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A Catalog of Chamber Music Works for Cello in Trio, Quartet

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A Catalog of Chamber Music Works for Cello in Trio, Quartet A Catalog of Chamber Music Works for Cello in Trio, Quartet, and Quintet Formats from Colombian Composers Who Lived During the Late Nineteenth, Twentieth and Twenty-First Centuries Item Type text; Electronic Dissertation Authors Mejía, Juan David Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 20:48:10 Link to Item http://hdl.handle.net/10150/636629 A CATALOG OF CHAMBER MUSIC WORKS FOR CELLO IN TRIO, QUARTET, AND QUINTET FORMATS FROM COLOMBIAN COMPOSERS WHO LIVED DURING THE LATE NINETEENTH, TWENTIETH, AND TWENTY-FIRST CENTURIES by Juan David Mejía Londoño ————————————————————— Copyright © Juan David Mejía Londoño 2019 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2019 3 ACKNOWLEDGMENTS I want to express my deepest gratitude to the many people who have made the process of obtaining this degree a possibility. I would like to thank my parents, Angela María Londoño and Gilberto Mejía for their unconditional love and support throughout my music career. I would also like to thank my wife, Carla Fabris for her infinite patience, love, and support. I also thank my beloved siblings, José Luis Mejía and Valentina Mejía, as well as my extended family. A special thanks to my mentor and cello professor Dr. Theodore Buchholz for the time and guidance invested in me during this doctoral program. I would also like to acknowledge and thank the other two members of my doctoral committee Dr. Philip Alejo and Professor Timothy Kantor. Last but not least, I want to thank other mentors I now have the fortune to call friends: Dr. Meg Lota Brown, Boyer Rickel, and Kathleen Krause who in various ways made this accomplishment a reality. 4 DEDICATION This document is dedicated to my parents and to the loving memory of Olga Cecilia Londoño and Simón Mejía. 5 TABLE OF CONTENTS MUSICAL EXAMPLES ................................................................................................................................ 6 ABSTRACT ..................................................................................................................................................... 7 I. INTRODUCTION: ABOUT THE CATALOG ..................................................................................... 8 Statement of Primary Thesis ................................................................................................................ 8 Intent and Scope of the Study .............................................................................................................. 8 Review of the Scholarly Literature .................................................................................................. 13 II. THE RESEARCH PROCESS .............................................................................................................. 18 Methodology .............................................................................................................................................. 18 Procedure ................................................................................................................................................... 21 III. CATALOG OF COMPOSITIONS .................................................................................................... 23 IV. COMPARISON OF FOUR WORKS THAT REPRESENT THE VARIETY IN COMPOSITIONAL STYLES FOUND IN THIS CATALOG ............................................................ 71 Background ................................................................................................................................................ 71 Adolfo Mejía ............................................................................................................................................... 75 About the Composer ............................................................................................................. 75 About the Work ...................................................................................................................... 77 Antonio María Valencia ......................................................................................................................... 82 About the Composer ............................................................................................................. 82 About the Work ...................................................................................................................... 85 Blas Emilio Atehortúa ............................................................................................................................ 88 About the Composer ............................................................................................................. 88 About the Work ...................................................................................................................... 91 Víctor Agudelo .......................................................................................................................................... 95 About the Composer ............................................................................................................. 95 About the Work ...................................................................................................................... 97 CONCLUSION .......................................................................................................................................... 103 APPENDIX A – LIST OF ABBREVIATIONS .................................................................................. 105 Instrument Abbreviations ................................................................................................................ 105 APPENDIX B – LIBRARIES AND PUBLISHERS CONTACT INFORMATION .................. 107 BIBLIOGRAPHY ..................................................................................................................................... 109 6 MUSICAL EXAMPLES EXAMPLE 2.1. MODEL OF ENTRY ............................................................................................................... 19 MUSICAL EXAMPLE 4.1. MOST COMMON POLYRHYTHM OF THE BAMBUCO ......................................... 79 MUSICAL EXAMPLE 4.2. MOST COMMON PASILLO RHYTHM .................................................................. 80 MUSICAL EXAMPLE 4.3. VARIATIONS OF THE PASILLO RHYTHM ........................................................... 80 MUSICAL EXAMPLE 4.4. CANDITA OPENING (MM. 1-7) ......................................................................... 81 MUSICAL EXAMPLE 4.5. DESCENDING FIFTHS (BASS LINE OF THE PIANO) IN THE B SECTION (MM. 17-25) ................................................................................................................................................. 81 MUSICAL EXAMPLE 4.6. VARIATION OF THE OPENING MELODY (MM. 33-40) ................................... 82 MUSICAL EXAMPLE 4.7. PHRYGIAN MELODY IN THE STRINGS (MM. 1-4) ........................................... 86 MUSICAL EXAMPLE 4.8. DORIAN MELODY IN THE CELLO (MM. 9-10) FOLLOWED BY A QUICK MODULATION BACK TO E MINOR (MM. 11-12) .............................................................................. 86 MUSICAL EXAMPLE 4.9. CHROMATIC HARMONIES IN THE PIANO, SEMITONALLY DESCENDING CHORDS (MM. 30-31) ........................................................................................................................ 87 MUSICAL EXAMPLE 4.10. WHOLE TONE HARMONIES (MM. 34-36) ................................................... 87 MUSICAL EXAMPLE 4.11. DIMINISHED THIRDS IN THE VIOLIN, MINOR SECONDS IN THE CELLO, TRITONES BETWEEN THE B IN THE CELLO AND F IN THE VIOLIN (M. 56) .................................. 87 MUSICAL EXAMPLE 4.12. ALEATORIC COMPOSITIONAL TECHNIQUES (MM. 9) .................................. 92 MUSICAL EXAMPLE 4.13. A TEMPO B SECTION (MM. 13-20) .............................................................. 93 MUSICAL EXAMPLE 4.14 CELLO CADENZA (MM. 39) ............................................................................. 94 MUSICAL EXAMPLE 4.15. REPETITIVE DOUBLE NEIGHBOR FIGURE IN THE PIANO (MM. 6-11) .... 100 MUSICAL EXAMPLE 4.16. ATONAL MELODY IN THE CLARINET (MM. 21-34) ................................. 101 MUSICAL EXAMPLE 4.17. RETURN OF THE DOUBLE NEIGHBOR MOTIVE (MM. 54-58) ................. 101 7 ABSTRACT When Nobel Prize-winning author Gabriel García Márquez was asked about magical realism, he replied that surrealism, the main component of magical realism, came from the reality of Latin America.1 It is in this same manner that the composers in this catalog have expressed their reality - through a chorus of many different sounds and rhythms distinct to Colombia. The purpose of this study is to discover and promote Colombian chamber music from 1880 to the present. This has been accomplished by researching trio, quartets, and quintets in which the cello is included as part of the ensemble. A comprehensive catalog of fifty-three composers and 126 chamber music works found while researching in Colombia are presented. Pertinent information on composers and their works, including instrumentation,
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