And Bicinium VII for Oboe and Piano, Op

Home , Bicinium, Bluradio, HJCK, Oboe Concerto (Rouse), String orchestra, Tiple

Blas Emilio Atehortúa’s Concerto for Oboe and Double String Orchestra, op. 207 (2000)

and Bicinium VII for Oboe and Piano, op. 197 (1998)

by Pablo Alejandro Moreno Holguín

A thesis submitted to the Moores School of Music, Kathrine G. McGovern College of the Arts in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts in Oboe Performance

Chair of Committee: Dr. John Snyder

Committee Member: Professor Jonathan Fischer

Committee Member: Dr. Matthew Dirst

Committee Member: Dr. Tracy Russell

Committee Member: Professor Elise Wagner

University of Houston December 2020

i ACKNOWLEDGMENTS

Thank you to Blas Emilio Atehortúa’s family for helping me to get the scores, for transcribing conversations with Atehortúa and for being so supportive during the process of the production of this text.

There have been so many people that had helped me to finish this degree and all of the education I have gotten in the United States. I am incredibly thankful for my husband

Zachary Gresham, his parents and our cat PepperCat for being so patient with me and for being able to give me so much love during many stressful moments. This document was possible with the help of the committee members and Dr. Snyder who showed immense patience with me during the entire process. Thank you to my oboe teacher at UH, Jonathan

Fischer, who has been an incredible support as a mentor and as a friend. I’m humble for the trust, love and support that Tracy Russell, my first oboe teacher and her husband,

Bernardo Useche, gave me during my childhood, making me part of their family and for helping me to become a musician and the person I am today. I thank my mother, Marillac

Holguín, for all of her endless work, sacrifices and support when I started studying the oboe. My deep appreciation also goes to Magdalena Granés and her family for helping me to continue my music education in Bogotá, Colombia. As well, I want to express my gratitude to the Towne family (Mrs. Ann, Mr. William, Sam and Rachel) for making me part of their life, for letting me experience so much love, care and understanding.

I feel grateful to have had the opportunity to learn from Robert Walters and to become a friend and part of his family. His trust towards me guided me to the University of Houston.

Thank you to the University of Houston for giving me the support to keep achieving my academic goals. I’m grateful for the city of Houston and for all of the friends and family I

ii have made here: Jennifer and Adrian Lenardic, Nick Short and Ivan Marin, Gonzalo

Estrada IV, Andrew Glenn, Andrew Mercer, Andrés Rodríguez, Ars Lyrica of Houston and the Bach Society of Houston.

I feel grateful and thankful for all of my oboe teachers: Alex Klein, Eugene Izotov and

Kathryn Montoya. Without their help I wouldn’t be the person and musician I am today.

iii ABSTRACT

Blas Emilio Atehortúa (1943-2020) is one of Colombia’s most significant composers and one of the most important contemporary composers in Latin America. Outside of South

America, however, he has received little recognition, and most of his pieces remain unpublished. His extensive catalogue includes vocal music, orchestral pieces, music for wind ensembles, concertos, as well as experimental works. The goal of this study is to examine his Concerto for Oboe and Double String Orchestra, op. 207 (2000) and Bicinium

VII for Oboe and Piano, op. 197 (1998) in order to demonstrate how the composer helped to shape the new voice of art music in Colombia and Latin America. Using information from a series of conversations with the composer, interviews with several performers, examination of Atehortúa’s essay about his approach to new music and the relationship between performer and composer, and an analysis of Bicinium VII, and Oboe Concerto and Double Orchestra, I argue that these works represent a new identity of art music in

Colombia that is composed of various elements from different music styles.

iv TABLE OF CONTENTS

ACKNOWLEDGMENTS ...... ii

ABSTRACT...... iv

LIST OF TABLES ...... vi

LIST OF MUSICAL EXAMPLES ...... vii

INTRODUCTION ...... 1

Previous research on Atehortúa ...... 3

BIOGRAPHY ...... 5

ATEHORTÚA AND HIS TIME AT THE CENTRO LATINOAMERICANO

DE ALTOS ESTUDIOS MUSICALES (CLAEM) ...... 8

ATEHORTÚA AND HIS STYLE ...... 10

BICINIUM FOR OBOE AND PIANO, OP. 197, (1998)

AND CONCERTO FOR OBOE AND

DOUBLE STRING ORCHESTRA, OP. 207 (2000) ...... 14

STUDY OF CONCERTO FOR OBOE AND

DOUBLE STRING ORCHESTRA, OP. 207 (2000) ...... 18

I. Monólogo ...... 18

II. Sonatina ...... 26

III. Scherzino-Bambuco ...... 30

IV. Meditación ...... 37

V. Rítmica (Tocatta) ...... 44

CONCLUSION ...... 49

BIBLIOGRAPHY ...... 51

v LIST OF TABLES

1. Subsets and Supersets ...... 45

vi LIST OF MUSICAL EXAMPLES

1. Atehortúa, Concerto for Oboe and double string orchestra, op 207, movt. I, Monólogo. System 1. Two components of the Subject ...... 19

2. System 1. Segment of the subject with pitch class (4-3) and intervals ...... 20

3. System 2. Subject with intervallic augmentation ...... 21

4. Systems 1-3. Two ideas of the subject developed ...... 22

5. Systems 1 and 4 comparison of subject ...... 23

6. Systems 4-8. Three components used in the piece. Repetition, repetition and melodic development, subject-Arpeggio ...... 24

7. Systems 8-10. Subject repeated with antecedent and consequent ...... 26

8. Atehortúa, Concerto for Oboe and double string orchestra,op. 207, movt. II, Sonatina. Octatonic Scale OCT 1,2 and mm. 3 Diminished Chord ...... 27

9. Mm. 6 and 12 relationships ...... 29

10. Atehortúa, Concerto for Oboe and double string orchestra, op.207, movt. III, Scherzino-Bambuco. Mm. 1-5. Diminished chord (F-A-C-Eb) ...... 31

11. Mm. 13 D harmonic minor scale and m. 15 Diminished chord ...... 33

12. Mm. 78-86. Interaction of the modes D Lydian, B Dorian and G# Locryan ...... 35

13. Atehortúa, Concerto for Oboe and double string orchestra, op. 207 movt. IV, Meditación. Systems 1-5. Set theory analysis ...... 38

14. System 7. Set 4-3 (0 1 3 4) same set used in the first movement ...... 41

15. Staff lines 10-11. Harmonic “retrograde” in sequence of sets ...... 42

16. Atehortúa, Concerto for Oboe and double string orchestra, op. 207 movt. V, Rítmica- Tocatta. Mm. 1-13. Sets and compositional syncretism ...... 46

17. Mm. 46-47. Synthesis of the entire concerto ...... 48

vii Blas Emilio Atehortúa’s Concerto for Oboe and Double String Orchestra, op. 207,

op. 207 (2000) and Bicinium VII for Oboe and Piano, op. 197 (1998)

Introduction

Born in Medellín, Antioquia in 1943, Blas Emilio Atehortúa is one of Colombia’s most significant composers and one of the most important contemporary composers in

Latin America. Outside of South America, however, he has received little recognition for his work, and most of his pieces remain unpublished. This composer created an extensive catalogue of work that includes vocal music, orchestral music, music for wind ensembles, concertos, and experimental music. His catalogue contains five major pieces for the oboe:

Concerto for Oboe and Wind Orchestra, op. 90; Duo Concertante, op. 149, for Oboe and

Piano; Bicinium VII, op. 197 for oboe and piano; Concerto for Oboe and Double Orchestra, op. 207; Trio for Oboes and English Horn, op. 185. Only the concerto for oboe and wind orchestra has been published.1 Using a series of conversations with the composer, interviews with several performers, Atehortúa’s essay about his approach to new music and the relationship between performer and composer2 and an analysis of Bicinium VII, op.

197 and Concerto for Oboe and Double Orchestra, op 207, I argue that these works represent a new identity of art music in Colombia that is composed of various elements

1 Bicinium VII, op. 197 for oboe and piano and Concerto for Oboe and Double Orchestra, op. 207, are exactly identical. The Concerto for oboe is an orchestration of Bicinium with one added movement. 2 Blas Emilio Atehortúa, “Breves consideraciones sobre la nueva música, sobre su creatividad, interpretación y relación entre el compositor y el intérprete” Revista Rev. UIS-Humanidades, 24(1), (January-June):61-70

1 from different musical styles. Blas Emilio Atehortúa’s contributions as composer began a new era of music in Colombia.

According to Ellie Anne Duque, only three of Atehortúa’s works are published:

Fantasia Concertante for Piano and Wind orchestra, op 103, Concerto for Oboe and Wind

Orchestra, op. 90 and Preludio-Variaciones y presto alucinante para Piano.4 This is a result of the lack of publishing houses in Colombia. Unfortunately, the composer did not have an organized system for the lending of his pieces, therefore, many of the works were borrowed and not returned. Many of the libraries in the country do not have copies or records of his works.

The only reliable source of his oeuvre is a private collection that the composer preserved in his home. When the composer was asked about scores of his pieces in conferences and interviews he suggested, in a very charismatic way, to contact his wife,

Sonia Arias who is the person who catalogued his output. He stated that Sonia was the one that keeps control of the archives, so that he can compose more.5 Currently, Galina

Likosova, a musicologist and associate professor of mathematics at the National

University-Medellin, is doing a compilation of the catalogue of his pieces.6

4 Ellie Anne Duque and Irving Moncada. “Blas Emilio Atehortúa.” (web archive) Compositores Colombianos, accessed February 6, 2020, https://web.archive.org/web/20150611051226/http://www.facartes.unal.edu.co/composito res/html/0003_4.html. 5 Blas Emilio Atehortúa, “La música de cámara de Blas Emilio Atehortúa” Cycle of Lectures, Banco de la República de Colombia, August 6, 2015, video of lecture. https://youtu.be/KwiHen2MAbc 6 Jaime Andrés Monsalve, “La maleta de Blas Emilio Atehortúa” Radio Nacional de Colombia, Jan. 6, 2020, https://www.radionacional.co/noticia/actualidad/blas-emilio- atehortua-compositores-colombiano-musica-clasica

2 In an interview recorded in 2015 by the Banco de la República de Colombia as part of a series of conversations with Colombian composers, Atehortúa stated that he was commissioned by a United States ensemble to compose a concerto for a solo instrument, which was later published. He expressed, with discomfort, that when he visited the publishing house he asked for a copy of his own piece, and they did not let him have a copy due to copyright issues and piracy in Colombia. Curiously enough, Atehortúa’s pieces are not available online for purchase in the publisher’s catalogue.7

Previous research on Atehortúa

There is a limited amount of academic research on Blas Emilio Atehortúa’s musical style, including theoretical analysis of his pieces. Most of the published research includes only biographical information, life anecdotes, and experiences as told by the composer.

This document supplies more information about the composer and his philosophy; dates of premier and performers of the Concerto for Oboe; Atehortúa’s use of Colombian rhythms in this piece; as well a study of the concerto for oboe. Susana Friedmann, a musicologist in Colombia and the author of several articles on Colombian music, observes that

Atehortúa’s work is “the result of a search of a Latin American cultural identity inside the current contemporary style, achieving the synthesis of the global with a 'different' style.”8

She suggests that Atehortúa was part of a movement that transformed the musical style of

7 Blas Emilio Atehortúa “El concierto solista” Cycle of Lectures, Banco de la República de Colombia, August 4, 2015, video of lecture. https://www.youtube.com/watch?v=Z-ntqR3nMVo 8 Susana Friedmann., “El Siglo Veinte y La Música Contemporánea: La Proyección de La Música Colombiana Del Siglo Veinte--Blas Emilio Atehortúa.” Ensayos: Historia y Teoría Del Arte, no. 4 (January): 55–72, https://revistas.unal.edu.co/index.php/ensayo/article/view/46495

3 Latin America. Friedmann uses an analogy that Latin America always had its counterpart of musical evolution and that Atehortúa’s style is a step forward in that direction. For example, during the European music school of Debussy’s time, South America had its analogue with Guillermo Uribe Holguin (1880-1971). Other composers such as Darius

Milhaud’s use of Brazilian melodies, and Ginastera’s experimentation with Argentinian melodies influenced “[Atehortúa’s] music acquiring a strong regional feeling, helping to create a Colombian musical identity.”9

Pamela Chester, from the University of Northern Colorado, wrote her dissertation with an edition of the Cinco piezas a Béla Bartók by Atehortúa. This document incorporates a catalogue of the composer’s works that include wind instruments, with detailed information about the possible location of the music scores.10 Lia Southern from the University of Kansas wrote a dissertation based on the analysis and study of works for bassoon composed by Colombian composers and their incorporation of Colombian music rhythms into the pieces.11

9 Ellie Anne Duque, "Atehortúa, Blas Emilio." Grove Music Online. Oxford Music Online. Oxford University Press, accessed November 13, 2019, http://www.oxfordmusiconline.com.my.otc.edu:8080/subscriber/article/grove/music/0145 5. 10 Pamela Bowen Chester, "A study of the life and wind music of Blas Emilio Atehortúa, including a critical edition and stylistic analysis of "Cinco Piezas a Béla Bartók" (PhD diss., University of Northern Colorado, 1997), ProQuest Dissertations & Theses Global. 11 Lia Southern, "A portrayal of art music in Colombia through four works for bassoon" (PhD Diss., University of Kansas, 2013) ProQuest Dissertations & Theses Global.

4 Biography

Descended from a Sephardic mother and a Spanish father, Blas Emilio Atehortúa

Amaya was born in 1943 in Santa Helena, a small town in the state of Antioquia,

Colombia.12 He started his music training in theory and piano at an early age with the

Venezuelan pianist Ruth Muñoz. Atehortúa was fortunate to come from an educated family and was exposed at an early age to classical literature, art, and music. This gave him a strong educational foundation and fueled his lifelong passion for the arts. In his youth, he developed a great admiration for German composers, music from the Romantic period, and the works of Béla Bartók. In particular, he was fascinated by Bartók’s style of orchestration. We can find evidence of both Bartók and the Romantic period in Atehortúa’s style in the way that he blends the timbres and textures of different instruments.

In 1955 Atehortúa joined the Bellas Artes Institute of Medellin, where he studied composition and harmony with Bohuslav Harvanek. Here he composed his first piece,

Cuatro Preludios para Organo op. 1, no. 1 (Four Preludes for Organ op. 1, no. 1). After finishing this piece, his second work, Intermezzo for Orchestra op. 1, no. 2, was broadcast on television. In 1959 the composer began his studies at the National Conservatory of

Colombia in Bogotá, where he was mentored by the Estonian composer and conductor

Olav Roots (1910–1974), who according to Atehortúa opened his mind intellectually.13

12 Blas Emilio Atehortúa’s last names are taken from his adoptive parents. The composer states that he considers three women as mothers. One is his biological mother; the other person is a woman who nurtured him during his childhood named Gabriela Amaya de Atehortúa and the last woman is Conchita Cujar de Bermúdez who supported and encouraged him to keep pursuing musical studies in Bogotá. 13 Leonardo Bautista, “Blas Emilio Atehortúa: una reflexión sobre su vida y obra” HJCK, Jan. 6, 2020. https://hjck.com/reportajes/blas-emilio-Atehortúa-su-vision-de-la-vida-y-la- musica/

5 Roots’ influence on Atehortúa is evident not only in the new concepts of harmony and technique that are included in the composer’s compositions. When Atehortúa said that his mentor opened his mind, he meant that Roots taught him not just how to conduct and to compose music for musicians, but also to find the artist and creator in each performer.

This creates a more intimate relationship between the composition, the composer, and the performer, and to understand the artist in order to use that personal essence to the benefit of the creation of a work of art.14 These concepts can be seen clearly in Atehortúa’s essays and articles about creativity, where he emphasizes the connection between performer and composer. With statements borrowed in this document, the composer expresses a strong commitment to his art.15

During his time in Bogota, Atehortúa had the opportunity to have his piece,

Concerto for Timpani and Orchestra, op. 12, performed by the National Symphony

Orchestra of Colombia. In 1963 he was granted a scholarship to be part of the Centro

Latinoamericano de Altos Estudios Musicales (CLAEM) in Buenos Aires, which he cites as one of the best and most rewarding times of his career. In 1969 he returned to Colombia and started working in music schools. He first served as Director of the University of Cauca in Popayan (1971) and later the Director of the Conservatory of the University of Antioquia

(1972). During this time, he also served as the Director of the National Conservatory at the

National University of Colombia in Bogotá.

14 Juan Carlos Piedrahíta, “Falleció el maestro Blas Emilio Atehortúa” El Espectador, Jan. 5, 2020. https://www.elespectador.com/noticias/cultura/fallecio-el-maestro-blas-emilio- Atehortúa-articulo-898615 15 Blas Emilio Atehortúa, “Breves consideraciones sobre la nueva música, sobre su creatividad, interpretación y relación entre el compositor y el intérprete” Revista Rev. UIS- Humanidades, 24(1), (January-June):61-70

6 Not just a composer, Atehortúa practiced other disciplines in music, including playing the violin and conducting. In 1974, he became the principal conductor of the

Colombian National Symphonic Orchestra and assistant conductor of the Bogotá

Philharmonic Orchestra. For his dedication and research into Bartók’s music he received the Béla Bartók medal granted by the government of Hungary for his composition Cinco

Piezas a Béla Bartók, op. 104, in 1981.16 The composer served as the Academic

Subdirector of the Caracas Ludem and composition teacher of the network of orchestras in

Venezuela (El Sistema) created by José António Abreu (1939–2018). In 1993 the

Guggenheim Museum awarded him a scholarship that provided him the opportunity to dedicate more time to composition. Colombia’s Minister of Culture granted Atehortúa the highest distinction an artist can receive from the government, the “Premio de vida y obra,”

(Prize of Lifetime achievement).17 This award recognizes the legacy and identity that a

Colombian artist creates through art. Atehortúa expressed that this prize was “a very special form of motivation because of the value of being a national artist and a vital element to the development of the country.”18 After a very successful career, Atehortúa discovered that he needed a kidney transplant. Despite his poor health, he continued to compose music. In response to these health issues, he composed a piece using the analogy of the mythological figure of the phoenix called, Ut Supra el Fenix for orchestra, op. 230. The composer stated that he was not nervous about dying, because these kinds of circumstances had always

16 Susana Friedmann, Blas Emilio Atehortúa Tallando una vida de timbres, acentos y resonancias (Bogotá D.C. Ministerio de Cultura programa nacional de estímulos, premio vida y obra 2011, 2014). 17 Ibid., 61. 18 Leonardo Bautista, “Blas Emilio Atehortúa: una reflexión sobre su vida y obra” HJCK, Jan. 6, 2020. https://hjck.com/reportajes/blas-emilio-Atehortúa-su-vision-de-la-vida-y-la- musica/

7 given him more strength, drive, and inspiration to compose.19 Unfortunately, on January 5,

2020, Blas Emilio Atehortúa passed away as a result of a complication from a medical procedure.

Atehortúa and His Time at the Centro Latinoamericano de Altos Estudios Musicales

(CLAEM)

Atehortúa stated that the years he spent learning at the Centro Latinoamericano de

Altos Estudios Musicales (CLAEM) in Buenos Aires were the most rewarding years of his life. He emphasized how important it was for him to have Alberto Ginastera as a mentor.

Ginastera is considered one of the most important composers from South America and helped define the current understanding of Latin American musical identity. Ginastera himself had strong political opinions and he encouraged his students to have a unique point of view when expressing their art.

CLAEM was founded in 1961 and dissolved in 1971. It was created with support from the Carnegie, Ford, and Rockefeller Foundations under the direction of Alberto

Ginastera (1916–1983) and with oversight and support provided by the Chilean composer,

Juan Orrego-Salas (b. 1919).20 During its time of operation, the CLAEM was the pioneering center for experimentation in music in South America.

Every two years, the CLAEM selected twelve composers from different countries in Latin America, offering them a full scholarship to join the institute and study with

19 Blas: El Hombre y su Leyenda.” Directed by Hernán Humberto Restrepo. Grupo Interdis, 2008. 58:47 min. https://www.youtube.com/watch?v=fkdBkJV1sw8&t=1955s 20 Eduardo Herrera, “The Rockefeller Foundation and Latin American Music in the 1960s: The Creation of Indiana University's LAMC and Di Tella Institute's CLAEM.” American Music 35, no. 1 (2017): 51–74, https://www.jstor.org/stable/10.5406/americanmusic.35.1.0051.

8 Ginastera. This educational institution has helped form some of the most important composers in South America: Carlos Nobre (Brazil), Cesar Bolaños (Peru), Eduardo

Kusnir (Argentina), and Graciela Paraskevaivis (Argentina), among others. The CLAEM was part of Torcuato Di Tella, which still exists today and is an educational institution that supports creative minds in theater, visual arts, cinema, and intellectuals interested in communication and publicity.21

Atehortúa noted that Ginastera taught him to make use of Latin American music in compositions and to compose with ultramodern tendencies. Atehortúa followed a set of aesthetic parameters akin to an artistic manifesto, which shaped the way he understood music.22

Atehortúa recalled that during his time in the CLAEM, he learned infinitely and intensely from the teachers he was exposed to. Aaron Copland, one of his teachers, first introduced him to American music. Another teacher, Luigi Nono (1924–1990), taught him how to integrate ideas of politics and justice into his art. The institute also gave the students an understanding of art, music, sociology, and politics. Examples of some of the classes that students had access to included: The Aesthetic of Music of the Twentieth Century with

Gilbert Chase (1906–1992), Going to an American Aesthetic with Maurice Leroux (1923–

1992), Music and Cinema with Luigi Dallapiccola (1904–1975), Music and Word with

21 Susana Friedmann., “El Siglo Veinte y La Música Contemporánea: La Proyección de La Música Colombiana Del Siglo Veinte--Blas Emilio Atehortúa.” Ensayos: Historia y Teoría Del Arte, no. 4 (January): 55–72, https://revistas.unal.edu.co/index.php/ensayo/article/view/46495 22 Blas Emilio Atehortúa. “ Breves consideraciones sobre la nueva música, sobre su creatividad, interpretación y relación entre el compositor y el intérprete” Revista Rev. UIS-Humanidades, 24(1), (January-June) :61–70, https://revistas.uis.edu.co/index.php/revistahumanidades/article/view/2292

9 Olivier Messiaen (1908–1992), Rhythm Theory with Ricardo Malipiero (1914–2003), and

Stochastic Music with Iannis Xenakis (1922–2001).23

Atehortúa and His Style

Naturally, any composer’s work is the result of different influences and materials acquired during their lifetime, and Atehortúa is no exception. With his unique approach that blended different currents of compositional trends with “traditional practices, innovative techniques, and Latin American folk elements,”24 his style encapsulated different genres from several currents of art music such as Neoclassicism, twelve tone technique, Sprechstimme,25 baroque music, extended techniques, and aleatory music.

Atehortúa composed a lengthy catalogue of at least 400 pieces that display an array of his influences. His catalogue consists of choral works, songs and cantatas, music for theater and movies, works for symphony orchestras, concerti for a solo instrument and orchestra, chamber music, unaccompanied solo pieces, electroacoustic music, and arrangements of traditional Colombian music. Jaime Andres Monsalve, director of the National Radio of

Colombia and colleague of Atehortúa states that the composer was not confined to just one compositional style, and highlights that the apex of his electroacoustic phase, is the piece

Syrigma.26

23 Hernán Gabriel Vázquez, Conversaciones en Torno Al CLAEM. Entrevistas a compositores becarios del centro latinoamericano de altos estudios musicales del instituto Torcuato di Tella. (Buenos Aires: Instituto Nacional de Musicología Carlos Vega, 2012). 24 Pamela Bowen Chester, "A study of the life and wind music of Blas Emilio Atehortúa, including a critical edition and stylistic analysis of "Cinco Piezas a Béla Bartók" (PhD diss., University of Northern Colorado, 1997), ProQuest Dissertations & Theses Global. 25 Type of vocal pronunciation between speech and song. 26 Blas Emilio Atehortúa, “Syrigma” unknown performer, June 16, 2015, YouTube recording, 4:08, https://www.youtube.com/watch?v=eL46x-tI8zg

10 Atehortúa thought that art is an important tool for development within society, and that it should be elevated as a necessity that constructs education and educated citizens.27

One of the most important competitions for band takes place every year in Paipa, Boyacá.

It is an educational program that involves school bands competing nationally to win the title of the best band in the country. The music performed in these competitions is very compelling, playing with the boundaries of art music and popular music. During the day, bands play refined arrangements of orchestral works, and at night, popular music for dancing.28 Atehortúa, as part of the reinforcement of his own thoughts, composed music for these kinds of competitions. These compositions are cutting edge and challenge performers by incorporating a musical language that is new to most conductors and children who participate in these programs. However, they are in accordance with the level of the music scene in Colombia, especially with the level of education that children get in small towns in rural areas of the country. Atehortúa was asked if he considered who would perform his pieces before composing them, to which he responded that as a composer the goal is to write for the people.29

Atehortúa was not just interested in composing art music for these kinds of competitions; he also arranged popular music for bands based on traditional Colombian

27 Leonardo Bautista, “Blas Emilio Atehortúa: una reflexión sobre su vida y obra” HJCK, Jan. 6, 2020. https://hjck.com/reportajes/blas-emilio-Atehortúa-su-vision-de-la-vida-y-la- musica/ 28 “Nuestra Historia,” Concurso Nacional de Bandas Musicales de Paipa, accessed April 20, 2020, https://www.corbandas.com/tradicion/nuestra-historia and Lucas R. Avendaño, “Encuentro Nacional de Bandas Musicales de Paipa-Plan Especial de Salvaguardia 2012” Corbandas Paipa, June 12, 2017, video-documentary. https://www.youtube.com/watch?v=zkqSFrSaJg8 29 Victoriano Valencia, “Música Para Banda En Colombia. Territorios, Sentidos De La creación Y Rasgos Del Arreglista-Compositor”. (pensamiento), (palabra). Y obra 18, no. 18 (junio 16, 2017). https://revistas.pedagogica.edu.co/index.php/revistafba/article/view/6287

11 rhythms from different parts of the country such as bambucos, pasillos, currulaos and joropos. All of these rhythms are well known to the general public and are part of the sociocultural standard knowledge. Some of the pieces that he arranged are San Pedro en

'El Espinal', (bambuco) by Milciades Garavito; 'El sotareño', (bambuco) by Francisco

Diago; 'Patasdilo' (pasillo) by Carlos Vieco; 'Lejano azul', intermezzo n.º 2, by Luis A.

Calvo, and 'Mi Buenaventura', (currulao) by Petronio Álvarez.30 He shared a strong friendship with the composer and bandola player, Fernando León “El Chino”, who in a very thoughtful obituary recalled his experiences with Atehortúa, expressing that sometimes they played traditional music for fun, with him on the bandola and Atehortúa on the viola.31

With a strong commitment to pedagogy, Atehortúa composed music for children.

His goal was to teach kids how to listen to and appreciate contemporary music based on the strategy of making it more approachable for them.32 Some of the music he composed for children can be heard in a Colombian educational television show called “Matemáticas para ver y dibujar” (Seeing and drawing mathematics). The anchor of this educational show was Galina Likosova, a friend of Atehortúa, who is currently creating a catalogue of his music.33

30Olga Lucía Martinez Ante, “Blas Emilio Atehortúa: el legado de un artesano de la música” El Tiempo, Jan. 8, 2020. https://www.eltiempo.com/cultura/musica-y-libros/blas- emilio-Atehortúa-el-legado-de-un-artesano-de-la-musica-450044 31 Fernando León “El Chino”, “Carta a un amigo que se va” Revista Tempo, Jan. 7, 2020. http://revistatempo.co/tempo/carta-a-un-amigo-que-se-va/ 32 Blas Emilio Atehortúa, “La música de cámara de Blas Emilio Atehortúa” Cycle of Lectures, Banco de la República de Colombia, August 6, 2015, video of lecture. https://youtu.be/KwiHen2MAbc 33 Matemáticas para ver y dibujar, episode 1, “Descifrando un mapa,” directed by Galina Likosova, written by Galina Likosova, aired date unknown, https://www.youtube.com/watch?v=2DHkkl-Q0Wo&feature=emb_logo and

12 In addition to his educational compositions for television, Atehortúa composed incidental music for cinema and a TV series about Colombian history. These kinds of compositions have received admiration from experts, thanks to his ability to elevate what appeared on the screen through his music. During his time at CLAEM, he studied music for cinema under the mentorship of Maurice Leroux. Atehortúa states that he learned from his mentor that images and pictures can speak for themselves. This helped Atehortúa to frame his own philosophy when composing music for cinema, which he acknowledges is secondary and serves to enhance the cinematic experience. He indicates that over- composing the film can create a pleonasm in music, a cluster of information where neither the image nor the music is important anymore.34 Atehortúa won the prize India Catalina given by the city of Cartagena Film Festival for his soundtrack of the historic soap opera

“Los pecados de Inés de Hinojosa” (The sins of Inés of Hinojosa). In 2016 the Cartagena

Music festival honored him as “The most important Colombian composer alive.”35

https://ciencias.medellin.unal.edu.co/gruposdeinvestigacion/interdis/matematicas-para- ver-y-dibujar.html 34 Blas Emilio Atehortúa, “La música de cámara de Blas Emilio Atehortúa” Cycle of Lectures, Banco de la República de Colombia, August 6, 2015, video of lecture. https://youtu.be/KwiHen2MAbc 35 Jorge Cardona Alzate, “Homenaje a Blas Emilio Atehortúa en el Cartagena Festival de Música.” El Espectador, January 14, 2017, https://www.elespectador.com/noticias/cultura/homenaje-blas-emilio-atehortua-el- cartagena-festival-de-articulo-610568

13 Bicinium for Oboe and Piano, op. 197, (1998) and Concerto for Oboe and Double

String Orchestra, op. 207 (2000).

Blas Emilio Atehortúa’s Concerto for Oboe and Double String Orchestra, op. 207, is a representation and a manifestation of the development of art music in Colombia.

Previous composers such as such as Antonio María Valencia (1902–1952), Carlos Posada

Amador (1908–1993), Fabio González Zuleta (1920–2011), Jesus Pinzon Urrea (1928–

2016), have also composed for the oboe as part of a chamber music ensemble; however,

Atehortúa, with his synthesis of different styles within the concerto, makes this work one of the most important pieces in the repertoire for oboe in the Latin American repertoire.

Bicinium for oboe and piano, op. 197 was commissioned by the Philharmonic

Orchestra of Bogotá and composed for Aterhorúa’s beloved friend Orlin Petrov, the principal oboist of the Philharmonic Orchestra of Bogotá since 1984. The piece was premiered by Petrov and the pianist Radostina Ivanova Petkova in an oboe recital programmed by the Philharmonic Orchestra of Bogotá on February 14, 1998, in the

Auditorium Leon de Greiff of the National University of Colombia.36 This program also included other pieces from the standard oboe repertory. On October 16, 2014, this piece was performed by the same players, at a recital at the Jorge Tadeo Lozano University37 and on October 8, 2018 in a recital that inaugurated the annual National Academy of Oboe in

36 Performance Concerto for Oboe and Double String Orchestra, op. 207, February 14, 1998, Blas Emilio Atehortúa, programs, 1974-2018, Historic database of the Philharmonic Orchestra of Bogotá. Bogotá, Colombia, http://historico.repertoriosofb.gov.co/search/1086/detail? 37 Orlin Petrov, Oboist, Bicinium VII for oboe and Piano by Blas Emilio Atehortúa, Tadeo Lozano University, Bogotá, October 3, 2014. https://www.utadeo.edu.co/es/noticia/recomendados/noticias/213/recital-con-espiritu- tadeista-para-becar-los-mejores-talentos

14 Colombia.38 The composer revised the work two years later and added an additional movement, resulting in the Concerto for Oboe and Double String Orchestra, op. 207. The

Concerto for Oboe was premiered by the Philharmonic Orchestra of Bogotá with Orlin

Petrov as soloist on February 19, 2000, under the direction of Argentinian conductor Pedro

Ignacio Calderón.39 The most recent performances of the piece were on September 18 and

19, 2015, with Robin O’Neill conducting the Philharmonic Orchestra of Bogotá.40

Due to the low budget provided by the minister of culture, orchestras in Colombia typically do not include repertory from contemporary composers. Therefore, their programs comprise classics of the orchestral repertoire. Another reason why Atehortúa’s pieces are not performed that often is clearly stated by Sonia Arias (director of Colombia’s

National Ballet), and Atehortúa’s wife that “concerts in Colombia show that there is no concept of a contemporary style, that is why the pieces of Blas [Atehortúa] are performed one time and that is all.”41

The Concerto for Oboe comprises the following movements:

1. Monólogo

2. Sonatina

3. Scherzino-Bambuco (Added movement that is not included in Bicinium)

38 Rigoutat Paris, “Concert d'ouverture de l'Académie Nationale de Hautbois de Colombie,” Facebook, October 7, 2018, https://www.facebook.com/Rigoutat.Paris/photos/concert- douverture-de-lacad%C3%A9mie-nationale-de-hautbois-de-colombie-avec-la- partic/2161588124161027/ 39 Performance Concerto for Oboe and Double String Orchestra, op. 207, February 19, 2000, Blas Emilio Atehortúa, programs, 1974-2018, Historic database of the Philharmonic Orchestra of Bogotá. Bogotá, Colombia, http://historico.repertoriosofb.gov.co/search/1184/detail? 40 Ibid, September 18, 2015. http://historico.repertoriosofb.gov.co/search/1818/detail? 41 Jaime Andrés Monsalve, “La maleta de Blas Emilio Atehortúa” Radio Nacional de Colombia, Jan. 6, 2020, https://www.radionacional.co/noticia/actualidad/blas-emilio- atehortua-compositores-colombiano-musica-clasica

15 4. Meditación

5. Rítmica (Toccata)

This piece requires two orchestras, and the composer suggests the number of stands per voice and row. Orchestra I has two stands of first violins, two stands of second violins, one stand of violas, one stand of cellos, and one bass. Orchestra II is suggested as three stands of third violins, three stands of fourth violins, two stands of violas, two stands of cellos, two stands of basses, harp, and a set of three timpani. Regarding the context of the piece,

Atehortúa stated that at the time he composed the work, Colombia was going through a

“critical time, both economically and socially.”42 These circumstances influenced his thinking and sensibility, resulting in a piece that doesn't have a festive character and that doesn't feel friendly.43 The composer suggests that the strong sonorities, the contrasts between movements, and the dramatic nature of several passages are characteristics of this work.44

42 During the years of 1998-2000 Colombia had a financial crisis that made thousands of people lose their housing as a result of lack of control of public spending. Colombians had to pay fees that surpassed the value of their properties. This led to a rise in the interest of loans that exceed the income of many people. At the same time the president of the country Andres Pastrana Arango (1998-2002) tried to negotiate with the FARC (Fuerzas Armadas Revolucionarias de Colombia [Revolutionary Armed Forces of Colombia]) a peace treaty, which ended in a complete fiasco permeated by corruption. 43 Quoted in personal communication with Sonia Atehortúa, March 9th 2019. These quotes are part of a series of emails that I exchanged with Sonia and his son Joaquin and are transcriptions of ideas of Atehortúa. The emails are not Blas Emilio Atehortúa’s exact words, but the interpretation of his words through Sonia and Joaquin. Sonia’s and Joaquin’s words in Spanish are the following: Época crítica, política, económica y social en nuestro país. Circunstancias que influenciaron notablemente mi pensamiento y sensibilidad produciendo esta obra no precisamente de carácter festivo ni amable. 44 Ibid.

16 The structural form of the concerto is the following:

Movement Indication Form General Characteristics

Monólogo A Piacere Fantasia Starts with an oboe solo, free improvised section that mimics speech.

Sonatina Allegro ABA (Theme- Uses the Octatonic scale. B Moderato Fantasia as in section resembles the Monólogo- Monólogo. Theme)

Scherzino- Presto Bambuco form Uses the rhythm of the strum of Bambuco AA BB CC. a Colombian instrument called (traditionally AA Tiple to construct the BB CC ABC) movement.

Meditación A Piacere Fantasia Slow movement without metric similar to the monólogo. The String accompaniment consists of long tones creating timbres and textures.

Rítmica Allegro Not a clear Polyrhythm ⅜+2/8+⅜ in (Tocatta) established form. measures of 4/4

17 Study of Concerto for Oboe and Double String Orchestra, op. 207 (2000)

I. Monólogo

The following section studies the first movement of the Concerto for Oboe and double string orchestra which is titled Monólogo. This analysis will include an examination of the components of the subject and the construction of the phrases, how the composer connected each phrase and how the motive develops throughout the piece. Considering the lack of meter in the movement as a result of its characteristic cadenza style, for the study of this movement each system is identified by number. Each example provides the number of the system and the caption of what is being discussed.

As stated above, as a result of the cadenza style of this movement, Monólogo does not have an established meter. In the words of Atehortúa himself, the first movement is a preamble, with an introduction that establishes musical elements. This acts as an announcement that is presented as well in the other movements of the concerto.45 The composer reinforces the nature of the preamble with an annotation, a piacere, which indicates that the movement must be played freely, keeping the respective rhythm. It should be noted that throughout the entire movement, despite the atonal sonority of the piece, there is an emphasis on the diminished seventh chord; for instance, the first four pitches of the piece, G#–B–D–F form this type of chord.

Atehortúa introduces the subject of the movement, which is constructed by two elements that are presented either together or separately, creating a series of short phrases indicating the use of a pitch class set that is developed throughout the entire piece. The

45 Quoted in personal communication with Sonia Atehortúa, March 9th 2019. Email. These quotes are part of a series of emails that I exchanged with Sonia and Joaquin his son and are transcriptions of ideas of Atehortúa. The emails are not the exact words of Blas Emilio Atehortúa, but the interpretation of his words through Sonia and Joaquin.

18 subject is constituted by a repetition of a note (sometimes an indication of a note repeated with staccato or a long tone with an indication of a trill), consequently followed by a group of sixteenth notes. The subject is presented at the beginning of the movement followed by a fermata with a breath mark. During the entire movement, every time that the composer presents the subject, it is followed by a breath mark or a fermata, indicating a pause before continuing the piece (see example 1).

Example 1. Atehortúa, Concerto for Oboe and Double String Orchestra, op. 207, movt. I, Monólogo. System 1. Two components of the Subject.

Black square: Repetition of a note Yellow square: Group of sixteenths.

The motive of the sixteenth notes consists of an ascending minor third and a descending minor third; in pitch-class set theory it is a tetrachord designated as 4-3 with a prime form of 0,1,3,4. In system 1 (see example 2), the first presentation of the sixteenth motif, D–F–G♭–E♭, follows the pattern of the set 4-3 taking D as 0. In the example, the black square indicates the first part of the subject that it is the repetition of a note, and the yellow square the second part of the subject.

19 Example 2. Concerto for Oboe, movt. I, Monólogo. System 1. Segment of the subject pitch class (4-3) and intervals.

Following the fermata and presenting a diminution in rhythm in System 2, the motive contains an ascending tritone, a minor second (that is present in the original motive, example 1), and a descending major seventh. The intervallic relationship of G–C#–D–E within melodic cell “X” organizing the notes, starting from the smallest interval is 0,1,3,6 while the intervallic relationship of the first subject (D–F–G♭–E♭) as well as organizing it, and starting from the smallest interval results in 0,1,3,4. The two prime forms, set pitch classes 4-3 and 4-13, share almost identical intervallic relationships. In the subject, the minor thirds are doubled, transforming into tritones while maintaining the minor second interval in order to keep the shape of the subject. This is the same case as well for “Y”, however in “Z” the composer changes the order of the intervals to a minor second, minor third and minor seventh. With the changes made in “Z,” the composer breaks the sequence that he created in order to develop the subject (see example 3).

20 Example 3. Atehortúa, Concerto for Oboe, movt. I, Monólogo. System 2. Subject with intervallic augmentation.

X Y Z

By combining both of the ideas of the subject (repetition of a note or trill and a group of sixteenth notes), the composer uses the concept of repetition of melodic cells, making this repetition a new element that is material for the development of the piece. For example, in system 2 the accented pitches of this section are repeated in a series of persisting notes that increase in register. The repeated high notes and the irregularity in length of the subject help to create an underlying accelerando that resolves with a relaxation of the tension created previously. This buildup of tension is constructed by the interaction of the second part of the subject (yellow square and red circles). Atehortúa develops the gesture of the subjects of the piece by using the concept of repetition and imitation throughout the movement, and it is clear that all of the elements of this section are related and intertwined with one another (see example 4).

21 Example 4. Atehortúa, Concerto for Oboe, movt. I, Monólogo. Systems 1-3. Two ideas of the subject developed. A- black square: concept of repetition B- yellow square: Second part of subject Red circles: Accented notes that are repeated and follow the pattern of the second part of the subject.

The sonority of the diminished seventh chord that is presented at the beginning of the movement is reinforced again. Looking at the pitches shown in system 4, G#–D–F–

F#–C–E♭ are similar to those in system 1, with the difference that in system 4 the chord is presented incomplete, although it is completed immediately. It substitutes the B with a C instead, and completes the arpeggio in the following rhythmic cell marked with a red circle in the example (see example 5).

22 Example 5. Atehortúa, Concerto for Oboe, movt. I, Monólogo.

a. System 1. First part of the subject presenting the sonority of diminished chord and the second part of the subject in its original form.

Red circle: Diminished seventh chord

b. System 4. First part of the subject in the form of a diminished chord segmented and second part of the subject segmented as well.

So far, the piece has presented three components that work together as an axis, developed and transformed during the movement linked to each other, these components are:

1. Motivic and melodic development using the set class 4-3 (0,1,3,4). In some

cases, it just uses the pitch interval, for example a minor second as 0,1 or

3,4. In some other cases 0,1,3.

2. Repetition presented as a trill between two different notes, repetition of the

same pitch or repetition of the same pitch interval, for example 0,1.0,1.0,1.

3. Arpeggio (as a group of four notes that have some kind of tonal relation).

23 The component of the arpeggio is linked directly to the motivic and the melodic development. The repetition at the same time is linked to the motivic and melodic development as a redundancy of small melodic cells that contain parts of the subject. The melodic development is linked to both in such a degree that it could not be present if one of the two other components is missing. For instance, systems 4-8 illustrate this pattern of construction of the melody where these elements are intertwined in order to develop the theme of the piece (see example 6).

Example 6. Atehortúa, Concerto for Oboe, movt. I, Monólogo. Systems 4-8.

Three components used in the piece. Black Square: Repetition Red circle: Repetition and melodic development Yellow square: Subject-Arpeggio

24 To emphasize the axis of repetition and motivic development in system 4, after the first part of the subject is presented, it immediately starts being built again. System 5 presents a similar treatment where the two axes are presented, the interval of a minor second (0,1) is repeated, as well the construction of the subject as motivic development. In systems 6–7 the subject is presented clearly and repeated three times, a reiteration of 0,1 adding a third pitch 0,1,2 and 0,1,4. It also presents the trill and repetition of the same pitch that was presented for the first time as part of the subject at the beginning of the piece.

After the fermata, in system 8 the subject is presented again and paired with a sequence that presents an antecedent and consequent structure, keeping the intervallic relationship. This kind of development is transposed at the same time with a rhythmic acceleration that is substituted with an antecedent a. followed by antecedent b. and answered by consequent a. and consequent b. It incorporates a trill (presented at the beginning of the piece) and ends the rhythmic acceleration with thirty-second notes. This acceleration arrives on the coda (see example 7).

25 Example 7. Atehortúa, Concerto for Oboe, movt. I, Monólogo. Systems 8-10. Subject repeated with antecedent and consequent.

II. Sonatina

The second movement of the concerto for oboe is called Sonatina. This movement is short and has defined parts that are distinguished by changes of texture. The movement is in ternary form with its distinctive A, B and C parts. The character of the movement is energetic and frenetic, displaying the technical capabilities of the oboe, shifting between a lively, aggressive theme and a sweet legato passage. Compared with the first movement of the piece (Monólogo), this movement is more chromatic and has a significant emphasis on the octatonic scale, alluding to the sonority of the Monólogo.

Regarding the form, it is important to acknowledge that the piece has a total of 52 measures divided in two by a slow solo cadenza in the oboe that resembles the Monólogo.

There is a sense of symmetry in the division of the sections (1–23, cadenza, 25–52) alluding

26 to ternary form. This section, measure 24, disrupts the rhythmic motion that the piece has developed. The length of the cadenza in measure 24 creates a division in the piece that makes it feel completely symmetric. The form of the movement is illustrated below:

A B A

1–23 Cadenza 25–52

The Sonatina is constructed with the use of the octatonic scale. This scale in set theory is called 8-28 [0 1 3 4 6 7 9 t]. Taking C as 0 the scale would be C, C#, D#, E, F#,

G, A, Bb. The technical name for this octatonic scale is OCT 0,1. Atehortúa, however, uses transposed half step up: C#, D, E, F, G, A♭, B♭, B [1 2 4 5 7 8 t e]. This is OCT 1,2 (see example 8).

Example 8. Atehortúa, Concerto for Oboe and Double String Orchestra, op. 207, movt. II, Sonatina. Mm. 1–3. Octatonic Scale OCT 1,2 and mm. 3 Diminished Chord.

27 This scale has very important characteristics, one of them is that the scale is symmetric, meaning that if we divide the set in half, [0 1 3 4] and [6 7 9 t] both halves will have the same intervallic content. The interval vector (IV) is very similar considering that it has the highest amount of intervallic class of class 3, meaning that it has the highest amount of minor 3rds and Major 6ths. The IV of 4-28 is 004002 (4 minor 3rds and 6ths and 2 tritones). 8-28 has an IV of 448444 as well the highest amount of minor 3rds and/or major 6ths. Another important characteristic of the set is that it is invariable by transposition and inversion, meaning that under certain transpositions, the pitch class content remains unchanged.

In the first measures of the movement (mm. 1–6) Atehortúa makes clear to the listener that this movement is based on OCT 1,2, although he keeps the sense of the sonority of a diminished chord present during the entire movement. For example, in measure 3 he uses notes from OCT 1,2, forming a diminished seventh chord (E, G, A#, C#) in the other instruments of the orchestra (see example 8).

The only transposition of the theme in the whole movement occurs in m. 12, a minor

2nd up. It is important to note that the use of this transposition may be in order to maintain a harmonic tonal feeling. In this measure, the oboe plays A♭ and the strings E♭ and C in the second eighth note, completing the A♭ major triad. (see example 9).

28 Example 9. Concerto for Oboe, movt. II, Sonatina. mm. 6 and 12.

mm. 6

mm.12

29 III. Scherzino-Bambuco

The third movement of the concerto for oboe is called Scherzino-Bambuco with an indication of presto (quarter note = 132). Percussive and determined, this movement uses a form and rhythm of the traditional Colombian bambuco, which is from the Andean

Region (region andina). The following paragraphs include information about the history and form of the bambuco and analysis of the movement.

The history of bambuco is unclear, however musicologists in Colombia suggest different theories of its origin. The first theory is that the bambuco comes from Africa; carried by the Bambuk slaves that were brought to the Colombian Atlantic coast. From there, it is theorized that it made its way to the interior of the country in the times of colonization. Another theory of the origin of the bambuco, which unfortunately considers stereotyping, is that it is the result of the mix of three socio-culture spheres: the Africans, the Spaniards, and the indigenous. “‘In this “new rhythm,’ not just the race is blended, but also socio-cultural traits of each of these races, such as the sensitivity of the indigenous the happy and frenetic rhythm of African slaves, and the refined musicality of the Spaniards.”46

The characteristic bambuco rhythm which switches back and forth between 3/4 and 6/8 can be written in either meter, however there is still some debate about which of these meters suits the music best since there is no established norm. Bambucos use the forms such as:

ABAC, ABC, AABBCC, and AAB and other combinations. One of the most characteristic elements of this music regarding the rhythm is that on the first beat of each measure, the

46 Camilo Eduardo Martínez Ossa, “Composición y producción de Bambucos y Pasillos basado en estilo musical Bogotano de la primera mitad del siglo XX.” (Masters Thesis, Javeriana University, 2009) 18-20. Library, Javeriana University.

30 bass has an eighth-note rest that creates an impulse to the next note and giving to the piece a more dance-like style.

Atehortúa in the Scherzino-Bambuco uses the form ABBCA illustrated below:

A B (repeats) C A

1–27 28–50 51–63 63–86

The fact that the oboe is absent from the beginning of the piece, presenting its first entrance in m. 17 with a new subject, does not change the structure of the form. With an introduction by the strings, timpani and harp, this movement again uses the sonority of the diminished triad (A–C–E♭) immediately in the first measure. This sonority appears periodically throughout the entire piece and this movement is not an exception (see example 10).

Example 10. Atehortúa, Concerto for Oboe and Double String Orchestra, op. 207, movt. III Scherzino-Bambuco. Mm. 1–5. Diminished chord (F–A–C–E♭).

31 During the section that begins in m. 13, Atehortúa maintains a degree of harmonic ambiguity, neither placing the piece in a mode or a group of pitch class. For example, in m. 13 what appears to be a chord a B Aeolian scale (B–C#–D–E–F#–G–A), the composer starts a chain of ambiguity of modes that will develop later in the piece presenting this harmony with a diminished fifth (B–C#–D–E–F–G–A). By making the F natural, it becomes a mode of the D melodic minor scale.47 The alteration of the fifth degree of the scale reinforces Atehortúa’s use of the diminished triad as well the octatonic pattern during the entire piece. This could be seen as well in the entrance of the oboe in m. 18 (B–D–F–

Ab) (see example 11).

47 By taking the B of the bass as the departure note for the chord, it creates something similar to the Super Locrian scale or Altered Scale, a harmonic function that is most common in jazz (B, C, D, Eb, F, G, A, B).

32 Example 11. Atehortúa, Concerto for Oboe, movt. III, Scherzino-Bambuco. m. 13 D harmonic minor scale and m. 15 Diminished chord

33 One of the most significant uses of the modes in this movement is initiated in m.

78, where at the same time there is an ambiguity in the treatment of the harmony. In m. 75 the composer starts using the three-sharp collection moving from one mode to the next, once more creating ambiguity. The modes that are present in this section are D Lydian, B

Dorian and G# Locrian. In m. 78, the oboe starts with the sonority of a tritone. The melody is developed with the use of the D Lydian scale, at the same time accompanied by the bass emphasizing the note B, which gives the sense of B Dorian. In m. 82 the G# at the beginning giving clues of another mode, however it does not establish it completely yet. In m. 85, the sonority of the minor third is persistently present while reinforcing B Dorian at the same time.48 However, in the last measure of the piece, Atehortúa adds a G# that makes the scale change to G# Locryan, striking the listener with the completion of the tritone (D–

G#) on the last two downbeats (mm. 85–86, strings), at the same time completing the diminished triad (see example 12).

48 In the manuscript in m. 85, there appears to be a mistake in Vc. 2 and C♭. 2: is appears that the composer intended a tutti unisono in this passage, in which case the D#–E in the second beat should be C#–D.

34 Example 12. Atehortúa, Concerto for Oboe, movt. III, Scherzino-Bambuco. Mm. 78–86. Interaction of the modes D Lydian, B Dorian and G# Locryan.

36 IV. Meditación

In a video interview produced by El Banco de la República de Colombia in 2015 called “El concierto solista,” Atehortúa expresses his love and appreciation for the concerto for oboe.49 Analysis of this piece, and specifically the analysis of this movement, makes clear how much thought the composer put into it. The use of set theory in this movement is more crafted and cerebral, showing that the compositional decisions were completely deliberate. Considering the lack of meter in the movement as a result of its characteristic cadenza style, for the study of this movement each system is identified by a number. Each example provides the number of the system and the caption of what is being discussed.

This movement is more atmospheric and ethereal, with an indication of a piacere that lets the performer have some liberties when performing. The accompaniment of the strings is based on chords divided by indication numbers that coordinate the harmonic changes serving as a guide to the conductor. Since the oboe can play freely, the numeric system in the chords give a clue when to move from one chord to another (see example

13).

49 Blas Emilio Atehortúa “El concierto solista” Cycle of Lectures, Banco de la República de Colombia, August 4, 2015, video of lecture. (min. 50:00) https://www.youtube.com/watch?v=Z-ntqR3nMVo

37 Example 13. Atehortúa, Concerto for Oboe and Double String Orchestra, op. 207, movt. IV, Meditación. Systems 1–5. Set theory analysis.

39 In the entire concerto for oboe, it is obvious that despite the use of set theory in all of the movements, the composer conceals a sense of tonality that is audible at times but in most cases, passes unnoticed; in this regard, this movement is not exceptional. Meditación begins with the oboe by itself outlining a C minor triad (G–C–E♭), however, the accompaniment in the strings consists of a chord that can be taken as D major with a minor

9th and an 11th that in set theory equals set 5-Z18 (in set theory, sets that include Z in the name are sets that share the same IC vector exactly with other set). After the set 5-Z18, the composer created a sequence of Z sets 6-Z19 and 5-Z18.

In system 2, again the composer uses 5Z18 but transposed a 4th up creating a G major chord with 11th and diminished 9th. A sequence of harmonies is created by the composer alternating between 5-Z18 on G and 5-Z18 on D at the same time that the oboe is reaffirming G major adding the F# as well, emphasizing the dominant of G by adding the C#. In system 3 and 4, the piece presents a sequence of sets 6-Z19, 6-Z24 and 6-Z43.

Until this point, this movement has shown considerable use of z-related sets, however in system 4, the chord with the number 5 breaks the sequence by adding set 5-6 in the strings

(0 1 2 5 6) which contains a group of minor seconds separated by a minor third. This set alludes to the first subject of the first movement, that is, two minor thirds separated by a minor second. In addition to this, the harp is simultaneously playing a sequence of sets 5-

31, 5-20 (see example 13). An important aspect of Atehortúa’s compositional characteristics is syncretism. The movement is called Meditación and perhaps by using a scale that is used in a culture where meditation is an important aspect is an approach syncretism in his compositional style. Given this information it is important to consider that set 5-20 contains the same notes as the Japanese Sakura pentatonic scale and the

40 Peruvian K’antu scale.50 In system 7, the piece returns to set 4-3 (0 1 3 4) as a memory of the first movement that uses this set as well with the oboe placing significant emphasis on

E (see example 14).

Example 14. Atehortúa, Concerto for Oboe, movt. IV, Meditación. System 7. Set 4-3 (0 1 3 4) same set used in the first movement.

To close the movement, Atehortúa uses a harmonic “retrograde” regarding the sequence of sets. In system 10, he creates the inversion of the sets in systems 3, 4 and 10

(see example 15).

50 Wikipedia contributors, "In scale," Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=In_scale&oldid=936350358 (ac cessed November 10, 2020).

41 Example 15. Atehortúa, Concerto for Oboe, movt. IV, Meditación. Systems 10–11. Harmonic “retrograde” in sequence of sets.

42 The last chord of the piece gives the sensation of leaving the movement open by using the set 5-21 (0 1 4 5 8), which is one of only two pentachords with the highest amount of IC 4 (IC vector of 5-21 is 202420).52 This set also is symmetric in the sense that if it is divided by equal halves, such as (0 1 4) and (4 5 8). Taking this into consideration, each half consists of a minor second and a minor third, which is reminiscent of the first movement, Monólogo.

52 The other pentachord is 5-33.

43 V. Rítmica (Tocatta)

The orchestration of the last movement of the concerto for oboe is lighter than the other movements of the piece. In the majority of the Rítmica (Tocatta) the strings play chords in pizzicato accompanying the soloist, and in other sections they play tutti, arco, in unison with the oboe. As its name indicates, the movement is very rhythmic and percussive.

In this movement the composer uses set theory procedures heavily, accomplishing a degree of simplicity and precision, at the same time he shows once again that everything in a movement can be interconnected and related.

The movement is cast in binary form, with A repeated. The introduction, played by the strings, starts with set 8-28 (0 1 3 4 6 7 9 t), IC vector 448444, that is, the octatonic scale. The oboe is introduced in m. 4 with set 8-27, IC Vector 456553. These two sets share the characteristic of containing a large number of minor 3rds and major 6ths.

Atehortúa expressed several times during his life that one of his compositional procedures is through syncretism. This can be seen in m. 5 where the composer combines a series of contrasting musical components. The bass plays an A-major triad at the same time that the harp presents a melodic gesture based on the set 7-31(0 1 3 4 6 7 9) IC vector 336333, at the same time the oboe suggesting the A Dorian mode that in set theory is 7-25. The set 7-

25 is contained as a subset of 8-27 one time (see table 1). A subset is a smaller set contained within a larger one; conversely, a superset is a larger set that contains a smaller one (see example 16).

44 Table 1. Subsets and Supersets

Subsets/Supersets Pentachords Septachords Octachords PC-Sets 5-10 — 7-1: 1 8-1: 2 7-2: 1 8-2: 3 7-4: 2 8-3: 1 7-5: 1 8-4: 2 7-8: 1 8-5: 2 7-9: 1 8-6: 1 7-10: 1 8-10: 1 7-11: 1 8-11: 1 7-16: 1 8-12: 3 7-25: 1 8-13: 3 7-27: 1 8-14: 1 7-31: 3 8-z15: 1 7-32: 1 8-17: 1 7-34: 1 8-18: 3 7-z36: 2 8-20: 1 7-z38: 2 8-21: 1 8-22: 2 8-26: 1 8-27: 3 8-28: 1 8-z29: 1 5-25 — 7-3: 1 7-8: 1 7-10: 1 7-11: 1 7-14: 1 7-16: 1 7-z18: 2 7-23: 1 7-24: 1 7-25: 1 7-29: 2 7-31: 3 7-32: 1 7-34: 1 7-35: 1 7-z36: 2 6-Z13 5-10: 2 7-4: 2 8-1: 1 5-16: 2 7-31: 2 8-4: 2 5-19: 2 7-z38: 2 8-5: 2 8-12: 2 8-13: 2 8-18: 2 8-20: 1 8-27: 2 8-28: 1 7-25 8-10: 1 — 8-10: 1 8-13: 1 8-13: 1 8-26: 1 8-26: 1 8-27: 1 8-27: 1 8-z29: 1 8-z29: 1

7-31 — 8-12: 1 8-13: 1 8-18: 1 8-27: 1 8-28: 1

45 Example 16. Atehortúa, Concerto for Oboe and Double String Orchestra, op. 207, movt. V, Rítmica (Tocatta). Mm. 1–13. Sets and compositional syncretism.

46 The set 7-31 is related to 8-27 because of the quantity of thirds in the IC vector, but also because it is a subset of other octachords such as 8-27 and 8-28, meaning that sets 8-

27 and 8-28 share a similar relationship Rp (sharing at least one subset of cardinality n-1)

(see table 1). In this section full of the syncretism the composer shows that everything is interconnected. Nevertheless, the oboe in m. 6 suggests A Dorian, and considering its similarities with 5-25 it is important to note that this set is a subset 3 times of 7-31(played in the harp). As well, set 5-25 (0 2 4 7 9) IC vector 032140 has the highest number of minor thirds of a set of five pitches (see table 1).

In m. 11 set 5-10 (01346) IC Vector 223111is contained as a subset of 8-28 one time, of 8-27 three times, and three times of set 7-31 (see table 1, see example 16). In mm.

17– 24 Atehortúa adds D# in the strings, which results in set 6-Z13, also a subset of 8-28, and a superset of 5-10, at the same time, 6-Z13 is a subset of 7-31 two times and one time of 8-28 (see table 1).

Everything in the Rítmica and the concerto is interconnected; accordingly, in the last two measures of the work, Atehortúa encapsulates the entire movement . Evidence of this may be found in his use of the set 8-12, which contains as subsets other sets that have been used in the movement, for example subsets 7-31 one time, 6-Z13 one time, 5-25 three times, 5-11 one time. The last pitches of the whole piece summarize the sonority of diminished chords and their use in the entire concerto with a C# diminished chord (see example 17).

47 Example 17. Atehortúa, Concerto for Oboe, movt. V, Rítmica (Tocatta). Mm. 46–47. Synthesis of the entire concerto.

48 Conclusion

This concerto clearly shows Blas Emilio Atehortua’s versatility and his craft. With a characteristic approach that emerges from various styles, from twelve tone technique to aleatory music to deep lyricism, Atehortúa’s Concerto for Oboe and Double String

Orchestra, op. 207, is a major addition to the literature for the oboe. The use of twelve-tone technique in the first movement, blended with political circumstances that personally affected the composer and traditional music from Colombia, show that this composer mastered many different techniques. Atehortúa was an artist who was interested in pedagogy, aware of the value of arts for the creation of cultured citizens. He was a composer who also understood the artistic needs of his home country, and knew that art music in South America had the necessity to be recognized for its variety and constituent cultural elements. In this piece Atehortúa uses all of the materials that different musical styles have to offer, and with great dexterity shows that he had planned the whole piece before composing. The thought put into the development and use of the set theory in this piece shows that his education at the CLAEM and the guidance of his mentors launched him to create and to give a voice to art music in Latin America.

During this analysis I have found that by doing this extensive study of the concerto for oboe, I have been able to shape my approach to learning this piece; this helps me to create a more informed performance. I hope this document becomes a vehicle for understanding Atehortúa’s music for other musicians, who might be approaching his works or this piece for the first time. His work will remain a point of reference for new composers in South America, but it will be difficult for this work to have its recognition if his works are never published. Unfortunately, his output has not been granted the importance that it deserves. This becomes a problem of accessibility; however, I hope that now young

49 musicians in Colombia have the opportunity to get an education in other countries, Blas

Emilio Atehortúa’s works might become better known. I am sure the new generation of oboe players will see the importance of his works and his legacy will serve as inspiration to composers, conductors, performers, and music historians.

50 BIBLIOGRAPHY

Primary Sources

Atehortúa, Blas Emilio. “Breves consideraciones sobre la nueva música, sobre su creatividad, interpretación y relación entre el compositor y el intérprete.” Revista. UIS-Humanidades, 24(1), (January–June 1995): 61–70.

——. “La Música de Cámara de Blas Emilio Atehortúa.” Filmed August 6 2015 in Bogotá, Colombia. Video, 1:50.26, https://youtu.be/KwiHen2MAbc

——. “El concierto solista.” Filmed August 4 in Bogotá, Colombia. Video, 1:46.55, https://www.youtube.com/watch?v=Z-ntqR3nMVo

——. Concierto para oboe y doble Orquesta de Cuerdas, op. 207. Orchestral score. Unpublished manuscript, 2000.

——. Bicinium VII para oboe y piano, op. 197. Unpublished manuscript, 1998.

——. Trio para oboes y corno inglés, op. 185 No. 1. Finale file. Unpublished manuscript, 1995.

——. Concierto para Oboe y Orquesta de Vientos, op. 90. New York, NY: Peters, 1982.

Likosova, Galina. “Blas: El Hombre y su Leyenda.” Directed by Hernan Humberto Restrepo, September 24, 2008, video, 58:47. https://www.youtube.com/watch?v=fkdBkJV1sw8&t=1955s

Vázquez, Hernán Gabriel. Conversaciones en Torno Al CLAEM. Entrevistas a compositores becarios del centro latinoamericano de altos estudios musicales del instituto torcuato di Tella. Buenos Aires: Instituto Nacional de Musicología Carlos Vega, 2012.

Email communication with Blas Emilio Atehortúa Family

Sonia Atehortúa, Email to author, Feb. 25, 2019.

——. Email to author, Feb. 27, 2019.

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——. Email to author, March 9, 2019.

51 Joaquin Casadiego, Email to author, March 11, 2019.

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——. Email message to author, Jan. 20, 2020.

Secondary Sources

Cardona Alzate, Jorge. “Homenaje a Blas Emilio Atehortúa en el Cartagena Festival de Música.” El Espectador, January 14, 2017. https://www.elespectador.com/noticias/cultura/homenaje-blas-emilio-Atehortúa- el-cartagena-festival-de-articulo-610568

Duque, Ellie Anne. “Blas Emilio Atehortúa: Una Obra Sólida y Oficio de Compositor.” Revista Credencial Historia, no. 120 (December 1999): 14. https://www.banrepcultural.org/biblioteca-virtual/credencial-historia/numero- 120/blas-emilio-Atehortúa-una-obra-solida-y-oficio-de-compositor

Duque, Ellie Anne and Moncada Irving. “Blas Emilio Atehortúa.” Compositores Colombianos (web archive) edited by Ellie Anne Duque and Jaime Cortéz. http://facartes.unal.edu.co/compositores/

52 Duque, Ellie Anne "Atehortúa (Amaya), Blas Emilio." Grove Music Online. 2001. Accessed Feb. 26, 2019. https://www-oxfordmusiconline- com.ezproxy.lib.uh.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001 /omo-9781561592630-e-0000001455.

Friedmann, Susana. Blas Emilio Atehortúa Tallando una vida de timbres, acentos y resonancias. Bogotá D.C. Ministerio de Cultura, 2014.

Friedmann, Susana. “El Siglo Veinte y La Música Contemporánea: La Proyección de La Música Colombiana Del Siglo Veinte-Blas Emilio Atehortúa.” Ensayos: Historia y Teoría Del Arte, no. 4 (January): 55–72. https://revistas.unal.edu.co/index.php/ensayo/article/view/46495

Herrera, Eduardo. “The Rockefeller Foundation and Latin American Music in the 1960s: The Creation of Indiana University's LAMC and Di Tella Institute's CLAEM.” American Music 35, no. 1 (2017): 51–74. https://www.jstor.org/stable/10.5406/americanmusic.35.1.0051. Miñana Blasco, Carlos. “Entre el folklore y la etnomusicología. 60 años de estudios sobre la música popular tradicional en Colombia.” A Contratiempo. Revista de música en la cultura, no. 11 (2000): 36–49. http://www.danzaenred.com/sites/default/files/documentos/entre_folklore_y_etno music.pdf

Sarmiento, Pedro. La Música de Blas Atehortúa: Un estudio teórico, estilístico y estético de su música para Orquesta Sinfónica. Bogotá: Universidad del Bosque, 2011.

Valbuena B, Nelly. “Blas Emilio Atehortúa: Alusión a lo posible.” Nómadas, no. 7. September 1997.

Valencia, Victoriano. “Música para Banda en Colombia. Territorios, sentidos de la creación y rasgos del arreglista-compositor.” (pensamiento), (palabra). Y obra, no. 18. (2017): 101–110.

Television and Radio

Matemáticas para ver y dibujar. Episode 1, “Descifrando un mapa.” Directed by Galina Likosova. Aired date unknown. https://www.youtube.com/watch?v=2DHkkl- Q0Wo&feature=emb_logo and https://ciencias.medellin.unal.edu.co/gruposdeinvestigacion/interdis/matematicas- para-ver-y-dibujar.html

Encuentro Nacional de Bandas Musicales de Paipa-Plan Especial de Salvaguardia 2012.” Directed by Lucas R. Avendaño. Aired date unknown. https://www.youtube.com/watch?v=zkqSFrSaJg8

53 Dictionaries and Web Archives

Histórico de repertorios de la Orquesta Filarmónica de Bogotá. (Historic database of the Philharmonic Orchestra of Bogotá) Bogotá, Colombia. http://historico.repertoriosofb.gov.co/search/1086/detail? S.v. Atehortúa, Blas Emilio, Performances of concerto for oboe . Programs, years 1974–2018.

Corbandas. “Nuestra historia.” Tradición. https://www.corbandas.com/

Base de datos Compositores Colombianos (Database of Colombian Composers) Duque, Ellie Anne and Moncada Irving. “Blas Emilio Atehortúa.” edited by Ellie Anne Duque and Jaime Cortéz. https://web.archive.org/web/20150611051226/http://www.facartes.unal.edu.co/co mpositores/html/0003_4.html.

Dissertations

Chester, Pamela Bowen. “A Study of the Life and Wind music of Blas Emilio Atehortúa, including a Critical Edition and Stylistic Analysis of ‘Cinco Piezas a Béla Bartók.’” PhD diss., University of Northern Colorado, 1997. ProQuest Dissertations & Theses Global.

Laib, Susan G. “An Annotated Bibliography of Original Works for Solo Oboe with Wind Accompaniment and an Appendix of Arranged Works.” PhD Diss., Florida State University, 1997. ProQuest Dissertations & Theses Global.

Southern, Lia. “A Portrayal of Art Music in Colombia Through Four Works for Bassoon.” PhD Diss., University of Kansas, 2013. ProQuest Dissertations & Theses Global.

Martinez Ossa, Camilo Eduardo. “Composición y producción de Bambucos y Pasillos basado en estilo musical Bogotano de la primera mitad del siglo XX.” Masters Thesis., Javeriana University, 2009. Library Javeriana University. https://www.javeriana.edu.co/biblos/tesis/artes/tesis124.pdf

Obituaries

Bautista, Leonardo. “Blas Emilio Atehortúa: una reflexión sobre su vida y obra.” Jan. 6, 2020. https://hjck.com/reportajes/blas-emilio-Atehortúa-su-vision-de-la-vida-y-la- musica/

Belksy P, Esteban. “Adiós a Blas Emilio Atehortúa, uno de los grandes de la música clásica” Vanguardia, Jan. 7, 2020. https://www.vanguardia.com/entretenimiento/galeria/adios-a-blas-emilio- Atehortúa-uno-de-los-mas-grandes-de-la-musica-clasica-LL1841184

54 Codalario. “Muere el compositor colombiano Blas Emilio Atehortúa” Codalario La Revista de Música, Jan. 7, 2020. https://www.codalario.com/blas-emilio- Atehortúa/noticias/muere-el-compositor-colombiano-blas-emilio- Atehortúa_8753_3_27107_0_1_in.html

Herrera, Valentina. “Falleció el compositor antioqueño Blas Emilio Atehortúa” Bluradio, Jan. 6, 2020. https://www.bluradio.com/sociedad/fallecio-el-compositor- antioqueno-blas-emilio-Atehortúa-antq-237473-ie6569929

Martínez Ante, Olga Lucía. “Blas Emilio Atehortúa: el legado de un artesano de la música.” El Tiempo, Jan. 8, 2020. https://www.eltiempo.com/cultura/musica-y-libros/blas- emilio-Atehortúa-el-legado-de-un-artesano-de-la-musica-450044

Monsalve, Jaime Andrés. “La maleta de Blas Emilio Atehortúa” Radio Nacional de Colombia, Jan. 6, 2020. https://www.radionacional.co/noticia/actualidad/blas- emilio-Atehortúa-compositores-colombiano-musica-clasica

Murcia Valdés, Valeria. “Un adiós al maestro Blas Emilio Atehortúa” El Colombiano, Jan. 7, 2020. https://www.elcolombiano.com/cultura/musica/blas-emilio-Atehortúa- murio-el-musico-y-compositor-antioqueno-LE12255718

Lebrecht, Norman. “Colombia mourns foremost composer” Slippedisc, Jan. 6, 2020. https://slippedisc.com/2020/01/coombia-mourns-foremost-composer/

León, Fernando “El Chino”. “Carta a un amigo que se va” Revista Tempo, Jan. 7, 2020. http://revistatempo.co/tempo/carta-a-un-amigo-que-se-va/

Piedrahíta, Juan Carlos. “Falleció el maestro Blas Emilio Atehortúa” El Espectador, Jan. 5, 2020. https://www.elespectador.com/noticias/cultura/fallecio-el-maestro-blas- emilio-Atehortúa-articulo-898615

“Adiós al compositor Blas Emilio Atehortúa,” Teatro Mayor de Bogotá, accessed Jan. 27, 2020. https://www.teatromayor.org/noticias/adios-al-compositor-blas-emilio- Atehortúa-3409

“Adiós al grande compositor Blas Emilio Atehortúa Amaya,” El Mundo, accessed Jan. 27, 2020. https://www.elmundo.com/noticia/Adios-al-grande-Blas-Emilio- Atehortúa-Amaya/378437

“La Orquesta Filarmónica de Bogotá lamenta el fallecimiento del compositor, director de orquesta y docente colombiano, Blas Emilio Atehortúa,” Orquesta Filarmónica de Bogotá, accessed Jan. 27, 2020. https://filarmonicabogota.gov.co/la-orquesta- filarmonica-de-bogota-lamenta-el-fallecimiento-de-blas-emilio-Atehortúa/

“Luto en la música colombiana por el fallecimiento de Blas Emilio Atehortúa,” Conexión Capital, accessed Jan. 27, 2020, https://conexioncapital.co/luto-en-la-musica- colombiana-por-el-fallecimiento-de-blas-emilio-Atehortúa/

55 Recordings

Atehortúa, Blas Emilio. Syrigma 1, Op 30. YouTube recording. 4:08 min. https://www.youtube.com/watch?v=eL46x-tI8zg

——. Concierto para oboe y doble Orquesta de Cuerdas, op. 207. YouTube recording. 13:36 min. (date of performance and oboe performer unknown) https://youtu.be/GTXqNysUgEE