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UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE PANAMANIAN ART MUSIC FOR STRINGS: WORKS FOR VIOLIN/PIANO AND VIOLA/PIANO BY ROQUE CORDERO, EDUARDO CHARPENTIER, AND FERMÍN CASTAÑEDAS A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Musical Arts By LUIS ENRIQUE CASAL Norman, Oklahoma 2006 UMI Number: 3237523 Copyright 2007 by Casal, Luis Enrique All rights reserved. UMI Microform 3237523 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 PANAMANIAN ART MUSIC FOR STRINGS: WORKS FOR VIOLIN/PIANO AND VIOLA/PIANO BY ROQUE CORDERO, EDUARDO CHARPENTIER, AND FERMÍN CASTAÑEDAS A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ________________________________ Dr. Eugene Enrico, Co-Chair ________________________________ Dr. Matthew Dane, Co-Chair ________________________________ Mr. Greg Sauer ________________________________ Dr. Kenneth Stephenson ________________________________ Dr. Luis Cortest © Copyright by LUIS ENRIQUE CASAL 2006 All Rights Reserved. ACKNOWLEDGEMENTS I wish to thank the five members of my dissertation committee for their patience, timely suggestions, and expert guidance throughout the completion of this work, an effort that, I hope, is a statement of the high quality of Panamanian art music. I especially wish to thank Dr. Matthew Dane for spending so much time reading and commenting on the drafts and helping me produce a polished document. Dr. Stephenson was indispensable in helping me to achieve a better understanding of the pieces analyzed and contributed his knowledge of dissertation rules. I also wish to thank Dr. Enrico for his guidance in choosing a topic that speaks to my culture and background, and I commend Mr. Sauer and Dr. Cortest for their continuous support and positive reinforcement. I also wish to thank my associates James Buckley and Bill Wisner for helping me improve my English skills. It gives me a great pleasure to thank all the Panamanian composers who kept in contact with me, helping me to gather and clarify information. Dr. Cordero, Dr. Charpentier, and Mr. Castañedas made themselves available at all times sharing their knowledge unconditionally and treating me as a friend. Thanks must also be given to my father, mother, brothers and sister, and other members of my family, who assisted me from Panama in the completion of this work, and who always supported me. Thanks finally to Miss Anna Marie Noggle who was there for me at all times to give me strength and encouragement. L.E.C iv CONTENTS ACKNOWLEDGEMENTS............................................................................................... iv CONTENTS........................................................................................................................ v Chapter I. Introduction ................................................................................................................. 1 Purpose of Study......................................................................................................... 2 Need for the study....................................................................................................... 4 Design and Procedure ................................................................................................. 5 Review of Literature ................................................................................................... 7 II. THE VIOLIN’S IMPORTANCE IN PANAMANIAN CULTURE........................ 11 Azuero Peninsula: Fountainhead of the Panamanian Violin .................................... 12 Alfredo de Saint Malo Orillac: Panama’s Leading Twentieth-Century Violinist .... 15 III. THE COMPOSERS AND THEIR TRENDS......................................................... 19 Roque Cordero.......................................................................................................... 20 Fermín Francisco Castañedas Del Cid...................................................................... 27 Eduardo Charpentier de Castro................................................................................. 31 IV. FOLK ELEMENTS OF PANAMA AND THEIR INFLUENCE IN THE MUSIC OF ROQUE CORDERO, EDUARDO CHARPENTIER DE CASTRO, AND FERMÍN CASTAÑEDAS............................................................................................ 37 Indian Roots.............................................................................................................. 38 African Roots............................................................................................................ 40 Azuero (Hispanic and African)................................................................................. 42 Folk Elements found in the Compositions................................................................ 44 v V. ANALYSES OF THE WORKS .............................................................................. 51 Tres Mensajes Breves (Three Brief Messages), by Roque Cordero ......................... 51 Romanza y Danza Panameña para Violín y Piano, by Eduardo Charpentier de Castro ........................................................................................................................ 80 VI. CATALOGUE OF PANAMANIAN ART MUSIC FOR STRINGS .................... 96 VII. EPILOGUE. SEEDS FOR THE FUTURE........................................................ 100 BIBLIOGRAPHY........................................................................................................... 106 APPENDIX A................................................................................................................. 112 LIST OF PANAMANIAN ART MUSIC COMPOSERS .......................................... 112 APPENDIX B ................................................................................................................. 113 LIST OF ALFREDO DE SAINT MALO’S HONORS.............................................. 113 APPENDIX C ................................................................................................................. 114 CATALOGUE OF FERMÍN CASTAÑEDAS’ WORKS BY GENRE..................... 114 CATALOGUE OF EDUARDO CHARPENTIER’S WORKS BY GENRE............. 116 CATALOGUE OF DR. CORDERO’S WORKS BY GENRE .................................. 118 APPENDIX D................................................................................................................. 122 DISSERTATIONS, THESIS AND ESSAYS ON ROQUE CORDERO ARRANGED CHRONOLOGICALLY............................................................................................. 122 APPENDIX E ................................................................................................................. 125 POSSIBLE SOURCES OF INFORMATION ON PANAMANIAN COMPOSERS 125 vi CHAPTER I PANAMANIAN ART MUSIC FOR STRINGS: WORKS FOR VIOLIN/PIANO AND VIOLA/PIANO BY ROQUE CORDERO, EDUARDO CHARPENTIER, AND FERMÍN CASTAÑEDA Introduction Panama is a young country. Its independence from Colombia was won only one hundred and three years ago, on November 3, 1903. It does not have a long tradition of classical music. Indeed, international recognition in Panamanian art-music can be traced back only to the second half of the twentieth century. A close analysis of the programs of the Festivals of Latin-American Music celebrated in Caracas in 1954 and 1957 “shows the absence, almost total, of compositions from Central America and Panama.”1 It is in the Second Festival of Latin-American Music of Caracas (1957) that one can find, for the first time, pieces by a Panamanian composer. This late beginning can also be attributed to the lack of a Panamanian symphony orchestra during the first four decades of the twentieth century. This situation, along with “a precarious musical life barely kept active by the sporadic performances of artists in transit, were not enough encouragement for the composition of orchestral pieces.”2 Indeed, Panamanians are better known for their achievements in boxing (Roberto “Mano de Piedra” Durán), baseball (Mariano Rivera), popular music (Rubén Blades, 1 Roque Cordero, “La música en Centroamérica y Panamá (Music in Central America and Panama),” Journal of Interamerican Studies, no. 8 (1966): 412. 2 Ibid., 416. 1 Edgardo A. Franco ‘El General’), and horse racing (Laffit Pincay Jr.), than for their contribution to classical music. The second half of the twentieth century saw a prolific production of compositions by Panamanian composers, but there is not an awareness of this music due to a lack of dissemination. Most prestigious encyclopedias and dictionaries still mention no more than eight Panamanian composers. According to the Garland Encyclopedia of World Music, “The art-music world is probably the most unexplored in the history of the arts in Panama. Panamanian musical composition … has not been studied with serious attention.”3 Some dissertations have addressed Panamanian art music,4 but a monograph in English exclusively devoted to Panama and its art music has not yet been written. This is a field that indeed invites more research and publication. Purpose of Study This dissertation will show a portion of the contribution that Panama has made to the world of classical music. The focus of this study is on the literature for violin and viola by Panamanian composers Roque Cordero, Eduardo Charpentier de Castro, and Fermín