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, 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

Juan David Mejía Londoño

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

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.

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

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, publishers, and libraries where the compositions can be found, is included in this project. Finally, this study discusses four works from the catalog that serve as examples of the diversity of styles and wealth of repertoire existing in Colombia.

Appendices to this research include a list of instrument abbreviations, as well as a list of publishers and libraries with their respective contact information. As significant research of Colombian chamber music, this catalog intends to introduce and facilitate these compositions, exposing and cultivating Latin American chamber music repertoire.

1 William Kennedy, “The Yellow Trolley Car in Barcelona, and Other Visions: Faulkner Created Yoknapatawpha County. Welcome to García Márquez' Macondo,” The Atlantic Monthly, January 1973, accessed February 22, 2019, https://www.theatlantic.com/past/docs/issues/ 73jan/kennedy.htm. 8

I. INTRODUCTION: ABOUT THE CATALOG

Statement of Primary Thesis

This research presents the first catalog of chamber music compositions including the cello from Colombian composers who lived from the late nineteenth century to the present. The catalog will inform students, performers, and educators about the existence of an unfamiliar repertory of chamber music that exhibits both musical quality as well as stylistic and technical diversity. Further study of this music could significantly elucidate our understanding of chamber music produced by Colombian composers. Publishing this comprehensive and practical catalog thus promotes Latin American chamber repertory as a valuable addition to the existing literature.

Intent and Scope of the Study

Latin American classical music has been long neglected in concert halls and other performance venues throughout the world. A desire to perform “new” repertoire, combined with the availability of music from the rich Colombian music tradition, will lead interested performers to find alternatives to the compositions of the dominant Western classical tradition. Unfortunately, as Latin American music has become more prominent in concert repertoire worldwide, most of the compositions performed are by the same few composers, namely Heitor Villa-Lobos,

Alberto Ginastera, Astor Piazzolla, Silvestre Revueltas, and Carlos Chávez. The 9 failure to offer a more diverse repertoire is directly related to the lack of knowledge of Latin American composers and their work.2

Compositions of Western origin traditionally dominate both orchestra and chamber music concert series. When Latin American composers are featured, it is usually the same aforementioned individuals whose works are performed.

Lamentably, Latin American cultural and musical institutions have also failed to promote their composers both financially and through concert programming. Only recently, with the help of celebrated international figures like Eduardo Mata (former music director of the Dallas Symphony), Gustavo Dudamel (current music director of the Los Angeles Philharmonic), and Andrés Orozco Estrada (former music director of the Houston Symphony and current conductor of the Vienna Symphony), have the works of other leading Latin American composers been programmed, exposing their music to international audiences. These audiences have sometimes assumed that all Latin American composers fit a certain nationalistic stereotype and have "failed to look at this music from an objective point of view, always comparing it with that of European and sometimes American composers."3

British reviewer, Keith Potter's attitude is typical of European critics' reception of Latin American composers:

If Latin American composers are going to challenge the major European forms, whether with nationalistic materials or avant-garde ones, they must

2 Ricardo Lorenz, "Voices in Limbo: Identity, Representation, and Realities of Latin American Composers" (PhD diss., University of Chicago, 1999), 3, accessed June 23, 2018, ProQuest Dissertations & Theses Global. 3 Germán Marcano, Música latinoamericana para violonchelo: catálogo de obras (Caracas: Ministerio de Educación, Cultura y Deportes, Viceministerio de Cultura, Consejo Nacional de la Cultura: Fundación Vicente Emilio Sojo, 2004), 4. 10

surely provide a formally convincing modification of their models if they don't choose simply to follow them straightforwardly.4

Venezuelan scholar and cellist Germán Marcano has actively challenged these generalizations of Latin American music, insisting that “the music of Latin America stands for itself as an independent entity, which should be taken for what it is. In this way a true appreciation of this music can be made.”5

Another consideration, perhaps the most serious, that hinders the acceptance of Latin American music, is the lack of organized research and knowledge on the subject. Information is hard to find, incomplete, and sometimes inaccurate. The quantity and quality of information cannot be compared to what is known of North

American and European music, making it an arduous task for scholars to obtain recognized academic achievement. Some Latin American governments have more actively encouraged and provided sponsorship of their music and composers than others. Mexico, Argentina, Chile, and Brazil offer more developed scholarship, research programs, better organization, and superior information on their composers and their musical traditions.

Although significant efforts have been made, the information available is still scant, incomplete, and for the most part, outdated. It is of the utmost importance to conduct this kind of study in order to expose different audiences to the richness of the Latin American classical music tradition. These cataloging studies intend to further research the works of other scholars who previously investigated the topic

4 Keith Potter, "Music Review," The Musical Times 130, no. 1760 (1989): 627, accessed June 23, 2018, www.jstor.org/stable/965572. 5 Marcano, Música latinoamericana para violonchelo, 5. 11 in hopes of revealing and expanding the knowledge of this unique repertoire. As a cellist from Colombia, the author presents this study as a personal obligation to research his musical background.

If Latin American musicians and composers seek broader recognition, then a more collaborative effort must be implemented to inform the world of these rich musical traditions. This project is intended to be a resource to aid this pursuit, serving to facilitate the research of performers, professors, and music students. The catalog will offer these individuals alternatives to standard repertoire, introducing them to music that is exciting, even if purely for the fact that it is still unknown.

While conducting research in Colombia, this author worked with esteemed composer Andrés Posada. Mr. Posada completed his composition studies in New

York and is currently a professor at the Universidad EAFIT (Escuela de

Administración, Finanzas e Instituto Tecnológico), home to the most recognized music school in Medellín. Mr. Posada kindly gave the author the names and contact information of more than forty other composers. He connected the author with

Mexican scholar and cellist Javier Arias, who teaches cello at EAFIT. Mr. Arias is also currently finishing a Ph.D. at the UNAM (National Autonomous University of

Mexico). During the meetings held with professor Arias, it was apparent that the topic of our doctoral documents shared similarities. Mr. Arias' doctoral thesis will result in a catalog of works for solo cello, duets with cello, and cello concertos by

Colombian composers who lived in the twentieth and twenty-first centuries. It is expected that Arias’ dissertation will be published in the near future; his work 12 guided the author towards significant resources and places to look for related information.

There have been similar studies completed about composers from other countries in Latin America. These are mostly dissertations and doctoral documents from Latin American authors studying at North American universities. There is an existing catalog available about the music for solo cello from Argentina.6 There are also catalogs featuring orchestral music of Latin America,7 as well as a survey of chamber music and chamber music groups from Peru.8 These cataloging efforts help to overcome the neglect Latin American music has encountered, “the voices in limbo” that, as Ricardo Lorenz has noted, are waiting to be heard.9 The author believes that a catalog of Colombian chamber music will contribute significantly to the growing body of scholarship on Latin American classical music.

This study will encompass the chamber music works of Colombian composers from the second half of the nineteenth century to the present. Before

1850 there was considerable classical music activity in Colombia, but most of the composers were of European descent and their music was mainly written for use in the Catholic Church. By the second half the nineteenth century, Colombian composers began leaving the country to pursue training in Europe, where chamber

6 Daniel Eugenio Gasse, “Cello Music Written by Argentine Composers: An Annotated Catalog" (DMA diss., University of Illinois 1993), accessed June 24, 2018, ProQuest Dissertations & Theses Global. 7 Andrés Felipe Jaime, “Orchestral Music of Latin America: A Catalog for Performers” (DMA doctoral essay, University of Miami, 2014), accessed June 24, 2018, ProQuest Dissertations & Theses Global. 8 Guillermo Roberto Gonzáles, “Contemporary String Chamber Music of Perú: Survey and Annotated Bibliography” (DMA doctoral essay, University of Miami 1994), accessed June 24, 2018, ProQuest Dissertations & Theses Global. 9 Lorenz, "Voices in Limbo,” 6–10. 13 music traditions were already well established. Perhaps exposure to the great works of Haydn, Mozart, and Beethoven awakened Colombian composers' interest in writing chamber music. While the author did find earlier pieces of chamber music in

Colombia, no compositions dating from before the second half of the nineteenth century will be cataloged.

This catalog will feature the music of composers native to Colombia or composers who wrote music while residing in Colombia. A further limit is that this study only features chamber works for three to five players in which the cello is included. Limiting the scope of the work to repertoire including cello is due to the fact that cello is the area of expertise of the author. Exploring all the chamber music composed in Colombia between the abovementioned dates is outside the scope of this doctoral document.

This research is intended for individuals interested in adding Colombian chamber music to the repertoire of Latin American music; the study catalogs both published and unpublished works, informing users of the existence of this literature.

Many of these works remain unpublished and archived in libraries as manuscripts.

Others have not yet been published but are part of the personal collection of the composers.

Review of the Scholarly Literature

A systematized categorization of major Colombian chamber works does not exist. The information and musical scores are scattered and difficult to find. This study offers scholars a resource for further researching Latin American and 14

Colombian chamber music. These types of organizational studies are vital to expose, cultivate, and preserve musical traditions.

Despite the fact that a detailed catalog of Colombian chamber music has not previously been published, similar works facilitated the process by providing information on Colombian composers and serving as model for this author's catalog.

These works have become primary sources of information for performers and researchers of Latin American music. Among these recognized works are the

Diccionario de compositores mexicanos de música de concierto: siglo XX10 (Dictionary of Mexican Concert Music: Twentieth Century Composers), Enciclopedia de la música en Venezuela11 (Encyclopedia of Venezuelan Music), and the journal Revista Músical

Chilena12 (Chilean Music Journal).

The Organization of American States and the Sociedad General de Autores y

Editores Españoles (General Society of Spanish Authors and Editors) have also made considerable efforts to develop, organize, cultivate, and preserve the research of

Latin American music. In 1999, the Spanish Society of Authors and Editors published the Diccionario de la música española e hispanoamericana (Dictionary of

Spanish and Hispano-American Music). From 1955 to 1979, the Organization of

American States contributed to the subject with Composers of The Americas:

Biographical Data and Catalogs of their Works, an outstanding source for Latin

10 Eduardo Soto Millán, Diccionario de compositores mexicanos de música de concierto: siglo XX (México D.F.: Sociedad de Autores y Compositores de Música, 1996). 11 José Peñin, Walter Guido, Enciclopedia de la música en Venezuela (Caracas: Fundación Bigott, 1998). 12 Universidad de Chile, Revista Músical Chilena, digital library, accessed June 29, 2018, http://www.revistamusicalchilena.uchile.cl/index.php/RMCH/issue/archive. 15

American Music. The Latin American music centers at the University of Texas at

Austin and Indiana University have also contributed significantly towards the cultivation and preservation of this music.13

The largest and most complete source of these works is Composers of the

Americas: Biographical Data and Catalogs of Their Works.14 The Pan American Union published this nineteen-volume journal that catalogs the works of many composers of the Americas (North, Central, and South). Unfortunately, the information is outdated. The first volume was published in 1955 and its last volume was published in 1979. This resource mainly lists the prominent composers of the time, excluding many worthy composers. A further problem is that the information is very narrow in relation to the subject, as the volumes attempts to organize the music of composers from thirty-five different countries. Despite the size of this work, only thirteen Colombian composers were cataloged, compared to the 120 composers from the United States. Other countries also had superficial representation, including Costa Rica, with only three composers listed, and Bolivia, with just one cataloged composer.

The Diccionario de la música española e hispanoamericana15 is yet another extensive work. This ten-volume study, published in 1999 by the Sociedad General de Autores y Editores and sponsored by the Ministry of Culture and Education of

13 Marcano, Música latinoamericana para violonchelo, 12. 14 Pan American Union Music Section, Composers of the Americas: Biographical Data and Catalogs of Their Works (Washington D.C: General Secretary of the Organization of American States, 1955-79). 15 Emilio Casares and José López-Calo, Diccionario de la música española e hispanoamericana (Madrid: Sociedad General de Autores y Editores, 1999). 16

Spain, offers a detailed biography of a large number of composers from Spain and

Latin America. Nevertheless, because of the massive scope of this study, many

Colombian composers have been omitted. The more recognized composers have data entries listing some of their works, but not all composers presented in the dictionary have such complete entries. This source was useful in providing biographical data.

One of the first documents covering the Latin American cello repertoire is

Germán Marcano’s doctoral dissertation, A Catalog of Cello Music by Latin American

Composers.16 Marcano’s work was useful by providing a model for organizing and categorizing the repertoire. Marcano’s research while a student at the University of

Wisconsin, later published as a book, has become a primary source for cellists venturing into Latin American repertoire. His catalog was a starting point in finding possible Colombian composers who wrote chamber music. Similar to the Pan

American Union catalog, Marcano’s subject is vast. Even though he dedicated a chapter of his book to each Latin American country, some countries, including El

Salvador, Honduras, and Paraguay were not included. The chapter on Colombian repertoire lists only nine composers and eighteen works, which barely scratches the surface of an expansive repertoire. The limitations of this source also demonstrate that there is much work to be done in discovering and categorizing this musical literature.

16 Germán Eduardo Marcano, "A Catalog of Cello Music by Latin American Composers" (DMA diss., The University of Wisconsin, 2001), accessed June 30, 2018, ProQuest Dissertations & Theses Global. 17

There are other doctoral documents similar to Marcano’s that have attempted to bring this repertoire to light. Latin American Women Composers for

Cello or Chamber Music Which Includes Cello17 is a doctoral document written at

Boston University by Darilyn Manring. This study is similar in scope to Marcano's, but with a more specific subject, the under-representation of women composers.

Two valuable sources were Historia de la música en Colombia18 by José

Ignacio Perdomo and La cultura musical en Colombia: historia extensa de Colombia19 by Andrés Pardo Tovar. Both books contain comprehensive information and share similar content. However, as the title suggests, Tovar's extensive book on the musical history of Colombia has a broader scope and is more detailed than that of

Perdomo. Tovar takes the reader through music history, providing in chronological order biographical entries of Colombian composers while listing some of their compositions. One of the limits of this extensive work, apart from being outdated, is that the book is conceived in a narrative format and has no numerical listings or catalog entries of the composers' works. Nevertheless, both of these sources have been exceedingly helpful in finding bibliographical data and historical accounts of the lives of the composers presented in this study.

17 Darilyn Manring, “Latin American Women Composers for Cello or Chamber Music Which Includes Cello” (DMA diss., Boston University, 1999), accessed June 30, 2018, ProQuest Dissertations & Theses Global. 18 José Ignacio Perdomo Escobar, Historia de la música en Colombia, 5th ed. (Bogotá: Plaza & Janes, Editores-Colombia, 1980). 19 Andrés Pardo Tovar, “La cultura musical en Colombia” in Historia extensa de Colombia, ed. Luis Martínez Delgado, vol. 6 (Bogotá: Ediciones Lerner, 1966). 18

II. THE RESEARCH PROCESS

Methodology

This catalog consists of the works of fifty-three composers and 126 chamber music works written in Colombia from 1880 to the present. The catalog is organized alphabetically by the last name of the composer. The dates of the composer, as well as the dates of their works, will be part of each entry. Publisher, duration of the work, number of movements and their instrumentation will also be included as well as any additional information that can be of use to readers of this study.

Despite all the efforts to present each of the entries in as detailed and updated fashion as possible, some entries may offer incomplete information due to insufficient and missing data from primary sources.

The following is the format for each entry in its most complete form:

Model of Entry: Composer (Composer’s dates)

Bio Title of the work Date Instrumentation Publisher Additional information 19

Example 2.1. Model of Entry

Noguera Palau, Carolina (b. 1978)

Carolina Noguera is the current compositional chair at the Pontificia Universidad Javeriana. Noguera’s early piano studies were under Alba Strada, and it was on this teacher’s recommendation that she matriculated to the Antonio María Valencia Conservatory to study composition and piano with Marjorie Tanaka, Svetlana Korjenko, and Verónica Ramírez. For her undergraduate studies Noguera moved to Bogotá to study composition at Javeriana University with Guillermo Gaviria. In 2005, Noguera received a scholarship to study composition at the Royal Birmingham Conservatory with Richard Causton, Lamberto Coccioli, and John Woorlich. She holds a Ph.D. from that institution. Her works have been performed in Colombia, Denmark, the United Sates, and England.20

Quattour Verba 2006 String Quartet (2 Vln, Vla, Vlc) BabelSCORES ISMN: 979-0-2325-1551-9 Approx. Duration 15’

Composer’s name will appear in bold letters alphabetically by the last name.

Latin American names can be confusing for non-native users; it is relatively common to find two names followed by two last names. When the composer has two last names, the name will be cataloged under the first last name, e.g., Rodolfo Acosta

Restrepo will be indexed under the letter "A." If the composer has a middle name, the name will still be indexed under the last name. Finally, if the name includes the preposition "de" the name will be indexed with the first letter that follows the preposition, e.g., Manuel Jorge de Elias Mondragon will be indexed under the letter

"E."

20 “Carolina Noguera Palau,” BabelScores, accessed June 22, 2018, https://www.babelscores.com/CarolinaNogueraPalau.

Dates of birth and death will appear in parentheses and next to the composer’s name.

Short biographical entry will appear below the composer's name. The data from these entries were culled from biographical books or dictionaries and will be cited. If no information was found for this category, it will be specified at the beginning of each entry.

Title of the work will appear in bold italic letters verbatim. Translations will not be included.

Date of the work will appear below the title of the work without parentheses. If no information was found for this category, it will be specified for each entry.

Number of movements will be displayed in vertical format. Titles of movements will appear verbatim. If the work has no separate movement titles, this category will be omitted.

Instrumentation will be specified for both conventional and unconventional formats. Instrumentation will appear in standard score abbreviation form. However, a list of instrument abbreviations is attached at the end of the document.

Publisher will list who published the work. If the composition is published the corresponding data will appear. If the composition has not yet been published, a

"Not Published" note will appear on the entry. If the music was found as a manuscript the abbreviation “MS" will appear with the proper information on where the manuscript was found. A list of publishers will be provided in this study to facilitate the user to find the music for which they are looking. 21

Additional information may include but is not limited to recordings, commissioner, or prizes that the composer or the composition has been awarded.

Procedure

While looking for Colombian composers and their chamber works, the author encountered challenges due to availability of information. The author must clarify that there is information on the subject, but as mentioned before, the information is scattered and disorganized. In order to collect the information provided in this catalog, the author had to physically search in major public libraries and universities throughout Colombia, but mainly in the cities of Bogotá and Medellín, as these cities have substantial centers of musical research. There were, of course, other sources consulted including catalogs of instrumental repertoire, concert programs, general music dictionaries, private and public music collections, biographical texts, music publishers, and some of the composers' professional websites. By using all of these tools, the author came across a sizeable quantity of material suitable for this study.

Other useful sources of information were uncovered by having conversations with composers. Andrés Posada, mentioned in the introduction, is one of the most influential living composers of Colombia. Mr. Posada is the founder of the composition program and remains the principal professor of composition at

Universidad EAFIT. He spent a number of sessions conversing with this author about Colombian composers and their music. Many of the works presented in this catalog were collected through personal communications with the composers. 22

Sebastian Mejía, a musicologist who teaches a class on Colombian music history at EAFIT, kindly pointed the author in the direction of two scholars who became primary sources for this study: José Ignacio Perdomo and Andrés Pardo

Tovar. Mr. Mejía also helped the author to gain access to important centers of music research in Colombia: the archives of the EAFIT library in Medellín, the center of music documentation in the Colombian National Library, and the Luis Ángel Arango

Library in Bogotá.

Javier Arias, mentioned in the introduction of this document, is the current cello professor at EAFIT and is writing a catalog on Colombian cello solo repertoire.

The conversations held with Arias in Colombia were crucial for finding sources and composers to start this study. This project came to fruition with the help of composers, musicologists, and institutions from Colombia who shared their enthusiasm for the realization of this catalog and offered the sources necessary to find the information for the study. 23

III. CATALOG OF COMPOSITIONS

Acosta de Báron, Josefina (1897-Unknown)

Composer and pianist Josefina Acosta began her musical studies at the Beethoven Academy in Bogotá in 1905. By 1912, she studied piano with Horacio Alarcón, and composition with Guillermo Uribe Holguín. She moved to Spain to finish her musical studies at the Conservatori Superior de Música del Liceu in Barcelona. In 1934, she returned to Colombia to become a piano professor at the Ibagué Conservatory, retiring in 1954.21

Cigueñas 1920 Trio (Sop, Vlc, Pn) I. Romanza Not Published MS: BLAA MI1450 Text by Guillermo Valencia

Agudelo, Víctor (b. 1979)

Víctor Agudelo is a professor of composition and music theory at the EAFIT University, the school where he obtained his bachelor’s degree. He moved to the United States to further his musical education and received a D.M.A. in composition from Memphis University in 2008. His mentors include Andrés Posada, Kamran Ince, John Baur, and Kraig Williams. He has won numerous compositional prizes including the 2016 Houston Symphony Orchestra Young Composer Award with his piece El Sombrerón.22

Rosalbita 2018 String Quartet (2Vln, Vla, Vlc) Filarmonika Music Publishing Approx. Duration 6´

21 Emilio Casares and José López-Calo, Diccionario de la música española e hispanoamericana (Madrid: Sociedad General de Autores y Editores, 1999-2002), 44. 22 “Víctor Agudelo,” composer’s website, accessed January 5, 2019, https://www.victoragudelo.co/bio. 24

Grand Prix 2007 Trio (Pn, Cl, Vlc) I. On Your Mark, Get, Set,...Go II. Pit Stop III. Checkered Flag Filarmonika Music Publishing Approx. Duration 6´

Mazorca a $1000 Pesos 2006 Trio (Cl, Vcl, Pn) I. Preludio II. Desplazamiento Fúnebre 1 III. Cerro Nutibara IV. Desplazamiento Fúnebre 2 V. Cerro Monserrate VI. Desplazamiento Fúnebre 3 VII. Cerro La Popa Filarmonika Music Publishing Approx. Duration 25’ Commissioned by Trio Montecino

Kaleidoscopio 2005 Trio (Vln, Vlc, Pn) Filarmonika Music Publishing Approx. Duration 12´

Macondo 1999 String Quintet (2Vln, Vla, Vlc, Db) I. Consevadores II. Liberales III. Liberales-Conservadores Filarmonika Music Publishing Approx. Duration 10´ 25

Ángel, Amparo (b. 1950)

Amparo Ángel is a well-known composer and pianist in Colombia. She received all her musical training in her native country, studying in some of the most important conservatories. She studied composition at the National Conservatory of Colombia with Luis Antonio Escobar and Blas Emilio Atehortúa.23

Trio, op. 32 2007 Trio (Pn, Vln, Vlc) I. Allegro Enérgico II. Romanza III. Rondó Not Published MS: BNC (Centro de Documentación) PAR-EDIT-844 Approx. Duration 30’ Commissioned by the National Bank of Colombia

Atehortúa, Blas Emilio (b. 1943)

Blas Emilio Atehortúa is considered among the most significant composers of Colombia. Atehortua studied with internationally acclaimed composers and representatives of nineteenth century music including Alberto Ginastera, Iannis Xenakis, Oliver Messiaen, and Aaron Copland. Atehortua is also the most prolific Colombian composer with more than three hundred works. His compositional style is influenced by that of his main mentor Ginastera and his idol Bela Bartók. Upon his return to Colombia he taught at major music schools in cities such as Popayán, Medellín, Ibague, and Bogotá where he directed the National Consevatory from 1973-1978.24

23 “Amaparo Ángel,” composer’s website, accessed January 5, 2019, https://www.amparoangelcompositora.com/biography. 24 Ellie Anne Duque, “Atehortúa, Blas Emilio,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed January 5, 2019, https://www.oxfordmusiconline.com/grovemusic. 26

Cuarteto de Cuerdas No. 1, op. 7 1960 String Quartet (2Vln, Vla, Vlc) I. II. III. Not Published MS: In possession of the composer Approx. Duration 20’

Cuarteto de Cuerdas No. 2, op. 9 1961 String Quartet (2Vln, Vla, Vlc) I. II. III. VI. MS: In possession of the composer Approx. Duration 25’

Camarae Musica 1962 Quintet (Vln, Vlc, Trp, Pn, Perc) I. Preambulum et Fuga II. Insinuatio III. Festivus Not Published MS: BNC (Centro de Documentación) M1138.A864/CA Approx. Duration 10’

Movimiento para violin, cello y piano, op. 38 No. 1 1969 Trio (Pn, Vln, Vlc) Not Published MS: In possession of the composer

Movimiento para violín, violonchelo y piano, op. 38 No. 2 1969 Trio (Pn, Vln, Vlc) Not Published MS: In possession of the composer 27

Variaciones sobre un Bunde del Pacífico Colombiano, op. 57 1975 Piano Trio (Pn, Vln, Vlc) Not Published MS: In possession of the composer Approx. Duration 13’

Cuarteto de Cuerdas No. 3, op. 68 1977 String Quartet (2Vln, Vla, Vlc) Not Published MS: In possession of the composer

Concertante Cuatro para violín, violonchelo y clavicémbalo, op. 75 1978 Trio (Hrpsd, Vln, Vlc) Not Published MS: In possession of the composer

Cuarteto de Cuerdas No. 4, op. 87 1979 String Quartet (2Vln, Vla, Vlc) Not Published MS: In possession of the composer Approx. Duration 15’

Cinco Ofrendas para Cuarteto de Cuerdas, op. 131 1984 String Quartet (2Vln, Vla, Vlc) Not Published MS: BLAA MI1685

Cuarteto de Cuerdas No. 5, op. 198 1998 String Quartet (2Vln, Vla, Vlc) I. Preambulo II. Scherzo-Bambuco III. Expresivo IV. Ritmico a la Rústica Not Published MS: BLAA MI3903 Commissioned by the Bank of the Republic Premiered by Cuarteto Latinoamericano Approx. Duration 25’ 28

Quinteto para cuerdas y clarinete, op. 247 2015 Quintet (Cl, 2Vln, Vla, Vlc) I. Diálogos – Cadenza II. Scherzo III. Andantino IV. Finale Not Published MS: In possession of the Composer Approx. Duration 20’

Bermúdez Silva, Jesús (1884-1969)

Jesús Bermúdez Silva received his early musical training in Bogotá at the National Conservatory of Music where he studied violin and composition with Guillermo Uribe Holguín. In 1929, he moved to Spain to study composition with Conrado del Campo at the Conservatory of Madrid. He returned to Colombia in 1943 to teach in various conservatories including the Escuela Normal de Tunja, The Regional Conservatory of Tolima at Ibague, and the National Conservatory in Bogotá. He was a representative of the Colombian nationalistic movement with various pieces inspired by traditional Colombian music.25

Trio No.1 en Do mayor 1943 Trio (Pn, Fl, Vlc) I. Allegro II. Moderato III. Andante IV. Adagio Not Published MS: BNC (Centro de Documentación) M320.B516/TR Approx. Duration 15’

25 Robert Stevenson, “Bermúdez Silva, Jesús,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed January 5, 2019, https://www.oxfordmusiconline.com/grovemusic. 29

Cuarteto de Cuerdas en Re mayor 1947 String Quartet (2Vln, Vla, Vlc) I. Lento II. Allegro III. Andante IV. Scherzo V. Final Not Published MS: PCAC Approx. Duration 23’

Trio No. 2 en Sol menor 1949 Piano Trio (Pn, Vln, Vlc) I. Allegro II. Andante III. Final Not Published MS: PCAC Approx. Duration 14’

Betancourt Chavarro, Gerardo (no dates found)

There is not much information on the life of Gerardo Betancourt Chavarro. His name appears in three different documents from the National Radio of Colombia, the Bogotá Philharmonic, and the National Library archives as the author of Pasillo Elegiaco, op. 42, Cuarteto en un Movimiento (perhaps the same work), and other works for orchestra and piano.26

Cuarteto en un Movimiento 1970 String Quartet (2Vln, Vla, Vlc) I. Allegro con Brio/ casi un Pasillo Not Published MS: BNC (Centro de Documentación) M452.B562/CU Approx. Duration 15’

26 Casares and López-Calo, Diccionarion de la música española e hispanoamericana, 428. 30

Biava Ramponi, Pedro (1902-1972)

Pedro Biava Ramponi, a native of Italy, studied conducting, clarinet, and composition at the Santa Cecilia Conservatory in Rome. He arrived in Barranquilla, Colombia in 1926. There is no information regarding his musical and artistic activity before his arrival in Colombia. His known works were all composed in Colombia between the dates of his arrival and his death. He was a major musical figure in the city of Barranquilla where he taught at the Atlántico University and directed the Philharmonic Orchestra of the city.27

Anapesto 1933 String Quartet (2Vln, Vla, Vlc) Not Published MS: BNC (Centro de Documentación) M452.B579/AN

Trio para Cuerdas 1934 String Trio (Vln, Vla, Vlc) Not published MS: BNC (Centro de Documentación) M352.B579-MS1

Reverie 1955 String Quartet (2Vln, Vla, Vlc) Not published MS: BNC (Centro de Documentación) M452.B579/RE

27 Martha Furman Schleifer, Latin American Classical Composers: A Biographical Dictionary, 3rd ed. (Lanham, MD: Rowman & Littlefield, 2016), 420. 31

Cuarteto para Cuerdas No. 2 en Sol menor 1960 String Quartet (2Vln, Vla, Vlc) I. Alegro Enérgico II. Alegreto con Moto III. Andante Molto IV. Final Not published MS: BNC (Centro de Documentación) M452.B579/NO.2 Aprox duration 20’

Cancion Sin Palabras 1930 String Quartet (2Vln, Vla, Vlc) Not published MS: BNC (Centro de Documentación) M452.B579/CA

Lecciones 48, 49 & 50 1930 String Quartet (2Vln, Vla, Vlc) Not published MS: BNC (Centro de Documentación) M452.B579/LE/48-49-50

Rondó 1950 String Quartet (2Vln, Vla, Vlc) Not published MS: BNC (Centro de Documentación) M452.B579/RO

Simplicidad 1930 String Quartet (2Vln, Vla, Vlc) Not published MS: BNC (Centro de Documentación) M452.B579/SI Viola part is missing

Borda Camacho, Germán (b. 1935)

Germán Borda Camacho commenced his musical training by studying piano privately with Raphael Lattion in Bogotá. Borda then enrolled at the University of Vienna in 1957, where he obtained a Ph.D. in composition and music theory. Some of his teachers include Alfred Uhl, Karl Schieske, Otto Siegl, and Thomas David. He then moved to Rome to study film music with Luis Bacalov. Upon his return to Colombia he worked as a composition professor at the Andes University.28

Cuarteto de Cuerdas No. 1 1970 String Quartet (2Vln, Vla, Vlc) I. Allegro II. Lento III. Allegro Molto Not Published MS: BNC (Centro de Documentación) M452.B727/NO.1

Cuarteto de Cueradas No. 2 1977 String Quartet (2Vln, Vla, Vlc) Not Published MS: BNC (Centro de Documentación) M452.B727/NO.2

Microestructuras 1979 String Quartet (2Vln, Vla, Vlc) Microestructura No. 1 Microestructura No. 2 Microestructura No. 3 Microestructura No. 4 Microestructura No. 5 Microestructura No. 6 Not Published MS: BNC (Centro de Documentación) M452.B727/MI

28 Casares and López-Calo, Diccionarion de la música española e hispanoamericana, 628. 33

Macroestructura 1989 String Quintet (2Vln, Vla, Vlc, Db) Not Published MS: BNC (Centro de Documentación) M552.B727/MA

Carbó Ronderos, Guillermo (b. 1963)

Guillermo Carbó Ronderos completed his composition undergraduate degree at the Berklee College of Music in Boston. He then moved to Paris to complete his master’s and doctoral studies in musicology at the Sorbonne University. Upon his return to Colombia he was offered a position at the Atlántico University in Barranquilla as a professor of composition, music theory, music history, and orchestration.29

ADAS 2012 String Quartet (2Vln, Vla, Vcl) Not Published MS: BLAA MI6434 Approx. Duration 12’ Commissioned by the Colombian National Bank Premiered by Amernet String Quartet

Cifuentes Rodríguez, Santos (1870-1932)

Santos Cifuentes Rodríguez was born in Bogotá and received his early musical training at the National Conservatory where he studied composition with Julio Quevedo Arvelo, Augusto Azzali, Diego Fallon, and the director of the conservatory Jorge W. Price. In 1894, he published his book Tratado de armonía adopted by conservatories and academies in Mexico, Chile, Argentina, and Colombia. In 1913, Cifuentes settled in Buenos Aires and dedicated himself to teaching. He is considered to be among the founders and establishers of the modern development of music in Colombia.30

29 Fernando Gil Areque, “Carbó Ronderos, Guillermo,” Línea de investigación en musicología histórica, accessed January 6, 2019, http://patrimoniomusical.eafit.edu.co/handle/10784.1/2206. 30 Schleifer, Latin American Classical Composers, 144. 34

Trio para dos violonchelos y piano 1892 Trio (2Vlc, Pn) I. Adagio II. Allegro vivace Not Published MS: BNC (Centro de Documentación) M312.4/C569 Premiered September 17, 1892

Fuga para Cuarteto de Cuerdas, op. 45 1893 String Quartet (2Vln, Vla, Vlc) Not Published MS: BNC (Centro de Documentacíon) M452.C569/OP.45

Pequeño Scherzo 1890-1900 String Quartet (2Vln, Vla, Vlc) Not Published MS: BNC (Centro de Documentación) M452.C569

Fugas Tonales a Tres Partes No. 1, 2, 3, 5 & 7 1890-1910 Trio (2Vla, Vlc) Not Published MS: BNC (Centro de Documentación) ME59.C569/NO. 1 ME59.C569/NO. 2 ME59.C569/NO. 3 ME59.C569/NO. 5 ME59.C569/NO. 7

Fugas Reales a Tres Partes No. 4, 6, 8 & 9 1890-1910 Trio (2Vla, Vlc) Not Published MS: BNC (Centro de Documentación) ME59.C569/NO. 4 ME59.C569/NO. 6 ME59.C569/NO. 8 ME59.C569/NO. 9

Alborada, op. 35 1890-1900 Trio (Mez/Bar, Vlc, Pn) Not Published MS: BNC (Centro de Documentación) M1613.3.C569/OP.35 Poem: Victor Hugo Translation: Julio Calcaño

Cuellar, Juan Antonio (b. 1966)

Juan Antonio Cuellar completed his undergraduate studies in composition at the Javeriana University in Bogotá. He then enrolled at Indiana University where he completed his master’s and doctoral studies. Upon his return to Colombia, Cuellar was offered a position at the Javeriana University where he currently teaches composition. Cuellar was the dean of the university from 2002-2008, and he is the current president of Batuta, an organization dedicated to providing superior orchestral training to the underserved community.31

Variations for Piano Trio, op. 32 2014 Piano Trio (Pn, Vln, Vlc) I. II. III. Not Published Printed Copy: BLAA MI6276 Approx. Duration 12’ Commissioned by the National Bank of Colombia Premiered by Lincoln Trio

31 “Juan Antonio Cuellar,” Universidad Javeriana’s website, accessed January 6, 2019, https://artes.javeriana.edu.co/documents/3270783/3271715/Juan+Antonio+Cu%C3%A9llar.pdf/b eabbfa6-ea5e-4916-b199-371055a6a9a3. 36

Escobar, Luis Antonio (1925-1993)

Luis Antonio Escobar completed his early music studies at the National Conservatory of Music in Bogotá. In 1947, he left Colombia to study composition with Nicolas Nabokov at the Peabody Conservatory in Baltimore. He later moved to Berlin to study composition with Boris Blacher. Upon his return to Colombia, Escobar held important administrative and teaching jobs including professor of composition at the National Conservatory and director of musical programs for the National Television Network. He served as the Colombian consul in Bonn from 1967-1970, and worked as cultular attaché to the Consulate in Miami in 1993.32

El Enfermo Imaginario de Moliere 1940 String Quartet (2Vln, Vla, Vlc) I. Obertura II. Cuadro del Robo III. “Minuet” (a lo clasico) IV. Allegretto Jocoso Not Published Printed Copy: BNC (Centro de Documentación) M1510.E74/EN

Espinosa, Guillermo (1905-1990)

Guillermo Espinosa was born in Cartagena. He is considered to be one of the most important figures of the twentieth century in Latin America. After completing his musical studies in Europe (Italy, Switzerland, and Germany) he was offered a job as an official of the Pan American Union in Washington, D.C. Espinosa’s career was devoted to promoting Latin American Music by comissioning new works, developing performances and new editions, as well as nurturing exchanges between musicians of the Americas. Espinosa was the founder of the Colombian National Symphony as well as the Inter-American Festival of Washington, D.C.33

32 Robert Stevenson, “Escobar, Luis Antonio,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed January 6, 2019, https://www.oxfordmusiconline.com/grovemusic. 33 “Guillermo Espinosa,” Latin American Music Center at Indiana University, accessed January 6, 2019, https://music.indiana.edu/lamc/collection-resources/special-collections/espinosa- collection/espinosa-biography.shtml. 37

Trio Patético 1920 Piano Trio (Pn, Vln, Vlc) Not Published MS: BNC (Centro de Documentación) M312.E77/TR

Figueroa Sierra, Luis Carlos (b. 1923)

In 1933, Luis Carlos Figueroa enrolled in the Cali Music Conservatory to study composition and piano with Antonio María Valencia. Here he also studied with Wolfgang Schneider, Alfonso Borrero Sinisterra, Antonio María Benavides, Luis Carlos Espinosa, and Armando Romero Lozano. In 1950, Figueroa moved to France to attend the Paris Conservatory where he studied piano with Jean Batalle, Jules Gentil, Paul Loyonet, and Germanie Mounier. In 1959, he returned to Colombia to become the director of the Antonio Maria Valencia Conservatory. He held the director position for fifteen years, during which time he also taught solfege, piano, and theory.34

Cuarteto en Do mayor 1956 String Quartet (2Vln, Vla, Vlc) I. Allegro Molto II. Scherzo III. Lento IV. Animado Not Published MS: BNC (Centro de Documentación) M452.F475/CU

Gómez Vignes, Mario (b. 1934)

Mario Gómez Vignes is a Chilean composer, musicologist, and conductor residing in Colombia since 1960. His musical training took place at the University of Chile’s Music Conservatory. He has taught composition in various universities including Antioquia University in Medellín, Valley University in Cali, and Cauca University in Popayán. He achieved international recognition as a musicologist after winning the Robert Stevenson Prize for his work Imagen y obra de Antonio María Valencia.35

34 Fernando Gil Areque, “Figueroa, Luis Carlos,” Línea de investigación en musicología histórica, accessed January 6, 2019, http://patrimoniomusical.eafit.edu.co/handle/10784.1/2227. 35 Susana Friedmann, “Gómez-Vignes, Mario,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed January 6, 2019, https://www.oxfordmusiconline.com/grovemusic. 38

Cuarteto de Cuerdas, op. 11 1963 String Quartet (2Vln, Vla, Vlc) I. Allegro Enérgico II. Muy Rítmico y Vivaz III. Andante Sostenuto IV. No Demasiado Rápido Not Published MS: BNC (Centro de Documentación) M452.G635/OP.11 MS: BLEV (EAFIT) MG785.7194G633 Approx. Duration 17’

González, Héctor (b. 1961)

Performer and composer Héctor Gonzáles completed his musical studies at the Antonio María Valencia Conservatory under the tutelage of Hernán Moncada. He moved to Spain to continue his studies with guitarist José Tomás at the Oscar Esplá Conservatory. Gonzáles is well known as a performer of the guitar, vihuela, and lute. He has given many recitals both in South and North America. González has also won numerous composition awards including the Colombian National Prize of Composition, the Andrés Segovia International Composition Prize, and the Agustín Barrios International Compositional Prize.36

La Muerte y el Garabato 2015 Trio (Fl, Vlc, Pn) I. II. Not Published MS: BNC (Centro de Documentación) C6432 PZA. 1-19

36 “Héctor Gonzáles,” composer’s website, accessed January 6, 2019, http://hectorgonzalez.com.co/resena/. 39

Gonzáles Zuleta, Fabio (1920-2011)

In 1929, Fabio Gonzáles Zuleta started his musical studies in Los Angeles, California. In 1932, he moved back to Bogotá to study organ and composition with Egisto Giovanneti and Demetrio Haralambis at the National Conservatory of Music. After graduating from this institution in 1944, Gonzáles became a professor at the conservatory, and subsequently director of the institution from 1957-1967. He received numerous compositional awards including the Ezequiel Bernal Compositional Award and the Ministry of Education Prize for his piece Suite Andina.37

Suite Andina 1945 Quintet (Fl, 2Vln, Vla, Vlc) I. Allegro II. Adagio III. Allegro Not Published MS: BNC (Centro de Documentación) MS: M672.G642/QU Approx. Duration 14’ Ministry of National Education Award

Quinteto con piano 1952 Piano Quintet (Pn, 2Vln, Vla, Vlc) I. Allegro con Animo II. Andantino III. Allegro Moderato IV. Adagio V. Allegro Moderato Energico Not Published MS: BNC (Centro de Documentación) M672.G643/QU

37 Egberto Bermúdez, “Fabio Gonzalez Zuleta: vida y obra,” Compositores Colombianos, accessed January 6, 2019, https://www.academia.edu/30708093/Fabio_Gonz%C3%A1lez_Zuleta. _Vida_y_obra_Compositores_colombianos_5. 40

Cuarteto de Cuerdas No. 2 1962 String Quartet (2Vn, Vla, Vlc) I. Vivo II. Allegro III. Moderato IV. Allegro Energico Not Published MS: BNC (Centro de Documentación) M452.G643/CU 2

Guevara Gutiérrez, Edwin (b. 1977)

Guitarist, composer, and conductor Edwin Guevara Gutiérrez began his musical studies at the age of three with his father Roberto Guevara. He studied composition at the National Conservatory in Bogotá with Blas Emilio Atehortúa. He moved to Spain to further his guitar studies with Guillem Perez Quer at the Conservatori del Liceu of Barcelona. Guevara is the co-founder of the Duo Villa-Lobos, an internationally recognized cello and guitar ensemble he founded with his wife, Venezuelan cellist, Cecilia Palma Román. They have commissioned works from composers such as Leo Brouwer, Celedonio Romero, and Roland Dyens and recorded their works for the Naxos label.38

Bambuco Concertante 2009 Trio (2 Gtr, Vlc) In possession of the composer

Hasler, Johann (b. 1972)

Johann Hasler was born in Cali where he started his musical studies at the age of four. He moved to Bogotá in 1993 to attend the National Conservatory, where he graduated with a degree in composition in 2003. Hasler won numerous composition awards including the Colombian National Prize of Composition in 1996, and participated in the Inter-American composition workshop at Indiana University. Hasler is currently a composition and music theory professor at the Antioquia University in Medellín.39

38 “Edwin Guevara,” composer’s website, accessed September 20, 2019, https://edwinguevara.com/bio. 39 Schleifer, Latin American Classical Composers, 286. 41

Cuarteto No. 1 en Do mayor 1989-1992 String Quartet (2Vln, Vla, Vlc) Not Published MS: Indiana University AFB6304

Ledesma Aragon, Rodolfo (b. 1954)

Rodolfo Ledesma Aragon began his musical training at the Conservatorio Antonio María Valencia in Cali. In 1980, he moved to the United States to study composition and orchestral conducting with Roque Cordero and Julian Dawson at Illinois State University. He then moved to Miami to study composition with John Van der Slice. From 1999-2000, he lived in Germany and studied composition with Martin Christoph Redel at the Hochschule für Musik Detmold. Ledesma has won composition prizes including the Oreste Sindici in Italy and The Colcultura National Compositional Prize in Colombia.40

Metamorfosis 1992 String Quintet (2Vln, Vla, Vlc, Db) I. Lento Flessible II. Animato con Moto III. Expressivo Modulante IV. Finale Bogotá: Colcultura/ Sonata Editores, 1992 ISBN: 9586121119 Printed Copy: BNC PAR-EDIT-52

Dos Movimientos para Cuarteto de Cuerdas 2015 String Quartet (2Vln, Vla, Vlc) I. II. Cali: Programa Editorial Universidad del Valle, 2015. ISBN: 9790801631114

40 Ibid, 345. 42

León G., Marcela A. (b. 1988)

Marcela León studied composition with Juan Gaviria at the Javeriana University in Bogotá. She currently works for the research and publication staff of the Bogotá Philharmonic Orchestra. Her works have been performed around the country by important ensembles such as the Manolov String Quartet, the Bogotá based ensemble that premiered her string quartet.41

Cuarteto de Cuerdas 2010 String Quartet (2Vln, Vla, Vlc) BabelSCORES ISMN: 979-0-2325-2270-8 Printed copy: BNC PAR-LEMA-5 Approx. Duration 9’ Premiered by Cuarteto Manolov

Manco, Juan David (no dates found)

Juan David Manco studied composition and music theory at EAFIT University in Medellín. After finishing his master’s degree under the mentorship of composer Andrés Posada, he was offered a teaching position at the same institution. Manco also teaches music theory and composition at the Fundación Universitaria Bellas Artes.42

Kaethna 2008 Trio (Pn, Vln, Vlc) I. Melancólico II. Enérgico III. Nostálgico In possession of the composer Approx. Duration 12’

41 “Marcela León,” BabelScores, accessed January 7, 2019, https://www.babelscores.com/MarcelaLeon. 42 Juan David Manco, email message to author, January 2019. 43

Mejía Navarro, Adolfo (1905-1973)

Adolfo Mejía began his early musical studies at the Music Institute of Cartagena. He later became the composer and director of the Lourdy Orchestra, the first jazz orchestra of Colombia. In 1930, Mejía moved to New York City to work and record with Columbia Records. In 1933, he moved back to Bogotá to study composition with Jesús Bermúdez Silva, Gustavo Escobar Larrazabal, and Andrés Pardo Tovar. After winning the Ezequiel Bernal Composition Award, he was offered a scholarship to study composition with Nadia Boulanger, Charles Koechlin, and Paul Dukas at the École Normale de Musique in Paris.43

Mofa o Juguete Infantil 1955 Piano Quintet (Pn, 2Vln, Vla, Vlc) Not Published MS: BNC (Centro de Documentación) M412.M516/MO

Trio para piano en Mi menor 1961 Piano Trio (Pn, Vln, Vlc) Not Published MS: BNC (Centro de Documentación) M312.M516/TR Approx. Duration 10’

Candita 1965 Piano Quartet (Pn, 2Vln, Vlc) Not Published MS: BNC (Centro de Documentación) M412.M516/CA Approx. Duration 6’

Sara, Danza Portoriqueña No date Piano Quartet (Pn, 2Vln, Vlc) Not Published MS: BNC (Centro de Documentación) M412.M516/SA

43 Susana Friedmann, “Mejía, Adolfo,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed January 7, 2019, https://www.oxfordmusiconline.com/grovemusic. 44

Mesa, Sergio (b. 1943)

Sergio Mesa began his early musical training with Harold Martina at the Bellas Artes Institute in Medellín. For his advanced musical studies, Mesa moved to Bogotá, where he studied composition and music theory with Luis Torres Zuleta at the National Conservatory. He also studied theology, mathematics, and philosophy in Medellín, New York, Frankfurt, and Heidelberg. His compositional output includes orchestral works, music for film, and chamber music.44

Cuarteto de Cuerdas 2004 String Quartet (2Vln, Vla, Vlc) I. Festivo II. Pensativo III. Vivaz IV. Sosegado Not Published Printed Copy: BLAA MI3939 Approx. Duration 21’

Mojica Mesa, Raúl (1928-1991)

There is not much information available on the life of Raúl Mojica Mesa. Perhaps this is because he is the only known academic composer from the region of La Guajira. Mojica moved to Bogotá where he graduated from the National Conservatory with composition and voice degrees. Throughout his studies, Mojica remained loyal to his native roots, allowing him to find a very different and unique aesthetic approach.45

Tres Piezas para Cuarteto de Cuerdas 1968 String Quartet (2Vln, Vla, Vlc) I. Andantino II. Andante III. Lento Not Published MS: BNC (Centro de Documentación) M456.M715/TR

44 Casares and López-Calo, Diccionarion de la música española e hispanoamericana, 397. 45 Carlos Barreiro Ortiz, “Quién le canta a Raul Mojica,” Banco de la República: Boletin Cultural Y Bibliográfico 45, no. 79 (2011): 321–323, accessed January 7, 2019, https:// publicaciones.banrepcultural.org/index.php/boletin_cultural/article/view/266. 45

Morales Pino, Pedro (1863-1926)

Pedro Morales Pino was born in Cartago in the Cauca Valley region. He moved to Bogotá to study composition at the National Conservatory with Julio Quevedo Arvelo. As an outstanding bandola player, he founded the famous Lira Colombiana, a group dedicated to performing the popular music of Colombia in the country as well as abroad. Familiar with this idiom, Morales Pino used some popular influences in his academic compositions. For this reason, Pino is considered one of the founders of the Colombian nationalistic movement.46

Fantasía 1880 String Quartet (2Vln, Vla, Vlc) Not Published MS: BNC (Centro de Documentación) M1688.C6M829FA Approx. Duration 9’

Neuman, Hans Federico (1917-1992)

Hans Federico Neuman was well known as a composer, conductor, pianist, and poet. His earliest musical studies were under the supervision of Aurelio Vásquez Pedrero and María Isabel Salcedo. His advanced studies were at the Fine Arts School of Barranquilla with composer Pedro Biava Ramponi. Neuman was the Assistant conductor of the Barranquilla Philharmonic Orchestra and the Choir Ensemble of the Atlantic. He moved to Bogotá to teach music history and music appreciation at the National Conservatory. As a composer he is known for his orchestral, vocal, and chamber works.47

Aire de Bambuco 1939 Piano Quartet (2Vln, Vlc, Pn) Not Published Printed Copy: BLEV (EAFIT) N785.28N489AB

46 Schleifer, Latin American Classical Composers, 410. 47 Ibid, 420. 46

Minuettino 1941 Piano Quartet (2Vln, Vlc, Pn) Not Published Printed Copy: BLEV (EAFIT) N785.28N489MI

Rondó 1943 Piano Quartet (2Vln, Vlc, Pn) Not Published Printed Copy: BLEV (EAFIT) N785.28N489RO

Noguera Palau, Carolina (b. 1978)

Quattour Verba 2006 String Quartet (2Vln, Vla, Vlc) I. De Profundis Clamavi BabelSCORES ISMN: 979-0-2325-1551-9 Approx. Duration 15’

48 “Carolina Noguera Palau,” BabelScores, accessed June 22, 2018, https://www.babelscores.com/CarolinaNogueraPalau. 47

Cuarteto Palenquero (String Quartet No.2) 2010 String Quartet (2Vln, Vla, Vlc) I. Bordón y Requinta II. Interperies III. Etelvina Maldonado BabelSCORES ISMN: 979-0-2325-1548-9 Approx. Duration 13’

Nova, Jacqueline (1935-1975)

Jacqueline Nova was considered one of the finest Colombian and Latin American composers of the twentieth century. She was one of the first Latin American women to obtain international recognition for her compositions. Nova was a progressive exponent of aleatoric and electronic techniques. She studied composition and conducting with Fabio Gonzáles Zuleta, Blas Emilio Atehortúa, and Olav Roots at the National Conservatory. In 1967, she received a scholarship to study at the Di Tella Institute in Buenos Aires with Alberto Ginastera and Luigi Nono. Some of Nova’s most important works include Doce Móviles, Metamorfosis III, Oposición-Fusión, and Cantos de la Creación del Mundo.49

Pequeña Suite 1964 String Quartet (2Vn, Vla, Vlc) I. Chacona II. Danza Antigua III. Fugato Not Published MS: BNC (Centro de Documentación) M1103.N935/SUI

49 Susana Friedmann, “Nova, Jacqueline,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed January 8, 2019, https://www.oxfordmusiconline.com/grovemusic. 48

Pérez Salazar, Germán Darío

Germán Darío Pérez Salazar started his piano studies at the age of four. He matriculated to the National Conservatory where he studied both piano and composition. From an early age, Pérez was exposed to the Colombian folkloric musical traditions. His compositions experiment with a musical language of rich rhythm, timbre, and harmony. This musical language is the result of a combination of traditional and popular Colombian music with elements of jazz and academic music. Pérez compositions have been performed in France, Belgium, the Netherlands, Switzerland, Germany, and Italy. Pérez is the founder of the Trio Nueva Colombia, and he is also currently a composition professor at the National Conservatory.50

Guabina y Caña 2009 Quintet (2Vln, Vla, Vlc, Tp) Alcaldia Mayor de Bogotá MS: BLAA MI6400 Approx. Duration 7’

Pineda Duque, Roberto (1910-1977)

Roberto Pineda Duque began his music studies at the Institute of Fine Arts in Medellín. In 1942, he moved to Cali to study composition with Antonio Maria Valencia. In 1960, Duque was awarded a compositional prize from the Colombian government for his Piano Concerto. His compositional output includes orchestral, choral, chamber, piano, and organ works that combine a neo-classical style with periodic use of twelve-tone techniques.51

50 “Germán Darío Perez,” composer’s website, accessed January 8, 2019, https://germandarioperez.com/resena/. 51 Gerad Béhague, “Colombia, Republic of,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed January 9, 2019, https://www.oxfordmusiconline.com/grovemusic. 49

Cuarteto de Cuerda No. 1 1953 String Quartet (2Vln, Vla, Vlc) I. Allegro II. Andante III. Allegreto IV. Presto Not Published MS: Indiana University M452.P65 Q8 Approx. Duration 26’

Cuarteto de Cuerda No. 2 (Dodecafónico) 1958 String Quartet (2Vln, Vla, Vlc) I. Allegro Molto II. Moderato III. Presto Not Published MS: Indiana University M452 .P65 no. 2 MS: BLEV (EAFIT) P785.7192P649C2 Approx. Duration 15’

Adagio y Presto 1975 String Quartet (2Vln, Vla, Vlc) I. Adagio II. Presto Not Published MS: BLEV (EAFIT) P784.7194P649

Pinzón, Jorge Humberto (b. 1968)

Composer, pianist, and oboist Jorge Humberto Pinzón began his musical studies at the Escuela Superior de Musica in Tunja with Jorge Zorro and Rizhard Jarosik. In 1988, Pinzón received a scholarship to study oboe, piano, and composition with Mamed Mamedovich, Boris Georgievich, and Vladislav Germanovich at the Tchaikovsky Conservatory in Moscow. In 1995, he returned to Colombia as a well- established composer. His works have been performed by the most important orchestral ensembles of Colombia, but his music has also been performed abroad in countries such as Poland, Portugal, Mexico, the United States, Greece, Spain, and Japan. Since 2003, Pinzón has been the composition faculty director at the Universidad Juan N. Corpas in Bogotá.52

Cygnus 2015 String Quartet (2Vln, Vla, Vlc) Not published Printed Copy: BLAA MI6399 Pinzón Urrea, Jesús (1928-2016)

Jesús Pinzón Urrea was born to a musical family from Bucaramanga. He moved to Bogotá to study composition at the National Conservatory and became the first conductor of the Bogotá Philharmonic Orchestra when the institution was founded in 1967. From 1967 to 1970, Pinzón was an active member of the Folkloric Studies Center at the National University of Colombia. His study of indigenous music and rituals is one of the first serious writings on music from the Andean region of Colombia, which greatly influenced his compositional language. Pinzón is a well- established Colombian composer whose works have been acclaimed in Sweden, Japan, England, the United States, Cuba, and throughout Latin America.53

52 Schleifer, Latin American Classical Composers, 490. 53 Susana Friedmann, “Pinzón Urrea, Jesús,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed January 9, 2019, https://www.oxfordmusiconline.com/grovemusic. 51

Contrastes 1960 String Quintet (2Vln, Vla, Vlc, Db) No. 1 No. 2 No. 3 No. 4 No. 5 No. 6 No. 7 Not Published MS: BNC (Centro de Documentación) M1145.P661/CO

Variaciones sin tema 1993 String Trio (Vla, Vlc, Db) Bogotá: Colcultura, 1993 ISBN: 9586121658

Posada, Andrés (b. 1954)

Andrés Posada is regarded as one of the most important contemporary composers in Colombia. He is the co-founder of the music deparment at the EAFIT University, and a developer of the contemporary music movement in Medellín. Posada started his musical studies at the age of seven with the popular guitar teacher Juvenal Gaviria. He later matriculated to the Fine Arts Institute of Medellín for piano and solfege classes. After finishing his bachelor’s degree at the Universidad de Antioquia he traveled to the United States to start a master’s degree in composition at the Mannes College of Music. In 1984, he graduated from Mannes under the tutelage of composers Leo Edwards, Peter Stearns, and conductor Jacob Kreisberg. His compositional output includes orchestral, vocal, electronic, incidental, and chamber works.54

Presagio Lírico 1982 String Trio (Vln, Vla, Vlc) I. Misterioso II. Not Published MS: BNC (Centro de Documentación) M233.P854/PR Approx. Duration 9’

54 Andrés Posada, email message to author, January, 2019. 52

Pero Yo Te Quiero Sin Saber Porque 2002 Piano Trio (Pn. Vln, Vlc) I. Pero yo te quiero… II. Sin saber por que. Fondo Editorial Universidad EAFIT ISBN: 958817323X Printed copy: BLEV (EAFIT) PT780.9861P855P Approx. Duration 25’

Potes, Alba Lucía (b. 1954)

Alba Lucía Potes was born in Cali, where she received her early musical training performing on the bandola and studying Colombian folk music with Héctor García. Her formal musical training was from the Antonio Maria Valencia Conservatory with León Simar. In 1983, Potes moved to Philadelphia to attend Temple University where she completed her master’s and doctoral degrees in composition under the tutelage of Matthew Greenbaum, Maurice Wright, and Ursula Mamlok. Her compositional work is a mix of influences between European and Latin American music. Potes’s works have been performed in Colombia, Venezuela, Brazil, Canada, Germany, Austria, Chile, South Korea, and the United States. She currently resides in New York City, where she teaches composition at the Mannes School of Music, Pratt Institute, and the City University of New York.55

Y la Brisa Trae Aroma de Cadmias… 2002 Quintet (Fl, Vln, Vlc, Pn, Perc) I. Intense and Spirited II. Sereno ma poco Ritmico Not Published MS: BNC (Centro de Documentación) PAR-EDIT-375

55 “Alba Lucía Potes,” composer’s website, accessed September 16, 2019, http://albapotes.com/biografia.htm. 53

Cantos Escondidos 1996 Trio (Sax, Vlc, Pn) I. Espressivo II. Calmato con delicateza III. Espiritoso e con umore Not Published MS: BNC (Centro de Documentación) PAR-EDIT-373

Canciones Nocturnas 1993 Quartet (Sop, Fl, Cl, Vlc) I. Cuarto Creciente II. Consolación III. A Gusto IV. Soporte V. Pena de Insomnio VI. Tregua de la Inquietud VII. La Hora de Siempre Not Published MS: BLAA MI4019 Poems by Jorge Guillen; translations by Kurt Findeisen Approx. duration 10’

Quevedo Zornoza, Guillermo (1886-1964)

There is little information available on the life and works of Guillermo Quevedo Zornoza. Although they are of excellent quality, his chamber works are not well known and not often performed in or outside of Colombia. Quevedo was born in Zipaquirá to a distinguished family responsible for the musical development in composition and orchestral conducting in the state of Cundinamarca. Quevedo was the founder and director of the Tolima Conservatory as well as the Zipaquirá Conservatory.56

56 Fernando Gil Areque, “Quevedo Zonorza, Guillermo,” Línea de investigación en musicología histórica, accessed January 9, 2019, https://patrimoniomusical.eafit.edu.co/handle/10784.1/ 56/recent-submissions. 54

Cuarteto de Cuerdas No. 1 1940 String Quartet (2Vln, Vla, Vlc) I. Meditacion II. Minuetto III. Scherzo Not Published MS: BNC (Centro de Documentación) M452.Q12/NO.1

Cuarteto de Cuerdas No. 2 No date String Quartet (2Vln, Vla, Vlc) I. Andante Expresivo II. Tempo di Minuetto III. Tempo di Gavotta Not Published MS: BNC (Centro de Documentación) M452.Q12/NO.2

Cuarteto de Cuerdas No. 3 No date String Quartet (2Vln, Vla, Vlc) I. Adagio II. Valsette III. Danza Not Published Printed Copy: BNC (Centro de Documentación) M452.Q12/NO.3

Quijano R, Luis Guillermo (b. 1970)

There is almost no information on Luis Guillermo Quijano’s life as a music composer. He is a well-known philosophy professor at the Antioquia University in Medellín. After obtaining his master’s degree in Greek philosophy in 2005, Quijano studied composition at the National Conservatory. He abandoned his compositional career stating that the support and opportunities given to composers in his native city Medellín are insufficient.57

57 Rodolfo Acosta R, “Música académica contemporánea en Colombia desde el final de los ochenta,” accessed September 17, 2019, https://udistrital.academia.edu/RodolfoAcostaRestrepo. 55

Cuatro Piezas para Cuarteto de Cuerdas 1997 String Quartet (2Vln, Vla, Vlc) I. Con Fuego II. Sin Medida de Pulso III. Percutiendo IV. Instituto Colombiano de Cultura ISBN: 9586122751

Rangel Rozo, José Oriol (1916-1977)

José Oriol Rangel was born in Pamplona Colombia. At the age of four he began lessons in solfege, harmony, violin, and piano with his uncle José Rozo Contreras, the celebrated composer and director of the National Band of Colombia. It was his uncle who encouraged his musical career and brought him to the National Conservatory to study piano and composition with Antonio Maria Valencia. Rangel is a representative of musical nationalism in Colombia. Not only did he compose in the nationalistic style, he also worked diligently to promote Colombian music through broadcasting it on national radio stations such as Nueva Granada, Nuevo Mundo, and La Voz de Colombia.58

Fantasia sobre Motivos Colombianos 1960 Trio: (2Vcl, Cl) Not Published MS: BNC (Centro de Documentación) PAR-RAJO-82

58 Sebastián Hernández Noreña, “Orion Rangel: una vida musical de profunda huella,” Ministerio de Cultura, accessed September 17, 2019, http://celebralamusica.mincultura.gov.co/ noticias/Paginas/Oriol-Rangel.aspx. 56

Rendón García, Guillermo (b. 1935)

Guillermo Rendón García was born to a musical family in Manizales, Colombia. His early musical studies in piano were under the tutelage of his father. In 1954, he matriculated to the Caldas University studying composition, conducting, and piano. In 1960, he moved to Argentina to study composition and orchestration with Mariano Fischer and Alberto Ginastera at La Plata University. In 1979, he received a doctoral degree in music, philosophy, and ethnomusicology from the University of Humboldt in Berlin. Rendón has taught composition and ethnomusicology in different universities including Tunja University and Antioquia University. Rendón’s musical language is known for incorporating elements from his own research on indigenous Colombian tribes.59

Cuarteto, op. 17 1979 Quartet (Cl, Hn, Vlc, Pn) I. Presagio II. Surrealismo III. Concresion Not Published MS: BNC (Centro de Documentación) M423.R397/CU Approx. Duration 26’

Restrepo Restrepo, Jairo Enrique (b. 1953)

No information was found on this composer.

Transonancias 1987 String Quintet (2Vln, Vla, Vlc, Db) I. Largo II. Allegro III. Andante IV. Allegro Not Published MS: BNC (Centro de Documentación) M1045.R436/TR

59 Schleifer, Latin American Classical Composers, 516. 57

Rojas Castro V., Ricardo (b. 1951)

No information was found on this composer.

Esquema sobre Motivo Electrónico 1979 String Quartet (2Vln, Vla, Vlc) I. Skerso Not Published MS: BNC (Centro de Documentación) M452.R743/ES

Rosa Summa, Andrés (1911-2003)

Andrés Rosa Summa was a priest and composer born in Potenza, Italy. He moved to Cundinamarca, Colombia in 1929. His first music lessons in flute and piano were taught by his father. In 1939, Rosa Suma moved to Bogotá to study composition with acclaimed composer Jesús Bermúdez Silva. From 1960 to 1973 he was the music director of the Escuela Departamental de Música del Huila.60

Quinteto en Sol 1940 Quintet (2Vln, 2Vla, Vcl) I. Capricho Colombiano Not Published MS: BNC (Centro de Documentación) M552.R788/QUI

Torres Zuleta, Luis (b. 1941)

Luis Torres Zuleta was born and raised in Bogotá. He studied composition and conducting at the National Conservatory with José Rozo Contreras, Gonzáles-Zuleta, and Olav Roots. After graduating from the conservatory with honors in composition in 1968, Torres received international awards including the Pegasus Prize for his Concertante for Cello and Orchestra. As a prominent Colombian composer, the National Symphony Orchestra frequently plays his orchestral works. Torres’s works are highly chromatic and coloristic. He combines abstract harmonies with cohesive uses of structure and form.61

60 Gerardo Betancourt, “Lírica Huilense,” accessed September 17, 2019, https://liricahuilense.blogspot.com/2010/12/andres-rosa-ss.html.

61 Susana Friedman, “Torres Zuleta, Luis,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed September 17, 2019, https://www.oxfordmusiconline.com/grovemusic. 58

Tríade 1960 Piano Trio (Pn, Vln, Vlc) I. II. III. Not Published MS: BNC (Centro de Documentación) M312.T693/TRI

Cuarteto 1960 Quartet (Cl, Vln, Vlc, Pn) I. Moderato Efusivo II. Lento con Expresión III. Allegro con Decisión Not Published MS: BNC (Centro de Documentación) M422.T693/CU

Tres Piezas 1970 String Quartet (2Vln, Vla, Vlc) I. Expansion Tematica II. Epicedio III. Expansion Tematica Not Published MS: BNC (Centro de Documentación) M452.T693/TRE

Díptico 1974 String Quartet (2Vln, Vla, Vlc) I. II. Not Published MS: BNC (Centro de Documentación) M452.T693/DI 59

Triana, Alba Fernanda (no dates found)

Alba Fernanda Triana earned her bachelor’s degree in composition from the Javeriana University in Bogotá. She received a Fulbright scholarship to obtain a master’s degree in composition and integrated media at CalArts. Triana earned a Ph.D. in Composition from the University of California at San Diego. She won several international prizes including the Civitella Foundation Fellowship and the Pro Helvetia Grant. She has also received commissions from the American Composers Forum and the Kronos Quartet. Triana’s music explores the inherent intelligence of nature through sound, light, interactive installations, and resonating spaces.62

Music for Four Resonators 2016 String Quartet and Resonators (2Vln, Vla, Vlc) Not Published In possession of the composer Approx. duration 15’ Commissioned by Kronos Quartet

Uribe Holguín, Guillermo (1880-1971)

Guillermo Uribe Holguín was one of the first conservatory-trained Colombian composers. In 1903 he moved to New York City where he worked as a violinist and composer, mainly drafting transcriptions. In 1907, he moved to Paris to study both violin and composition at the Schola Cantorum. Among his fellow students were Erik Satie and Joaquín Turina. Upon his return to Colombia, Holguín became the director of the Bogotá National Conservatory and held that position for twenty-five years until his retirement in 1943. Holguín is considered to be the most influential composer of his generation due to his excellent training and the close relationship he held with Manuel de Falla and Joaquín Turina. Holguín is also among the most prolific Colombian composers with an output that extends to 120 opus numbers, from which he favored orchestral, chamber, and piano compositions.63

62 “Alba Fernanda Triana,” composer’s website, accessed September 18, 2019, https://www.albatriana.com/about. 63 Robert Stevenson, “Uribe Holguín, Guillermo,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed September 18, 2019, https://www.oxfordmusiconline.com/grovemusic. 60

Cuarteto para Piano No. 1, op. 8 1914 Piano Quartet (Pn, Vln, Vla, Vlc) Not Published MS: BGGM M412/.U762q

Cuarteto de Cuerdas No. 1, op. 12 1920 String Quartet (2Vln, Vla, Vlc) I. Allegro II. Allegretto III. Andante IV. Allegro Not Published MS: PCAC Approx. Duration 22’

Cuarteto de Cuerdas No. 2, op. 19 1924-1926 String Quartet (2Vln, Vla, Vlc) I. Bastante Lento II. Allegretto con motto III. Lento-Allegro Not Published MS: BNC (Centro de Documentación) M452.U76/OP.19 Approx. Duration 23’

Quinteto para Piano No. 1, op. 31 1928 Piano Quintet (Pn, 2Vln, Vla, Vlc) I. Tranquillo II. Vivace III. Allegro Posato Not Published MS: PCAC

Cuarteto de Cuerdas No. 3, op. 63 1937 String Quartet (2Vln, Vla, Vlc) I. Moderato II. Andante III. Moderato IV. Allegro Risoluto Not Published MS: PCAC Approx. Duration 16’

Quinteto para Piano No. 2, op. 66 No date Piano Quintet (Pn, 2Vln, Vla, Vlc) I. Lento II. Moderato III. Allegro Animato Not Published MS: PCAC

Trío para Piano No. 1, op. 74 1957 Piano Trio (Pn, Vln, Vlc) I. Allegro Moderato II. Allegretto Scherzando III. Andante Sentimentale IV. Allegro Animato Patronato Colombiano de Artes y Ciencias, 1992 ISBN: 9589257135 Printed copy: BLEV (EAFIT) LG780.9861 U762T Printed copy: Indiana University M312.U75 T75 Approx. Duration 17’

Cuarteto de Cuerdas No. 4, op. 86 1950 String Quartet (2Vln, Vla, Vlc) I. Allegro Posato II. Molto Vivace III. Andante Tranquilo IV. Molto Allegro Not Published MS: PCAC Dedicado al Cuarteto Bogotá Approx. Duration 20’ 62

Cuarteto de Cuerdas No. 5, op. 87 1951 String Quartet (2Vln, Vla, Vlc) I. Allegro non Tropo II. Bambuco-Moderato III. Intermezzo-Allegretto IV. Allegro Energico Not Published MS: PCAC Dedicado al Cuarteto Bogotá Approx. Duration 17’

Cuarteto de Cuerdas No. 6, op. 90 1953 String Quartet (2Vln, Vla, Vlc) I. Allegro Posato II. Vivo ma non Troppo III. Andante Espressivo IV. Allegro Asai Not Published MS: BNC (Centro de Documentación) M425.U76/OP.90 Approx. Duration 18’

Cuarteto de Cuerdas No. 7, op. 93 1954 String Quartet (2Vln, Vla, Vlc) Not Published MS: Indiana University Library M452.U76

Suite para Quinteto op. 94 No date Quintet (Fl, Trp, Hp, Vln, Vlc) Not Published MS: PCAC

Trío para Cuerdas No. 2, op. 95 1957 String Trio (Vln, Vla, Vlc) I. Allegro Assai II. Molto Adagio Espressivo III. Tempo di Minuetto Patronato Colombiano de Artes y Ciencias, 1992 ISBN: 9589257135 Printed copy: BLEV (EAFIT) LG780.9861 U762 Printed copy: Indiana University M312.U75 T75 Approx. Duration 16’

Cuarteto de Cuerda No. 8, op. 111 1960 String Quartet (2Vln, Vla, Vlc) I. Allegro non tanto II. Molto Vivo III. Allegro Animato Not Published MS: PCAC

Cuarteto de Cuerda No. 9, op. 114 1960 String Quartet (2Vln, Vla, Vlc) I. Allegro Assai II. Vivissimo III. Larghetto IV. Allegro Animato Not Published MS: PCAC

Trío para Piano No. 3, op. 115 1958 Piano Trio (Pn, Vln, Vlc) I. Allegro Assai II. Allegretto Mosso III. Allegro non Troppo Patronato Colombiano de Artes y Ciencias, 1992 ISBN: 9589257135 Printed copy: BLEV (EAFIT) LG780.9861 U762 Printed copy: Indiana University M312.U75 T75 Approx. Duration 13’ 64

Cuarteto de Cuedas No. 10, op. 116 1961 String Quartet (2Vln, Vla, Vlc) Not Published MS: PCAC

Valencia, Antonio María (1902-1952)

Antonio María Valencia completed his early musical studies with his father Julio Valencia, a cellist and music teacher. In 1917, he moved to Bogotá to study at the National Conservatory. In 1923, he enrolled at the Schola Cantorum in Paris for both composition and piano to study with Vincent d’Indy and Manuel de Falla. In 1933, he returned to Colombia and founded the Conservatory and Fine Arts School in Cali, the school that is now named after him. As a profound admirer and student of the French impressionistic style, his musical language possesses coloristic harmonies combined with Colombian folk melodies and rhythms. During the 1930s, Valencia became the model for Colombian nationalism that inspired future composers.64

Emociones Caucanas 1938 Piano Trio (Pn, Vln, Vlc) I. Amanecer en la Sierra II. Pasillo (Danza Suramericana) III. …? IV. Final: Fiesta Campesina Peer International Coorporation, 1958. Alma MMS ID: 991012225089703843 Printed copy: Fine Arts Library (The University of Arizona) M312 .V153e Approx. Duration 23’

64 Robert Stevenson, “Valencia, Antonio María,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed September 18, 2019, https://www.oxfordmusiconline.com/grovemusic. 65

Vanegas, Marco Aurelio (1942-1984)

Composer, professor, and music critic Marco Aurelio Vanegas was born in Bogotá. In 1955, he started his musical studies in composition and symphonic orchestration at the National Conservatory. From 1963 to 1964, Vanegas received a scholarship to study at the CLEAM (Centro Latinoamericano de Altos Estudios Musicales) at the Instituto Di Tella in Buenos Aires. He won national composition prizes both in Cali and Bogotá.65

Tres Estampas 1967 String Quintet (2Vln, Vla, Vlc, Db) I. Montañas II. Llanuras III. Fuentes Not Published MS: BNC (Centro de Documentación) M1103.V251/ES

Vega, Diego (b. 1968)

Diego Vega is one of the most active Colombian composers. His works have been performed frequently in Europe, the United States, and Latin America. Vega studied composition with Guillermo Gaviria at the Javeriana University in Bogotá. He moved to the United States to pursue his master’s degree in composition with Ricardo Zohn-Muldoon and Joel Hoffman at the University of Cincinnati. He completed his doctoral degree in composition under the supervision of Roberto Sierra and Steven Stucky at Cornell University. Vega’s compositional output includes chamber, choral, orchestral, and piano works in which he tends to incorporate Colombian folk music elements.66

65 Marco Aurelio Vanegas, “Catálogo completo del festival de música en el Di Tella: resonancias de la modernidad,” last modified July 17, 2011, accessed September 20, 2019, https://issuu.com/festivalclaem/docs/claem_cat-160pags-23x29_web/60. 66 “Diego Vega,” composer’s website, accessed September 19, 2019, https://diegovega.com/. 66

Cuarteto de Cuerdas 2002 String Quartet (2Vln, Vla, Vlc) I. II. III. IV. Ediciones Musicales Universidad EAFIT, 2002. ISBN: 9588173035 Printed copy: BLEV (EAFIT) PT780.9861V422 Approx. Duration 12’ Premiered by the Susie Kelly String Quartet, Cornell University, 2001

Velasco Llanos, Santiago (1915-1996)

Born in Cali, Colombia, Santiago Velasco Llanos studied composition with Antonio María Valencia at the Cali Conservatory from 1933 to 1941. Under Valencia’s guidance, Velasco developed a preference for Colombian nationalistic compositions. Alongside his mentor, he became one of the most representative composers of the movement. After graduating from the conservatory, Velasco moved to Chile to study composition with Domingo Santa Cruz, Pedro Humberto Allende, Humberto Isamitt, and Antonio Carvajal at the University of Chile. Upon his return to Colombia he became the music director of the National Conservatory as well as the Cali Conservatory. Velasco was responsible for strengthening the artistic life in the country by his involvement with the Colombia Symphony Orchestra, and by founding the Colombian National Ballet.67

Cuarteto de Cuerdas en Fa mayor 1980 String Quartet (2Vln, Vla, Vlc) I. Allegro Energico II. Adagio III. Scherzo IV. Fuga Doble Not Published MS: BNC (Centro de Documentación) M452.V433/NO.2

67 Susana Friedmann, “Velasco Llanos, Santiago,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed September 19, 2019, https://www.oxfordmusiconline.com/grovemusic. 67

Cuarteto en Do mayor No. 1 1945 String Quartet (2Vln, Vla, Vlc) I. Adagio-Allegro II. Andante III. Allegro molto Not Published MS: BNC (Centro de Documentación) M452.V433/NO.1 Aprox. Duration 18’ Premiered by Cuarteto de Chile, 1945

Vélez Hurtado, Juan María (no dates found)

No information was found on the life of this composer.

Euclípides el Hierofante 1960 String Quartet (2Vln, Vla, Vlc) I. Andante-Lento-Allegro II. Andante III. Presto Not Published MS: BNC (Centro de Documentación) M452.V436/BA

Cuarteto en Re mayor 1960 String Quartet (2Vln, Vla, Vlc) I. Lento-Presto II. Andante III. Allegro Not Published MS: BNC (Centro de Documentación) M452.V436

Vidal, Gonzalo (1863-1946)

Self-taught composer Gonzalo Vidal was born in Popayán to a musical family. He moved with his family to Medellín in 1876, where his father was offered work as the organist of the Medellín Cathedral. In 1889, Vidal succeeded his father and became the organist for the cathedral. Vidal was a prolific composer and his compositional output includes orchestral, choral, chamber, vocal, and piano works. He was an important pioneering composer who stimulated musical activity and culture in Medellín. He directed major music institutions including the Santa Cecilia Music School and the Symphonic Band of Medellín.68

Preludio y Minué No date String Quartet (2Vln, Vla, Vlc) I. Fugato II. Tempo di Minuetto Secretaría de Educación y Cultura de Medellín, 1997 ISBN: 9588024048. Printed copy: BLEV (EAFIT) PT780.9861V648A Approx. Duration 6’

Eucarístias 1933 Quintet (Sop, 2Vln, Vlc, Db) Not Published MS: BNC (Centro de Documentación) M3.V648 V.2/EU

Yepes Londoño, Gustavo (b. 1945)

Gustavo Yepes Londoño is currently a theory and music appreciation professor at the EAFIT University in Medellín. He earned his bachelor’s degree in music from the Universidad del Valle in Cali, Colombia. He moved to the United States and obtained a master’s degree in conducting from Carnegie Mellon University in 1987. Yepes also participated in conducting workshops at the Mozarteum in Salzburg and the University of Southern California. His compositional output includes works for orchestra, choir, chamber music, and piano.69

68 Ellie Anne Duque, “Vidal Pacheco, Gonzalo,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed September 18, 2019, https://www.oxfordmusiconline.com/grovemusic. 69 Schleifer, Latin American Classical Composers, 618. 69

Conversación Intrascendente en Trio 2007 Piano Trio (Pn, Vln, Vlc) Fondo Editorial Universidad EAFIT, 2007. ISBN: 9789588281681 Approx. Duration 9’

Zumaqué Gómez, Francisco (b. 1945)

Born in Cereté, Colombia, Francisco Zumaqué Gómez moved to Bogotá to study composition at the National Conservatory. In 1970, he received a scholarship enabling him to move to Paris and study with Nadia Boulanger. During his time in Paris, Zumaqué experimented with electronic methods under the supervision of Pierre Schaeffer, winning the Grand Prix de Composition in 1971, and 1973. In 1978, Zumaqué moved to New York City to work as composer and arranger for Eddie Palmieri and the Fania All-Stars. Upon his return to Colombia he worked with the Bogotá Philharmonic Orchestra for six years and became a prominent figure in the artistic development of the organization. As a composer Zumaqué is committed to closing the gap between academic and popular music; his compositions are known for using rhythms and melodic motifs from Colombian folk music.70

Cuarteto de Cuerdas No. 1 1970 String Quartet (2Vln, Vla, Vlc) Not Published MS: BNC (Centro de Documentación) M452.Z94/N0.1

Cuarteto de Cuerdas No. 2 1973 String Quartet (2Vln, Vla, Vlc) I. Fandango Not Published MS: BNC (Centro de Documentación) M452.Z94/NO.2

70 Susana Friedman, “Zumaqué, Francisco,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed September 19, 2019, https://www.oxfordmusiconline.com/grovemusic. 70

Elegia de la Anaconda 1945 String Quintet (2Vln, Vla, Vlc, Db) Not Published MS: BNC (Centro de Documentación) M1145.Z95/EL Approx. duration 7’

IV. COMPARISON OF FOUR WORKS THAT REPRESENT THE VARIETY IN COMPOSITIONAL STYLES FOUND IN THIS CATALOG

Background

Chamber music featuring the cello did not appear in Colombia until the late nineteenth century. According to musicologist Sebastian Mejía, little chamber music with cello was written before 1860. Therefore, the present study only catalogs works composed after 1860. The pieces found share similarities in style to that of the Classical, Romantic, and Modern repertoire.

Music of the Baroque period and earlier was not included in this study for two reasons. First, the composers’ nationalities during colonial times can be a controversial subject, as some scholars considered those composers to be Spanish while others thought of them as Colombian. The second reason is the specific role that the cello played during the Baroque period. In early music, the cello was typically part of the basso continuo section; in the Classical and subsequent periods, the cello had a more independent function. However, investigating how the cello was used during colonial times was significant to this research. Finding answers to the following questions brought new insight into this project: what influenced the composers in their writing? What was the instrumentation of the ensembles for which composers were writing? When did the first orchestras and music conservatories appear? The answers to these questions justify that the earliest composition featured in this catalog was composed in 1880. 72

Shortly after its foundation in 1538, Bogotá became the cultural and musical capital of Colombia. The center for this musical flourishing was Bogotá’s cathedral, where leading local composers served as music directors and developed their compositional craft. The first of these composers was Gonzalo García Zorro (1548-

1617). Second was Fernandez Hidalgo (1533-1620), who, according to American musicologist Robert Stevenson, is "the greatest South American composer of his epoch.”71

José de Cascante (1650-1702) was the first of these local composers whose vernacular music survived and is well documented at Bogotá’s cathedral. The cathedral also holds the villancicos of Juan de Ximénes (1700-?), the works of the prolific Juan de Herrera (1665-1738), and more than twenty-five other eighteenth- century local composers. José Ignacio Perdomo and Robert Stevenson, two recognized musicologists and researchers of early colonial music, cataloged these works in El archivo musical de la catedral de Bogotá. This work offers insight into the compositional practices of the contemporaneous composers, including common instrumentation of their works. It is unusual to find works with cello accompaniment, as the most preferred instruments for accompanying these early choral works were the organ, tiple, vihuela, harp, bajoncillo, and chirimía rather than the cello.72

71 Robert Stevenson, “The First New World Composers: Fresh Data from Peninsular Archives,” Journal of the American Musicological Society 23 (1970): 95–106, accessed February 12, 2019, https://www-jstor-org.ezproxy4.library.arizona.edu/stable/830350. 72 Jose Ignacio Perdomo, El archivo musical de la catedral de Bogotá (Bogotá: Instituto Caro y Cuervo, 1976), 1–30. 73

During the seventeenth, eighteenth, and early nineteenth centuries, colonial music was tied to religious practices and was largely limited to choral works written and performed in important cathedrals: Bogotá, Tunja, Popayán, Santafé de

Antioquia, and Cartagena.73 After Colombia became independent in 1819, these choral works became less prominent. By that time secular music became more popular, with the piano and guitar being the preferred instruments. The first documented Colombian composers writing in this new style were Julio Quevedo

Arvelo (1829–1897), Eugenio Salas (1823–1853), and José María Ponce de León

(1846–1882) - the first composer of Colombian operas. Their compositions were mostly in the style of immensely popular European dances such as waltzes, gavottes, mazurkas, and contradanzas.74

During the early nineteenth century, Italian opera was the most prevalent music genre in Colombia and throughout South America. Composers in the Italian bel canto tradition, such as Donizetti, Rossini, and Bellini were well known; instrumentalists and audiences were less familiar with the music of Beethoven,

Schumann, Brahms, and Wagner. Pianists and composers were more conversant with the music of Chopin, Liszt, and Henri Herz.75 Standard orchestral and chamber music compositions appeared in Colombia only after 1847 when the Englishman

73 Andrés Pardo Tovar, “Los problemas de la cultura musical en Colombia,” Revista Musical Chilena 13, no. 64 (Marzo 1959): 61–70, accessed February 15, 2019, https://revistamusicalchilena.uchile.cl/index.php/RMCH/article/view/12801/13088. 74 Jose Ignacio Perdomo, Historia de la música en Colombia, 5th ed. (Bogotá: Plaza & Janes, Editores-Colombia Ltda, 1980), 45–65. 75 Egberto Bermúdez, “Un siglo de musica en Colombia: entre el nacionalismo y el universalismo?,” Revista Credencial, September 2016, accessed February 12, 2019, http://www.revistacredencial.com/credencial/historia/temas/un-siglo-de-musica-en-colombia- entre-nacionalismo-y-universalismo. 74

Henry Price founded the Sociedad Filarmónica. The Sociedad had many administrative changes and eventually became the Orquesta Filarmónica de Bogotá.

This orchestra consisted of sixteen violins, two violas, three cellos, three basses, four flutes, three oboes, five clarinets, three bassoons, five French horns, one trumpet, three cornets à pistons, one ophicleide, two harps, timpani, and percussion.76 The establishment of this orchestra introduced Colombian audiences and composers to the orchestral and chamber music of prominent European composers. As a result,

Colombian composers began to explore new instrumental timbres and rapidly became interested in orchestral and chamber music genres.

José Maria Ponce de León (1846-1882), the first Colombian composer to receive training in Europe, studied at the Paris Conservatoire from 1860 to 1870 under Charles Louis Ambroise Thomas. He was the first Colombian to compose an opera and important symphonic works based on Colombian folk music, including

Sinfonía sobre temas Colombianos. This piece is considered to be a pioneering work of the Colombian nationalistic movement. Unfortunately, there are very few surviving works by Ponce, and among those that survived there are no works for small ensembles.77

The earliest chamber music composition cataloged in this project is Fantasia, a string quartet composed in 1880 by Pedro Morales Pino (1863-1926). Due to the use of Colombian dances, Morales Pino was considered among the pioneers of the nationalistic movement. Along with Morales Pino, a number of other early

76 Pardo Tovar, “Los problemas de la cultura musical en Colombia,” 61–70. 77 Perdomo, Historia de la música en Colombia, 99–105. 75

Colombian composers are featured in this catalog, including Santos Cifuentes (1870-

1932), Gonzalo Vidal (1863-1946), and Guillermo Uribe Holguín (1880-1971).

These composers were responsible for the development of the Colombian music scene. They were followed by an extended lineage of composers who are also featured in this study. The following four examples demonstrate diversity and quality in compositional styles examined by this research of Colombian chamber music.

Adolfo Mejía

About the Composer

Adolfo Mejía (1905-1973), one of the most versatile Colombian composers, was known in both the popular and academic music realms. Mejía worked as a composer, arranger, guitarist, and pianist combining many influences from popular sources such as jazz, dance music, and Colombian folk music in his compositions.

Born into a musical family, Mejía was a virtuoso guitarist and pianist. At the age of eleven, he joined the San Pedro Claver Choir directed by the Italian conductor

Giovanni Sanctis, who was a significant influence in Mejía’s musical development. In

1918, Mejía studied at the Universidad de Cartagena, where he first came in contact with the Colombian nationalistic music movement. By 1922, Mejía was the pianist and arranger of the Orquesta Jazz Band Lorduy, the first jazz band of Cartagena.78

78 Susana Friedmann, “Adolfo Mejía,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed February 15, 2019, https://www.oxfordmusiconline.com/grovemusic. 76

From 1930-1932, Mejía lived in New York City, where he composed, arranged, and performed for the Trio Albèniz with Argentinean mandolinist Terig

Tucci and Catalonian laud player Antonio Francés. Trio Albèniz recorded for NBC

Studios, Columbia, and Victor Records.79 In 1933, Mejía returned to Colombia to work as an arranger for the Orquesta Sinfónica Nacional, then conducted by

Guillermo Espinosa Grau. In 1936, he began his studies at the National Conservatory of Music with Antonio María Valencia and Jesús Bermúdez Silva, two outstanding representatives of musical nationalism in Colombia. It was at the conservatory that

Mejía first employed traditional dance forms and rhythms in his academic music. In

1938, he won the Ezequiel Bernal Composition Award with his nationalistic piece,

Pequeña Suite. With this award, Mejía received a scholarship to study at the École

Normale de Musique de Paris with Nadia Boulanger and Charles Koechlin in 1939.

Unfortunately, he could not carry out his plan, as the beginning of World War II forced him to return to South America.

Shortly after his arrival in Brazil, Mejía was invited by Leopold Stokowski to return to New York and work with the Youth Symphony of the Americas.80 Upon his homecoming to Colombia, he became an important figure for the development of the arts in Cartagena. In 1945, with the help of Gustavo Lemaitre, Ignacio de Villarreal, and Guillermo Espinosa, Mejía formed the Sociedad Pro-Arte de Cartagena. In the same year this group created the Cartagena Music Festival, which is considered among the most important international music festivals in Latin America. Mejía died

79 Ibid. 80 Andrés Pardo Tovar, “La cultura musical en Colombia” in Historia extensa de Colombia, ed. Luis Martínez Delgado, vol. 6 (Bogotá: Ediciones Lerner, 1966), 293. 77 in 1973, leaving behind more than eighty works for choir, orchestra, piano, guitar, voice, and chamber music. This rich legacy has ensured his place among the most well-known figures of the Colombian nationalistic music movement.81

Mejía left at least five chamber compositions that included cello: Busca Mujer

(1945), Mofa o Juguete Infantil (1955), Trio para piano (1961), Candita (1965), and

Sara, Danza Portoriqueña. With the exception of Busca Mujer, which could not be located, these works are included in the present catalog.

About the Work

Mejía was a bohemian artist who was renowned for his love of literature and paintings. Among his favorite activities was meeting other artists at concerts, poetry readings, and ballrooms in Cartagena. One of the most frequented locales for these artistic gatherings was the patio of Candelaria Rojas de Zota. Candita, as Roja’s friends called her, worked at the local music conservatory and was very prominent in Cartagena’s artistic scene. Many of the country’s prominent intellectual figures, among them Gabriel García Márquez, Gustavo García, and Julio Ramírez, gathered on her patio to hear Mejía’s music. In 1963, Candita Rojas left Colombia to live in the

United States; her absence was immortalized by Mejía’s composition titled Candita.

81 “Adolfo Mejía,” composer’s website, accessed February 15, 2019, https://adolfomejianavarro.com/el-compositor/. 78

Dance rhythms inspired nationalistic composers during the nineteenth and twentieth centuries. Two very important dances for the Colombian nationalistic music movement are the Pasillo82 and the Bambuco.83 Their characteristic rhythms play a significant role in Mejía’s music and the music of other composers discussed in this chapter. The bambuco is perhaps more native to Colombia, as the pasillo also exists in Costa Rica and Ecuador.84 There are significant differences in instrumentation, rhythm, and tempo between these different versions. As such, the

Colombian pasillo is distinct from the others. Following Colombia’s independence, the pasillo and bambuco became symbolic of the Colombian people.

While it is difficult to pinpoint the origins of both the pasillo and bambuco, it is important to understand their historical context as folkloric dances and music traditions. Before the country of Colombia was established, the bambuco was a musical genre associated with the fight against oppression in the colony of Gran

Colombia. This style was most popular in the Andes and Pacific regions. According to musicologist Andrés Pardo Tovar, the bambuco’s “rhythm and especially its expressive ethos varies in the different zones of the country; slow and melancholic in the Cauca Valley, faster and festive in Antioquia, humoristic in Boyacá, and more affirmative in Santander.”85 The bambuco originated from the influences of the

82 “A dance-music genre descended from the Austrian waltz and cultivated during the colonization of Colombia and Ecuador as a formal ballroom dance.” Grove Music Online, s.v. “Pasillo,” accessed February 08, 2019, https://www.oxfordmusiconline.com/grovemusic. 83 “The national dance of Colombia. It is said to have been the favorite of Símon Bolívar, Colombia's independence leader.” Grove Music Online, s.v. “Bambuco,” accessed February 08, 2019, https://www.oxfordmusiconline.com/grovemusic. 84 Alber Fair Corredor, “Entre Bambucos y Pasillos: una perspectiva musical de Adolfo Mejía,” (Licenciatura en Música, Universidad Nacional, 2018), 19–40. 85 Pardo Tovar, “La cultura musical en Colombia,” 121. 79

Indigenous, African, and European cultures: an important form of cultural syncretism.

Indigenous influence is apparent in the bambuco’s instrumentation, which includes bamboo flutes. Further, the name of the genre might be derived from the material the natives used to fabricate these flutes.86 Meanwhile, the use of percussion and polyrhythm, commonly 6/8 against 3/4 meter are of African descent. Example 4.1 shows both metrical structures.

Musical Example 4.1. Most common polyrhythm of the bambuco

The harmonies and instruments, the guitar and the tiple, are of European origin. Bambuco became a musical symbol of nationalistic pride and was performed by marching bands during and after the battles of independence.87

The other popular genre during and after the colonial period was the pasillo.

The pasillo was used in the wealthy class’s ballroom dances, in contrast to the lower-class origins of the bambuco. The pasillo is a relative of the European waltz, which rapidly spread throughout Colombia and much of Central and South America.

As previously mentioned, pasillos existed in Costa Rica and Ecuador, and traces of the pasillo are found in the rhythmic and structural elements of the Peruvian Vals

86 John Varney, “An Introduction to the Colombian Bambuco,” Latin American Music Review 22, no.2 (Fall/Winter 2001): 122–156, accessed February 16, 2019, https://muse.jhu.edu/article/ 19464/pdf. 87 Juana Salamanca Uribe, “Música para la independencia,” Revista Credencial, September 2011, accessed February 16, 2019, http://www.revistacredencial.com/credencial/historia/temas/ musica-para-la-independencia. 80

Criollo (Creole Waltz), and the Argentinian Vals Encadenado (Chained Waltz).88 Like its European predecessor, the pasillo is in a 3/4 meter, but with a slight variation of the basic rhythm and an accentuation of the first and third beat of the measure

(Example 4.2).

Musical Example 4.2. Most common pasillo rhythm

Pasillo Waltz

Musical Example 4.3. Variations of the pasillo rhythm

The name pasillo, meaning small step, indicates how the dance was performed. There are two types of pasillos, Pasillo Lento and Pasillo Fiestero. The main difference between the two is the slow and contemplative tempo of the former versus the more festive tempo of the latter. The most standard instrumentation for the pasillo includes the guitar and its descendants, the tiple and the bandola.89 The structure of the pasillo is relatively simple: either ternary form with repeats of each section (||: A :||: B :||: A’ :||) or rondo form (||A|B|A’|C|A”||).

88 Perdomo, Historia de la música en Colombia, 45–55. 89 Ana Maria Trujillo, “Colombian Nationalism: Four Musical Perspectives for Violin and Piano” (DMA diss., The University of Memphis, 2011), 7–11, accessed February 16, 2019, ProQuest Dissertations & Theses Global. 81

Mejía’s Candita is a ternary form pasillo. The sixteen-measure A section in B minor begins with a sorrowful melody in the cello. The distinctive rhythm of the pasillo is repeated in the piano left hand (Example 4.4)

Musical Example 4.4. Candita opening (mm. 1-7)

The B section, also sixteen measures in length and in B minor, contains a harmonic progression with descending fifths on downbeats in the bass.

Musical Example 4.5. Descending fifths (bass line of the piano) in the B section (mm.

17-25)

The third section could be analyzed as new material; however, it is more accurate to label the return of the A section with variations in melody, tonality, and 82 length. This A’ section is thirty-six measures long with a variation of the opening melody played by the violin in a more uplifting tonality. This section modulates to the relative major, D major, embodying a sense of triumph over the original melancholic B minor.

Musical Example 4.6. Variation of the opening melody (mm. 33-40)

This short work, with its romantic characteristics, is representative of Mejía’s facility composing popular music in a classical style. It utilizes symmetrical phrase length and tonal harmonic relationships. This piece uses structural and harmonic symmetry. The pasillo and bambuco rapidly spread into other nationalistic composers’ compositions including Pedro Morales Pino, Carlos Vieco, and Luis

Antonio Calvo.

Antonio María Valencia

About the Composer

Antonio María Valencia was also part of the nationalistic movement and drew on folkloric traditions for compositional inspiration. Valencia was born in Cali,

Colombia in 1902. His father, the cellist and music educator Julio Valencia, gave him a rigorous musical training. Valencia, who was considered a virtuoso pianist, was accepted into the studio of the renowned Colombian pianist Honorio Alarcón in

1916. From 1923 to 1929, Valencia attended the Schola Cantorum in Paris, where he 83 studied composition with Vincent d’Indy, piano with Paul Braud, counterpoint and harmony with Saint Requier, chamber music with Gabriel Pierne, and orchestration with Manuel de Falla.90

After graduating from the Schola Cantorum, Valencia was offered a position at the school as a piano instructor. However, he declined the offer in order to return to his homeland. Upon arriving in Colombia, Valencia was asked to work at the

National Conservatory in Bogotá, but due to the personal incompatibility between

Valencia and institution’s director, Guillermo Uribe Holguín,91 Valencia left the school and returned to Cali where he founded the Conservatory of Cali in 1933.

Valencia was a pioneer of artistic culture in Cali. He founded the city’s conservatory, its fine arts school, and also the Palestrina Choir. Unfortunately, his covert homosexuality and addiction to drugs eventually cost him his position at the conservatory. Ultimately, Valencia contracted tetanus in unknown circumstances, but with no vaccine available in Cali, he died on July 22, 1952.

Valencia was perhaps better known, both within and outside Colombia as a pianist rather than as a composer. He gave masterful interpretations of Classical and

Romantic works, and was fascinated by French impressionistic composers such as

Debussy and Ravel. These impressionistic influences became an important element in his compositions. Before leaving for Paris, Valencia composed Desolación, Canción de Mayo, and Arrurru, three vocal works based on the style of nationalistic composer

90 Pardo Tovar, “La cultura musical en Colombia,” 258–261. 91 Holguín is included in this study on page 62. 84

Pedro Morales Pino.92 Aided by his rigorous Parisian training, Valencia became one of the most versatile Colombian composers to experiment in both sacred and vernacular genres. His knowledge of folkloric elements in Colombian music, combined with an in-depth study of traditional European music, enabled him to find his own musical language.

Valencia composed most of his piano and chamber works in Paris, employing impressionistic compositional techniques learned from Vincent d’Indy. As a representative of French nationalism, d’Indy encouraged Valencia to look into national sources as a means for inspiration. As a result, Valencia’s piano works were permeated with both impressionistic and nationalistic ideas, as found in Ritmos y

Cantos Suramericanos, Sonatina Boyacence, and Chirimía y Bambuco Sotareño.

Between 1933 and 1943 Valencia composed his sacred music, chiefly for solo choir or choir with organ accompaniment. His works from this period displayed an impeccable use of harmony and counterpoint, among them O Vos Omnes, Ave Maria,

Domine Salvam fac Rempublicam, Misa Breve, and Misa de Requiem.

This catalog contains only one chamber work composed by Valencia,

Emociones Caucanas (Cauca Valley Moods), as it is his only chamber composition to use cello. Valencia’s other chamber works included two duos for violin and piano, and a woodwind quartet, Cancion de Cuna (Lullaby). The composer’s musical sensitivity and inventiveness are evident throughout his chamber works.

92 Perdomo, Historia de la música en Colombia, 141–151. 85

About the Work

Emociones Caucanas was completed in 1938 after the composer returned to

Colombia, but the trio is first mentioned in a 1926 letter Valencia sent from Paris to his mother, stating his wish to compose a piano trio with Colombian folkloric themes.93 He completed the first three movements while in Paris. In this piece,

Valencia wished to portray the beautiful landscape of the Cauca Valley and the quotidian lives of its inhabitants. This piece exudes Valencia’s love of Colombian nature, history, and folk music.

Emociones Caucanas was conceived in four movements, a standard formal structure for piano trios during and after the Classical period. However, Valencia adapts this traditional form by including two dance movements, titled Pasillo and

Danza Campesina. This structure may reflect influence of the baroque sonata da camera, which typically also incorporated multiple dance movements.

The first movement, Amanecer en la Sierra (Dawn in the Mountain Range), can be interpreted as sonata form with a clear exposition, development, and recapitulation. In this movement, Valencia depicted a mountainous landscape full of color and light, with the perceived feeling of sadness and solitude of a foretold tragedy. The movement opens with subtle notes in the piano that provide the background for the melodic themes present in the strings. The first five bars function as an introduction. In the exposition, the cello and the violin carry constant melodic motives that appear in conversational style. The movement is in the key of

93 Mario Gómez Vignes, Imagen y obra de Antonio Maria Valencia (Cali: Corporación para la Cultura, 1991), 259–265. 86

E minor, but the use of Phrygian and Dorian modes accentuate the musical texture with impressionistic colors and moods.

Musical Example 4.7. Phrygian melody in the strings (mm. 1-4)

Musical Example 4.8. Dorian melody in the cello (mm. 9-10) followed by a quick modulation back to E minor (mm. 11-12)

During the development of the work, the harmony becomes more chromatic with increased use of short motives in the cello and the violin. Valencia also uses whole tone harmonies to create new textures and colors (Example 4.9). 87

Musical Example 4.9. Chromatic harmonies in the piano, semitonally descending chords (mm. 30-31)

Musical Example 4.10. Whole tone harmonies (mm. 34-36)

As the harmony becomes increasingly dissonant, a crescendo pushes toward a dramatic climax featuring diminished thirds in the violin part and minor seconds in the cello part, with the two instruments forming harmonic dissonances with one another.

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)

In the recapitulation, Valencia returns to the home key, in which previously heard themes and consonant harmony recur in the violin and cello. Thematic melodies come to a peaceful agreement before being interrupted by a tempestuous coda that leaves a feeling of uncertainty.

Emociones Caucanas should be considered a treasure in the Latin American chamber repertoire. It demonstrates a composer in absolute command of the

European tradition, yet afflicted by nostalgia for his homeland, Valencia incorporates musical elements of his roots to find a unique voice.

Blas Emilio Atehortúa

About the Composer

Like Mejía and Valencia, Blas Emilio Atehortúa employed elements of

Colombian folk music influences in his compositions. Atehortúa is considered a representative of the nationalistic composers, but he prefers his music not to be labeled as a particular style of composition. Today, Atehortúa is one of the most influential composers of the Americas, of a stature comparable to his predecessors

Villa-Lobos, Ginastera, and Chávez.94 His music encompasses numerous genres including symphonic, choral, chamber, incidental, and electronic music.

Blas Emilio Atehortúa was born in Santa Helena Antioquia in 1933. His birth mother, Catalonian biologist Miriam Tetuan, accidentally fell and went into labor while eight months pregnant and doing research in Santa Helena. Informed by the

94 Susana Friedman, Blas Emilio Atehortúa: tallando una vida de timbres, acentos y resonancias (Bogotá: Ministerio de Cultura Programa Nacional de Estímulos, 2011), 72–86. 89 doctor that her son was dead, Tetuan returned to Spain without him. The infant’s adoptive parents, Ramón Atehortúa and Gabriela Amaya, kept him alive and gave him the name Blas in honor of Saint Blas, and the name Emilio in honor of Jean-

Jacques Rousseau’s Émile, ou De L’ Éducation (Emile, or On Education).

Subsequently, a radio broadcast of the story of Atehortúa’s birth reached the ears of his birth mother, who promptly returned to Colombia to meet her son.

Although Atehortúa decided to remain in Colombia with his adoptive parents, in

Tetuan he found the support necessary for his education, as well as assistance in starting his career as a musician.

Atehortúa’s first musical studies were with the Venezuelan pianist Ruth

Muños, but upon hearing Lalo’s Symphonie Espagnole, he decided to study violin instead. He became a violin student of Bushulav Harvanek, to whom Atehortúa’s first violin compositions were dedicated. Atehortúa later studied harmony and counterpoint with Joseph Matza. When Atehortúa was thirteen, Matza took him to play with the Antioquia Symphony. While sitting in the back of the second violin section, he began studying the compositions of Bach, Mozart, Schubert and

Schumann among others.95

On Matza’s advice, Atehortúa moved to Bogotá in 1951 to study at the

National Conservatory: conducting with Olav Roots, orchestration with José Rozo

Contreras, and composition with Fabio Gonzáles Zuleta. In 1963, he moved to

Buenos Aires to study composition with Alberto Ginastera at the Tella Institute. In

95 Nelly Valbuena, "Blas Emilio Atehortúa: alusión a lo posible," Nómadas 4, no. 2 (1997): 127–144, accessed February 11, 2019, ProQuest Dissertations & Theses Global. 90 the 1960s, Buenos Aires was a frequent destination for celebrated composers.

During his study with Ginastera, Atehortúa also received instruction from Luigi

Dallapiccola, Iannes Xenakis, Oliver Messiaen, and Aaron Copland.96

Nourished by such exceptional training, Atehortúa’s international career grew considerably; his music gained particular popularity in North America. His works were performed alongside those of several prominent composers of the

Americas in the celebration of the New World’s 500th anniversary in 1992. That year, the National Symphony Orchestra, conducted by Mstislav Rostropovich, performed the works of Copland, Chávez, Villa Lobos, Ginastera, and Atehortúa.97

Atehortúa has attained much international recognition, including the Civil

Merit for Composition in Spain in 1982 and the Béla Bartók Medal in Hungary, 1983.

His pieces have been performed in Germany, Argentina, Austria, Belgium, Bolivia,

Brazil, Canada, Chile, Costa Rica, Hungary, Italy, Mexico, Russia, the United States,

Uruguay, and Venezuela.98 With more than 300 works, Atehortúa is the most prolific

Colombian composer. Despite his international recognition, few of his works are known within Colombia, and less than a handful have been published. This fact is a reflection not on the quality of the compositions but on the lack of scholarship and governmental support of the arts in Colombia.

96 Ellie Anne Duque, “Atehortúa Blas Emilio,” Grove Music Online, ed. Deane Root, January 20, 2001, accessed February 11, 2019, https://www.oxfordmusiconline.com/grovemusic. 97 Friedman, Blas Emilio Atehortúa, 74. 98 Valbuena, "Blas Emilio Atehortúa: alusión a lo posible," 127–44. 91

About the Work

Atehortúa’s String Quartet No. 5 was composed in 1998, when Colombia was undergoing an economic, social, and political crisis. These circumstances notably influenced Atehortúa’s artistic sensibility, and as a result, the work does not have a festive or amicable character.99 Already a mature composer, he wanted his music to create conscience and provoke a reaction from the listener.100 This string quartet was commissioned by the Colombian National Bank and was premiered in the same year at the Luis Ángel Arango Auditorium. This piece exemplifies Atehortúa’s compositional power and his understanding of the western European musical traditions. The work’s four movements are titled Preambulo, Scherzo-Bambuco,

Expressivo, and Ritmico a la Rústica.

The quartet’s musical language is a combination of tonal, atonal and serial elements. Such a mingling of disparate idioms appears in most of Atehortúa’s compositions.101 In the second and fourth movements the composer makes use of folkloric and Colombian thematic influences. The second movement, as its title suggest, uses a bambuco rhythm, while the fourth movement is a fast-paced rustic dance similar the pasillo fiestero. The influence of Atehortúa’s teacher Ginastera and his idol Béla Bartók are traceable in almost every measure of the piece.

The opening movement is titled Preambulo. As its name indicates, the movement serves as an introduction, posing musical elements that recur and develop in the following movements. The movement is through composed but with

99 Blas Emilio Atehortúa, email message to author, January 2019. 100 Ibid. 101 Ibid. 92 a clear three-part, A-B-C form. The first part of the movement, A, uses aleatoric compositional techniques in which the players are allowed some freedom of interpretation, seen in example 4.12.

Musical Example 4.12. Aleatoric compositional techniques (mm. 9)

In this example, the composer dictates what pitches and rhythms are to be played, but the tempo of each part is determined by the respective performer.

However, there is a precise amount of time, given in seconds, marked in the score and parts for those sections of the work. These compositional effects give the A section a timeless feeling. 93

Musical Example 4.13. A tempo B section (mm. 13-20)

In contrast to the A section, the B section is more precise and rhythmically defined. In the above example, the music cycles rapidly and meter changes are constant. Most of these metrical changes are played in unison with sixteenth note figures in all the instruments. This moment resembles compositions by Ginastera and Bartók; the use of visceral rhythms and atonal melodies create a similar sonic approach to string quartet writing. 94

The C section has similar characteristics to the A section, but two main instruments are given emphasis. The cello and the viola have short cadenzas marked A piacere, in which the performer has more freedom of interpretation.

Musical Example 4.14 Cello cadenza (mm. 39)

Unlike the cello cadenza, the viola cadenza is constantly interrupted by short in-tempo measures played by the other instruments. After the final interruption, and continuing to the end the first movement, all the instruments die out in a timeless manner.

For a better understanding of his work, Atehortúa suggests that the performers examine the sonorities in the orchestration, the timbre balance, the strong contrasts, and the different climatic points.102

102 Ibid. 95

Víctor Agudelo

About the Composer

Víctor Agudelo is among the most prominent and active young Colombian composers. A full-time composition and music theory professor at EAFIT University and director of the Periscopio Contemporary Music Ensemble, Agudelo considers his musical output to belong to three main periods: “The rivers,” “The continents,” and “The return.”

The composer’s rivers period began in his childhood. Agudelo was born in

Medellín, Colombia in 1977. Agudelo grew up listening to and playing Colombian folk music, acquiring a particular affection for the traditional rhythms of the pasillo and bambuco. In 1998, he entered into the studios of composers Andrés Posada,

Moisés Bertrán, Mario Gómez Vignes, and Sergio Mesa at EAFIT University. While studying under his principal teacher Andrés Posada, Agudelo composed Las Cuatro

Chalupas (The Four Boats) in 2003, a composition based on the four main rivers of

Colombia: the Atrato, the Caquetá, the Cauca, and the Magdalena. This work, similar in its construction to a symphonic poem, established Agudelo’s national and international reputation.103

The continents period began in 2003, when Agudelo moved to the United

States for his master’s and doctoral studies at the University of Memphis. At this institution, Agudelo studied composition, theory, and orchestral conducting with

Kamran Ince, John Baur, and Kraig Williams. During this time, Agudelo began

103 “Víctor Agudelo,” composer’s website, accessed February 9, 2019, https://www.victoragudelo.co/bio. 96 incorporating sonorities from the music of other countries into his compositional aesthetic. It was during this time that he composed Mazorca a $1000 Pesos. During this period Agudelo also composed The Pagodas and Continental Prism. This last work was awarded the ASCAP Foundation Morton Gould Young Composer Award in

2009.104

Agudelo’s homecoming to Colombia after finishing his degree marked his return period. At this point he experimented with compositions that avoid national references, such as Hexaedro and Epitaphium. His interest in Colombian music influences did not fade entirely, however, and in 2016, Agudelo received the

Houston Symphony Young Composer Award for his work El Sombrerón, based on a

Colombian folktale. Two years later he would receive the Initiative to Stimulate Art and Culture Award given by the Secretary of Civic Culture of Medellín.

Agudelo has arranged and composed music for many ensembles: the

Periscopio Contemporary Ensemble, the International Trio, Trio Montecino, The

University of Memphis Contemporary Chamber Players, Orquesta Sinfónica Castilla y León, Orquesta Sinfónica Universidad EAFIT, Orquesta Filarmónica de Medellín, and Orquesta Filarmónica de Bogotá.105 His works are published by Filarmonika

Music Publishing (Texas), Periferia (Barcelona), and Ediciones Musicales

Universidad EAFIT (Medellín).

104 Víctor Agudelo. Blancas, negras y mulatas: exploración de notaciones alternativas y técnicas contemporáneas de composición en 12 piezas para piano (Medellín: Fondo Editorial Universidad EAFIT, 2016), 24–26. 105 Ibid, 27–29. 97

About the Work

Mazorca a $1000 Pesos was composed in 2006. This work was commissioned by the Chilean pianist Paulina Zamora and Trio Montecino. The work is inspired by a horrific social phenomenon that has been long related to the history of Colombia: internal forced displacement. Victims of this phenomenon are forced to move to the large cities and are obligated to improvise jobs in order to survive - jobs such as selling mazorca (corn) in public and tourist areas for a fraction of a dollar.

The work is written in seven movements: Preludio, Desplazamiento Fúnebre-

1, Cerro Nutibara, Desplazamiento Fúnebre 2, Cerro Monserrate, Desplazamiento

Fúnebre 3, and Cerro La Popa. Three of the movements deal with urban locations known for their tourist attractions: Cerro Nutibara (Nutibara Hill) in Medellín, Cerro

Monserrate (Monserrate Hill) in Bogotá, and Cerro La Popa (La Popa Hill) in

Cartagena. The remaining movements are dark, evocative, and mournful in character, most explicitly Desplazamineto Fúnebre (Mournful Displacement).

For more than eighty years, forced displacement has harmed the most vulnerable among the population of Colombia, including farmers, indigenous, and

Afro-descended communities. This phenomenon is partly caused by the control and appropriation of strategic territories. These territories are usually areas of constant conflict between the army and the guerrillas, who are in the midst of an illicit trade of weapons or illegal narcotics. Another cause of forced displacement is the activity 98 of corporations. Infrastructure developments, as well as the exploitation of areas rich in minerals and fossil energy sources, can lead to forced displacement.106

In the 1940s and 1950s, during a period known in Colombian history as La

Violencia (The Violence), more than two million people were deprived of their land and forced into displacement. At that time, the main reason was the struggle, amounting to an unofficial civil war, between the conservative and the liberal parties, where a simple affiliation to either of the parties could lead to murder, terrorism, or destruction of private property.107 In the 1980s and 1990s, the predominant cause for this circumstance was the Colombian army’s conflict with insurgent groups on the left and extreme right. Ultimately, the constant battle against narcotraffickers, their illicit plantations, and the development of the infrastructure, forced vulnerable communities to leave for the urban centers of the country. Unfortunately, Colombia’s long affair with violence and corruption is still contributing to people being forcefully removed from their homes. In 2018, 120,000 people were registered as affected by forced displacement.108 By running away from home and leaving everything behind, these people often find themselves in extreme poverty. The lands left behind in the aftermath of such conflicts are usually not recovered by their rightful owners; they are appropriated by criminal violent means, or else by the unscrupulous though legal means of corporate acquisition at a

106 Jorge Camacho Velazques, Un país que huye: desplazamiento y violencia en una nación fragmentada (Bogotá: Consultoría para los Derechos Humanos y el Desplazamiento, 1999), 383–459. 107 Rafael Rueda Bedoya, “El desplazamiento forzado y la pacificación del pais,” Ensayos Forum, no. 15 (2000): 119–125. Accessed February 9, 2019. http://bdigital.unal.edu.co/47241/1/ Enfoques_y_metodologias_sobre_el_habitat.pdf. 108 Red Nacional de Informacion, “Desplazamiento-Personas,” accessed February 09, 2019, https://www.unidadvictimas.gov.co/es/registro-unico-de-victimas-ruv/37394. 99 fraction of the market value.109 This is the practice of forced displacement that

Agudelo critiques in Mazorca a $1000 Pesos.

Despite the tragic events and situations that inspired Agudelo’s composition, the majority of the work sounds uplifting, reflecting the indefatigable optimism of the street vendors who continue to work hard for a living. The Preludio opens the work with short rhythmical figures in all three instruments that seem to ignite the whole movement with their energy. Near the end of the movement, the clarinet and cello are given more extended and dissonant melodic lines before the music settles down in preparation for the next movement. In Cerro Nutibara, similar to the

Preludio, the parts are in unison, with short rhythmic themes in all three instruments. The piano then plays a bass line similar to that found in a popular

Cumbia.110 Finally, the instruments become discombobulated, losing all connections to each other. This chaotic sound may reflect the noisy, busy locales in which the street vendors work.

Cerro Monserrate is also very positive and uplifting in character, highlighted by a child-like melody. The phrases are longer than in previous movements, but the harmonies are atonal sound clusters, as previously used. The seventh movement,

Cerro La Popa is the longest movement of the piece. After the opening chord, the players are asked to sing a short phrase in Latin; Credo in Unum Deum (I Believe in

One God) that resembles Gregorian chant and is derived from the text of the Mass.

109 Camacho Velazques, Un país que huye, 399–402. 110 “Colombian dance and musical style. The term Cumbia likely originates from the term Cumbé, which is used to describe a dance and rhythm from the region of Bata in Equatorial Guinea that migrated to Colombia during the slave trade colonial period. Cumbia originated in the Caribbean coast of Colombia and it is only one in a diverse group of music from this area.” Grove Music Online, s.v. “Cumbia,” accessed February 09, 2019, https://www.oxfordmusiconline.com/grovemusic. 100

This is an allusion to the fact that there is a colonial chapel and monastery atop Popa

Hill. After this evocation of ecclesiastical music, the tempo quickens into a homage to the tropical music from the Atlantic coast of Colombia. To emphasize this, the cellist is directed to use percussive effects that maintain the forward driving energy of the music.

This highly energetic and cheerful music contrasts with the despair and mourning of the connecting movements, Desplazamineto Fúnebre 1, 2, and 3. It is in these movements that Agudelo is able to capture the essence of the work, by musically displaying the suffering, agony, and distress undergone by the victims of forced displacement.

Desplazamineto Fúnebre 1 is in a simple A-B-A form. Agudelo uses an eclectic blend of compositional techniques and styles, particularly a minimalistic one reminiscent of Philip Glass. The first A section is in B-flat major; a continually repeating double-neighbor piano figure is the focus of musical interest.

Musical Example 4.15. Repetitive double neighbor figure in the piano (mm. 6-11)

After the tonal A section is over, the B section enters with atonal harmonies and melodies that are passed from the clarinet to the cello. 101

Musical Example 4.16. Atonal melody in the clarinet (mm. 21-34)

At the return of the A section, the double-neighbor figure recurs. The music is again tonal, but in B major instead of B-flat major. The work concludes with a haunting unison in the clarinet and cello.

Musical Example 4.17. Return of the double neighbor motive (mm. 54-58)

102

Agudelo’s Mazorca a $1000 Pesos is an outstanding addition to the Latin

American chamber music repertoire. This imaginative work is full of engaging moments of beautiful interaction between the three instruments. The social connotation present in this work could be interpreted as a clever way of using nationalistic influences to criticize an ongoing problem Colombia has had for decades.

The four compositions discussed in this chapter are representative examples of the diversity and richness of repertoire found in this catalog. This includes the romantic harmonies and folkloric rhythms found in Mejía’s Candita; the expressionist techniques and coloring found in Valencia’s Emociones Caucanas depicting the landscapes of his home on the pacific coast of Colombia; the abstract harmonic and rhythmic language of Atehortúa, who was inspired by Bartók,

Stravinsky, and his mentor Ginastera; and the mixed minimalistic and atonal approach of Agudelo, who made a political statement with Mazorca a $1000 Pesos.

All of these unique compositional techniques reveal the harmonies of

Colombian society. Upon further investigation, many more distinctive voices will be discovered by delving into the richness of styles found in the 126 chamber music works cataloged in this study. 103

CONCLUSION

The four works discussed in this research only scratch the surface of

Colombian chamber music repertoire. The 126 compositions in this catalog represent a variety of composers, genres, and styles, all of which highlight the uniqueness of this substantial repertoire. These imaginative works are a testament to the composers’ talents. These works embrace the region’s folkloric traditions while bringing a new vitality to concert halls today.

Despite the variety in compositional approaches, there is a unifying theme pervading these four works and throughout the compositions featured in this catalog: nationalism. Identifying nationalistic influences, such as the bambuco and pasillo, is fundamental to understanding and performing this repertoire.

This catalog is but one view of Colombian chamber music, and as such, it should not be considered as the complete or final work on the subject. Researching the topic was extremely difficult due to the country’s infrastructure issues and ineffective organization. Information on some composers was limited and sometimes not available; classification of the scores was not always methodical, making it impossible to trace the compositions. The author discovered an additional fifty-six chamber music compositions whose scores could not be found. Therefore these works could not be included in the catalog. Despite the difficulties faced during the research process, this study serves as a valuable departure point for delving into the expansion of this subject. 104

There is a considerable need for more scholarly work on Colombian repertoire including choral, orchestral, keyboard, popular, and indigenous music.

While these areas clearly need research, there are two important subjects that directly relate to this catalog: publishing engraved editions and recording the music found in the catalog. This will serve to expand the knowledge of Colombian chamber music. This is a challenging but necessary task that will significantly serve Latin

American musical scholarship.

The majority of these works are unpublished and remain as manuscripts in various libraries in Colombia. Only about a fourth of the works contained in this catalog have ever been recorded and some have never been performed. Recording and performing these works will be extremely beneficial for the preservation of this repertoire. This is an area that the author hopes to further investigate in the near future. Exposure is essential to the survival of this impressive repertoire. The lack of recordings, published editions, and scholarly work does not speak to the quality of the composers and their works, but instead to the lack of resources the Colombian government has provided to promote and preserve Colombian music.

This catalog is a beginning. It reveals the existence of notable Colombian composers and highlights the rich chamber music repertoire that has been written in the country. Publishing this catalog offers a chance to discover the works of these worthy composers, inviting current and future generations of musicians and scholars to embark on a journey in the study of Colombian chamber music. 105

APPENDIX A – LIST OF ABBREVIATIONS

MS: Manuscript BLAA: Biblioteca Luis Ángel Arango BLN: Biblioteca Nacional de Colombia PCAC: Patronato Colombiano de Artes y Ciencias BLEV: Biblioteca Luis Echavarría Villegas (EAFIT University) BGGM: Biblioteca Gabriel García Márquez

Instrument Abbreviations

Voice Parts:

Soprano (Sop) Mezzo-Soprano (Mez) Baritone (Bar)

Keyboard:

Piano (Pn) Harpsichord (Hrpsd)

Winds:

Flute (Fl) Clarinet (Cl)

Brass:

Trumpet (Trp) Horn (Hn) Saxophone (Sax)

Percussion:

Percussion (Perc)

106

Strings:

Violin (Vln) Viola (Vla) Violoncello (Vlc) Double Bass (Db) Harp (Hp) Guitar (Gtr) Tiple (Tp) 107

APPENDIX B – LIBRARIES AND PUBLISHERS CONTACT INFORMATION

FILARMONIKA Music Publishing 2830 S Hulen St #191 Fort Worth, TX 76109, USA [email protected] Phone: +1 (817) 476-0723

Colcultura/ Sonata Editores Carrera 8 No. 8-55 Bogotá, Colombia Telefóno: + 57 (1) 342-4100 Fax: +57 (1) 3816353 ext. 1183

Programa Editorial Universidad del Valle Universidad del Valle, Cali, Colombia Calle 13 No. 100-00, Edificio 301 Administración Central, Librería 1 piso. [email protected] Teléfono: +57 (2) 321-2227

BabelSCORES 5, rue Moret 75011 Paris, France [email protected]

Alcaldia Mayor de Bogotá Carrera 8 No. 10-65 Bogotá, Colombia Telefóno: +57 (1) 381-3000

Fondo Editorial Universidad EAFIT Universidad Eafit, Medellín, Colombia Carrera 49-7 Sur 50 Bloque 3 Oficina 114 [email protected] Telefóno: +57 (4) 261-9500 ext. 9962

Instituto Colombiano de Cultura Carrera 8 No. 8-55 Bogotá, Colombia Telefóno: + 57 (1) 342-4100 Fax: +57 (1) 3816353 ext. 1183

108

Peer International Coorporation 810 Seventh Avenue, 10th Floor New York, NY 10019, USA Phone: +1 (212) 265-3910 Fax: +1 (212) 489-2465

Ediciones Musicales Universidad EAFIT Universidad Eafit, Medellín, Colombia Carrera 49-7 Sur 50 Bloque 3 Oficina 114 [email protected] Telefóno: +57 (4) 261-9500 ext. 9962

Biblioteca Luis Ángel Arango Calle 11 No. 4-14 Bogotá, Colombia Telefóno: +57 (1) 343-1224

Biblioteca Nacional de Colombia Calle 24 No. 5-60, Bogotá, Colombia Telefóno: +57 (1) 381-6464

Patronato Colombiano de Artes y Ciencias Carrera. 15 No. 33A-46, Bogotá, Colombia Telefóno: +57 (1) 285-4309

Biblioteca Luis Echavarría Villegas Universidad Eafit, Medellin, Colombia Carrera 49 No. 17c Sur 7 51-Bloque 32 Telefóno: +57 (4) 261-9500

Biblioteca Gabriel García Márquez Calle 48B Sur, Oriental No. 21-13, Bogotá, Colombia Telefóno: +57 (1) 580-3070 ext. 2000

109

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