Representative Works for Solo Viola by Bolivian Composers Mauricio Fredy Cespedes Rivero

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2010 Representative Works for Solo Viola by Bolivian Composers Mauricio Fredy Cespedes Rivero

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COLLEGE OF MUSIC

REPRESENTATIVE WORKS FOR SOLO VIOLA BY BOLIVIAN

COMPOSERS

MAURICIO FREDY CESPEDES RIVERO

A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music

Degree Awarded: Spring Semester, 2010

The members of the committee approve the treatise of Mauricio Cespedes Rivero defended on April 7, 2010.

______Pamela Ryan Professor Directing Treatise

______James Mathes University Representative

______Alexander Jimenez Committee Member

______Corinne Stillwell Committee Member

Approved:

______Seth Beckman, Dean, College of Music

The Graduate School has verified and approved the above-named committee members.

I dedicate this treatise to my family who has always supported me in every step of my life.

iii

TABLE OF CONTENTS

List of Figures v Abstract ix

1. INTRODUCTION 1

2. MUSIC IN BOLIVIA 3 2.1 Pre-Columbian Period 3 2.2 Colonial Period 5 2.3 Twentieth Century Composers 7 2.4 The Viola in Chamber Music of Bolivian Composers 10 2.5 The Viola Solo Repertory by Bolivian Composers 12

3. TWO COMPOSERS AND THEIR COMPOSITIONS 13 3.1 Gerardo Yañez: —Meditation for Solo Viola and Electro“ 13 3.2 Jorge Ibáñez: —Sonata for Solo Viola“ 24

4. CONCLUSION 38

APPENDIX 39 A. Composer‘s permission to reproduce copyright materials 39 B. Composer‘s permission to reproduce copyright materials 40 C. Human Subjects Exempt Review 41 Scores 42

iv BIBLIOGRAPHY 52

BIOGRAPHICAL SKETCH 54

LIST OF FIGURES

Figure

1. Gustavo Navarre, String Quartet. Viola Score, Third Movement. 11

2. Gerardo Yañez: —Ofrenda and Meditation for Solo Viola and Electro.“ 16

3. Example of rhythmic motive.Gerardo Yañez: —Ofrenda and Meditation for Solo Viola and Electro.“ 16

4. Example of diminution of rhythmic patterns. Gerardo Yañez: —Ofrenda and Meditation for Solo Viola and Electro.“ 17

5. Relationship between Table 1, and Gerardo Yañez. —Ofrenda and Meditation for Solo Viola and Electro.“ 18

6. Oscar Elías Siles. Book of songs. 18

7. Phrase endings. Gerardo Yañez: —Ofrenda and Meditation for Solo Viola and Electro.“ 19

8. Exposition. Gerardo Yañez: —Ofrenda and Meditation for Solo Viola and Electro.“ 20

9. Expressive Melodies. Gerardo Yañez: —Ofrenda and Meditation for Solo Viola and Electro.“ 21

10. Main Melodic Material. Gerardo Yañez: —Ofrenda and Meditation for Solo Viola and Electro.“ 22

11. Development Section. Gerardo Yañez: —Ofrenda and Meditation for Solo Viola and Electro.“ 23

12. Second part of the development. Gerardo Yañez: —Ofrenda and Meditation for Solo Viola and Electro.“ 23

vi 13. The Coda. Gerardo Yañez: —Ofrenda and Meditation for Solo Viola and Electro.“ 24

14. The main motive of four chromatic notes. Jorge Ibáñez —Sonata for Solo Viola“ 25

15. Opening of the First movement, tempo di ciaccona. Jorge Ibáñez —Sonata for Solo Viola“ 26

16. Use of augmented fourths. Jorge Ibáñez —Sonata for Solo Viola“ 26

17. Variation I Jorge Ibáñez —Sonata for Solo Viola“ 27

18. Thematic Material. Jorge Ibáñez —Sonata for Solo Viola“ 27

19. Metric displacement. Jorge Ibáñez: —Sonata for Solo Viola.“ 27

20. Metric displacement Jorge Ibáñez: —Sonata for Solo Viola.“ 28

21. End of the Variation. Jorge Ibáñez —Sonata for Solo Viola“ 28

22. Interval leaps. Jorge Ibáñez —Sonata for Solo Viola“ 29

23. Coda of Variation II. Jorge Ibáñez —Sonata for Solo Viola“ 30

24. Metric diminution. Jorge Ibáñez —Sonata for Solo Viola“ 31

25. Variation III, tempo de chaconne Jorge Ibáñez —Sonata for Solo Viola“ 31

26. Coda of the First Movement. Jorge Ibáñez —Sonata for Solo Viola“ 32

27. Traditional Bolivian dance (Huayño). O. Elías S. Carnaval Cruceño I 33

28. Second movement. Whole tone scale. Jorge Ibáñez: —Sonata for Solo Viola.“ 33

29. Transition material. Jorge Ibáñez —Sonata for Solo Viola“ 34

30. Permutation of the melodic material. Jorge Ibáñez —Sonata for Solo Viola“ 34

31. End of the second movement. Jorge Ibáñez —Sonata for Solo Viola“ 35

32. Example of the third movement. Jorge Ibáñez —Sonata for Solo Viola“ 36

vii 33. Rhythmic material of the third movement. Jorge Ibáñez —Sonata for Solo Viola“ 37

34. Performance challenges of the third movement. Jorge Ibáñez —Sonata for Solo Viola“ 37

35. Combination of the main melodic material. Jorge Ibáñez —Sonata for Solo Viola“ 38

36. End of the movement. Jorge Ibáñez —Sonata for Solo Viola“ 38

viii

ABSTRACT

As a Bolivian artist, the author has always supported the idea of bringing Bolivian music to the world. The writer‘s contribution over the years has been to collaborate with composers from Bolivia who have written for the viola. Some of the compositions performed use some of the most notable twentieth century compositional techniques drawing from minimalism, serialism, electronic music and other styles. Despite the diversity of these compositions, each still contains the very essence of the nationalistic sound of Bolivian folk rhythms and melodies, from the very mystical and sad melodies of the Bolivian Andes to the extroverted rhythms of the valleys and amazon regions. This treatise, Representative Works for Solo Viola by Bolivian Composers, will showcase two of the most important works for solo viola, and will also discuss two of Bolivia's most talented composers, Gerardo Yañez, and Jorge Ibáñez, whose beautiful musical languages transcends time and space. The discussion of each composer and the composer's work are divided in two sections: 1) The composer's biography and musical background; and 2) The composer's work for viola, analyses of folk influences, style, and some important aspects such as time, place, premiere of the composition.

CHAPTER 1

INTRODUCTION

As a Bolivian citizen, the author of this treatise has been in close contact with Bolivian art, including important artists, writers, painters, and musicians. Music has always been a significant part of his life, whether folk music or classical. From his earliest days, the author could always hear and appreciate his Bolivian musical heritage, even as he sought to master Western European classical music and the instruments that create it. This desire led to his intimate acquaintance with the viola, which he viewed as similar to Bolivian music itself: underrated, understated, full of history, and in dire need of greater championing in the worlds of academics and music. This treatise seeks to show the effect that Bolivian music has had on the viola, and vice-versa. Like Bolivia, the viola has a long history largely unknown in South America, even to those intimately acquainted with it. Before the dawn of the twentieth century, the viola was a pivotal part of chamber and orchestral music, but relatively few composers wrote solo pieces that featured this middle voice of the viola de braccio family. However, during the past century, the use of the viola as a solo instrument began to increase in popularity among both composers and performers; —the repertory for unaccompanied viola grew extensive, with the number of solo viola performers increasing worldwide.“1 Countless composers in the Western European tradition from all corners of the globe began to write pieces that featured the viola in a solo role, not only increasing the amount of music for violists to perform, but helping to establish the viola as an instrument capable of producing significant and moving music. These efforts resulted in the instrument's increased importance as part of the classical music repertory, as well as its new significance in concert halls around the world. The emergence of the viola as a solo instrument had a significant effect on Bolivian

1 Michael D. Williams, Music for Viola, Detroit, 1979.

1 composers. In Bolivia, a select and talented group of composers began composing for the viola, with two composers emerging as the best and most noteworthy in the country: Jorge Ibáñez and Gerardo Yañez. Their compositions incorporate many of the elements that helped define Bolivian music. Ibáñez‘s —Fantasia for Solo Viola“ and Yañez‘s —Meditation for Solo Viola“ are both examples of works for the unaccompanied viola that incorporate a Western European style of compositional technique with folk music influences. Bolivian classical music is relatively new; hence, it is not well known outside of the country. However, composers such as Ibáñez and Yañez have composed a variety of large works, including symphonies, chamber music pieces, and compositions for hybrid ensembles of Native American and European instruments. The solo viola repertory, as new as it may seem to those unfamiliar with the works, has been a part of these two composers' respective musical outputs for the last decade. The author‘s goal in writing about the solo viola pieces of Ibáñez and Yañez is to make them more accessible to scholars and performers outside of Bolivia who may have little or no prior knowledge of the compositions, or their connection to the foundations of musical history and legacy of Bolivian music.

CHAPTER 2

MUSIC IN BOLIVIA

2.1 Pre-Columbian Period One of the most important writers about Bolivian music, Atiliano Auza, describes it as —a mixture of romanticism, nationalism, modernism, and some touch of experimentalism.“ In other words, Bolivian music reflects the historical processes that resulted from the Spanish conquest of Native Americans. Religion and language were not the only Spanish influences on the indigenous people; in a process called —musical inquisition,“2 the Spanish imposed music and instruments, as well as European styles of composition, interpretations, and performance. It is not the purpose of this treatise to criticize or condemn the process, only to note that it ultimately led to what is today the essence of Bolivian culture. As the great Argentinean pianist and conductor Daniel Barenboim asserts, —music is life.“ 3 The music and folkloric traditions of central Andean mountain countries such as Ecuador, Peru, and Bolivia, are among the richest in the world.4 This legacy is due in no small part to the immense diversity of the ecology and the geography of pre-Columbian civilization, which must be considered when analyzing the musical production of the region. Mountains, valleys, the Amazon, and the region known as Chaco, are the four distinct geographic zones in Bolivia's landscape; as eloquently and succinctly stated by the eminent ethnomusicologist Maria de Baratta, —Topography influences the character of the race, as well as the musical soul of a nation.“5 The rich diversity of pre-Columbian culture makes it difficult to categorize, and thus experts have focused on two areas of study: climate and language. As de Baratta notes, when

2 Auza, Atiliano. Historia de la Musica Boliviana. La Paz: Editorial Los Amigos del Libro, 1985, pp. 4. 3 Barenboim, Daniel. El Sonido es Vida. Belaqova Documents. 2005, pp. 1. 4 Olsen, Dale. Folk Music of South America-A Musical Mosaic, University of California Press, 1983. 5 Diaz Gainza, José. Historia Musical de Bolivia, La Paz: Editorial America, 1996, pp. 91-92.

3 divided according to the climatic zones, three distinct cultures emerge, each with music unique to its respective region.6 The Andean civilizations occupy the Altiplano Plateau referred to as the Cold Zone, and the music of this culture tends to be more meditative, slow, sad, and predominantly instrumental.7 The temperate climatic zone is the name assigned to the valleys of Bolivia, and the type of music in this region is more lyrical, with strong rhythms designed to inspire dancing. In the hot zone of the Amazon River regions, the music is more percussive and dance rhythms are more predominant than in either of the other zones. In addition to climate, pre-Columbian civilizations are also delineated by their regional languages. One can identify two main cultural groups, the Aymaras and the Quechuas, two nations that still exist in contemporary Bolivia. Although the two share Bolivian territory, their music is very different. The Aymaras are a group of native Indians who live in the vast and windy Titicaca plateau of the Central Andes, located in modern Peru and Bolivia.8 This group of natives formed the great nation of the Incas, whose territory once covered large areas from Machupichu (Peru) to Tiwanacu (Bolivia). The topography of the area is mountainous and elevated (up to 14,000 feet above sea level), and cold temperatures and vast open spaces are the main characteristics of this territory. The physical characteristics of the landscape contribute greatly to the musical production of this civilization, with music that is markedly religious, sad, meditative, and sentimental. Aymara‘s music is mainly instrumental, employing percussion as well as native wind instruments called sicus, tarkas, zampoñas, and quenas. Ethno-botanical studies on the origin of these instruments shows that they were made of caña hueca, a very strong wood that is empty in the middle, making it ideal for musical purposes.9 The second group of native Andeans called the Quechuas can be found in many areas between Ecuador and Bolivia. Quechua speaking communities still reside in some Bolivian cities such as Cochabamba, Potosi, both cities of Peru and Ecuador.10 As previously noted, the main difference between Aymaras and Quechuas is language, though there is also a geographical separation in the altitude of both communities that contributes to this division: the pata lado

6 Ibid, pp. 101. 7 Solomon, Thomas James. Mountains of Song: Musical Constructions of Ecology, Place, and Identity in the Bolivian Andes, University of Texas Austin, 1997. pp. 56. 8 Pinell A. Javier. Contemporary Compositions for violin by Bolivian Composers with an emphasis on Folk-Related influences. D.M.A. diss., Florida State University, 1999. pp. 15. 9 Aramayo, Ernesto Cavour. Instrumentos Musicales de Bolivia, La Paz: Producciones CIMA, 1994, pp. 288. 10 Ibid, pp. 8.

4 which literally means —upper side,“ and ura lado, which stands for —lower side.“ The Aymara culture developed in high altitudes that reach 10,000 to 14,000 feet, while the Quechua culture developed in altitudes that oscillated mostly between 6,000 to 9,000 feet.11 The cultural differences that grew between the Aymaras and Quechuas run deeper than just language and elevation, reflected in other cultural expressive forms such as clothing. While the pata lado communities wear heavy wool winter clothes reflective of the cold climate experienced in the higher elevations, the ura lado communities use a variety of colorful light clothes reflective of their more temperate environment. The differences between the Aymaras and Quechuas are many, but few are as significant as the musical differences between the cultures. One of the main differences is the variety of rhythms used in the music of each culture. In general, the Aymaras music tends to be slower, making the emphasis on the strong beats; the Quechua‘s rhythms are faster, and make emphasis on the weak beats, creating very interesting hemiolas in their music. The lyrics of the songs in the Aymara culture are very sad and very expressive, with the most common lyrical themes lyrics being about religion and love, while Quechua culture commonly explores the women‘s singing voice in a texture that is very high, almost falsetto, and consists of faster tempos, with lyrics centered mostly on stories, anecdotes, and love. Currently, Andean people perform music when working with cattle in the Altiplano Plateau. Their instruments are their only company in lonely days, and their tunes sometimes reflect their isolation, anguish, and sadness. Twentieth century Bolivian composers usually use a variety of melodies and rhythms that come from these cultures in their classical musical composition. For instance, Jorge Ibáñez, and Gerardo Yañez are both of Aymara-Quechua descendant, and they each incorporate rhythms and melodies from the Aymara-Quechua culture into their compositions.

2.2 Colonial Period

The arrival of Europeans in the Americas not only changed the history of the continent, but affected every aspect of its culture. The mixture of cultural and artistic elements from pre-

11 Solomon, Thomas James. Mountains of song: Musical Constructions of Ecology, Place, and Identity in the Bolivian Andes, University of Texas Austin, 1997. pp. 62.

5 Columbian civilizations and the Spanish conquistadors started a unique musical phenomenon, which emerged as a key attribute of the so-called mestizo culture. Additionally, the introduction of European instruments like the violin created a classical culture in the Bolivian region in the early seventeenth century that remains to this day. During the seventeenth century, Jesuits established missions (or reducciones) of the Chiquitania in what is now known as the Bolivian Amazon in the east side of the country. Missionaries came from Europe (primarily Spain and Italy) with the purpose of establishing the Catholic Church in South America. Their goal was to create a —City of God“ in this part of the continent.12 Missionaries started to interact with natives and to teach them religion, painting, dance, sculpture, and music. One of the most influential missionaries to come to the Americas was the Italian composer Domenico Zipoli, who was born in Prato, Italy, on October 17, 1688 and died in Cordoba, Argentina, on January 2, 1726. A contemporary of Johann Sebastian Bach, George Frederic Handel, and Domenico Scarlatti, Zipoli is considered to be the most influential European composer to come as a missionary to South America during the Colonial era. He is also known as the most gifted musician to contribute to the cultural growth of the missions on that continent. Colonial life in South America cannot be examined without acknowledging the civilizations that were decimated by the arrival of Europeans, including the once-mighty Incan civilization, whose millennia of art and music created the foundation of many Bolivian musical elements. Two-thousand years before Christ, when the Incan Empire ruled the Western Hemisphere, including the region now called Bolivia, music was a very important part of Incan life. It was used to worship the God of the Sun (Inti), Moon, and Earth (Pacha mama), with their main instruments of choice including percussion and winds (Sicu, Tarka). With the arrival of the conquistadores from Spain in 1524, everything changed; religion was imposed, slavery of the Incas started, and the music whose purpose up to then was to worship Incan gods, had to change to worship the Catholic God. Some early expressions of music in this era can be found in compositions by Antoino Duran de la Motta, Domienco Zipoli and Estanislao Miguel Leyseca. At the same time, secular music was created with new stringed instruments such as guitar, and

12 Nawrot, Piotr. Domenico Zipoli 1688-1726, Archivo Musical de Chiquitos y Archivo Musical de Moxos- Bolivia. pp. 45.

6 violins. Authentic Bolivian folklore was born: a music that talks about slavery and makes fun of conquistadores in a sarcastic way using the native languages Aymara and Quechua. Bolivian folk music is one of the few artistic or cultural expressions that the Spanish did not take away from Native Indians, shaping a unique artistic voice that can still be heard in Bolivian folk songs today. Bolivian music has what some musicologists call a —racial accent.“13 In this context, the term refers to the sense of wide cultural differences between the indigenous natives and their Spanish conquerors. The disparity is still evident today as these two distinct cultures struggle to coexist and reconcile their cultural, political, economic, and artistic differences. The Republican era of Bolivia started in August 6, 1825 when Simon Bolivar declared Bolivia‘s independence from Spain. During this period, the most important musical figure was the Italian composer Leopoldo Benedetto Vincenti (1815-1914) who traveled South America and lived in Sucre, Bolivia. As an orchestra conductor he conducted many important works to Bolivia. For instance, on September of 1847, he premiered Donizetti‘s opera Elisir d'amore. His most important musical contribution was to compose the Bolivian National Anthem on November 18, 1845.14

2.3 Twentieth Century Bolivian Composers

The music of modern Bolivia reflects the country‘s varied and rich history in every piece, every instrument used, and every enthusiastic memory of Bolivians that recall the first time they were touched by it. The author‘s memory of this phenomenon is from one of the first times that he attended a folk concert by the Karkas, one of the most famous folk Bolivian ensembles. What was incredible about this concert was the type and combination of instruments used in the group, which included the traditional like Charangos, Sicus, Quenas, Zamponas, Tarkas and Bombos, as well as modern electronic instruments such as keyboards, drum set and electric bass. Through its use of traditional and modern instruments, the ensemble represented the entire history of the Bolivian musical experience in living form. Even in classical music circles in Bolivia, it is common to see this combination of folk

13 Auza, Atiliano. Historia de la Musica Boliviana. La Paz: Editorial Los Amigos del Libro, 1985. pp. 11. 14 Ibid, pp. 32.

7 and classical European instruments. For instance, the conductor and composer Fredy Cespedes‘ work —El Amauta,“ (Aymara for —wise man“), consists of a mixture of classical instruments such as violin, violas, cellos and basses, with native instruments and Aymaran lyrical poetry. There are many examples of this new musical fusion happening in Bolivia, and some contemporary Bolivian composers are trying to send a nationalistic musical message by including these Bolivian elements in their music.—Folkloric music has long functioned as a more prominent emblem of Bolivian National identity than other realms of national culture.“15 One of the most prolific Bolivian composers to lead the contemporary style is Alberto Villalpando, (b.1940) who studied with Alberto Ginastera in Buenos Aires, Argentina, and who was appointed director of the National School of Music of Bolivia in 1976. He was the first Bolivian composer to introduce contemporary techniques and a new school of composition to students.16 His experimental style of composition has been criticized by conservatives that want to preserve a tonal center in Bolivian music. Alberto Villalpando was the first composer to introduce synthesizers and computer sounds in Bolivian concert halls, using as his main inspiration the geography and landscapes of his homeland. Other important Bolivian composers whose works helped shape the country's modern music and often include the viola as part of their chamber and orchestral instrumentations are: a) Eduardo Caba. (1890-1943) Born in Potosi, Bolivia, he studied in Buenos Aires and Spain with Joaquín Turina and Peres Casas. His orchestral music is characterized by the use of modal and pentatonic language. Most of the material used is folk music from the Bolivian Andes. One of his most important works is —Aires Indios.“ b) Teófilo Vargas Candia (1886-1961). Born in Cochabamba, Bolivia, the main theme of his music is his patriotic philosophy. He always features Bolivian melodies in his orchestral works, which include overtures, symphonic poems and patriotic songs. Apart from his musical writings, Vargas also wrote the —Prologo,“ which is a historical document that contains folk melodies, and explains the historical distinctions between Incan music and the Colonial music. Also, this historical document includes notations about different dances, wind instruments, use of the

15 Rios, Fernando Emilio. Music in Urban La Paz, Bolivian Nationalism, and the Early History of Cosmopolitan Andean Music: 1936 œ 1970, University of Illinois at Urbana-Champaign, 2005. pp. 6. 16 de Manuel, Elías. Colegio Latinoamericano de Compositores. Accessed on November 4, 2009. www.colegicompositores-la.org

8 different scales and tonalities in Bolivian music, and the different sounds introduced by the Spanish. c) Humberto Viscarra Monje (1898-1971). Born in La Paz, Bolivia, he studied music in Paris, and in Rome with Giovanini, Camile Decreus and Isidoro Philipp. He is considered to be one of the most important and influential Bolivian composers. Mr. Viscarra followed the same nationalistic musical view as Mr. Caba, and he was also a very accomplished poet. d) Gustavo Navarre (1931-1998). Born in La Paz, he is one of the most important Bolivian composers whose life and compositions have an important influence on current composers. Navarre studied in Paris and, using the romantic and nationalistic style, he produced one of the most famous string quartets of Bolivia. The quartet is in four movements and the viola has a predominant part for the first time. e) Alberto Villalpando (b.1940). Born in La Paz, as examined above, his impact on Bolivian music is far-reaching. Apart from his contemporary composition style that includes experimentalism, he continues to include Bolivian motifs in his music. One of the most impressive and influential works is his opera Manchaypuytu, based on legends that take place in the Colonial Era.17 f) Nicolas Suarez (b.1955). Also born in La Paz, he is one of the most important composers and arrangers of Bolivian folk music for symphony orchestras. His orchestrations are played by symphony orchestras all over South America, and his style of composition includes Bolivian melodies in his music. Suarez is the current composer in residence of the National Symphony Orchestra of Bolivia. g) Agustin Fernandez (b.1958). He is one of the most important Bolivian composers today. Currently, he is professor of composition at New Castle University in England. His compositions are performed all over the world, and his most important orchestral works include Danza de la loma, 1986; Fuego, 1987; Peregrine for small orchestra (14 players), 1996; La yapa for string orchestra, 1999; A Hidden Music for string orchestra, 2003.18 While these are some of the most influential Bolivian composers of the twentieth century, they comprise only a small percentage of those making music in Bolivia. In today‘s Bolivian musical circles, folk music and Western music are frequently in conflict as often as they are in

17 Kirigin, Maria Angelica. Concervatorio Nacional de Musica, 100 Years. La Paz, Bolivia, 2007. pp. 56. 18 Ibid, pp. 67.

9 harmony. However, composers like those mentioned above merge or mix both cultures into one musical expression–a musical expression that speaks through Bolivian folk influences in harmonies, melodies, and rhythms, but that contains western musical techniques. The product of this mixture of sounds and rhythms has one important quality, the universality of the music. It is very important to mention non-Bolivian composers such as Rimsky Korsakov, Grieg, Smetana, Liszt, Chopin, Mussorgsky, Albeniz, Bartók, and Copland, who have folk influences in their pieces. Their music speaks to anyone regardless of nationality or ethnicity, and each shares a universal concept that does not discriminate and it is available for any audience worldwide. The influential American composer Aaron Copland explains how a piece of music can have both a nationalistic aesthetic and a universal projection. Copland mentions three important components: first, the composer has to be part of the country producing the musical material; second, the composer has to have an education based in the folk music of the particular country; and third, a structure of organized arts in which the composer can showcase his or her compositions.19 Gerardo Yañez and Jorge Ibáñez are two Bolivian composers who meet all three components and whose music for solo viola are perfect examples of contemporary Bolivian repertoire that represents not only a mixture of musical elements, but also a cultural blend between the Western world and the indigenous Bolivian culture.

2.4 The Viola in Chamber Music repertory by Bolivian Composers

As noted previously, there are a number of modern Bolivian composers that have a strong classical background, and consequently there are many works by Bolivian composers for string quartet. One of the most important works that features the viola in a predominant role is Gustavo Navarre‘s String Quartet composed in the 1972. There is not a great deal of literature on the composer and his musical compositions because Navarre burned almost all of his pieces during one of the severe bouts of depression that marked much of his later life. His string quartet is almost the only composition that remains intact, largely because of the violinist Fredy Cespedes, who kept a copy of the work for perpetuity.

19 Auza, Atiliano. Historia de la Musica Boliviana. La Paz: Editorial Los Amigos del Libro, 1985. pp. 10.

10 Navarre‘s String Quartet consists of four movements: Lento-Allegretto, Scherzo, Grave, and Allegro. The compositional style is a mixture of Bolivian folk melodies and canons and fugues. The viola part features many important solos that introduce the main melody, which was unique for its time and place. The following example illustrates one of the first works in which the viola has an important part in a composition by a Bolivian composer. (see Fig. 1)

Fig. 1. Gustavo Navarre, String Quartet. Viola Score, Third Movement.

Another composer whose chamber music compositions are very important is Gaston Arce Sejas. Born in La Paz on December 25, 1963, his musical training includes studies at the Facultad de Bellas Artes de La Universidad de la Plata in Argentina. His chamber music compositions include three pieces for string quartet: —Una Evocacion Andina Op. 7, No.1,“ —El Habitaculo del Niño Op. 20 No. 2,“ and —Pieza para Cuerdas Op. 2.“ The viola part is especially prominent in the —Pieza para Cuerdas.“ The range of the viola is expanded with scordatura; moreover, Gaston Arce is a violist and puts special emphasis on the viola part. Arce explains that his style of composition uses folk material not because he is Bolivian, but because he finds

11 these sonorities interesting. 20

Other important examples of Bolivian composers using the viola prominently in a string quartet are Agustin Fernandez‘s —Botanic Spider for piano and string quartet,“ written in 1991, Cergio Prudencio‘s —Gestacion for String Quartet 1976,“ and Oldrich Halas, —Bagatelas Bolivianas.“

2.5 The Viola Solo Repertory by Bolivian Composers

The viola solo repertory in Bolivia started with some transcriptions of folk melodies by Gerardo Yañez in the 1980‘s. These melodies, originally composed for solo wind instrument and full orchestra accompaniment, suited perfectly the register of the viola. There is no record of other works previously written for the instrument, and the first two contemporary Bolivian composers who have written music for solo viola are Jorge Ibáñez and Gerardo Yañez.

20 Gjevre, Naomi K. Three String Quartets by Contemporary Bolivian Composers. D.M.A .diss.Florida State University, 2003. pp. 4.

CHAPTER 3

TWO COMPOSERS AND THEIR COMPOSITIONS

3.1 Gerardo Yañez (b. January 7, 1952): Offering: Meditation for Solo Viola and Electro.

Gerardo Yañez was born in La Paz, Bolivia, where he is widely considered one of the most talented and respected Bolivian composers. His musical education started in Bolivia with a German composition teacher, Rossali Paepsel, and at only six years old Yañez joined the polyphonic choir —Cristo Obrero,“ where he was first soloist for over five years. At the same time, he also pursued his love of Bolivian folk music, performing with many musical groups of Andean wind instruments such as —Kallahuaya Base.“ Yañez studied at the National Conservatory of Music of Bolivia with eminent Bolivian composers such as Teófilo Molina and Gustavo Navarre. After completing his bachelor‘s degree in Bolivia, he traveled to Germany where he studied composition at the University of Berlin with Witold Szlonek, Michael Bayer, Henrich Poos, Dieter Schnebel, and Isang Yung, and in Hamburg with renowned composer György Ligeti. While attending workshops with leading composers such as Luigi Nono and Alberto Bertoncini, Yañez received a thoroughly well- rounded musical education. He studied choral conducting with Peter Schwarz, orchestral conducting with Sergio Celibidache in the city of Mainz, Germany, and electronic music with Olivier Messiaen. Yañez also did important research on the construction of wind instruments in Koerber, Germany, which furthered his already deep understanding of this musical family. Throughout his career, Yañez‘s creativity and fascination with instruments and how they work have led him to continually try to improve existing Bolivian instruments. In 1984, Yañez expanded construction on several traditional Bolivian woodwind instruments, giving them the ability to play chromatic scales. Additionally, he patented a new kind of Charango of 13 strings, and a new baritone

13 guitar called El Taipi. In 2001, he founded the Latin-American Choir in Berlin, a group that has performed in venues such as the Hansa Plaz Church in Germany. As a conductor, he premiered many of his works with the Berlin Philharmonic, the Charlottenburg Symphony Orchestra, the University of Berlin Symphony, the Bolivian National Symphony Orchestra, and the Nova Choir of Bolivia. Yañez‘ wind ensemble, —Chacaltaya,“ has made many European tours, including several radio and television performances. His direct influence in championing the Bolivian music scene is evident in his founding of the Society of Composers of Bolivia (SOBODAYCOM) and Performers (ABAYEM); he is also the founder of the Conservatory and Cultural Center of the Andes. Yañez also studied music therapy and scientific astrology at the Rudolf Steiner School in Berlin, which proved to be very influential on his musical compositional style. He has also participated in festivals of meditation music in India and Nepal since 1992. He conducted his first meditation and therapy chorus in Berlin, calling them —Chor Taipi.“ Yañez's compositions incorporate different styles varying from mestizo, popular, and band music, to contemporary styles of composition, experimental music, music for meditation and therapy, and soundtracks for Bolivian movies and videos. The piece discussed below is called Offering: Meditation for Solo Viola and Electro, and shows not only the composer‘s enthusiasm for music therapy and meditation, but also how he combines these elements with classical and Bolivian folk music. The piece shows his style as a contemporary composer using electronic sounds, but at the same time, using Bolivian folk material in the solo viola part.

Presentation of the Feature Work

The Offering: Meditation for Solo Viola and Electro, is one of the most important works in the Bolivian viola repertory. It was composed and premiered by Matthias Weise at Thomaskirche in Leipzig-Germany in 2001, and was hailed as a great success. In interviews with the composer, Yañez mentions the importance of the universality of music, a principle that he shares with Copland. Gerardo Yañez‘s view of this universe of music is unique, as he compares the universe (a living entity) to our tonal musical universe. The

14 universe behaves according to the physical laws of expansion, but always with a gravitational center that keeps it together. The —musical universe“ is parallel to this idea. Composers throughout time have tried to expand this tonal center and create an atonal universe separated from tonal principles. Our musical universe is tonal, and according to Gerardo Yañez, —music that does not comply with this tonal relation does not penetrate our music emotional consciousness. How many people could sing atonal melodies by Schoenberg, or Webern?“21 Yañez‘s piece is based on his ideas of meditation of our musical universe. The term —mediation“ comes from the word meddita–to think, to search a way, to search a unity with our tonal universe that is not ruled by any human system–and goes beyond the human intellect to a place where there is not time and space.The offering aspect of the piece is dedicated to all composers who try to interlace the different worlds in our universe. The electronic effect of the piece is a very interesting part of it, in that it requires the sound of the ocean. The goal is not to create a basic harmonic structure, but an entity that changes and is natural.The piece has not been created under any rule or musical technique, but with musical intuition from the heart. The Offering: Meditation for Solo Viola and Electro, contains basic rhythmic patterns of a syncopated eighth note, quarter note, eighth note, and a half note that are very typical figures in Bolivian rhythms. (compare Fig. 2 and Table 1)

Fig. 2. Gerardo Yañez: —Meditation for Solo Viola and Electro.“

21 Yañez, Gerardo. email. 14 November 2009.

15 One of the most interesting elements is how the melodic lines vary through the piece. It is also interesting that there are ten fermatas in the piece. In these ten fermatas, the violist stops playing, letting the ocean sounds fill the hall, which in turn helps both performer and audience to reach a state of meditation. The tempo is Adagio Misterioso, 61 bpm to the eighth note. The meter varies through the piece from 4/4, to 2/4, to 3/4. At bar 51, the tempo slows down to 52 bpm to the eighth note, and the composer introduces a new rhythmic motive with triplet figures. (see Fig. 3)

Fig. 3. Example of rhythmic motive. Gerardo Yañez: —Meditation for Solo Viola and Electro.“

Yañez introduces a new variant to the theme at bar 68, indicating a diminution of rhythmic patterns that leads to tempo primo in bar 74. (see Fig. 4)

Fig. 4. Example of diminution of rhythmic patterns. Gerardo Yañez: —Meditation for Solo Viola and Electro.“

The Bolivian folk tendencies are very clear in the rhythmic patterns that Yañez uses earlier in the piece. Andean music generally employs two types of rhythmic patterns: ternary and a binary rhythm that has an improvisatory essence because of its syncopated combinations. According to José Diaz Gainza, —binary rhythm is the most common stylistic feature of this music, and all early Incan rhythms begin on a strong beat.“22 The following chart shows variations on this typical rhythmic pattern:

Table 1. Sistema Musical Incasico. Diaz Gainza, José. La Paz, Editorial Puerta del Sol, 1988.

It is interesting to compare Yañez's musical notation with the chart shown above, particularly in the almost equivalent relationship between example a) in Table 1 and the first bars of his composition. (see Fig. 5)

22 Diaz Gainza, José. Sistema Musical Incasico. La Paz: Editorial Puerta del Sol, 1988.

Fig. 5. Relationship between Table 1, and Gerardo Yañez: —Meditation for Solo Viola and Electro.“

Melodically, Yañez chooses to use a mixture of pentatonic material, very typical of the Incan musical language, and new musical techniques introduced by Spanish missionaries. The final product of this musical fusion is the main musical form heard in Bolivia today. For instance, one of the most important recent books of Bolivian folk songs was written by Oscar Elías Siles, in which he presents each song with some retrospective idea of its origin. One of the songs he mentions, called —Centenario Supay,“ has a very similar rhythmic and melodic content to Yañez‘s composition. (see Fig. 6)

Fig. 6. Oscar Elías Siles. Book of songs.

Gerardo Yañez‘s work starts with a sempre con molto espressione indication. It is clear that although the tempo is mysterious and relatively slow, the expressive side of the melody has to come out. In the author‘s interviews with the composer, he mentioned the intensity of vibrato

18 as well as the intensity of dynamic levels that can be achieved by an efficient bow distribution.23 It is also worth noting that phrase endings comprise an essential element of the piece. Since the piece has an electronic background of ocean sounds, the ends of the phrases, indicated by rests, oblige the performer to wait some time before coming in to the next phrase and allow the meditative aspect of the work to come to the forefront.(see Fig. 7)

Fig. 7. Phrase endings. Gerardo Yañez: —Meditation for Solo Viola and Electro.“

—Offering: Meditation for Solo Viola and Electro,“ can be analyzed and divided into three main sections. The first section, from the opening to bar 50, acts as the exposition section. The piu lento tempo marking begins the development section, which lasts until bar 73. Finally, the last section, or coda, goes from bar 74 to the end of the piece.

The Exposition

The first phrase of the exposition finishes at bar 20. This statement shows musical lines that grow in intensity until a climax at measure 13 (C sharp) and then recede until bar 20. (see Fig. 8)

23 Yañez , Gerardo. Personal interview. 07 July 2009.

Fig. 8. Exposition. Gerardo Yañez: —Meditation for Solo Viola and Electro.“

The next section consists of two small phrases of eight bars each, with the first phrase in bar 22 to bar 30, and the next phrase in bar 32 to bar 39. The dynamics of the melodies are more expressive, from a forte at bar 23 to a piano in bar 25. (see Fig. 9)

Fig. 9. Expressive Melodies. Gerardo Yañez: —Meditation for Solo Viola and Electro.“

The melodic material slows down rhythmically in the next two phrases. The next phrase starts at bar 40 with the main melodic material, and finishes with a cadence at bar 46. The main melodic material comes back again at bar 47 and it lasts until the end of the section at bar 50. (see Fig. 10)

Fig. 10. Main Melodic Material. Gerardo Yañez: —Meditation for Solo Viola and Electro.“

The Development

This section is clearly marked by its change of rhythm and melodic material. The tempo is slower, at 52 bpm to the quarter note, and is more complex in rhythms of triplets and sixteen notes. The development starts at bar 51 and it consists of variations to the melody, this time in triplets. At bar 57, sixteenth notes appear for the first time, showing more rhythmic complexity in the variations. The intensity of the phrase seems at first to follow an arc, with the dynamic level reaching forte at bar 60, but falls to a subito piano to finish the first part of the development

22 section at bar 61.

Fig. 11. Development Section. Gerardo Yañez: —Meditation for Solo Viola and Electro.“

The second part of the development section starts at bar 64. The chromatically inflected pentatonic scale is present with a sudden sixteenth note run at bar 68. The development ends at bar 73.(see Fig. 12)

Fig. 12. Second part of the development. Gerardo Yañez: —Meditation for Solo Viola and Electro.“

23 The Coda

The coda is marked very clearly with a tempo indication of tempo primo. The figures are slower and rhythmically simpler. The highest and most expressive note happens at bar 80, and represents the highest point in the piece. The ending section is shown by a poco a poco ritardando at bar 82 that along with the rhythmic augmentation of the melodic figures adds a very relaxed end to the piece. (see Fig. 13)

Fig. 13. The Coda. Gerardo Yañez: —Meditation for Solo Viola and Electro.“

3.2 Jorge Ibáñez (b. July 9, 1960): Sonata for Solo Viola.

Jorge Ibáñez‘s music is characterized by its lyricism, clarity of form, and spontaneity. Born in La Paz, Bolivia, Ibáñez started his musical studies under the guidance of his parents, both outstanding Bolivian musicians, and later attended the National Conservatory of Música in La Paz. Upon graduation, he returned to the conservatory as an instructor before moving to the United States. He holds degrees from Longy School of Music (Masters in Piano Performance), the New England Conservatory of Music, Carnegie Mellon University, and Boston University (Graduate Studies in Composition). His principal composition teachers have been Lukas Foss, Theodore Antoniou, Leonardo Balada, John McDonald, Malcolm Peyton, and Robert Kyr. In his career as a pianist, he has spent time under the tutelage of Sally Pinkas, Gustavo Navarre, and

24 Alicia de Justiniano. Ibáñez has been the winner of several awards, including third prize in the 1998 Teresa Rivera de Stahlie National Composer Competition, Bolivia, and an Honorable Mention in the Composer Competition at Carnegie Mellon University in 1995. His resume also includes a second prize win in Bolivia's Humberto Viscarra Monje Piano Competition in 1985, as well another second prize in the Simon Bolivar National Composers Competition in 1983 in Venezuela. He performs regularly throughout South America and New England as a member of Duo Ibáñez, a violin and piano ensemble, and Ritmos 3, a violin, piano, and percussion ensemble. He has been a professor at the New World School for the Arts and Broward Community College in Florida. Currently, he teaches at Winchester Community Music School in Boston.

Presentation of the Feature Work

Ibáñez wrote his Sonata for Solo Viola in 1991, and dedicated it to the violist Bina Breitner, who premiered it at the New England Conservatory of Music in Boston. In a recent interview with the composer, Ibáñez mentions about his desire to create solo instrument compositions, in particular a polyphonic piece for the viola. He also mentioned some earlier work that he had in mind when composing this piece, especially the Bach Solo Sonatas and Partitas, as well as Eugène Ysa◊e‘s Six Sonatas for solo violin. In addition, one of the pieces that he claims as a large influence was the solo violin sonata by Béla Bartók, which he was analyzing and studying at the time of composing his own sonata for solo viola.24 The Sonata for Solo Viola is in three movements, with the first movement comprising a theme and set of three free variations. The first variation contains the main motive of chromatic notes B flat, A natural, B natural, and A flat. (see Fig.14)

24 Ibáñez, Jorge. email. 12 November 2009.

Fig. 14. The main motive of four chromatic notes. Jorge Ibáñez: —Sonata for Solo Viola.“

These variations are the result of the composer's interest at the time of exploring the constant permutation of a motive in different ways. The opening of the first movement, Lento e dolorosso, follows the tempo di ciaccona at 66 bpm to the quarter note, also used by Bartók in the first movement of his violin sonata. (see Fig. 15)

Fig. 15. Opening of the First Movement, tempo di ciaccona. Jorge Ibáñez: —Sonata for Solo Viola.“

The meter then changes from 3/4 to 4/4, and incorporates the interesting use of intervals such as augmented fourths throughout the first part. (see Fig. 16)

Fig. 16. Use of augmented fourths. Jorge Ibáñez: —Sonata for Solo Viola.“

The first variation, chromatic and expressive with contrasting dynamics, is constructed in a triple meter, and the melodic motives are based on duple patterns. (see Fig. 17)

Fig. 17. Variation I. Jorge Ibáñez: —Sonata for Solo Viola.“

The first phrase in the variation repeats the melody in two different octaves with a subtle dynamic change in the reiteration. In bar 7, the thematic material comes back featuring double stops. (see Fig. 18)

Fig. 18. Thematic Material. Jorge Ibáñez: —Sonata for Solo Viola.“

The next section starts at bar 10, and repeats earlier melodic material. This time, however, the melody starts with two eighth notes instead of quarter notes, making the thematic material metrically displaced. (compare Fig. 18 and 19)

Fig. 19. Metric displacement. Jorge Ibáñez: —Sonata for Solo Viola.“

27 At bar 13, the thematic material comes back for the last time, but instead of the typical pick-up beat used earlier in the movement, it is again metrically displaced, this time to the second beat. (see Fig. 20)

Fig. 20. Metric displacement Jorge Ibáñez: —Sonata for Solo Viola.“

Finally, the composer ends the variation with large intervals in the last section, and includes two groups of the main melodic figure of two eighth notes, this time followed by a long note at the end. (see Fig. 21)

Fig. 21. End of the Variation. Jorge Ibáñez: —Sonata for Solo Viola.“

The second variation uses triple meter material throughout, and features a constant use of leaps of augmented fourth, diminished fifth and major sevenths. (see Fig. 22)

Fig. 22. Interval leaps. Jorge Ibáñez: —Sonata for Solo Viola.“

Variation II contains four phrases, the first two phrases of which are very similar. Moreover, each one of these two phrases ends in three consecutive notes that connect them to the material that follows. The first phrase starts at bar 1 and ends at bar 6, and the second follows at bar 7, finishing at 15. The third phrase starts at bar 16 and it extends further than either of the earlier two, lasting nine measures, from bars 16 to 27. This longer nine-bar phrase connects the beginning of Variation II to its final phrase, or coda, of the Variation II. (see Fig. 23)

Fig. 23. Coda of Variation II. Jorge Ibáñez: —Sonata for Solo Viola.“

This last phrase of Variation II is one of the most interesting ones in Ibáñez‘s Sonata for Solo Viola. It starts at bar 28 and it consists of a rhythmic diminution of the same thematic material. He moves from quarter note sostenuto material to triplet groups of quarters, to eighth notes, to triplet groups of eighth notes, and finally to sixteenth notes that connect the second variation to the third variation. (see Fig. 24)

Fig. 24. Rhythmic diminution. Jorge Ibáñez: —Sonata for Solo Viola.“

Variation III is very fast with accented sixteenth note patterns, creating a virtuosic character that requires special attention to fast double stops, change of dynamics, a clear articulation, and good intonation. This difficult section leads to a tempo primo that brings back the chaconne one more time. (see Fig. 25)

Fig. 25. Variation III, tempo de chaconne.Jorge Ibáñez: —Sonata for Solo Viola.“

31 The coda of the movement finishes with fast sixteenth notes, making for one of the most interesting passages of the entire piece: it emulates the native drums in Bolivian folk music. It consists of two groups of three accented sixteenth notes followed by a group of two accented sixteenth notes. (see Fig. 26)

Fig. 26. Coda of the First Movement. Jorge Ibáñez: —Sonata for Solo Viola.“

The second movement Andante, nostalgico legato e flautato, is the movement that most brings Bolivian elements to the piece, based on folk melodies and dance-like tempos. Of a rather lyrical character, the second movement is a small dance that features some of the hallmark elements of Ibáñez‘s music: the folk dance quality, the use of modal, pentatonic fragments, and the rhythmic drive. The folk melodies used in this movement are based on what is traditionally called Huayno, a Bolivian dance in triple meter. These melodies are usually performed by high-pitched vocals, and with accompaniment by Quena, Sicus or Zampoñas, and percussion instruments. One of the most popular Bolivian Huayños is called —Carnaval Cruceño,“ and its notation is very similar to Ibáñez‘s second movement of the Solo Viola Sonata. (see Fig. 27)

Fig. 27. Traditional Bolivian dance (Huayño). O. Elías S. Carnaval Cruceño I

The movement starts with two phrases, the second in almost exact imitation in a lower octave. The two phrases lead into a Piu Mosso e animato section that introduces the second melodic idea of the movement. This second melodic material comes back three times in different textures, colors and registers. The whole tone scale is very clear through the section. (see Fig. 28)

Fig. 28. Second movement. Whole tone scale. Jorge Ibáñez: —Sonata for Solo Viola.“

33 Transition material begins at bar 25 with a series of small syncopated fragments that give the listener an impression of instability in the movement.(see Fig. 29)

Fig. 29. Transition material. Jorge Ibáñez: —Sonata for Solo Viola.“

The next section features a permutation of the main melodic material with scales of sixteenth notes, creating an intense sense of crescendo to bar 40 where the main theme is repeated, this time with sixteenth notes at bar 41. The melodic material is more intense, and finishes abruptly at bar 46. (see Fig. 30)

Fig. 30. Permutation of the melodic material. Jorge Ibáñez: —Sonata for Solo Viola.“

34 The last statement in the movement presents a special color and mystical essence. The main melody is played in pizzicato leading into the last A tempo leggero that finishes the movement. (see Fig. 31)

Fig. 31. End of the second movement. Jorge Ibáñez: —Sonata for Solo Viola.“

The third movement, in contrast to the slow second movement, recovers the chromaticism of the first movement. This final movement displays, in a manner of a perpetuum mobile, the soloistic and virtuosic possibilities of the viola. It is very interesting to observe the use of trills, in single and double stops, and the use of polyrhythm throughout. The tempo of the movement is Allegro con Spirito, with a piano sempre vivo e esspressivo dynamic. The melodic material of the first seventeen bars gives an effect of suspense in the movement. (see Fig. 32)

Fig. 32. Example of the third movement. Jorge Ibáñez: —Sonata for Solo Viola.“

At bar 18, the accented sixteenth note material of Variation III from the first movement comes back again, and it combines with the thematic material of the beginning of the third movement. (see Fig. 33)

Fig. 33. Rhythmic material of the third movement. Jorge Ibáñez: —Sonata for Solo Viola.“

Technically, this section is the most difficult of the whole piece. It presents double stops with trills (measure 37), and very fast and high scales (measures 56-57). (see Fig. 34)

Fig. 34. Performance challenges of the third movement. Jorge Ibáñez: —Sonata for Solo Viola.“

37 At bar 63, the final passage in the piece starts with a Piu mosso e vivo. The melodic material consists of sixteenth notes in chromatic scales that again combine the main motivic material of the beginning of the third movement. (see Fig. 35)

Fig. 35. Combination of the main melodic material. Jorge Ibáñez: —Sonata for Solo Viola.“

From bar 79 to bar 82, the crescendo dynamic indicates the culmination of fast passages. The movement finishes with a trill on a long note, followed by the main motivic material of the movement played for the last time. (see Fig. 36)

Fig. 36. End of the movement. Jorge Ibáñez: —Sonata for Solo Viola.“

CHAPTER 4

CONCLUSION

The Republic of Bolivia has produced important music that represents not only the essence of the people, but also their traditions, folklore, and their culture as it evolved through time. In the last decade, many artists have represented Bolivia at the highest levels as performers, composers, conductors, writers, poets, and painters. Every Bolivian artist is the result of an interesting combination of European influences and folk traditions, creating a diverse artistic culture unique to Bolivia and its people. Bolivian composers have developed and continue to develop their own art and their own style. From the very nationalistic styles of José Maria Velasco (1901-1989), Atiliano Auza (b.1928), Eduardo Caba (1890-1943), and Gerardo Yañez (b.1952), to the more romantic style of Gustavo Navarre (1931-1998), and finally to the avant-garde style of Alberto Villalpando (b. 1940) and Jorge Ibáñez (b.1960), a wide range of aesthetics are to be found. The works discussed in this treatise represent the first compositions for solo viola by Bolivian composers, as well an experimental fusion of modern composition with Bolivian folk influences. This study introduces the rich musical history of Bolivia and shows how it has contributed to the repertoire for solo viola. No better example exists of these unique elements than the aforementioned works of Jorge Ibáñez and Gerardo Yañez. While the composers and their works may be familiar within Bolivia, through continued dissemination and academic study, they will become familiar to musicians throughout the world.

APPENDIX A

PERMISSION TO QUOTE/REPRODUCE COPYRIGHT MATERIAL

Gerardo Yañez

Owner of the Copyright to the work known as: Ofrenda, Meditacion for Solo Viola and Electro.

Hereby authorize Mauricio Cespedes to use the following material as part of his treatise to be submitted to the Florida State University.

Pages

1, 2 (entire piece)

I further extend this authorization to University Microfilms International, Ann Arbor, Michigan, for the purpose of reproducing and distributing copies of the work.

APPENDIX B

PERMISSION TO QUOTE/REPRODUCE COPYRIGHT MATERIAL

Jorge Ibáñez

Owner of the Copyright to the work known as: Sonata for Solo Viola.

Hereby authorize Mauricio Cespedes to use the following material as part of his treatise to be submitted to the Florida State University.

Pages

1-8(entire piece)

I further extend this authorization to University Microfilms International, Ann Arbor, Michigan, for the purpose of reproducing and distributing copies of the work.

APPENDIX C

HUMAN SUBJECTS EXEMPT REVIEW

Human Subjects Application - For Full IRB and Expedited Exempt Review

PI Name: Mauricio Fredy Cespedes Project Title: Representative Works for Solo Viola by Bolivian Composers

HSC Number: 2009.3690

Your application has been received by our office. Upon review, it has been determined that your protocol is an oral history, which in general, does not fit the definition of "research" pursuant to the federal regulations governing the protection of research subjects. Please be mindful that there may be other requirements such as releases, copyright issues, etc. that may impact your oral history endeavor, but are beyond the purview of this office.

BIBLIOGRAPHY

Auza, Atiliano. Historia de la Musica Boliviana. La Paz: Editorial Los Amigos del Libro, 1985.

Barenboim, Daniel. El Sonido es Vida. Belaqova Documents, 2005.

Behague, Gerard. A Cultural History of Latin America: Literature, Music, and the Visual Arts in the 19th and 20th Centuries. Cambridge; New York: Cambridge University Press, 1998.

Canessa, Andrew. Natives Making Nation: Gender, Indigeneity, and the State in the Andes. Tucson : University of Arizona Press, 2005.

Cavour, Ernesto Aramayo. Instrumentos Musicales de Bolivia, La Paz: Producciones CIMA, 1994.

Diaz Gainza, José. Sistema Musical Incasico. La Paz, Editorial Puerta del Sol, 1988.

------Historia Musical de Bolivia, La Paz: Editorial America, 1996.

Elías, Manuel. Colegio Latinoamericano de Compositores. Accessed on November 4, 2009. www.colegicompositores-la.org.

Gjevre, Naomi K. Three String Quartets by Contemporary Bolivian Composers. D.M.A. diss.Florida State University, 2003.

Halperin, Donghi Tulio. The Contemporary History of Latin America. John Charles Chansteen. Durham: Duke University Press, 1993.

Kirigin Maria Angelica, Conservatorio Nacional de Musica, 100 Years. La Paz, Bolivia, 2007.

Klein, Herbert. Bolivia: The Evolution of a Multi-Ethnic Society. New York: Oxford University Press, 1982.

Nawrot, Piotr. Domenico Zipoli 1688-1726, Archivo musical de Chiquitos y Archivo Musical de Moxos Bolivia.

Olsen, Dale. Folk Music of South America-A Musical Mosaic. In Musics of Many Cultures,Elizabeth May. Berkley: University of California Press, 1983.

Pinell, A. Javier. Contemporary Compositions for violin by Bolivian Composers with an emphasis on Folk-Related influences. D.M.A. diss., Florida State University, 1999.

Solomon, Thomas James, Mountains of Song: Musical Constructions of Ecology, Place, and Identity in the Bolivian Andes, University of Texas Austin, 1997.

Slonimsky, Nicolas. Music of Latin America. New York, Thomas Y. Crowell Company, 1945.

Stobart, Henry. Music and the Poetics of Production in the Bolivian Andes. Aldershot, Hants, England; Burlington, VT : Ashgate, 2006.

Titon, Jeff Todd. Worlds of Music: an Introduction to the Music of the World's Peoples. New York, NY: Schirmer Books, 1996.

Yañez , Gerardo. Personal interview. 07 July 2009.

BIOGRAPHICAL SKETCH

Mauricio Fredy Cespedes Rivero

Mauricio Cespedes was born in Cochabamba, Bolivia, started the violin, and later the viola with his father Fredy Cespedes (Concertmaster of the Bolivian Symphony orchestra) and his mother Maria Eugenia Rivero (Principal Cello of the Bolivian Symphony Orchestra). He holds degrees from the New World School of the Arts, Michigan State University, and Florida State University where he is completing his doctoral degree under the guidance of Dr. Pamela Ryan.

Mauricio serves as Principal Viola of the Orlando Philharmonic Orchestra. He served as Principal Viola of the Bolivian National Symphony Orchestra, and for the Sinfonicum Europae Orchestra at the Millennium Concert at Avery Fisher Hall in Lincoln Center, New York, he served as Assistant Principal Viola to Cynthia Phelps. He also served as Principal Viola of the Florida State University Symphony Orchestra. His teachers include Richard Fleishman, Robert Dan, Charles Pikler, Sylvia Rosenberg, John Graham, Anton Nel, Masao Kawasaki, James Dunham and Pamela Ryan. As a chamber musician, Mauricio has participated in the Mimir Chamber Music Festival and Aspen Music Festival‘s Advanced String Quartet Studies programs, has perform with the Michigan Chamber Music Society, and has tour Latin America, Europe and Asia.

Mauricio has been a winner of the 2002 New World School of the Arts Concerto Competition, Ibero American Symphony Competition, and participated in the 2005 Osaka International Chamber Music Competition, sponsored by the Japan Chamber Music Foundation. His solo performances include concerts with the New World School of the Arts Symphony Orchestra, National Symphony Orchestra of Bolivia, El Alto Symphony Orchestra, International

55 Festival Orchestra in Bolivia, El Festival del Sol Symphony Orchestra, Camerata Concertante of Cochabamba, and the National Conservatory of Bolivia Symphony Orchestra.

During the summer, Mauricio serves as a member of the Faculty at Blue Lake Fine Arts Camp in Michigan. Besides music, Mauricio holds a degree in Environmental Engineering from the Technological Bolivian University, with an emphasis in Management of Protected Areas in Bolivia.

Mauricio has two younger sisters, Adriana who plays Bass, and Wara who plays Violin.