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Aldemaro Romero Music Score Archive”—Accompanying Text Nancy Zavac, University of Miami SEMLA Annual Meeting, Nashville, Tennessee, October 11, 2013

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Aldemaro Romero Music Score Archive”—Accompanying Text Nancy Zavac, University of Miami SEMLA Annual Meeting, Nashville, Tennessee, October 11, 2013 “Aldemaro Romero Music Score Archive”—accompanying text Nancy Zavac, University of Miami SEMLA Annual Meeting, Nashville, Tennessee, October 11, 2013 I am going to talk about Aldemaro Romero and who he was, how his score collection came to the University of Miami and how it has been used by students and faculty. Aldemaro Romero was born in Valencia Venezuela on March 12, 1928. His parents were natives of Valencia, his father was the musical director of 2 theaters there. Aldemaro received his first musical training from his father. He heard music in his home, in his chorus at school, in his church and on the street. He started playing his father’s guitar and his first public appearance was at the age of 9 with his sister Rosalia on a local radio program called the “Children’s Hour.” In 1942 the family moved to Caracas. The family received the gift of a pianola from their grandmother and this was converted to a piano. Aldemaro’s father tried to dissuade him from pursuing a career in music but it was too late. From 1942 to 1948 Romero started playing in night clubs and took informal piano lessons. By 1947 at the age of 19 Aldemaro was working as an accompanist and composer with the Alfonso Lorrain orchestra, one of the most famous tropical bands in Venezuela. After 9 months he went on to work with the Rafa‐Victor Orchestra where he was an arranger and conducted the saxophone section. In 1949 he started his own band but his music was somewhat experimental and not well received. In 1952 he was hired to work in NY City as an arranger and accompanist for RCA Victor in the Latin Music Division. Starting in 1953 he worked on a series of recordings featuring Latin American styles of salon music. The most famous was “Dinner in Caracas” which can still be found on Amazon today. This was followed by Dinner in Rio de Janeiro, Buenos Aires, Havana and so on. A review in the Cedar Rapids Gazette described the Dinner in Caracas recording with the words: “A super‐smooth set of music … a gem of a set of real pieces from Venezuela and played by a lush salon orchestra by a native son, Aldemaro Romero. This is suave, sophisticated music, tastefully and impeccably played.” The recordings were a commercial success but the reaction in Venezuela was mixed. The academics said his music was corrupting Venezuelan traditions. Romero was accused of unauthorized use of copyrights in the recording of 2 of the tracks on the Dinner in Caracas LP. In 1956 he returned to Caracas, got involved with TV and toured with his orchestra and singer Alfredo Sadel. On TV he aimed to produce shows that promoted Venezuelan music. His involvement with TV continued into the 1960s. During the 70s he divided his time between the US and Venezuela. In Los Angeles he sat in on film scoring classes. In Venezuela, he developed a new style that he called “ondo nueva” (which means “new wave” which was a synthesis of the Venezuela “joropo” with jazz. In 1974‐75 his family moved to Madrid and then to London. While in London he started composing symphonic works. He moved back to Venezuela in 1977 after he received government support to found the Caracas Symphony Orchestra which would perform works by Venezuelan composers. The Orchestra lasted until 1984 when political differences cause the government to cut off support. In 1985 Romero began a series of concerts with vocalists Alfred Sadel and Maria Rivas. His most prolific period of music composition started in 1997 and lasted for 10 years. During that period he composed 80 works including orchestra music, various concertos including a Concerto cubano for trumpet artist Arturo Sandoval, and the “Concerto for Paquito” for saxophonist Paquito d’Rivera. His work includes 10 pieces for saxophone or saxophone ensemble. In 2003 he received the Venezuela National Cultural Award which recognizes musical production of great artistic value. In 2006 he received 3 honorary doctorates from Universities in Venezuela. He conducted his last symphony concert featuring his own works in March 2007. He died on September 15, 2007 in Caracas. He is survived by his widow Elizabeth Romero and 3 children from a previous marriage, Aldemaro Jr., Ruby Romero Issaev and Elaiza Leon with whom he was estranged. Because of the unstable political situation in Venezuela, Romero’s family was eager to get his collection of music manuscripts out of the country. Aldemaro Jr contacted the University in Oct. 2007 about possibly donating the collection. He was also considering Indiana University because of the Ethnomusicology dept there. Romero Jr. received his PhD in biology from the U. of Miami so there was a connection, plus his sister Ruby lives in Miami. Al Jr is also friends with Dr. Deborah Schwartz‐Kates who is the department chair for musicology. Her area of research is the music of Alberto Ginastera and she has helped students do research in the music of Latin America and S. America. I met with Dean of Libraries Bill Walker and told him of the opportunity to get this collection. Dr. Kates also recommended that we pursue the collection.. Bill Walker was interested and told me we need to see the collection and what condition it is in. He also had questions about legal rights and about how long it would take to process and digitize the collection. We contacted Elizabeth and arranged to meet her in Caracas. The first scheduled trip had to be postponed because Dean Walker needed eye surgery. We ended up going the last weekend of Nov. 2007 which happened to coincide with the presidential election in Caracas that Sunday. We met with Elizabeth at her home on Sat. and she graciously treated us to lunch. She had kept meticulous lists of all the music on Excel and each piece clearly labeled and kept in a large envelope, plus Elizabeth gave me digital copies of many photos. We told her that we would be very happy to receive, house and make the collection available. Bill Walker asked me to draw up a “Deed of Gift” for the family to sign. The first problem was trying to contact Elaiza Leon who lives in NYC. She did not respond to our letters. Finally her sister Ruby was able to get in touch with her. Elaiza did not want anything to do with her father’s estate or music collection, so we removed her name from the deed. Bill Walker wanted to have something from Elaiza in writing but that didn’t work out. There was also the question about an appraisal. Elizabeth and Ruby just wanted to make the collection available to scholars, Al Jr. was the one who suggested an appraisal. It ended up that there was no outside appraisal. Elizabeth sent the manuscript collection in 3 shipments starting in May 2009 and ending Sept. 2010. Bill Walker was adamant about checking each piece of music against Elizabeth’s inventory. It was our good fortune to have a graduate student from Colombia, Esneider Valencia, working with us at the time. He knew all about Romero’s music, could speak Spanish, and was working in the Music Library. So Esneider took on the task of checking the inventory. He only found one page missing and contacted Elizabeth but she did not have the missing page and it’s still missing. Romero’s output includes 100 classical compositions (this is the part of the collection that has been scanned) and 157 popular songs (these are in notebooks with lead sheet. They were received in the later shipments and were not scanned with the rest of the collection). There are also 2 notebooks filled with newspaper clippings that cover Romero’s career. They also include some writings by Romero that were published in newspapers, etc. Bea Skokan in the Special Collections department supervised the processing of the items and creating the finding aid. Esneider Valencia wrote the summary statement for the finding aid. The IT staff worked on the digitization and the metadata librarian worked with Amy Strickland to add subject headings. Lyn McCorkle designed the front page for the Score Archive and put up the digitized scores in Content DM. One problem came up with the family. According to the “Deed of Gift” they were to designate one family member as a spokesperson for purposes of giving permission for use of items in the collection Cristina Favretto, head of Special Collections and I both wrote emails asking for a spokesperson. We did not receive an answer. Several months later I emailed again and Al Jr. replied that Pagani Music Publishers in Italy were the copyright holders and students needed to contact them for permissions. I emailed Elizabeth and asked if she agreed and she replied that she did. I did not hear back from Ruby right away, I think she was travelling out of the country. A month or so later she phoned and told me she didn’t see my email and she wanted to be the designated spokesperson. Our problem is that Elizabeth and Al Jr. are not speaking to Ruby. I told Ruby I would refer students to her but we have kept up the copyright notice saying people need to contact Pagani for permissions. I know that in the past Elizabeth has been very generous about granting permissions for performances. I received a phone call from a conductor in Utah asking how to get the score and parts for the “Fuga con pajarillo.” I gave him Elizabeth’s contact information and she faxed him all the scores and parts.
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