California State University, Northridge

Enrique Garcia

Master’s Guitar Recital

A graduate project submitted in partial fulfillment of the requirements

for the degree of Master of Music

in Music, Performance

By

Enrique Garcia

May 2020

The graduate project of Enrique Garcia is approved:

______

John Dearman, Professor Date

______

Bryan Fasola, Professor Date

______

John Roscigno, Chair Date

California State University, Northridge

ii Table of Contents

Signature Page ii

Abstract iv

I. J.S. Bach: Prelude, Fugue and Allegro BWV 998 1

II. Manuel M. Ponce: Sonata Meridional 5

III. Napoleon Coste: Les Soirees D’Auteuil Op.23 9

IV. Franz Schubert: Lob der Thränen arr. J.K. Mertz 12

V. Joaquin Rodrigo: Tres Piezas Españolas 14

VI. Leo Brower: Hika 18

Bibliography 22

Appendix: Program 23

iii Abstract

Master’s Guitar Recital

By

Enrique Garcia

Masters of Music in Music, Performance

This thesis consists of extended program notes pertaining to the music presented in my graduate recital. I will elaborate on historical and analytical details of the following compositions: Les Soirees D’Auteuil Op.23 - Napoleon Coste (1805 - 1883); Prelude, Fugue, and Allegro BWV 998 - Johann Sebastian Bach (1685 - 1750); Sonata Meridional – Manuel M.

Ponce (1882 – 1948); Tres Piezas Españolas – Joaquin Rodrigo; Lob der Thränen – arr. J.K.

Mertz, Franz Schubert; Hika – Leo Brower. It is worth mentioning that many of the pieces presented in this program were composed by non-guitarists and therefore, technical requirements and compositional decisions are explored in this program.

iv I. J.S. Bach: Prelude, Fugue and Allegro BWV 998

This program begins with music from the Baroque composer Johann Sebastian Bach, who was alive between 1685 and 1750. The modern guitar would not come to existence for another century after Bach’s death. Nevertheless, his compositions for solo lute work well considering the capabilities and limitations of the guitar. Frank Koonce’s 1989 published edition of the Prelude, Fugue, and Allegro BWV 998 is presented in this program. According to

Yoshitake Kobayashi, who was one of the musicologists involved in the editing of the Neue

Bach-Ausgabe, the original composition dates back to around 1735. Although the original composition was written in the key of E flat Major, Koonce’s arrangement is in the key of D major with drop D tuning to accommodate the guitar's limitations.

It is believed that this piece was composed for the lute, but there has been debate as to whether or not it was written for a keyboard instrument due to its range, key, high technical demands, and ambiguity in the title.1 The original manuscript of the prelude has the title written as “Prelude pour la luth.o Cembal”2 which means it could have been written for the lute or the lute-harpsichord. Although those are the two most likely instruments as indicated by the title, there is also the possibility that it was composed for the organ. Evidently, there is organ tablature at the end of the Allegro in the original manuscript. One speculation could be that Bach composed the ending on an organ and never arranged it to fit with the rest of the notation in the manuscript. Although there is not much evidence indicating that this piece was written for the lute, E.M. Dombois has stated that “The bass line is not typical of a keyboard instrument”3

1 Joseph Kerman, The Solo Lute Works of Johann Sebastian Bach (California: N.A. Kjos, 2002), Vii. 2 Ibid, 131. 3 Eugen Müller Dombois, “Uber Das Allegro (die Fuge und das Prelude) aus Johann Sebastian Bach’s Praludium, Fuge und Allegro Es-dur BWV998,” Lute Society Journal 14, 1972,: 51ff

1 instead, it fits the style of the lute. He speculates that it was possibly written for the lute harpsichord with the intention of imitating the lute. Another reason might be that Bach composed

BWV 998 during the time when the famous lutenist Silvius Leopold Weiss, was gaining recognition4 The lute was one of the most popular instruments at the time.

This guitar arrangement of BWV 998 begins with a Prelude in 12/8 meter and is in the key of D major as are the movements that follow. This movement consists of implied counterpoint through the use of the style brisé or broken style where all the voices blend in as one broken arpeggiated texture. Although the piece might appear to consist of only a bass and soprano voice, more voices are implied. Since it is not clear as to which notes belong to which voices for the majority of the movement, it is up to the interpreter to make educated decisions to separate the voices. One technique an interpreter might use to separate voices is sustaining notes for longer than the time indicated in order to connect the notes of each separate voice. The interpreter might also bring out a particular voice that he or she considers to be more interesting than other voices. Although there is room for differing interpretation variations, there are a few sections where it is clear as to which notes belong to which voices. One example of this is mm.

28- 29, (Figure 1) where there is a three-note repeating pattern consisting of an A followed by a lower neighbor tone G# returning to an A. This pattern belongs to the middle voice and it repeats three times while the rest of the notes in the upper line progressively ascend and serve as the top voice. Just as with most preludes, this movement has an improvisational quality to it.

Figure 1, J.S. Bach, Prelude, BWV 998, m. 285

4 Hans T Davis, The New Bach Reader (New York: W.W. Norton Company, 1999), 204. 5 Kerman, 64.

2 The second movement is a Fugue in common time. This is where Bach’s contrapuntal mastery becomes ever more apparent within BWV 998. This movement is in ABA form where there is the fugal exposition followed by an extended developmental section that eventually returns to the exposition. Both the exposition which spans between mm. 1- 29, and the repeat of the exposition which spans from mm. 77- 103 are identical with the exception that the opening two measures are not presented at the beginning of the recapitulation. The length of the development is also significantly longer than the other two sections. The subject is presented in the opening two measures starting with the tonic D in the second beat of the top voice and ending in the downbeat of the third measure with another D (Figure 2a). There is a tonal response starting on the third beat of the second measure with a dominant A in the second voice. Bach presents two additional fugal entrances in measure seven and finally measure eleven. The development begins in the second beat of m. 29 and ends in m. 76. The subject is hidden throughout the entire development and most of the music is a variation of the material presented in the exposition. Throughout this movement, there are countless sequences consisting of suspensions. One example of these sequences can be found between mm. 17- 21 (excerpt found in Figure 2b). Although there are some sections in this movement where there is implied counterpoint, it does not rely on it as much as the Prelude movement and the separation of voices is much clearer in the fugue.

Figure 2a, J.S. Bach, Fugue, BWV 998, m. 286

6 Ibid, 66.

3 Figure 2b, J.S. Bach, Fugue, BWV 998, mm. 18- 197

The final movement is the Allegro in 3/8 meter. This movement is composed of an array of fast consistent sixteenth notes from beginning to end with only a few measures of eighth notes

(Figure 3 shows an example). The form of this movement is binary with an extended B section starting in m. 33 which spans almost double the length of the A section. There is a repeat for both of the sections. Although this piece is in binary form, m. 90 to the end in the B section resembles the material in the last measures of the A section. Furthermore, there is a high technical demand for fingering precision, especially with the right hand. One wrong fingering can be difficult to recover from with the time allotted in between notes. Overall, the three movements show the contrapuntal mastery of Bach’s music and serve as a great example of music composition in the Baroque era.

Figure 3, J.S. Bach, Allegro, BWV 998, mm. 85- 878

7 Ibid, 67. 8 Ibid, 76.

4 II. Manuel M. Ponce: Sonata Meridional

Manuel M. Ponce was born in 1882 in Fresnillo Zacatecas, Mexico. Being born into a family of musicians, Ponce was destined to pursue a successful career as both a musician and a composer. At a very young age, Ponce began taking piano lessons from his sister Josefina and proved to be a potential virtuoso. Ponce would further his music education during the first decade of the 20th century with studies in Mexico and eventually, Europe. Throughout his life,

Ponce traveled around the world and composed in a variety of styles and genres. As a result, he gained world recognition as one of the leading Mexican composers of his time.

Andres Segovia, who is considered to be the most important figure in the revival of the guitar during the early 20th century, admired Ponce’s compositions and decided to write to Ponce in request for guitar compositions. It is important to mention that Segovia was the leading guitarist at the time and many composers were requesting him to interpret their compositions.

This meant that any composer who received a request from Segovia had to have made an impression on him. It has been noted that Segovia considered Ponce to be the most important and influential composer of guitar music in a time when the guitar was beginning to gain recognition as a concert instrument.9 Vice versa, Ponce was very impressed with Segovia after attending one of his guitar recitals that took place in Mexico in 1923. Ponce was so impressed that he decided to publish a review of the performance. That same year, Segovia made his first request and

Ponce sent back an arrangement of La Valentina for guitar. Later that year, Ponce composed the

Sonata Mexicana. Ponce would continue composing sonatas, preludes, and dances for guitar up

9 Ricardo Miranda Perez, “Ponce (Cuellar), Manuel,” Grove Music Online, 2001, Accessed 19 Oct. 2019, https://doi- org.libproxy.csun.edu/10.1093/gmo/9781561592630.article.22072

5 until his death. Ponce’s sonatas for guitar served an important role in Segovia’s mission to produce a greater cannon of well composed classical guitar pieces by non-guitar composers. The

Sonata form is one of the most standard forms in high art music which gives Ponce’s work for guitar a greater importance.

Presented in this program is the Sonata Meridional which was one of the requested compositions from Segovia. The Sonata Meridional was composed during Ponce’s time in Paris in 1932 and was the last solo composition dedicated to Segovia. Unlike many of the Mexican nationalistic compositions that Ponce wrote, this piece was written with a Spanish Andalusian character as requested by Segovia. There is clear evidence of Spanish folkloric influence throughout the three movements of this sonata. Some folkloric flamenco elements that are present throughout the piece are rasgueados, rolled chords, and Phrygian mode chord progressions. At the same time, the piece uses classical structures and other compositional techniques to ensure it’s presence in the concert hall. This was important to Segovia since one of his life goals was to increase the classical repertoire of the guitar.

The first movement is titled Campo which translates to the countryside. It is in the key of

D Major and is marked Allegretto in 3/8 meter. The overall structure of this movement is in sonata form. The exposition takes place during the first seventy-nine measures. Themes in this movement are composed of three-note motives consisting of two 16th notes followed by 8th note or three consecutive 8th notes as shown in Figure 4. The first theme is presented in the opening measures. The second theme is presented in m. 52 in the dominant key. The development begins in m. 80 and consists of a series of modulations using themes presented in the exposition. The recapitulation begins in m. 142 in the dominant key and ends in the home key at the final measure of the movement.

6 Figure 4, Manuel M. Ponce, Campo, Sonata Meridional, mm. 8- 9 10

This movement is filled with stylistic markings such as con gracia and animando which translate to “graciously” and “animated.” It is a movement full of energy. There are a few sections within this movement that present flamenco inspired characteristics. For example, the movement begins with a D major chord followed by an Eb major chord (bII) which suggests a

Phrygian mode for the first four measures. There is an even more obvious Phrygian chord progression at the end of the development in the key of A Phrygian between mm. 122- 141.

Figure 5 is another example of something you would find in the Spanish folkloric repertoire. For example, there is melismatic triplet 16th note figures and the overall hemiola rhythmic pattern found in figure 5.

Figure 5, Manuel M. Ponce, Campo, Sonata meridional, mm. 17- 2011

The second movement is in D minor with a 6/8 meter. The title Copla refers to a Spanish poetic work consisting of improvised verses. Although there is no text to sing in this composition, there is an improvisational character in the melodies caused by the irregular phrase structures. For the same reason, the form is not completely clear but there are indications that

10 Manuel M Ponce, and Andreś Segovia, Sonatina Meridional (Gitarren-Archiv; GA 151. Mainz: B. Schott's Sohne,̈ 1939), 3. 11 ibid

7 lean towards it being in ABA’ form. The main theme is introduced in the first measure and is brought back exactly the same but with an added low D drone in m. 22 close to the end. It is worth mentioning that the opening measures are written with the top voice in 6/8 meter against a

3/4 meter in the low A drone repeated note.

The Copla leads straight into the final movement titled Fiesta. This movement is marked

Allegro con brio and is in 3/4 meter. The title translates to “party” which suggests the character of the piece well. There is a variety of character changes throughout this piece that are evident in the markings. At m. 9 there is an indication to play rhythmically, at m. 13 there is an indication to play violently while in m. 71 there is an indication to play with clear and lovely voices. Unlike the first two movements, this movement is filled with rolled chords and rasgueados which are the most prominent characteristics of flamenco guitar playing.

Overall, Sonata Meridional presents elements found in the Spanish folkloric repertoire while utilizing classical structures. The three movements are arranged in a fast, slow, fast order which is a common order in multi-movement pieces. As for the playability of the piece, it is clear that even though Ponce was not a guitarist, he had an intuitive understanding of the capabilities and limitations of the instrument.

8 III. Napoleon Coste: Les Soirees D’Auteuil Op.23

The French guitarist, Napoleon Coste (b. 1805-1883) began playing guitar under the tutelage of his mother. He later began taking lessons with Fernando Sor when he moved to Paris in 1830. Although Coste was an accomplished guitarist and composer, there was not much interest in commissioning his compositions. As a result, Coste had to work as a civil worker for financial stability. Aside from his original compositions, Coste also transcribed baroque tablature into music notation for the guitar.

Although Sor trained him in the Classical style, Coste’s compositions are considered to lean more towards the Romantic style12. Some of the Romantic features that can be found in his music are descriptive titles, chromaticism, and sweet song-like melodies. These features are present in Les Soirées D’Auteuil which is one of the pieces presented in this program. For example, the title which translates to “the evenings in Auteuil” is very descriptive. Auteuil is the previous name of a town that is now part of Paris. There are several instances in the piece where he uses chromaticism. One example of chromaticism in the first movement is the passing notes in measures 92, 93 (Figure 6). Another example can be found in the second movement between measures 166-172 (Figure 7) where Coste presents the D sharp as a passing note and follows this section with a nearly two-octave descending chromatic scale passage down to an F major chord.

There is also a beautiful song-like melody accompanied by ascending arpeggios starting in measure 49.

12 Erik Stenstadvold, “Coste, (Claude Antoine Jean George) Napoleon,” Grove Music Online. 2001, Accessed 16 Dec. 2019, https://doi- org.libproxy.csun.edu/10.1093/gmo/9781561592630.article.06654

9 Figure 6, Napoleon Coste, Serenade, Les Soirées D’Auteuil, mm. 92- 9313

Figure 7, Napoleon Coste, Scherzo, Les Soirées D’Auteuil, mm. 168- 16914

Coste also uses interesting harmonies and modulations. For example, the first movement,

Serenade, is in the key of A major but it begins with an eight-measure introduction in the key of

A minor followed by a measure of rest before going into the parallel key of A major. In measure

49, the piece modulates to the key of E major and there are several instances in which the piece hints a modulation to A minor, especially in measures 65-68 but eventually modulates back to the home key of A major in measure 75.

It is clear that Coste, similar to many guitar and vihuela composers before him, composed pieces with the guitarist physical practicalities in mind. This Serenade is composed in A major which gives the advantage of using open strings on a guitar. Given that the tonic A can be played with the open fifth string and the dominant E can be played with the open sixth string, the composition opens up the availability of fingers to use elsewhere. The open fifth and sixth strings are used throughout both the Serenade, and the Scherzo to drone the root of the tonic and dominant harmonies. The open strings also allow the guitarist to simultaneously play notes with

13 Napoleon Coste, Les Soirées D’Auteuil (Sao Paulo, Brazil, Editoracão Musical, 2011), 2. 14 Ibid, 6.

10 a wider range in between which would otherwise be impractical or impossible. One example in the Serenade can be found in Figure 8 where there is a range that goes over two octaves and a half between the low E and the high C. Without the open string E, playing those two notes at the same time or the 16th note passage would be impossible. Another example can be found in Figure

9 with the three octave range between the high and low E’s. Examples like these are found throughout the two movements. An additional use of the open strings is to allow smooth transitions to happen between positions. Figure 9 shows an example of an open first string E used to transition from ninth position to first position between the two measures. One interesting feature of this piece is the optional low D that is meant to be played on a 7 string guitar. Coste was known to play a seven-string guitar which is why many of his compositions contain pitches in a lower extended range. It is clear that Coste used the advantages of the guitar in this compositions.

Figure 8, Napoleon Coste, Serenade, Les Soirées D’Auteuil, mm. 93-9515

Figure 9, Napoleon Coste, Scherzo, Les Soirées D’Auteuil, mm. 77-7816

15 Ibid, 2. 16 Ibid, 4.

11 IV. Franz Schubert: Lob der Thränen arr. J.K. Mertz

Johann Kasper Mertz was born in 1806, Bratislava, Slovakia, and died in 1856 living in

Vienna. He lived most of his life in Vienna and was well aware of the presence of many other notable guitar composers in the area including, Giuliani, and Aguado. Mertz gained a reputation as a performer, but his greatest contribution was his vocal and piano arrangements for classical guitar. He was greatly inspired by Chopin, Schubert, and Schumann.

This program presents a classical guitar arrangement of Lob der Thränen by Johann

Kaspar Mertz, which was originally composed for voice and piano in 1818 by Franz Schubert who was famous for writing Lieders. It is a perfect example of the guitar's capability to be a lyrical and romantic instrument. The title translates to “In Praise of tears” and the text in the original song, which is a poem written by August Wilhelm Von Schlegel, is very Romantic. The message of the poem is not exactly clear but the words “Ach, erifüllt es je Hertz?”17 which translates to "ah, does it ever fulfill the Heart?” can be found in the text. This idea of longing was the fundamental element found in music composed in the Romantic style. Although the guitar is not capable of singing the text, the music itself is very luscious and dreamlike which allows it to stand on its own and deliver a Romantic character.

Lob der Thränen is written in ABA' form. The first five measures are almost identical to the closing six measures which create a Romantic sense of longing. Just as the piece begins, the piece ends. As a result, there is a sense of unreachable fulfillment. There is also the use of an

Italian augmented sixth chord with tonic on the bass that can be found in the second measure

(Figure 10). The use of the augmented sixth chord helps to create a sense of exoticism. Since the chord does not belong to the key, it creates a dream-like effect. From beginning to end, the

17 Franz Schubert, Lob der Thränen (Leipzig, Breitkopf and Hartel,̈ 1897), (11) 3.

12 harmonic accompaniment is filled with clear arpeggiated, or sometimes stagnant chords accompanying the beautifully luscious melody. The piece is homophonic which is common in lieders.

Figure 10, Franz Schubert, arr. J.K. Mertz, Lob der Thränen, m. 218

Since this piece was not originally written for the guitar, there are some challenges for the performer. The words sempre legato meaning always legato, are written at the beginning of the piece. Since the piece was originally written for the piano, the arrangement for it contains some fingerings that do not allow the performer to easily achieve smooth legato transitions throughout the piece. The B section consists of mostly arpeggios, and it is the performer's job to separate the notes that belong to the melody from those that belong to the accompaniment. Overall, this arrangement does not require any extensive fingering stretches but smooth transitions are hard to achieve.

18 Johann Kasper Mertz, Lob der Thränen (Viena, Tobias Haslinger, 1845), 2.

13 V. Joaquin Rodrigo: Tres piezas españolas

Joaquin Rodrigo was born in Spain in 1901. Although he was not a guitarist but rather a pianist, his compositions for guitar have become the highlight of his career. His most famous piece of all being Concierto de Aranjuez has become one of the most popular concertos for the guitar. He started his musical training at a very young age, and despite losing his sight to diphtheria, he was able to become an accomplished pianist and composer by his early twenties.

He began his training in Spain as a young child and during his teens, Rodrigo had the privilege of studying under professors from the Conservatory of Valencia. In 1927, Rodrigo moved on to study composition in Paris under Paul Ducas at the Ecole Normale de Musique. He eventually studied musicology at the Paris Conservatory and later obtained employment in Germany, and

Switzerland in the late 1930s. He eventually moved back to Spain and settle in Madrid in 1939 where he lived his remaining years.

Just like many other Spanish composers from the early twentieth century which include

Isaac Albeniz, and Manuel de Falla, Rodrigo was composing Spanish Nationalistic pieces. There is a clear flamenco influence that can be found in Rodrigo’s compositions, including Tres piezas españolas from 1963 which is one of the pieces presented in this program. Throughout this three- movement composition, there are rasgueados and fast virtuosic solo passages which are two elements very prominent in flamenco. The title of the piece itself, which translates to three

Spanish pieces, indicates its nationalistic roots. The three movements which include Fandango,

Passacaglia, and Zapateado, are ordered in the conventional classical sequence of fast, slow, fast.

This shows a clear mixture of folkloric influence with conventional compositional structures.

This three-movement work begins with the Fandango which was very likely modeled after the flamenco fandangos. Fandangos are some of the most popular dances in flamenco

14 which traditionally include a dancer accompanied by guitar, and palmas, or castanets. Fandangos are played in triple meter and lively tempos.19 Rodrigo’s Fandango is no exception. It is composed in 3/4 meter and right from the start there is a lively atmosphere created by rolled chords indicated to be played fortissimo (Figure 11). The piece begins in E Major for the first thirty-four measures and then modulates to B minor between mm. 35-61 before returning to the home key at m. 62. Although the Fandango is not very experimental compared to many other compositions of its time, there are some instances where the piece has dissonances to add a slight

20th-century element to the piece as well as a flamenco sound (Figure 12).

Figure 11, Joaquin Rodrigo, Fandango, Tres piezas españolas, mm. 1- 220

Figure 12, Joaquin Rodrigo, Fandango, Tres piezas españolas, m. 5821

The second movement is the Passacaglia in A minor with a 3/4 meter. Although this movement does contain flamenco elements, it is the most conventional piece out of the three movements. Just as titled, it is a passacaglia which entails a piece in triple meter with a bass line ostinato and a set of variations over it. The ostinato is presented in the first eight measures by itself (Figure 13). The following measures are sets of variations over the ostinato.

19 Israel J. Katz “Fandango,” Grove Music Online, 2001, Accessed 26 Dec. 2019, https://doi- org.libproxy.csun.edu/10.1093/gmo/9781561592630.article.09282 20 Joaquiń Rodrigo, Tres Piezas Espanolas̃ (Mainz: Schott, 1963), 22. 21 Ibid, 24.

15 Figure 13, Joaquin Rodrigo, Pasacaglia, Tres piezas españolas, mm. 1-822

This pattern stays more or less the same up until m. 37. This is where the mixture of classical and flamenco, creating a very neoclassical style, becomes most apparent. At this point, the melody presented in the upper voice of m. 33 (Figure 14) becomes the bass line ostinato in m. 37 (Figure 15) and the original bass line ostinato moves to the upper voice. The new bass ostinato consists of a three-beat ascending pattern that repeats within a total of four measures or

12 beats which is common in flamenco music. Other flamenco elements presented within these twelve beats are extreme dissonances and strummed chords.

Figure 14, Joaquin Rodrigo, Pasacaglia, Tres piezas españolas, m. 3323

Figure 15, Joaquin Rodrigo, Pasacaglia, Tres piezas españolas, m. 37-4024

In the last section of this movement which starts in m. 89, an altered version of the ostinato is taken through fugal procedures. The subject is presented in A minor at m. 89. There is

22 Ibid, 27. 23 Ibid, 28. 24 Ibid, 28.

16 a total of five subject entrances that follow, and they all start in a new key a fifth above each previous entrance. Although there are other sections in this movement that require a high level of technical ability, this section is probably the hardest because of its demand for long stretches while holding bar chords, and the number of voices that have to be played at the same time.

The final movement is titled Zapateado and is in E minor with a compound meter. Just like the first movement, the title derives from a flamenco style with the same title. Triple meters and fast tempos are two elements of Zapateados that are present in this movement. Although this movement begins and ends in the key of E minor, the entirety of it is composed of modulating repeating motives. There are arpeggios from beginning to end with the occasional scale-like episodes (Figure 16) and chordal patterns (Figure 17) with hemiola rhythms. In conclusion,

Joaquin Rodrigo’s Trez piezas españolas is a perfect example of his nationalistic and neoclassical style of composition. He mixes Spanish folkloric dances with classical conventional procedures and forms to create his unique style.

Figure 16, Joaquin Rodrigo, Zapateado, Tres piezas españolas, mm. 133-13425

Figure 17, Joaquin Rodrigo, Zapateado, Tres piezas españolas, mm. 57-5826

25 Ibid, 34. 26 Ibid, 33.

17 VI. Leo Brower: Hika

Leo Brower is a Cuban guitarist and composer born in 1939. He began receiving musical training at thirteen years of age from Isaac Nicola who was one of Emilio Pujol’s students. although Brower came from a family of musicians, he had mostly been introduced to Cuban popular music at a young age. Nicola introduced him to the music of the early vihuela and guitar composers such as Milan, Mudarra, and Sor. Brower became fascinated with the classical repertoire, but just like many guitarists before him, including Andres Segovia, he quickly realized some gaps needed to be filled in guitar composition.27 He went on to fill some of those gaps. This was also one of the factors that inspired him to begin composing.

Brower’s compositions range from solo repertoire to music for film, large concert ensembles, and many more. Although he taught himself most of what he knows about composition, he also had six months of training at Julliard. Just as many composers of the twentieth century, Brower began experimenting with composition procedures. This experimentation included atonality, unconventional structures, and even mixing popular rock elements with conventional procedures. A perfect example of Brower’s compositional style is

Hika for solo guitar which is presented in this program.

Brower was so inspired by Toru Takemitsu’s composition of Equinox, and many of the other compositions that he dedicated Hika to Takemitsu. Just like Takemitsu’s experimental guitar tunings, Brower’s Hika requires the guitarist to tune the second string to a B flat and the fifth string to a G natural. Reading through the piece also requires a little beet of instructional reading to make sense of the music notation. The piece begins with a page of instructions which

27 Max Eschig, Leo Brower Guitar Works, (Paris: Max Eschig, 2006) V.

18 includes the approximate time duration of the piece, how to play specific sections and symbols, and even premier information.

The entire piece is composed of small cells that are manipulated to develop each section.

Although this is a very conventional procedure used by many composers including Beethoven,

Brower adds his own style to it. He presents a cell and then repeats the cell but with more or fewer notes added to it. Take for example rehearsal A of Hika (Figure 18). The first two measures are the same with the exception of two added eight notes in the second measure (the two D notes highlighted in Figure 18). Another example is found immediately after in rehearsal

B (Figure 19). The fifth measure shows the entire cell. The meter of each measure that follows to the end of rehearsal B, decreases by an eight note. The cell stays the same but decreases in time through the extraction of notes in between the cell. This procedure is found throughout the piece in an arching manner. Brower presents a cell, makes it grow and then makes it decrease into nothing.

Figure 18, Leo Brower, Hika, rehearsal A, mm. 1- 228

Figure 19, Leo Brower, Hika, rehearsal B, mm. 5- 829

28 Leo Brower, Hika (Tokyo: Gendai Guitar Company, 1997), 6. 29 Ibid, 7.

19 Furthermore, There is a lot of repetition throughout the piece which might be an element influenced by Brower’s Afro-Cuban roots.30 Most of the piece also sounds and feels like a collection of rock licks, or motives because of the heavy use of slurs played with hammer-ons, and pull-offs in addition to other elements. Rehearsal D is a perfect example. There are parallel octaves between mm. 5-8 (Figure 20) which is not accepted in conventional music theory but very common in rock and acceptable in twentieth-century art music. The beginning of rehearsal

D shows a perfect example of repetitive slurs which are played with hammer-ons, and pull-offs

(Figure 21). Although these elements are found throughout the piece, they are most prominent in rehearsals D, and E.

Figure 20, Leo Brower, Hika, rehearsal D, mm. 7- 831

Figure 21, Leo Brower, Hika, rehearsal D, mm. 1- 232

Leo Brower has become one of the most widely recognized guitar composers of the twentieth century. His compositions have served as a great stepping stone to the advancement of guitar technique and composition. Much of the repertoire for classical guitar has been composed

30 Eschig, V. 31 Brower, 7. 32 Ibid, 7.

20 in the luscious Romantic style but composers like Leo Brower have shown that the classical guitar can also belong to the modern family of art music.

21 Bibliography

Bach, Johann Sebastian, and Frank. Koonce. The Solo Lute Works of Johann Sebastian Bach. 2nd ed. San Diego, Calif: N.A. Kjos Music, 2002.

Brower, Leo. Hika. Tokyo: Gendai Guitar Company, 1997.

Coste, Napoleon. Les Soirées D’Auteuil. Sao Paulo, Brazil: Editoracão Musical, 2011.

Davis, Hans T. The New Bach Reader. New York: W.W. Norton Company, 1999.

Debois, Eugen Müller. “Uber Das Allegro (die Fuge und das Prelude) aus Johann Sebastian Bachs Praludium, Fuge und Allegro Es-dur BWV998.” Lute Society Journal 14. 1972: 51ff

Eschig, Max. Leo Brower Guitar Works. Paris: Max Eschig, 2006.

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Mertz, Johann Kasper. Lob der Thränen. Viena: Tobias Haslinger, 1845.

Otero, Corazon.́ Manuel M. Ponce and the Guitar. Shaftesbury, Dorset, England: Musical New Services, 1983.

Perez, Ricardo Miranda. “Ponce (Cuellar), Manuel.” Grove Music Online. 2001. Accessed 19 Oct. 2019. https://doi- org.libproxy.csun.edu/10.1093/gmo/9781561592630.article.22072.

Ponce, Manuel M. and Andreś Segovia. Sonatina Meridional. Gitarren-Archiv ; GA 151. Mainz: B. Schott's Sohne,̈ 1939.

Rodrigo, Joaquin.́ Tres Piezas Espanolas̃ . Mainz: Schott, 1963.

Schubert, Franz. Lob der Tränen. Leipzig: Breitkopf and Hartel,̈ 1897.

Stenstadvold, Erik. “Coste, (Claude Antoine Jean George) Napoleon.” Grove Music Online. 2001. Accessed 16 Dec. 2019. https://doi- org.libproxy.csun.edu/10.1093/gmo/9781561592630.article.06654

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Appendix: Program

California State University, Northridge

Mike Curb College of Arts, Media and Communication Department of Music

Present

Enrique Garcia, Guitar

In his Master Recital*

A Student of John Dearman

Tuesday, April 7, 2020, 4:30 PM

Cypress Recital Hall

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*In partial fulfillment of the Master of Music degree in Classical Guitar Performance

Program

BWV 998 …………………………………………………………………...J.S Bach (1685-1750) I. Prelude II. Fugue III. Allegro

Sonata Meridional ………………………………………………...Manuel M. Ponce (1882-1948) I. Campo II. Copla III. Fiesta

Lob der Thränen ……………………………………………………..Franz Schubert (1797-1828) arr. J.K Mertz Intermission

Hika …………………………………………………………………………Leo Brower (b.1939)

Les Soirees D’Auteuil Op.23………………………………………..Napoleon Coste (1805-1883) I. Serenade II. scherzo

Tres Piezas Españolas………………………………………………Joaquin Rodrigo (1901-1999) I. Fandango II. Passacaglia III. Zapatiado

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