THE CATHOLIC UNIVERSITY OF AMERICA Celso Garrido-Lecca: Synthesis and Syncretism in Concert Music of the Andes Area (1985-2000) A DISSERTATION Submitted to the Faculty of the Benjamin T. Rome School of Music Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy By Nelson Niño Washington, D.C. 2011 Celso Garrido-Lecca: Synthesis and Syncretism in Concert Music of the Andes Area (1985-2000) Nelson Niño, Ph.D. Director: George Grayson Wagstaff, Ph.D. The art music of the Andean region, especially the music produced in the last decades of the twentieth century, has been largely neglected by modern scholarship. This situation has generated a profound lack of research not only in relation to the works of specific composers of this area but also comprehensives research projects that allow an understanding of the aesthetics and musical currents in an important number of South American countries. Among a number of prolific composers of the Andean region, Celso Garrido-Lecca (b. 1926) has been chosen as the central focus of this dissertation. His direct contact with two different cultures of the Andean region, Peru and Chile, gave him a unique and interesting world view. Garrido-Lecca after 1985 was able to synthesize his diverse musical experiences in a very personal language. His mature compositional stage, which extends from 1985 to the present, reached its highest point in the year 2000 when the composer was awarded the “Tomás Luis de Victoria” prize. All the compositions of the period 1985-2000 are discussed in this dissertation and four representative pieces are analyzed in detail: Trío para un Nuevo Tiempo (1985), String Quartet No. 2 (1987), Simpay (1988), and Dúo concertante for charango and guitar (1991). The main characteristics of his mature compositional period are defined in this dissertation mainly through the musical analysis of Garrido-Lecca’s works and information gathered during the close contact established between the author and the composer. In the works composed by Garrido-Lecca between 1985 and 2000, one finds a syncretism of elements from different traditions and influences, including serialism, native and mestizo music from the Andes, Creole music from Peru and Chile, popular songs associated with the Nueva Canción Chilena, and musical representations of mystical conceptions. This repertory constitutes an important synthesis and syncretism of European, Peruvian, and Chilean traditions, representing one of the most remarkable examples of the music composed in the Andean region during the last decades of the twentieth century. Table of Contents Chapter ONE INTRODUCTION ………………………………........................... 1 TWO GARRIDO-LECCA AND HIS DUAL CONTEXT ........................ 11 Biography …………………………………………………. 12 The Peruvian Context …………………………………….. 28 The Chilean Context …………………………………….... 36 Conclusions ……………………………………………….. 43 THREE GARRIDO-LECCA AND ANDEAN MUSIC …………………… 46 Creoles, Indians, and Mestizos ……………………………. 47 Elements of Andean Music in Garrido-Lecca’s Oeuvre ….. 51 Conclusions ……………………………………………….. 80 FOUR GARRIDO-LECCA AND THE NUEVA CANCIÓN ……………. 84 The Nueva Canción ……………………………………….. 85 The Collaboration of Art Composers in the Nueva Canción Chilena …………………………………………… 95 Garrido-Lecca and the Nueva Canción…………………..... 100 The Cantata Popular Kuntur Wachana …………………... 105 Elements of the Nueva Canción in Garrido-Lecca’s Mature Works ……………………………………………... 108 Conclusions ………………………………………………... 120 FIVE VIOLETA PARRA AND THE TRÍO PARA UN NUEVO TIEMPO……………………………………………………………. 123 The Concept of “Nuevo Tiempo” …………………………. 124 Violeta Parra’s Life and Work ……………………………. 125 Violeta Parra’s Song “Gracias a la vida” ………………….. 132 The “Garrido-Lecca Series” ……………………………..... 141 Trío para un Nuevo Tiempo ………………………………. 145 Conclusions ……………………………………………….. 171 iii Chapter SIX VÍCTOR JARA AND THE STRING QUARTET No. 2 …………. 175 Víctor Jara, Biographical Introduction ……………………. 176 The Musical Collaboration between Jara and Garrido-Lecca ……………………………………………... 180 The String Quartet No. 2 ………………………………….. 189 Epilogue …………………………………………………… 219 Conclusions ………………………………………………... 222 SEVEN THE ANDEAN GUITAR AND THE CHARANGO IN SIMPAY AND DÚO CONCERTANTE ……………………………………... 225 The Andean Guitar ………………………………………… 226 The Charango and its Uncertain Origin …………………... 232 The Campesino and Mestizo Charango …………………… 239 The Charango in Chile ……………………………………. 245 Simpay …………………………………………………….. 247 Dúo Concertante for Charango and Guitar ……………….. 257 Conclusions ………………………………………………... 277 EIGHT THE OTHER WORKS (1985-2000) ……………………………… 280 Ballets ……………………………………………………... 281 Orchestral Works ………………………………………….. 281 Vocal Works ………………………………………………. 296 Chamber Works …………………………………………… 301 Works for Solo Instruments ………………………………. 320 Tape ……………………………………………………….. 332 Film Scores ………………………………………………... 333 Conclusions ………………………………………………... 334 NINE CONCLUSIONS ………………………………………………….. 337 APPENDIX ……………………………………………………………………….. 347 BIBLIOGRAPHY …………………………………………………………………. 437 iv Acknowledgements I would like to express my gratitude to the Chilean government of Michelle Bachelet Jeria, which gave me a four-year fellowship to earn my Ph.D. in Musicology. Also to Alfonso Muga Naredo, Enrique Reyes Segura, and all the officials of the Catholic University of Valparaiso-Chile, for granting me an extended leave in order to complete my graduate studies. Thanks to Dr. Emma Garmendia, Mr. Richard White, Dr. Joseph Santo, Dr. Grayson Wagstaff, Dr. Andrew Weaver, Dr. Esperanza Berrocal, Dr. Andrew Simpson, Dr. Jennifer DeLapp-Birkett, and all the professors at the Catholic University of America, School of Music, who gave me superior instruction in music at the Master and Doctorate levels. Also, I thank Italo Pedrotti, Cecilia Cordero, Saúl Bitrán, Javier Echecopar, Luis Humberto Ramos, and all the composers and performers who helped me throughout the development of my research. My special gratitude goes to maestro Celso Garrido-Lecca, whose oeuvre reinforced my knowledge and appreciation of Latin American music; and to my mother, Ana Zulema Vásquez, who supported and tolerated me in her house during my Master and Doctorate studies. But above all, my deepest gratitude goes to my wife Ana María Aravena and my daughter Anita Nicole Niño, who believed in my dreams and survived a long separation of four-and-a-half years from their husband and father. I promise that the rest of my life will be for you. v Chapter 1 Introduction Carlos Chávez, Heitor Villa-Lobos, and Alberto Ginastera have been considered the most outstanding Latin-American art composers of the twentieth century. Consequently, most scholars interested in Latin-American music have dedicated their efforts to the study of these particular composers’ oeuvres and the development of music in their respective countries: Mexico, Brazil, and Argentina. The art music of the Andean region, especially the music produced in the last decades of the twentieth century, has been largely neglected by modern scholarship. This situation has generated a profound lack of research not only in relation to the works of specific composers of this area but also comprehensives research projects that allow an understanding of the aesthetics and musical currents in an important number of South American countries.1 Among a number of prolific composers of the Andean region, Celso Garrido- Lecca (b. 1926) has been chosen as the central focus of this dissertation. His direct contact with two different cultures of the Andean region, Peru and Chile, gave him a 1 Gerard Béhague’s Music in Latin America; an Introduction (Englewood Cliffs, NJ: Prentice Hall, 1979) is the most recent survey in English dedicated to the study of Latin American art music. Historia de la Música en Chile (Santiago: Editorial Orbe, 1973) by Samuel Claro and Jorge Urrutia Blondel, is the most complete survey in Spanish about Chilean art music. La música en el Perú (Lima: Patronato Popular y Porvenir Pro Música Clásica, 1988) is the latest comprehensive study of Peruvian music, also in Spanish. There are no dissertations in English entirely dedicated to the study of a specific composer of the Andean area. 1 2 unique and interesting world view. What are those musical elements that characterize the production of this specific contemporary Andean composer? How did the political, social and cultural situation he experienced in Peru and Chile influence his musical output? How is Garrido-Lecca’s oeuvre representative of the Andean area? According to Garrido-Lecca himself, the year 1985 marked the beginning of a period of synthesis in his compositions. This mature stage, which extends from 1985 to the present, reached its highest point in the year 2000 when the composer was awarded the “Tomás Luis de Victoria” prize.2 During a period of fifteen years between 1985 and 2000, Garrido-Lecca composed a total of twenty-seven works, including incidental music for films and dance, vocal music, pieces for solo instruments, chamber music for different types of ensembles, and large orchestral works.3 Garrido-Lecca’s works offer a significant example of syncretism: in his vast production, there are elements of serialism, native music of the Andes, the use of folk instruments, quotations of popular music associated with the Nueva Canción Chilena 2 This award recognized Garrido-Lecca’s oeuvre and recognized him as one of the best contemporary art composers of Ibero-America. The other winners of the prize have been Harold