AFRO-CUBAN THEMES IN VALERIE COLEMAN’S
AFRO-CUBAN CONCERTO
A PROJECT REPORT
Presented to the Bob Cole Conservatory of Music
California State University, Long Beach
In Partial Fulfillment
of the Requirements for the Degree
Master of Music
Concentration in Instrumental Performance
Committee Members:
Alicia M. Doyle, Ph.D. (Chair) Michele Grego, M.M. Jermie Arnold, D.M.A.
College Designee:
Johannes Müller Stosch
By Jeffrey C. Wasik
B.M., 2017, California State University, Long Beach
May 2019 ABSTRACT
Valerie Coleman’s Afro-Cuban Concerto for woodwind quintet stretches the limitations of the ensemble by pushing each instrument to their technical limits. Her use of Afro-Cuban rhythms and mixed meters combined with virtuosic writing for all instruments creates a flavor that leaves listeners in awe. The three-movement Afro-Cuban Concerto is a composition that highlights Afro-Cuban rhythms, the characteristics of Santerían worship, and the virtuosic capabilities of wind instruments. Often categorized as a “neo-classical” work because of the form and harmonic structure, the spirit of the work is purely African and Cuban. The first movement,
Afro, represents the voice of worshippers within Santería. The clave rhythm is the driving force of the movement with the winds demonstrating their virtuosic abilities with solo passages. The second movement, Vocalise, opens like a prayer with the horn and the bassoon playing the melody in unison. A three-note habanera motif is present throughout most of the movement. A short tutti introduces the final movement, Danza where the flute solo foreshadows a percussive role for the instrument throughout the movement while the rhumba, and its many variations drive the finale of this composition. Each wind player in the third movement is given a solo meant to sound improvised. The Danza movement is the most challenging movement of the concerto due to the speed of the rhumba and the demand for stability through many layers of percussive rhythms the group is playing. Coleman brings a new flavor to the woodwind quintet repertory by paying homage to the roots of Afro-Cuban music. In this paper, I will examine the Afro-Cuban traditions Coleman borrows from in her concerto for woodwind quintet.
ii ACKNOWLEDGMENTS
I would like to extend my gratitude to those who aided me in the completion of this project. To my advisor Dr. Alicia M. Doyle, thank you for your patience through my graduate studies. I appreciate all the guidance you have offered me, and valuable direction that helped shape this project. To my committee member Dr. Jermie Arnold, thank you for giving me opportunities in leadership and performing throughout my career at the Bob Cole Conservatory.
To my bassoon teacher Michele Grego, thank you for your immeasurable support, guidance, encouragement, knowledge and pedagogy over my musical career. I would also like to extend my thanks to my wind quintet colleagues Elvin Schlanger, Seth Leue, Jonathan Galbreath,
Allison DeMeulle and our coach John Alan Carnahan for your inspiration and dedication to making great music. Thank you to the many friends I’ve made during my time in the M.M. program; we’ve shared many late nights of practice, concerts, tours, and coffee to get through the program together. I am grateful for the love and support of my family. I could not have completed this program without them. My parents and siblings are the best anyone could ask for.
From the long phone calls of advice and encouragement to the tireless trips across the country and state to see me perform for an hour. Lastly, I would like to say thank you to my former bassoon teachers Jim Bernhardt, Judith LeClair, and Patricia Kindel for all the lessons you’ve given me. I’ve learned so much from you all.
iii TABLE OF CONTENTS
ABSTRACT ...... ii
ACKNOWLEDGMENTS ...... iii
LIST OF FIGURES ...... v
1. VALERIE COLEMAN ...... 1
2. EVOLUTION OF STYLE ...... 4
3. THE AFRO-CUBAN CONCERTO ...... 7
4. PERFORMANCE PRACTICES ...... 12
5. CONCLUSION ...... 16
APPENDIX: RECITAL PROGRAM ...... 17
BIBLIOGRAPHY ...... 19
iv LIST OF FIGURES
1. Clave pattern in 4/4 and 12/8 ...... 5
2. mm. 1-5 Illustrating the call to worship in the French horn and the oboe ...... 8
3. mm. 8-9 Where the French horn takes over the clave ...... 8
4. The clave outlined by the accents in the bassoon ...... 9
5. Unison line between the French horn and bassoon ...... 9
6. Habanera pattern in simple duple time against the habanera in the second movement .... 10
7. The rhumba as it appears in the third movement ...... 11
8. Bassoon solo passage from third movement ...... 11
9. Ending passage of Afro-Cuban Concerto ...... 11
10. Graph from Weisberg’s book “The Art of Wind Playing” ...... 13
v CHAPTER 1
VALERIE COLEMAN
Valerie Coleman is a predominant composer popular in the woodwind quintet realm.
Born in 1970, she has been described as one of the “Top 35 Female Composers in Classical
Music” by critic Anne Midgette from the Washington Post.1 Coleman’s compositions are distinguishable by their flavorful style and intriguing colors. The Boston Globe has stated that
Coleman has a “talent for delineating form and emotion with shifts between ingeniously varied instrumental combinations” and The New York Times describes her output as, “Skillfully wrought, buoyant music.”2
Coleman has composed works from simple instrumental sonatas to wind quintet tone poems about Josephine Baker to full orchestral works.3 Her compositions have been viewed as
“deeply relevant contributions” to modern music. A native to Louisville, Kentucky, she began her musical studies at eleven and had written three symphonies by the time she turned fourteen.
She was the founder of the Grammy® nominated Imani Winds, from which she recently announced retirement to focus on a career of composition.4 Many of Coleman’s works have been established as standard repertoire in the woodwind quintet library, but she is best known for her
1 Anne Midgette, “The Top 35 Female Composers in Classical Music,” The Washington Post (WP Company, August 4, 2017), https://www.washingtonpost.com/entertainment/music/ the-top-women-composers-in-classical-music/2017/08/04/ 319274d4-76f2-11e7-803f- a6c989606ac7_story.html? noredirect=on&utm_term =.5b5d053ca60d.
2 Valerie Coleman, “Media,” Valerie Coleman Flutist & Composer , accessed March 23, 2019, https://www.vcolemanmusic.com/media.html.
3 Valerie Coleman, “Works,” Valerie Coleman Flutist & Composer, accessed April 3, 2019, https://www.vcolemanmusic.com/works.html.
4 “Imani Winds Mobile,” Imani Winds (Beauchamp Artist Services, 2019), http://www.imaniwinds.com/imani-winds-mobile.
1 composition entitled Umoja – A Kwanzaa Celebration for woodwind quintet. A piece that is listed in the “Top 101 Great American Works” by Chamber Music America.5
Coleman is frequently a featured guest soloist and composer in many venues across the world including Walt Disney Concert Hall, Lincoln Center, Carnegie Hall, The Eastman School,
DaCamera Houston, Krannert Center, The Colburn School, and The Juilliard School. As an accomplished flutist, she has recorded with Wayne Shorter, Paquito D’Rivera, Jason Moran,
Steve Coleman, Vijay Iyer, Stefon Harris, Chick Corea and others.6 The Imani Winds have been featured with such artists as Yo-Yo Ma, Anne Marie McDermott, Alexa Still, Ani and Ida
Kavafian, David Shifrin, Wu Han, Simon Shaheen, and Sam Rivers. Coleman’s works are frequently on the radio with national and local classical stations including Sirius XM, NPR’s
Performance Today, All Things Considered, The Ed Gordon Show, and MPR’s Saint Paul
Sunday.7
With over twenty years of experience offering masterclasses, clinics and lectures across the country, Coleman is a highly sought-after clinician and performer. She has served on the faculty at Mannes College of Music, Banff Chamber Music Intensive and is a guest lecturer at the
University of Chicago. She is recognized among educators to be a strong advocate for diversity in the arts, and remains a mentoring source of inspiration to emerging musicians. In 2011, Imani
5 “Valerie Coleman,” International Opus (International Opus), accessed October 31, 2018, https://www.internationalopus.com/cgi-bin/io.pl?mode=composer&composer=18.
6 “Valerie Coleman (2) Discography,” Discogs, last modified 2019, accessed April 1, 2019, https://www.discogs.com/artist/3558920-Valerie-Coleman-2?filter_anv=0&subtype =Featuring-Presenting&type=Credits.
7 Valerie Coleman, “About,” Valerie Coleman Flutist & Composer, accessed January 10, 2019, https://www.vcolemanmusic.com/about.html.
2 Winds created a summer chamber music program focused on mentoring young musicians called
Imani Winds Chamber Music Festival, an intense summer program devoted to performance excellence and career development.8
8 “Imani Winds Chamber Music Festival,” Imani Winds, Beauchamp Artist Services, last modified 2019, accessed August 29, 2018, http://www.imaniwinds.com/iwcmf.
3 CHAPTER 2
EVOLUTION OF STYLE
Cuban musicians have long provided the world with music for dancing, including the habanera, the bolero, the danźon, the son, the rumba, the mambo, the cha-cha, the pachanga, the songo, and more. As Latin jazz pianist Eddie Palmieri once said onstage, Cuban musicians have produced “the most complex and exciting rhythms of the planet.”9 One important aspect of
Cuban music, particularly the son genre, is its capacity to absorb rudiments from other music, combining them to create new blends. Afro-Cuban Jazz or Latin Jazz was created in the second half of the twentieth century by the blending of conventional jazz harmonics with the driving rhythms of the son; a popular style of Cuban dance music.
These Afro-Latin fusions of musical style have been woven into music in the U.S. since the 1950’s. The appeal of Cuban music’s form and influence in the United States lies in their similarities to European instruments, melodies, and rhythms. Cuba’s famed novelist and musicologist Alejo Carpentier called the powerful simplicity of the son “an elemental symphony.”10 To use one instance, Tito Puente, a New York-born Latin American musician, songwriter and record producer, recorded more than one hundred Latin infused LPs and CDs from 1950 to 2000. A new style, which became known as salsa, began to enter the United States music scene in a substantial manner during the 1970s. Under this new title of salsa, genres previously known as mambo, son montungo, guaracha, and bomba enjoyed a boom in New
York as well as the Caribbean. Afro-Latino genres developed side by side with the evolution of
9 Raul A. Fernandez, From Afro-Cuban Rhythms to Latin Jazz (Berkeley: University of California Press, 2006), 14-15.
10 Ibid.
4 American music, including jazz, throughout the twentieth century. A nonstop interchange of styles characterized this parallel development: each has continually borrowed from the traditions of the other to create new styles unique to each culture. Style elements that maintain the original cultural identity include matters of convention in the construction of national music, language differences, and musical clarity.11 Language difference constitutes the most obvious obstacle. Americans historically have had difficulty understanding how Afro-Cuban and
Spanish Caribbean music is performed, as did Latin American musicians and audiences from outside the Caribbean. First, arrangement and improvisation in Afro-Cuban music and salsa are built around a two-bar rhythmic pattern called the clave. (Figure 1)
FIGURE 1. Clave pattern in 4/4 and 12/8.
Playing in clave is vital for Cuban music to groove, and for the dancers to stay in step with it. Secondly, the melody instruments, saxophone, trumpet, trombone etc. are utilized to maximize rhythmic potential. Third, the rhythm instruments, are played to expand their melodic capacity.
To understand Cuban music in the United States, one must understand the impact of the
Cuban language on rhythm and melody. Just as two alphabets from different languages have difficulties producing the same syllables, so does music in terms of rhythmic emphasis,
11 Ibid. 5 articulation, and melodic impact. The Western concept of rhythm for example, leads to a tendency of ignoring the melodic aspects of drumming.
6 CHAPTER 3
THE AFRO-CUBAN CONCERTO
The Afro-Cuban Concerto, originally for woodwind quintet and orchestra, was premiered by the New Haven Symphony under the direction of Jung-Ho Pak in the 2003-04 season. In
2005, Coleman adapted the composition for the Imani Winds; where she explored the sonorous possibilities of the traditional woodwind quintet, and the flexibility the group had to adjust in performance situations, i.e. without orchestra.12 The woodwind quintet version was premiered on the 2005 Imani Winds’s album The Classical Underground.13
The Afro-Cuban Concerto for woodwind quintet is a work in which Afro-Cuban rhythms, the feel of Santería worship, and the virtuosity of wind instruments are incorporated. Santería worship has its origins in the Caribbean and is based on the Yoruba beliefs of Western Africa, combined with elements of Roman Catholicism. Despite ‘neo-classical’ misinterpretations of
Afro-Cuban Concerto, Coleman declares “the essence within the concerto [as] purely African and Cuban.”14 African-derived music has a basic structure from which many music genres have been influenced by, including classical. It is the feel of spirituality, passion, and rhythmic precision that brings the essence of Afro-Cuban music to life in this composition. “The work
12 Peter Van Zandt Lane, “Imani Showcases Own Compositions,” The Boston Musical Intelligencer, last modified July 18, 2014, accessed November 24, 2018, https://www.classical- scene.com/2014/07/18/imani-rockport/.
13 For more information about The Classical Underground see Tom Manoff, “Imani Winds Work 'Underground,'” NPR, last modified June 8, 2005, accessed April 10, 2019, https://www.npr.org/templates/story/story.php?storyId=4695039.
14 Valerie Coleman, Afro-Cuban Concerto (Virginia: International Opus, 2005).
7 illustrates several of the aims of the Imani Winds which is to expand the repertory for the woodwind quintet and explore non-European traditions.”15
The first movement, Afro, opens with a figure that represents the collective voice of worshippers within Santería. The introduction, played by the oboe and horn, is in essence, a call to worship (Figure 2).
FIGURE 2. mm. 1-5 Illustrating the call to worship in the French horn and the oboe. Following the introduction, the traditional 6/8 clave is presented by the French horn.
Clave, meaning ‘key” is the fundamental set of rhythms in Afro-Cuban music. The clave is the root of this movement and continues throughout the entire piece16 (Figure 3).
FIGURE 3. mm. 8-9 Where the French horn takes over the clave.
15 Vivien Schweitzer, “Woodwinds Calling for Change: the Classical Ensemble Imani Winds,” The New York Times, last modified November 14, 2008, accessed April 2, 2019, https://www.nytimes.com/2008/11/16/arts/music/16schw.html.
16 For more information see David Peñalosa and Peter Greenwood, The Clave Matrix: Afro-Cuban Rhythm: Its Principles and African Origins (Redway, CA: Bembe Books, 2012).
8 Even though the bassoon part isn’t written out in a true clave fashion, the emphasis illustrated by the accents still outlines a clave pulse illustrated in Figure 4.
FIGURE 4. The clave outlines by accents in the bassoon.
At certain points in this movement, each member of the group is given a small solo that conveys a sense of improvisation. Although Coleman states that she encourages improvisation in her works, the solos in the first movement are written to compliment the clave and should be played as written.
The second movement, Vocalise begins with the French horn and bassoon blending a unison melody reminiscent of a prayer. These two instruments are often thought to resemble the human voice making their unison combination in this introduction fit with the effect of vocalizing prayer (Figure 5).
FIGURE 5: Unison line between the French horn and bassoon
The habanera, a dance which takes on a few different forms is characterized by a rhythmic pulse. Varying from putting stress on a dotted eighth note, sixteenth note, and two
9 eighth notes to putting stress on an eighth note, quarter note, three eighth notes and a quarter note. Illustrated in Figure 6 is a comparison of the later to the habanera present in the movement.17
FIGURE 6. Habanera in simple duple time against the habanera of the second movement.
During the conclusion of this movement, the French horn has a melody evoking the heat of the
Havana streets.
A powerful statement from the ensemble begins the third movement, Danza, immediately transitioning into a percussive groove by the clarinet, flute and French horn. The dominating rhythmic pulse in this movement is the rhumba, which is introduced by the bassoon in measure
17. (Figure 7) The rhumba is considered part of both families of musical rhythms and a dance style originating in Africa. The third movement presents the biggest challenge to the ensemble due to the quickness of the rhumba, and the demand for stability within the layers upon layers of percussive rhythms. When stability is achieved, the repetitive rhythm takes on a life of its own. 18
17 Ibid.
18 For more information see David Peñalosa, Rumba Quinto (Redway, CA: Bembe Books, 2010).
10 FIGURE 7. The rhumba as it appears in the third movement. The rhumba drives the momentum of the movement under improvised sounding solos that give each wind instrument a chance to demonstrate their virtuosic capabilities (Figure 8).
FIGURE 8. Bassoon solo passage from third movement.
The ending of the concerto demonstrates the Afro-Cuban concept of melodic instruments taking percussive rhythms and turning them into percussive melodies (Figure 9). There is no traditional melodic material in the last section of the piece. Instead it is four rhythmic ideas blended into one continuous motor.
FIGURE 9. Ending passage of Afro-Cuban Concerto.
11 CHAPTER 4
PERFORMANCE PRACTICES
“We are sort of like paleontologists reconstructing what a dinosaur looked like when it was alive. First, we have to unearth and then put together the bones properly before the flesh can be reconstructed otherwise we’ll wind up with a distorted creature.”19 David McGill, former principal bassoonist of the Chicago Symphony, discusses the importance of having a plan with the music we perform, and how it’s our job to uncover the music’s structure to create an informed musical interpretation. This approach is one that should be implemented frequently in interpretations of the music we perform. One wouldn’t perform a Mozart symphony in the same style as Stravinsky’s Rite of Spring. Understanding the nuances of musical language, structure, and form assists in, again, creating an informed musical interpretation.
To create a strong performance of Afro-Cuban Concerto, it is necessary for percussive cells to drive the work and it’s important to exaggerate the written accents. Accents are similar to dynamics and are produced in the same manner. When a musician performs an accent on their instrument, it’s essentially an articulation at a louder dynamic than what is written followed by an immediate return to the dynamic of the overall texture.20 Coleman is clear about what is to be accented and what isn’t. Too often in chamber music there isn’t enough emphasis on exaggeration whether it be dynamics, articulation or style. Figure 10 illustrates the relationship between dynamics and time when articulating an accent. Within a concert hall, the further the
19 David McGill, “Introduction”, Orchestral Excerpts for Bassoon, recorded March 16, 1995, Summit Records, 1995, CD.
20 Arthur Weisberg, “Dynamics and Intonation,” in The Art of Wind Playing (Galesville, MD: Meredith Music Publications, 2007), 11. 12 music travels, the less clear these elements become from the ensemble. Thus, it is essential for the performers to bring dynamics, articulations, and style out much more.
FIGURE 10. Graph from Weisberg’s book, The Art of Wind Playing.
The first movement of Afro-Cuban Concerto, Afro, is centered around the clave rhythm which is introduced by the French horn and complemented by the bassoon (Figure 4). When the
French horn and the bassoon are in sync with rhythm and accents, the 12/8 clave can stabilize the lines above it, and instead of the pulse feeling like a clumsy 1-2-3-4 pattern the 1-2 1-2 1-2-3 1-2
1-2-3 feeling of the clave is achieved. Forward momentum is simultaneously achieved with the accents correctly placed, creating a rhythm that can be danced to. “In all music, if you think of where the next beat will arrive, instead of where the last beat has sounded, your rhythm will be the envy of your colleagues”.21
As mentioned in Chapter 1, movement two is not so heavily focused on percussive elements but rather a conversation between the members of the quintet in unison lines. The
Vocalise struggles with a different battle than the first and it lies within the intonation. Bad intonation can break an otherwise fantastic performance. We spend hours trying to perfect our
21 David McGill, “Sound in Motion: a Performer's Guide to Greater Musical Expression,” in Sound in Motion: a Performer's Guide to Greater Musical Expression (Indiana University Press, 2007), 49.
13 own intonation while not enough perfecting intonation with our colleagues. “The second most common tendency for performers is they will play slightly sharp over their reference.”22 When we do achieve a blend of intonation what generally happens is we can’t hear ourselves so we’ll push the pitch up slightly. The beginning of movement two, Vocalise, opens with a French horn and bassoon unison line. To achieve a blended sound one person must lead the intonation, one must follow. This idea will carry through the entirety of the movement. It’s crucial that the members of the quintet know who is in unison with them during any given time. Ensuring each performer knows who to listen for will contribute to a well-balanced and in-tune performance.
Movement three, Danza, is a reiteration of the first in terms of achieving the momentum needed to drive the piece to the end. Accents will be a crucial role again to stabilize the lines above it. This is a good movement to also discuss the importance of sound profile. As a bassoonist, when approaching a piece like Afro-Cuban Concerto I aim to produce a reed that has a slightly brighter and more flexible sound profile. This will ensure I have the freedom to project a big, round sound into the audience for the solo sections and be responsive enough to keep the articulations consistent in the bass line figures. For the reed instruments in the woodwind quintet, it’s important to consider what sound you want to communicate with your listener, as we can vary sound greatly from reed to reed. The French horn and the flute, although not able to change their sound profiles as directly as reed players, are also given opportunities to adapt different sounds, through techniques such as pitch bending, flutter tonguing, stopped horn, and the use of mutes. Afro-Cuban Concerto is a distinguished composition for any quintet to perform because it
22 John Alan Carnahan, The Wind Band Sound: A Definitive Guide to Ensemble Intonation, (Benicia, CA: World Projects Corporation, 2017), 27.
14 presents challenges that will, not only help the ensemble dynamic grow but also the individual musicians as well.
15 CHAPTER 5
CONCLUSION
Of Valerie Coleman’s contributions to the woodwind quintet repertoire, her Afro-Cuban
Concerto is significant. With its complex rhythmic structures and bravura displays in the wind solos, it contributes to the growth of any woodwind quintet ensemble prepared to take it on.
What sets it apart from the standard repertoire like Reicha, Arnold, Barber, and Nielsen23 is its style of writing. Performed correctly, the members of the ensemble will become rhythmically proficient in a new idiom while at the same time learning to project their sounds outward and experiment with different sound profiles. Clearly, it is important for students and musicians alike to get exposure to all forms of music and all forms of style, and Coleman’s concerto is a means to this end. As we get older, we tend to overthink how we perform music. It’s easy to become doubtful of what we’re doing and how it’ll be perceived by an audience. Coleman’s composition is an opportunity to diversify playing styles; mixing rhythmic accents that require rigid precision and accuracy with the freedom to break out of conventional perceptions of playing straight ahead and dry.
23 Standard repertoire for the wind quintet would include any of Anton Reicha’s 25 wind quintets, Malcolm Arnold’s Three Shanties, Samuel Barber’s Summer Music, and Carl Nielsen’s Wind Quintet. 16 APPENDIX
RECITAL PROGRAM
17 GRADUATE RECITAL
PROGRAM
MARCH 3, 2019, GERALD R. DANIEL RECITAL HALL
Fantaisie Pastorale Hongroise Albert Franz Doppler (1821-1883) Tr. Masahito Tanaka
Bassoon Sonata Charles Koechlin Andante Moderato-Allegretto Scherzando (1867-1950) Nocturne: Presque Adagio Final: Allegro
Polonaise for Bassoon and Piano Ludwig Milde (1849-1913) Dr. Guk-Hai Han, piano
INTERMISSION
Sonata for Flute and Piano Francis Poulenc Allegro Malincolico (1899-1963) Cantilena: Assez lent Tr. Corneila Sommer Presto Giocoso
Alexander Lee, piano
Portraits of Josephine Valerie Coleman Ol’ Saint Louis (b.1970) Les Milandes Paris 1925 Thank You Josephine (J’ai deux amours)
Elvin Schlanger, flute Seth Leue, oboe Jonathan Galbreath, clarinet Allison DeMeulle, French horn
18 BIBLIOGRAPHY
19 BIBLIOGRAPHY
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¾¾¾. Afro-Cuban Concerto. Virginia: International Opus, 2005.
Delgado, Kevin Miguel. “Iyesá: Afro-Cuban Music and Culture in Contemporary Cuba.” Ph.D diss., California State University, Los Angeles, 2001. https://search.proquest.com/ dissertations/ docview/277028874/abstract/85B92B9B126C41 ACPQ/17? accountid=10351.
Fernandez, Raul A. From Afro-Cuban Rhythms to Latin Jazz. Berkeley: University of California Press, 2006.
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Patino, Manny, and Jorge Moreno. Afro-Cuban Keyboard Grooves. Warner Bros, 1997.
Peñalosa, David, and Peter Greenwood. The Clave Matrix: Afro-Cuban Rhythm: Its Principles and African Origins. Redway, CA: Bembe Books, 2012.
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