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THE TRADITIONAL IN NINETEENTH AND TWENTIETH-CENTURY

COLOMBIAN COMPOSITION

THESIS

Presented to the Graduate Council of the

University of North in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Aileen Martina, B.M.

Denton, Texas

August, 1993 Martina, Aileen, The Traditional Bambuco in Nineteenth and Twentieth-Century Colombian Composition. Master of Music (Musicology), August, 1993, 140 pp, bibliography,

96 titles.

Disputes concerning the origin of the term bambuco persist among scholars in , as well as controversies regarding the process of notating the traditional bambuco

(3/4 or 6/8), when it penetrates the written tradition of popular music. Composers writing popular and salon increasingly perceived the advantage of notating it in 6/8.

This study investigates the traditional bambuco and its assimilation into nineteenth and twentieth-century cultivated tradition, with emphasis on piano pieces by representative Colombian composers of art music. I include specific analyses of Cuatro preguntas (ca. 1890) by Pedro

Morales Pino (1863-1926), Chirimia y bambuco (1930) by

Antonio Maria Valencia (1902-1952), Bambuco en si menor by

Adolf o Mejia (1905-1970), El bambuco by Manuel Maria Prraga

(c. 1826-1895), and Trozos Nos. 6 and 158 (1927-1970) by

Guillermo Uribe Holguin (1880-1971). TABLE OF CONTENTS

Chapter Page

I. THE EMERGENCE OF MUSICAL NATIVISM IN NINETEENTH- CENTURY COLOMBIA...... 1

II. THE TRADITIONAL BAMBUCO.

Definition...... 19 Theories on the Origin of the term...... 22 Early performers of sung bambucos...... 25 The texts...... 29 Twentieth-century vocal performers of traditional bambucos...... 31 Rhythmic renditions...... 33 Relationship between the bambuco and other traditional genres...... 50

III. REPRESENTATIVE NINETEENTH AND TWENTIETH-CENTURY COMPOSERS OF BAMBUCOS...... 53

Manuel Maria Parraga (c.1826-1895)...... 53 Guillermo Uribe Holguin (1880-1971)...... 58 Antonio Maria Valencia (1902-1952)...... 67 Adolfo Mejia (1905-1970)...... 75

IV. CONCLUSIONS...... 79

APPENDIX

Appendix A. List of works: Manuel Maria Parraga...... 81 El bambuco by Parraga...... 83 Guillermo Uribe Holguin...... 93 Antonio Maria Valencia...... 103

Appendix B BAMBUCO (1872), text by Rafael Pombo...... 105 EL BAMBUCO (1857), text by Rafael Pombo.... 111 LA BANDOLA (1853), text by Juan Francisco Ortiz...... 116

Appendix C. Interviews: Leon Cardona--...... 118

iii Luis Uribe Bueno ...... 126 Mario G6rmez Vignes...... 131

BIBLIOGRAPHY...... 134

iv CHAPTER ONE

THE EMERGENCE OF MUSICAL NATIVISM

IN NINETEENTH-CENTURY COLOMBIA

Historical Background

By the second half of the eighteenth century, the

Iberian colonies in the New World were politically divided into five viceroyalties, each of which was subdivided into audiencias. The five viceroyalties were New Spain, New

Granada, Peru, La Plata and Brazil. Nueva Granada comprised present-day , Colombia, Panama, and Ecuador. Some of the major centers of urban culture were the cities of

Santa Marta (founded in 1525); Cartagena de Indias (1533), a city where many musicians settled during the colonial period; Cali (1536); Popaydn (1537); and Santafe de Bogota

(1538), which became the capital of the Nuevo Reino de

Granada.'

In 1810, the viceroy of Nueva Granada was removed and the first- congress was established. Previous discontent among creoles led to what was called the revolt of the

Comuneros (1781). At the end of the eighteenth century,

'Testimony of the rich cultural life of Santaf6 de Bogotd during the colonial period is the music archive of the Bogota Cathedral, as documented by Robert Stevenson in Renaissance and Baroque Musical Sources in the Americas (Washington, D.C.: Organization of American States, 1970), 3-28.

1 2

scholars such as Antonio Narino (1764-1823) and Camilo

Torres (1766-1816) brought to the colonies of Nueva Granada

liberal ideas from Europe that stimulated the movement

towards independence. Antonio Narino imported books on

science and philosophy. In 1794 he translated and printed,

for the first time in the New World, the French Declaration

of the Rights of Man and the Citizen for secret circulation.

For the sciences, the famous Expedicibn Botanica (1783) was

one of the greatest contributions to human knowledge. 2 The

Expedicidn was commissioned by the Spanish Crown to study plant life in northern South America, record observations on

astronomy and geography, and draw maps of the regions.

studied. Led for twenty years by the Spanish scientist Jose

Celestino Mutis (1732-1808), the Expedicidn Botanica became

a focus of scientific and liberal learning.

Although independence was declared in 1810, wars of

independence continued until 1824. In 1819, the Venezuelan

Sim6n Bolivar (1783-1830) and the Colombian Francisco .de

Paula Santander (1792-1840) arrived in Nueva Granada with an army. During the wars of independence, and even during the revolt of the Comuneros, waltzes, , bambucos, minus, and other traditional were played at battles and festivities. At the battles of Boyac6 (1819), which

sealed Colombia's independence, and Ayacucho (1824), several

2Thomas Blossom, Narino, Hero of Colombian Independence (Tucson, Arizona: The University of Arizona Press, 1967), 1. 3

bands, such as the Vencedor or Voltigero (previously called

Numancia), played bambucos, contradanzas, and other popular

dances (see Example 1) .3

Example 1. La libertadora, (August 1819). Dedicated to Simon Bolivar

OONTRADANZA. F4t

Iol. *.p 2- JI J-aP AX- I

(LtL.3~rI F f::

3Jose Ignacio Perdomo Escobar, Historia de la musica en Colombia, 5th edition (Bogota: Plaza & Janes, Editores Colombia Ltda., 1980), 64. 4

Also dedicated to Sim6n Bolivar, the contradanza La vencedora was performed after the victory of August 7th,

1819 (Example 2). In 1829, when the Granaderos army left for Venezuela, a contradanza by Torcuato Ortega was played and many bambucos were inspired by the civil wars of the time.

Example 2. La vencedora, one of the contradanzas played after the victory of Boyac .4

T T I

3ONTRAOANZA.~ F

( pl dE *0-i

I .1 S IS t I P- 9141 k-mom

l

!~La a

F MR

-i I t..* I F

4La vencedora was arranged for band by Jose Rozo Contreras. See Andres Martinez Montoya, "Resefa hist6rica de la mdsica en Colombia, desde la 6poca colonial hasta la fundaci6n de la Academia Nacional de Mdsica," Anuario de la Academia Colombiana de Bellas Artes, I (Bogota, 1932), 65. 5

In 1828, the government split into two political parties, the centralists and the federalists. The former party, headed by Bolivar and Narino, believed in the unification of the area under a strong central government.

The Federalists, led by Santander, held instead that the only solution was a separate Colombia under a democratic government along flexible federal lines. Though Bolivar realized his ambition, he also witnessed the disintegration of his Gran Colombia before his death in 1830, when Gran

Colombia became the Republic of Nueva Granada comprising the provinces of Boyacd, Cauca, Cundinamarca, Magdalena, and

Panama.

Traditional Music in the Nineteenth Century

The traditional musics of originated mainly fromthree cultural streams: the aboriginal

Amerindian, the African American, and the Iberian American.

Before the conquest, these cultural streams were part of separate and geographically distant cultures, had developed within different social environments, thereby revealing different degrees of similarity and complexity with respect to pitch, , timbre, form and function of music in society. 6 By the beginning of the nineteenth century,

sW. O. Galbraith, Colombia: a General Survey (New York: Oxford University Press, 1966), 11-12.

6Charles Seeger, Studies in Musicology 1935-1975 (Berkeley and Los Angeles: University of California Press, 1977), 184-185, quoted in Malena Kuss, Latin American 6 which marks the emergence of independent nations, these

traditions had undergone centuries of mutual interaction and

change, retaining residual strands of what once were self-

contained musical systems. Thereafter styles became diversified when composers begun to incorporate elements

from their various traditional repertories into salon pieces, chamber works and patriotic songs. 7

Several demographic streams from different regions of

Spain brought their songs, dances, and instruments to the

New World. Castilian music was one of the major influences in the Nuevo Reino de Granada. Many Spanish cancioneros were brought to the colonies during the sixteenth and seventeenth centuries. Texts to these songs included political, picaresque, religious, love, and pastoral content. Many salon dances characteristic of the time eventually reached all social classes. The ballo, a sixteenth and seventeenth-century , became the counterpart of today's bale del tres, found in the regions of Cundinamarca and Boyacd. The de la trenza, cintas, cordon or clizneja reflects the influence of the Spanish danza de los palillos. In the seventeenth century, the

Spanish pavana (also called danza del pavo real because of its aristocratic style), and the gallarda were popular in the cities of Santaf6 de Bogota, Tunja, Popaydn, Pamplona,

Music: A Short History (unpublished, 1980), 1.

7Kuss, op. cit., 34. 7

and Momp6s. The Colombian bale del cuatro resembles the

gallarda.8

During the period between the mid-seventeenth and mid-

eighteenth century, also known as the dpoca del minud,

European dances such as the minu, paspid, rigoddn, gavota,

courante and branle were in vogue in the territories of

Tunja, Santaf6, Popaydn, and Socorro. Among eighteenth- century dances still in use are the torbellino (in

Cundinamarca and Boyaci), and the jota (in Choc6) . The

Spanish ancestry of Colombian surfaces, among many other elements, in the hemiola (alternation of 6/8 and

3/4 meters), so frequent in the and the bambuco.'

Spanish influence also surfaces in the chordophones of traditional use. Instruments such as the guitar, bandola, requinto and tiple are among the chordophones of Spanish ancestry. The bandola is a derivation of the Spanish bandurria, a type of flat-backed lute. The modern bandola of Colombia and Venezuela generally has a teardrop shaped concave back and has six courses tuned f#-b-e'a'-d"-g"; and

8Javier Ocampo Lopez, Mdsica Y folklor de Colombia (Bogota: Editores Janes & Janes, Editores-Colombia, Ltda., 1976), 21-27.

SOcampoLopez, op. cit., 28-31.

"Gerard Behague, Music in Latin America: An Introduction (Englewood Cliffs, New Jersey: Prentice-Hall, 1979), 161. 8 it is played with a plectrum (Figure 1) ." The requinto is a small guitar used in Spain, Colombia, Ecuador and

Mexico. The Colombian requinto has four courses of strings, tuned d-g-b-e' and is played with a plectrum (Figure 2) .2

Figure 1. Bandol a.

0

0

"0 S0

* 0

* "

O 0

"William Gradante, "Bandola, " The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), vol. 2, 107. 2 ' "Requinto, " The New Grove Dictionary of Musical Instruments, 3 vols., ed. Stanley Sadie (London: Macmillan, 1984), vol. 3, 240. 9

Figure 2. Requinto 13

(1910)

(1965)

"Guillermo Abadia Morales, "El requinto," La complexion torbellino - quabina (Bogota: Centro Colombo- Americano, 1983), 5. 10

The tiple is a small guitar, common in Spain, Colombia,

Guatemala, Puerto Rico, and Venezuela. The Colombian tiple

is slightly smaller than the guitar, with four courses of

triple metal strings tuned to the same pitches as the four upper strings of the guitar, but with the middle string of

the three lowest courses tuned an octave lower." The

early Colombian tiple had four single gut strings and

evolved to a twelve-string instrument from 1847 to about

1910 (Figure 3).

Figure 3. The tiple.

14john M. Schechter, "Tiple," The New Grove Dictionary of Musical Instruments, 3 vols., ed. Stanley Sadie (London: Macmillan, 1984), vol. 3, 599-600. 11

Colombian traditional vocal music is generally sung in paired voices called "a primo y ddo," also common in

traditional songs of the Canary Islands and other regions of

Spain. Besides dances and instruments, costumes used for traditional dances in different regions of Colombia are of

Spanish origin.

Stimulated by the English , the contradanza or the eighteenth-century French contredanse was found in the Nuevo Reino de Granada in the nineteenth century. A contradanza was written in duple (simple or compound) meter (2/4 or 6/8) and its divided into two parts of eight measures each. With the repetition, it comprised thirty-two measures. Contradanzas are found today in the San Andres and Providencia Islands under the name of cuadrillas. The Colombian media cafa, a contradanza, is also found in Paraguay, Chile and

Argentina."5

The Colombian , vals colombiano or capuchinada

(the possible ancestor of the pasillo lento), became one of the most popular dances of the nineteenth century. The modern pasillo survives in the folk tradition in two forms: the pasillo lento, known for its nostalgic texts and melancholy melodies, and the faster instrumental pasillo fiestero in rondo form, where each section presents contrasting tonal areas. The pasillo is characterized by

"5Ocampo L6pez, op. cit., 31-33. 12

syncopated melodies with horizontal and vertical

polyrhythmic effects created between the 3/4 and 6/8

alternation in the guitar and tiple accompaniment, and the

melodies carried by the bandola."6 The pasillo fiestero

resembles the Venezuelan waltz, the sanjuanito from Ecuador,

and the valsecito from Costa Rica.17

Art music composers in Colombia favored settings of the

traditional banbuco, the torbellino, the bunde, the guabina,

the galerdn, and the pasillo. The bambuco, the national

dance of Colombia, was first a serenading song for solo

voice. The melody of the modern bambuco is sung in parallel

thirds, with tiple, guitar, and bandola accompaniment. The

bambuco is a pursuit dance characterized by delicate toe-

dancing by both male and female waving handkerchiefs. The

melancholy song-texts, mainly sonnets, often display

descending melodies and modulations through minor keys.'8

Both the torbellino and galeron are among dances which

date back to the sixteenth century. The torbellino, whose

origin is as controversial as the origin of the term

bambuco, is found in Boyacd, Cundinamarca and Santander.

According to Guillermo Abadia Morales, its rhythm is similar

"William Gradante, "Pasillo," The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), vol. 14, 261.

'7Ocampo Lopez, op. cit., 88.

8 1 Gradante, "Bambuco," The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), vol. 2, 103. 13

to that of the traveling songs of the indios motilones of

Perijd and the historian Enrique Otero D'Costa also supports

Amerindian roots, adducing a resemblance to the melancholy songs of the Indians of Cundinamarca and Santander.

Instead, Daniel Zamudio and others claim a Spanish origin on the basis that the ancestry of the torbellino is the galeron, one of the Spanish dances that were in vogue during colonial times also called and torbellino

19 llanero. Texts include traditional ddcimas of historical, amorous or religious content. The galern, a representative of Cundinamarca, Boyacd, and

Santander, is accompanied by the tiple and displays the following rhythm:

Example 3.

Some of the instruments most commonly used in association with the torbellino are the tiple, requinto, chucho (Figure

4), maracas or quijadas (idiophones from Colombia, Perd and

Ecuador), and capadores (chifflos), castrapuercas, or capapuercas, a panpipe of ten tubes in two rows of five. In

9 "Ocampo L6pez, op. cit., 79-82. 14 the nineteenth century, capadores were described as having fifteen to twenty pipes (Figure 5) .20 The chucho or alfandoque, a rattle of Ecuador and Colombia, is made of bamboo or sugar cane with four tubes (six centimeters in diameter and twenty to twenty-five centimeters in length), into which are placed dry seeds, nails, and stones. Small diametric sticks of cane keep the seeds in place and increase the vibrations. In some regions of western

Colombia an instrument called an 'alfandoki' was known perhaps as early as 1789.21

Figure 4. Chucho. 2 2

1,

20John M. Schechter, "Castrapuercas," The New Grove Dictionary of Musical Instruments, 3. vols., ed. Stanley Sadie (London: Macmillan. 1984), vol. 1, 316.

21Schechter, "Alfandoque, " The New Grove Dictionary of Musical Instruments, 3 vols., ed. Stanley Sadie (London: Macmillan, 1984), vol. 1, 44.

22Abadia Morales, "El chucho," La complexion torbellino, 11. 15

Figure 5. Capador.23

I'I

The bunde originated at the end of the colonial period.

In the Pacific area, it is used for funeral rites and to honor saints. In Tolima, its and melodies reveal the influence of guabinas and bambucos. Since the eighteenth century, the guabina was a dance cultivated in the regions of Santander, Boyacs, Tolima, Huila and

Antioquia. Today Jacinto Jaramillo's choreography has been favored by most groups.

A guabina is usually performed by the tiple, requinto, bandola with accompaniment of either the chucho or the

23Abadia Morales, "El capador," La complexion torbellino., 8. 16

guacho (a tubular gourd or pumpkin of the Colombian Atlantic

Coast filled with dry seeds from Achira, or with corn

grains). The guacho is hollowed and covered with a

handkerchief.24 One guacho is held in each hand and they

are usually played while standing rather than sitting. With

music of relatively slow tempo the two guachos are shaken up

and down simultaneously, just above the waist level, while

in a faster tempo they are shaken up and down alternatively

in the same position. 25

Among less popular dances of the nineteenth century are

the ondd and the aguacerito. According to Jose Caicedo

Rojas, the ondd was a dance which originated in Peru and

made its way to the Colombian regions of Tolima and

Cundinamarca at the beginning of the nineteenth century.26

The aguacerito was an eighteenth-century dance found in

Antioquia and Cundinamarca. The term probably originated

from the text in which the word aguacerito appears

accompanying the dance.27

Many of the dances mentioned above are found in the

24Ocampo L6pez, op. cit., 85-88.

25 George List, Music and Poetry in a Colombian Village, A Tri-Cultural Heritage (Bloomington: Indiana University Press, 1983), 25.

26 Harry C. Davidson, "Ondd," Diccionario folkl6rico de Colombia, :mnsica, instrumentos y , 3 vols. (Bogota: Publicacion del Banco de la Repdblica, Departamento de Talleres Grdficos, 1970), II, 363-364.

27Davidson, op. cit., "Aguacerito," I, 20-21. 17

Musica de guitarra de mi Santa Dona Carmen Cayzedo, a

manuscript which included twenty-three short compositions;

among them eleven waltzes, four contradanzas, two

, one English dance and one ondd. According to

the owner of the manuscript, Guillermo Hernandez de Alba,

the collection belonged to Maria del Carmen Cayzedo y Jurado

from Santaf4 de Bogota (1818-1874) .28

Just as scholars such as Antonio Nariflo and Camilo

Torres at the end of the eighteenth century brought to the

colonies liberal ideas from Europe, many composers such as

Juan Antonio de Velasco (d.1859), Nicolas Quevedo Rachadell

(b. Caracas, 1803; d. Bogota, 1874), and Enrique Price

(1819-1863) became interested in European art music after the period of independence. It was during this period that

Enrique Price, a composer of many solo songs, overtures, and such piano pieces as the Vals al estilo del pal's (1843, a stylized pasillo), founded the Sociedad Filarm6nica de

Bogota (November 11, 1846 to 1857) and the School of Music of the Sociedad Filarm6nica with the help of Jose Caicedo y

Rojas, Nicolas Quevedo Rachadell and others. 2 9 The school was the predecessor of the Academia Nacional de Mdsica founded in 1875 by Price's son Jorge W. Price (1853-

1953) .3 The Sociedad was the model for many other

28Pardo Tovar, op. cit., 109.

2 9Pardo Tovar, op cit., 103-104.

30Perdomo Escobar, op. cit., 64. 18

institutions such as the Sociedad Lirica founded in 1848 by

Joaquin Guarin (1825-1854); the Sociedad Filarmdnica de

Santa Cecilia; and the Union Musical founded in 1858 by

Manuel Maria Parraga (c. 1826-1895), the first composer who

attempted a stylization of the bambuco.

Like Parraga, many nineteenth and twentieth-century

composers were incorporating elements from the bambuco and

other traditional genres into salon pieces and chamber works .31

"Among composers not mentioned in this study who incorporated elements from traditional music are Andres Martinez Montoya (1869-1933), Santos Cifuentes (1870-1932), Jesus Bermudez Silva (1884-1869), and Jose Rozo Contreras (1894-1976). CHAPTER TWO

THE TRADITIONAL BAMBUCO

Definition

The bambuco was transmitted orally until Manuel Maria

Pdrraga (ca.1826-1895) stylized it. In the nineteenth century, the bambuco was popular as a solo song which later became a duo in parallel thirds, a characteristic of today's bambuco. During the nineteenth century, it was performed at concerts, serenades, and battles.

For love serenades, a singer accompanied by a tiple or guitar was suitable, and for serenades the estudiantina ensemble (a group of bandolas, tiples, guitars and percussion most representative in the performance of folk bambucos) was more appropriate. Sometimes the bandolas were supported by another melodic instrument or lute. Although the percussion is restricted to the "chucho" or "guache" and occasionally to the tambourines and "cucharas" (wooden

2 spoons), in the bambuco sanjuanero,3 3 the percussion is

32Abadia Morales, op. cit., 155.

33 The bambuco sanjuanero combines steps from the bambuco and variants of the "vasiao" in the llanero. The word joropo comes from the Arabic xarop which means syrup. The joropo llanero is the most representative dance of the Llanos or plains of Colombia and in Venezuela. It reveals Andalusian influence, and is performed with harp, cuatro -a- four-string instrument from the guitar family - and maracas. See Abadia Morales, Compendio general de folklore colombiano, 4th ed. (Bogota: Biblioteca Banco

19 20

supported by tambora or bombo. 34

Due to its rhythmic complexity, the process of notating

the bambuco has created heated controversies. A bambuco is

composed of two parts, and although it is generally sung,

instrumental settings are not uncommon. Traditionally, it

starts with a short introduction played by the tiple

(Example 4):

Example 4. Introduction of a bambuco with tiple

The melody's rhythmic pattern consists of a ternary-binary combination in a measure of five eighth- notes. The change of 5/8 to 6/8 meter at cadences makes the

Popular, 1983), 298.

34 A membranophone used in different regions of Colombia except the Llanos. 21 accompaniment more important, since rhythmic patterns of the melody and the harmony meet at cadential points. While the melody is binary, the accompaniment is ternary.

A bambuco melody consists of an A section in a major mode, and a B section usually in the relative minor . In vocal bambucos, the melodic range seldom exceeds an octave

(Example 5). 3

Example 5. Campesina santandereana by Jose A. Morales (1914- 1978)

r I

1nom rV no .ret m: J sr me si

e/ mcon.04 t can a/ i.lr ..e4. .i I 3 = 1 S ivseno

C55 14 asao' prolo j, f /ed s; o5" ,.i. if . rMaio IC

No.aM"isdoi't aw R 1'.'"S-**aIt a,* y is no dus r, nosi sa s

4 ofem onajOti oem a, 14 Asmi J: o. h

"-.#L 'ep.- --.. :.

"sDaniel Zamudio, "El folklore musical en Colombia," Revista de las Indias 14 (Bogota: 1950), 17-20. 22

Theories on the origin of the term barmbuco.

Four theories have been set forth regarding the origin of the term. The first theory is based on its use in the

famous romantic novel Maria (1867) by the Colombian Jorge

Isaacs (1837-1895)3 who assumed it to be native of a small region of Bambuck, West Africa." This theory was refuted by Jorge Afiez38 and Daniel Zamudio3" among others, 4 on the basis that this African region has no tradition of

36 "Siendo el 'bambuco' una mdsica que en nada se asemeja a la de los aborigenes americanos, ni a los aires espafoles, no hay ligereza en asegurar que fue traida de Africa por los primeros esclavos que los conquistadores importaron al Cauca, tanto mas que el nombre que hoy tiene parece no ser otro que el de Bambuck, levemente alterado." "Since the bambuco is music that bears no similarity to that of the aborigines, or Iberian American music, one can speculate that it was brought to Cauca when the conquistadores brought the first slaves from Africa. The origin of the name bambuco might be traced to the term Bambuck, slightly altered." See Jorge Isaacs, Maria (1867), (Bogota: Coleccion Popular del Instituto Colombiano de Cultura, 1938), 181.

37Among those who followed Isaacs' theory were Jose Maria Vergara y Vergara, Rufino Cuervo, Juan Crisostomo Osorio, Luciano Rivera Garrido, Tomas Carrasquilla, Guillermo Uribe Holguin, Antonio Jose Restrepo, Pedro M. Ibanez, Enrique Naranjo Martinez, Antonio Maria Pefialosa and others. See Harry C. Davidson, "Bambuco," Diccionario folkl6rico de Colombia, musica, instrumentos y danzas, 3 vols. (Bogota: Publicacion del Banco de la Repdblica, Departamento de Talleres Grdficos, 1970), I, 182-183. 38Jorge Afez, Canciones Y recuerdos (Bogota: Ediciones Mundial, 1952), 40.

3 9Zamudio, op. cit., 14.

40Among those who refused Isaacs' theory were Enrique Otero D'Costa, "Apuntes sobre demosofia colombiana,II - Cantares," Santaf6 de Bogota 51 (Bogota, 1927); Lubin E. Mazuera M., Jose Ignacio Perdomo Escobar, and Harry C. Davidson. 23

singing, music, or dance that can be related to the bambuco,

as there is between the bunde from the Pacific region of

Colombia and the so-called wunde from Sierra Leone in West

Africa, as was shown by Monghueri and in compilations by the

Comisi6n Colombo-Britinica (1961-1962). On the other hand,

what is called bambuco in the Pacific area of Colombia is

not the well-known bambuco, but the currulao,41 a typically

African American type. 42

The second theory proposes that there existed an Indian

tribe called bambas in the Pacific and that tunes from this

indigenous group would take the name of bambucos. According to Sergio Elias Ortiz, there are seven proper words for places and two proper names in the so-called lengua

quillacinga that end with uco. There are also words for places with the root bamba, and it was said at one point that the use of bambas (a succession of four-line verses on a single theme or coplas) in singing might have led to the name bambucos for those songs.43

The third theory proposes that the name bambuco was

41 The most representative dance of the Pacific region of Colombia. It became popular at the end of the colonial period and was known to be danced by African Americans. However, Luis Uribe Bueno claims that the origin of the bambuco could be the Pacific region. He justifies this theory by saying that by leaving the percussion instruments (guasas, , cununos and tambores), used in the jota, juga and especially the currulao, and by adding a tiple, one will get a bambuco.

42Abadia Morales, op. cit.,154.

43Abadifa Morales, op. cit., 155. 24

given by the Spaniards to the native Indian "tremulous

movement" that accompanied the bambuco as a song and dance.

The Greek root bamb found in the verb barbalizoo indicates

sinuous movements, and it is similar to the Latin bambalio

which is a designation for the stutterer.44

The fourth theory, proposed in 1970 by Guillermo Abadia

Morales, refers to the use of the musical instrument made of

bamboo tubes called caringano. 45 The carangano, a ground

harp played by African Americans of the Atlantic coastal

region of Colombia, is probably of African origin.

Resonance- is produced by a box on which the player sits or

by a piece of tin. A length of string is knotted, pulled

through a hole in the top of the box or the tin, and

attached to a bent fence-pole, a branch attached to a pillar

of a house (any arrangement that would produce tension in

the string). The player stops the string with the thumb and

finger of the left hand and vibrates the part below with a wooden plectrum.4" Today, the carngano is found only in

"Among those who believed that the origin of the term bambuco is Ibero-American are Jose Caicedo Rojas, Jorge Brisson, Jos6 M. Cordovez Moure, Gustavo Santos, Juan de Dios Arias, and others. See Davidson, op. cit., 208-211.

4 sBark from the bamboo is taken horizontally, and without unfastening it, the extremes are lifted with two small wooden bridges. The sound goes through the hollow bamboo, which acts as the resonance box. The string is hit with a stick or rubbed with a cattle bladder filled with corn grains or seeds.

4bGeorge List, "Caringano," The New Dictionary of Musical Instruments, 3 vols., ed. Stanley Sadie (London: Macmillan, 1984), vol. 1, 307. 25

Venezuela and in Huila where it accompanies the cucamba (a

typical dance of the region of Momp6s, mainly performed on

Corpus Christi) and in a musical ensemble that is used in

the performance of rajalefas (a song improvised by field workers during their labor in the farms of Huila). The

coplas rajalefas are generally picaresque and have double meanings. African Americans, or chombos from the English

Antilles, brought those caringanos or bamboo tubes which they called bambucos to the Atlantic region of Colombia and

Venezuela. Through derivation, all melodies performed on these instruments would be called baznbuco music. This does not mean that they correspond to the Colombian bambucos with tunes from the Andean region. 47

Early performers of sung barnbucos.

Between 1885 to 1890 traditional music captured the interest of the Colombian people. It is relevant to know that an ensemble or estudiantina named Lira Colombiana was organized by Pedro Morales Pino (1863-1926), who was an important figure in the development of musical nativism in

Colombia. He studied composition and harmony with Julio

Quevedo Arvelo at the Academia Nacional de Mdsica. After completing his studies, he devoted himself to the traditional music of Colombia compiling different rhythms and melodies which he classified, structured and notated.

4 7 Abadia Morales, op . cit., 155. 26

He improved the bandola by adding an f-sharp to its five

strings (G, D, A, E, B) .48 The Lira Morales Pino formed in

1807 lasted more than did other ensembles. 49 In 1890,

Morales Pino had already begun to compile, among others,

bambucos, , waltzes and other dances that had become

popular in Colombia. He notated the melodies, harmonized

and arranged many of these pieces. Furthermore, Edison's

invention of the phonograph in 1876 contributed a great deal

to the popularity of the bambuco. At the end of 1898, due

to a civil war in Colombia, Morales decided to leave the

country with the Lira Colombiana, and went to New York; however, the group disintegrated in 1903. Morales formed

another Lira, and in 1910 they made several recordings with

Columbia Studios of bambucos, pasillos, danzas and waltzes.

Among the pieces recorded was what officially became the national anthem of Colombia in 1920 (music by Orestes

Sindici) ." In 1912 when Morales Pino returned to Bogota,

48Afiez, op. cit., 54-56.

4 9 At the end of 1898, due to a civil war in Colombia, Morales Pino decided to leave the country with a Lira Colombiana integrated by -besides himself- Gregorio Silva, Carlos Wordsworthy, Blas Forero, Isaias Rodriguez, Jos6 Vicente Martinez, Silvestre Cepeda, Julio Valencia and Carlos Escamilla (El Ciego), and Ricardo Acevedo Bernal as representative. See Hernan Restrepo Duque, A mi cntenme un bambuco (Medellin: Autores Antioqueos, 1986), 190. 5 The Lira was formed by Pedro Morales Pino, Gregorio Silva, Carlos Wordsworthy, Blas Forero, Isaias Rodriguez, Jos6 Vicente Martinez, Silvestre Cepeda, Julio Valencia and Carlos Escamilla (El Ciego). Only Morales Pino, Silva, Worsworthy, Forero, Julio Valencia and Carlos Escamilla went to New York. Members of the Lira who performed in the 27

he formed another Lira 5 which was a major success in

Bogota and inspired the formation of other groups such as

Humberto Correal's Arpa Nacional, Escobar and Willis' duo

(1915), and Jorge Afez and Victor J. Rosales, who toured

several countries in 1917. Later, Ignacio Afanador joined

Escobar and Wills in what they called the Trio

Colombiano.52 Interest in the country's native music

declined after Pino's departure to Guatemala due to his

wife's death. He then returned to Colombia in 1921 and

formed another lira. In 1923, after touring in different

countries of South America, Morales Pino formed what was

called the Lira Colombiana.53 Vocal and

instrumental bambucos, pasillos and other traditional genres

by Morales and Emilio Murillo (who studied with Morales

Pino), are incorporated into the repertoire of most

contemporary performers of Colombian traditional music. The

Columbia recordings in 1910 were Fernando C6rdoba, Nicolas Torres, Daniel Restrepo, Jose Maria Garc6s, Leonel Calle, and Enrique Gutierrez (Cabecitas). See Restrepo Duque, op. cit., 190, 197.

"This Lira was integrated by Jorge Afez, Jose Maria Forero, Carlos Escamilla, Andres Avelino Montafiez, Manuel Salazar, Luis A. Calvo, Ignacio Afanador, Blas Forero, Josa Maria Pinto and Cerbele6n Romero. See Restrepo Duque, op. cit., 210.

52Restrepo Duque, op. cit., 211.

53The. 1921 Lira was integrated by Chaques, Alberto Contreras, Bernal, Arist6bulo Ortiz, Chipilo Forero, Salom6n Martinez, Andres Avelino montafez, Gustavo Romero and Alberto Escobar and Alejandro Wills as vocalists and the 1923 Cuarteto Lira Colombiano by Ruiz, Romero and Salazar. See Restrepo Duque, op. cit., 217. 28 estudiantinas were a model for many Colombians, such as the

Uribe brothers (Luis, Daniel and Samuel from Envigado,

Antioquia), and the "Estudiantina Murillo" founded by Emilio

Murillo.

In 1898, another important figure in the history of the bambuco joined a duo with German Benitez. Pedro Leon

Veldzquez, known as "El Pel6n Santamarta" (b. Medellin,

1867-ca.1945), composed several bambucos with Benitez and

Roberto Mesa. Among the bambucos they composed are Pasas por el abismo (on a theme by Roberto Mesa), Ti tienes un alma, and SUplicas. There were a total of forty recordings of Pelon y Marin by Columbia. The last two bambucos were recorded by the Argentines Magaldi and Noda, and others were recorded in and Buenos Aires. El Pel6n Santamarta exercised a significant influence in Yucatan, Mexico. At the beginning of 1907, the duo Pelon and Marin performed in

Panama, Cuba, and Maxico. Pel6n also brought traditional which was incorporated into the Colombian repertoire. 54 Another figure is Jorge Molina Cano (b.

Medellin, 1889) whose music became very popular in the 1920s after performing bambucos in the United States with Agustin

Nieto. Among his best known songs are Las acacias and Dolor sin nombre. 5 5

A trio integrated by Francisco, Gonzalo and Hctor

54Restrepo Duque, op. cit., 88-89.

55Restrepo Duque, op. cit., 193. 29

Hernandez formed what was called Arpa del Ruiz in 1921.

They toured Central America, Santo Domingo, Haiti, Cuba,

Mexico, New York, Europe, Chile, Argentina and Brazil. They

also made several recordings for Victor and provided the

music for several Mexican movies such as La Liga de las

canciones and La viuda alegre, as well as recordings in La

Habana. A group formed by Jorge Afiez (b. Bogota, 1892-1952)

and the Panamanian Alcides Briceio, The South American

Trobadours, began a successful career performing and making

recordings of the newest music of Colombia as well as pasillos from Ecuador from 1924 to 1933, and Mexican

towards the end of 1 9 2 5 .56

The Texts.

The texts for older bambucos were of high literary

quality, usually selected from works by noted poets. 57 In

1851 appears the first poem on the bambuco by the noted

Colombian poet Rafael Pombo (b. Bogota 1833-1912)58

56 Restrepo Duque, op. cit., 222-223.

sAmong the poets whose poems were selected for bambucos are Juan Ram6n Jimenez (1881-1958), Rafael Pombo (1833-1912), Antonio Machado (1875-1939), Salvador Diaz Mir6n (1853-1928), Manuel Gutierrez Njera (1859-1895), Juan de Dios Peza (1852-1910), Ruben Dario (1867-1916), Jose Eustasio Rivera (1889-1928), Leopoldo Lugones (1874-1938) and others. See Abadia Morales, op. cit., 156.

58 Pombo, also a music critic, was the librettist for two operas produced in Bogota in the nineteenth century with music by Jos6 Maria Ponce de Leon (1846-1882), Ester and Florinda. Ester was premiered on July 2, 1874, and Florinda was premiered May 13, 1880, at the home of its composer. President Rafael Nuez attended this event. In the same year, November 22, the opera was performed in Bogota with Emilia 30

under the title Desengafame, other poems by Pornbo on the

bambuco include El barbuco (1872), Me voy (1851), El dl timo

instance (1854), Bambucos nacionales (1874), and Bambucos

patridticos (1870), from which the Italian Orestes Sindici

(1837-1904) composed the music for the national anthem of

Colombia (1887) (for example 6) .

Example 6. Himno Nacional de Colombia (Text by Rafael Porabo)

. t' : T!3 j "p "+r .ter . ++ - 5*j

PO .4p 404P.0

* ~ . t kmj~.62

W= T!

""'r ab ...... 3...

Benic as Florinda, Comoletti as Julian and Epifanio Garay as Ruben. This opera is based on the legend of la Cava and Don Rodrigo. See Restrepo Duque, op. cit ., 109. Ponce de Leon studied in Paris with Gounod and Thomas at the Paris Conservatory (1867-1871). Many of his works were based on Colombian dances such as bambucos, pasillos, and torbellinos. Among the works that show nativistic influence are his Sinfonia sobre temas colombianos (1881), Mi triste suerte and La copa de champana. Other compositions include Salve; Misa de Requiem (1880), the cantata La voz hurnana, Misa de Gloria, and several motets.

"Davidson, op. cit ., 314. 31

The most famous version of El bambuco was published in

New York in 1872 (see Appendix B). However, a less-known version of the same poem appeared in the Colombian newspaper

El Tiempo, on February 24 of 1857 (see Appendix B) .6 In

1853 the poet Juan Francisco Ortiz wrote La bandola, a poem that pays homage to the bambuco, which was published in El

Pasatiempo of Bogota (see Appendix B). Among the most important letristas bambuqueros were Victor Martinez Rivas and Carlos Villafaie. 6 "

Twentieth-Century Vocal Performers of Traditional Bambucos.

The bambuco continues to live among the people of

Colombia. There are many ensembles, " competitions and festivals of bambucos. 63 In 1960 a festival called

Festival del Bambuco in the city of Neiva took place and

0Pombo's output includes love poems such as Noches de diciembre, mystic sonnets such as De noche and blasphemous poems such as Hora de tinieblas. In his decimas La vida es suefo, Pombo's style resembles that of Calder6n de la Barca. See Andres Holguin, "Literatura y pensamiento. 1886-1930," Nueva Historia de Colombia 6 (Bogota: Editorial Planeta, 1989), 15-17. 6 1Among the Latin Americans whose poetry was selected for bambucos are Carlos Saenz Echeverria, Climaco Soto Borda, Diego Uribe from Bogota and Libardo Parra Toro, Pablo Restrepo Lopez, Roberto Munoz Londono and Augusto Duque Bernal from Antioquia. See Restrepo Duque, op. cit., 251.

"Noted vocal duos were those of Obdulio and Julian, Camilo Garcia and Ram6n Carrasquilla (the famous Dueto de antaio), and Pel6n and Marin.

b3Among today's singers of bambucos are Luis Carlos Garcia, Carlos Julio Ramirez, Proto Ramirez, Ernesto Salcedo Ospina, and Luis Duefas. 32 still continues under the name of Jorge Villamil Cordovds.

Other festivals are Ginebra in Valle del Cauca and the

Festival Mono Nunez. Although bambucos are from the interior of Colombia, vocal performers of bambucos there are also important figures from the coastal region."

One of the most important figures associated with the bambuco in the twentieth century is Oriol Rangel (1916-1977) who was born in Pamplona (Norte de Santander). Oriol Rangel was a well-known performer and composer of Colombian traditional music. In 1935, he founded the Orquesta Palace, and formed the group Los trees mosqueteros de la Radio whose other members-besides himself- were Antonio Duefias and

Gabriel Uribe. GS

Other twentieth-century composers of traditional bambucos are Rodrigo Alvarez and his brother Leonardo, who used texts by the Colombian poets Leon de Greiff (1895-

1976); Porfirio Barba Jacob (1883-1942), and the Peruvian

4Sarita Herrera, Zoilita Suarez, Alejandro Jiraldo, Luis Carlos Mayer, Ladislao Oroz and Federico Jimeno among others, are noted vocalists of the bambuco. See Federico Montoya Mejia, "El bambuco: un aire criollo con influencia hispana," El colombiano, dominical (Sunday, January 13, 1991), 8-9.

SsWith Jos6 Ignacio Perdomo Escobar and others, he also contributed to the investigation of Bogota's Cathedral Archive. Among the bambucos that are preserved at the Fondo "Oriol Rangel " of the Instituto Colombiano de Cultura (Centro de Documentaci6n Musical), are Adita, Bambuco, Belchi te, Cafetal de mis amores, La cantaleta, No llores, Los ojos de mi morena, and Presentimiento. See Octavio Marulanda Morales, "Homenaje a Oriol Rangel, 1919-1977)," Lecturas de Mdisica Colombiana 1 (Bogota: Instituto de Cultura y Turismo), 87- 103. 33

Cesar Vallejo (1892-1938), all nephews of the noted

Colombian novelist Efe G6mez. Other important figures from

Antioquia in the mid-century include Luis Uribe Bueno (b.

1916, see interviews July 30 and August 14, 1992), Leon

Cardona (b. 1927, see interviews July 27 and August 14,

1992), Camilo Garcia, Jos6 A. Morales (1914-1978), who

became the most important composer of bambucos in the 1950s,

and Jorge Villamil." Among the performers who

incorporated their works into their repertoires are the trio

"Los Hermanos Hernandez," the duos "Garz6n y Collazos,"

"Silva y Villaba, " "Obdulio y Julian," "Espinosa y Bedoya, "

the organist Jaime Llano Gonzalez, the guitarist Gentil

Montana, and the tiplista David Puerta.

Rhythmic renditions

Rhythmic renditions are as controversial as the

theories on the origin of the term bambuco. The rhythmic

complexity of the bambuco, when transferred from the oral to

the written tradition, led to different metric

interpretations. Some scholars have favored the simple

triple meter (3/4), Santos Cifuentes suggested a 5/8 meter, and others have suggested a 3/4 - 6/8 meter or 5/8, 6/8 and even 7/8.67 Guillermo Uribe Holguin, Lubin E. Mazuera M.,

"Restrepo Duque, op. cit., 253.

67The triple simple meter (3/4) has been favored by Juan C. Osorio, Jorge Afiez, Emirto de Lima, and Narciso Garay (San Ciro). Instead, Antonio Maria Pefialoza, Luis L6pez de Mesa, Gabriel Escobar Casas, Andres Pardo Tovar, 34 and Luis Antonio Escobar feel that a combination of binary and ternary meter is necessary.) Daniel Zamudio suggested a 5/8 - 6/8 combination by saying that the melodic rhythm of

the bambuco is a ternary-binary combination in a measure of

five beats (eighth notes). His theory was later accepted by Andres Pardo Tovar, one of Colombia's most noted historians.1

The popular music composer Luis Uribe Bueno (see interview) suggests that, in order to understand the controversies over how the bambuco should be notated, it is essential to go back to the first attempts to capture bambucos in musical notation. Uribe Bueno claims that those composers who first tried to stylized the bambuco did it in a superficial manner and did not notice the natural accents that fit into a duple compound meter (6/8). These composers were already familiar with the simple triple meter (3/4) used in the pasillo, guabina, torbelilino, galer6n, bunde, and joropo and did not realize that the bambuco followed a different accentuation. The choice of a simple triple meter

(3/4) (which Uribe Bueno rejects), would cause debates among composers, performers and critics in Colombia. In colombia,

Bambucos are performed even when written in simple triple

Eugenio Teldsforo D'Alemin, and Gabriel Escobar Casas have favored the metric rendition in duple compound (6/8).

68Davidson, op. cit., 88-89.

"Davidson, op. cit., 90. 35 meter (3/4) because these performers are not actually following the scores but they already know how it is supposed to sound, and what they project is the oral tradition with which they are familiarized. The problem arises when others attempt to play them following only the notation, unaware of traditional performance practice.

Interviews with Luis Uribe Bueno, July 30

and August 14, 1992

Uribe Bueno: A bambuco should always be written in a duple compound meter (6/8). Since 1800, all bamrbucos were conceived in 6/8. What happened then? Morales Pino wrote his barnbuco Cuatro preguntas in 3/4 and that is what caused all this confusion.

Q-Are you saying that bainbucos were performed in 6/8 before Cuatro preguntas?

Uribe Bueno: Of course, even the Guaneia (see example 7) from the independence period was performed in 6/8. Historians say that the Guaneia was the first bambuco ever performed. 36

Example 7. Guanefla

- y - -que e qe n

Al-1 -:(Tioepo do ambuco) _ O__

Guay quo__ _ ] - 11E_SE i

d u 1 uu__u4Ei

- /2 __4

V, P.

me - - 10 l - U= a I

Uribe Bueno: If. someone gives me a good reason for the 3/4 notation, I would accept it, but this way we are just destroying the bambuco. That is why a bambuco cannot reach other countries. The strumming in a 3/4 bambuco sounds .G (tg t t) . In 6/8 the strumming sounds the same way but shifted (one can omit the first eight note).

Q-Would the fact that a guabina, pasillo and waltz were written in 3/4 influence composers to write the bambuco in a triple simple meter?

Uribe Bueno: Yes, there was a lack of research and everybody assumed that all Colombian popular music had to be written in 3/4.

Q-Do you agree with Elkin Parez when he says that a waltz, pasillo or guabina can be transformed into a bambuco by displacing the melody one half beat?

Uribe Bueno: Yes, all of them can have 37

the same melody but different strumming.

Q-Does the end of a bambuco have a special characteristic?

Uribe Bueno: A el is more common when a bambuco is performed by a band. The currulao from the Pacific region is an authentic bambuco. If you leave the percussion instruments such as the guasd (see figure 6), the conunos (see figure 7) and the marimbas out, and add a tiple instead, one will get a bambuco. A currulao is originally written in 6/8, and even people from the Pacific call the currulao, a bambuco viejo (old bambuco). If indeed a bambuco viejo did exist, it is very posible that it came to the Andean region from the Pacific.

Figure 6. Guas&7 0

70Abadia Morales, Instrumentos Musicales, Folklore Colombiano (Bogota: Talleres Graficos Banco Popular Bogota, 1991), 132. 38

Figure 7. Conunco7

i r

E/ '1l

CI n mach

~tft

COflIflM( iItrzg r

7Abadia Morales, op. cit., 77. 39

There are four different possibilities for the bass of an instrumental bambuco (see example 8).

Example 8. Different bass lines for an instrumental bambuco (from the interview).

3. v 'I ill 7J71J-1-6'11.7 4U~L Nz *, 6 *114-1 grog-- A,& 40

Interviews with Leon Cardona, July 27

and August 14, 1992

Leon Cardona: Many have said that it was Morales Pino the first who notated a bambuco in 3/4. It must have been a mistake since it moves the harmonic resolution to the second half of the measure instead of the first beat.

Q-What meter do you use for bambucos?

Leon Cardona: I prefer 6/8 currently. It is easier to read. It is more difficult to perform a bambuco written in 3/4 although many groups play them, it is because they know the music and they know how it is supposed to sound.

Q-Do you agree with Elkin Prez who says that the waltz, pasillo or guabina melody can be transformed into a bambuco by displacing the melody one half beat?

Le6n Cardona: The only difference between a bambuco and a pasillo is where the voice enters but the tiple accompaniment is the same in both. As Uribe Bueno suggests, it is very posible that - since the waltz, pasillo and guabina were written in 3/4 - composers assumed that the bambuco shared the same metric notation. A bambuco phrase has different possible endings (see examples 9-12).

Example 9. Endings of a bambuco phrase in 3/4 and 6/8

6' - c G * C

r r 41

Example 10. Variants in 3/4 and 6/8 61 IdI? w%"

7 .As i C -- AM 1 I

1 -4

0 MM

G' C Gov ]PP-71M Aw E

Example 11. More stylized figures in 3/4 and 6/8

Aet h

Example 12. Endings f or the previous example. 42

A simple triple meter (3/4) rendition produces a lack of balance between the rhythm, harmony and melody which prevents good phrasing and expression. Moreover, a triple

simple meter (3/4) shifts the natural accents of the words, adds an extra beat to the measure, and moves the harmonic

resolution to the second half of the measure instead of the

first beat, which brings the dominant and tonic

simultaneously.

This study supports Uribe Bueno's duple compound (6/8) rendition, in which the extra beat disappears and the composite rhythm of the music coincides with the prosody of the texts. Furthermore, the bambuco is danced in two steps per measure and not in three (like the waltz or the pasillo), an element that also supports the 6/8 rendition72

One of the most popular traditional bambucos in the history of the genre is Francisco Cristancho's Bochica. It would be safe to say that all estudiantinas (ensembles) include Bochica in their repertoire, and many arrangements

for different instruments have been made of this bambuco.

Examples 13-16 shows the triple simple (3/4) and duple compound .(6/8) renditions of Bochica.

72 Luis Uribe Bueno, "Bambuco en 3/4," Restrepo Duque, op. cit., 63-83. 43

Example 13. Bochica by Francisco Cristancho in 3/4

I 1 __ 1 i t

Al f + lit A7

Lre0 f A W1a

-t-zz D n Av Wn

Example 14. Bochi ca, tiple accompaniment in 3/4.

h jh p

Example 15. Bochica in 6/8

A7 mww A7 r"m G vi a AV r ll L I 11 1

A-Y p p 44

Example 16. Bochica, tiple accompaniment in 6/8.

A simple triple meter (3/4) accompaniment juxtaposes harmonic functions in the same measure, and brings the harmonic resolution at the second beat of the measure, while

the duple compound meter (6/8) notation, maintains one chord per measure. It also allows for each chord to fall on the

first beat of each measure, balancing melody, harmony and

rhythm.

In his article on the "Contribuci6n a la escritura del

bambuco colombiano," Mario G6mez Vignes shows his preference

for the use of duple compound meter (6/8) for Cristancho's

Bochica (Examples 17 and 18), and also gives Daniel

Zamudio's solution of 1944 (Example 19).

Example 17. Bochica in 3/4 45

Example 18. Bochi ca. Gomez Vignes' suggested notation.

0 (4 3C 040

Example 19. Bochica. Daniel Zamudio's suggested notation.

I- %* 3 (9 - - t* * * (Aob) _0%- * of 1.12, - g t : t LI* **A s (,,**I . f 0 - .r

19 0 is a

Y I "tA.2T t '

m AP

V r / 3

t , 46

Francisco Cristancho (b. Boyaca 1905-d. 1977) was a very important Colombian composer of popular music. In 1929, he became a member of Morales Pino's estudiantina, a group which performed in Spain, Central Europe, and Amsterdam. In

1937 he returned to Colombia. In Bogota, Critancho formed

two orchestras: the "Universal" and "Sud-America;" he became

the director of what he named the "Francisco Cristancho"

group and became a member of the Orquesta Sinf6nica

Nacional. In 1947, Cristancho went to Caracas, Trinidad,

Belan del Para and San Luis de Maran6n (Brazil) and in 1952

he again returned to Colombia. In 1957 he went to Boyaca to

conduct the "Banda Departamental de Tunja" for nine

years. 73 His influence persisted even after his death.

There is the "Francisco Cristancho Camargo" music academy in

Bogota directed by his son Mauricio Cristancho, the

"Camerata Cristancho" formed by teachers and students from

the academy, and the "Cristancho" foundation which sponsors

scholarships and concerts. A "Centro Cultural Cristancho"

was also established in Boyacd.74

Pedro Morales Pino is not only well-known for his liras

73Octavio Marulanda Morales, "Francisco Cristancho Camargo, un cldsico criollo," Lecturas de mdsica colombiana (Bogota: Imprenta Distrital, 1989), 339-355.

74Among Cristancho's bambucos are Ay, ay mi palomita, Bachue, Bacats, Bajo el cielo sobre el Llano, Bochica, Cerca del rio, Charuto, Dende que jue con otro, El preciso, Guatavita, Miniatura, Pa que me mird, Ta' juert6n, Tan matando un perro (bambuco fiestero), Tequendama, Retonos, Jos6 Morales, Mi chatica, Ay l'entran, and cucarrdn. See Marulanda Morales, op. cit., 350. 47

colombianas, but also for being the first to notate a

bambuco. This bambuco, Cuatro preguntas (text by Eduardo

L6pez) exemplifies the viability of the duple compound meter

(6/8) notation. This bambuco was the model for many

composers 75 and was originally written without text until

the poet set his verses to the music. The structure of this

bambuco consists of an introduction and two octosyllablic

stanzas each of which contains a question ("pregunta").

The first stanza is a quintilla, which is repeated, and the

second a redondilla, also repeated, resulting in an AABB

form. 76

a Niegas con e1 lo cue hiciste b y mis sospechas te asombran a I) 1st quintilla Pero si no lo quisiste b por que te pones tan triste

a cuando en tu casa lo nombran? a Dices que no son cosas mias b y que me estoy engatanclo a II) 1st redondilla mas por cu le sonre as b cuanclo te estaa mirando?

Examples 20-21 show the difference between the triple simple meter (3/4) and the duple compound meter (6/8) notations:

75 Cuatro preguntas was a model for Luis A. Calvo, Alberto Urdaneta, Alberto Castilla, Emilio Murillo and others.

76G6mez Vignes, op. cit., 42. 48

Example 20. Cuatro preguntas in 3/4. "

V- I

plow J40" 'M

&low s. 11.svi!.. zp ~:iAMO ' + ;litnrri iV ,rs !'I# $1 'T' 4Ij. q ___o

I' I a. j ff

7.,.....,.... E ~" " J0V' /y " Ap-A. p -~ A I

POO

low...

P oo ' 0 0 J 1 ,0 - M6w

77Restrepo Duque, op. cit., 53-54. 49

Example 21. Cuatro preguntas in 6/8

CIArRO PRECU W'AS LAAneWc L Vl7+ 1P ,%r/es Aa. booI wig>K1 ' . _

4.+

66

C-3 .- "

G xs - . ------

81l if's. II

BMW 50

This bambuco is in the key of E minor and both the introduction and section A start in the tonic. The first three bars of section A emphasize the pitch B in the voice, while the second three bars move up a third to pitch D, harmonized in G (the relative major key). While the first three measures of the introduction are developed in the first six measures of the A section, measures 9-12 of the introduction are developed in measures 13-18 of the same section. The fermata in section A ends on a dominant preparation. The first four measures of the B section modulate to G major. Section B starts in A minor, modulating to G.

Relationship Between the Bam.buco and

Other Traditional Forms

According to Professor Elkin Perez, a waltz, pasillo or guabina melody can be transformed into a bambuco by displacing the melody one half beat, keeping the ictus on the same pitch (Example 22) .78

7 8Perez, op. cit., 6-8. 51

Example 22.

Ictus Ictus

.; Waltz 69 '(4

v i " ;

{14.1 An

k *hem Bambuco IF a, OL di Hn

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fowl Bambu CO

I" tus

mr AD rmX" Guabina low T0E

pFO Bambuco NOW*p ~w. 1 52

Following are representative accompaniment patterns by the

tiple in a waltz, pasillo and bambuco (Example 23) .79

Notice the direction of the strumming pattern.

Example 23.

Waltz .r

Ak I do I d& -T--- Pasillo dd A I I

A_-* T F I '"A dj Pasi11o dK

-M -nr I do% Bambuco ff dIA I qfFda I An

79 PErez, op. cit., 10-12. CHAPTER III

REPRESENTATIVE NINETEENTH AND

TWENTIETH-CENTURY COMPOSERS OF BAMBUCOS

Manuel Maria Parraga (ca. 1826-1895)

One of the most popular composers of nineteenth-century

salon bambucos was Manuel Maria Parraga (born in Venezuela).

Many of his works were published by Breitkopf und Hrtel in

Leipzig, among which the most famous was El Bambuco - Aires

nacionales neogranadinos, opus 14, which consists of twelve

pages of stylized variations on a theme taken from a work for piano (four-hands) by Boada y Rueda (Example 24) .80

Parraga's Bambuco in G-sharp minor/Major (or Ab

minor/Major, see Appendix A for Pirraga's Bambuco) consists

of four sections with an introduction. The virtuosic

eleven-measure introduction in mostly dominant harmony

prepares section A in the tonic. The whole section consists

of a series of dominant-seventh chords that resolve in the

tonic except in measures 41-47, which modulates to its

relative .(B) major (see appendix A for Parraga's complete works). The B section is in the parallel major key, notated as

80 Mario G6mez Vignes, "Contribuci6n a la escritura del bambuco colombiano," Revista Quirama (January, 1981), 33.

53 54

Ab. The first measure uses the opening idea of the introduction with octaves on both hands, and, like the

introduction to the A section, starts on the dominant.

Again, this section presents a series of V7-I progressions (measures 119-138) and at measure 139 - as in section A - a change of harmony, progressing to vi. Notice the same harmonic motion from measures 146-154, where a V7-vi progression takes place. At measure 155 the section closes with the same motif of the introduction and beginning of section B. The section closes with a V-I-V7/V-V7-I-V7/V-V1 progression.

Section A' is a variation of section A (mm. 164) and returns to the key of G-sharp minor (parallel minor). The section ends in the tonic, without harmonic changes. The

last section (B', mm. 199) returns to Ab Major, varying section B. The last 12 measures of this bambuco are an extension of the opening motif of the piece, ending in a virtuosic manner. 55

Example 24. Theme and Variations by Boada y Rueda.

sr -

-;- 7o e *004 """/v " "" er ' t ! r 7 XU A " f-"11/ M- -"w~rl ri rI .rw~r". - ' ~f.' .+...wr. R" J .I "" 11 + . "4

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-+ - *" 56

A4 +-

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(, 57 Guillermo Uribe Holguin (1880-1971)

The most influential composer of his generation,

Guillermo Uribe Holguin (1880-1971) began his studies at the

Academia Nacional de Mdsica with Ricardo Figueroa and Santos

Cifuentes, and took private lessons with Augusto Azzali. In

1903 he moved to New York and lived there for two years,

continuing on to Paris in 1907 where he studied violin under

Armand Parent and composition with Vincent D'Indy. At his

return to Bogota in 1910, he became director of the Academia

Nacional de Musica and founded the Revista del

8 Conservatorio. ' In 1920 he founded the Sociedad de

Conciertos Sinf6nicos del Conservatorio.8 2 In 1941, Uribe

Holguin published his autobiography, Vida de un musico

83 cl olTmbiano. Uribe Holguin also founded the Banda

Nacional de MUsica and the Orquesta Sinf6nica Nacional,

today the Orquesta Sinf6nica de Colombia.8 4

It was not until 1924 that the composer began to

incorporate traditional elements of Colombian extraction

into his musical language. In 1924, he composed his

Symphony Opus 15, No. 2, Sinfonia del terrufio, in which he

81 Eliana Duque, Guillermo Uribe Holguin y sus 300 trozos en el sentimiento popular (Bogota: Ediciones del Centenario de Guillermo Uribe Holguin, 1980), 17.

82Pardo Tovar, op. cit., 221.

3 " Guillermo Uribe Holguin, Vida de un mdsico colombiano (Bogota: Editorial Voluntad, 1941).

84 Afiez, op. cit., 300. 58

uses Colombian melodies and rhythms. Many of his songs were

inspired by texts of Colombian poets such as his Nocturno

based on a poem by the Colombian Jose Asuncion Silva (1865-

1896). His lyric tragedy Furatena and his two symphonic

poems Bochica and Ceremonia indigena are based on indigenous

mythology. Uribe Holguin used dance rhythms in the Tres

criollos, in the Tres danzas Op 21: Joropo, Pasillo

y Bambuco, and in the 300 trozos en el sentimiento popular

(1927-1939) for piano. 8 5

Uribe Holguin's 300 Trozos en el sentimiento popular

(1927-1939)

One of the largest collections for piano ever conceived by a

single composer is Uribe Holguin's 300 Trozos en el

sentimiento popular written between 1927 and 1939. These

trozos are character pieces for piano in the European nineteenth-century tradition.

In the introduction to Guillermo Uribe Holguin y sus

300 trozos en el sentimiento popular, the Colombian musicologist Eliana Duque mentions some of the pianists that disseminated the Trozos. Among those pianists are Luis

Bacalov, Olav Roots, Marcel Stambach, Elvira Restrepo de

Durana, Elisa Mendoza, Mireya Arboleda de Cruz, and Beatriz

Acosta. Duque also listed some recordings of the Trozos on

"sDuque, op. cit., 65. 59

magnetic tape, 8 b first made by Pilar Leiva (Trozos 1-45) in

1976, and then by Mercedes Cortes including Trozo No.

300.87 The first 20 Trozos were originally written as a

collection of 20 Bambucos para piano (1927-1928) which Uribe

Holguin included in the 100 aires populares. These Aires

populares became part of the 250 Trozos-en el sentimiento popular, and, eventually, of the 300 Trozos. As Duque

indicates, the only differences between the 20 Bambucos and

the first 20 Trozos are some changes in tempo and

dynamics.88 (See appendix A

for Uribe Holguin's complete works).

Trozos Nos. 6 and 158

Although written seven years before Trozo No. 158,

Trozo No. 6 (1927) is harmonically richer. Trozo No. 6 is

in the key of A major. The first motive in measure 1 and its anacrusis integrate the piece. It is presented in A major and at measure 5 it appears in the dominant key (E). The chromatic note F-natural in measure 11 reappears as E-sharp in measure 24, functioning as leading tone to F-sharp minor later. At measure 12 the motive appears in the tonic, A

"A thin plastic ribbon coated with a suspension of ferromagnetic iron oxide particles, used as a storage medium for magnetic recording. See Noah Webster, "Magnetic Tape," Webster's New Universal Unabridged Dictionary, 2nd. ed. (New York: Simon & Schuster, 1983), 1084.

87Duque, op. cit., 6.

88Duque, op. cit., 32. 60 major. At this point, the trozo is moving to the relative minor. Measure 22 presents the motive in A major and at measure 26 it modulates to G-sharp minor. At measure 30-31, the A-natural and the E-sharp indicate that the piece is going to modulate to F-sharp minor. At measure 36 the unifying motif appears in the dominant key (E major).

Measure 45 modulates to A minor (chromatic notes G, F, and

C-natural). In measure 59 the motif appears as in measure

1, in the tonic (A major).

The harmonic outline of trozo No. 6 can be summarized as follows: it starts in A major and moves to F-sharp minor, interrupted by G-sharp minor. F-sharp minor turns into A minor, hints at C major, then fluctuates between A minor and

A major toward the end of the piece. Another feature of this piece is the use of additional tones in the second and seventh chords in third inversion (Example 25).

Example 25. Trozo No. 6 by Guillermo Uribe Holguin (1927)

a & t w -IF m IL Old t-F - FW _AL Y- UFA :1 exfvo 10000OF !OEM am 41L

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Trozo 158

Trozo 158 is in the key of F major and consists of three section. The harmonic progressions are simpler in this trozo than in trozo No. 6. Except for a few instances, most of the appoggiaturas are followed by a dominant chord.

There is also the use of dominant ninth chords as well as secondary chords and many dynamic changes. A contrasting B section starts at measure 28 in B-flat minor and ends in the same key. Section C returns to F major at measure 46.

After the fermata at measure 58 the A section comes back in the tonic (Example 26) .

Example 26. Trozo No. 158 by Guillermo Uribe Holguin (1934)

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Antonio Maria Valencia (1902-1952)

After studying piano with Honorio Alarcon, Antonio

Maria Valencia entered the Paris Schola Cantorum in 1923, where he studied composition with Vincent D'Indy, piano with

Paul Braud, counterpoint with Paul Le Flem, harmony and

conducting with Louis de Saint-Riquier, chamber music with

Gabriel Pierne, and orchestration with Manuel de Falla. In

1932 he wrote his Breves apuntes sobre la educacidn en

Colombia and, in 1933, he founded the Conservatorio de Cali.

Valencia's trio Emociones caucanas (1938) for violin, piano, and cello; his Sonatina boyacense (1935); the Coplas populares colombianas (1935); and his five Canciones indigenas for mixed chorus (1935) are considered the strongest expressions of his nativistic style. Valencia also wrote several sonatas for violin and piano, vocal works such as his Misa de Requiem, and orchestral works.

In his Chirimia y bambuco sotarefo (1930, dedicated to

Josa Rozo Contreras), Valencia defined the basic rhythm of the bambuco as a combination of binary and ternary divisions but duple compound meter (6/8) prevails with an occasional change from 5/8 to 6/8 at cadences. 90 The melody of the bambuco was originally by Francisco Diago (1867-1945) under the title El sotareo (see example 27).

9Behague, op. cit., 162-163.

90B6hague, Ibid. 68 Example 27. El sotarefio by Francisco Diago

I AM.

w --1 w AM ~

fm !1-40 10

'S 44 69

;f F I.

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In his bambuco, Valencia used changes of meter repeatedly

which indicates that the composer might have noticed a

problem with the 3/4 notation and tried to provide a

solution. Although the melody of this bambuco remains like

the original, the complexity and richness of its harmony and

rhythm make this work a good example of how a composer can

incorporate elements from a traditional dance into an art

music composition (see Example 28). It is interesting to

mention that Diago did not like Valencia's version of his

bambuco, as he told the composer in a recital (1930), when

the composer performed the piece." In 1942, Valencia

transcribed his Chirimia y bambuco for orchestra.

"Francisco Diago told Valencia: "Antonio Maria, te tiraste mi bambuco." 71

Example 28. Bambuco from Chirimia y bambuco by Antonio Maria Valencia (1930).

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Adolfo Mejia (1905-1970)

Adolfo Mejia (1905-1970) initiated his studies with

Juan de Sanctis in Cartagena and continued at the

Conservatorio Nacional de Mdsica in Bogota with Gustavo

Escobar Larrazibal, Jesus Bermudez Silva, and Andres Pardo

Tovar. In 1930, Mejia went to New York where he formed the group Trio Albeniz with the Argentine Terig Tucci and the

Spaniard Antonio Frances. In 1938, he continued his studies in Paris with Henry Koechlin in Ville-Sur Mer. Mejia stylized popular Colombian rhythms, such as the bambuco, torbellino, and .92 Among works that show nativistic influence are Bambuco en si menor; El burrito; Preludio and

Pincho for piano; Pequefia suite for orchestra (1938), awarded the Premio Ezequiel Bernal; Concierto para piano sobre ritmos colombianos; and Pincho." One of the most famous works by Mejia is his Bambuco en si menor which, like a traditional bambuco, consists of two parts (one in a minor key, and the other in a major key). Section A is in the key of B minor and in section B, it moves to its relative Major

(D). This bambuco has become one of the most well-known art music pieces based on a popular dance. It conveys both the melancholic and joyful mood of a typical bambuco and retains its structural and harmonic simplicity (Example

92 Pardo Tovar, op. cit., 293.

"Afez, op. cit., 301. 76

29) .

Example 29. Babuco en si menor by Adolfo Mejia ( 1905-1970)

CENI;VCOLOMOIO oamL uC emYsineno r D3ZU&L.a+TAVIflNMuSICAt L *~ i U (120Q L. . ok.'

Y r~ ' _ _ _ ,-fr-.

OW 4--

9 4 ther art music composers who wrote bambucos include Andr6s Martinez Montoya (1869-1933), Santos Cifuentes (1870- 1932), Jesds Bermddez Silva (1884-1969), and Jos6 Rozo Contreras (1894-1976) among others. 77

T s-1 >T'i7 7n T I, _A 1L !

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_ _ _C . CHAPTER IV

CONCLUSIONS

During the period of Colombian Independence, liberal ideas from Europe influenced many scholars in what was then Nueva Granada. During this period (early nineteenth century), waltzes, contradanzas, bambucos, minutes and other popular dances of the time were played at battles and festivities. After Nueva Granada won its independence

(1810), composers such as Antonio de Velasco (d. 1859), and Enrique Price (1819-1863) were writing works that

included elements from the Colombian popular repertoire.

Nineteenth-century character pieces for piano such as

Chopin's and polonaises that incorporated elements from Polish music, or Liszt's use of Hungarian themes had an influence on many Colombian composers such as Jos6 Maria Ponce de Leon. Among the most popular

Colombian dances of the nineteenth and twentieth centuries are the Colombian waltz, the pasillo lento, the pasillo

fiestero, the torbellino, the bunde, the guabina, the

galer6n, and the bambuco. Like Antonio de Velasco,

Enrique Price, Jos6 Maria Ponce de Le6n, Manuel Maria

Parraga, Guillermo Uribe Holguin, Antonio Maria Valencia,

and Adolfo Mejia, many nineteenth and twentieth-century

composers were, and still are incorporating elements

79 80 from the bambuco and other popular genres into salon pieces and chamber works.

Disputes concerning the origin of the term bambuco persist among scholars in Colombia, as well as controversies regarding the process of notating the traditional bambuco

(3/4 or 6/8), when it penetrated the written tradition of popular music. Composers writing popular and salon bambucos increasingly perceived the advantage of notating it in 6/8.

Luis Uribe Bueno, the famous composer of bambucos and other popular genres, continues to speak for the use of 6/8, indicating the lack of balance between rhythm, harmony, and melody that a barbuco written in a triple simple meter (3/4) can create.

The traditional and popular bambuco, as stated in chapter two, continues to live among the poeple in Colombia.

The Jorge Villarnil Cordoves festival in Neiva, the Ginebra festival in Valle del Cauca and the Festival Mono Ndifez are among the festivals and competitions that have helped maintain the enthusiasm among younger composers to continue writing Colombian popular music. A P P E N D I X A

LIST OF WORKS

Manuel Maria Pirraga: works published in Leipzig

Piano

La sultana (nocturno de concierto)

El tiple (torbellino, Op. 2).

Le Ruiseau (valse brillante, Op. 3).

Fantasia brillante.

Le Depart (nocturno sentimental).

Sofia ( brillante).

Minerva (valse)

La novia (polka mazurca).

Edda (polka).

Virginia (polka).

Matilde (polka).

La solitude.

Ines (polka mazurca).

El bambuco.

Los candidatos, dedicated to Manuel Murillo Toro, Mariano Ospina and General Tomas Cipriano de Mosquera.

Divulgaci6n.

Onda fugaz.

Intimo (pasillo).

81 82

Una vez (pasillo).

Reflelos (pasillo).

Confidencias (pasillo).

Mar y cielo (waltz).

Voces de la selva (waltz) .

Los lunares (waltz).

Works for orchestra:

Fantasia sobre dos temas nacionales. Suite patria.

Brisas de los Andes (intermezzo). 83

El barnbuco by Manuel Maria Parraga

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As ., 93

Guillermo Uribe Holguin List of Works"5

Theater

C)p. 76, Furatena (Libretto by Uribe Holguin)

Symphonic works

Op. 11, Symphony No. 1 in F minor

1924 Op. 15, Symphony No. 2, del terrufo (Awarded first place in a national contest)

Op. 21, Tres Danzas: 1. Joropo 2. Pasillo 3. Bambuco

Op. 26, Dos marches: 1. Fdnebre 2. Festiva

Op. 29, Serenata

Op. 33, Cantares

Op. 34, Carnavalesca

Op. 40, No. 1, Balo su ventana Improvisaci6n Op. 43, Suite tipica: 1. Vieja historia 2. Jaleo sabanero 3. Voces de fuera 4. En marcha

Op. 73, Bochica, Symphonic poem

Op. 78, Tres ballets criollos

C)p. 83, Sinfonietta campesina for small orchestra and piano

Op. 88, Ceremonia indIgena

95Patronato Colombiano de Artes y Ciencias. A Complete catalogue of Uribe Holguin's Works. 94

1. Hirnno a Zud 2. Danza ritual

Op. 91, Symphony No. 3 Sostenuto - Allegro con moto Allegretto giocoso Andante tranquillo Allegro con brio

Op. 97, Coreolano, symphonic poem

Op. 98, Symphony No. 4 Molto Allegro Allegretto Adagio Allegro moderato

Op. 100, Symphony No. 5 Allegro animato Vivo giocoso Andante cantabile Allegro brioso

Op.. 101, Symphony No. 6. Andante sostenuto - Allegro appassionato Allegretto grazioso Andante espressivo Allegro animato

Op. 102, Symphony No. 7 Allegro comodo Vivace assai Adagio Allegro animato

Op.. 103, Symphony No. 8 Andante quasi adagio - Allegro assai Molto allegro Andante sostenuto Allegro animato

Op. 104, String Concerto

Op. 108, Conquistadores, symphonic poem

Op. 110, Symphony No. 9 Allegro moderato Molto vivace Andante espressivo Allegro animato

Op. 112, Symphony No. 10 95

Allegro moderato Vivo ed animato Andante quasi adagio Allegro mosso

Op. 115, Tres bocetos sinf6nicos

Op. 117, Symphony No. 11 Allegro con brio Allegro assai Tranquillo quasi adagio Energico e con moto

Symphonic Works with Soloist

Op. 18, Marcha triunfal for tenor and orchestra (Text by Ruben Dario)

Op. 23, Two songs for soprano and orchestra 1. Pregunta a las estrellas 2. Llegaron en tardes serenas de estio (Text by Adolfo Becquer)

Op. 27, No. 1, Primer nocturno for tenor and orchestra (Text by Asunci6n Silva)

Op. 37, Villanesca for piano and orchestra

Op. 42, Himno for tenor, chorus and orchestra (Text by Guillermo Valencia)

Op. 61, Concierto a la manera antiqua for piano and orchestra

Op. 64, Violin Concerto No. 1 Op. 79, Violin Concerto No. 2

Op.. 99, Clavichord Concerto

Op. 106, Homenaje a Bolivar for voice soloist, Chorus and orchestra

Op. 109, Viola Concerto

Chamber music

Op. 7, Sonata for violin and piano No. 1"

Op. 8, Quartet for piano, violin, viola

"Published in Paris: Bowens van der Boijenet Cie., 1910. 96

and cello No. 1

Op. 12, String Quartet No. 1

Op. 13, Suite for violin and piano No. 1 1. Preludio 2. Valse 3. Rigaudon 4. Siciliano 5. Tarantella

Op. 16, Sonata for violin and piano No. 2

Op. 19, String Quartet No. 2

Op. 24, Sonata for viola and piano

Op. 25, Sonata for violin and piano No. 3

Op. 30, Dos trozos para violoncelo y piano 1. Pagina de album 2. Scherzo

Op. 31, Quintet for piano, two violins, viola and cello

Op. 39, Sonata for violin and piano No. 4

Op. 40, Canto her6ico No. 2 for cello and piano

Op. 59, Sonata for violin and piano No. 5

Op. 60, Suite for violin and piano No. 2 1. Preludio 2. Fuguetta 3. Danza

Op. 62, Sonata for cello and piano

Op. 63, String Quartet No. 3

Op. 66, Quintet for piano, two violins, viola and cello No. 2

Op. 74, Trio for piano, violin and cello

Op. 75, Sonata for violin and piano No. 6

Op. 86, String Quartet No. 4

Op. 87, String Quartet No. 5 97

Op. 89, Divertimento for flute, harp, horn and string quartet Op. 90, String Quartet No. 6

Op. 92, Sonata for violin and piano No. 7

Op. 93, String Quartet No. 7

Op. 94, Suite for flute, horn, harp violin and cello

Op. 95, Trio for violin, viola and cello

Op. 96, Pequena suite for flute, violin and viola

Op. 105, Trio for violin, viola and cello

Op. 111, Trio for piano, violin and cello No. 2

Op. 113, Toccata for flute, , bassoon, two horns and piano

Op. 114, String Quartet No. 9 Op. 116, String Quartet No. 10

Secualar Choral Works

Op. 72, Dos canciones for mixed chorus a capella 1. Canci6n de paz 2. Dia de la siembra (Text by Vicente Medina)

Op. 107, El renacualo y revista for mixed chorus (Text by Rafael Pombo)

Sacred Choral Works

Op. 2, No. 1, Ave verum for two female voices and organ No. 2, Ancien Noel for two female voices and organ

Op. 5, Victimae Paschali for soprano, chorus and orchestra

Op. 14, No. 1, Te Deum for tenor, chorus and orchestra No. 2, Tantum Ergo for chorus and orchestra

Op. 17, Requiem for soloists, chorus and orchestra. 98

Op. 65, Improperia for baritone, chorus and orchestra.

Qp. 82, Misa for a capella chorus of children and men.

Incidental Music

Op. 77, Prometeo

Op. 84, Anarkos (Text by Guillermo Valencia)

Piano Works' 7

Op. 3, trozos (six trozos) 1. Chanson 2. De retour 3. Nuit 4. Caprice 5. Maladie 6. Scherzo

Op. 6, Suite Paroles Cachees Lost

1915 Op. 10, Preludio "A mi Lucia" Bogota: Patronato Colombiano de Artes y Ciencias, 1978.

Op. 11, Nocturno

Op. 20, No. 1, Preludio No. 2 in D major No. 2, Preludio No. 3 in E major

1927 Op. 22, 300 Trozos en el sentimiento popular Nos. 1-6 (also "20 Bambucos")

1928 Op. 28, Impresiones (Dedicated to Armando Palacios) 1. Fatalidad 2. Frivolidad 3. Meditacion 4. Pequefla anecdota 5. Festejos 6. Crepuscular 7. Retozos 8. Cavilaciones 9. Resolucion

97All of his Trozos were published by the Patronato Colombiano de Artes y Ciencias (Bogota, 1992) 99 1936 Impresiones (revised) 1. Fatalidad 2. Mariposa 3. Meditaci6n 4. Pequea anecdota 5. Festejos 6. Crepuscular 7. Retozos 8. Resoluci6n

1928 Op. 32, 300 Trozos en el sentimiento popular Nos. 7-27 (also "20 Bambucos")

1929 Op. 35, 300 Trozos en el sentimiento popular Nos. 28-55 fl r ll r \ 1/I

1930 Op. 38, 300 Trozos en el sentimiento popular 0 Nos. 56-100 (also "Aires populares")

1932 Op. 41, 300 Trozos en el sentimiento popular Nos. 10 1-109

Op. 46, No. 1, Bailarinas (Dedicated to Marcel Stambach)

1935 Op. 47, 300 Trozos en el sentimiento popular Nos. 110-146

1933 Op. 48, No. 1, Preludio in E major No. 2, Leccion 1933 No. 3, Preludio 1933 No. 4, Movido

1933 Op. 49, No. 1, Preludio in G major New York: New Music No. 2, Preludio in D minor No. 3, Preludio in B major

1934 Op. 50, 300 Trozos en el sentimiento nonular - .. r - rr ". .rr. a r r .a. v a a %.o ~/ \..f %-4 Sd4 +L Ir 1 111 A. Nos. 147-16 1 1 lll irq llwV

Op. 51, No. 1, Dia de difuntos

1935 Op. 52, 300 Trozos en el sentimiento popular Nos. 166-183

1936 Op. 53, No. 1, Preludio in C major 1937 No. 2, Preludio in D major

Op. 54, Suite 1. Scherzino 2. Romintica 3. Brisas y vientos 100

4. Marquesitos 5. Toccata 6. Burgueses 7. Por los montes

1936 Op. 55, 300 Trozos en el sentimiento popular Nos. 184-209

1936 Op. 56, No. 1, Preludio in D minor New York: New Music 1933 No. 2, Preludio in C major No. 3, Preludio in D-flat major 1938 No. 4, Preludio

1937 Op. 57, Sonatina (revised 1955)

1937 Op. 58, 300 Trozos en el sentimiento popular Nos. 210-250

1938 Op. 67, No. 1, Doce variaciones sobre un tema a la clAsica No. 2, Prelude in F major No. 3, Prelude .in E major

1938 Op. 68, 300 Trozos en el sentimiento popular Nos. 251-260

1938 Op. 70, 300 Trozos en el sentimiento popular Nos. 261-275

1938 Op. 71, 300 Trozos en el sentimiento popular to Nos. 276-300 1939

1947 Op. 81, No. 1, Pasillo "Montafis" 1947 No. 2, Bambuco "Rondino" No. 3, Bambuco 1947 No. 4, Fantasia folkl6rica for two pianos

Op 85, No. 2, Pasillo v Bambuco

Works for Voice and Piano

Op. 1, Six songs 1. Romance (Victor Hugo) 2. Chanson d'automne (Paul Verlaine) 3. Never more (Paul Verlaine) 4. Romance (Charles Baudelaire) 5. A une (Alfredo de Bengochea) 6. In my love's voice (F. H. Martens) 101

Op. 4, Six songs 1. Jeunesse (Condesa de Noulles) 2. La lettre (Henri Barbusse) 3. Cette fille (Ballades au hameau) (P. Fort) 4. Menuet (Fernand Gregh) 5. Le silence de l'eau (Fernand Gregh) 6. Je parerais trees bras... (G. Kahn)

Op. 9, Two songs 1. Il passa (Helene Vacaresco) 2. Odelette (Henri de Regnier)

Op. 27, No. 2, Segundo nocturno for tenor and piano (Jos6 Asuncion Silva)

Op. 36, Six songs (Vicente Medina) 1. Arrullo 2. La cantinela del-pastorcito 3. La cantinela del segador 4. Qu6 dirdn 5. Toico 6. Cansera

Op. 44, Las garzas (Emilio Oribe) Boletin Latino- americano de mdsica, suplemento, Vol. IV, No. 4, (Oct. 1967)

1933 Op. 45, Quince canciones (text by Rafael Pombo) 1. Arrullo 2. El nifo y la mariposa 3. La pobre viejecita 4. Las flores 5. Juan Matachin 6. Juan Chunguero 7. El bandido 8. Sim6n el bobito 9. Tu beso 10. Al despedirme 11. Te quiero 12. Pesadilla 13. Cuando yo duerma 14. Bambuco 15. El coche

Op. 46, No. 2, 16 rimas (Le6n de Greiff)

Op. 69, Four songs 1. El piclaflor (Rafael Machado) 2. Tristeza (J. M. Mejla) 3. Coplas antioquefias (v. A. Montoya) 4. Dos Canciones (Julio Florez) 102

Op. 80, Hay un instante en el crepdsculo9 s on a poem by Guillermo Valencia (Awarded first prize by the Radiodifusora Nacional de Colombia in 1947).

Op. 81, No. 3, Canci~n del Bcga (Candelario Obeso)

Op. 85, No. 1, Amor de ti (Jaime Tello)

Guitar Works

Op. 80, Pequea suite

9 8Revista de las Indias, Vol, 32 No. 100 (1947). 103

Antonio Maria Valencia: List of works.)

1919 Canci6n de mayo for tenor, baritone and piano (Text by Ricardo Nieto). Desolaci6n, danza for voice and piano (Text by Andres Villarraga).

1921 Arrurrd for voice and piano (Text by Jos6 Eustasio Rivera).

1924 0 vos omnes, motet (Paris, April 22), dedicated to Louis de Saint-Requier.

1925 Ai--je fait un rave? (Paris, January 3). Est-il-mort?, on a poem by Francis Carco (Paris, September 4).

1926 Duo en forma de sonata, for piano and violin (April 14), dedicated to Jean Collon.

1927 Ritmos y cantos suramericanos Nos. 5 and 8 (January and March).

1930 Berceuse Chirimia y bambuco (Popaydn, January 20).

1931 Tres dias hace cque Nina, on a poem by Otto de Greiff, (September 16) . Iremos a los astros, on a poem by Otto de Greiff, (September 21).

1932 La luna sobre el aqua de los lagos, on a poem by Otto de Greiff, (August 11). Tarde maravillosa, on a poem by Otto de Greiff, (October 14).

1933 Ave Maria: sopranos, altos and tenors (March 20). Domine, salvam fac republican, mixed choir, and organ (June 21). Bambuco del tiempo del ruido, on a popular theme from the Colonial period (Cali).

1934 Invocaci6n a Santa Luisa de Marillac, mixed choir a capella, with piano interludes, (November 23). Coplas populares colombianas, a capella.

1935 Canciones indigenas para coro a cuatro voces mixtas:

"Pardo Tovar, op. cit., 260-271. A complete catalogue of Valencia's works appears in Mario Gomez Vignes' Imagen y obra de Antonio Maria Valencia published in 1991. 104

I. Hudcuno (Perd'). II. Mawari (Perud). III. Kunanti-tutava (Peril). IV. Soy peregrino (Cuenca, Ecuador). V. Pastoral (Bolivia). Sonatina Boyasense (Cali). Eclocga incdica: flute, oboe, clarinett, bassoon (Cali, November 4). Canci6n de cuna: violin and piano (Buga, November 20). Emociones caucanas: piano, violin, cello. Amanecer en la sierra Pasillo Interrogante (Lento expresivo). Final

1936 Madrigal ingenuo (Cali, August 5), dedicated to Graciela Arango Restrepo.

1937 Credo dramatico for mixed voices and organ. Misa breve de Santa Cecilia: four voces a capella. Canci6n del boga ausente for a vocal quartet, mixed choir a capella and maracas, (Bogota, March 20).

1941 Instrumentation's of Debussy's Petite suite (Cali, June 16). Arrangaments for choirs, organ and orchestra of C6sar Franck's Misa solemne. Reorchestration of Faur6's Requiem. Orchestration of Ismael Posada's Scherzo Torbellino.

1942 Chirimia y bambuco sotareio for orchestra, dedicated to his friend Jose Rozo Contreras.

1943 Misa de requiem, a capella (June 14 and July 9).

1945 Alba fresca, dedicated to his friend Rosalia Cruz and Nicolas Buenaventura.

1946 Himno eucaristico, choir, organ and orchestra. A P P E N D I X B

BAMBUCO (1872), text by Rafael Pombo

I Para conjugar el tedio Que en contagiosa locura Dios me depare un bambuco, Y al punto, santo remedio.

Buena orquesta de bandola Y una banda de morenas, De aquellas que son tan buenas Que casi basta una sola.

;Y aqui los granadinos! ;Venga el cometa dragon! Veremos el encontr6n Sin darsenos tres casinos.

;Lejos Verdi, Auber, Mozart! Son vuestros aires muy bellos, Mas no doy por todos ellos El aire de mi lugar.

";Mal gusto!" direis tiranos; mAs yo en, mi gusto porfio, Que, bueno o malo, es el mio Y el de todos mis paisanos.

Y bien se ve que no miente, Pues, hijo de padre tal, Es como el triste y jovial,. Quejumbroso, inconsecuente.

Nadie lo hizo, porque n6s Disfrutamos del derecho De recibirlo ya hecho Todo de manos de Dios.

Vino y pan, tienda y colch6n, El arbol sabe ofrecernos; ZPor que no ha de comprendernos El viento nuestra cancion?

Justo que nadie se alabe de inventor de aquel cantar

105 106

Que es de todos, a la par Que el cielo, el viento y el ave.

Del Carchi hasta Panama Nuestros nifios adivinan, Nuestros pdjaros lo trinan, Y en nuestras brisas estd.

Es el lamento que lanza El Genio de estas regiones Por tantas generaciones Que vio morir sin venganza.

Una melodia incierta, Intima, desgarradora, Compafera del que llora, Y que al dolor nos despierta;

Ningdn autor lo escribi6, Mas cuando alguien lo esta oyendo, El coraz6n va diciendo:

0 una risa de placer Que arrebata, que impacienta, Con eldctrico poder;

De indianas y de espafiolas Las perfecciones lucian, Lindas, ;Ay! que parecian Enamorarse ellas solas. Bajo una gran cabellera Un blanco.busto imperial, Cuanto eldstica y ligera.

Rica tez, mvrbido pecho, Nada de afeite o faltia, Que el arte no enmendaria Lo que hizo Dios tan bien hecho

Contra el talle de jazmin Un brazo de jarra elegante, Caido el otro adelante Sofaldaba el faldellin;

Y era de verse el candor De esos rostros de angel, cuando Iba en los pies retozando Un demonic tentador.

;Y que pies! ni el mameluco Sultan mejores los vio; El diablo los invent 107

Para bailar el Bambuco.

Se alternaban pulcramente Hincando rapida huella, Y ondulaba toda ella La fascinante serpiente.

Al comps del tamboril Con la bandola armoniosa, a la venia respetuosa Del desafiador gentil,

Una por una salia Hacia su galdn derecha, Y el, la boca almibar hecha, Aguardarla parecia;

Mes con sandunga imanada, Ella, escapando del pillo, Como el boa al pajarillo Lo atraia en retirada.

;La eterna historia de amor! ;Ley que nature instituye! La mujer siguiendo al que huye Y huyendo al perseguidor.

Ya evitaban su mitad, Ya lo buscaban festivas; Provocadoras y esquivas Como la felicidad.

La una pareja cantando, La ora vivaz respondiendo, Las coplas que iban diciendo Iba el amor ensenando.

Poesia humilde era aquella, Pero, en su espontaneidad, Bella como la verdad Y a veces triste como ella.

Dos voces eran bastantes Para hacerla bien sentida: Amor, cielo de la vida, Celos, infierno de amantes.

Y cual la.danza de sus giros, La mdsica en sus manejos Iba burlando en sus dejos 0 acompanando en supiros. 108

Alli el poder peregrino Del Bambuco percebi; Jamas, desde que naci

Una por una salia Hacia su galan derecha, Y 61, la boca almibar hecha, Aguardarla parecia;

Mis con sandunga imanada, Ella, escapando del pillo, Como el boa al pajarillo Lo atraia en retirada.

;La eterna historia de amor! ;Ley que natura instituye! La mujer siguiendo al que huye Y huyendo al perseguidor.

Ya evitaban su mitad, Ya lo buscaban festivas; Provocadoras y esquivas Como la felicidad.

La una pareja cantando, La ora vivaz respondiendo, Las coplas que iban diciendo Iba el amor ensefdando.

Poesia humilde era aquella, Pero, en su espontaneidad, Bella como la verdad Y a veces triste como ella.

Dos voces eran bastantes Para hacerla bien sentida: Amor, cielo de la vida, Celos, infierno de amantes.

Y cual la danza de sus giros, La mdnsica en sus manejos Iba burlando en sus dejos 0 acompafiando en supiros.

Alli el poder peregrino Del Bambuco percebi; Jamas, desde que naci

Un retozo tan simpatico De este vivir tan maluco No consiente ceja dura Ni melindre aristocratico. 109

Nuestros rdsticos con el Cantan al recien nacido, Y el les sirve de gemido De una tumba en el dintel.

Para bien o funeral Del que nace o del que muere; Ya solemne miserere, Ya cintico bananal.

Hay en al mas poesia, Riqueza, verdad, ternura, Que en mucha docta obertura Y mistica sinfonfa;

Y asi resp6ndele fiel El coraz6n donde llega: Con 6l el alegre juega Y el triste llora con 6l.

Mdgico el mdas obediente, Camale6n musical, siempre el mismo original, pero siempre diferente.

Su ritmo vago y traidor Desespera a los maestros, Pero aca nacemos diestros Y con patente de autor.

Tesoro de pobres es, Y ;ay! que nadie se lo quita Mientras su voz Io repita Y lo ejecuten sus pies.

Y si ordenase un tirano La abolici6n del Bambuco, Pronto viera cuAn caduco Es todo poder human.

II

Es un salon de pulmares, Que vagando descubri, Su hechicera danza vi Al comps de sus cantares.

Era una noche de aquellas Noches de la patria mia Que bien pudieran ser dia 110

Donde no hay noches como ellas.

El terciopelo mejor Al cielo no igualaba, Ni estrella alguna faltaba A esa gran cita de amor.

&apangas que por modelo Las quisiera un escultor, Giraban al resplandor De las lTmparas de cielo

Me sent mas granadino;

III Tambian el Bambuco fue Mdsica de la victoria, Y aunque lo olvide la historia Yo se lo recordar6:

El a C6rdoba marc Su "paso de vencedores", Y el de los libertadores La hazafa solemniz6.

;Campo inmortal! ;sol bendito! Cuando haya sonado alli, Cual la voz del Sinai Resonard en lo infinito;

Y nuestro aire nacional Iris fue alli de vencidos, Parabien de redimidos, De despotas funeral.

Le debe~mos en conciencia Gratitud, y mientras 61 Exista, guardard fiel Nuestra patria independencia.

Yo, para ser benemerito Desde el solio hasta el conuco, No ambicionara otro m6rito Que haber compuesto el Bambuco.

Bogota, 1857. 111

EL BAMBUCO by Rafael Pombo (El Tiempno,

February 24, 1857)100

"Pues qua nos piensa dejar, Hazme el favor de tomar Mi encomienda; Como no es mas que un papel, De versos!... no sera el Gran molienda. Que si un papel en verdad Tiene poca gravedad Especifica, Menos que aire lo han de hacer Versos que no suelen ser Sino una nada magnifica. Encomienda tan ruin La ha de volver tu violin Otra cosa, Que es tu arco en ese laud Varitud de una virtud Milagrosa.

Es el caso: Que a un hombre de nuestra tierra, Norte i sur, este i ocaso, Te' suplico, Que, pues te vas a volver Baquiano de... Inglaterra Bien prontico:

Nos hagas ally inmortal Desde el ingles al kalmuko Nuestro blas6n nacional, Valiente i original incomparable Bambuco.

I no es mas Cuanto tengo que decirte; En fe de lo cual sabres Que si a comulgarte vas El Sartal que he de afadirte.

00Restrepo Duque, op. cit., 120-127. 112

Ni con las mismas famosas Tenazas de Nicodemos Me sacards otras cosas de SUSTANCIA Que aquella de que tenemos Ya constancia:

Que nos hagas inmortal Desde que el ingles al kalmuko Nuestro blason nacional, Valiente y original, incomparable BAMBUCO.

I quisiera preguntarte ,Que mias dulce comisi6n Podre darte? El violin.de un granadino Que va en peregrinaci6n. (Opino)

No ha de llevar ma's destino Ni ha de cumplir mans mision.

Que hacernos ally inmortal Desde el ingles al kalmuco nuestro blas6n nacional, Valiente i original incomparable BAMBUCO.

-Que hard la reina Victoria, I la emperatriz que hard Si te oyen tocar BAMBUCO? -Sin remedio les dard Delicioso tucutuco -El mismo Papa... quiza... Se espone a bailar BAMBUCO. I como se han de bafuar En agua de mejorana, Lamartine, I todito aquel cuchuco de poetas Oyendo a una calentana Cantar al son de BAMBUCO sus cuartetas 113

Con salsita de violin Alfandoque i panderetas. ;Pobre la opera! ;Le tengo l6stima! Porque es la pura verd Que, del sueco al mameluco, Con el violin que les va, A nadie perdonar la epidemia del BAMBUCO.

;Ah! ;Si es tan lindo! ;si encierra La medida del deseo! De una bandola al punteo... ;Vengase encima la tierra! ;Lejos Verdi, Liszt, Mozart...! Son vuestras notas mui bellas, Mucho me entusiasman ellas, ;Mas ai! no os he de olvidar. Pues tenemos cierto son Que, si vosotros lo oyerais, Enternecidos supierais Que es mdsico el coraz6n. El lo invent por aci; Nuestros nifos lo adivinan, Nuestros pijaros lo trinan, I en nuestras brisas estd. Es el lamento que lanza El Jenio de estas regiones Por tantas jeneraciones que vio morir sin venganza. Una melodia incierta, Intima, desgarradora, Compafera del que llora, I que al dolor nos despierta. 0 una risa del placer Instadora, turbulenta, Que arrebata, que impacienta Con el el6ctrico poder. Un retozo musical De tan divina locura Que no aguanta ceja dura Ni humor de pecao mortal. Nuestros rdsticos con 6l Cantan al recien nacido, I 6l les sirve de jemido De una tumba en el dintel. Parabien o funeral Del que nace o del que muere Ya elocuente miserere, Ya cantico bacanal. 114

Enamora a su favor Nuestro inocente labriego Mas pronto que el palaciego Con su perfido esplendor. Y hai en 61 m's poesia, Verdad, ternura, elocuencia, Que en cuanto escribe la ciencia I a grande orquesta se avia. Siempre le responde fiel El corazon donde llega: Con el el alegre juega I el triste flora con el. Tesoro de pobres es, I ai, que nadie se lo quita Mientras su voz lo repita I los ejecuten sus pies !

Bajo un dosel de palmares I en noche... de estas de aqui, Su gachona danza vi Al comps de sus cantares. Napangas de ojo modelo I garbo fascinador Jiraban al resplandor De hogueras i astros del cielo Ya huian de su mitad, Ya le buscaban festivas: Provocadoras i esquivas Como la felizidad. La una pareja cantando, La otra sagaz respondiendo. Las coplas que iban diciendo Iba el amor ensefando. No eran versos de meses; Pero, en su espontaneidad, Bellos como la verdad, Como ella tristes a vezes. O cual la danza en sus jiros, La mdsica en sus manejos Iba burlando en sus ojos o acompanando en suspiros. I esta intima melodia Noble - escena - danza - canto - Se hermanaron tanto, tanto Al fondo del alma mia. Que nunca mi coraz6n Gust6 con mras embeleso El dolor hasta el esceso Sin la desesperaci6n. Eso era el BAMBUCO; i quin No lo ha sentido i llorado Como un jemido escapado 115

Del naufrajio del Eden!

Por eso tanto lo amamos Los que a sus ecos nacimos Que, Julio, te repetimos Lo mismo con que. empezamos;

Haznos por all inmortal Desde el ingles al kalmuko Nuestro blas6n nacional Valiente i original incomparable BAMBUCO.

Yo tus "Noches de diciembre" Escuche Con deleite peregrino; I al ver que tu estro divino (Contra el prurito vulgar) No tiene a mal el sentar Plaza de buen granadino; A mi modo resolve Tributarte un homenaje, I mis 6rdenes de viaje El comunicarte as{.

Si cuando vuelvas yo soi.... (La Federaci6n mediante) Congresista, Te prometo desde hoi Un decretito flamante Que honre al palis i al artista. I si, por esa costumbre Que tenemos De enfermarnos i morir, Nos dieses tal pesadumbre, Te ofrecemos En tu lpida inscribir:

JULIO QUEVEDO - Inmortal Por su carrera triunfal Desde el ingles al kalmuko, Con el pend6n nacional, El valiente i sin rival Incomparable BAMBUCO". 116

LA BANDOLA (1853), text by Juan Francisco Ortiz'

"Un tesoro de armonia Lubeck y Coenen trajeron ...... Cuando a sus conciertos fui, Al oir su diapason, ;Ah! sent en el coraz6n que suspiraba por ti. Por ti mi dulce bandola, mi perdurable embeleso, porque pensaba en ti sola al oirlos, lo confieso. Pues a la verdad es lindo Cabe un ritmo americano ofr que juega el aire vano con el alto tamarindo. Que alterna con las querellas de bandola bien pulsada en una noche callada toda cubierta de estrellas. ;Ah!que tus dejos suaves i esas tus fugas veloces (sic) i ese concierto de voces como el coro de las ayes

Conozco que me trabuco cuando elojiarte pretendo porque creo que estoy oyendo el quejumbroso bambuco. ;El Bambuco! que ni un muerto puede oirlo indiferente el bambuco americano, el que por Neiva se entona i ese bambuco caucano que entre bambucos blasona. El que se canta en las plazas, en los bosques, en los rios i de viejo tiene trazas y de joven tiene brios. El que se canta en las rejas de romanticas beldades y por campos y ciudades va derramando sus quejas. Pero bambuco y bandola son cosas que juntas van, el, sin ella, no da bola, y ambas en el alma dan. La perturban, la enternecen,

1 0 Restrepo Duque, op. cit., 114. 117 la calman o la apasionan, i mil delicias le ofrecen, por lo mismo, si la orquesta calla, si la pulsan sola sabe encantar una fiesta Jeronimo, la bandola. A P P E N D I X C

Interview with Le6n Cardona, July 27 and August 14, 1992 Medellin, Colombia

P-ZQu6 opina usted acerca de las innovaciones suyas en el bambuco?

Le6n Cardona-En general, la mdsica folkl6rica estA construida arm6nicamente sobre t6nica y dominante; despus ha habido pequefas variantes - va a la cuarta, a su relativa, a la subdominante -. 0 sea, una de mis innovaciones es que empec6 a salirme de ese molde arm6nico tan estrecho. Al tener un camino arm6nico ma's amplio y ms variado, se pueden hacer melodias ms ricas. Porque si uno se encierra en t6nica y dominante, las notas para la melodia son menos. Es como un idioma, si se tiene un lexico ma's rico, se habla mejor. Desde muy joven escuche musica del Brasil y el y ahi encuentra uno mucha riqueza y vi que podia incorporar algo de esto en la mdsica colombiana.

P-Es aceptado en Colombia que usted es el innovador armonico del bambuco, Zcierto?

Le6n Cardona-Yo empec6 con esa inquietud hace como treinta o treinta y.cinco anos, tal vez fui el primero. El mismo Francisco Cristancho fue ya un innovador, sobre todo en la parte ritmica: la estructura de "Bochica", o "Bachue", o de "Pa qu4 me miro" ya tiene algo novedoso, no elemental. Adolfo Mejia tambi6n hizo cosas interesantes, pues tra.bajo con esos elements folkl6ricos pero aportandole ya tecnica y gusto. Luis Uribe Bueno hizo una escuela con un estilo algo complicado que requiere virtuosismo. Uribe Bueno se radic6 en Medellin hace muchos afios y vino como bajista de la orquesta de Lucho Bermddez al Club Medellin y luego pasaron al Club Campestre lo cual suma unos veinte anos que trabaj6 con la orquesta de Lucho Bermndez. Luis Uribe Bueno particip6 en concursos donde gan6 con el "Cucarr6n" (obra orquestal).

Mi bambuco Gloria Beatriz (para piano) lo compuse cuando mi hija cumpli6 1 afo. Lo compuse originalmente en 3/4. Lo escribi en 6/8 cuando Jorge Camargo, Luis Uribe, Antonio Maria Penaloza empezaron con la discusi6n del 6/8, y suenan igual.

P-ZEvolucion6 usted adn mds arm6nicamente en los dltimos veinte anos?

118 119

Le6n Cardona-Lo que pasa es que hay mucha mdsica mia que no esti escrita para piano. Pero si hay cambios en estructura. La primera parte de Gloria Beatriz estA en forma muy tradicional arm6nicamente. En la segunda parte hay cambios en la forma estructural ritmica de la melodia. La armonia sigue siendo muy tradicional, pero va aumentando. En la tercera parte ya hay algo nuevo en la armonia y en forma ritmica melddica. Esto es ya una secuencia armonica muy distinta que habia sido usada. Va de menos a mis. Tengo otras cosas que son mas atrevidas.

Se dice que el primero que puso en el papel esta mdsica fue Pedro Morales Pino y lo escribi6 en 3/4 y en una forma que aunque uno ya lo ve muy familiar, tuvo que haber sido un error de escritura porque eso queda atravesado en mitad de comps (van cambiando los ciclos arm6nicos). En periodos de dos compares, si esti en t6nica va a ir a dominante o a donde vaya ahi en mitad de comps, cuando lo l6gico seria que cayera en el primer tiempo. Ha habido quienes defienden una cosa y otra: escribirlo en 6/8 para que no suceda eso, ya que cae una corchea despues de la primera del comps.

P-&Usted en que escribe los bambucos?

Le6n Cardona-Me gusta mucho dltimamente escribirlos en 6/8.

P-ZY le da resultado?

Leon Cardona-Si, si, lo leen con ma's facilidad. El buen lector. El mal lector a veces dice que el prefiere el 3/4, pero creo que es porque toca mas de oido. Luis Uribe Bueno hace tiempo este escribiendo asi. Hay unos tradicionalistas tremendos que no admiten esto como Cristancho hijo, Jaime Llano Gonzalez o Jorge Camargo Spolidore.

P- Y esa discusion del 3/4-6/8 qued6 en algo fijo?

Le6n Cardona-No, y unos escriben solo en 3/4. Otros especialmente los nuevos escriben en 6/8. Yo escribo como sea, pues a mi me da lo mismo leer o escribir en ambas formal. Tengo composiciones escritas de ambas maneras.

El bambuco en 3/4 es mas complicado y lo tocan los de aqui porque ellos oyen el sonido y lo tocan porque nacieron oyendo bambucos. Pero el que no conozca bambuco aqui se saca un ojo.

P-Si se quiere universalizar el bambuco conviene la escritura de 6/8, no cree usted? 120

Le6n Cardona-Si, tanto Uribe Bueno como yo estamos de acuerdo con eso. Yo escribo bambucos instrumentales, pero tambien escribo canciones no con letra mia.

P- Y la letra c6mo viene a encajar?

Leon Cardona-Yo siempre he musicalizado letras.

P-ZDe manera que caiga el acento de la mnsica de acuerdo con el de la letra?

Leon Cardona-Si, la mayoria de las letras para bambuco fueron del gran poeta Luis Carlos Gonzalez. El hacia todos los bambucos con un ritmo siempre igual que las palabras tuvieran estos acentos:

"Ally en la montafa yo me fui cayendo"

Que al leerla sonaba asi, entonces lo que pasaba es que s6lo con ese ritmo se podia hacer un bambuco y entonces todos quedaban iguales. Yo siempre he musicalizado letra de un poeta que se llama Oscar Hernandez. La letra de 41 no tiene siempre ese ritmo, es mas poesia en prosa que en verso, asi que tom6 el desaffo de organizar eso y me salieron cosas muy interesantes.

P-ZNo es nota por silaba?

Leon Cardona-Eso es lo que creia la gente y por eso todos lo hacian igual.

P-JUsted usa todo el texto de la poesia cuando compone?

Leon Cardona-Si, uso todo el texto. De pronto cuando es necesario para completar un periodo musical repito.alguno de los versos, lo cual es muy usual. Es un trabajo largo de corregir y buscar, no como aquellos que escribian diez bambucos diarios.

P-Veo que siempre se escribe un silencio de corchea al final de frase de un bambuco.

Le6n Cardona-No.

P-Pero se.canta asi.

Leon Cardona-Mis que todo se usa esto en bambucos instrumentales porque le da ma's fuerza y mAs gracia. Cuando usted esta diciendo una palabra, claro que no la corta, aunque sea siendo de corchea. 121

P-Pero mientras uno canta ligado, el instrumentista hace el silencio de corchea.

Le6n Cardona-Esto seria un convencionalismo, ,no? En realidad es a gusto de quien este dirigiendo. Es cuentidn de estilo y de gusto. Al escribir el bambuco en 6/8 algunos alegan que se pierden muchos de los acentos, o cierto sabor. No se, tal vez como uno este tan en el bambuco y lo siente coma es, lo hace de todas maneras. Mi argumento es que una cosa bien escrita y bien leida debe sonar bien.

P-,Hay alguna forma de poner el acompaamiento en 3/4 y la melodia en 6/8?

Le6n Cardona-Me parece muy complicado por lo que est desplazado. Hay algunos bambucos que adolecen de un defecto. El cambio del ritmo, de tonica a dominante o de un acorde a otro, siempre esti a 3/4 y cambia despues de un tiempo y medio.

Hay algunos que han hecho bambucos con ese cambio ah{, pero de vez en cuando lo hacen en primer tiempo y eso est mal porque rope su caracteristica.

Respecto al bambuco en 3/4 se han hecho experimentos de escribir 3/4 corriendo un tiempo para parecerse al 6/8 y queda parecido a un vals. Y el bajo en tercero y primero, lo sienten muy l6gicamente en segundo y tercero y piensan en un vals, un vals que lo este contestando el bajo.

P-EEl primer tiempo queda en silencio como en 6/8?

Leon Cardona-Es pasar un 6/8 a 3/4

P-LEn ese caso se podria poner 3/4 en el acompanamiento y 6/8 en la melodia?

Leon Cardona-SI, correcto. Poner los acentos a tiempo da mis claridad al que los este leyendo. Y es ese el desplazamiento que se hace al escribir el bambuco en 6/8. Ivan Uribe, pianista, dice que esa es la mejor manera de escribirlo (a 3/4 desplazado).

P-De acuerdo con Elkin Perez si se desplaza la melodia de un vals, guabina o pasillo medio tiempo, la melodia se convierte en un bambuco, Zes cierto?

Leon Cardona-Es que no hay diferencia del pasillo y del bambuco visto en el acompanamiento (tiple). La diferencia viene en qua punto del comps entra la voz. Ese ejemplo se lo he ofdo a Luis Uribe Bueno. 122 P-El pasillo, el vals y el bunde son 3/4, ZY el bambuco?

Leon Cardona-Por eso digo que el bambuco es un 3/4 atravesado. Por eso quedan las dudas que Morales Pino al decir c6mo se escribe el bambuco y lo escribi6 corrido.

P-En los pasillos (escritos en 3/4) tambien hay eso que parte en dos el comps, la hemiola.

Le6n Cardona-Es posible, y como dice Uribe Buena, como esas danzas se escribian en 3/4 creyeron que tambi6n el bambuco tenia que ser en 3/4, pero esto no deja de ser una teoria, esto nadie lo puede asegurar. Pero de todas maneras muy interesante. Yo creo que esta escritura que estamos viendo del bambuco no se va a acabar nunca aunque queden las otras experiencias, y eso me parece a mi muy bien. Todo tiene que ir ampliandose, modificandose, y enriqueciendose, sin necesidad de que una cosa acabe con otra. Mi opinion es muy universal, muy libre. Lo del bambuco y el pasillo es algo muy interesante para saber, pero en el fondo el pasillo y el bambuco son muy distintos.

P-ZPor que despues de los calderones siempre empieza la voz unas dos o tres corcheas antes que el acompanamiento?

Leon Cardona-El bambuco tiene su forma clasica, tradicional, o tipica. Por ejemplo, el bambuco nunca debe empezar con el acompanamiento. Siempre hay un antecompas que lleva el ritmo: .'7I 4 7 e I .i. Despues de los calderones es como el principio, donde hay el antecompas.

P-ZFue el bambuco escrito siempre en tres partes (ABA?)

Leon Cardona-Si, el bambuco empez6 lo mds elemental possible y ha ido cambiando. Yo empec6 a romper esas formas y a muchos jdvenes les gust6 y ahora estin trabajando con esos mismos criterios con que trabajo yo. He escrito principalmente para el cuarteto tipico clasico que son dos bandolas, tiple y guitarra. Bien sea como grupo instrumental o como grupo acompafante a una voz, pero tengo algunas obras para piano que podrian servir para su ejemplo.

P- Conoci6 usted la orquesta del americano Emile Coleman que tocaba bambucos?

Le6n Cardona-Tocaba en la Argentina.

P- Qu4 tal lo hacia?

Leon Cardona-Al estilo de ese moment. Lo hacia bien. Mas que todo el fiestero. Cuando comenz6 a popularizarse el 123 bambuco en Medellin se cantaba una sola voz a capella. Empezaba el hombre, y despues entraba el tiple. A esos se les llamaban mdsicos bohemios de bar. Entonces todo va evolucionando, se fueron involucrando mas instrumentos que fueron enriqueciendo y dandole mayor interns t cnico y academico.

P- O sea que el uso del tiple, bandola y guitarra no vino desde el comienzo?

Leon Cardona-No, eso vino con Morales Pino. Ya habia bandolas, claro, pero con cuatro cuerdas como la mandolina. Entonces alguien aqui (no se ahora quin) le agreg6 una cuerda y luego Morales Pino le agreg6 otra mas y es la que tiene hoy seis. El popularize eso que lo hacia muy bien y sus grupos brillaron.

P-ZPor qu6 Pedro Morales Pino escribia los bambucos instrumentales para piano?

Leon Cardona-No se, quizds alguien mas los escribi6. El siempre form sus grupos a base de bandolas, tiples y guitarras. Agregaba tambien violin y flauta. Miguel Bocanegra era un violinista que despues lo fue con Terig Tucci en Nueva York.

P-Dicen que en Medellin se popularize el bambuco acerca de 1850, Zes cierto?

Le6n Cardona-Hernin Restrepo Duque habla mucho en relaci6n con la discografia, (siglo veinte) con la industria disquera, asi que en relaci6n con eso si. Y tal vez un poco mas atris ya empez6 a florecer. Primero los discos no venian sino importados y por lo tanto era muy escaso que hubiera mdsica colombiana, aunque si se hizo en Nueva York. Aqui habia un representante de RCA Victor que era de los Bedout y el tenia su almacen de discos e importaba discos y entonces mediante un convenio que hizo con la RCA cuando ya tenia en que grabar, grababa con los musicos en Colombia, enviaba esa cinta a Nueva York y de ally le mandaban el disco. Asi hicieron las primeras grabaciones. El duo Pel6n y Marin estuvo en Mexico, era un dueto muy famoso, de esos que digo yo muy primitivo. Comunicaban mucho, tenian mucha expresividad y cantaban canciones muy bonitas. Hay muchas historias, pero yo no creo mucho en ellas, como que el bambuco fue de aqui y que ally no habia nada de eso. Alld si hay algo que es parecido al bambuco colombiano. Dicen que es igual, pero no es igual. El bambuco yucateco es muy romintico.

P-aQua tal es el msico Antonio Serbera como compositor? 124

Leon Cardona-El es coma un Carlos Vieco, escribe melodias muy bonitas muy romantico y de much gusto melodico y es un ritmo muy parecido al bambuco, pero en ningdn caso es el bambuco. Hay gente que dice que no hay diferencia, pero si hay diferencia.

P-Los yucatecos dicen que ellos se quedaron con el bambuco de entonces y que el ve ahora el bambuco colombiano que ha evolucionado.

Le6n Cardona-Si, se queria referir a los cambios que aqui hemos introducido en nuestro bambuco de siempre, no creo que lo que ellos hagan alli sea exactamente lo que antes se hacia. P-En un programa de television en Mexico con el Dr. Alberto Upegui se tocaron los bambucos que ellos hacian ally y en realidad no es el bambuco colombiano.

Le6n Cardona-Es parecido, pero no igual. En los finales de frase es que nos dams cuenta que no es igual al bambuco nuestro. En la mitad de los ciclos es exactamente igual. Donde remata la frase es donde ya es distinto. Yo opino, no porque tenga estudios, sino por l6gica que el bambuco que ally tocan no es el de aqui. Hay casos de gente ally que se ha robado un bambuco de aqui y dicen que es suyo.

"Bambuco sin este final es como un entierro sin muerto" Es un problema para todo el mundo c6mo empezar un bambuco, asi que es mas facil empezar con el final. Este es un sistema prdctico que yo se lo aconsejo a cualquiera.

El primer ejemplo es el mas tipico o caracteristico de esta region de Antioquia, o la Gran Antioquia (Caldas, Medellin, etc.). En otras regiones se encuentran variantes para este final.

En el bambuco mas melodico hay figuras mis estilizadas basadas en corcheas y suena mas elegante.

P-En bogota encontre mnsica de Uribe Holguin a la que el titul6 como bambuco. A simple vista c6mo puede uno justificar que su Cuarteto No. 5, Op. 87 sea un bambuco?

Le6n Cardona-En el Cuarteto, el comienzo es del bambuco ; # ~'. Lo que pasa es que si estuviera de a 3 y no de a 6. El lo quiso hacer asi. 'EtJ". 1UPJ J, fue la costumbre hacer en el bambuco. Esto ya es una cosa estilizada, pero no deja de ser un bambuco. Segtn lo que se ponga en el ler tiempo seria pasillo o bambuco. En pasillo haria: J J 21J ..) (entra en el ler tiempo, ya en el bambuco no se usa eso); el bambuco haria: 125

$ . Estas obras estin mis academicas, mds basadas en estudios acad6rnicos y no folkl6ricos. Ousted no va a encontrar un retrato exacto del bambuco. Pero si tiene influencia. En el bambuco hay el ,, J., pero pierde el acento tipico del bambuco. Estas son cosas sin querer demeritar, pero 61 nunca trabaj6 el bambuco desde su raiz, en su forma primitiva. P-ZC6mo compara a Antonio Maria Valencia con Uribe Holguin?

Le6n Cardona-Antonio Maria Valencia es mis conocedor. El antes de sus estudios academicos, habia trabajado con barmbucos. Entonces sabia c6rno tomar elementos del barnbuco. El Chirimia y barnbuco de Antonio Maria Valencia es experimental (quizis para facilitar la lectura), no tradicional. El entra a tiempo. Esta escritura no es la clasica, pero este correcta. Como el lo escribi6 para piano, y no una canci6n, 61 puede darse estas libertades.

P-En el bambuco titulado Rondino Op. 81 No.2 Uribe Holguin usa el ritmoj .J, = gJ. J2. . Z.Es este tipico del bambuco? Leon Cardona-Ahi hay una combinaci6n de los finales que le puse. El este utilizando (no se encuentra ficil) uno de los finales y con otra terminaci6n diferente, la diferencia este en la escritura (corrida). 126

Interview with Luis Uribe Bueno, July 30 and August 14, 1992 Medellin, Colombia

Si se pone un tiempo de ma's al bambuco, sale desplazado y esto es mortal. El bambuco de hecho, todo tipo de bambuco, sale a 6/8. Todos los bambucos que hay en el pais desde 1800 fueron concebidos en 6/8. Que pas6, o cuil fue el fen6meno? Morales Pino dijo: esto es asi, y escribi6 Cuatro preguntas en 3/4 y ahi vino el desorden.

P-O, sea que antes se ejecutaban en 6/8?

Uribe Bueno-Claro, inclusive la Guanefa de la epoca del Libertador suena a dos. A las mujeres que acompafaban a los soldados les llamaban Guanefas. Sim6n Bolivar orden6 tocar ese bambuco al dar la orden de avanzar. Ese bambuco es a 6/8. Se dice que la Guanefa es el primer bambuco que se toc6 en el mundo, porque fue compuesta durante la Guerra de la Independencia. La Guanefa va en 6/8. En el departamento de Narifio, que queda.cerca al Ecuador, bailan diferente el bambuco, como el Sanjuanito), pero como se le meti6 un tiempo de mis, el comps se quebr6. Se quebr6 la mitad del comps en dominante, y la otra mitad en t6nica y eso no debe ser asi. Debe ser la t6nica en el primer tiempo. Pero estd dividido en una forma tan absurda ocasionado precisamente por el tiempo de mas que se le meti6.

En Bogota se hizo el seminario famoso que patrocin6 Florencia Pierret (Santo Domingo), donde Uribe Bueno les dijo: "Ustedes quedense con 3/4" "Yo desde que me convenci del error, no volvi a escribir en 3/4, lo abanadone del todo". Nos reunimos con los directores de banda, consciences ellos del problema que teniamos (28 directores de banda en Antioquia). Habl6 con el director cultural (Justo Prez) y le dije que teniamos un problema y es que casi todos los bambucos estan escritos en 3/4, entonces habia que transcribir 30 arreglos para banda. Todos los bambucos en 3/4 estan mal escritos. Si a mi me dicen que se debe escribir en 3/4 con una buena raz6n, yo aceptaria, pero de esta manera nos estamos dafando el bambuco. Es por eso que el bambuco no puede salir fuera del pais, porque su notaci6n estd desplazada.

P-Z.Es Palo negro un bambuco?.

Uribe Bueno-Es un pasillo y le dieron el nombre de bambuco. El rasgueo del bambuco en 3/4 suena . J.1.JI(todo el mundo lo acompaa asi y a todo mundo se le qued6 eso en la cabeza) y en 6/8 suena igual pero marcando una respiraci6n de corchea, o sea corridor. En el primer tiempo se rasga o no se rasga. El bajo marcado en 3/4 s6lo se desplaza peor. Rozo Contreras es reponsable de muchas cosas. Cuando 4l 127 lleg6 de Viena, graduado y con una hoja de vida linda, graduado en direcci6n de banda para conformar, por orden del gobierno, la banda polif6nica nacional, tambien escribi6 en 3/4. Le dijimos que eso estaba mal escrito (hace como 40 aios), pero luego quiso ofr su explicacicn porque vio que habia algo mal. Atreverse a criticar a Morales Pino era un hecho grande, y desde ahi empez6 la controversial, pues no se le puede faltar al respeto a una persona que ha hecho una labor tan grande. Empezando por el detalle de investigaci6n, le afadi6 una cuerda a la bandola (3 octavas). Pero 61 pens6 que no se iba a hablar en contra de Morales Pino, si no a favor del bambuco. Yo hice parte del quintet de Luis A. Calvo, ;Semejante quintet! Con msica recien desempacada con puuo y letra de. el.

P-O, sea que es despues de Morales Pino que los bambucos se empiezan a interpretar de otra manera.

Uribe Bueno-Si porque vemos que desde la Guaneila viene mal escrito eso. No habia en ese entonces alguien con la capacidad de decir que eso estaba mal escrito.

P-jSeria quizes porque la guabina, pasillo y vals estaban escritos en 3/4?

Uribe Bueno-Por eso, todo mundo decia, ;ah! esta es msica colombiana, toquemoslo en 3/4, entonces falt6 investigaci6n.

P-En un escrito de Elkin P6rez el dice que desplazando la melodia del pasillo, guabina y vals medio tiempo se podria convertir en un bambuco. ,Eso es cierto?

Uribe Bueno-Si, es que ambas pueden tener la misma melodia, pero distinto acompauamiento.

P-El final de un bambuco tiene alguna caracteristica.

Uribe Bueno-Se puede decir que es caprichoso. El finalJIJk se usa mas en banda. El figuraje del bambuco en 3/4 es el mismo del pasillo, pero tambi6n es de vals en tiempo mds lento de vals. La musica colombiana tiene una gama bellisima, no solamente en musica de la zona Andina, si no en cumbia, la belleza del Pacifico con el famoso currulao que es un bambuco legitimo (El famoso currulao Buena Aventura). La ventaja del 6/8 es que usted puede jugar mel6dica y ritmicamente, en 3/4 tiene que ir ajustado ahi. Fijate como en el currulao entra una cantidad de bambucos. Si se le quita los guasas, la hembra y el macho, se le quita los conunos (los tambores grandes), la que son los 128 instruments que le dan el sabor de currulao y si se le mete tiple, esto queda un bambuco. Originalmente un currulao estA escrito en 6/8. Al currulao le dicen en el Pacifico bambuco viejo (porque lo sienten asi). Si existia el bambuco viejo es muy factible que haya traspasado de all6 a la zona Andina.

P-De esa teoria no se habla, cierto?

Uribe Bueno-No se habla porque precisamente hay que investigar mucho eso. No se puede no ms decir asi no mis.

P-Brisas del pamplonita est6 escrito en 3/4 pero empieza en el primer tiempo, .verdad?

Uribe Bueno-Si. No hay que desplazar, s6lo cambiar a 6/8. En cambio en cuatro preguntas hay que desplazar.

Le6n Cardona es un gran mdsico, y no puedo entender por que todavia escribe en 3/4, aunque le suena a bambuco porque uno lo siente. Cristancho escribia todo en 3/4. No se c6mo se atreven a decir que la guabina y el torbellino son iguales. Eso no puede ser. La melodia de la guabina es solamente para el ritmo que se usa para la guabina. El torbellino es diferente porque se caracteriza por la entrada de t6nica, subdominante y dominante. La melodia es libre y no ajustado al metro, es de libre interpretaci6n. Hay que evolucionar. El bambuco 6/8 es el que mds se est usando ahora. La Secretaria de Educaci6n (de Antioquia) no se ha dado cuenta de algo, desde 1984 hasta 1991 los programas-mios fueron hechos con base en improvisaciones. Pasillo lento: el ritmo dos para abajo y uno para arriba, y cantidad de melodias improvisadas para este ritmo lento. Lo mismo para el pasillo fiestero. La gracia del 6/8 es que tiene que sonar igualito al 3/4 melddicamente igual que el ritmo. El error este en la escritura, porque al meter un tiempo demds se alargo el metro, y no deberia ser, siendo que se siente a dos. Hay un bajo mel6dico que usa bajos combinados y su caracteristica, para sacarle mejor sonido a las bandas, al sonido de las . A las bandas hay que purificarlas. En 6/8 hay posibilidades bellisimas para instrumentaci6n.

P- Por qua Morales Pino escribia los bambucos instrumentales para piano?

Uribe Bueno-Morales Pino tocaba muy bien el organo. Por otro lado la exigencia que le hacian todos los directores era de entregarles "piano conductor." Eso era apenas como un esqueleto entonces. 129

P- Conoce usted Chirimia y bambuco de Antonio Maria Valencia?

Uribe Bueno-La melodia dice que es 6/8. La mdsica colombiana hay que levantarla, mejorando el esquema viejo. Lo de antes tiene su valor y es la base, pero la t6cnica y todo hay que mejorarlo. Los grupos de hoy en dia han cojido los instrumentos como de concierto (tiple, bandola...). El tr6molo se debe oir como el arco en el violin, no semicorcheas. Debe ser tan rdpido y fino, pero es falta de tecnica. Hoy en dia la gente se ha preocupado. Leon Cardona ha hecho un trabajo fura de lo comnn en el aspecto armonico fuera de lo comdn.

P- Que me puede decir usted acerca de los bambucos de Uribe Holguin?

Uribe Bueno-Uribe Holguin se adhiri6 a ese bambuco mal escrito en 3/4, y si se hubiera dado cuenta de ese error hubiera hecho una gran labor. El lo trabaj6 sobre un problema que habia. Ni asomo de acentuaci6n porque hay muchas sincopas. La sincopa en el 3/4 no es como la del 6/8 que la dltima corchea del compas ligada a la primera del siguiente. Esto trata de ser bambuco o torbellino, menos la acentuaci6n del bambuco.

P-En los compases 3-4 del Rondino (bambuco) Op.81 No.2 de Uribe Holguin la figura JE] J no podria ser la terminaci6n tipica de un bambuco?

Uribe Bueno-Esa terminaci6n no existe en el bambuco. En 6/8 estaria mejor si hiciera )'Ij ,. Cuando en Mexico dicen que el bambuco yucateco es de ellos, ellos saben que estin mintiendo, porque ellos estan robando un bambuco que es colombiano. Pel6n Santamarta dej6 todos los bambucos en Yucatan, y lo cogieron ellos y dijeron que es mexicano. Tienen el ritmo del y es puro bambuco. El bambuco yucateco es exacto al colombiano, el yucateco mezcla elJII' del bajo. Ellos lo escriben en 6/8. Igual que el cubano. Pero el colombiano lo sigue escribiendo en 3/4. Con los que bailan hay el mismo problema porque ellos lo sienten en dos. El bambuco sanjuanero es a dos, y el baile es correcto. El legitimo bambuco, como el que tocan los tiplistas, el santandereano y el antioqueio. Se le oye sabroso al que toca el tiple en el Los hermanos Martinez. Yo pienso que el tiple se debe rasgar un poquito mss fuerte el de para abajo que el de para arriba. Hay muchos que lo hacen mal, pero en 6/8 no habria tantos problemas con el desfase. Como hay un tiempo de mss, la melodia va en contraposici6n al acorde. 130 P-Yo pense que los mdsicos lo hacian bien aunque se escribiera a 3/4.

Uribe Bueno-No todos saben escuchar el error. La Orquesta Sinf6nica de Antioquia te toca lo que estd en el papel. Ha faltado mucha conciencia en eso.

La salvaci6n es el tiple. No hay otro instrumento que le de el ritmo ni la soluci6n del tiple.

P-Los que escriben en 3/4, adn viendo ese acento que vendria a ser en el segundo tiempo, no recapacitan?

Uribe Bueno-Esa es una buena pregunta.

P-,Un bambuco escrito para piano pierde mucho de su estilo?

Uribe Bueno-Si, pues es de corbata, en cambio el tiple es de todos. Ahora la bandola y el tiple han tornado una categoria diferente, mas solista.

P-El Cuarteto Op.87 No.5 de Uribe Holguin tiene elementos del bambuco?

Uribe Bueno-Las cosas que hacia el las hacia bien, pero ese figuraje que usaba el no se usa hoy. Hay cosas que se quedaron para esa epoca. Eso es complicar ma's la escritura. El " JLJes del barbuco, si se le puede llamar banbuco.

El Barbuco sotarefo esta mal escrito. Entr6 bien, pero lo dividi6 en trees. Empieza con antecompis, quiere decir que lo sinti6 en dos, pero no supo distribuirlo entonces sigui6 con 3/4. Se ve que Antonio Maria Valencia queria poner ditintos acentos, pero no resuelve el problera. Se nota que lo que falta es una conciencia de c6mo se debe escribir. 131

Interview with Mario G6mez Vignes, August 6, 1992 Cali, Colombia

P-Uribe Holguin no us6 en si las caracteristicas del bambuco, en cambio Valencia si?

G6mez Vignes-Hay dos vertientes por las cuales hemos de ver. Valencia se cri6 en un hogar en el cual habia un papa que habia sido de la Lira Colombiana de Morales Pino. Entonces el papa tocaba bambucos y la mama tocaba piano y tocaban bambucos, pasillos, etc. y de ahi 61 sac6 el bambuco tiempo del ruido. Valencia creci6 con la mdsica tradicional. Cuando 61 entr6 a estudiar con Honore Alarc6n (pianista), otros compositores vinieron a engrosar ese panorama, principalmente Cesar Franck. En esa 6poca todos los importantes estaban alli en Paris. "Los Seis" estaban en producci6n, Stravinsky, en Berlin estaba Schoenberg, habia una vida musical muy agitada, los Ballets Rusos. Sin embargo eso no se refleja mucho en la correspondencia de Valencia.

P-ZCon quien tenia Valencia correspondencia en Colombia?

G6mez Vignes-Con la madre y el padre. El cuenta todo lo que le pasa. Que fue a ver, 6pera, concierto. El ally lleg6 a conocer lo que todo buen musico debe conocer, pero mds all no. 0, sea, lo que era moderno, lo contemporaneo no. Un reportero le pregunt6 que opina de Schoenberg y dijo: "Ese es un loco." Sin embargo D'Indy decia que su escuela era una escuela moderna, porque el decia que la msica no era una profesi6n y que para formar virtuosos estaba el conservatorio, donde hay concursos. Alli es cuando Valencia conoce Wagner, el habla de los discos. No le llama la atenci6n Stravinsky. En correspondencia con Uribe Holguin en Colombia. Uribe Holguin le dice: estoy trastornado por la locura de Stravinsky, que ha embriagado la orquesta. Uribe Holguin maravillado con la mdsica de Stravisnky. Asi que Valencia le dice que mas bien es un buen orquestador, pero que como compositor tiene sus dudas. A Bart6k nunca lo nombra, ni a Schoenberg. 0 sea, que todo lo que se estd hacienda en ese moment no lo disfrut6. Y tambi6n ignore much de lo que habia allay. El tenia un proposito que expresa en sus cartas: "voy a ir a Paris a estudiar no m's ". Cuando 61 habla de la composici6n, habla del curso. Lo que no le caia muy bien al papa, que estaba esperando que su hijo se hiciera famoso y ganara plata. Ese bagaje tecnico de composici6n, armonia y contrapunto, se nota en sus composiciones. Lo que hizo con sus dos bambucos. . .se nota que es una persona que de verdad estudi6 a fondo. La heterometria que el usa en su bambuco (de 132

Chirimia y bambuco) .

P-Lo hace tambi6n en la orquestaci6n de este mismo?

G6mez Vignes-No, la orquestaci6n es mucho ma's largo y desarrollada. Tiene un preludio que es la Chirimia que es la procesi6n como en la pieza para piano. Pero entonces 6l evit6 ese cambio permanente de comps. 0 sea que la pieza se mantiene en 3/8.

P- Qua influencia de Faur6 existe en Valencia y Uribe Holguin?.

G6mez Vignes-Si hay relaci6n en Valencia con Faur6. No en toda su obra. En ese sentido este un poquito atrasado con sus contemporineos. El tiene una gran facilidad de moverse en diferentes direcciones. El Chirimia y bambuco es de la 6poca de las canciones. Su epoca de nifo fue muy feliz, entonces hubiera deseado quedarse alli.

P- Era mas autentico el nacionalismo de Valencia que el de Uribe Holguin?

G6mez Vignes-Era el signo de los tiempos. El nacionalista cientifico fue muy criticado. Uribe Holguin no lo bebi6 en la cuna. El nacionalismo de Uribe Holguin era ms cientifico que una vivencia. Uribe Holguin pensaba que nuestra mnsica era toda influencia espafola y no algo aut6ntico.

P-,Podria- describir la relaci6n entre Rozo Contreras y Valencia?

G6mez Vignes-Amistad. Por los anos 40 habia un grupo de j6venes estudiantes en la Universidad Nacional que cuestionaron a Rozo Contrera que acababa de llegar de Viena la escritura del bambuco. Pero este grupo fue muy mal visto ally en Bogota, dice Luis Uribe Bueno, por el atrevimiento. Pero Rozo Contreras luego se dio cuenta del problema.

P-LA Valencia no le inquiet,6 el problema de la escritura del bambuco?

Gomez Vignes-El si habla de la discrepancies, pero el nunca polemiz6 en realidad. Parece que a 61 poco le interesaba que a 61 lo clasificaran como nacionalista. De todas maneras hay algo expreso en una de sus cartas que dice: yo voy a ser el que va a hacer la gran obra. La polemnica de Valencia fue poca. En Bogota era donde Valencia podia desarrollar mejor su actividad, entonces personas influyeron en envenenar a 133

Valencia contra Uribe Holguin y vice-versa. Y ellos juntos pudieron haber hecho una gran labor. Valencia no fund el conservatorio de Cali, se lo fundaron para que se pudiera ir para Cali porque en Bogota no tenia nada. A 6l le cerraron las puertas, renunci6 pero presionado. Valencia tenia 30 anos en ese tiempo, y se dej6 meter en ese juego de intrigas y sali6 perdiendo. Cuando tenfa dificultades se derrotaba completamente. Hay unos lapsos de silencio en la correspondencia de Valencia muy raros. Cuando llego a Paris 6l iba con la ilusi6n de estudiar con Cortot, pero cuando conoce a Paul Braud, entonces la amistad fue mucha. Si asisti6 a un curso muy largo que dio Cortot en Paris.

Las obras de Valencia que pueden interpretarse son 68. Son las que he podido catalogar. Cuando volvi6 de Paris el catalogo de su obra no habia crecido mucho si no con los trabajos academicos. En sus carts expresa que "en mi Duo en forma de sonata hay algo del paisaje de mi Valle encantado."

G6mez Vignes-Ritmo y cantos suramericanos son originales y son danza. Su estilo varia mucho. Puede ser muy colombiano, pero las Misas, por ejemplo, que eran muy modernas para la epoca de el, pero no tiene nada de nacionalista. Moderno para lo que era 61, no la 6poca. Cuando el llega a Colombia, entonces ya no se sabe mucho porque no hay esa fuente directa que eran las carts a sus padres. BIBLIOGRAPHY

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