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LA MúsiCa ET VERITAS THE LATIN AMERICAN MUSIC CENTER NEWSLETTER * *

Vol. 2 No. 1 June 19, 1995 Music and Power

§ Music and Power The 10th Argentine Conference of Musicology and the 9th Annual Conference of the Argentinian Musicology Association ∞ § : 100 Years of Music he National Institute of Musicology Carlos Vega and the Argentinian Musicology Association invite scholars and ∞ T researchers from Argentina and other countries to participate in these § LAMC Goes On-Line two events, which will take place in the city of Buenos Aires during ∞ August 24-27 of 1995. The suggested topic for this year is Music and Power, including: music and symbolic power, rhetoric and § Horacio López de la Rosa: music persuasion, music and gender, music and cultural policies, Score Collection music and colonialism, music and religion, music and identity. ∞ Papers on other topics will also be considered. The deadline for submissions is June 12. § Latin American Music Now ∞ For more information contact: § Materials Received Recently at Instituto Nacional de Musicología the LAMC México 564, 10 Piso, 1097 ∞ Buenos Aires, Argentina. § Words and Music Follow-up Phone and fax (54-1) 361-6013. ∞ México: 100 Years of Music § Call for Scores ∞ orth/South Consonance, Inc. and the New York Public Library § Cuban Music for Piano Nfor the Performing Arts sponsored three concerts in March 11, 17 and 28 featuring music written by Mexican composers during the ∞ last 100 years. The concerts coincided with the exhibition of manu- § New Recordings and the LAMC scripts by Carlos Chávez housed at the Research Division of the Library, and three unpublished works by this composer received their ∞ first performance. The programs also featured works by Salvador § Obituary: Eduardo Mata Contreras, José Pablo Moncayo, Eduardo Hernández Moncada, Mario ∞ Lavista, Salvador Moreno, Manuel Ponce, Silvestre Revueltas, Rodolfo Halffter and Ricardo Castro. The programs were designed by § Selected Discography of Latin Mexican pianist/composer Max Lifchitz. For more information, call American Colonial Music North/South Concerts (212) 592-3532. LAMC GOES ON-LINE

he Latin American Music future projects planned for the home sions on it. The list welcomes T Center recently started a project page include the creation of a directory messages in English, Spanish, and to offer some of the LAMC’s of Latin American composers; a direc- Portuguese. materials and services through “on- tory of Latin American music schools line” resources. On-line resources, and institutions, institutions related to Anyone can subscribe to LAMC-L. such as Internet or World Wide Latin American music in other parts of The procedure is quite simple: log Web (hereafter: WWW) are the world; and a compilation of theses, onto your email account and follow becoming better known and more dissertations, projects, and research on these steps: popular not only in academia but Latin American Music. also among the general public. • Send a message to: The second section of the LAMC On- We believe that this project has line project is LAMC-L: Academic [email protected] many benefits: it will make the Discussion List for Latin American LAMC’s materials available to a Music. The list was created to provide • In the body of the message write: larger audience; it will allow an avenue for exchanging news about individuals to reach and interact SUBSCRIBE LAMC-L your-first- with a wider number of musicians name your-last-name and scholars around the world (especially ); and it Note: If you end your email will serve as a medium for channeling with a default “signature” information around the continent. (quotation, picture, address, etc.), please disable it before you send the LAMC On-line consists of two message. main sections: LAMC Home Page and Discussion List on Latin You will receive a message con- American music (LAMC-L). firming your subscription and a “welcome message” with general The LAMC Home Page is avail- information about the use of the list able through any of the browsers— and a guide on how to obtain more such as Mosaic or Netscape—used information. on WWW, and has an initial link works-in-progress; questions of general located in the Indiana University interest about Latin American music; We at the LAMC hope individuals School of Music Home Page. The announcements of conferences, festi- take advantage of these new Uniform Resource Locator (URL) vals, concerts, recordings, etc.; but facilities. We invite all those for the LAMC Home Page is the especially for serious discussion on interested in Latin American music following: issues pertaining to music in Latin to browse through the home page, America. subscribe to the list, and send us http://www.music.indiana.edu/som/lamc their comments and suggestions. LAMC-L has had a wonderful recep- Presently the home page contains tion. Just one week after its creation it If you have any questions please do several sections that include had more than seventy-five subscribers not hesitate to contact the LAMC, information about the LAMC and from several countries and backgrounds. or Erick Carballo, the project its staff, the complete collection of Groups with different interests—such as coordinator: LAMúsiCa (LAMC’s Newsletter), historians, composers, folklorists, and and links to other on-line resources performers—have joined the list with [email protected] in Latin America. Some of the the intention of carrying their discus- Horacio López de la Rosa: Score Collection

n our last issue, we informed our Seis canciones, op. 3 (1958-59) Tres canciones americanas, op. 15 Ipatrons about the addition to the for voice and piano (1961) LAMC archives of a collection of Text by Juan Ramón Jiménez for voice and piano scores by Argentinian composer and Antonio Machado Text from folk traditions Horacio López de la Rosa EAM Contains: , La campana, (b. Buenos Aires, October 26, 1933; Con una manzana verde. d. Buenos Aires, September 7, 1986). Coplas de la paloma, op. 45 RA (1978-79) The collection, donated by Ms. Inés for voice and piano Invenciones, op. 34 (1969-70) de la Rosa with the mediation of Text by Jorge Vocos Lescano for piano pianist Marcela Fiorillo, contains and the composer. BARRY the following compositions: EAC Dos tangos para piano, op. 44, 48 Canciones de Altisidora, op. 35 Dos canciones, op. 7 (1960) Ediciones Guía de la Música Argentina (1970) for voice and piano Instituto Lucchelli Bonadeo for soprano and piano Text by Juan Ramón Jiménez Text by Miguel de Cervantes Contains: Los amarillos, El perdido Tempi, op. 25 (1964) EAM EAM for piano, in seven movements EAM Tango para la mano izquierda, Dos invenciones, op. 10 (1960) op. 52 (1985) for piano Tango, op. 54 (1985) for piano EAM for piano four hands and güiro EA EAC

Latin American Music Now

he Department of Music and the Center for Latin The keynote address of the festival was presented by TAmerica of the University of Wisconsin-Milwaukee renowned Mexican composer Mario Lavista. presented on April 20-22 a festival of contemporary art music featuring selected works by composers from Conductor Carmen Téllez and composer Gerardo Dirié, Venezuela, México, Brazil and Argentina. There were director and coordinator of the LAMC, participated in evening concerts, four sessions of lectures, demonstrations the second session of discussions : “Sharing our Musics: and panel discussions with guest performers and compos- Listening Across the Borders.” ers. Guest musicians included Horacio Franco (virtuoso recorder player), Adrián Justus (violin), the Do-Zarpas The conference was organized by Yehuda Yannay, harp duo from , Evelyn LaBruce (mezzo Judith Jaimes and Pavel Burda of the University of soprano), Lou Cucunato and Elena Abend (pianists). Wisconsin-Madison and Frankie Kelly of Western Carolina University. Pavel Burda conducted the Music-With-Percussion Ensemble, and composer Yehuda Yannay conducted an A report of concert and discussion sessions in several ensemble with the participation of saxophonist Jonathan of this season's music festivals will appear in the next Helton, bassist Michael Britz and the Veronika Quartet. issue of LaMúsiCA. Materials Received Recently at the LAMC

Compact Discs voice; Leo Brouwer - Es el amor Arizpe], Cuaderno de viaje (1989) for quien ve (1972) for voice, flute, guitar, solo viola [Mauricio Barbetti], violin, cello, piano, and vibraphone. Cuicani (1985) for flute and clarinet Nueva generación de compositores Cosentino, Buenos Aires, 1993. [Marielena Arizpe, Luis Humberto argentinos Vol. 2. Contains: Gabriel Ramos], Cante (1980) for two guitars Adamo - Variations for piano, Op. 6; Las vanguardias en Argentina. [Grupo [Dúo Castañón-Bañuelos], Sergio Bungs - 10 Very Brief Love Encuentros. Alicia Terzián, conduc- Responsorio in memoriam Rodolfo Duets; Daniel Cocchetti -Variations, tor]. Contains: José Luis Campana - Halffter (1988), for bassoon and two Op. 11; Elena Buiani - Quartet for Noctal 1-2-3 (1992) for flute, clarinet, percussionists [Wendy Holdaway, woodwinds; Cecilia Fiorentino - violin, cello, and piano; Salvador basson; Ricardo Gallardo and Alonso Osergered or the Crumbs; Teodoro Ranieri - Un grido anche di gioia Mendoza, percussion]. CENIDIM, Cromber - Tríptico No. 3; Sergio (1979) for voice, clarinet, violin, cello, México, 1994. Parotti - Sonata no. 1, Op. 39; Luis and piano; Marcelo Koc - Música Müller - Preludio y melodía para ac. para cinco instrumentos (1983) for Cantata antillana. [Orquesta Sinfónica flute, clarinet, violin, cello, and piano; de Puerto Rico. Odón Alonso, conduc- Terzián. Works by Argentinian Alicia Terzián - Atmósferas (1969) tor. Coral Filarmónica de San Juan. composer Alicia Terzián. Contains: for two pianos; Irma Urteaga - Amarilis Pagán-Vila, dir. Margarita Concierto para violín y orquesta, Op. Sueños de Yerma (1986) for voice, Castro-Alberty, soprano; César 7 (1955) [University Symphony flute, clarinet, violin, cello, and piano. Hernández, tenor; Justino Díaz, Orchestra. Duilio Dobrin, conductor. Cosentino, Buenos Aires, 1993. baritone; José Ramos Santana, piano]. Richard Fuchs, soloist]; Voces II Contains: Jack Délano - Cantata (1979-82) [Grupo Encuentros]; Canto La obra para piano de Gerhart antillana; Raymond Torres Santos - a mí misma (1986-87) [BBC Welsh Muench. [Rodolfo Ponce Montero, La canción de las Antillas. Symphony Orchestra and Choir. piano]. Contains: Kreisleriana Nova, Corporación de las Artes Musicales, Manuel Préstamo, conductor]. in four movements; Dos poemas; Puerto Rico, 1992. Cosentino, Buenos Aires 1993. Ricercare; Tessellata tacambarensia no. 1; Cuatro presencias; Un petit Wayjel [guitar Dúo Castañón- rêve; Correspondencias. CENIDIM, Bañuelos]. Contains: Gerardo Támez - Serie siglo XX vol. 13, México, 1994. Percusión; Manuel Enríquez - Cópula; Del pulso itinerante; Voces íntimas; Las músicas dormidas. [Trío Neos, Actitudes; Ernesto García León - clarinet, basson, piano]. Contains: Preludio y son; Mario Stern - Manuel De Elías - Tri-Neos (1991); Papalotzin; Mario Lavista - Cante; Manuel Enríquez - Tercia I, II Federico Álvarez del Toro - Wayjel. (1990); Marta Lambertini - Assorted CENIDIM, Serie Siglo XX vol. 7, Koechels (1993); Roberto Sierra - México. Raíces americanas. [Grupo Encuentro. Con tres (1989); Mario Lavista - Las Alicia Terzián, conductor]. Contains: músicas dormidas (1991); Heitor Cello Music from Latin America. Carlos Guastavino - Sonetos del Villa-Lobos - Fantasía concertante. [Carlos Prieto, cello. With Edison ruiseñor (1988) for voice, flute, CENIDIM, Serie siglo XX. México, Quintana, piano; and Berlin Sym- clarinet, cello and piano; Alberto vol. 11. México, 1994. phony Orchestra, Jorge Velazco, Ginastera - Pampeana no. 2, Op. 21 conductor]. Contains: Ricardo Castro (1950) for cello and piano; Heitor Cuaderno de viaje. Mario Lavista. - Concerto for cello and orchestra Villa-Lobos - Poema del niño a su Contains: Madrigal (1985) for solo (1903); Manuel Ponce - Three madre (1954) for voice, flute, clarinet, clarinet [Luis Humberto Ramos], preludes for cello and piano (1931); and cello; Luis Naón - Tango del Marsias (1982) for oboe and crystal Mario Lavista - Quotations for cello desamparo (1987) for cello, piano, glasses [Roberto Kolb, oboe], and piano; Carlos Chávez - Madri- tam-tam, and percussion; Edgar Lamento a la muerte de Raúl Lavista gal; Alfonso De Elías - Chanson Alandia - Grito! (1980) for solo (1981) for bass flute [Marielena triste; Celso Garrido-Lecca - Sonata fantasía. PMG Classics, 1992. Joaquín Gutiérrez Heras - De Calacas y palomas (1990) for two Papalotl. Javier Álvarez. Contains: profundis, for mixed choir, piano and pianos [Lory Sims, Genevieve Lee], Acuerdos por diferencias (1989) for percussion [Convivium Musicum of Conductus (1991) for 13 players [Yale harp and tape [Hugh Webb, harp], México and members of the Orquesta New Music Ensemble], Pedacito de Temazcal (1984) for maracas and tape Sinfónica Nacional de México. patria (1992) for 2 harps and tape [Luis Julio Toro, maracas], Papalotl Eduardo Mata, cond.] [Janet Paulus,Victoria Drake], (1987) for piano and tape [Philip Retablos (1992) for 17 players [Cleve- Mead, pn], Mannam (1992) for Gustavo Leone - Musical studies land Chamber Symphony], Cinco, kayagum and tape [Inok Paek, (1993). Lynelle Kirkwood, harp. cinco and seis (1989) for solo flute kayagum], Así el acero (1988) for [Carol Bean]. steel drum [Simon Limbrick, tenor Ricardo Lorenz - Concerto for piano steel drum]. SAYDIC Records. and orchestra (1989) [Orquesta Raymond Torres Santos - Film/ England, 1992. Sinfónica de Lara. Leonardo Panigada, Concert Orchestral Music. Contains: conductor. Anthony De Mare, soloist]. samples from documentary film Música sacra de la colonia [Coro de la music, TV series Mike Hammer, and Catedral de México. Guillermo López selected movements from the sym- Nava, director]. Contains: Francisco phonic works La canción de las Hernández - Sancta Mariae; Anon. - Antillas, Five Variations on a Theme Dios Itlaconantzine; Hernando by Mozart, El país de los cuatro pisos, Franco - Memento mei Deus; Juan de Areytos and Sinfonietta concertante. Lienas - Coenantibus autem illis; López y Capillas - Gloria laus; Grupo Encuentro de Música Christus factus est; Tenebrae factae Contemporánea de Buenos Aires. sunt, Quicumque voluerit, Cum Alicia Terzián, music director. Gold jucunditate, Magnificat de IV tono; Joaquín Orellana - Electroacoustic album. Contains: José Luis Campana Francisco Sumaya - Miserere mei; Works. Contains: Evocación profunda - Vox faucibus haesit for flute, clari- Juan de Lienas - Misa a 5. y traslaciones para la marimba; net, violin, cello and piano; Irma Híbrido a presión; and Humanofonía. Urteaga - Existenciales, for voice and Imágenes mexicanas para piano piano; Hipólito Gutiérrez - Oda for [Alberto Cruzprieto, piano]. Contains: Ileana Pérez - Works. Contains: voice, flute, clarinet, violin, cello and José Rolón - Tres danzas indígenas Cinco Microesperanzas de un duende piano; Jorge Antunes - Tres jaliscienses; Joaquín Gutiérrez for string quartet [Lark Quartet], impressões cançoneirigenas for flute, Heras - Variaciones sobre una Piedras for chorus and tape [Chamber viola and cello; Manuel Juárez - For canción francesa; Miguel Bernal Singers Dartmouth], Cuando la Gab for flute, electroacoustic sounds Jiménez - Carteles; Alicia Urreta - inocencia retorna en forma de poesía and live sound processing. Salmodia I; Gabriela Ortiz - Patios for piano and tape [Ileana Perez], serenos; Manuel Ponce - Cuatro Celia for tape, Yoruba for tape, Grupo Encuentro de Música danzas mexicanas; Mario Lavista - Caxsionics for tenor saxophone and Contemporánea de Buenos Aires. Simurg; Eduardo Hernández interactive music system [Neil Alicia Terzián, music director. With Moncada - Costeña; José Pablo Leonardo, soloist]. Adelma Gómez, organ. Contains: Moncayo - Muros verdes. CENIDIM, Salvador Ranieri - Un grido anche di Serie siglo XX, vol. 19. México, 1994. Cergio Prudencio - With the gioia for voice, clarinet, violin, cello Orquesta Experimental de and piano; Manuel Enríquez - Instrumentos Nativos. Contains: Ambivalencia for violin and cello; Cassettes Cantos de tierra; and Cantos de Marcelo Koc - Música para cinco piedra. On side B: 11 pieces from the instrumentos for flute, clarinet, violin, traditional folk repertoire of Bolivia. cello and piano; Alicia Terzián - Javier Álvarez - Calacas imaginarias Cuaderno de imágenes for organ; Leo (1994) for chamber choir and electroa- Carlos Sánchez - Works. Contains: Brouwer - Es el amor quien ve for coustic sounds [New London Chamber Son del corazón (1993) for 15 players voice, flute, guitar, violin, cello, piano, Choir. James Wood, cond.] [ Le Nouvel Ensemble Moderne], and vibraphone. he Indiana University Contemporary Vocal Ensemble T(CVE), directed by Carmen Téllez, won a grant from the US-Mexico Fund for Culture to commission the first work for a cappella chorus by Mexican composer Mario Lavista, who was Words a guest faculty in the workshop. This allowed the Contempo- rary Vocal Ensemble to record this and other choral works by and both American and Mexican composers which will be distrib- uted throughout the United States, Mexico and Latin America. Music A tour of the ensemble is also being planned in Mexico for August, 1995. The proposal to the US-México Fund for Culture included Mario Lavista’s work at the Words and Music Work- shop as the necessary first link for the development of the new Follow-up: work’s concept.

The Sanctus by Lincoln Hanks and Three Songs by Tim Olsen Projects derived from the will be included in the same CD. They were both participants of the workshop, where their two pieces were premiered in the choral first Inter-American sessions and in concert. Composition Workshop Carmen Téllez will travel to México in June to conduct and teach a seminar for conductors on new choral repertoire from the Americas.

American Soprano Cheryl David Vayo, an active participant of the composition department. Marshall, who was especially at the workshop, has been invited invited to the workshop as a to the International Contemporary Ecuadorean participant Lucía specialist in contemporary vocal Music festival of Bogotá, Colom- Patiño was invited to the Festival music and as a soloist in Alfonso bia in April 1995. His choral Internacional de Música Montecino’s Cantata, has been suite Mother Goose Rhymes was Contemporánea of Bogotá, where invited to perform the same work heard at the workshop by Cecilia her work De Alfonsina hacia el at the Latin American Music Casas, Artistic Director of the cielo was performed under the Festival in Caracas in November of Colombian festival. Ms. Casas direction of Carmen Téllez. this year. The Latin American attended the workshop as a guest, Music festival is directed by since the International Contemporary Le Campane di Leopardi by Alfredo Rugeles, who also directs Music Festival of Bogotá acted as guest composer Yehuda Yannay the Circuito Sinfónico the link institution in Colombia. was performed with great success Latinoamericano, the Venezuelan Invited by Carmen Téllez and by by conductor Alan Harler during link institution during the Words IU faculty composer David his tour to China. Alan Harler is and Music workshop. Carmen Dzubay, Cheryl Marshall the Artistic Director of the Téllez will conduct works by returned in November 1994 to Mendelssohn Club of Philadel- Montecino work and several other Indiana University for another phia, one of the oldest choral composers at this Festival. master class session with students organizations in the country. The work was recommended to him Téllez, and Cecilia Casas are American soprano and IU student by Carmen Téllez. Choral works working on a proposal for an Lauren Zachry, who was heard in by Americans Tim Olsen and opera workshop in Colombia, three solo performances at the David Vayo performed in the involving American voice teach- Words and Music Workshop, was Words and Music workshop have ers, composers and young vocal- selected by conductor and Words also been requested by Alan ists, and Colombian stage direc- and Music Electronics Assistant Harler and the Mendelsohnn Club tors, instrumentalists, composers, Lavon Oke as the right voice for of Philadelphia. Jan Harrington, and voice students to complement an homage concert in Japan choral conducting faculty at the the International Contemporary produced by the Sony Corporation workshop, will also conduct Music Festival of Bogotá. in August 1994. Zachry and Oke Yannay’s Le Campane di will return to Japan during summer Leopardi with the Chamber and fall of this year to perform and Singers at Dartmouth College. conduct a new production by composer Hideki Isoda. Conductor Carmen Téllez led a series of masters classes in con- The following composers have sent ducting and directed the new works and maintained regular Guayaquil Symphony Orches- contact with the Latin American tra during the Philharmonic Music Center after the end of the Festival of Quito and Guayaquil workshop : Mercedes Otero, in June of 1994. American Carmen Téllez was invited by Andrés Posada, Williams soloists Stephen Boe, Joo Kim, composer Tania León, a guest Panchi, Lucía Patiño, Emilio Colón, Amadi faculty of the Words and Music Alejandro Iglesias Rossi, Hummings and Elizabeth Workshop, to attend the Ameri- Yehuda Yannay, Kathryn Pabón, from the Indiana Univer- can Composers Orchestra Alexander, Tim Olsen, Michael sity School of Music also per- Sonidos de las Americas Festi- Edgerton, Chris Preissing, formed and conducted master val in New York. Leon’s work David Vayo, Alba Potes, classes. Téllez’s participation Batey was conducted by Téllez at Rebecca Dale, Benjamin Boone, developed after her first visit to the workshop. Rodolfo Ledesma, Marjorie Ecuador, while promoting the Rusche, Beatriz Bilbao, among competition for the Words and others. Benjamin Boone, David Music Workshop in Latin America Vayo and Gustavo Leone have in November 1993. The Philhar- maintained a regular correspon- monic Music Festival was organized dence with Comparative Litera- by María Estella de Mantilla and ture scholar Steve Scher, an the Philharmonic Society of Quito, interdisciplinary guest faculty at which acted as the link institution in the workshop. Ecuador. The festival was supported The work Madaka, composed by by the USIS Post in Quito, Mr. participant Beatriz Bilbao spe- Mercedes Otero has composed Jerome Oetgen. This festival may cifically for the Words and Music and dedicated a new work to repeat next year, with further partici- Workshop was selected by Tania Carmen Téllez. Téllez will pation by Dr. Téllez and several León to be premiered in New premiere it in July with the National American soloists. York at the Sonidos de las Ameri- Philharmonic of Venezuela, in Composer Tania León, Carmen cas Festival. Caracas. Call for Scores Cuban Music for Piano

The Syrinx Ensemble (flute, oboe Arts Commission. Contact: Elena Cuban pianist Nohema Fernández, and bassoon) is looking for compo- Lence Talley, 7807 Caenen Lake, DMA Stanford University, and sitions by Latin American compos- Lenexa, KS 663216, phone and fax current Professor of Piano at the ers to expand their repertoire. This (913) 268-3064. University of Arizona at Tucson, group performs frequently in presented a historical panorama of Western Massachusetts, and has Cuban concert piano music extend- also appeared in concerts in Bos- The Ensemble Molto Libero ing from 1830 to 1986. This ton. For information, contact: (oboe, clarinet, bassoon, piano) recital, which was sponsored by the Catalina Arruba, Syrinx Ensemble, invites composers in general to Cultural Affairs Department of the 990 North Pleasant St. E-8, send scores for any combination City of Los Angeles and the Amherst, MA 01002. drawn from this ensemble. This Patronato José Martí of Los Ange- Phone 1(413) 546-2479. Argentinian group performs fre- les, included works and composers quently in the city of Córdoba and rarely performed before. The Lyric Arts Trio (mezzo- is a regular guest for national and Those interested in this perfor- soprano, clarinet, piano) is looking international new music festivals in mance can obtain further informa- for works by Latin American its country. Contact: Alejandro tion by writing to: composers. This group is a profes- Aizenberg , Rafael Bielsa 3647, sional ensemble that performs in (5016) Córdoba, Argentina. Dr. Aurelio de la Vega the Midwest and tours Kansas Phone 011 (54-51) 681028, 18800 Stare St., Northridge, CA under the auspices of the Kansas fax 011 (54-51) 234293 91324-1522.

New Recordings at the LAMC

PAPALOTL coloristic results. Superb performances also contribute to the success of this recording. Saydisc CD-SDL 390 (1992) Works by Javier Álvarez MANANTIAL Address: Saydisc Records Chipping Manor CD (1994) The Chipping TEPUY, Alvaro Encinas, Director Wotton-Under-Edge, Glos.GL12 7AD Address: Enbor/Tepuy England P.O. Box 11321 Tel.: (0453) 845036 Takoma Park, MD 20913-1321 Fax : (0453) 521056 USA Fax: (202) 829-8952 Five pieces by Mexican composer Javier E-mail: [email protected] Álvarez composed between 1984 and 1992. In these works Álvarez masterfully combines solo instru- Combination of original compositions, including ments—harp, maracas, piano, kayagum (Korean 12- five by Alvaro Encinas, and arrangements, also by string zither), and tenor steel pan—with sampler- and Encinas, of folk and popular pieces. Good quality synthesizer-produced music. The inventiveness of performance on traditional South American instruments. these pieces lies mainly on the rich rhythmic and Mario Ortiz EDUARDO MATA, the internationally renowned Mexican conductor and composer, died in an airplane accident near the Cuernavaca airport Obituary on January 4, 1995.

Mr. Mata was born in Mexico City in 1942. After receiving private lessons in guitar between 1950-53 he enrolled in the National Conserva- tory of Music where he studied with Rodolfo Halffter and José Moncayo. In 1960 he joined the Composition Workshop directed by Carlos Chávez, and worked with him and Julián Orbón until 1963. In the summer of 1964, under a Koussevitzky Fellowship, he studied conduct- ing with Max Rudolf and Erich Leinsdorf, and composition with Gunther Schuller in Tanglewood. EDUARDO

In 1965 he was appointed head of the Music Department of the Universidad de México. In addition, that same year, he became the permanent conductor of the Guadalajara Orchestra, where he remained until he was appointed principal conductor of the Phoenix Symphony Orchestra (Arizona) in 1972. MATA Between 1977 and 1993 he was the music director of the Dallas Symphony Orchestra. According to Allan Kozinn, during this time “on the Dallas Podium, Mr. Mata improved the orchestra’s performance standard and brought the ensemble into the national and international spotlight” (The New York Times, January 5, 1995). (1942-1995)

While in Dallas, he was also guest conductor of several important orchestras in United States, Europe and Latin America: Pittsburgh, Cleveland, Philadelphia, Chicago, Baltimore, San Francisco, London, Berlin, Frankfurt, Rotterdam, México, Venezuela. He was also the principal guest conductor of the New Zealand Symphony and the artistic director of the Solistas de México.

He had also made recordings for the Dorian, RCA, Pro Arte, Telarc, and Vox labels. His last recording project involved a series of compact discs dedicated to Latin American works with the Orquesta Sinfónica Simón Bolívar of Venezuela, which has earned critical acclaim.

As a conductor he was known for his clean and direct interpretations. He had particular interest in the music of Silvestre Revueltas, Alberto Ginastera, and Heitor Villa-Lobos; however, he also conducted and recorded an ample repertory that ranged from the early Classic period to the 20th century. He offered outstanding performances of works by modern composers from the United States, France, and Russia.

Notable among his compositions are three symphonies (1962, 63, 66); Improvisations, for two pianos and strings (1966); and a number of chamber works including a sonata for violoncello and piano (1967). Latin American Colonial Music: A Selected Discography

compiled by Mario Ortiz* Baroque Music in Mexico. Works by D. de Salazar, D. Fernandes, J. de Discos Melopea CDCCM 008 (1992). Los Angeles, CA: Eldorado (1983). Araujo, J. Hidalgo, F. de Peñalosa, G. Musica Segreta; Leonardo Waisman, director. A Cappella Choir of UCLA; Fernandes, A. de Avila, H. Franco, Fray G. Notes by Leonardo Waisman. Roger Wagner, director. Gonzales, J. Gutiérrez de Padilla, J. García, Works by A. Corelli, D. Zipoli, and Notes by Robert Stevenson. T. de Torrejón, and anonymous. anonymous. Works by Gutiérrez de Padilla, H. Franco, M. de Sumaya, J. Bermudo, F. Guerrero, F. La Púrpura de la Rosa. Música del Período Colonial en López Capillas, J. de Lienas. Opera by Tomás de Torrejón y Velasco América Latina. (music) and Calderón de la Barca (libretto). Fvndación Mvsica-Música Americana Blanco y Negro: Hispanic Songs of the Nuova Era DDD 6936 (1990). DM-MA-HA001-CD93 (1993). Renaissance from the Old and the New Ensemble La Cappella, Orchestre baroque Canto; Egberto Bermúdez, director. World. du Clemencic Consort; Notes by Egberto Bermúdez. Klavier Records KS 540 (1975). Rene Clemencic, director. Works by [Juan de] Padilla, José Ancient Consort Singers; Notes by Roberto Di Perna. Cascante, Matías Durango, Diego John Alexander, director. Includes complete libretto in Spanish. Fernández de Huete, Juan Hidalgo, Juan Ancient Instrumental Ensemble; Ron Blas de Castro, Manuel Correa, Juan Purcell, director. Latin American musical treasures from Aranyes, Roque J. de Chavarría, the sixteenth, seventeenth, and eighteenth M[aestr]o Torices, , and El Sonido Colonial de América Latina. centuries. anonymous. San José, Costa Rica. INDICA [1986]. Los Angeles, CA: Eldorado (1977). Programa Música para la Paz-Universidad Roger Wagner, director. Música peruana de los siglos XVII y para la Paz. XVIII. Coro de Cámara, Coro de Jóvenes, Coro de Masterpieces of Mexican Polyphony. Discos Sono Radio SE 9376. Niños, Orquesta de Cámara; Hyperion CDA 66330 (1990). Coro de Cámara de la Asociación José M. Sciutto, director. Westminster Cathedral Choir; James “Jueves;” Arndt von Gavel, director. Notes by [José M. Sciutto]. O’Donnell, director. Works by M. de Compañon (comp.), Notes by Bruno Turner. Música Sacra de la Colonia. G. Fernández Hidalgo, J. de Campderros Works by H. Franco, G. de Padilla, F. Clásicos Mexicanos. Spartacus 21001 and anonymous. López Capillas, and A. de Salazar. (1993). Coro de la Catedral de México; Festival of Early Latin American Music. Mexican Baroque. Guillermo López Nava, director. Los Angeles, CA: Eldorado (1975) [Stereo Teldec, Das Alte Werk, 4509-96353-2 (1994). Notes by Juan Manuel Lara Cárdenas. S-1] USR 7746. Chanticleer and Chanticleer Sinfonia; Works by F. Hernández, H. Franco, J. de Roger Wagner Chorale, Sinfonia Chamber Joseph Jennings, director. Lienas, F. López Capillas, and M. de Orchestra; Roger Wagner, director. Notes by Craig H. Russell. Sumaya. Notes by Robert Stevenson. Works by I. de Jerúsalem and M. de Works by C. de Belsayaga, D. Zipoli, F. Sumaya. Música sacra de la época colonial en López Capillas, G. Fernandes, Nunes Música Colonial Hispano-Americana, el Perú. Garcia, M. Blasco, A. Durán de la Mota, G. Siglos XVI-XVIII. Virrey DVS 738-stereo. Fernández Hidalgo, T. L. de Victoria. La Cornamusa E/023. Coro de Cámara de la Asociación Review in Heterofonía 47 (marzo-abril Cantoria del Bven Ayre. “Jueves;” Arndt von Gavel, director. 1976): 28-29; Francisco Curt Lange, “Dos Música virreynal mexicana. grabaciones de Música Antigua Música de la Catedral de Lima. Universidad Nacional Autonóma de Latinoamericana realizada en los Estados FONEMA, Qualiton SQI 4068 (Buenos México, Dirección General de Difusión Unidos,” Heterofonía 49 (julio-agosto Aires, 1976). Cultural, MXI-9 (1974). 1976): 6-10. Includes Música peruana de los siglos XVII Voz Viva de México. y XVIII and Música sacra de la época Orquesta de Cámara de la UNAM, Il Secolo d’Oro nel Nuovo Mondo. colonial en el Perú. Conjunto Coral Universitario; Luis e Oraciones del ‘600 Latino Herrera de la Fuente, director. Americano. Música de las Misiones de Chiquitos/ Transcriptions, instrumentation, and Symphonia SY 91S05 (1992). Music of the Chiquitos Missions. arrangements by Jesús Estrada. Ensemble Elyma; , director; Obras de la tradición jesuítica en Bolivia, Works by: H. Franco, M. de Sumaya, and Studio Musica Antica “Antonio il Verso.” Siglos XVIII y XIX. I. Jerusalem. Nueva España. Close encounters in the EMI Classics CDS 7 54341 2 (1991). Notes by Alain Pacquier. New World, 1590-1690. The . Works by J. de Araujo, Marc-Antoine Erato 2292-45977-2 (1993). Notes by Tess Knighton. Charpentier, M. de Sumaya, and The ; Joel Cohen, director. Part I: Music in the Age of Columbus/ anonymous. The Boston Shawm and Sackbut Ensemble, La Música en el Tiempo de Colón. LES CHEMINS DU BAROQUE. The Schola Cantorum of Boston; Frederick Works by A. de Mondéjar, F. de Peñalosa, No. 3: Mexico: Messe De l’Assomption Jodry, director. “Les Amis de la Sagesse” M. de Rivaflecha, L. Fernández (?), P. de De la Vierge. Womens’ Choir. Escobar, A. de Alba, J. del Encina, Luchas, France, AFAA SUR MESURE K617, Notes by Joel Cohen. J. de Urrede, F. de Millán. K.617024 (1992). Works by J. de Araujo, S. Aguilera de Part II: Music in the New World/ Compañia Musical de las Américas Heredia, P. Bermúdez, J. Pérez Bocanegra, La Música en el Nuevo Mundo. (Mexico), La Fenice; P. Bruna, G. Fernandes, and 12 more. Works by J. de Lienas, C. de Morales, H. Josep Cabré, director. Franco, A. Lobo, F. Guerrero, J. Gutiérrez Works by F. Guerrero, G. Fernandes, J. de Renaissance Choral Music from Mexico. de Padilla, P. de Escobar, and H. Franco Lienas, S. Aguilera de Heredia, Musical Heritage Society MHS 3718 (attrib.). T. L. de Victoria. (1978). Collegium Musicum of Southern Illinois Tablatura mexicana para guitarra LES CHEMINS DU BAROQUE. University; John Boe, director. barroca. No. 4: Reductions Jésuites de Chiquitos: Transcriptions and Notes by Steven Angel SAM 35029. Domenico Zipoli, Vêpres De San Ignacio. Barwick. Miguel Alcázar, guitar. France, AFAA SUR MESURE K617, Works by F. López Capillas, H. Franco, A. Selections from the MS1560 (XVIII C.) at K.617027 (1992). de Salazar, A. Rodríguez Mata. the Biblioteca Nacional de México Coro de Niños de Córdoba (Argentina), Ensemble Elyma; Salve Regina [Choral Music of the Trayectoria de la Música en México. Gabriel Garrido, director. Spanish New World]. Documentos sonoros. Vol.I. Notes include: Alain Pacquier, “Musiques Angel S 36008 (1966). (Records 1-4) Época Colonial. Colección d’un continent révélées: La secréete unité Roger Wagner Chorale; Roger Wagner, Voz Viva. du monde;” “Cartographies;” Edouaaard director. Serie Música Nueva (MN-23) (1984). Pommier, “Les Missions Jésuites du Notes by Robert Stevenson. Universidad Nacional Autonóma de Paraguay;” E. Pommier & Alain Pacquier, Works by G. de Padilla, H. Franco, J. de México. “Chiquitos et Mojos;” “Domenico Zipoli;” Lienas, G. Fernández Hidalgo, J. de Araujo, Notes by Uwe Frisch. Bernardo Illari, “Mythes et réalités des M. de Sumaya, Herrera, Orejón y Aparicio, reductions Jésuites: Analyse des Vêpres de Bocanegra, Torrejón y Velasco. San Ignacio;” Richard Bance, “Gabriel Review by Francisco Curt Lange, “Dos Collections Garrido/Interview: Quête d’une indentité, grabaciones de Música Antigua de l’Europe à l’Amazonie;” and “Les Latinoamericana realizada en los Estados Interprétes et les Chemins du Baroque.” Unidos,” Heterofonía 49 (julio-agosto LES CHEMINS DU BAROQUE. Works by D. Zipoli. 1976): 6-10. No. 1: De l’Altiplano à l’Amazonie: Lima - La Plata - Missions Jésuites. LES CHEMINS DU BAROQUE. Spain in the New World: Renaissance, France, AFAA SUR MESURE K617, L’Or et l’Argent du Haut-Pérou: Baroque, and Native American Music K.617025 (1992) L’oeuvre de Juan de Araujo (1648-1712). from New Spain. Coro de Niños Cantores de Córdoba France, AFAA SUR MESURE K617, Hesperus & Golden Apple GACD 7552 (Argentina), Ensemble Elyma; Gabriel K617038 (1994). (1990). Garrido, director. La Maîtrise Boréale; Bernard Dewagtère, Hesperus; Scott Reiss, director. Notes by Alain Pacquier. choirmaster. L’ensemble Elyma; Notes by Scott Reiss. Transcriptions by Bernardo Illari & Carmen Gabriel Garrido, director. Works by J. Guerrero, D. Ortiz, J. del García Muñoz. Notes include: Alain Pacquier, “Juan de Ensina, G. Fernandes, G.Sanz, A. de Works by J. de Araujo, D. Zipoli, T. de Araujo. L’Or et l’Argent du Haut-Pérou;” Salazar, J. Cornago, J. Hidalgo, M. Blasci, Torrejón y Velasco, D. J. de Salazar. and Bernardo Illari, “Juan de Araujo. Vie. F. de Santiago, M. Joseph de Quiroz, R. A. Oeuvre et Mythe.” Castellanos, M. de Sumaya, canichanas LES CHEMINS DU BAROQUE. Indians, and anonymous. No. 2: Vêpres De l’Assomption. * Mario Ortiz is currently working on a France, AFAA SUR MESURE K617, research guide to Latin American colonial Spanish and Mexican Renaissance Vocal K.617026 (1992). music. He may be contacted at the LAMC Music. Compañía Musical de las Américas or via e-mail: EMI Records Ltd. & Sociedad Estatal (Mexico), Maîtrise Nationale de Versailles; Quinto Centenario (Spain). Jean-Claude Malgoire, director. [email protected]. LA MúsiCa

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