 83 4.19 Credo. Et resurrexit passage word painting ……………………... 85 4.20 Credo. Et ascendit in caelum ……………………………………… 86 4.21 Credo. Textural variation to depict many churches and many faiths 88 4.22 Offertory. Orchestra prelude ……………………………………….. 90 4.23 Offertorium. Rogate Jerusalem (Baritone solo) …………………… 90 4.24 Offertory. Depiction of Sion ………………………………………… 91 4.25 Offertory. Cross rhythms ……………………………………………. 92 4.26 Santus. Opening measures. Polyrhythms and mixed meters …... 94 4.27 Sanctus. Pleni sunt caeli motive. Cuban son progression………. 95 4.28 Sanctus. Pleni sunt caeli motive …………………………………… 96 4.29 Sanctus. Benedictus. Choir and Soloists ………………………….. 97 4.30 Sanctus. Return of principal motive ………………………………. 98 4.31 Agnus Dei. Textural density illustration on peccata mundiʺ……… 101 4.32 Agnus dei. Pacem relinquo vobis, a capella passage ……………... 102 4.33 Agnus Dei. Alleluia section. Call and response …………………... 103
vi LIST OF TABLES
Table Page
Table 4.1. Movement 1 (Introitus). Formal Structure………………………….. 59 Table 4.2. Movement 2 (Kyrie). Formal Structure ……………………………... 64 Table 4.3. Movement 3. (Gloria) Formal Structure………………………………65 Table 4.4. Movement 4 (Credo) Formal structure ………………………………..82 Table 4.5. Movement 5 (Offertorium) Formal structure…………………………93 Table 4.6. Movement 6 (Sanctus) Formal structure……………………………...99 Table 4.7. Movement 7 (Agnus Dei) Formal structure………………………….104
vii ABSTRACT
This dissertation presents an examination of Roberto Sierra’s Missa Latina
(2003‐2005). Missa Latina was co‐commissioned and premiered on February 2,
2006 by the National Symphony Orchestra and the Washington Choral Arts
Society under the direction of Leonard Slatkin. This seventy‐five minute work for
soprano and baritone soloists, choir and full modern orchestra received critical acclaim and has been referred to as a modern masterwork.
Roberto Sierra’s choral music is considered through historical perspectives
and musical analysis. Historical perspectives include a biography of Sierra which
describes his musical output and focuses on his choral music, particularly
Sierra’s use of Caribbean rhythmic elements and contemporary idioms rooted in
the fabric of his music. The analysis of the Missa Latina also examines the
unifying compositional elements. In addition, this study examines the Puerto
Rican choral music tradition. It is hoped that this comprehensive overview of the
Missa Latina will provide understanding of the structure of this work and serve
as a resource for its performance.
viii CHAPTER 1
INTRODUCTION
The modern era of Puerto Rican choral music originated in the late 19th century. Since then, political and cultural events have set the stage for the emergence of native composers who have made significant contributions to the island s wealth of choral music. A handful of these composers have transcended their geographical barriers to become recognized by a broader international audience. Among the most outstanding and prolific of these composers is
Roberto Sierra.
Today, Roberto Sierra (b. 1953) is considered one of Latin America’s most active contemporary composers. His output includes symphony, concerto, oratorio, mass, chamber, choral, song cycle, chamber opera, and instrumental pieces. A number of his works have been commissioned and premiered by various national and international orchestras and are becoming increasingly recognized as standard repertoire. In 2003, Roberto Sierra was awarded the prestigious Award in Music by the American Academy of Arts and Letters.
Additionally, Sierra became the first Puerto Rican composer nominated for a
Grammy Award in the classical category in 1999.1
In recent years, Sierra has produced a significant body of instrumental works. Some of the most recently performed include Sinfonia #3 ʺSalsaʺ, premiered by the Milwaukee Symphony Orchestra, Concerto for Saxophone and
Orchestra, premiered by the Indianapolis Symphony Orchestra, and a Double
Concerto for Violin, Viola, and Orchestra, co‐commissioned by the Pittsburg and
Philadelphia Symphony Orchestras. Sierra s choral music includes Cantos
1 http://www.prpop.org/biografias/r_bios/roberto_sierra.shtml 1
Populares, for acapella choir (ca. 9 ); Lux Aeterna, for SATB chorus (ca. 5 ); Guakia
Baba; for a cappella choir (ca. 5 ); and Idilio, for SATB chorus and orchestra (ca. 7 ).
One of Sierra s most recently performed extended choral works is his mass, Missa Latina for Soprano, Baritone, Chorus, and Orchestra (ca. 71 ).
Leonard Slatkin asked Sierra to write a large choral score to help the orchestra celebrate the anniversary of the National Symphony Orchestra. The Choral Arts
Society of Washington co‐commissioned Sierra to write a work to commemorate the 75th season of the National Symphony Orchestra and the 40th anniversary of the Choral Arts Society of Washington. This commission resulted in what Slatkin described as, ʺOne of the masterpieces of our times.ʺ2 T. L. Ponick describes this
mass significance to choral literature in an article from the Washington Times:
ʺ[...] the most significant symphonic premiere in the District since the late Benjamin Britten s stunning War Requiem was first performed in the still‐unfinished Washington National Cathedral in the late 1960s [...]ʺ 3 Purpose
The focus of this study is three‐fold. First, it will provide an additional
scholarly resource devoted to the life, musical output, and achievements of
Roberto Sierra. Second, the study will provide a detailed analysis of Roberto
Sierra s choral work, Missa Latina. Third, the study will provide a historical
overview of the choral music tradition of Puerto Rico, identifying some of the
most significant contemporary choral composers. The following research
questions guided this study:
2 http://www.subitomusic.com/thecomposer_news.htm 3 Tim Page, "The Joyful Noise of Missa Latina." The Washington Post (February 3, 2006) C1-4. 2
1. What is the extent of Roberto Sierra s musical contribution?
2. What are the modern compositional techniques and Latin musical elements used throughout Missa Latina? How do they unify this work?
3. What were the political and cultural events that promoted the development of choral music tradition in Puerto Rico.
Delimitations
Investigations led by Ernesto Rivera Alonzo (2002)4, James Ball (1992)5,
and Roberto J. Gonzalez (1983)6 reflect a general analysis of selected instrumental
works by Roberto Sierra. Although there is necessity for further study of Sierra s
orchestral and unaccompanied choral works, this study only provides a
descriptive analysis of Sierra s Missa Latina, a large‐scale work for Soprano and
Baritone soloists, chorus, and orchestra.
Need for the Study
In recent years, a small yet growing body of scholarship related to the
instrumental music of Puerto Rican composers has begun to emerge. This is not
the case in the choral counterpart. An extensive investigation of studies
regarding the choral music of native Puerto Rican composers illustrates that
scholarly resources on choral works by significant Puerto Rican composers are
primarily limited to bibliographical studies, historical publications, or critical
4 Ernesto Alonso Rivera, “The String Quartet in Puerto Rico: Repertory and Organizations” DAI (Catholic University of America), 2002, p.196‐204. 5 James Ball, “A Conductor’s Guide to Selected Contemporary American Orchestral Compositions” DAI (University of Missouri‐Kansas City), 1992, p.156‐172. 6 Roberto J. Gonzalez, “Selected Orchestral Works by Puerto Rican Composers Born Between 1945 and 1956” DAI (Ball State University), 1983, p.61‐69. 3
commentaries. In addition, published analytical and theoretical scholarship
regarding the choral music of Puerto Rican composers is not available.
Methodology
Primary sources about the life and choral works of Roberto Sierra in this
dissertation will include music, analysis of music, personal interviews with the composer, broadcast interviews, a post‐performance interview session, reviews of performances, conversations over the phone, and e‐mails to and from the composer. Secondary sources will include: textbooks, encyclopedias, dissertations, theses, articles, periodicals, and internet websites.
Organization of the Study
This document is composed of five chapters. After the introduction,
Chapter 2 offers a historical perspective of the origins and development of the choral music tradition of Puerto Rico from the 19th century to the present.
Chapter 3 includes a review of the musical influences that shaped Roberto
Sierra s musical style, his biographical information, and an overview of Sierra s musical output. Chapter 4 provides background information surrounding the
Missa Latinaʹs premiere and reception, followed by an in‐depth musical analysis of each of the movements of the work. Chapter 5 summarizes the findings and offers concluding remarks regarding the analysis. The Appendices include the complete text of Missa Latina (with English translations written by the composer),
a selected list of works and a discography.
4
CHAPTER 2
HISTORICAL PRECEDENTS
Development of the Choral Music Tradition in Puerto Rico
The development of choral music in Puerto Rico is considered a contemporary phenomenon of the 19th century.7 Its origins, however, have been traced to traditions stemming from European sacred music brought to Puerto
Rico by the Spanish in the 18th century. Since then, both native and foreign composers have made significant contributions to the island s wealth of choral literature. Such growth has been attributed to the various significant socio‐ economic and political events that are reflected in the unique flavor of Puerto
Rican choral literature.
Several researchers have reviewed the literature in an attempt to trace the origins and development of Puerto Rico’s choral music.8 Composer and musicologist Hector Campos Parsi recorded the history of Puerto Rican music in a volume of the Gran Enciclopedia de Puerto Rico (1976). Campos Parsi included a brief summary of the influences of indigenous people called tainos, colonialism, and African music tradition on the development of the island’s culture and national musical language.
He provided an overall account of the musical history in the 19th and
20th centuries. Furthermore, Parsi included the musical contributions of all
7 Luis Olivieri, “A Short History of Choral Music in Puerto Rico,” in International Choral Bulletin 20/2, (2000), p. 24. 8 Héctor Campos Parsi,”La Gran Enciclopedia de Puerto Rico, 7. Madrid: Ediciones R. (1976): 240‐248. Also in Daniel Mendoza de Arce’s , “Domingo Delgado Gomez (1805‐56): Puerto Rican master composer,” in Latin American Music Review, 16/2 (1995): 16; and in Olivieri’s, “A short history of choral music in Puerto Ricoʺ. Also in Donald Thompson and Annie Thompson, Music in Puerto Rico from the Age of Columbus to Modern Times: An Annotative Bibliography, Metuchen, NJ: Scarecrow Press, (1991).
5
native and non‐native composers and musicians. His book is one of the few
sources that include the history of church and university choral ensembles. The
last chapter is dedicated to composers who established a significant musical
legacy in the 20th century, including Pablo Casals.
A second researcher, Daniel Mendoza de Arce (1989), traced a chronology of the Spanish succentors who served at the San Juan Cathedral from 1749 to
1857.9 Succentors were the music directors of the time. In this review, Mendoza de
Arce provided detailed historical references of the church’s appointed bishops, organization, and music personnel. He also provided valuable information regarding the musical contributions that important figures such as Domingo
Delgado made to sacred music.
In addition, Luis Olivieri (2000) conducted a thorough historical review
that provided a condensed version of the history, current conditions, and future
challenges of choral music in Puerto Rico.10 This elaborate review was written
with several purposes. First, the author traced the choral tradition of the island to
church history and discussed the church s influences on the development of
choral music to present times. Second, Olivieri discussed the main contributions that native composers made to the choral history of the island. Third, Olivieri examined the historical influence of Protestant choral music, as well as the history of public school music, the college choir movement, and the formation of several new independent choirs. Fourth, Olivieri included information on sacred and professional choral festivals held in Puerto Rico—the Casals Festival, in particular. Finally, Olivieri included a list of available published choral sacred and non‐sacred anthologies.
9Daniel Mendoza de Arce, “Panorama of the music in the Cathedral of San Juan , Puerto Rico 1749‐1857” Latin American Music Review, 10/1 (1989):10 10 Luis Olivieri (2000) 6
Early development—the sacred background
Previous studies of choral music in Puerto Rico acknowledge that traditional Puerto Rican choral music began with sacred music practiced by
Catholic churches.11 The history of church music in Puerto Rico can be traced to early 17th century documents. For instance, the Spanish Capitulary Acts of 1600 mandated the installation of a permanent musical staff in the San Juan Cathedral, including an organist and a succentor. In addition, there is evidence dating from
1756 of the existence of a maestro di cappella, or instructor, and other music staff.12
From that point, historians claim, imported Spanish musicians, including both clergy and laymen, provided most of the musical instruction in the island.
By the mid 19th century, foreign and native composers had established church choirs that performed works written in the island. The last appointed
Spanish succentor at the San Juan Cathedral was Domingo Delgado (1814‐1856).
Delgado was born in the Canary Islands and was sent, along with an organist, to
Puerto Rico in 1836 to fill the second succentor position. The composer had previously served as singer, copyist, second organist, and succentor at La Laguna
Cathedral in the Canary Islands.
Among Delgado’s works for choir is Psalm 6 (Domine in Furore) for tenor, bass, choir, and orchestra, which may be the oldest Puerto Rican choral work preserved. 13 Other compositions include Misa de la Providencia, for tenor, bass, choir and orchestra, which was composed in 1856. In addition to Delgado’s mass, the Puerto Rico General Archive possesses manuscripts for his Salve a 2 for violins, clarinet, and bass, Misa a 2 for violins, clarinets, french horns, and bass,
and Invitatorio Officio Grande, for which only the clarinet score exists.
11 Ibid, 2000 12 Francisco Callejo, Música y Músicos Puertorriqueños. San Juan: Editorial Coquí (1976): 18 13 Olivieri, “A short history of choral music in Puerto Rico.ʺ
7
Although he was born in Spain, Delgado has been referred to as “the first
Puerto Rican master composer who created a beautiful repertoire of sacred music that has survived.”14 Unfortunately, just a few written pieces of his musical legacy are available at La Laguna Cathedral and San Juan Cathedral archives.
The Convent of Santa Catalina at La Laguna possesses some of Domingo’s manuscripts, including masses, a magnificat, motets, and a benedictus, among
other minor works. Delgado’s music was conceived primarily for religious services, rather than for the theater or concert hall. His music contains melodic lyricism rather than a conservative harmonic treatment, which is attributed to his
Iberian musical background, which included Italian opera. Delgado is considered by many to be the foremost composer of religious music in Puerto Rico during the second half of the 19th century.
Another composer of the time was Juan Morel Campos (1857‐1896), who served as organist at the Ponce Cathedral. He composed masses, litanies, and salves for his church choir. Morel Campos also focused on composing folk music, for which he is most remembered. Like Morel Campos, Jose Gaudier also composed music for chorus, organ, and orchestra, much of which was used during Good Friday services, and has become a long‐held tradition within the
Catholic Church. Around the same time, composer Braulio Dueño Colón (1854‐
1934) served as organist and choral director at the Parroquia de la Santa Cruz in
Bayamón. His sacred works include masses, salves, and litanies. His Salve for contralto and orchestra won First Prize at the Certamen del Ateneo
Puertorriqueño in 1910.
14 Callejo, Música y Músicos Puertorriqueños: 18‐22. 8
In 1858, Queen Elizabeth II of Spain created a decree that allowed for the
creation of the Music Chapel in the San Juan Cathedral. Native composer Felipe
Gutierrez Espinosa (1825‐1899) became the first Chapel Master appointed to this position. The decree’s financial endowment allowed Gutierrez Espinosa to hire
singers and instrumentalists for sacred services. Consequently, Gutierrez
Espinosa created an extensive body of choral music, following traditional
practices, which most European cathedrals had already undertaken. Gutierrez
Espinosa’s musical contributions reached far beyond his church duties as he
established a reputation as a successful music educator. In 1870, Gutierrez
Espinosa created the Academy of Music in San Juan. The academy’s open
enrollment offered musical instruction and organized a 250‐voice chorus.
According to Menendez (1995), Gutierrez Espinosa’s choral repertoire is
considered one of the most extensive collections of native sacred literature.15
Gutierrez Espinosa’s orchestral music has been described as reflective of
the Austro‐German symphonism of 1780 to 1850.16 His religious pieces reflect an
original and brilliant compositional style evident in works such as Mass in C
Major for chorus and organ, Misa de la Providencia (1856) for chorus, tenor, and
baritone with orchestra, Salve Regina for chorus and organ, Te Deum17, and
litanies and passions. Furthermore, Espinosa was the first Puerto Rican composer
to write an opera, Guarionex. His compositions were compiled and published by
Menendez Maysonet from the University of Puerto Rico. There are a total of 118
compositions in this collection, of which 91 are vocal sacred works.
15 Guillermo Menedez Maysonet, “Nuestro primer maestro coral: Felipe Gutierrez y Espinosa,” Choral, 11/1, (1995):8 16 Mendoza de Arce, “Domingo Delgado Gomez (1805‐56): Puerto Rican master composer.” 17 Luis Olivieri, “Notas sobre el Te Deum de Felipe Gutierrez Espinosa,” Coral, 11/1, (1995):8 9
The historical‐political influences at the turn of the century
In 1898, Puerto Rico became a United States territory through the Treaty of
Paris as a consequence of the Spanish‐US American War, setting forth an era of
adjustment felt almost immediately in church music. Elimination of government
support for the church meant the inevitable eradication of salaries
for members of church orchestras. This event had a devastating effect on the
musical tradition of the San Juan Cathedral, and more specifically, it impacted
traditional concerts that Gutierrez Espinosa had conducted for decades.
Additionally, it meant the elimination of numerous organist posts at churches
throughout the island. Furthermore, a backlash effect marked the end of
government scholarships for musical studies abroad, which, according to
Thompson (1984), “only contributed to the general feeling of disappointment and
frustration among musicians.”18
Continuing the tradition of choral music, other composers started to
explore new trends that were reflected in their works. Composer José Ignacio
Quintón (1881‐1925) served as organist and choral director at La Parroquia San
Blas de Yllescas in Coamo. As a composer, Quintón appropriated Classical forms
in a Romantic idiom while searching for new sonorities in his compositions.19
Quintón’s most extensive sacred work, the Requiem Mass (1903), was
originally orchestrated for flute, two clarinets, two euphoniums, trombone,
violin, bass, and two female voices. There is no conclusive evidence that Quintón
ever completed or heard his Requiem during his lifetime. The original score was
18 Donald Thompson, “La música contemporánea en Puerto Rico,” Revista Musical Chilena, 38/162, (1984):110‐117. 19 Amaury Veray, ʺPresentación de José Quintón,ʺ Coral, 4/1 (1981): 3.
10
lost for over 70 years until musicologist and composer Amaury Veray discovered portions of the mass in 1973.20 Veray restored and re‐orchestrated the work for mixed chorus, and the resulting piece premiered at Quinton’s home church in 1974.21 Eventually, this piece would be expanded and re‐orchestrated for full orchestra and chorus by composer Roberto Sierra for its Carnegie Hall debut in November of 2003. Quinton’s remaining sacred works were compiled and published in Obras Completas de José Ignacio Quintón, Volume IV (1986).22
Another composer, Braulio Dueño Colón (1854‐1934), was a flutist and orchestra conductor as well as a composer. In addition to his well‐known danza compositions, he served as organist and choir director at Santa Cruz Church in
Bayamón. His sacred works include Salve for contralto and orchestra, Ave Maria, and various litanies.
According to Olivieri (2000), music at the San Juan Cathedral began to expand during Ramon Morla Trenchs’ (1875‐1953) tenure, during which the organist and composer conducted special music with up to thirty‐five singers accompanied by an instrumental ensemble. Some of his most outstanding sacred choral‐orchestral works include his rendition of the Seven Last Words of Christ written for chorus, soloists, and orchestra, and the Misa Carmelitana (1905) for mixed choir, soloists, and orchestra. The composition was later awarded at the prestigious Certamen del Ateneo Puertorriqueño in 1914.
20 Ramon Rivera Bermudez, “Biografía de José Ignacio Quintón” Boletín de la Academia de Artes y Ciencias de Puerto Rico, 7/1, (1976):47-59. 21 José Rivera, Personal interview with Roberto Sierra. Composer Roberto Sierra performed in the choral ensemble performing Quinton’s re‐orchestrated Requiem directed by Amaury Veray. 22 Amaury Veray, “Presentación de José Quintón” 11
Protestant influences in choral sacred music
After the occupation of Puerto Rico, American missionaries began efforts
to facilitate Protestant church development. As a result, the practice of singing
hymns at services was soon adopted, enabling the fast development of choral
singing in newly formed evangelical churches. Contrarily, the Catholic Church continued conducting a traditional Latin mass while the Protestant church used the vernacular language. According to Olivieri, the first church choral ensemble consisted of only enough voices to form a quartet at the Evangelical Seminary of
Puerto Rico in 1920.
The first two evangelical choirs established in the island were organized by two American missionaries in 1928. First, Sister Hallie Lemon gathered parishioners to form the choir Coral Major at the Segunda Iglesia Cristiana de
Bayamón (Second Mission Church of Bayamon). In 1978, this choir was renamed
Coral de Salvador Guardiola. Second, Ms. Alice Ryder organized a choir at the
Primera Iglesia Bautista de Rio Piedras (First Baptist Church of Rio Piedras).
These choirs quickly began to perform at other evangelical churches around the island, serving as models for future church choirs. Consequently, several choral groups emerged throughout the island—the Caguas Baptist Church Choir (1939),
Interdenominational Choir of San Juan (1944), Interdenominational Choir of
Ponce (1949), Christian Church of Bayamón (1948), and the Bayamón Lutheran
Choir (Coro de Bayamón), to name a few.
Development of choirs in higher education institutions
The early part of the 20th century marks the initial stages of choral music in college institutions of Puerto Rico. Dr. Bartolomé Bover (1903‐1984) has been
12
recognized as the “initiator of the modern era of choral music in Puerto Rico.”23
Dr. Bover arrived in Puerto Rico in 1931 and was ordained a Catholic priest, later joining the Episcopal Church and earning doctorates in philosophy and theology.
In 1932, Bover received an invitation to join the faculty at the Polytechnic
University, later known as Inter‐American University of San German. Bover became the first musician to direct a choral ensemble at a Puerto Rican institution
of higher education. While working there, Bover founded La Masa Coral del
Instituto Politécnico de San Germán, which he directed from 1932 to 1950. Its
repertoire consisted of sacred and secular choral classics of the masters and folk
music arrangements from native composers. Bover’s choir performed at many
schools, universities, and cultural institutions, and he thus became the first
conductor to perform Puerto Rican choral music in a foreign country, the
Dominican Republic, in 1939.
Bover is considered the “pioneer of university choral music” by many
historians and musicologists.24 After he founded and conducted the choir at the
Polytechnic University, he continued to establish other college and community
choirs—such as the Glee Club del Aire—around the island. In 1958, some of his
former students followed Bover to form La Coral de San Juan, a choir whose
primary engagements included live‐radio performances. His ensembles’
engagements included presentations at many cultural events with the Pro Art
Society of Puerto Rico. In addition, Bover’s choirs made concert appearances in
the United States and the Virgin Islands.
23 Angel Mattos, “Semblanza de Bartolomé Bover: iniciador de una era coral” in Coral, 1/1 (1993), p. 7‐9. 24 Campos Parsi, “La música en Puerto Rico”, 240‐248. Also in Mattos, “Semblanza de Bartolomé Bover: iniciador de una era coral”, 7‐9; Also in Luis Olivieri’s, “Bartolomé Bover: Pionero de la Música Coral Universitaria en Puerto Rico,” Coral, 11/1 (1995), p.3.
13
Bover taught and conducted choirs at the University of Puerto Rico from
1951 until 1953, and at the Puerto Rican Junior College from 1958 until 1975.
Bover also served as music director at the Cathedral Episcopal de San Juan for
over forty years. His exemplary teaching and commitment to choral music
performance inspired many of his pupils, some of whom eventually became
prominent musicians: soprano María Esther Robles, conductor Angel Mattos
Nieves, composer Pablo Fernández Badillo, and baritone Pablo Elvira. Bover also encouraged conductor Augusto Rodriguez to organize the University of Puerto
Rico Chorus in 1936.25
Another important leader in the development of university choirs was
Augusto Rodriguez (1904‐1993). Rodriguez began his musical studies in San
Juan. At age 28, he traveled to the United States to pursue further education at
Harvard University and the New England Conservatory of Music under the direction of Walter Piston, Frederick S. Converse, and Archibald T. Davidson.
Rodriguez later returned to the island and taught music at the University of
Puerto Rico (UPR), becoming the university’s first choral director in 1936.26 For many years, he led numerous concerts, including the first Puerto Rican choral concert performance at Carnegie Hall (1949). In addition, under his leadership the UPR choir also became an exponent of native choral music to international audiences consisting of people from the United States, Haiti, Panama, Chile,
Peru, Colombia, and Venezuela. Rodriguez’s four decades as choral conductor, musicologist, composer, pianist, and choral arranger at the University of Puerto
Rico established an undisputed tradition of choral excellence at one of the oldest
collegiate institutions of the island.
25 Mattos, “Semblanza de Bartolomé Bover: iniciador de una era coral” 26 Pedro González Padró, “A la memoria de Augusto Rodriguez,” Coral 11/2, (1999): p. 8‐9 14
Inspired by Rodriguez, other choirs began to emerge at new college
institutions and regional branches of the University of Puerto Rico and the Inter‐
American University. Currently, the University of Puerto Rico has approximately
10 branches, each of which has at least one concert choir. Similarly, the Inter‐
American University also formed choirs in three major cities. Other college
choirs were also formed at the Catholic University of Puerto Rico by composer
and conductor Abel di Marco and at the Conservatory of Puerto Rico by Augusto
Rodriguez. The Metropolitan University, Turabo University, Polytechnic
University, and Adventist University of the Antilles also formed choirs around this time.
An era of economical and cultural renaissance – the 1950s
In 1952, the United States granted Puerto Rico Commonwealth status. This political event would subsequently unleash a chain of economic activities, creating an era of cultural renaissance led by government‐sponsored institutions and commissions of musical performances throughout the island. One of the first government agencies created by Governor Luis Muñoz Marin to promote cultural development was the Puerto Rican Institute of Culture in 1955.
Another important event in the development of classical music was the cellist Pablo Casals’ commitment to the development of musical arts in the island. Casals established his residence in Puerto Rico after visiting his mother’s hometown in 1955. He decided to contribute to the island s artistic development, making his presence immediately felt among musicians. Scholarships in his name were awarded to gifted musicians enabling them to study abroad. The
Spanish‐born composer voiced his dreams of creating a conservatory and a symphony orchestra.
15
The current governor, Muñoz Marín, incorporated Casals’s ideas into his
socio‐economic development plans. Consequently, three vital agencies soon
became the main conduits for achieving a dream that Casals and others before
him shared. The Casals Festival was first established as a cultural complement to
Puerto Rico’s industrialization program in 1957. The festival’s primary goal was to feature standard classical repertoire of the masters. As Casals once stated,
“Puerto Ricans will be exposed to the best music performed by the best musicians.”27
The newly formed festival served as a vital venue for introducing classical music, including choral‐orchestral repertoires, beginning with its ensembles’ first performance of Beethoven’s Choral Fantasy in 1959. During the initial stages of the festival (1960‐1964), Casals extended an invitation to the Cleveland Orchestra
Choir under the direction of Robert Shaw. Shaw became the first director to perform major choral works by Beethoven, Fauré, Schubert, and Haydn in Puerto
Rico. Since then, the festival has featured the Cleveland Orchestra Choir and other choirs in annual performances of major choral works from Bach, Handel,
Haydn, Beethoven and Brahms to Berlioz, Orff, Dvorak, Verdi, Stravinsky, and
Penderecki under the direction of various conductors including Robert Shaw,
Eugene Ormandy, Zubin Metha, and Krzysztof Penderecki.
Consequently, two other musical agencies were founded as subsidiaries to the Pablo Casals Corporation. The first was the Puerto Rico Symphony Orchestra
(1958), which has served as the principal orchestra for the Festival since 1981. In addition, the orchestra has performed numerous native choral‐orchestral works as part of its concert seasons. Finally, the Puerto Rican government created a
Conservatory of Music, charged to offer the highest level of music education
27 Donald Thompson and Annie Thompson, Music in Puerto Rico: A Reader’s Anthology, Lanham: Scarecrow Press Inc., (2002), p. 54 16 possible. Thanks to its advisory committee and Casals’ close collaboration with the governor, the Puerto Rican Conservatory of Music became the primary institution responsible for training professional musicians in the island. By 1965, the Conservatory of Music’s choir was performing along with the Cleveland
Chorus at the Casals Festival under conductor Robert Shaw. Since then, the choir has performed at the Casals Festival every year.
In its formative years, the Casals Festival’s choral repertoire had primarily featured mainstream classical masterworks. In spite of those contributions, critics claimed that the festival had marginalized native composers by excluding their compositions. Therefore, by 1976 the National Association of Composers began to persuade festival organizers to include works by native composers. As a result, works by Campos Parsi, Delano, and Veray were performed at the
Festival in 1976—nearly twenty years after its inaugural concert.
Independent choirs
Since the 1950s, a growing number of independent choirs that were not necessarily affiliated with any religious or educational institution began to emerge. These choirs made invaluable contributions to the development of choral tradition by performing a more specialized choral repertoire—from a cappella music to symphonic works. Among the first were the Glee Club del Aire
(1951) founded by Bover, Coro de Bayamón (1950), and Coral de San Juan (1958).
In addition, Coral Polifónica de Ponce (1964) and Coral de Augusto Rodríguez
(1970) quickly became known as some of the best choral ensembles in the island.
Subsequently, other choirs were formed to meet the vocal demands of performances of large choral works.
El Coro Sinfónico de Puerto Rico began in 1982 and has presented annual performances of Handel’s Messiah and Bach’s St. Mathew’s Passion. This choir, 17
currently conducted by James Rawie, has performed and hosted several choral festivals. Among the most recent choral ensembles include Coral Filarmónica de
San Juan, Casals Festival Chorus (1986), Camerata Coral (1991), Coro Schola
Cantorum (1992), Escalonia Filarmónica, Coral Bel Canto, and Orfeón San Juan
Bautista (1994). In addition, the independent children’s choirs have become a
respected tradition since El Coro de Niños de San Juan was formed in 1966 by
Professor Eva Lucío. Other active children’s choirs include Coro de Niños de
Ponce and Coro de Niños de Caguas.
20th Century Choral Music of Puerto Rico
The influence of the Puerto Rican danza on choral music
The choral work of native composers has influenced the traditional
instrumental genres. For example, choral literature dated in the 20th century initiated the use of text in native genres such as the danza. Although the origin of the Puerto Rican danza is still debated amongst musicologists, there is general consensus that it originated around 1840. The danza is a musical composition
written in 2/4 meter, and its formal structure consists of two main sections: paseo and merengue. This popular genre, performed by bands and orchestras, became a dance form for social events during the late 19th century28. The paseo serves as an introduction to the danza’s main section, known as the merengue. The paseo section usually consists of eight measures, in which its majestic and elegant character allows dance couples to promenade around the ballroom until its final dominant chord is heard in anticipation of the principal dance section. The merengue consists of three main sections. The first two normally contain sixteen measures each and are similar in character, while the final section’s tonal and musical
28 Nélida Frontera de Muñoz, “A Selected Nineteen‐Century Puerto Rican Composers and their Musical Output”, DAI (New York University), 1988, p.87‐96 18
character offers a rich contrast to its preceding sections. It is customary to hear
the first theme of the merengue repeated in its recapitulation. Danzas often included coda sections after the recapitulation to end the dance.
By the end of the 1930s, most major native composers, including Manuel
A. Tavarez, Jose I. Quintón, and Juan Morell Campos, had not only composed different styles of danzas but were employing them as signature pieces in concert performances. Consequently, the islanders soon began to embrace and adopt this music as a symbol of national pride. The danza style of music was originally conceived as an instrumental dance form used at social gatherings and was performed by piano, band, or orchestra; therefore, it was typically not set to text.
According to Roberts (1995), composers later began to set this popular style of music to pre‐existing poems.29 A classic example is found in Angel
Mislán’s musical setting of Gustavo A. Becquer’s poem “Tu y Yo.” This is also evident in Virgilio Dávila’s poem “La Criolla,” which is set to the music of Braulio
Dueño Colón. In contrast, text could also be added to pre‐existing music as found in Rodríguez’s Ritmo Ardiente, originally written for piano. In this case,
Rodríguez made a choral transcription of his music and added the text from a pre‐existing poem.
According to historical writers, choral danzas are relatively young, in view of the fact that by the mid 19th century, folk music had already been arranged for
choirs in other countries. Dr. Bartolomé Bover became the first choral arranger of
Puerto Rican danzas, including La Borinqueña (Puerto Rico’s national anthem) by
Astol, Mis Amores by Campos, El Coquí by Quintón, and Margarita by Tavarez. 30
These danzas were included in his collection entitled Arreglos Corales del Dr.
Bartolomé Bover.
29 Evelyn Roberts, “La danza Puertorriqueña en la música coral,” Coral, 11/1, (1995), p.6. 30 Ibid, Roberts 19
Similarly, Augusto Rodríguez also made choral arrangements of danzas, folk, and popular songs for the University of Puerto Rico’s choir. The choir’s first
documented performance of a choral danza, Tormento, by Juan Morel Campos,
occurred in 1937. Some of Rodríguez’s best‐known danza arrangements included
Criolla by Braulio Dueño Colón, as well as Conga, No Me Toques, Laura y Georgina, and Tormento, originally written by composer Juan Morel Campos. Rodríguez established an extensive body of Puerto Rican choral works including over 125 arrangements and compositions of native and international folk and popular
music. A small sample of Rodríguez’s music can be found in two published
works entitled Cuaderno de Música Coral (Danzas) and Cuaderno de Música Coral
(Música de Augusto Rodríguez). In addition, Rodríguez was known for cultivating the art of a cappella music. Some of his most popular works include Ritmo
Ardiente, a danza for mixed choir or men’s chorus, Jesucristo Es Tu Solo Rescate, and El Piragüero.
The first Puerto Rican musicologist, Fernando Casó , concluded that
Rodríguez’s danza compositions for piano “remain primarily within the tradition of Morel Campos and Quinton’s music, and his rhythmic ingenuity surpasses
that of his predecessors.”31 Furthermore, Olivieri (2000) stated that Rodríguez’s
art songs composed between 1935 and 1938 are considered to be among his best
compositional works. Furthermore, Rodríguez described the impressionistic
influences found in his recited melodies, stating that ancient scales,
impressionistic harmonies, and rhythmic flexibility accentuating musical
intention were all combined to reflect an idealized atmosphere. Along with
Bover, Rodríguez established a tradition of performing folk music including
danzas, villancicos, plena, and aguinaldo arrangements at national and international
31 Fernando Casó in Pedro González Padro, “A la memoria de Augusto Rodriguez”, (1999). 20
concerts. Other early composers who continued to expand the folk choral literature include Pablo Fernández Badillo, Ruben Colón Tarrants, and Esther
Alejandro.32
Folk music choral composers and arrangers
Pablo Fernández Badillo (b.1917) has inspired hundreds of singers of all ages through his music. As a public school teacher of chorus and band, Badillo enriched the lives of many students at the cities of Aguadilla and Arecibo.
Badillo studied at the University of San German under Bartolomé Bover and later
studied composition at the Conservatory of Puerto Rico. His published works
include Arbor I (1969) and Arbor II (1971), which contain a collection of over one‐
hundred children’s songs for unison chorus and piano, Albaricias, a Christmas
musical‐drama, and Cantar Riqueño (revised edition in 1975), a collection of 37
secular, sacred and Christmas songs for mixed choirs. Many of these songs were
later recorded by the Inter‐American University Choir of San Germán, under the
direction of Dr. Robert Smith, for the Puerto Rico Institute of Culture in 1973.
Badillo s popular compositions and choral arrangements have been performed at
many school and university concerts, including the choral festivals hosted by the
Department of Education under Augusto Rodríguez. Furthermore, Fernández‐
Badillo published a hymnbook entitled Himnario Criollo (1977), a collection of 104
original hymns.
Another major contribution comes from composer and choral conductor
Ruben Colón Tarrats (1940), who began his studies at the Free School of Music.
He attended the Inter‐American University in San German for his undergraduate
music degree under Dr. Robert L. Smith, Dr. Roy Harris, and Dr. James McCoy.
32 Kerlina Delgans and Luis E. Pabón, Catálogo de Música Clásica Contemporánea de Puerto Rico, Rio Piedras, Puerto Rico: Pro Arte Contemporáneo, (1989), p.56. 21
Later, he traveled to the United States to pursue graduate studies at Temple
University. Colón Tarrats’s numerous works and arrangements of folk, sacred, popular, and danza music include Regalo de Reyes and Ponce (choral danzas),
Alegres Pascuas, Perla del Caribe, Sara, Guakia Baba, and Cantares Navideños ( a collection of Christmas music arrangements), among many others.
Sacred music composers of the 20th century
One of the earliest sacred music composers in the 20th century was Ignacio
Morales Nieva (1928), originally from Valdepeñas, Spain. Nieva studied
Orchestral Conducting at the Manhattan School of Music, but in 1954 he moved to Puerto Rico permanently. He taught at Universidad of Turabo and the
Conservatory of Music. His compositions include numerous orchestral and choral works: Cantata Para la Pascua del Señor written for mixed chorus, soprano soloist, and orchestra; Las Siete Palabras (Seven Last Words of Christ), for mixed chorus and chamber orchestra; Magnificat for chorus, soloist, organ, and timpani;
Anglican Te Deum for chorus, organ and harp; Misa Paleocristiana for chorus and organ; Servicio Sabático for chorus and organ; Misa de San Crisóstomos for mixed chorus. Nieva also composed numerous cantatas for solo voice and instrumental ensembles.
Another noteworthy composer of sacred music is Father Abel Di Marco
(1931), whose compositions are primarily based on Latin text from the Roman
Catholic liturgy. His sacred choral works include over 40 arrangements for mixed choir including Cantate Domino, Salve Virgo, Iesu Dulcis Memoria, and Missa
Brevis. En el Portal de Belén is one of his most recognized Spanish songs.
In addition, composer Roberto Milano (1936), who was born in New York but has lived in the island since 1972, made great contributions to the field of sacred music. He joined the faculty at the Conservatory of Music as professor of 22
theory and composition. According to Olivieri, half of his compositional works
were written for choirs, including Sinfonia Sacra de Adviento for three mixed choirs, symphonic band, and organ. This work was premiered by the
Interdenominational Choir (1987). Milano also wrote In Dulci Jubilo for three
mixed choirs, brass ensemble, and organ (1985), Ecce Virgo, consisting of three motets and premiered by Coral Polifónica de Ponce (1990), Te Deum for double choir and organ (1998), and Lux Mundi, a motet for double a capella choir, premiered by the Conservatory of Music Concert Choir (1990). Among Milano’s compositions are Espejo de Una Reina (1991), a children’s opera, Apagatos Alelus
(1993) for chorus and orchestra premiered by Camarata Coral, and Sinfonía
Colombina, for choir, soprano soloist and orchestra, as well as many other pieces.
1950‐present Classical composers
Soon after the turn of the century, many rapid political and cultural
changes incited a movement among Classical music composers of the island. The
movement focused on amplified traditional folk music within the frame of
European Classical forms.33 Composers Jack Delano, Amaury Veray, and Hector
Campos Parsi became known as the Puerto Rican Nationalistic School of
Composers.
The following is a chronological list of those who have made major
contributions and their primary works. Jack Delano (1914‐1997), a Russian born
photographer and musician, was brought to the United States as a child.34 He studied viola and composition (1924‐1932) at the Pennsylvania Academy of Fine
Arts. After visiting the island in 1941, he decided to return, and settled in Puerto
33 William Ortíz, “A Panoramic View of Puerto Rican New Music” in World New Music Magazine, 6 (September 1996), 12. 34 Donald Thompson, “Jack Delano”, The New Grove Dictionary of Music and Musicians, Ed. S. Sadie & Tyrell. London: McMillian (2001) 23
Rico in 1946 and assumed various roles in several government agencies. Delano’s works include musical scores for films, incidental music, ballets, orchestral works, and songs. His choral works include Esta Luna Es Mía (1962), for women s chorus and soprano solo, Me Voy pa’ Ponce (1965), a choral suite depicting the
musical flavor of the region, for mixed choir, Burundanga (1988), an Afro‐
Caribbean cantata based on native folk elements for chorus, soloists, and
orchestra, La Rosa y el Colibrí for mixed chorus and trumpet (1992), and Pétalo de
Rosa for children’s choir (1993). Delano’s music has been described as
conservative in style but pleasantly spiced with dissonance.35 In addition, Delano
became the first composer to incorporate and blend native rhythmic and melodic
elements into modern Classical music.
Another prominent composer of the Puerto Rican nationalist school was musicologist Amaury Veray (1922‐1995) who started his studies with Olympia
Morel, the daughter of the great composer Juan Morel Campos. He graduated from the University of Puerto Rico and continued his studies at the New England
Conservatory and the Manhattan School of Music. Later, Veray pursued postgraduate studies in Rome before he joined the faculty at the Puerto Rico
Conservatory of Music. He wrote numerous compositions for orchestra and instrumental ensembles, as well as incidental musical scores for film and art songs.36 Veray’s choral compositions include Gloria and Agnus Dei (1952) for soprano, mixed chorus, and organ, El Niño de Aguadilla (1955) for soprano, narrator, female chorus, and orchestra, Dos Motetes Religiosos (1956) for mixed chorus, La Hija de Iorio (1956), incidental music for mixed chorus guitar, percussion, piano and organ, La Virgen Va Caminando (1968) for mixed chorus,
35 Donald Thompson, “La música contemporánea en Puerto Rico” in Revista Musical Chilena, 38/162 (1984), 110. 36 Cirilo Toro, Diccionario Biográfico de Compositores Puertorriqueños, Ponce, Puerto Rico: Ediciones Guayacán, (2003), p.113. 24
and De Profundis (1970) for narrator, mixed chorus, percussion, piano, harp, and strings.
Next, Héctor Campos Parsi (1925‐1998) began his musical studies at the
University of Puerto Rico and was awarded a scholarship to continue his studies at the New England Conservatory of Music and with Aaron Copeland at
Tanglewood. He later traveled to Paris to study with Nadia Boulanger. This
illustrious composer became a proponent of the nationalistic movement in music
by integrating folk elements into his works.37 Campos’ numerous compositions
include incidental music, ballet, and music for piano, orchestra, tape, film, organ,
voice, and strings. His choral works for mixed chorus include Aleluya (1948), Ave
Maria (1954), Canto de Yerba (1948), La Pastorcita (1951), Aguinaldo, and La Rosa
Más Blanca (1951).38 He also wrote a cantata titled The Salutations (1952) for voices
and piano, followed by a choral‐orchestral composition called Ubao Moin (1968)
for alto, male narrator, narrating chorus, singing chorus, and orchestra. His
musical contributions include his work as a musicologist, composer, teacher, and
administrator.
Continuing the list of those who have earned fame in the 20th century is
the American composer Francis Schwartz, who studied at the Julliard School of
Music and held various positions at the University of Puerto Rico from 1971 until
1986. He also reviewed many Classical music concerts for the San Juan Star.
Schwartz’ music made a significant impact in the late sixties when he and
colleague Rafael Aponte Ledeé formed the “Fluxus” group.39 The group’s main
purpose was to promote avant‐garde music and explore an alternative to the
37 Aurelio de la Vega, Latin American composers in the United States,” Latin American Music Review, 1/2 (1980), p. 162‐175. 38 Suzanne Tiemstra, The Choral Music of Latin America: A Guide to Composition and Research, New York: Greenwood Press, 1992 39 William Ortiz, “A panoramic view of Puerto Rican New Music,” World New Music Magazine, 6 (1996), p.12. 25
existing nationalistic musical trends. Schwartz’ musical style is known because of
its use of “Poly‐Art” aesthetics, which tries to evoke a total physical response
through the stimulation of the sensory domains.40 This concept is further
explored in Schwartz’ music through the integration of corporal movement,
humor, aroma, “synesthesia”, high technology, chance elements, and audience participation. His choral works include Paz en la Tierra, for mixed choir and tape,
Plegaria, (1973)41 for solo voice, mixed chorus and orchestra, Le Temple de la Fleur
(1978) for female and male voice, mixed chorus, flute guitar, percussion and
aromas, and Cantata Juvenil del Nuevo Mundo, (1992) for children’s chorus, tenor,
and piano.
Yet another significant musical contributor is Esther Alejandro (b.1947),
the first female graduate from the Puerto Rico Conservatory of Music in
composition. She later studied composition in France with Nadia Boulanger. Her
choral works include danzas and sacred works such as Idilio, a danza by J.M.
Campos for mixed choir, Gloria a Dios (1984) in danza style written for mixed
choir and orchestra or piano, and Madrugada, for mixed choir. Her sacred works
include Popule Meus, a motet for SATB, Brilló Una Estrella, Hoy Ha Nacido, Padre
Nuestro (The Lord’s Prayer), and Adorámoste Cristo. 42
William Ortíz (b.1947) is another very active composer whose works
include chamber, orchestral, electronic, computer music, opera, art songs, and
choral music. A student of Campos Parsi at the Conservatory of Music, he was
later granted a doctoral degree in composition from of New York State
40 William Ortíz, “A Panoramic View of Puerto Rican New Music”, 12. 41 Donald Thompson, “Review of the final concerts of the third annual Caribbean Composers Forum”, San Juan Star, October, 30, 1990 in Donald Thompson and Francis Schwartz, Concert Life in Puerto Rico, San Juan, Puerto Rico: University of Puerto Rico (1998). 42 Luis Olivieri, “Sección de Partituras” Coral, 4/2, (1981) 26
University at Buffalo. His choral works include A cappella (1983) and Canción
Nacida de Lucha (1985) for unaccompanied mixed chorus.
Carlos Vázquez (b.1952) is yet another Puerto Rican composer who is
considered a leading exponent of electronic and computer music in the island.
He began his studies at the University of Puerto Rico under Aponte Ledeé. His
choral works include La Cara de un Angelito (1980) for mixed chorus narrator and
tape, and Serenata para Coro (1983).
Additionally, Raymond Torres Santos has received international accolades
for his music compositions. Torres‐Santos began studying composition with
Veray at the Casals Conservatory of Music in Puerto Rico. He later continued at
Stanford University and was given a scholarship by the West German
government to study at the Institute of New Music at Darmstadt. He returned to
California and received his Ph.D. from the University of California in 1985. His commissioned works have been performed by orchestras in Latin America, the
United States, and by several European ensembles. Raymond Santos’ works
include a wide palate of styles ranging from commercial, electronic, film music,
orchestral, chamber, song cycles, and choral works including Bella Estrella,
Pastores a Belén (1989), a carol for mixed choir and orchestra, Guakia Baba (1988)
for two mixed choruses, Canción de las Antillas for choir soloists and orchestra,
Jersey Polyphony for two choruses, piano and percussion, Esta Es Toda Mi Vida
(1979), a cantata for mixed chorus and orchestra, Pastores a Belén for SATB, piano
or orchestra, Elegía de Reyes (1981)43, a cantata for narrator, chorus, rondalla, and
chamber orchestra, and his Requiem (1995) for soloists, children s choir, SATB
choir, and orchestra.
43 Luis Olivieri, Elegia de Reyes”, Coral, 4/3 (1987):9. This unique work commissioned by the InterAmerican University utilizes native folkloric elements combined with jazz and vanguard musical languages. 27
Finally, Roberto Sierra (1953) has been referred to as one of Latin
America’s most active contemporary composers.44 His prolific output includes
symphonies, concerti, oratorio, choral, chamber, ballet, instrumental pieces, song
cycles, film scores, and numerous arrangements. Roberto Sierra pursued early
studies at the Conservatory of Music and the University of Puerto Rico.
After graduation, Sierra went to Europe to further his musical knowledge,
studying first at the Royal College of Music and the University of London, and later at the Institute for Sonology in Utrecht. Between 1979 and 1982 he did advanced work in composition at the Hochschule für Musik in Hamburg under the renowned György Ligeti. Sierra became the first Puerto Rican composer nominated for a Grammy Award in the classical category.
In conclusion, the body of choral music literature of Puerto Rican composers reflects the influence of various musical traditions that have merged in the Puerto Rican culture. These compositions reflect patriotic sentiments merged with influences from other cultures in which many of these remarkable composers studied or were trained. Roberto Sierra’s music follows the traditions of Bartok, Stravinsky, Chavez, Ginastera, and other significant composers who infused their native musical idioms into contemporary classical forms.
44 “Roberto Sierra,” Composers Biography, http://www.schirmer.com/composers/sierra/bio.html 28
CHAPTER 3
ROBERTO SIERRA: INTRODUCTION TO HIS LIFE AND MUSIC
Roberto Sierra is considered today to be one of the leading American composers of his generation. In 1987, Sierra came to prominence when the
Milwaukee Symphony Orchestra performed his first major orchestral composition, Jubilo, at Carnegie Hall. Since then, his works have been performed by the major orchestras of Philadelphia, Pittsburgh, Atlanta, Houston, Chicago,
Milwaukee, Minnesota, Dallas, Detroit, San Antonio and Phoenix, as well as by
the American Composers Orchestra, the New York Philharmonic, the Los
Angeles Philharmonic, the National Symphony Orchestra, the Kronos Quartet,
Continuum and Voices of Change.
International organizations which have performed his works include
England s BBC Symphony, the Royal Scottish National Orchestra. Some notable
festivals which have featured Roberto Sierra s compositions are Wolf Trap, the
Santa Fe Chamber Music Festival, Festival Casals, the Schleswig‐Holstein Festival
in Germany, and France s Festival de Lille. From this expansive and prestigious listing, one can appreciate Sierra s outstanding reputation.
Early years & Music Education
Sierra was born on October 9, 1953 in Vega Baja, Puerto Rico, a place where local popular and folk music such as salsa and bomba are a ubiquitous part
of life. According to Sierra, “these sounds [salsa and bomba] were everywhere.”
The seeds that bloomed into this great career were planted in Sierra s early
childhood when his parents, Desiderio Sierra and Gloria Enriquez, purchased a
29
piano intended for his sister’s training.45 After several years of autodidactic
study, Sierra began private lessons at age fifteen. That same year also marked a tragic event in Sierra s life: the sudden death of his father, which, according to
Sierra, was one of the most difficult situations he had ever dealt with. However, his self‐motivation and love for music enabled him to embark on the study of classic European repertoire.
Sierra was welcomed as a pianist into the Preparatory Division of the
Puerto Rico Conservatory of Music, where his academic course work included theory and harmony. Prompted by the knowledge introduced to him in these classes, Sierra began ʺplaying with the idea of composing.ʺ He continued piano studies and performing, but composition soon became his focus.46
After high school, Sierra continued studying at the University of Puerto
Rico (1970‐1975) and the Puerto Rico Conservatory of Music (1969‐1976), both from which he eventually received undergraduate degrees in Humanities and in
Music Composition, respectively. After finishing his schooling, Sierra soon began to look elsewhere for artistic inspiration. While still in college, he had visited
Europe and became interested in the city of London. He eventually relocated there to begin studies at the Royal College of Music obtaining a Certificate of
Advanced Studies in Composition, and later, earning a Master of Music degree in Composition from the University of London (1976‐1978).
According to Sierra, London was a particularly lively place in the contemporary music world at this time: ʺI would hear pieces by Pierre Boulez,
Karlheinz Stockhausen, Luciano Berio […] when a piece gets written, it will inevitably be performed [in London] within weeks.ʺ In London, Sierra attended
45 McIntyre, http://www.subitomusic.com/st_sierra-2.htm 46 Ibid. McIntyre 30
many concerts of Boulez’s music and frequented the leviathan Proms Festival at
the Royal Albert Hall.47
From London, Sierra moved to Holland to study electronic and computer music at the Institute for Sonology in Utrecht (1978‐79) and learned that the renowned Hungarian composer György Ligeti (1923‐2006) would be leading a seminar at the prestigious Aix‐au‐Provence Festival the following summer. Upon arrival in Aix‐au‐Provence, he joined one hundred other composers in one of
Ligeti’s classes. The maestro suggested to his fledgling students that they leave copies of their scores with him for perusal and feedback.
Despite the large number of students, Ligeti took a keen interest in Sierra’s music. Consequently, Ligeti asked the young composer about his plans for the following year and invited him to travel to Hamburg, Germany for private study. Sierra immediately accepted and joined Ligeti’s studio for an entire academic year.
During the period between 1979 and 1982, Sierra pursued advanced work in composition at the Hochschule für Müsik in Hamburg. Of his lessons with
Ligeti, Sierra observed, “It was a fantastic and important experience for me. He was always searching for the inner voice in my work. This is primary to study with him.” 48
According to the Ligeti scholar Richard Toop, the Hamburg classes attracted many talented young composers who were eager to learn from one of the most respected of all living composers. Likewise, some of these curious young composers were also a source of stimulus for Ligeti. For example, Sierra drew Ligeti’s attention to the complex polyrhythms of Caribbean and South
47 Ibid, McIntyre 48 Ibid, McIntyre 31
American music, some of which found their way into Ligeti s works of the 1980’s
(Piano Concerto).49
After living in Europe for six years, Sierra decided to return to his native
Puerto Rico (1982). He accepted administrative positions at the University of
Puerto Rico (Director of Cultural Activities) and the Puerto Rico Conservatory of
Music (Chancellor). Within a few years, he became Dean of Composition and then Director. His growing compositional prowess and enriching travels were being rewarded by the very organization that helped set him on this path. He was active in this academic leadership for several years. Then, in early 1989, he received a phone call from the Milwaukee Symphony, offering him a three‐year tenure as its Composer‐in‐Residence.
Sierra’s time in Milwaukee proved to be very productive on many levels.
His residential duties included developing a competition (the winners of which would receive a performance by the orchestra). Sierra s other responsibilities included advising in the programming of contemporary literature and composing music. At the end of three years, the Milwaukee Symphony released a recording on Koss Classics of Sierra’s works. Beyond orchestral work, Sierra’s
Milwaukee‐era output includes a chamber piece entitled Piezas Caraterísticas
(1991). The composer offers a brief description of this work:
ʺ[In Piezas Características,] each movement uses a distinctive interval as its main structural feature. The color of the interval plays a role in the mood of each individual movement. The work is inflected with Latin elements.ʺ50
When his time in the Midwest ended early in 1992, Sierra was considering a move back to his homeland. Simultaneously, the great Czech composer and educator Karel Husa had recently stepped down from his teaching position at
49 Richard Toop, György Ligeti . Phaidon Press Limited: London, England (1999): 185. 50 Roberto Sierra, http://www.robertosierra.com 32
Cornell University in Ithaca, New York, leaving a vacancy. Sierra applied for the position, and in the fall undertook his current position at the school. His extensive involvement in the teaching of contemporary music resulted in his teaching a range of classes. Those classes included private lessons in composition, historical survey courses in 20th century music, and graduate seminars focusing on the music of Olivier Messiaen and his former instructor,
Ligeti. Other teaching responsibilities include serving as Visiting Professor at
Yale University from 1995 to 2002. Amidst his busy teaching schedule, Sierra has maintained an impressive level of compositional output. His unique style gained prominence within the classical music world.
Compositional style and Output
Sierra’s Puerto Rican musical roots are ever present in his compositions‐‐ at times overtly, at other times obliquely. As mentioned above, the sounds
associated with his native country permeate the culture and, therefore, are part
of the DNA of the composer s work. Also woven into the double helix of his
aesthetic is the influence of two pillars of modern music: Igor Stravinsky and
Belá Bartok.51 In Sierra s words, “Stravinsky has been always a composer that is
present because of his use of rhythm. My music doesn’t sound like his, of course,
but I think his rhythmic sense has influenced not only me, but also composers
throughout the past century. Bartok’s lyricism is important to me, and his use of
a vernacular approach has been an profound model as well.”52
As Roberto Sierra s style has evolved, he has synthesized European
modernism. With Ligeti, he developed an abstract thought process – with
elements of Puerto Rican and Latin American folksong, jazz, salsa, and African
51 McIntyre, www.subitomusic.com/st_sierra.htm 52 Laurie Shulman, The New Groves Dictionary of Music and Musicians, vol. 23, p 364-365. 33
rhythms – a process he calls ʺtropicalization.ʺ 53 Sierra s music is deeply rooted in the Latin American tradition, full of color and brilliance and pulsating rhythm.
However, Sierra has taken his heritage into the mainstream of twentieth century
western music, creating music of substance and originality.54
Even within these influences, Sierra’s attraction to duality is present (e.g.
rhythmic impulse versus linear construction). Sierra embraces this truth in
different ways, manipulating basic architectural elements of composition, at
times in juxtaposition. For instance, In Alegría (1996), the bright rhythmic drive of
2 beats per measure (in 6/8 time) is offset by the constant use of syncopated
passages between the melodic line and the instruments. In addition, the third
movement of Concierto para Orquesta (1999) alternates between angular thematic
material in the brass, and moments of bittersweet melodic fragments by the
winds.55
Another example of Sierra’s manipulation of compositional elements is
evident in Fandangos (2000). Fandangos is decidedly Puerto Rican in overall style,
veering periodically into adventurous harmonic material. Furthermore, it
intersperses dense accumulations of orchestral color that burst forth from within
a relatively straightforward homophonic texture.56 Consequently, Fandangos has
become one of Sierra’s most frequently performed compositions. In a review for
The Guardian‐London, Andrew Clements wrote:
ʺIt is an expertly scored piece that takes a dance by Soler and passes it repeatedly through the prism of contemporary harmonic and rhythmic procedures; the result is attractive[...]ʺ 57
53 Ibid, Shulman 54 Ibid, McIntyre 55 Sierra, http://www.robertosierra.com/reviews 56 Ibid , Sierra 57 Ibid, Sierra 34
Commissioned Works
Commissioned by Leonard Slatkin and the National Symphony Orchestra
(NSO), Fandangos has been featured on numerous NSO programs, including a
European tour, and in residencies around the United States. After its premiere,
Slatkin said to Sierra: “This is a piece that will be done by many other conductors
and orchestras.”58 His prediction was indeed prescient, as Fandangos has
received performances by groups including the Cleveland and Minnesota
Orchestras, Phoenix Symphony, and the Los Angeles and Buffalo Philharmonics.
In addition, Maestro Slatkin led the BBC Symphony Orchestra performance of
Fandangos at the opening concert of the renowned London Proms in July 2002.
Other commissions of Sierra s works include Con madera, metal y cuero, co‐
commissioned by the Los Angeles Philharmonic, the Royal Scottish National
Orchestra, and the Casals Festival. Consequently, this work s premiere was part
of the BBC 20th Century Retrospective ʺSounding the Century.ʺ Additionally,
Fanfarria, aria y movimiento perpetuo for violin and piano was commissioned by
the Library of Congress to celebrate Copland s centennial. Sierra s Concerto for
Orchestra was commissioned by the Koussevitzky Music Foundation and the
Philadelphia Orchestra for the centennial celebrations of the Philadelphia
Orchestra. Roberto Sierra’s latest guitar concerto, Folias, written for the world
acclaimed guitar virtuoso Manuel Barrueco, premiered in October 2002.
Another recent critical and popular success was Sierra’s Concerto for
Saxophones and Orchestra (2003), premiered by the acclaimed saxophonist James
Carter and the Detroit Symphony Orchestra (DSO) conducted by Neeme Järvi.
Reviewing the piece in the Detroit News, Lawrence B. Johnson said,
“[Sierra’s] three‐movement concerto, which has the soloist switching off between tenor and soprano saxophones, is a delight and a thriller, idiomatic
58 Roberto Sierra, Interview with composer. February 1, 2006, Washington, D.C. 35
and challenging in its jazzy language, affecting in its bluesy‐ballad turns, electrifying in its solo flights and as colorfully fashioned for the orchestra as it is for the man with the horn.” 59
In fact, the piece was so well‐received that the Detroit Symphony Orchestra programmed its second run of performances several months later.
One of Sierra’s recently commissioned works (Sinfonia No.1) won the 2004
Kenneth Davenport Competition for orchestral works. Sierra s first work in the traditional symphonic form was performed by the St. Paul Chamber Orchestra
(SPCO). Roberto Sierra structurally modeled his Sinfonia No.1 after Beethoven’s first symphony. About this work, the composer commented, “I wanted to do something with the sharpness and clarity of the early Beethoven pieces. Beyond overall structure, there is, in fact, a thematic reference within the work s scherzo movement.”60 Sierra describes his work in this statement:
“During the last decade I have written several large scale orchestral works: Tropicalia during my composer‐in‐residence years with the Milwaukee Symphony Orchestra, and Concerto for Orchestra, written more recently (2000) during my residency with the Philadelphia Orchestra. However, this work is the first of the multi‐movement works that I title “Symphony.” There is one good reason for it; it is indeed a symphony in terms of the structure, not far (except for aspects of tonality) to what Beethoven did in his first symphony. In fact, I modeled my work loosely on Beethoven’s 1st. For example, the first movement starts with a slow expressive adagio, followed by an allegro that clearly contains the basic formal elements of sonata form. The second movement bursts with emotion and intense orchestral colors. The scherzo that follows looks again at Beethoven’s classicism, although here the time signature is not the usual 3/4 but rather a bouncy 5/4. The symphony closes with another movement in sonata form preceded by a slow introduction that leads to an exposition infused with rhythms evocative of the clave beat in salsa music.”61
Another composition receiving its first performance in 2004 was Sierra’s
Kandinsky for piano quartet, which had its world premiere in Coolidge
Auditorium at the Library of Congress in Washington, D.C. on February 13, 2004.
59 Lawrence B. Johnson, Detroit News, October 18, 2003. 60 http://www.subitomusic.com/st_sierra‐2.htm 61 School of Fine and Performing Arts, State University of New York at Paltz, http://www.newpaltz.edu/artsnews/release.cfm?id=262 36
Kandinsky contains 11 short movements, each named after works by the Russian
abstractionist painter Wassily Kandinsky (1866‐1944).
Most Recent Commissions
Some of Sierra s most recent commissions include Sinfonía No. 2, commissioned by the University of Miami, School of Music Abraham Frost
Commission Series and Sinfonía No. 3, commissioned by the Milwaukee
Symphony Orchestra with funding from the Joyce Foundation of Chicago.
In addition, Sierra recently completed Double Concerto for violin and viola, co‐
commissioned by the Pittsburgh and Philadelphia Orchestras, Bongo+, commissioned by the Juilliard School in celebration of its 100th anniversary, and lastly, Borikén, a fourteen‐minute long orchestral work, commissioned and
performed by the Casals Festival to celebrate its 50th anniversary in February
2006.
Upcoming commissions
Sierra s upcoming commissions include a work for the Dallas Symphony
Orchestra to be premiered in November, 2006, a guitar concerto for the Orchestra de Castilla Leon in Spain, and three orchestrations for “Meet the Composer,” a music organization in California. In addition, Sierra is completing a piano concerto for pianist Ian Hopson and a song cycle for soprano and string quartet, dedicated to soprano Heidi Grant Murphy, pianist Kevin Murphy and the St.
Lawrence String Quartet.
37
Choral Works
Cantos Populares (1983)
The New London Chamber Choir commissioned and premiered Cantos
Populares at the Festival of New Music in Huddersfield, England, under the direction of James Wood. In this five minute a cappella setting for mixed choir,
the composer depicts the tropical atmosphere of morning (Canto Matutino),
sunset (Ensueño), and evening (Canto Nocturno) without any use of words. In an
interview conducted by Luis Olivieri, Sierra commented that Cantos Populares
evokes Hispanic‐Caribbean folkloric and popular elements by merging the
various melodic and rhythmic elements of the island (Puerto Rico), yet does not
focus on a specific genre of music. Interestingly, Sierra also expressed his desire
to compose a setting of the traditional Mass in the near future.62
In Cantos Populares, the composer creates three picturesque illustrations,
depicting each part of the day by utilizing a wide range of vocal colors. The first
section, Canto Matutino, translated as Morning Song, begins as a song that
gradually transforms itself into a cacophony of percussive sound. This process
climaxes in a pitch‐less and highly syncopated passage resembling, in Sierra’s
words, “a type of white noise.”63 For the remainder of the section, Sierra uses
this process in reverse, culminating with the initial song heard in the
introductory passage.
Also in this first section, Sierra relies on his creative use of unvoiced
fricatives, aspirates, and plosive consonants in various vocal registers and
dynamic levels. The composer employs textual density, splitting the choir into
sixteen separate parts to achieve what Sierra describes as “a musical effect
62 Luis Olivieri, “Cantos Populares: Obra coral puertorriqueña estrenada en Inglaterra,” Coral, 5/3 (1989): 3 63 Ibid, Olivieri, (1989) 38
resembling the sea breeze”64 (see figure 3.1). For the middle section
(Ensueños), Sierra juxtaposes different rhythmic passages containing triplet figures, asymmetrical beat subdivisions, and horizontal and vertical hemeolas.
Sierra systematically introduces these rhythmic motives, creating a dense texture filled with percussive and appealing sonorities while depicting the tropical images heard between noon and dawn.
Figure 3.1 Cantos Populares. Canto Matutino.
64 Ibid, Olivieri, (1989). 39
Sierra’s spirited final section (Canto Nocturno) uses unique vocal effects to show the festive character of the tropical nocturnal orchestra created by its fauna and native insects, including the sounds of the “coquí.”65 Sierra again juxtaposes various rhythmic patterns including the popular “clave” (see figure 3.2 )
Figure 3.2. Cantos Populares. Nocturno. Superimposed rhythmic patterns.
65 Coquí is a tiny tree frog found in Puerto Rico. “Co‐quí” is the also the sound the males produce when the sun goes down at dusk. Their melody serenades islanders to sleep. Coquíes sing all night long until dawn when they stop singing and head for the nest. Puerto Ricans love their coquíes and have written poems, stories, and aguinaldos about them.
40
In a review by Peter Jacobi for the Herald‐Times, he wrote:
ʺ[...] The first [Cantos Populares] actually recalled the more avant‐garde music of György
Ligeti and Krzystof Penderecki; it s one of those concoctions featuring staggered
choral lines that make a listener think no one is taking a breath because
the music never pauses […]ʺ66 Idilio (1990)
Idilio is a unique work for SATB text‐less chorus and orchestra which, according to Nick Strimple, “[…] recreates an atmosphere of a jungle”.67 Sierra utilizes the orchestra and chorus to imitate the sounds of nature in an abstract manner. This composition (ca 7) was written during Sierra’s residency with the
Milwaukee Symphony Orchestra, and was premiered and recorded in 1990.
American Music reviewer Walter Aaron Clark wrote:
“Sierra represents a new generation of American composers who seek ways to combine a progressive musical idiom with more accessible traditional elements, particularly those drawn from folk and popular music. Sierra is a skillful and imaginative creator, and the sources of his musical inspiration have enduring appeal. The programmatic element is key in bridging the gulf between a moribund avant garde and concert audiences who must be won back for contemporary classical music. Roberto Sierra is winning them back [...]”68
In addition, the Milwaukee Sentinel review stated:
“Sierra’s […] Idilio [...], a sensuous tribute to the Puerto Rican rain forest incorporating wordless chorus, reaffirmed one of the strongest compliments that can be paid to a composer today who chooses to work with traditional tools of melody, harmony, and rhythm: His music represents a unique voice, striking in its originality and bearing no traces of derivation or imitation.” 69
66 Peter Jacobi, http://www.music.indiana.edu/publicity/press/ ArticlesPreviews&Reviews/articles/2005‐03/2005‐03‐07‐HTJacobi‐2.shtml. 67 Nick Strimple, Choral Music in the Twentieth Century, Amadeus Press, LLC Pompton Plains, NJ, (2002):207 68 Walter Aaron Clark. Society of American Music, 16/1, (1998):110. 69 G. Schirmer Inc., Associated Music Publishers, Inc., http://www.schirmer.com/default.aspx?TabId=2420&State_2874=2&WorkId_2874=33176 41
Guakia Baba (1992)
Sierra sets this SATB a cappella work to the poem of the illustrious Puerto
Rican composer Cayetano Coll y Toste. This poem is made from the linguistic construction of Taíno words. The Taínos were the native Indians that inhabited
Puerto Rico before Columbus’ arrival. The text used in this setting is similar to the Lord’s Prayer. The text to Calletano Coll y Toste’s Guakia Baba is as follows:
Our father is in heaven Lord of earth and water Lord of moon and sun Come tu us Good, exalted, great, generous; Give us rain, plants Boniato (sweet potato), bread; Evil spirits, no Death, no Good spirits, yes Of God I am a servant So be it.
Guakia Baba also contains many examples of polyrhythmic and cross‐ rhythmic activity. As has been noted, these similar features are a trademark of
Roberto Sierra’s music and are featured throughout most of his instrumental and
choral works, including Missa Latina. Many of these rhythmic figures are derived
from the additive rhythmic figure (3+3+2), also referred to as the “mother cell” or
“tresillo.” This figure functions as the rhythmic backbone to most Puerto Rican
folk music, as stated by Rafael González Bothwell:
“The foundation of folkloric music of Puerto Rico is based upon the derivation of rhythmic figures from originals, which at the same time, derive from the mother cell
(3+3+2).” 70
70 Rafael Gonzalez Brothwell, An original composition, La Cosecha for Orchestra, and La Clave: A Cultural Identity. DAI (Louisiana State University), 2005, p.167 42
In addition, the tresillo rhythmic figure, also commonly referred to as the
“clave,” appears in many types of folk and popular music of the Caribbean.
Although ʺclavesʺ are not performed (as meters) in Puerto Rican folk music, they are commonly performed in a cyclical pattern in the folk and popular music of the Caribbean, including salsa music.71 Likewise, Sierra’s setting uses this
“mother cell” and other derived figures as the rhythmic base in his unique portrayal of Coll y Toste’s indigenous prayer (see figure 3.3).
Figure. 3.3 Guakia Baba. Tresillo figure cyclical patterns used in juxtaposition.
Bayoán (1992, revised in 2001)
This composition for soprano, baritone, SATB chorus, and orchestra is based on Eugenio María de Hostos’ La peregrinación de Bayoán (The Pilgrimage of
Bayoán) and describes a spiritual journey in search of identity. This work was originally written during the time when Puerto Rico, Cuba and the Dominican
Republic were still colonies under the Spanish crown. In the work, Bayoán follows Columbus’s path in reverse, searching for a Caribbean identity.
71 Ibid, p.167 43
During a dress rehearsal, Sierra told the musicians “The whole piece begins with a violent introduction and ends with an elegy […] Bayoán ends up in Europe, with no solution to his quest. He is looking for identity, looking for love, looking for all the idealistic things man is always looking for. It’s a sad ending, because he is disillusioned.”72
Although Hostos’ words come from a distant past, their meaning still resonates very strongly. The search for identity and place in the world are relevant questions to Sierra and many other people who live far away from their places of origin.73 Sierra states:
“In my oratorio Bayoán, I wanted to explore those questions. The piece starts with lntroducción and the Descarga that portray the agitated spiritual quest of Bayoán. Intermezzo is a musical representation of the playful and innocent portrayal of Marién, the female character who in the next movement becomes an abstract both of the beloved and the homeland. To bring my own personal context I introduce in this movement (Marién) music evocative of the Danza, that quintessential piano music of XIX century Puerto Rico. The Elegía (Elegy) that closes the work leaves one with a sense of hope, but at the same time suggests that we are still searching for answers to Hostos’ questions.”74 The New York premiere performance of Bayoan had favorable reviews stating:
“Mr. Sierra s score was vivid all the way through; he is first and foremost a brilliant and colorful orchestrator, a master of a wide range of advanced textures, but also an engaging melodist and manipulator or rhythms.”75
Lux Aeterna (1996)
Sierra’s Lux Aeterna is set for an unaccompanied mixed chorus. Its abstract compositional style reflects the modern European influences of his early studies with Ligeti. Some of these influences are reflected in his use of short canonic rhythmic patterns, as well as in its harmonic language (see figure 3.4). Lux
72 John Pareles, The New York Times, C-1, October 14, 1994. 73 Roberto Sierra. Bayoan and Extasis de Santa Teresa, Bronx Arts Ensemble, Albany Records, CD cover. 74 Ibid, Sierra. 75 Alex Ross,”In Performance, Classical Music”, New York Times (October 17, 1994). 44
Aeterna was commissioned and premiered by The Mendelssohn Club of
Philadelphia in 1996. In a review following a performance, Heuwell Tircuit stated:76
“Sierra s […] setting of the Lux Aeterna showed only hints of the master s [Ligeti] style. Sierra did employ some of the close canonic techniques common to early Ligeti, but minus his microtonal cluster effects. The overall, sung from the rear choir balcony of the church, created a deeply devout effect, the sonorities rounding the room free of echo. It was like undated antique choral music, an extremely effective piece that deserves repeating […]”
In another review, by Benjamin Frandzel wrote:
“Honoring Ligeti’s many years as a teacher, the program featured works by two of his students who became major composers. In an homage to the maestro, Puerto Rican composer Roberto Sierra created his own setting of Lux Aeterna, with many of his teacher s techniques. Sierra borrows Ligeti’s tempo and use of canon, though in a more audible approach with less‐dense vocal lines. Sierra s harmonies are often beautiful and his counterpoint, excellent; the Singers sounded strong and confident in this well‐ prepared performance […]”77
76 Benjamin Frandzel, San Francisco Classical Voice, http://www.sfcv.org/arts_revs/volti_3_15_05.php 77 Benjamin Frandzel, San Francisco Classical Voice, http://www.sfcv.org/arts_revs/sfchambersingers_4_8_03.php (March 31, 2003). 45
Figure 3.4. Lux Aeterna. Canonic rhythmic passages.
The compositional style of Roberto Sierra’s early works reflects his unique creative ability to recreate musical illustrations of particular places in time, as evident in Idilio, Cantos Populares and Guakia Baba. These works reveal Sierras abstract musical roots, also reflected his instrumental works. Likewise, Sierra masterfully infuses Caribbean folk rhythmic and stylistic elements within modern musical idioms, as observed in the oratorio La Pelegrinación de Bayoan.
46
CHAPTER 4
ANALYTICAL ANNOTATIONS ON SIERRA’S MISSA LATINA
Background
The National Symphony Orchestra s association with Roberto Sierra dates
back to their first performances of SASIMA, conducted by Zdenek Macal in 1990.
Since then the National Symphony Orchestra (NSO) has commissioned and
performed several of Sierra’s compositions during Maestro Leonard Slatkin s
tenure as Music Director. The most recent of these compositions was Fandangos, a
brief orchestral work introduced by Slatkin and the NSO in 2001. In 2003,
Maestro Slatkin asked Sierra to consider writing a work to commemorate the
75th season of the National Symphony Orchestra and the 40th anniversary of the
Choral Arts Society of Washington, which also celebrates the effective
collaboration of these two organizations over the decades. Mr. Sierra embraced
this opportunity to write his most ambitious work to date, a full “concert length”
setting of the Roman Catholic mass lasting seventy‐one minutes – a work
described as “one of Sierra’s most well rounded masterpieces.”78
Sierra’s stated purpose regarding his Missa Latina (Pro Pax) is that it was a
plea for peace. “I was motivated to use the resources available today for evoking peace, mercy, and forgiveness,” commented Sierra in a pre‐concert interview.79
Roberto Sierra’s work follows a great tradition of mass settings dating back to
Guillaume de Machaut’s Missa Notre Dame, known as the oldest‐known unified
polyphonic setting of the mass. Sierras personal concept of the mass originated
from his early church memories:
“My concept of the mass came from my own experience growing up as a Catholic in a particular time and place. I still recall vividly hearing
78 Robert Aubry Davis, Pre-concert Lecture with Roberto Sierra (January 31, 2006). 79 John Chester, Pre-concert interview with Roberto Sierra, Library of Congress (February 2, 2006). 47
the Mass in Latin in my own town in Puerto Rico when I was a child. From the beginning there was for me a strong impression, which only deepened through the years.: a sense of mystery combined with both power and compassion in the ritual involving this ʺdead language,ʺ and hearing the Gregorian chants intoned by the priest.”80
The composer s subtitle, “Pro Pax,” identifies the work as a mass for peace,
or, as Sierra states, ʺa plea for peace.ʺ This idea dates back to the mass settings of
previous 18th and 19th century composers such as Haydn s Mass in Time of War
and Beethoven s Missa Solemnis. At a pre‐concert lecture offered at the Library of
Congress on February 2nd 2006, Sierra stated:
“[…] I don’t remember living in a period where there was not a war going on that did not affect people I knew. Writing a mass is wonderful, but how do you write something [mass] without a [higher] purpose… One has to declare that sort of aspiration for peace. I also chose text from the Proper of the mass [intersections] and set it for specific reasons, for peace or to give thanks […] I wanted in a limited and humble way to ask for “Pax.” I think we should be aiming at that.”81
The composer s original intention was to set the Ordinary of the Mass
[Kyrie, Gloria, Credo, Sanctus, Agnus Dei], but his intrinsic desire for a deeper
meaning lead him to prepare his own English translations. In addition, Sierra
became inspired to search for suggested chant passages in the Liber usalis.82
Sierra set these passages as intersession prayers in the Introitus, Offertory, and at
the concluding section of the Agnus Dei.
The mass is set for soprano and baritone soloist, chorus, and large modern
orchestra with a percussion section that includes instruments that are not
unusual today, but are more generally associated with Caribbean folk and
popular music. On his choice of instrumentation Sierra adds, “The orchestration
80 Ibid, Chester. 81 Ibid, Chester 82 The liber usualis contains chants of biblical passages. 48
reflects my interest relating to by ethnic background merged into the fabric of my
music.”83
The composer s title choice, Missa Latina, has dual meaning. It refers to the
traditional Latin text and the “Latino” character. Sierra states, “It is infused with
the Caribbean gestures that allude to my personal background, my own Hispanic
heritage, which color so much of my music.”84 These gestures are particularly
evident in the “Laudamus te” of the Gloria and the “Pleni sunt caeli” of the Sanctus.
Prior to the Mass anticipated premiere, John Chester interviewed the founder and musical director of the Choral Arts Society of Washington, Norman Scribner,
about his conceptions regarding Sierra’s mass:
“The members of the chorus are ʺcrazyʺ for this work. It is so engaging […] It is the kind of music that you cannot be part way to, if you are in it, you are in it up to you neck, it grabs your body. In a lovely dance, it pulls you right along […] Latin rhythm is an infectious genre and it is refreshing to hear it in the works of a great classical master like Roberto Sierra.”85
Premier and Reception
The premiere of Missa Latina took place on February 2‐4, 2006 at the John
F. Kennedy Center for the Performing Arts, Washington, D.C. Leonard Slatkin led the Choral Arts Society of Washington s 170‐voice chorus and the National
Symphony Orchestra in a stunning performance that ended with a spontaneous and enthusiastic standing ovation from the audience. The mass received critical acclaim by T.L. Ponick from the Washington Post, who wrote:
“[...] the most significant symphonic premiere in the District since the late Benjamin Britten s stunning War Requiem was first performed in the still‐unfinished Washington National Cathedral in the late 1960s [...] Mr. Sierra s new work is, quite simply, shockingly brilliant [...] Despite the Hispanic expectations evoked by the work s title, Mr. Sierra s Mass
83 Davis, Pre‐concert lecture offered at the Library of Congress. 84 Rivera, Personal interview with the composer. (February 1, 2006). 85 Chester, Pre‐concert radio interview with Norman Scribner, Library of Congress (February 2, 2006). http://www.vivalavoce.com/?nid=42&sid=299293 49
often relies on classical European musical tradition. This makes his Latino eruptions all the more unexpected and irresistible ‐‐ no more so than in this delightful Sanctus. In this section s “Benedictus,” Mr. Sierra also convincingly breaks the postmodernist taboo against melody, giving his soprano the most achingly beautiful solo we have heard in decades. Chorus, orchestra and soloists then take the “Agnus Dei” to an emotionally satisfying and redemptive conclusion. A huge bravo to Mr. Sierra for having the courage to invite audiences back to the concert hall by gifting them with something wonderful.”86
Also, Daniel Ginsberg, a reviewer for the Washington Post wrote:
“[Missa Latina is] [...] filled with such classic Latino elements as salsa‐like rhythms, bright orchestral colors and evocative percussion, Missa Latina is a natural next step for the 52‐ year‐old composer, who says he seeks “heartfelt music with a deep emotional content.” In this way, Sierra recalls earlier Latin American composers such as Hector Villa‐Lobos and Alberto Ginastera, who featured sounds from their respective Brazilian and Argentine homes. Osvaldo Golijov of Argentina is perhaps the only other composer today who possesses the same command of the Latin world s unique idiom.”87
Tim Page from the Washington Post wrote:
“[...] the Missa Latina is remarkably organic in its expression: If it is music that sets out to be liked – perhaps loved – it is also a unified and, one suspects, deeply felt utterance of the heart. It certainly received a joyful send‐off. The chorus sounded both transparent and powerful; soprano Heidi Grant Murphy sang her long, limpid part with a fresh and florid sweetness, while Nathaniel Webster brought decorum and agility to the passages for baritone. Slatkin, who commissioned the Missa, seemed to be having the time of his life, working hard, conducting with affection, with a full command of the score s many complications and that same sense of rapt, delighted discovery I recall from his years with the St. Louis Symphony. Judging any work on the evidence of such a brief acquaintance is always risky; still, it is probably safe to say that the Missa Latina will bring pleasure to a great many listeners. Samuel Johnson used to say that the first duty of a book was to make us want to read it through; similarly, I can t imagine anybody who starts listening to the Missa Latina wanting to turn it off before it is over.”88
Scribner also voiced his accolades during a local radio interview:
“This is a work that has great grandeur and immediately connects with its audience
[Instantly], and yet, it has the depth which will assure its long life far beyond our years
[...] I would like to pay tribute to Roberto and other composers who have joined his
86 T.L. Ponick, ʺHigh Reward in Missa Latinaʺ, The Washington Post (February 4, 2006). 87 Daniel Ginsburg, ʺComposer Rides Island s Folk Currentʺ, The Washignton Post (January 29, 2006), N‐10). 88 Tim Page, The Joyful Noise of Missa Latina , February 3, 2006, The Washington Post, C4. 50
persuasion that the biggest challenge of our time is to reconnect the composer to its
audience [...] Missa Latina easily takes its place as one of the masterpieces of our time.”89
Leonard Slatkin stated:
“When we speak of music in an international language, no composer better exemplifies that than Roberto. His music is a wonderful blend of sounds […] The Missa Latina shows him at the height of his compositional powers. It uses tradition and creativity in a unique manner that can only be described as Sierraesque.”90
Following the premiere, composer Roberto Sierra, accompanied by
conductor Leonard Slatkin, choral conductor, Norman Scribner, and soloists,
offered a post‐concert discussion to the concert attendees. In it, conductor
Leonard Slatkin led an informal discussion including their personal impressions
regarding the mass, as well as performance commentary. Slatkin began,
commenting that the orchestra did not solely double the choir, but, rather, had its
own musical material. In addition, baritone soloist Nathaniel Webster stated, “I
found the voice leading to be clear and friendly to my passages”— a sentiment
echoed by soprano Heidi Grant.91
Leonard Slatkin concluded the lecture by soliciting the audience s –
comprised of concert viewers, performers and critics – personal impressions
regarding the Mass. The response from the audience was overwhelmingly
positive including comments such as: “I am amazed on how the composer
brought the contemporary idiom of this Latin mass to today’s audience,” and
89 John Chester, Pre‐concert interview with Roberto Sierra, Library of Congress (February 2, 2006). 90 http://www. subitomusic.com/thecomposer_news.htm. 91 Leonard Slatkin, Post Concert Discussion, Kennedy Center for the Performing Arts (February 2, 2006). 51
“[…]this music transcends the Latin expectations and has a more universal
appeal.”92
Stylistic Considerations
Though he has not entirely rejected the astringent modernist sound, Sierra describes his music as “heartfelt music with a deep emotional content.” Sierra
treads a more melodic terrain than other Latin‐inspired composers working
today, which is what attracted NSO Music Director Leonard Slatkin to his work.
The composer utilizes a variety of compositional techniques and styles to
express his personal view of the mass text. In addition, each movement of the mass has its own distinct flavor, or as the composer describes, “a different tradition,” yet is clearly unified by rhythmic and harmonic coherent elements.
The opening movement of the mass (Introitus) employs chant‐like melodies, open
parallel harmonies, use of different modalities with hints of non‐diatonic
harmonies, and superimposed text, revealing Sierra’s ability to synthesize the old
and the new.
The second movement (Kyrie) displays Sierra’s creative use of textures by
playing with the homophonic versus polyphonic settings of the text. The
composer uses the pleading moments of this text to weave the soloists lines in and out of the texture while the chorus sings, thus creating a sense of dialogue
between the soloists and choir. This movement also introduces harmonic shifts between diatonic and non‐diatonic sonorities which are prevalent throughout the
mass, as if symbolizing our struggle for peace. In addition, Sierra uses the
“Christe” middle section of this movement to formally introduce segments of the
92 Ibid, Slatkin. 52
principal rhythmic motive, which, according to the composer, cannot be label since they are all derived from the same mother figure.93
The fourth movement (Gloria) is a multi‐sectional setting which utilizes alternative harmonic variety alluding to diatonic, modal, and several non‐ diatonic sonorities. In addition, the Laudamus te sub‐section features the choir and soloists praising God as Sierra sets their words to the rhythms of “salsa” music. This section ends with a in spirited fugato passage supported by the orchestra s syncopated Latin rhythms.
Yet it is in the central Credo movement in which the composer believes that his view of spirituality and tolerance and their role in contributing to peace emerge most clearly. According to Scribner, “Sierra has very new ways to talk about the Credo, new ways to set the trials and tribulations of our times regarding organized religion. The Credo is the single movement that had the most unique and special impact of all the movements of this masterpiece.”94 This central movement s use of variation in some cases serves as structural unification. By
bringing back the primary motives after a contrasting section, Sierra creates structural clarity. Also, Sierra’s use of tempo variation (slow‐fast‐slow) between sub‐sections provide structural clarity and balance in this twenty‐minute long
movement.
In the fifth movement (Offertorium), Sierra employs a “multi‐stylistic”
approach to illustrate the meaning text. The Offertorium begins with a dramatic
orchestral prelude whose texture and intensity gradually dissipate as it leads into
the Baritone s tranquil prayer of peace for Jerusalem [humanity]. Subsequently,
the composer reverses this approach by adding the Soprano soloists and choir.
Sierra also reintroduces the Latin rhythmic element and concludes with the
93 Sierra, Personal Interview with composer (February 1, 2006). 94 Slatkin, Post concert discussion (February 2, 2006). 53 choir s rhythmic motives that organically intensify towards their final acclamation on the word “Alleluia.”
The sixth movement, (Sanctus), employs a similar multi‐stylistic approach to the setting of its text as in the previous movement. That is, the movement begins with an energetic section, “Sanctus Dominus,” followed by a more flowing section, featuring dance‐like Latin rhythms “pleni sunt caeli.” The penultimate section features one the mass’ most beautiful melodies featuring the Soprano,
Baritone, and choir. Sierra unifies this short movement by culminating with a modified return of the B section.
The last section of the mass, “Agnus Dei,” features the Baritone, Soprano, and chorus singing one of Sierra s most exquisite and breathtaking passages of his mass (Pacem dominus). This passage features the only a cappella passage of the mass. This is followed the dancing melodies of the final “Alleluia” section.
Analysis of Missa Latina
Sierra’s stated purpose regarding his Missa Latina (Pro pax) is a plea for peace. ʺI was motivated to use the resources available today for evoking peace, mercy, and forgiveness,ʺ 95 commented Sierra in a pre‐concert interview. Initially,
Sierra began to set just the ordinary of the mass, but soon realized his need for a higher purpose, for world peace. As a result, Sierra included several text passages from the proper of the mass he found in the Liber Usualis, making his work more of a “votive mass”.96
The composer’s title choice, Missa Latina, refers to the traditional Latin text and the “Latino” character. Sierra states, “It is infused with the Caribbean
95 Chester, Pre‐concert interview (February 2, 2006). 67 Ibid, Chester, (2006). 96 Ibid, Chester, (2006) 54
gestures that allude to my personal background, my own Hispanic heritage,
which color so much of my music.”97 These gestures are particularly evident in
the “Laudamus te” of the Gloria and the “Pleni sunt caeli” of the Sanctus.
Introitus (Pro Pax)
Sierra’s mass begins with an Introit subtitled Pro pax, intended as a prayer
for peace.98 The Introit is one of the five Propers of the Mass, originally sung by the schola to accompany the entrance of clergy to the altar at the beginning of the
Mass.99 This first movement is set for soprano solo, SA chorus, and orchestra in binary form (A, B, Coda) (see Table 4.1). The tempo indication is marked “Como una plegaria (quarter note = 56). The soprano begins her plea, singing in messa di voce the words “Da pacem Domine.” This important melodic motif is utilized throughout the entire movement. This motif is based upon the Da pacem domine chant (see figure 4.2). Her prayer is accompanied by the orchestra’s sustained parallel fourth and fifth harmonies moving by steps in the lower strings against ornamented segments in the woodwinds.
98 This text is traditionally set for the twenty‐eighth Sunday after Pentecost in the liturgical year (Post Vatican II) and based on Sir. 36:18, Ps. 121 according to the Liber Usualis. Hee Won Chung, “A Conductor’s Guide to Roman Liturgy” (D.M.A.) (Diss, University of Washington, 2004):237. 99 Ron Jeffers, ʺTranslations and Annotations of Choral Repertoire.ʺ Sacred Latin Text. 1. Corvallis, Oregon: Earthsongs (1988): 46. 55
Figure. 4.1. Da pacem domine original chant in D Phrygian.
The harmonic palate of the Introitus fluctuates between D Aeolian and D
Phrygian with subtle hints of octatonic sonorities. The soprano soloist’s melodic material is composed of arch‐like lyrical lines moving in stepwise motion.
Occasional skips by thirds and leaps are reserved for phrase extensions or the introduction of new material. The soprano soloist’s line is frequently ornamented with florid passages containing an uneven number of sixteenth‐note
figures containing triplets, quintuplets and septuplets, while the orchestra’s line contains a sense of metric regularity.
Figure 4.2. Introit. Da pacem domine in D Phrygian.
56
By the end of the third phrase (mm. 10‐17), a more defined sense of
rhythmic motion is clearly established. The first climatic moment of this mass occurs on the last phrase, “et plebes tuae Israel” (the people of Israel as God’s servants), at which point the soprano’s sustained G is heard over the orchestra’s rapidly ascending D Phrygian scalar passages which cadence for the first time with a major sonority (mm. 38‐38). Section A concludes with a brief restatement of the initial melodic material, this time performed by the oboe and clarinet and spiced with subtle octatonic flavors above a D pedal, depicting a scene reminiscent of ancient Judaic times (mm. 41‐47).100
In the B section of the Introitus, Sierra juxtaposes the initial phrases of the
Laetatus Sum101 against the Gloria Patri, which is traditionally recited after each
psalm in the Divine Office since St. Benedict’s Rule of 525. 102 Sierra seamlessly
interweaves these two instead of presenting each separately. The female voices
chant the Leatatus Sum in unison, while the soprano soloist simultaneously
carries the text of the Gloria Patri over the female voices. Both of these lines merge at the final “Amen” section, thus ending the movement with open fourths in D Phrygian, as it originally started.
Throughout the Introitus, Sierra’s expressive setting of the text contains some of the same melodic characteristics associated with chant. Regarding the intervals between pitches in chant melodies, Richard Hoppin states:
“In all types of chant, melodic progressions are primarily conjunct that is moving by step up or down the notes of the mode. Skips of a third in either direction are the most common form of disjunct motion, and some chants consist of nothing but seconds,
100 Vincent Persichetti, Twentieth‐Century Harmony: creative aspects and practice. New York, NY. W. W. Norton & company, Inc. (1961): 35‐44. 101 Based on Ps. 121:1, V.7 is traditional used as a gradual in the mass setting. The first verse of Laetatus sum is employed on Laetate Sunday (the 4th Sunday of Lent) as a psalm‐verse for the Introit (Laetare Jerusalem). 102 Jeffers: 45‐46. 57
thirds, and repeated notes. Throughout the repertory, the predominance of stepwise motionwith occasional skips of a third produces a smoothness and uniformity that greatly increase the effectiveness of larger melodic intervals.”103
The melodic material of the soprano solo and unison female voices exhibit characteristics similar to those described by Hoppin (1978). Furthermore,
Sierra’s use of metric freedom of the text conforms to the natural syllabic inflection (agogic acent), resulting in a “flowing,” chant‐like treatment of the text.
Figure 4.3. Introitus. Superimposed Gloria patri and Laetatus sum texts
The last fourteen measures of the Introitus include a coda. In this coda, Sierra provides unity by reintroducing, with modification, the opening rhythmic motive, and subtly introduces the principal rhythmic cell heard throughout the
103 Hoppin, Medieval Music, p.15 58
mass, known as a tresillo (mm. 77‐90). The rhythmic basis of the tresillo stems from the additive rhythmic concept of 3+3+2, counting the fastest moving pulse
(see figure 4.2).104 The tresillo is the central rhythmic figure explored throughout the Missa Latina. Furthermore, this additive rhythmic pattern is the basis of other folk and popular Caribbean music.
Table 4.1. Movement 1 (Introitus). Formal Structure
Movement 1. Introitus Form A B Coda Text Da pacem domine Leataus sum (Understated Introduction) Tempo Como una plegaria Un poco mas Un poco mas =54 =56 =56 q q q Time Signature 3/4 3/4 3/4 Forces S op solo, Orch S solo, SA Choir, Orch Orch. Tonal Area d aeolean/phrygian D phrygian/octatonic g aeolean Length 48 mm 28 mm 14 mm
Sierra chooses to introduce the tresillo in an understated manner by setting it to a slow tempo (quarter note=58), and assigning it to the contrabass’ low register with accompaniment by pizzicato strings in triple meter. Sierra juxtaposes this rhythmic motive against the fragmented melody heard in the upper strings. Additionally, the composer also includes other rhythmic patterns written for the maracas and claves in duple meter (see figure 4.4.)
Sierra also uses the Coda to provide this movement balance and structure.
The melodic material heard in the Coda is derived from the soprano’s opening motive, yet transposed to G Aeolean (see Figure 4.5).
104 José Manuel Lezcano, “Afron-Cuban Rhythmic and Metric Elements in the Published Choral and Vocal Works of Alejandro García Cartula and Amadeo Roldán,” Dissertation, Florida State University (1991): 49. 59
Figure 4.4. Introitus Coda. Introduction of the tresillo rhythmic figure.
Kyrie
The second movement of the mass is set for soprano, baritone soloists, and chorus in ABA form (Figure 4.6). The tempo marking indicating con gran expression (quarter note=58) begins with a descending D octatonic scale (D, Db, F,
F#, G#, G, B, C), employing sharp minor seconds’ dissonances on each strong beat and dissolving into parallel fifths (F#‐sharp and C#‐sharp). The opening two measures of the Kyrie105, introduced by the orchestra’s triple forte dissonant chords, create an abrupt dynamic contrast to the previous movement (see Figure
4.5). The first part of this movement consists of three introductory choral
105 Kyrie, the first part of the Ordinary of the Mass, is a part of the opening Entrance rite of the Roman Church and is sung immediately following the Introit. 60
statements of “Kyrie eleison” (Christ, have mercy) in f# minor, each interrupted by a two‐measure instrumental interlude employing octatonic harmonies.
This stoic and angular introductory passage (mm. 1‐14) is followed by a
lyrical and rhythmically driven call and response section between soloists and
the chorus in F# natural minor and melodic minor (mm.15‐29). In addition, Sierra reintroduces the tresillo figure previously introduced in the Introitus’ coda. He also superimposes several rhythmic figures including the quintillo, a rhythmic figure played by the guiro.106
Figure 4.5. Kyrie. Introduction (Octatonic)
106 Güiro is a percussion instrument which, along with the claves, cowbell, and maracas, is found in many Spanish speaking Caribbean cultures. Dale A. Olsen & Daniel E. Sheehy, The Garland Handbook of Latin American Music. New York, NY:Garland Publishing Inc. (2000):135. 61
The B section contrasts rhythmically and texturally from the A section.
For this contrasting section, Sierra assigns the first two additive segments of the tresillo to the baritone and soprano solo parts, heard on the word ʺChriste
(Christ, see Figure), and assigns the quintillo pattern to the guiro and clarinet parts. These rhythmic patterns are then juxtaposed against the choral parts, horns, and strings’ sustained phrases, fluctuating between diatonic and octatonic
harmonies. The middle section also introduces the 3/2 clave pattern (see figure
4.6), culminating in a rhythmic acclamation. The B section ends with a modulating cadential extension delivered by the soloists and preceded by a four
measure instrumental interlude. This interlude modulates chromatically to Db
major, ultimately returning to F#‐sharp harmonic minor.
Figure 4.6. Kyrie. Introduction of the tresillo motive.
62
The A section returns with the choir’s restatement of the words Kyrie
eleison. Sierra uses a similar rhythmic and textural layout to the opening section
(a stepwise linear approach which cadences into open fifths by contrary motion).
However, Sierra changes the melodic direction of the inner voices and the harmonic progression.
Figure 4.7. Christe eleison. Tresillo and quintillo rhythmic motives.
The last section recapitulates the primary motives of the A section, returning in its original tonal area in F#‐sharp harmonic minor. One of the most noticeable modifications in this section is the inter‐exchange of the melodic material between the choir and soloists. The last choral statements of the Kyrie end in the same way they were introduced in the opening statements of this movement. Likewise, Sierra concludes with the orchestra’s ascending minor
63
seconds heard in contrary motion to the opening descending scale, tonicized by the use of D pedal.
Table 4.2. Movement 3 (Kyrie). Formal Structure
Movement 2. Kyrie Form A B A Text Kyrie eleison Christe eleison Kyrie eleison Tempo Con gran expression ( =58) q Sub a b c Transition a b Coda Sections Meter 4/4 4/4 4/4 Forces Choir S,B,Choir S,B & Choir S, B, Choir Tonal F# F# har./ F Maj to Db Maj Dd‐ f# m (Bb/D) Area har./minor minor F7 Octatonic Length 14mm 25mm 26mm 14mm 12mm 6mm
Gloria
Gloria in excelsis is the second part of the Ordinary. This hymn of praise
addresses itself to each Person of the Holy Trinity: God the Father, God the Son,
and God the Holy Spirit, and contains a hymnus angelicus, acclamations,
invocations, petitions, and a doxology.107 This particular setting is divided into
eight sections, in addition to a brief instrumental interlude totaling 612 measures
in length. The overall form of this movement (ABCDEFGA) is through
composed from a textural perspective. However, all eight sections are
harmonicaly related (see Table 4.3).
107 The Gloria is one of the psalmi idiotici, a psalm-like text composed by an individual rather than being taken from the Biblical Psalter. Jeffers, 2000: 46. 64
Gloria in excelsis
Sierra begins this highly rhythmic and festive movement with a tempo indication of (dotted quarter =126) marked Con gran allegria (with great joy). Sierra adopts the tresillo’s additive pattern (3+3+2) as its opening time signature. This tresillo pattern can clearly be seen in the orchestral writing, as well as the vocal writing. A one‐measure ascending C overtone scale108 precedes the sopranos’ entrance on the word Gloria. This pattern is followed by the remaining vocal parts at points of imitation every two measures (mm1‐13).
Sierra follows the opening section with a supplication for world peace (et in terra pax). The section begins with male voices of the chorus singing in unison, followed by a baritone soloist. The female voices of the chorus later enter in homophony, concluding on the word “pax” and followed by a festive instrumental interlude in F mixolydian.
Sierra repeats the opening text, and although the text is repeated, he only recapitulates the motive from measures 11 through 15, with slight modifications.
Sierra changes the accompanying rhythmic pattern in the orchestra to include the quintillo figure and concludes this section with a coda, which contains a three‐ fold proclamation of the opening motive followed by another instrumental interlude in overtone sonorities.
108 The overtone scale, is a non-diatonic scale based on the eighth to fourteenth partials of the overtone series (C,D,E,F#,G,A,Bb,C). Elliott Antokoletz, Transformations of a Special non-diatonic mode in Twentieth-Century Music: Bartok, Stravinsky, and Scriabin, and Albrecht. Musical Analysis, 12/1, (March 1993): 25-45. 65
Table 4.3. Movement 3 (Gloria). Formal Structure
Movement 3. Gloria Text Gloria Laudamus Gratias Domine Qui Tolis Quoniam In Gloria Gloria Deus tu Solus Form A B C D E F G A’
Tempo Con Con gusto Moderato Rapido Expresivo Rapido allegria ( =116) ( = 58) ( )=76 =120) ( = 84) q. h h. ( =126) (q q h. Time 3+3+2 4/4 3/4 6/8 4/4 3/4 Cut time 3+3+2 Signature Forces baritone, baritone, soprano S, B, S, B, Chorus S, B, Chorus Choir Chorus Women Chorus Chorus,Or Chorus ch Tonal C (OT), D B aeolean D A,D D phry, Octatoni C (OT) Area Oct, Mixolydia to aeolean aeolean Bb maj, c to F mix. n D maj7 Oct. C phy, Oct, C Maj. F/B/F, v‐I F Lydian Oct, C (OT) (OT) A minor F mixo, Oct. Length 113mm 45mm 44mm 138mm 67mm 59mm 118mm 32mm
66
Figure 4.8. Gloria in excelsis. Tresillo rhythm used as the meter.
Laudamus te
Laudamus te reveals Sierra’s creative ability to infuse Latino folk and
popular rhythmic elements with ecclesiastic text. This hymn of praise is set in
Cha‐cha‐chá style109, mimicking a popular musical Cuban dance form with origins
rooted in the Cuban danzón.110 Sierra’s tempo indication of (quarter note= 120)
marked Con gusto (with flavor) adopts a similar formal structure (ABA) to that
used in the previous section. The harmonic progression for this section is based
on a (ii‐V) progression111, allowing the music to develop through the sequential layering of melodic and rhythmic elements.
109 A Cuban dance from Peter Manuel, Popular Musics of the Western World (1988): 31. 80 Olsen & Sheehy, 135.
111 Rebeca Mauleon, The Salsa Guide Book for Piano & Ensemble (1993):142. 67
The baritone solo begins this movement with a three‐measure incipit in F
Lydian (mm.110‐113, see Figure 4.9.) The A section starts with the women’s entrance, singing in four part harmony the opening motive (Laudamus te) in the two‐measure rhythmic pattern performed throughout this section, in conjunction with six additional layers played by the orchestra as an ostinato. Sierra continues to develop the montuno112 by adding first the baritone solo with short improvisatory‐ like syncopated motives, resulting in cross‐rhythmic interactions
(mm.118). This section develops further as the male section of the chorus sings the contra bass part (tumbao113) with text. However, the motivic material in the next section, performed by the female voices and echoed by male voices, contains more sustained lyrical lines. These words are later heard at points of imitation every two beats (mm.141‐146), ending with a three‐fold homophonic acclamation by the chorus (glorificamus te, mm.147‐151).
Figure 4.9. Baritone’s incipid Laudamus te’s montuno section.
112 Montuno- a repetitive harmonic progression featuring an instrumental of improvised passage. 113 Tumbao- rhythm used in the Cuban son which anticipates the downbeat. 68
In the last eight measures, instead of utilizing the instrumental interlude to continue the climatic momentum of the Laudamus te, Sierra creates the illusion of “freezing” time by having the trumpets sustain two pitches (d‐f) for six beats.
He intermittently interjects a “call” figure (usually by a minor or major third), followed by a gradual change in dynamic level and tempo (see table 3). Sierra
uses this compositional device frequently throughout the mass to indicate the
end of a section or introduce new harmonic material.
Figure 4.10. Gloria. Glorificamus te.
Gratias agimus
The next section, Gratias agimus, features the soprano solo singing in a
very simple style. This acclamation in triple meter is marked moderato with a
tempo indication (quarter note =84). In addition, its tonal center (b aeolean)
69 begins on the relative minor of the preceding movement. However, Sierra seems to avoid tonicizing the motivic material which starts on f#, the third of the scale degree of the last tonal area (D major) of the Laudamus te, and dominant of the new tonal area (b aeolean) mode. This practice is carried out throughout this section, placing the soprano on the seventh scale degree of the D major, while the choir ends on the third and fifth scale degree of a Dmaj7 chord. In addition to this ambiguity of modes, Sierra avoids symmetrical phrase lengths. The asymmetrical phrase structure is comprised of three segments [(2+5+5)+ (2+5+5)+
(3+5+3)] which are interconnected by interweaving instrumental elisions. Sierra concludes this section with a cadential extension. As in the last section, the “call” motive is heard during the last three measures.
Domine Deus
Used as a petition in the mass, Domine Deus is marked rápido with tempo indication (dotted quarter note =116) in 6/8, and begins with a six‐measure instrumental prelude. The prelude employs a stream of continuous pulsating eighth notes. This technique sets into motion this highly syncopated movement filled with cross passages. Its formal structure consists of small, defined sections in ternary form (ABB1A1). The first section starts with the altos and basses singing in octave the words “Domine Deus” (m.208), and later they are joined by the soprano and tenor’s voices at the octave above, singing a similar motive in imitation. This section soon develops into a rhythmically driven passage, alternating between the duple and triple metric pulses.
The B section begins with soft and sustained fluid vocal lines accompanied by the orchestra’s undulating eighth note motion with non‐diatonic sonorities. It provides a subtle contrast in character as it describes the “Fili unigente” (Only Son of the Father, mm. 252). 70
The return of the A section arrives with a quick transition from octatonic sonorities to diatonic tonalities (D maj) on Domine Deus, Agnus Dei (mm. 304).
Sierra also combines the musical elements which characterized the A section,
including rapidly pulsating eighth notes and rhythmic vocal segments on Domine
Deus. He then replaces the rhythmic vocal segments with lyrical writing in the vocal parts. Furthermore, Sierra builds the momentum toward the climatic final chord by building on a sense of expansiveness in the choral writing, density of orchestral texture, and the use of functional harmony leading to the final cadence on the words “Filius Patris” (Son of the father, mm.322). Sierra also surprises the listener by placing an A major chord against an A minor chord on this climatic chord – a compositional trademark also found in the works of Scriabin. The remaining twelve measures following this climax gradually change dynamic, texture and tempo, transitioning to the prayerful Qui tolis movement. Sierra achieves this transition by returning to the “call” motive (c‐a) played by the brass to tonicize (A minor).
Qui tolis
Qui tolis is a contrasting section which begins with a recurring rhythmic drone (tresillo figure) carried by the timpani and low strings and accompanied with free ornamented passages by the flute and oboe to create a mystical mood.
Its slow tempo indication (quarter note=58), marked expresivo in common meter, sets the mood for this reverent petition for the remission of sins. Beginning with a duet in imitative style in a aeolean mode, the baritone and soprano are soon joined by the chorus, gently echoing in homophony, “Miserere nobis.”
Throughout the movement, Sierra uses poetic imagery to express the pathos of the text. For instance, the melodic contour of words such as qui tolis and misere nobis are generally written in descending manner, depicting the 71
“sins,” while qui sedes a dexteram Patris, meaning “you who are seated at the
right hand of the Father,” is heard in ascending manner.
Sierra’s sensitivity to the choral singer makes the Missa Latina challenging but accessible to singers. In a pre‐concert interview, Norman Scribner commented on Sierra’s keen sense of voice leading: “No matter how difficult the passage, he [Sierra] has prepared a vocal line either through a vocal or
instrumental passage leading or anticipating the pitch or just doubles the voices
at the spot needed the most.” A clear example is found prior to the choir’s
entrance on the words Qui sedes a dexteram Patris (mm. 371, see figure 4.12), and
the following men’s entrance (mm. 374).
In this passage, Sierra uses only three instruments in the measure prior to the choir’s entrance (anticipating their pitches, C and Bb, see figure 4.12.) The trumpet and harp play these pitches on the end of the second beat, which is
Figure. 4.11. Gloria. Domine Deus final phrase.
72
immediately followed by a clarinet trill on the third beat, isolating these two
pitches. Likewise, Sierra employs a similar approach after the choir’s release on
the word Patris. In this case, the instrumental passage provides the pitch several beats prior with a trill, thus facilitating the basses’ and tenors’ entrance on a tri‐
tone and major seventh below.
Figure. 4.12. Gloria. Qui sedes a deteram Patris.
Quoniam tu solos Sanctus
Quoniam tu solos Sanctus is the final section of the Gloria and is set in triple
meter with tempo indication (dotted half note =76) and marked rápido. This
organic setting begins with a one‐measure introduction, leading to the tenor’s
(piano) entrance on Quoniam tu solus Sanctus and later echoed by the basses,
sopranos and altos at points of imitation. This phrase builds to Sanctus Dominus,
ending in homophony while the orchestra’s triplet figures reinforce the illusion
of expansion (mm. 423). Sierra continues to expand this idea in the second phrase
as he employs a similar organic approach on the words Quonian tu solus altisimus
Jesu Christe. The next twenty measures feature a short instrumental interlude 73
followed by the choir’s triple forte homophonic acclamation of cum Santo Spirito in gloria dei Patri, Amen.
The Gloria ends with a unique setting of “In Gloria dei Patri” in fugato‐ style, accompanied by Latin rhythmic patterns. Again, Sierra’s creative ability to infuse “Latin” flavors into contemporary music is masterfully demonstrated as
he transforms the rhythmic texture by juxtaposing layers of rhythmic patterns inherent in son montuno style. The son montuno is the term used to identify the repeated syncopated piano vamp. It consists of a two‐measure pattern containing two strong beats followed by seven up‐beats (see figure 4.12). The role of the piano in this type of music is more of a rhythmic one, as it plays repeated ostianti
(vamp) while it also establishes the harmonic foundation of the music.114
Another instrument sharing a similar role is the double bass, used in this section to reinforce the tresillo pattern and its harmonic progression. In addition,
Sierra uses several percussive instruments including the claves, cencerro
(cowbell), bongos, congas, xylophone, and marimba, to accentuate a specific pattern and strengthen the rhythmic texture (see figure 4.13). The melodic materials of the subject and counter‐subject are built on two augmented sixth chords separated by a minor third. Coincidentally, each share the same prime form [0268] and when combined, make a perfectly symmetrical scale (see figure
4.13).
114 Mauleón, The Salsa Guide Book for Piano & Ensemble (1993):118. 74
Figure. 4.13. Gloria. In Gloria dei Patris. Subject (primary motive). Fugato section.
Sierra builds the fugal section in pyramid formation.115 The subject’s first appearance is introduced by the basses on pitch class [7, 1, 3] beginning on a G
pitch, which is located at the mid‐point of a C# (0,1) octatonic scale. According to
Persichetti116, the tri‐tone interval divides the octatonic scale into equal segments, making its relationship comparable to the dominant function. The fugal motive is later answered by the tenors one tri‐tone apart, beginning on a C# with pitch class [1,9,7]. Similarly, the alto and soprano counterparts repeat this pattern.
After the exposition, Sierra uses various compositional techniques such as splitting the fugal subject between two voices (mm. 485‐490, see figure 4.14), inversions and transpositions. The section concludes with a cross‐rhythmic
115 Pyramid formation is a textural device that layers each voice, beginning with the basses and ending with sopranos. 116 Persichetti, 35. 75
passage employing syncopated rhythmic variations of the word “Amen”
(mm.501).
Figure. 4.14. Gloria. Fugato section. Subject inverted and transposed.
A brief development section based on the original motive is developed and subjected to various counter‐techniques (mm. 508‐519). The composer
transforms the passage by introducing a different octatonic scale B (0, 1) and changes its texture by assigning the melodic material to the soprano and baritone soloists. In addition, he reassigns the piano’s montuno pattern to the marimba and xylophone parts, interchangeably.
The fugal motive returns on Cum Santo Spiritu inverted, transposed, and rhythmically modified in the tenor part, pitch class {137}, and answered by the sopranos a tritone apart (mm. 519‐532, see figure 4.15). Meanwhile, the altos reintroduce the “principal motive’s answer,” and the basses conclude with the principal fugal motive.
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The second part of this return features the soprano and baritone soloists accompanied by the choir’s “amen” segments. Sierra sets these segments utilizing the altos, tenors and basses in strict imitation on ʺAmenʺ and rhythmic diminution. This joyous movement returns to the material found in the opening section of the entire movement (Gloria inexcelsis Deo) including its additive
(3+3+2) time signature with C overtone sonorities. However, the choir’s last word
(Gloria) culminates on a sustained C major chord.
Figure. 4.15. Gloria. Return of the A Section.
Credo
The Credo is a statement of faith, which stands as the central figure of the
mass. Because of its extended text, it is the longest movement of the mass, lasting twenty‐one minutes in length. Sierra’s setting features a soprano, baritone
Soloists and chorus with tempo indication (quarter note=69) and marked intenso.
This movement begins with the soprano and baritone soloists’ quiet and almost
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doubtful statement of the word “credo.” Sierra sets this text with two quasi‐ atonal “credo” motives with pitch class {6521},{4652}. These motives are later heard inverted and transposed through the movement (see Figure 4.17). This is then echoed by suspended harmonies sung by the chorus. The composer suggests that these suspended harmonies represent unresolved doubt.
This movement encapsulates the composer’s own personal statement of faith. Sierra comments, “Credos are usually very centralized. One difference is that my Credo is more introspective and of an intimate nature because it deals with the personal belief everyone has and doesn t limit us to membership in
[one] church.”117 The first climatic moment occurs on the words “Pater
Omnipotentem” (mm.34). This first section ends with a series of homophonic
“credo” statements, each becoming shorter, stronger and faster in anticipation of the baritone’s confident arrival on an E major chord. (mm.50)
Throughout the Credo, the music depicts several levels of oppositional forces. For instance, the previous passage represents Sierra uses of non‐diatonic passages (mm. 1‐35) followed by diatonic harmonies (mm. 35‐56) to portray our human desire to believe in a greater power.
117 Ginsberg, The Washington Post. (January 29, 2006): N‐10. 78
Figure. 4.16. Credo. Credo principal motives.
In unum Dominum
The next section, marked intenso, reintroduces the “in unum Deum” motive
(mm. 12‐15) on the words “in unum Dominum.” This motive is transposed and interchanged between the male and female voices of the chorus. The previous
“credo” motive returns exchanged and transposed in both the soprano and baritone solo parts. Sierra then creates a dense texture via the use of a polyrhythmic passage filled with syncopated vocal ostinato patterns accompanied by a dense layering of displaced beats in the orchestra (mm.82‐85).
In this passage, the thick rhythmic density creates a cacophony of sounds manipulated by metrically displaced rhythmic layers until the sense of meter is obscured.
79
Figure 4.17. Credo. In unum Dominum motive.
This passage is then followed by a brief animando section, with a tempo
marking (quarter note=152) in triple meter (mm. 94). The section is diatonic and
based on sonorities of a Bb7 chord. The voices of the chorus enter in pyramid formation but without points of imitation. The orchestra simply reinforces the Bb major chord with a D pedal to reinforce its rhythmic drive. The texture changes when Sierra adds the solo voices and the female voices of the chorus in thirds
(Bb‐D) followed by the male voices, also in thirds, resulting in cross rhythms.
With continued repetition, the triad expands to include the full chord.
Deum de Deum
The Deum de Deum section begins abruptly, with a forztando (Fo 7) chord in the orchestra immediately echoed by the choir sustaining the text “Deum.” The baritone and soprano solo also join, singing the same words. This section is followed by an octatonic passage featuring the soloists singing “Deum de deo, lumen de lumine” (God of God, and Light of Light) while the chorus softly continues to sustain these words, supporting their melodic material.
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Next Sierra provides a brief transition in another section, utilizing the same text. This time, however, Sierra layers each vocal part in pyramid formation entering one measure apart. This formation places the basses entering on (Ab) followed by the tenors on (F) and imitated by the altos and sopranos, respectively. The melodic material in this initial passage contains only four pitches which together form a Bb7 chord (Bb,D,F,Ab), while the orchestra’s melodic and harmonic material is filled with chromatic passages and non‐
harmonic passing tones. In addition, Sierra sets the tresillo figure, heard as a
rhythmic ostinato pattern in the vocal and percussion parts. The momentum of
this section gradually builds into a highly syncopated passage, employing the
sonorities of an altered octatonic scale (mm. 139‐147). The choir continues to
develop this motive through another imitative section, this time layered in an
inverted pyramid formation (S, A, T, B).
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Table 4.4. Movement 4 (Credo). Formal structure
Credo Text Forces Tempo Time Tonal Length Signature Area Credo in unum S,B, Intenso 4/4 70mm Deum Chorus Atonal/ ( =69) Et In unum S, B, q 4/4 Oct 58mm Dominum Chorus Deum de Deum Chorus Rapido 4/4 Diatonic/ 90mm ( =80) (3+3+2) Non- h diatonic Et incarnates S,B, Lento 3/4 D 43mm est Chorus Phrygian ( =69) q to Bb Et homo factus Baritone, 3/4 Oct 21mm ( =138) est Chorus q ( =96) q Orchestral Orchestra, Espresivo 4/4 Chromatic/ 54mm Interlude S, B, Atonal =63) Crucifixus Chorus (q Et Ascendit S, B, divisi Rapido 4/4 Non- 41mm Chorus diatonic ( =132) q Cujus regni Sop & Profunda 4/4 Oct 12mm non erit finis Bass Duet Expression ( =48) q Credo et in S, T, Menos 4/4 Diatonic/ 44mm SprituSancto/ divisi - transitory ( =62) Esclesiam Chorus q Et vitam S, B, Rapido 4/4 G aeolean/ 51mm enture seculi Chorus Bb/Oct. ( =132) q Amen (Final) S, B Duet Lento 4/4 D major 15mm expressivo ( =60) q
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Et incarnatus est
One of the most lyrical passages of the Credo is Sierra’s setting of Et
incarntus est, which depicts the incarnation of the Holy Spirit. This peaceful
lullaby, set in 3/4 meter, features a duet between the soprano and baritone
soloists who are later joined by the choir on their last phrase (mm. 250). The passage begins with the baritone’s descending line echoed by the soprano in
loose imitation. Throughout this passage their lyrical melodies become
intermingled in a continuous stream of phrases supported by the orchestra’s
non‐interrupted eighth‐note passages flowing through the non‐cadential
material. As previously heard in the Benedictus, Sierra employs non‐traditional
harmonic sequences creating a sense of tonal ambiguity which fluctuates
between the initial tonal center (D Phrygian) and its relative tonal center (Bb
Ionian), heard at the last phrase with the choir’s arrival.
Figure 4.18. Credo. Et incarnatus est.
Sierra’s use of the mystical sonorities inherent in the D Phrygian scale
illustrates how the Holy Spirit, represented by the baritone, descends upon the
Virgin Mary (soprano). The tonally undefined passages, which avoid
tonicization, represent the inexplicable accounts of this event, still considered one
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of the greatest miracles in the Christian doctrine. The choir’s homophonic entrance in double piano on the last phrase of the section (mm.250) symbolizes the affirmation of such a miracle, while its accentuated recurring (F) pitches on the dominant are followed by a brief orchestral interlude, suggesting the continuation of this story.
Crucifixus
The crucifixion, considered the central theme of the Christian doctrine, is the only section within the Credo which begins with a brief instrumental prelude.
Sierra creates rhythmic density by superimposing polyrhythmic subdivisions of the beat. Harmonically, this section contains atonal, extended octatonic segments
and chromatic passages, depicting the feeling of distress associated with the
crucifixion passage. Strong sentiment is best expressed by the baritone’s three‐
fold entrance of the word “crucifixus,” which begins fortissimo and gradually
dissipates as it descends. Meanwhile, the soprano’s soft entrance on this same
word adopts the opening credo motive later joined by the choir’s entrance on a
C#‐sharp minor chord on crucifixus (mm.302).
Sierra’s picturesque illustration of the resurrection scene offers yet another
look at his expressive use of word painting techniques. One example is observed
at the initial syllable of the word resurrexit (resurrected). The melodic contour of
the first “re” syllable (E‐F‐E‐D‐E‐F), which uses ascending‐descending‐ascending
pattern, suggests the death and resurrection of Christ. Furthermore, the
baritone’s ascending line which begins on a low c‐sharp‐‐ the same pitch he
employs introducing the crucifixion theme – arrives at the octave above on the
words tertia die, or “the third day” (mm. 337), provides another illustration of the
resurrection. Furthermore, Sierra brings literal meaning to the word tertia by
assigning a quarter note to each of the three naturally subdivided syllables. 84
Harmonically, he also transforms the ethos of the words tertia die, arriving on the the word die (third day) at the Ab major chord‐‐ coincidentally, a chromatic third away from the first pitch of tertia (C‐natural).
Figure. 4.19. Credo. Et resurrexit passage word painting.
The previous illustration serves as a preamble to Sierra’s musical portrayal of the ascension, considered to be one of the greatest illustrations of
God’s Divinity. The orchestra provides a three‐measure introduction consisting of a rapidly ascending passage, also beginning on c‐sharp (crucifixion) and leading to the soprano’s three‐fold ascending melodic segments on the word ascendit, each starting on the last note of each segment until reaching the word caelum (heaven) on a sustained high (A). The soprano’s soaring vocal line is supported by the choir’s eight‐part divisi entrance layered in pyramid formation.
This climatic passage is accompanied by the orchestra’s expansive lines, which collectively build toward caelum on an F‐major chord (mm.345‐354).
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Figure. 4.20. Credo. Et ascendit in caelum.
Sierra’s setting of the Credo can best be described as a musical portrayal of
man’s inner faith struggles in the search of spiritual truth. The composer
introduces this ancient testament of faith with soft and uncertain “credo”
statements. These soon begin to evolve into short assertive passages (mm. 50), but are quickly drawn back into question (mm.57) as a reminder of duality.
The soloist’s last statements of the Credo motive mark the pivotal point at which the music begins to reflect a transformation (peaceful, expressive,
diatonic‐ leaps ‐joy) through the use of harmonies and homophonic vocal phrases when describing the trinity (Father, Son, Holy Ghost “et in Spiritum
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Sancto” in Ab major, mm. 400). However, this peaceful moment is briefly interrupted by the passage of the Credo stating, “I believe in one holy catholic and apostolic church.”
One of the ways in which Sierra diverts from the traditional setting of the
Credo is his unprecedented treatment of the passage of the Credo stating the belief of one Apostolic Church, at which he changes the textural density of this passage by dividing the choir and soloists into ten independent lines. He also draws particular attention to the E‐natural enharmonic pitch heard as part of a superimposed ostinato pattern set one beat apart. This results in vertical hemeolas with a 3:2 relationship (mm. 416). The choir ends on a C major seventh chord accompanied by a series of transposed octatonic sequences in the orchestra and resulting in unresolved harmonies (mm. 421).
According to Sierra, the unusual textural density in this section represents different churches and faiths’ search for same God. He states, “When the Credo was first introduced in the Christian church, the Credo reflected a realistic view of the Christian reality which at the time was correct.” That is, the Catholic,
Apostolic, and Roman Church was the only ways for Christians. However, this does represent the reality of our times. Our modern society now has many
churches and many faiths.”118
118 John Chester, Pre‐concert interview with Roberto Sierra, (2006).
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Figure. 4.21. Credo Textural variation to depict many churches and many faiths.
The final section of the Credo is set for chorus and soloists with a tempo indication of (quarter note =132) and marked rapido in G aeolean. After a two‐ measure introduction containing the quintillo and tresillo rhythmic figures, the choir enters on the words “et vitam venturi saeculi, Amen” (the life of the world to come, Amen). The motivic material contains syncopated rhythmic patterns, emphasizing the first and third beat of each measure, followed by a more sustained “Amen.” This passage is later echoed by the soprano and baritone soloists in imitation (mm. 451) and later carried by the chorus. Sierra explores
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various rhythmic and textural variations within and between the instrumental
and vocal lines. Furthermore, he also transforms the motive in an octatonic
passage sustained by a D‐pedal and continuing into the final Amen section. The
Credo finally ends with a lyrical instrumental cadential extension which
progressively and slowly dissipates as it resolves to D major. Sierra ultimately
transforms a world that evolves from dissonance into harmony to symbolize
doubt into conviction.
Offertorium
The Offertorium features the baritone and soprano soloists, chorus, and
orchestra. The formal structure is thoroughly composed and divided into four
smaller sections, including a fifty‐three measure orchestral prelude. The text
used in this setting is based on three separate texts from the Proper of the mass including Laetatus Sum (Psalm 121:6‐7), Lauda Jerusalem (Psalm 147:12), and
Laudate Dominum, qui a benignis est (Psalm 134:3, 6).
Sierra introduces this movement with a brief orchestral prelude with
tempo indication (quarter note=112) and marked agitato in 3/4 meter. The orchestra’s dramatic entrance during the first eight measures contains rapidly ascending chromatic sequences accented by sharply percussive downbeats. This entry is followed by the orchestra’s dense layers of angular melodic passages lead by the brass with militaristic precision. The harmonic fabric of this passage centers on the augmented sonorities associated with the pitch class (D‐F#‐A‐Bb).
The strings later echo the brass’ passage and lead a chromatically descending passage transitioning into the next section featuring the baritone solo.
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Figure 4.22. Offertorium. Orchestra prelude.
The offertory prayer “Rogate Jerusalem” (O pray for the peace of Jerusalem; they shall prosper that love thee) is based on Psalms 121:6 and is traditionally used on the fourth Sunday of Lent. Sierra sets this prayer primarily for baritone solo and chorus. The baritone’s chant‐like motivic material consists of conjunct
movement as well as mellismatic passages of uneven sixteenth notes. He utilizes
word painting on every occurrence of the word “abundancia,” lengthening its
duration to depict its literal meaning.
Figure 4.22 Offertorium. Rogate Jerusalem (Baritone solo)
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Furthermore, Sierra’s musical setting of the phrase “Lauda deum tuum
Sion” provides yet another colorful illustration of the idealistic concept of “Sion” by setting this passage a cappella. It is uncomplicated by dissonance or functional harmony and creates an ethereal effect with the soprano’s ascending vocal line soaring up to a high Bb.
Figure. 4.24. Offertorium. Depiction of Sion.
For the third section, Sierra reintroduces the chorus in a rhythmic passage on the words “Laudate Dominum, qui a benignus est” (Praise ye the Lord for He is good). Harmonically, this section exhibits the pattern of the starting modal (C
Ionian) and fluctuates between diatonic and non‐diatonic sonorities. In addition, the composer uses for the first time the “clave pattern” in its entirety as a rhythmic ostinato (see Figure 4.24).
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Figure 4.25. Offertorium. Cross rhythms.
The final section of the Offertorium features the chorus in a lively Alleluia setting based on rhythm variations of the tresillo figure. The chorus motive is first heard in homophonic style followed by short contrapuntal segments of repeated eighth‐note passages. Sierra develops this section by exploiting syncopated rhythmic variations of the word “Alleluia” while maintaining the
metric pulse of the tresillo. The concluding section ends with the choir’s layered entrance in pyramid formation (BTAS), gradually intensifying towards the
climatic double forte ending, and returning to its starting Bb major tonal area.
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Table 4.5. Movement 5 (Offertorium). Formal structure.
Offertorium
Text Orchestra Rogate Fiat Pax Laudate Alleluia Prelude Form Through composed
Tempo Agitado Intenso Subito Con brio ( =112) ( =63) ( = 96) ( =88) ( = 84) q q q q h Time 3/4 4/4 Signature Forces Full Baritone, Baritone, Choir Choir Orchestra Choir Choir Tonal Chromatic/ C aolean/ Oct Bb major Area Oct Alt. Oct Length 52mm 40mm 30mm 25mm 64mm
Sanctus
The Sanctus is the fourth section of the Ordinary of the Mass and is the
shortest movement of this composition. The formal structure of this movement is
divided into four smaller sections in (ABCB’) form and features the chorus,
soprano, and baritone soloists. The first part of the Sanctus set in 3/4 meter with
tempo indication (quarter note =148) marked con energía (with energy). The
orchestra begins with a two‐measure introduction followed by the choir’s
fortissimo homorhythmic statements of the words ʺSanctus, Sanctus, Sanctusʺ in
Db major. Sierra intersperses measures of irregular 5/8 meter, blurring the
natural metric pulse through syncopation and beat displacement, which results
in horizontal hemeolas and cross rhythmic activity.
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Figure 4.26. Sanctus. Opening measures. Polyrhythms and mixed meters.
Pleni sunt coeli
The Pleni Sunt Caeli section is set in cut time with tempo indication (half note= 66) marked Con gracia y dulzura (with grace and sweetness). This section’s rhythmic motive is based on the Cuban son119 and features soprano and baritone soloists accompanied by the choir. Sierra again begins with a two‐measure introduction featuring two main rhythmic figures. The first figure is a two‐ measure arpeggiated ostinato pattern commonly known as the punteo and normally found in the Cuban son. The punteo functions as an ostinato pattern carrying the I‐IV‐V harmonic progression inherent in this style of music. It is first introduced by the orchestra in the two measures that precede the vocal entry and continues throughout the section.
119 Cuban son is a musical style that originated in the Oriente province in the eastern part of Cuba. It combines the influence of two musical cultures, Spanish and African, into a style of music many refer to as Afro‐Cuban . One of the foundations of this music is the rhythm know as clave . ʺSalsa musicʺ originated from the Cuban son. 94
Figure 4.27. Sanctus. Pleni sunt caeli motive. Cuban son. I‐IV‐V progression.
The second rhythmic motive is the tresillo. After the initial two measures played by the orchestra, the melody is introduced by the soloists, employing the tresillo pattern. The choir’s syncopated entrance on Hosanna, Hosanna, in excelsis is sung as a refrain to the first sixteen measures (mm. 63). Its rhythm is derived from the montuno pattern, yet employs a different harmonic progression consisting of I‐II‐V‐IV. In addition, the soloist’s rhythmic pulse accentuates the strong beats (half notes) while the choir’s eighth notes segments accentuate the weak beats (on beats two and four).
For the return of the (A’) section, the choir begins by harmonizing the melody in hymn‐like style (mm. 69). Meanwhile, the orchestra carries several cross‐rhythmic patterns including short eighth note segments in the woodwinds, tresillo in the strings, a variation of the cinquillo pattern in the guiro, and accompaniment by the horns, piano, and harp parts reinforce its duple pulse.
This passage soon accelerates into its new tempo indication (half note= 80), including the women’s voices on the sustained “Hosannas” previously performed by the soloists, over the syncopated refrain sung by the men in four
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part harmony. All voices join together in homophony to sing “Hosanna in
excelsis.” This section ends with a brief orchestral interlude containing octatonic
passages leading to the final “call motive,” heard as a major third (G‐B) and as
the dominant of the next section (Benedictus).
Figure 4.28. Sanctus. Pleni Sunt Caeli motive.
Benedictus
The Benedictus section features the soprano, baritone and chorus in a lyrical setting of the words “Blessed is he who comes in the name of the Lord120” with tempo indication (quarter note =80) and marked con ternura translated as
“tenderly” in triple meter. The formal structure of the Benedictus is set in binary form (AA’), each section ending with a brief transitional segment on the word
“Hosanna.”
120 Based on Psalm 117 [118]:26 and Matthew 21:9 96
Figure 4.29. Sanctus. Benedictus. Choir and Soloists
The first part of the section features the soprano soloist performing one of the most melodious passages of the mass. The structure of the melodic passage begins with small segments, gradually lengthening towards its cadential points.
For instance, the first three‐measure segment (mm. 96‐99) is followed by longer segments of four, six and eight measure phrases, each building its harmonic tension and dynamic level until arriving on the dominant (G). This textural and dynamic expansion is further developed with the choir’s soft entrance and layered in pyramid formation including the soloists on a dominant pedal. This organic expansion erupts on the word “Domini,” which is sustained by the choir on dominant seventh chord over the orchestra’s ascending octatonic scale
97 passages. As previously seen throughout the mass, Sierra begins employing diatonic passages and gradually shifts towards non‐diatonic sonorities.
The second section of the Benedictus begins with the soprano on the principal motive accompanied by the baritone at points of imitation while the choir quietly harmonizes the melody (see Figure 4.29). Sierra uses a similar approach for developing this last section, also ending on non‐diatonic harmonies. The movement ends with the return of the B section of this movement (Pleni sunt caeli motive), this time carried by the chorus on the text
(Hosanna in excelsis).
Figure 4.30. Sanctus. Return of principal motive ʺHosanna sʺ.
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Table 4.6. Movement 6 (Sanctus). Formal structure
Sanctus Text Sanctus Pleni Hosanna Benedictus Hosanna Form A B, B’ C D C’ Tempo Con Con gracia y Con ternura Con gracia y alegria dulura dulzura ( =148) ( = 66) ( = 80) ( = 80) ( = 66) q h h q h Time 3/4, 5/8 Common Common 3/4 4/4 Signature time time Forces Chorus S, B, Chorus S, B, Chorus Chorus Chorus Tonal Area Db Maj C maj C maj C maj C maj Length 44mm 30mm 19mm 89mm 21mm
Agnus Dei
The text for final movement of the Missa Latina begins with the words
“Lamb of God,” found in the ancient Roman and Ambrosian rites Gloria in
excelsis.121 The Agnus Dei is set for soprano and baritone soloists, choir, and full
orchestra with tempo indication (quarter note =60) in 3/4 meter. In addition, its
formal structure is in (AB) binary form.
Throughout this movement, the composer paints numerous musical
illustrations to creatively express the meaning of the text. For instance, the baritone’s first statement begins with a chant‐like melody, ornamented with sixteenth‐note passages and moving in stepwise motion in D phrygian. The melodic direction of his phrase begins on an F‐pitch and gradually increases in
121 These words are also attributed to John’s words to Jesus: “Behold, the Lamb of God, who takes away the sins of the world” (John 1:25-26, 29). Jeffers, 57. 99
dynamic level as it ascends to the octave above on the words “Agnus
Dei,”reaching toward the heavens as he calls upon on the “Lamb of God.”
Likewise, Sierra sets the words peccata mundi on three chromatically descending pitches (Eb‐D‐C#), places these in the male’s low register, and ends on a low (A‐pitch) to symbolize the “sins of the world.” Furthermore, he uses a
rhythmic compositional device to illustrate “chaos.” Sierra splits the male voices
into four‐part harmony, assigns each a different rhythmic pattern, and layers
each pattern one beat apart. The result of this canonic polyrhythmic application
and the repetition of the melodic motive help to depict the earth spinning on its
axis, constantly rotating ʺmundiʺ (see figure 4.30). The remainder of this passage
gradually intensifies through the choir’s homophonic repetitions on “Miserere”
(have mercy), now heard at a triple forte dynamic level and in angular sonorities
based on the C‐sharp (0, 1) octatonic scale. This passage illustrates a desperate
plea for mercy. The next two passages feature the soprano solo and choir, again,
gradually shifting between modal, diatonic and octatonic passages.
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Figure 4.31. Agnus Dei. Textural density illustration on ʺpeccata mundi.ʺ
Sierra’s setting of the Agnus Dei includes the traditional text used by most composers of masses but differs by finishing with an additional phrase: Pace relinquo vobis, pacem meam do vobis122, Dixt Dominus, Alleluia (My peace I leave you, my peace I give you, saith the Lord. Alleluia). This text comes from the prayer offered by the priest immediately after the Agnus Dei. The composer brings particular attention to this distinctive text by setting it in a cappella style.
Sierra features the soprano solo and chorus in one of the most beautiful and intimate moments of his mass.
The soprano introduces Agnus Dei with four repetitions of the word
“pacem.” Each of these repetitions gradually descends and decrescendos before the choir’s pianissimo arrival. In this passage, the choir provides the harmonic basis for the soprano’s transcendental melody. The ethereal effort is primarily
122 Based on the biblical passage found in John XIV, 27 101
achieved through harmonic progressions modulated by common tone. Such a
compositional technique allows the music to modulate through a wide array of harmonic sonorities with a minimal amount of movement within the vocal parts.
On the other hand, the soprano’s lyrical melody, filled with soaring leaps and scalar passages, is ornamented with appoggiaturas and suspensions above the
choir’s sustained romantic harmonies which eventually end on an F major chord
(see. Figure. 4.31.) The last six measures of this section re‐introduce the “call motive” on the Eb and C‐pitches in accelerando, this time setting the pitches for the choir’s upcoming entrance and announcing the arrival of the Mass’ final
Alleluia section.
Figure 4.32. Agnus dei. Pacem relinquo vobis, a capella passage.
Alleluia
This festive setting of the final Alleluia section is designed for soprano and baritone soloists, choir, and orchestra with tempo indication (quarter note=120) in cut time. The baritone introduces the section with a four‐measure incipit on
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the word “Alleluia” and sustained on a C‐pitch, echoed by the chorus at triple forte dynamic level.
After the choir’s initial two‐fold statements of the word “Alleluia,” based on the tresillo rhythmic pattern, choir members engage in a call‐and‐response interaction between female and male voices overlapping on every fourth beat. In
addition, the soprano and baritone embellish the music with syncopated and
sustained discant‐like passages which, when combined, accentuate the tresillo
and its implied duple pulse.
Figure 4.32. Agnus Dei. Alleluia section. Call and response.
Finally, the harmonic progression used in this movement is based on the I‐
V‐V‐I diatonic relationship, and recurs every four measures. This progression is initially heard in G major (mm. 116‐132) and later in the F major and Eb flat
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major tonal areas until it triumphantly reaches its concluding passages in C major.
Table 4.7. Movement 7 (Agnus Dei). Formal structure.
Agnus Dei Text Agnus Dei Dona Nobis Alleluia Pacem Form A C D
Tempo Moderato __ Rapido ( = 60) ( =120) q h Time Signature 3/4 __ Common time
Forces S, B, S,Chorus S, B, Chorus Acapella Chorus Tonal Area D Phrygian/ Diatonic/non C maj Oct functional/ F maj Length 55mm 48mm 117mm
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CHAPTER 5
SUMMARY AND CONCLUSIONS
The choral music tradition in Puerto Rico incorporates a wealth of sacred
and secular music. The origin of this rich tradition can be traced back to the
Spanish Capitulary Acts of 1600, which mandated the installation of a permanent
music staff in the San Juan Cathedral. From that point, the church imported
Spanish musicians up until the appointment of composer Felipe Gutierrez
Espinosa, who became the first native Chapel Master at the San Juan cathedral in
the late 19th century. The music styles of the early sacred music composers
Domingo Delgado, Felipe Gutierrez Espinosa, Juan Morel Campos, Braulio
Dueno Colón and José Ignacio Quintón clearly reflects classical European influences in their choral works.
The early part of the 20th century marks the rebirth – or modern era – of
Puerto Rico’ choral music tradition. This rebirth comes into place via three unrelated yet significant circumstances that contributed to the development of choral music of the island. The first involves the formation of evangelical choirs
established by Sister Hallie Lemon and Ms. Alice Ryder, two American
missionaries who gathered parishioners to form evangelical choirs in 1928. Their
choirs’ performances at other evangelical churches around the island were the
models for future church evangelical choirs.
The second of these circumstances involves the efforts of Dr. Bartolomé
Bover at the Polytechnic University of Puerto Rico and, later, of Augusto
Rodriguez at the University of Puerto Rico in the late 1930’. These “choral music
pioneers” began and expanded the choral art form in higher education by
establishing various university choirs across the island. Furthermore, they
became the first exponents of folk and popular native choral music composed by 105
Puerto Rican composers. Their vision and efforts allowed them to become the
first ambassadors of choral music through many local and international performances.
The third circumstance attributed to the rebirth of choral music in Puerto
Rico stems from the development of choral settings of Puerto Rican folk and popular music. By the end of the 1930’s, Bover and Rodríguez had established a tradition of performing folk music including danzas, villancicos, plena and aguinaldo arrangements at national and international concerts.
After the United States granted Puerto Rico Commonwealth status in
1952, government‐sponsored institutions and commissions led an era of cultural renaissance which involved the Puerto Rican Institute of Culture in 1955, the
Casals Festival in 1957, the conservatory of Puerto Rico and the Puerto Rico
Symphony Orchestra in 1957, all of which were important cultural complements
to Puerto Rico’s industrialization program led by Governor Luis Muñoz Marín.
The organizations served as vital venues for introducing large choral and orchestral works by great classical composers including the music of former student composers who have made significant musical contributions to the
classical literature.
Since the late 1950’s many other cultural musical organizations, along
with a growing number of educational institutions and independent
organizations, have emerged and continue to support music education and its
performance venues. Several educational institutions have attracted many native and non‐native musicians and educators whose collective efforts have contributed to the ability of aspiring musicians to fulfill their dreams.
One of the most prominent students of the educational institutions established in the island during the 1950’s is Puerto Rican composer Roberto
Sierra. Sierra is considered one of Latin America s most active composers, and his 106
music has gained national and international reputation. For more than a decade,
Sierra’s works have been part of the repertoire of many of the leading orchestras,
ensembles and festivals in the USA and Europe.
Sierra went to Europe to further his musical knowledge at the Royal
College of Music and the University of London, the Institute for Sonology in
Utrecht, and did advanced work in composition at the Hochschule für Musik in
Hamburg under the renowned György Ligeti. After his return form Europe,
Sierra served in administrative positions at both of the Puerto Rican educational
institutions from which he received his former degrees.
Sierra is a prolific composer and orchestrator whose compositional output
includes more than one hundred published works. Sierra s orchestral
compositions received numerous awards including the 2004 Kenneth Davenport
Competition for Orchestral Works for his Sinfonia No. 1 and the 1983 Budapest
Spring Festival first prize for his Salsa para vientos, and his Suite won first prize at
the Alienor Harpsichord Competition. In 1987, the Almeida Festival in London
devoted an entire concert to his chamber works, an event recorded and
broadcasted by the BBC. In 2003 Sierra was awarded the prestigious Music
Award by the American Academy of Arts and Letters. The award states:
ʺRoberto Sierra writes brilliant music, mixing fresh and personal melodic lines
with sparkling harmonies and striking rhythms [. . .]ʺ
Although Sierra is best known for his orchestral works, little is known
about his choral compositions. For this reason, the primary purpose of this study
was to analyze and describe Sierra s Missa Latina.
Sierra s title Missa Latina refers to the traditional Latin text and the
Caribbean character that alludes to his personal background. The subtitle, “Pro
Pax,” identifies this work as a “plea for peace.” Sierra prepared his own English
translation of the Latin text and incorporated selected text from the proper as 107
intercession prayers in the Introitus, Offertorium, and in the concluding section of the Agnus Dei. Sierra’s setting of this mass calls for soprano and baritone soloists, choir, and a large modern orchestra augmented with various Caribbean
percussive instruments (bongos, congas and Cuban timbales).
Among the stylistic features that characterize Sierra’s mass are the beautiful melodic lines featuring the soprano solo and chorus in the intimate sections of the mass, including benedictus (Sanctus) and the gratias agimus tibiʺ
(Gloria), sections. Sierra demonstrates his exceptional ability to transform some of these beautiful melodies into ethereal passages, which Scribner describes as
“simply breath taking.”123 This is particularly evident in the Sion (Offertorium)
and pacem (Agnus Dei) sections. Sierra achieves this effect via his inner folding of non‐functional harmonies between the soprano soloist and a cappella choir.
Throughout the mass Sierra frequently makes use of modal and diatonic harmonies, non‐diatonic sonorities (octatonic) and atonal passages to express or depict a particular mood or meaning of the text. For example, Sierra uses modal
(Aeolean/Phrygian) and open harmonies (perfect fourths and fifths) with chant‐ like passages in the da pacem laetatus sum (Introitus), rogate (Offertorium), and the opening motive in the Agnus Dei section. Throughout the Missa Latina, Sierra makes frequent use of harmonic shifts to represent conflicting ideas. Some of the ideas explored in this mass pertain to human inner struggles of faith and our struggle for world peace. Sierra first explored this duality in the second movement, Kyrie (octatonic‐diatonic), yet it is in the central movement of the mass in which Sierra provides a unique and unprecedented setting of the nicene creed (Credo). In this movement, the atonal passages represent feelings of doubt
123 Leonard Slatkin, Post Concert Discussion, Kennedy Center for the Performing Arts (February 2, 2006). 108
while the harmonic ʺpullʺ from octatonic to diatonic passages symbolizes our desire to “believe,” or, spiritual conviction.
Sierra’s understanding and mastery of choral and orchestral texture
allows him to express musical images of the written text. In addition, it allows
him to create a “heart‐felt” musical illustration of his personal and spiritual
views of this ancient text. Sierra s continuous variety of compositional
techniques used to set the text contain monody, homophony and contrapuntal including polyphonic, fugato‐like and layered ostinato passages, providing a sense of balance between the solo and choral parts and its overall structure.
Roberto Sierra’s unique ability to infuse and manipulate Caribbean folk and rhythmic elements into modern idioms has become one of his most impressive
compositional trademarks. Throughout the Missa Latina, Sierra uses various
Latin rhythms common to acclamatory or celebratory passages. Some of the
most identifiable Latin rhythms alluded to in the Missa Latina also serve as the
rhythmic basis for popular dance forms including the montuno section of a cha‐
cha‐chá (laudamus te) and güajira (pleni sunt caeli), and Cuban son among others.
Coincidentally, the various rhythmic patterns heard in different sections
of the mass derived from or contain the “mother cell” or “tresillo” figure (3+3+2).
Therefore, Sierra inadvertently uses the tresillo as a unifying rhythmic element
across all eight movements of the Missa Latina. Furthermore, he sets the tresillo
figure in a variety of ways. For example, Sierra included a rhythm set in subdued
tempo (Coda section of the Introitus) as the principal melodic material (Kyrie), a
time signature and meter (Gloria), subsidiary material and as an accompaniment
(Credo) in choral homophonic statements of the laudate (Offertorium), and as the
rhythmic base of a motive (Sanctus and Agnus Dei).
Sierra s choral music continues to evolve from the abstract beginnings
exhibited in the compositional style of Cantos Populares and Lux Aeterna, to the 109 more organic style exemplified by Missa Latina. Sierra wanted to compose a work that he could listen to with the ears of a listener and simultaneously, to compose a mass with a certain sense of grandeur and the ability to challenge the ear and mind. In a conversation regarding contemporary music, Sierra stated:
“As I get older, the ideal that I have is that I want to get closer to pure expression […] that I get as close as possible to human expression as I can. It s a high goal, but it is a goal that I aspire […] I would like to be as close to raw expression as possible because I think that s all that remains at the end. I do believe that classical music, like any work of art, should just talk to you. I think that we [composers] need to challenge our audience, but I do believe that as I grow older I realize that we need to have [write] music that must connect, otherwise, it will die!”
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APPENDIX A
MISSA LATINA TRANSLATIONS Pro Pax Latin‐English Text (adapted by R. Sierra)
INTROITUS
Da pacem, Domine, sustinentibus te, Give peace, O Lord, to them that patiently wait for thee, ut prophetae tui fideles inveniantur: that thy prophets may be found faithful:
Exaudi preces servi tui, et plebis tuae Israel. Hear the prayer of thy people Israel.
Laetatus sum in his, quae dicta sunt mihi: I rejoiced at the things that were said to me:
In domum Domini ibimus. We shall go into the house of the Lord.
Gloria Patri, et Filio, et Spiritui Sancto. Glory to Father, and to Son and, and to Holy Spirit.
Sicut erat in principio, As it was in the beginning
et nunc, et semper, and now, and always,
et in saecula saeculorum. Amen. and in ages of‐ages. Amen
KYRIE
Kyrie eleison. Lord, have mercy. 111
Christe eleison. Christ, have mercy.
Kyrie eleison. Lord, have mercy.
GLORIA
Gloria in exceslis Deo et in terra Glory to God in the highest, pax hominibus bonae voluntatis. and peace to his people on earth. Laudamus te, benedicimus te, Lord God, heavenly King, adoramus te, glorificamus te, almighty God and Father, gratias agimus tibi, propter magnam gloriam tuam, we worship you, we give you thanks, we praise you
Domine Deus, Rex caelestis, for your glory. Lord Jesus Christ,
Deus Pater onmipotens, Domine Fili unigenite, only Son of the Father,
Jesu Christe, Domine Deus, Agnus Dei, Lord God, Lamb of God,
Filius Patris; qui tollis peccata mundi, you take away the sins of the world, misere nobis; qui tollis peccata mundi, have mercy on us;
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suscipe deprecationem nostrum; qui sedes ad dexteram you are seated at the right hand of the
Patris, misererenobis, Quoniam tu solus Father, receive our prayer. For you alone
Sanctus, Tu solus Dominus, Tu solus Altissimus, are the Holy One, you alone are the Lord, you alone are the Most High,
Jesu Christe, cum Savto Spiritu in Gloria Dei Patris. Amen. Jesus Christ, with the Holy Spirit, in the Glory of God the Father. Amen.
CREDO
Credo in unum Deum, Patrem onmipotentem, I believe in one God, the Father Almightly, maker factorem caeli et terrae, visibilium ommnium et of heaven and earth, and of all things visible and invisibilium. Et in unum Dominum Jesum invisible. I believe in one Lord, Jesus Christ,
Christum, Filium Dei unigenitum, et ex Patre the only Son of God, eternally begotten natum ante omnia saecula. Deum de Deo, of the Father God from God, lumen de lumine, Deum verum de Deo vero, Light from Light, true God from true God. genitum, non factum, consubstantialem Patri: per quem begotten, not made, of one substance with the Father. By whom omnia facta sunt. Qui propter nos hominess, et all things were made. Who for us men and for our
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propter nostrum salutem descendit de caelis. salvation came down from heaven:
Et incarnatus est de Spiritu Sancto ex Maria Virgine: and became incarnate by the Holy Spirit of the Virgin Mary:
et homo factus est. Crucifixus etiam pro and was made man. He was also crucified for us, nobis sub Pontio Pilato; passus et sepultus est, suffered under Pontius Pilate, and was buried. et resurrexit tertia die secundum Scripturas, On the third day he rose again according to the Scriptures; et ascendit in caelum, sedet ad dexteram Patris. he ascended into heaven and sits at the right hand of the Father.
Et iterum venturus est cum gloria, judicare vivos et mortuos, He will come again in glory to judge the living and the dead, cujus regni non erit finis. Et in Spiritum Sanctum, and his kingdom will have no end. I believe in the Holy Spirit,
Dominum et vivificantem: qui ex Patre the Lord and Giver of life, who proceeds from the Father
Filioque procedit. Qui cum Patre et Filio, simul and the Son. Who together with the Father and the Son adoratur et conglorificatur: qui locutus est per is adored and glorified, and who spoke through the prophetas. Et unam, sanctam, catholicam et prophets. I believe in one holy catholic and apostolic apostolicam Ecclesiam. Confiteor unum baptisma Church. I confess one baptism
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in remissionem peccatorum. Et exspecto for the forgiveness of sins. and I await resurrectionem mortuorum, the resurrection of the dead, et vitam venturi saeculi. Amen. and the life of the world to come. Amen.
OFFERTORIUM
Rogate quae ad pacem sunt Jerusalem: Pray ye for the things that are for the peace of Jerusalem: et abundantia diligentibus te. and abundance for them that love thee.
Fiat pax in virtute tua: et abundantia in turribus tuis. Let peace be in thy strength: and abundance in thy towers.
Lauda, Jerusalem Dominum: lauda Deum tuum, Sion. Praise the Lord, O Jerusalem: praise thy God, O Sion.
Laudate Dominum, qui a benignus est: Praise ye the Lord, for he is good: psallite nomini ejus, quoniam suavis est: sing ye to his name, for he is sweet: omnia quaecumque voluit, fecit in caelo et in terra. Alleluia. whatsoever he pleased he has done in heaven and in earth. Alleluia.
SANCTUS
Sanctus, Sanctus, Sanctus, Holy, Holy, Holy Lord,
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Dominus Deus Sabaoth. God of power and might.
Pleni sunt caeli et terra gloria tua. Heaven and earth are full of your glory.
Hosanna in excelsis. Hosanna in the highest.
Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord.
Hosanna in excelsis. Hosanna in the highest.
AGNUS DEI
Agnus Dei, qui tollis peccata mundi, miserere nobis. Lamb of God, you take away the sins of the world, have mercy on us.
Agnus Dei, qui tollis peccata mundi, miserere nobis. Lamb of God, you take away the sins of the world, have mercy on us.
Agnus Dei, qui tollis peccata mundi, dona nobis pacem. Lamb of God, you take away the sins of the world, grant us peace.
Pacem relinquo vobis: pacem meam do vobis, My peace I leave you: my peace I give you,
dicit Dmoinus, Alleluia. saith the Lord. Alleluia.
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APPENDIX B ROBERTO SIERRA S LIST OF WORKS
Chamber Orchestra (including pieces with soloists)
Cuentos for Chamber Orchestra (ca. 12 )
Doce Bagatelas for String Orchestra (ca. 20 )
Fantasía Corelliana for two Guitars and String Orchestra (ca. 11 )
Chamber Opera
El mensajero de plata chamber Opera (ca. 70 )
Chamber Music
Changos for flute and harpsichord (ca. 7 )
Concierto Evocativo for Solo Horn and Strings (ca. 19 ) G. Schirmer
Con Tres for Clarinet, Bassoon and Piano (ca. 15 )
Concierto Nocturnal for Harpsichord, Flute, Oboe, Clarinet, Violin and Cello (ca. 15 )
Crónicas del descubrimiento for Flute and Guitar (ca. 19 ) Editions Orphée
Doce Bagatelas for string quartet (ca. 20 )
Eros for Flute and Piano (ca. 3 )
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Essays for Wind Quintet (ca. 10 )
Fanfarria, aria y movimiento perpetuo for Violin and Piano (ca. 7 )
Flower Pieces for Flute and Harp (ca. 17 )
Invocaciones for voice and percussion (ca. 14 )
Kandinsky for violin, viola, cello and piano (ca. 17 )
Los destellos de la resonancia for percussion (cymbals) and piano (ca. 5 )
Mano a mano for two percussionists (ca. 6 )
Memorias Tropicales for String Quartet (ca. 13 )
Octeto for 2 Oboes, 2 Clarinets, 2 Bassoons, and 2 Horns (ca. 10 )
Pequeño Concierto for Guitar, Flute, Oboe, Clarinet, Violin and Cello (ca. 10 )
Piezas Características for Bass Clarinet, Trumpet, Piano, Violin and Cello (ca. 16 )
Prelude, Habanera and Perpetual Motion for flute (or recorder) and guitar (ca. 8 )
Salsa para vientos for wind quintet (ca 7 )
Sonata for Cello and Piano (ca. 10 )
Sonata for Clarinet and Piano (ca. 12’)
Sonata for Flute and Piano (ca. 12 )
Tema y variaciones for Clarinet and Piano (ca. 7 )
Tres fantasías for Clarinet, Cello and Piano (ca. 11 )
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Tres Homenajes Húngaros for two Guitars (ca. 12 )
Tres Pensamientos for bass clarinet and percussion (ca. 3 )
Trio tropical for Violin, Cello and Piano (ca. 14 )
Trio No. 2 for Violin, Cello and Piano (ca. 12 )
Tríptico for Guitar and String Quartet (ca. 13 )
Turner for Flute, Clarinet, Violin, Cello and Piano (ca. 12 )
Vestigios Rituales for two pianos (ca 8 )
2X3 for two Pianos (ca. 12 )
Choral works
Bayoan for Soprano, Baritone, Chorus, and Orchestra (ca. 40 )
Cantos Populares for SATB Choir (ca. 9 )
Guakía Baba for SATB Chorus (ca. 5 )
Idilio for SATB Choir and Orchestra (ca. 7 ) G. Schirmer
Lux Æterna for SATB Chorus (ca. 5 )
Missa Latina for Soprano, Baritone, Chorus and Orchestra (ca. 75 )
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Orchestral Works (including pieces with soloists)
A Joyous Overture for Orchestra (ca. 5 ) G. Schirmer
Alegría for Orchestra (ca. 6 )
Borikén for Orchestra (ca. 12 )
Con madera metal y cuero for solo percussion and orchestral (ca. 28 )
Concerto for Saxophones and Orchestra (ca. 22 )
Concierto Barroco concerto for Guitar and Orchestra (ca. 10 )
Concierto Caribe concerto for Flute and Orchestra (ca. 20 )
Concierto para orquesta [Concerto for Orchestra] (ca. 20 )
Cuatro versos concerto for Cello and Orchestra (ca. 20 )
Doble Concierto concerto for violin, viola and Orchestra (ca. 25 )
El jardín de las delicias for Orchestra (ca. 10 )
Evocaciones concerto for Violin and Orchestra (ca. 22 )
Fandangos for Orchestra (ca. 12 )
Folias concerto for Guitar and Orchestra (ca. 15 )
Glosas concerto for Piano and Orchestra (ca. 15 )
Imágenes for Guitar, Violin and Orchestra (ca. 23 )
Júbilo for Orchestra (ca. 8 )
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Of Discoveries concerto for two Guitars and Orchestra (ca. 22 )
Preámbulo for Orchestra (ca. 10 ) G. Schirmer
Ritmo for Orchestra (ca. 6 )
Saludo for Orchestra (ca. 4 )
SASIMA for Orchestra (ca. 11 ) G. Schirmer
Serenata for Orchestra (ca 15 )
Sinfonía n. 1 for Orchestra (ca. 17 )
Sinfonía n. 2 for Orchestra (ca. 15 )
Sinfonía n. 3 ʺLa Salsaʺ for Orchestra (ca. 23 )
Tropicalia for Orchestra (ca. 23 ) G. Schirmer
Solo Works
Bongo‐0 for Bongos (ca. 4 )
Cinco Bocetos for Clarinet (ca. 9 )
Con Salsa for Harpsichord (ca. 4 )
Piezas Breves for Guitar (ca. 15 )
Piezas Imaginarias for Piano (ca. 18 )
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Ritmorroto for Clarinet (ca. 6 )
Suite for Harpsichord (ca. 7 )
Toccata y lamento for guitar (ca. 5 )
Wind Ensemble
Diferencias for Wind Ensemble (ca. 10 )
Fandangos arranged for Wind Ensemble (ca. 12 )
Fanfarría for Brass Ensemble and Percussion (ca. 3 )
Rapsodia for Trumpet and Wind Ensemble (ca. 11 )
Vocal Works
Beyond the Silence of Sorrow song‐cycle for Soprano and Orch or piano (ca. 25 )
Cancionero Sefardí for Soprano (or Tenor), Flute, Clarinet, Violin, Cello and Piano (ca. 16 )
Conjuros for Soprano (or Tenor) and Piano (ca. 12 )
Cinco poemas aztecas for Soprano (or Tenor) and Piano (ca. 12 )
Doña Rosita for Mezzo Soprano and Wind Quintet (ca. 6 )
El éxtasis de Santa Teresa for soprano and Chamber Orchestra (ca. 15 )
Rimas for Soprano (or Tenor) and Piano (ca. 9 )
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APPENDIX C
SELECTED DISCOGRAPHY
Orchestral Works
Roberto Sierra. Bayoan and Extasis de Santa Teresa, Bronx Arts Ensemble, Albany Records, 379‐2, 1988.
Voices Americanas, Composers Recordings Inc. New York, CRI CD 773, 1998.
Xak Bjerken, High Rise, Composers Recordings Inc. New York, CRI CD 855, 2001.
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APPENDIX D
COPYRIGHT PERMISSION
124
125
REFERENCES
Dissertations
Alonso Rivera, Ernesto. “The String Quartet in Puerto Rico: Repertory and Organizations” Dissertation, Catholic University of America, (2002): 196‐ 204.
Ball, James. “A Conductor’s Guide to Selected Contemporary American Orchestral Compositions” Dissertation, University of Missouri‐Kansas City, (1992): 156‐172.
Chung, Hee Won. “A Conductor’s Guide to Roman Liturgy.” Dissertation, University of Washington (2004): 237.
Frontera de Muñoz, Nélida. “A Selected Nineteen‐Century Puerto Rican Composers and their Musical Output”, Dissertation, New York University, (1988): 87‐96.
Gonzalez Brothwell, Rafael. “An original composition, La Cosecha for Orchestra, and La Clave: A Cultural Identity.” Dissertation, Louisiana State University, (2005):167.
Gonzalez, Roberto J. “Selected Orchestral Works by Puerto Rican Composers Born Between 1945 and 1956” Dissertation, Ball State University, (1983): 61‐69.
Lezcano, Jose M. “Afron‐Cuban Rhythmic and Metric Elements in the Published Choral and Vocal Works of Alejandro Garcia Cartula and Amadeo Roldan,” Dissertation, Florida State University (1991): 49.
Books
Callejo, Francisco. Música y Músicos Puertorriqueños. San Juan: Editorial Coquí (1976): 18‐22.
Campos Parsi, Héctor. La Gran Enciclopedia de Puerto Rico, Madrid: Ediciones R. (1976): 240‐248.
Delgans, Kerlina & Pabón, Luis E. Catálogo de Música Clásica Contemporánea
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de Puerto Rico, Rio Piedras, Puerto Rico: Pro Arte Contemporáneo, (1989): 56.
Hoppin, Richard H. Medieval Music. New York: NY:W. W. Norton & Company (1978):54.
Jeffers, Ron. Translations and Annotations of Choral Repertoire. Sacred Latin Text. 1. Corvallis, Oregon: Earthsongs (1988): 46.
Laurie Shulman, The New Groves Dictionary of Music and Musicians, 2nd Edition, Ed. Standley,(2001) 23: 364‐365.
Manuel, Peter. Popular Musics of the Western World, New York, NY: Oxford University Press. (1988): 31
Mauleon, Rebeca. The Salsa Guide Book for Piano & Ensemble. New York, NY: Sher Music Company (1993):142.
Olsen, Dale A. & Sheehy, Daniel E. The Garland Handbook of Latin American Music. New York, NY: Garland Publishing Inc. (2000):135.
Thompson, Donald & Schwartz, Francis. Concert Life in Puerto Rico, San Juan, Puerto Rico: University of Puerto Rico (1998).
Thompson, Donald & Thompson, Annie. Music in Puerto Rico: A Reader’s Anthology, Lanham: Scarecrow Press Inc., (2002):54
Thompson, Donald & Thompson, Annie. Music in Puerto Rico from the Age of Columbus to Modern Times: An Annotative Bibliography, Metuchen, NJ: Scarecrow Press, (1991).
Tiemstra, Suzanne. The Choral Music of Latin America: A Guide to Composition and Research, New York: Greenwood Press, 1992
Toro, Cirilo. Diccionario Biográfico de Compositores Puertorriqueños, Ponce, Puerto Rico: Ediciones Guayacán, (2003):113.
Persichetti, Vincent. Twentieth‐Century Harmony: creative aspects and practice. New York, W. W. Norton & company, Inc. (1961).
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Richard Toop, Gyorgy Ligetti. London, England: Phaidon Press Limited: (1999): 185.
Strimple, Nick. Choral Music in the Twentieth Century, Pompton Plains, New Jersey:Amadeus Press, LLC: (2002):207
Periodicals
Antokoletz, Elliott. Transformations of a Special non‐diatonic mode in Twentieth‐Century Music: Bartok, Stravinsky, Scriabin, and Albrecht. Musical Analysis, 12/1, (March 1993): 25‐45.
Clark, Walter Aaron. Society of American Music, 16/1, (1998):110.
De la Vega, Aurelio. Latin American composers in the United States,” Latin American Music Review, 1/2 (1980):162‐175.
Ginsburg, Daniel. ʺComposer Rides Island s Folk Currentʺ, The Washington Post (January 29, 2006): N‐10.
González Padró, Pedro. “A la Memoria de Augusto Rodriguez,” Coral 11/2, (1999):8‐9
Johnson, Lawrence B. Detroit News. October 18, (2003), Sec. D1.
Mattos, Angel. “Semblanza de Bartolomé Bover: iniciador de una era coral.”Coral, 1/1 (1993): 7‐9.
Mendoza de Arce, Daniel. “Domingo Delgado Gomez (1805‐56): Puerto Rican Master Composer,” in Latin American Music Review, 16/2 (1995): 16
Menedez Maysonet, Guillermo. “Nuestro primer maestro coral: Felipe Gutierrez y Espinosa,” Choral, 11/1, (1995):8
Olivieri, Luis. ʺA Short History of Choral Music in Puerto Rico.ʺ International Choral Bulletin (2000) 20/2: 24.
Olivieri, Luis. “Bartolomé Bover: Pionero de la Música Coral Universitaria en Puerto Rico.” Coral, 11/1, (1995):3.
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Olivieri, Luis. “Sección de Partituras” Coral, 4/2, (1981):4
Ortiz, William. “A Panoramic View of Puerto Rican New Music.” World New Music Magazine. 6 (September 1996):12.
Page, Tim. The Joyful Noise of Missa Latina. The Washington Post (February 3, 2006): C1‐4.
Pareles, John. The New York Times, C‐1, October 14, 1994.
Ponick, T.L. ʺHigh Reward in Missa Latinaʺ, The Washington Post (February 4, 2006).
Rivera Bermudez, Ramon. “Biografía de José Ignacio Quintón” Boletín de la Academia de Artes y Ciencias de Puerto Rico, 7/1, (1976):47‐59.
Roberts, Evelyn. “La danza Puertorriqueña en la música coral,” Coral, 11/1, (1995):6.
Ross, Alex. ʺIn Performance, Classical Musicʺ, New York Times, October 17, 1994.
Thompson, Donald. “Jack Delano”, The New Grove Dictionary of Music and Musicians, Ed. S. Sadie & Tyrell. London: McMillian (2001)
Thompson, Donald. “La música contemporánea en Puerto Rico.” Revista Musical Chilena, 38/162, (1984):110.
Shulman, Laurie. The New Groves Dictionary of Music and Musicians, vol. 23, (2001):364‐365
Veray, Amaury. “Presentación de Jose Quintón”. Coral, 4/1 (1981): 3.
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Interviews and Lectures
Chester, John. Pre‐concert interview with Roberto Sierra. Library of Congress (February 2, 2006).
Davis, Robert Aubry. Pre‐concert Lecture with Roberto Sierra (January 31, 2006).
Rivera, J. Personal interview with composer. February 1, 2006. Washington, D.C.
Rivera, J. Interview with composer. February 2, 2006. Washington, D.C.
Slatkin, Leonard. Post concert discussion. Kennedy Center for the Performing Arts (February 2, 2006).
Websites
Benjamin Frandzel, San Francisco Classical Voice http://www.sfcv.org/arts_revs/volti3_15_05.php
Benjamin Frandzel, San Francisco Classical Voice, http://www.sfcv.org/arts_revs/sfchambersingers_4_8_03.php (March 3, 2003).
Christopher McIntyre http://www.subitomusic.com/st_sierra‐2.htm
G. Schirmer Inc., Associated Music Publishers, Inc. http://www.schirmer.com/composers/sierra/bio.html
G. Schirmer Inc., Associated Music Publishers, Inc., http://www.schirmer.com/default.aspx?TabId=2420&State_2874=2&WorkId_2874 =33176
Peter Jacobi http://www.music.indiana.edu/publicity/press/ArticlesPreviews&Reviews/article s/2005‐03/2005‐03‐07‐HTJacobi‐2.shtml
Roberto Sierra http://www.robertosierra.com
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School of Fine and Performing Arts, State University of New York at Paltz http://www.newpaltz.edu/artsnews/release.cfm?id=262
Subito Music http:www//subitomusic.com/thecomposer_news.htm
Scores
Roberto Sierra
Cantos Populares 1983 New Jersey: Subito Music Guakia Baba 1999 New Jersey: Subito Music Lux Aeterna 1999 New Jersey: Subito Music Missa Latina 2005 New Jersey: Subito Music
Recordings
Roberto Sierra. Bayoan and Extasis de Santa Teresa, Bronx Arts Ensemble, Albany Records, 379‐2, 1988.
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BIOGRAPHICAL SKETCH
Jose Rivera received his Bachelor’s (1991) and graduate degrees (1995‐
1997) in Music Education from Florida State University where he completed choral studies with André Thomas, Judy Bowers, Kevin Fenton, and Rodney
Eichenberger. He taught students elementary music at Bond Elementary, and served as Director of Choral Activities at Rickards High School and Chiles High
Schools in Tallahassee, Florida.
Prior to the completion of the Ph.D. in Choral Conducting/Music
Education from the Florida State University, he was appointed as a Visiting
Assistant Professor at the University of Houston in Texas.
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