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Costa Rican Composer Benjamín Gutiérrez and His Piano Works

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Costa Rican Composer Benjamín Gutiérrez and His Piano Works ANDRADE, JUAN PABLO, D.M.A. Costa Rican Composer Benjamín Gutiérrez and his Piano Works. (2008) Directed by Dr. John Salmon. 158 pp. The purpose of this study is to research the life and work of Costa Rican composer Benjamín Gutiérrez (b.1937), with particular emphasis on his solo piano works. Although comprised of a small number of pieces, his piano output is an excellent representation of his musical style. Gutiérrez is regarded as one of Costa Rica’s most prominent composers, and has been the recipient of countless awards and distinctions. His works are known beyond Costa Rican borders only to a limited extent; thus one of the goals of this investigation is to make his music more readily known and accessible for those interested in studying it further. The specific works studied in this project are his Toccata y Fuga, his lengthiest work for the piano, written in 1959; then five shorter pieces written between 1981 and 1992, namely Ronda Enarmónica, Invención, Añoranza, Preludio para la Danza de la Pena Negra and Danza de la Pena Negra. The study examines Gutiérrez’s musical style in the piano works and explores several relevant issues, such as his relationship to nationalistic or indigenous sources, his individual use of musical borrowing, and his stance toward tonality/atonality. He emerges as a composer whose aesthetic roots are firmly planted in Europe, with strong influence from nineteenth-century Romantics such as Chopin and Tchaikovsky, but also the “modernists” Bartók, Prokofiev, Milhaud, and Ginastera, the last two of whom were Gutiérrez’s teachers. The research is divided into six chapters, comprising an introduction, an overview of the development of art music in Costa Rica, a biography of Gutiérrez, a brief account of piano music in the country before Gutiérrez and up to the present day, a detailed study of his solo piano compositions, and conclusions. Since this music is not readily available outside Costa Rica, this paper includes an appendix with all of Gutiérrez’s solo piano pieces, including the author’s editorial suggestions. COSTA RICAN COMPOSER BENJAMÍN GUTIÉRREZ AND HIS PIANO WORKS by Juan Pablo Andrade A Dissertation Submitted to The Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by __________________________________ Committee Co-Chair __________________________________ Committee Co-Chair APPROVAL PAGE This dissertation proposal has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. Committee Co-Chair __________________________________ Committee Co-Chair __________________________________ Committee Members __________________________________ __________________________________ ___________________________ Date of Acceptance by Committee ___________________________ Date of Final Oral Examination ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION . 1 Limitations of the Study . 3 Status of Related Research . 4 Organization of the Text . 7 Procedures . .7 II. ART MUSIC IN COSTA RICA: A HISTORICAL OVERVIEW . 9 The Colonial Period . 9 The Nineteenth Century . 14 Early Twentieth Century . 19 The Second Half of the Twentieth Century . 27 III. BENJAMÍN GUTIÉRREZ: BIOGRAPHICAL OVERVIEW . 35 Beginnings . 35 Guatemala . 37 Marianela . 39 United States . 42 Alberto Ginastera . 48 Composer, Performer, Pedagogue . 54 IV. PIANO MUSIC IN COSTA RICA . 61 V. GUTIÉRREZ’S PIANO WORKS . 68 General Aspects of Gutiérrez’s Musical Style . 68 Compositional Issues Raised by the Piano Works . 71 Toccata y Fuga . 77 Short Pieces . 104 Musical Style in Añoranza . 105 Musical Style in Preludio para la Danza de la Pena Negra . 110 Musical Style in Danza de la Pena Negra . 114 Musical Style in Invención . 118 Musical Style in Ronda Enarmónica . 122 Summary. 125 iii VI. CONCLUSIONS . .129 BIBLIOGRAPHY . .131 APPENDIX. THE WORKS FOR PIANO SOLO OF BENJAMÍN GUTIÉRREZ . .136 iv CHAPTER I INTRODUCTION Benjamín Gutiérrez (b. 1937) is one of Costa Rica’s most celebrated living composers. Born and raised in San José, Costa Rica’s capital and most important city, Gutiérrez also studied music in Guatemala City, Boston, Ann Arbor, Aspen and Buenos Aires. Gutiérrez achieved an early success with the premiere of his opera Marianela in 1957, when the composer was only twenty years old, and thanks to this event he was offered a scholarship to study composition at the New England Conservatory. His teachers have included Ross Lee Finney, Darius Milhaud and Alberto Ginastera. His compositions range from piano solo and chamber music to orchestral music and opera, and they have been performed in several Latin American countries, the United States, Europe and Japan. He has received many awards and distinctions, among them the National Prize of Composition in Costa Rica on six different occasions (1962, 1964, 1973, 1977, 1980, and 1985). In 1999, La Nación, Costa Rica’s leading newspaper, named him Musician of the Century, and in the year 2000 he was awarded the Premio Magón, the highest distinction bestowed upon an individual for a life dedicated to the development of culture in Costa Rica. His reputation and musical activities have not been limited to composing; he has also been a very active conductor, and a concert and collaborative pianist. In addition, he 1 is considered one of the most influential music pedagogues in Costa Rica, having mentored several students who developed into successful composers in their own right. In spite of his being the most publicly recognized and widely performed of Costa Rica’s composers, there is an obvious lack of comprehensive research on his life and work. This study will attempt to fill that gap partially by accomplishing three objectives: 1) providing more biographical documentation of the composer than currently available, 2) elucidating particular elements of his compositional style, and 3) studying in detail his compositions for piano solo. In order to provide a historical background to Gutiérrez’s work the research also includes a synopsis of the development of art music in Costa Rica, from colonial times through the establishment of the young nation, up to the present. Gutiérrez’s piano output, although small, is an excellent representation of his musical style. His lengthiest piano solo work is Toccata y Fuga, written in 1959 while the young Gutiérrez was studying under Darius Milhaud in Aspen, Colorado. Around ten minutes in length, it earned Gutiérrez an honorable mention at the Aspen Music Festival. The remaining solo works are five short pieces written between 1981 and 1992. Four of them were grouped together and published in 1993 under the title Cuatro Piezas para Piano Elemental. Their individual names are Invención, Añoranza (Nostalgia), Preludio para la Danza de la Pena Negra, and Danza de la Pena Negra (Dance of Black Grief). Another piece, called Ronda Enarmónica and also bearing the label Piano Elemental, also appeared in 1993 as an appendix to a reprint of the fugue alone from the 1959 Toccata y Fuga. 2 Besides his solo piano works, Gutiérrez’s most extensive project for the piano is the Variaciones Concertantes para Piano y Orquesta, written in 1969 and premiered the same year by the Costa Rica National Symphony with the composer at the piano. The work has been performed only four times in Costa Rica, three times by the composer as soloist and once by the young Costa Rican pianist Carlos Quesada. In one movement, the Variations are about seventeen minutes in length. This work, however, will not be the focus of the present study which will concentrate only on his works for piano solo. Gutiérrez has also written concertos for violin, viola, clarinet, flute, saxophone, trombone quartet, bassoon quartet and marimba. A few of these, including the clarinet and violin concertos, have been performed both in Costa Rica and abroad. Some of the short piano solo works have also been performed around the world, but the piano variations are not known beyond Costa Rica’s borders. It is to be hoped that this research will shed light on the piano works by this major Latin American composer and make their existence known to musicians in the United States and elsewhere. Limitations of the Study Although a comprehensive biography of Benjamín Gutiérrez is needed, especially since he has achieved the stature of a national cultural icon, this treatise will not attempt to accomplish that task. The primary objective of the biographical section of this document will be to provide a context for Gutiérrez’s musical growth. Therefore, investigation of his development as a musician will be detailed, but personal information and biographical events not clearly related to the development of his compositional style will be omitted. Other areas of Gutiérrez’s music, such as chamber music, symphonic 3 works or opera are also excluded from this research. Finally, the descriptive approach to Gutiérrez’s works presented here emphasizes stylistic traits, historical contexts and influences: a detailed theoretical analysis of his works lies beyond the scope of this study. Status of Related Research With the exception of a few newspaper and journal articles and several brief paragraphs in a handful of books, research on the work of Costa Rican, and in fact most Central American living composers, has been neglected. Because of Gutiérrez’s status as a national celebrity, local newspapers have often published interviews and articles about him, but most of these articles provide little information relevant to a scholarly investigation. At most, they provide a limited amount of information by transcribing Gutiérrez’s comments and insights on his own life and music. Antonio Briceño’s online interview for Tiquicia.com is the most comprehensive published to date and contains two sections,1 the first with background information about Gutiérrez and the second with the interview. The second part of this interview, in five sections, includes Gutiérrez’s recollections of his youth and some of his musical influences, as well as his views on musical education in Costa Rica and his view of his legacy.
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