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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 Cinco Canciones con Versos de Juana de Ibarbourou: The Art Song Style of Ernesto Lecuona Christina Diane Villaverde Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC CINCO CANCIONES CON VERSOS DE JUANA DE IBARBOUROU: THE ART SONG STYLE OF ERNESTO LECUONA By CHRISTINA DIANE VILLAVERDE A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2011 Christina Diane Villaverde defended this treatise on October 21, 2011. The members of the supervisory committee were: Stanford Olsen Professor Directing Treatise André Thomas University Representative Douglas Fisher Committee Member Marcía Porter Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii I would like to dedicate this treatise to my family, especially to my mother Diane, departed Grandmother Ramona, my husband Christian, my brother Ryan and my dear friend Angel. Mom, you have always been my source of strength, always encouraging me to work harder and believe in the gift I was given. I could never have completed this degree without you, now we both are doctors! Abuela, I chose this topic to honor our Cuban heritage, I will always remember the times sitting next to you at the piano listening to the songs of Lecuona. To my dear brother Ryan, we have held each other up all these years, encouraging one another to believe in our music and now look at how far we’ve come! To my dear friend Angel, thank you for sharing these songs of Lecuona with me. Through your gifts as a pianist and composer you have taught me to better understand my Cuban heritage through your “Cuba!” Last, but not least, to my husband Christian, thank you for all the months of “tolerance” as I toiled through the research and for sharing your passion of Cuban music. You were always there with excellent editing skills, translation help, Cuban history lessons, shoulder rubs and the much needed cups of “café con leche.” Thank you for your love and support. iii ACKNOWLEDGMENTS I would like to express my sincere gratitude to a select group of people who helped bring this treatise to fruition and have inspired me to preserve the music of Ernesto Lecuona. I would like to first acknowledge Stanford Olsen for being one of the greatest mentors in my career and for his willingness to serve as the director of my treatise. Because of his instruction, encouragement and tough love, I have become the performer and educator that I am today. Equally, I would like to express my appreciation for Jana and Russell Young who were the first to introduce me to singing and who have supported me from my early teenage years showing me the world that lay ahead. They will always be my lifelong teachers. I would like to thank Douglas Fisher, Marcía Porter and André Thomas for also serving on my committee and for their collective guidance, encouragement and support throughout my years at Florida State University. Equally, I would like to thank Jane Clendinning for her willingness to answer any questions I had concerning interviews I conducted during my research; to Larry Gerber and Alexander Jiménez for your support and love of Cuban song. To Bianca Lupsha, Javier Abreu and Edward Rothmel for hours of conversations about the music, years of friendship, patience and many wonderful shared performances and recitals. To Fernando Lecuona, thank you for all of your efforts and everything I came to learn about your Uncle Ernesto. I can never truly express to you how grateful I am for all of the talks, photos, emails, letters and documents you shared with me. You are the sole reason why this paper has become a reality. I would also like to thank Mike Mann and Bruce Davis, without your willingness to help me locate Fernando, this paper might never have been finished. I would like to thank Evan Hause of Carlin America, Inc. for his kindness and assistance with my research and for copyright privileges; to Carole Farley for her willingness to assist me throughout my research process and to Libby Larsen for her support of my career and interest in my treatise. Special thanks to Dean Gibson, Dean Beckman, Meghan McCaskill, Lauren Smith Tony Daniels and Dee Beggarly for your years of support and friendship. iv TABLE OF CONTENTS Compositions Cited………………………………………………………………………… vi List of Figures……………………………………………………………………………… vii Abstract…………………………………………………………………………………….. .x 1. ORIGINS OF MUSIC IN CUBA………………………………………………………. 1 2. BIOGRAPHICAL SKETCH OF ERNESTO LECUONA……………………………... 5 3. MUSICAL GENRES IN LECUONA‟S SONGS………………………………………. 19 4. JUANA DE IBARBOUROU…………………………………………………………… 17 5. CINCO CANCIONES CON VERSOS DE JUANA DE IBARBOUROU……………….. 20 CONCLUSION……………………………………………………………………………. 41 APPENDIX A ………………………………………………………………………………42 Lyrics and Translations APPENDIX B ………………………………………………………………………………46 Phonetic Transcription (IPA) APPENDIX C ……………………………………………………………………………... 51 Original Manuscript Excerpts APPENDIX D ……………………………………………………………………………... 68 Transcription of live interview: Fernando Lecuona-nephew of Ernesto Lecuona. APPENDIX E ……………………………………………………………………………... 86 Releases BIBLIOGRAPHY…………………………………………………………………………. 92 BIOGRAPHICAL SKETCH OF THE AUTHOR………………………………………… 94 v COMPOSITIONS CITED The compositions below are that of Ernesto Lecuona and his sister Ernestina Lecuona, and are the copyright of Edward B. Marks Music Corporation, a subsidiary of Carlin America, Inc. The mm. cited below are used within the treatise by permission: I. Songs (Ernesto Lecuona) 1. La comparsa, 1-20 2. Malagueña, 27-32 3. ¿Me odias? (Ernestina Lecuona), 1-19 4. Mi amor fue una flor, 1-5 5. Noche azul, 1-6 II. Piano (arr. by Thomas Tirino) 1. Vals maravilloso, 78-82 The following compositions are the property of the Lecuona Music Co.; the mm. cited below are used within the treatise with permission from the Lecuona Estate: III. Art Songs (Ernesto Lecuona) Cinco canciones con versos de Juana de Ibarbourou 1. Canción del amor triste, 1-15, 20-23, 24-34, 53-70, 71-90 2. Quiero ser hombre, 1-20, 21-41, 48-62 3. Señor jardinero, 1-11, 15-23, 33-36 4. La señora luna, 1-20, 30-34 5. Balada de amor, 1-14, 15-26, 28-41, 45-53 vi LIST OF FIGURES Figure 1 Photo of Lecuona, the Composer at Work c. 1930 3 Figure 2 Photo of Lecuona, album publicity of Lecuona playing his songs, 10 c. 1935 Figure 3 Ernesto Lecuona, “Malagueña,” mm. 27-32 (Example of Spanish 11 Influence) Figure 4 Example of a cinquillo rhythm 12 Figure 5 Ernesto Lecuona, “Noche Azul,” mm. 1-6 13 Figure 6 Example of “Cuban Habanera” rhythm 13 Figure 7 Ernestina Lecuona, “¿Me odias?” mm. 1-19 14 Figure 8 Ernesto Lecuona, “Mi amor fue una flor,” mm. 1-5 15 Figure 9 Ernesto Lecuona, “La comparsa,” mm. 1-20 16 Figure 10 Photo of the poet, Juana de Ibarbourou, c. 1920 18 Figure 11 “Death toll motive,” m.1 21 Figure 12 “Wind motive,” mm. 6-8 21 Figure 13 Ernesto Lecuona, “Canción del amor triste,” mm. 9-14 23 Figure 14 Ernesto Lecuona, “Canción del amor triste,” mm. 16-19 23 Figure 15 Ernesto Lecuona, “Canción del amor triste,” mm. 20-27 23 Figure 16 “Bird motive” 24 Figure 17 Ernesto Lecuona, “Canción del amor triste,” mm. 28-35 24 Figure 18 Ernesto Lecuona, “Canción del amor triste,” mm. 60-67 25 Figure 19 Ernesto Lecuona, “Canción del amor triste,” mm. 68-75 25 Figure 20 Ernesto Lecuona, “Canción del amor triste,” m. 78 26 Figure 21 Ernesto Lecuona, “Canción del amor triste,” m. 79 26 vii Figure 22 Ernesto Lecuona, “Canción del amor triste,” mm. 87-90 27 Figure 23 “Man motive,” mm. 1-3 28 Figure 24 Ernesto Lecuona, “Quiero ser hombre,” mm. 8-14 29 Figure 25 Ernesto Lecuona, “Quiero ser hombre,” mm. 16-22 29 Figure 26 Ernesto Lecuona, “Quiero ser hombre,” mm. 28-38 30 Figure 27 Ernesto Lecuona, “Quiero ser hombre,” m. 39 31 Figure 28 Ernesto Lecuona, “Quiero ser hombre,” mm. 59-62 31 Figure 29 “Child motive” 32 Figure 30 Ernesto Lecuona, “Señor jardinero,” mm. 3-5 32 Figure 31 Ernesto Lecuona, “Señor jardinero,” mm. 8-17 33 Figure 32 “Sigh motive” 34 Figure 33 Ernesto Lecuona, “La señora luna,” mm. 22-23 35 Figure 34 Ernesto Lecuona, “Vals maravilloso,” mm. 78-82 35 Figure 35 Ernesto Lecuona, “La señora luna,” m.9 36 Figure 36 “Wedding motive” 36 Figure 37 Ernesto Lecuona, “La señora luna,” m.18-25 37 Figure 38 Ernesto Lecuona, “La señora luna,” mm. 33-34 38 Figure 39 Ernesto Lecuona, “Balada de amor,” m. 3 39 Figure 40 Ernesto Lecuona, “Balada de amor,” m. 7 39 Figure 41 Ernesto Lecuona, “Balada de amor,” m. 10 40 Figure 42 Ernesto Lecuona, “Balada de amor,” mm. 16-20 41 Figure 43 Ernesto Lecuona, “Balada de amor,” mm. 23-25 41 Figure 44 Ernesto Lecuona, “Balada de amor,” m. 26 42 viii Figure 45 “Tear motive” 42 Figure 46 Ernesto Lecuona, “Balada de amor,” mm. 32-40 43 Figure 47 Ernesto Lecuona, “Balada de amor,” mm. 50-53 43 Figure 48 Photo of Fernando Lecuona and Christina Diane Villaverde 94 in his Florida home, June 24th, 2011 ix ABSTRACT Ernesto Lecuona (1895-1963) is regarded as one of the most important Cuban musicians of the twentieth century, and one of the most prolific composers within Latin America. His piano skills were equal to that of Sergei Rachmaninoff (1873-1943), his popularity compared to George Gershwin (1898-1937) and his compositional output rivaled that of Franz Schubert (1797-1828).

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