Roberto Sierra's Missa Latina: Musical Analysis and Historical Perpectives Jose Rivera
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Florida State University Libraries 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 islands 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. Sierras choral music includes Cantos 1 http://www.prpop.org/biografias/r_bios/roberto_sierra.shtml 1 Populares, for acapella choir (ca. 9);