The Quartets of Ernesto Cordero, Leo Brouwer, and Sérgio Assad

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A Performance Guide to Latin-American Guitar Quartets: The Quartets of Ernesto Cordero, Leo Brouwer, and Sérgio Assad

Item Type text; Electronic Dissertation

Authors Puerta, José Luis

Publisher The University of Arizona.

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Link to Item http://hdl.handle.net/10150/622968

A PERFORMANCE GUIDE TO LATIN-AMERICAN GUITAR QUARTETS: THE

QUARTETS OF ERNESTO CORDERO, LEO BROUWER, AND SÉRGIO ASSAD

José Luis Puerta

A Dissertation Submitted to the Faculty of the

FRED FOX SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements

for the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

2016

THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE

As members of the Document Committee, we certify that we have read the document prepared by José Luis Puerta De Jesús titled, A Performance Guide to Latin American Guitar Quartets: The Quartets of Ernesto Cordero, Leo Brouwer, and Sergio Assad and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor in Musical Arts.

______Date:11/18/2016

Thomas Patterson

______Date: 11/18/2016

Janet Sturman

______Date: 11/18/2016

Phillip Alejo

Final approval and acceptance of this document is contingent upon the candidate's submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ______Date: 11/18/2016

Document Director: Thomas Patterson

STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.

SIGNED: José Luis Puerta

ACKNOWLEDGMENTS

I would like to express my gratitude to all of my professors and teachers that lead to this accomplishment.

To my guitar teachers for believing in me, and inspiring me: Eduardo Flores, Ivan

Rijos, Juan Sorroche, and Leonardo Egúrbida.

To my committee members. Professor Patterson for all his support and guidance, and for giving me the opportunity. To Dr. Janet Sturman, for helping me develop as an academic and always pushing me to work harder. To Professor Alejo for helping me with this project.

To my family Aita, Ama, Anamaría and Estíbaliz. For always supporting me and encourage me to keep going forward. To Arlene, thank you for your love, patience and support.

To my friends that became family during this school years, and that have contributed in one way or another to this process: Gabriel Navia, Valquiria, Juan Carlos

Merello, Marjorie Choque, Jaime and Emily Bofill. Thank you to Sathya and Bodil for all the translations and proof reading in all these years. Special thanks to my summer writing partner Faez Abdallah, pura vida!

DEDICATION

Para mis padres y hermanas por apoyarme incondicionalmente en todo.

TABLE OF CONTENTS

TABLE OF CONTENTS ...... 6

LIST OF FIGURES ...... 8

ABSTRACT ...... 10

CHAPTER I. INTRODUCTION ...... 11

Scope and Aim ...... 12

History of the Guitar Quartet ...... 14

CHAPTER II. ERNESTO CORDERO ...... 19

Composer’s Biography ...... 19

Punto y canto para cuatro ángeles ...... 21

CHAPTER III. LEO BROUWER ...... 31

Composer’s Biography ...... 31

Cuban Landscape with Rain (Paisaje Cubano con Lluvia) ...... 34

CHAPTER IV. SÉRGIO ASSAD ...... 41

Composer’s Biography ...... 41

Sinceridade ...... 43

Uarekena ...... 47

CHAPTER V. CONCLUSION ...... 49

APPENDIX ...... 54

REFERENCES ...... 56

LIST OF FIGURES

Figure 1: Munich Guitar Quartet…………………………………………………………16

Figure 2: Rumba clave and son clave…………………………………………..…………23

Figure 3: Punto y canto para cuatro angeles (mm 151-154) ………………….…………23

Figure 4: Sonatina Tropical (mm 1-2) ………………………………………...…………25

Figure 5: Punto y canto para cuatro angeles (mm 1-3) …………………………………26

Figure 6: Punto y canto para cuatro angeles (mm 106-113) …………………………..…28

Figure 7: Punto y canto para cuatro angeles (mm 158-159) ………………………..……29

Figure 8: Punto y canto para cuatro angeles, diagram of guitar strokes…….……………30

Figure 9: Paisaje cubano con lluvia (mm 1-13) …………………………………….……34

Figure 10: Scales…………………………………………………………………………36

Figure 11: Cinquillo rhythm……………………………………………………………...37

Figure 12: Paisaje cubano con lluvia (mm. 64-65)…………………………………...…..37

Figure 13: Notation and explanation of extended techniques………………….…………38

Figure 14: Paisaje cubano con lluvia G –H, and ending. ………………………...………39

Figure 15: Rondo form in Sinceridade……………………………………………………43

Figure 16: Sinceridade (mm1-29) ………………………………………...…………...…45

Figure 17: Syncopated binary figures characteristics of choro music. ……………….…46

Figure 18: Sinceridade, guitars 2 and 3, (mm 30-38) ……………………………….……46

Figure 19: Choro rhythm, Choro No. 1 by Heitor Villa-lobos, (mm 26-29) …………...…47

Figure 20: Uarekena (mm. 94-98) ……………………………………………….………48

Figure 21: Uarekena (mm. 283-287) …………………………….………………………48

ABSTRACT

Latin-American guitarist-composers Ernesto Cordero, Leo Brouwer, and Sergio

Assad are three of the most influential figures in the contemporary world of classical guitar. In addition to their important compositions for solo guitar, their compositions for guitar ensemble represent significant contributions to the concert repertory. These three guitarist-composers share a knowledge of popular, folkloric and classical music and demonstrate a commitment to bridging these realms in their compositions in the classical tradition. This study reviews the history of the guitar quartet. It then examines the different cultural influences in selected compositions for classical guitar quartet by each composer, exploring the significance of these choices for the performer and for the medium. The document also offers a performer’s guide for accurate and stylistic performance. When performed well, these quartets represent the vitality of contemporary

Latin American composition and confirm the stature of the guitar quartet as a compelling medium for the concert artist.

CHAPTER I. INTRODUCTION

Guitar ensembles have long been used in popular and folkloric music, and can be traced back to the tunas and rondallas popularized in medieval times in Spain. Within these popular and folkloric traditions, the role of the guitar varies: accompanying the voice or an instrument, performing solos or introductions, and filling gaps between vocal and melodic sections. However, the classical guitar quartet differs from these ensembles in that, instead of following folkloric traditions, it more closely resembles the string quartet.

Since its Spanish origins, the guitar has earned international appeal, becoming the common denominator in the development of Latin-American music and the precursor to of guitar-like instruments including the guitarrón, violão de sete cordas, trés cubano and cuatro. The Latin-American classical guitar repertoire is greatly influenced by popular and folkloric genres that reflect three major lines of cultural influence: African, European and Latin-American indigenous.

I have chosen to focus on three composers: Ernesto Cordero (Puerto Rico, 1946),

Leo Brouwer (Cuba, 1939), and Sérgio Assad (Brazil, 1952). These artists share similar backgrounds. Each was formally trained in classical guitar performance; in addition, each has experience with regional popular and folkloric musical genres, such as choro, salsa, seis, bolero, and rumba. Although they draw upon similar influences, each composer also has a distinctive style. Traditionally, the classical guitar (nylon strings) is most often used for folkloric and popular music in Cuba, Puerto Rico, and Brazil, instead of the acoustic

guitar (steel strings) or the electric. While the music of these composers has been analyzed by other scholars, the focus has largely been on their solo instead of ensemble compositions. Afro-Latin rhythms and styles drawn from specific Latin-American musical traditions of popular and folkloric music can be discerned in guitar quartets written by these composers. Recognition of the presence of these styles can enable musicians to create more accurate, authentic, and stylistically appropriate performances of these works. The analyses provided in this document may serve as a guide to more accurate performance practices.

Scope and Aim

This study will examine an original composition for classical guitar quartet composed by each of these guitarist-composers. The aim of this research is to show how each composer draws upon different cultural influences to contribute to the growing repertory for the modern guitar quartet and to serve as a performer’s guide so that the player can honor the composer’s intent of the pieces in this research. The pieces to be taken into consideration are: Punto y canto para cuatro ángeles (1996) by Ernesto

Cordero, Paisaje cubano con lluvia (1984) by Leo Brouwer, and Sinceridade (2007) by

Sérgio Assad. Other pieces by these composers may be referenced in the discussion of stylistic features and other concerns. The organization of each chapter includes relevant biographical information for each composer that contribute to an understanding of the character of the piece in reference to other works by the composer.

The aim of this work is to demonstrate how each composer’s unique cultural background influences his compositional style and how this contributes to the expressive

vitality of the guitar quartet. There are clear influences of Puerto Rican music such as the seis, música jíbara, and aguinaldos in compositions of Ernesto Cordero, but also a variety of rhythmic influences from the African heritage in the Caribbean. Similarly, in

Leo Brouwer’s composition, one can see not only an Afro-Cuban influence, but also a very distinctive twentieth-century approach to the use of tonality and extended techniques in writing, and performance. Sérgio Assad's music is highly influenced by Brazilian music genres, for example: choro, samba, forró, bossa nova and Afro-Brazilian styles.

The research will involve the examination and analysis of the three principal compositions, placing them in historical context, with reference to the history of classical guitar quartets, and within the compositional trajectory of each composer. Special attention will be placed on the techniques demanded of the performer.

One of the main musical characteristics linking these three composers is the implementation of modern performance techniques for the guitar and for the skilled concert artist. These quartets contain extended sections for improvisation with harmonics, and in percussion style, using different strokes and even drum-like slapping of the guitar to emulate African rhythms and percussion. Significantly, all three composers allow the performer opportunities for individual improvisation within well-defined compositional frames, a characteristic found in many Latin-American genres.

Creating different voices with the same instrument is a challenge for composers when writing for the guitar. One significant difference between a guitar quartet and the traditional string quartet is that the guitar quartet involves four identical instruments, not four different ranges in pitches and colors. To compensate for this, the guitars are

assigned different roles and characteristics in the composition. Guitars 1 and 2 tend to play in the higher registers, with guitar 1 generally being the highest. Guitar 4 tends to be very rhythmic and it is mostly used as the accompaniment and bass line. Guitar 3 alternates between playing countermelodies with first or second guitar and by filling in.

Scordatura1 is a common approach when expanding the possibilities of pitch register in the guitar, it can make the guitar a four-octave instrument.

History of the Guitar Quartet

The guitar quartet is truly an international genre. Quartets are found in most guitar programs in higher education, in both universities and conservatories. There are internationally-recognized quartets such as Los Angeles Guitar Quartet, The Romeros,

European Guitar Quartet, Quaternaglia, Maogani, Canadian Guitar Quartet, and

Aquarelle. Ensemble performance is a well-recognized aspect of the pedagogical process of learning the guitar. Quartets are a commonly aimed at the beginner level, with typical repertoire being simple arrangements and transcriptions. However, since the twentieth century, there has been a great development in the level of performance, fame and repertoire for professional guitar quartets. The pieces examined in this document belong to that high concert level.

It was not until the 1950 that we find the first publication of scores for guitar quartets. There were two pieces in the Guitar Music Catalogue of the C.F. Peters

Corporation, both arranged by Heinrich Albert: Quartet Op. 21, by Ferdinando Carulli

1 Scordatura consist of retuning the instrument in a different manner that usual. For example, tuning the six string from E to D.

(1770-1841) and Quartet Op. 15, by Fernando Sor (1778-1839). They were originally published by Zimmerman in Frankfurt, in a series of guitar chamber music entitled Die in der Hausund Kammermusik (In-House and Chamber Music), indicating the principal setting for this for format in that era.2

One earliest examples of professional guitar quartet is the Munich Guitar Quartet, founded by Fritz Buek in 1907. Based on the premise that the string quartet is the most distinguished form of chamber music, Buek took it upon himself to emulate the format with a guitar quartet. In contrast to modern guitar quartets, he did not use four guitars with the same range. His quartets were scored for different sized guitars that resemble the ranges of the instruments in a string quartet. They used what would now be considered a normal classical guitar, a terz guitar, a terz lyre guitar and a quintbasso guitar.

2 According to Allan Morris, Albert formed a guitar quartet in the years before World War I, for which he contributed a number of original works and arrangements. Allan Morris, “Heinrich Albert and the First Guitar Quartet,” last modified February 28, 2007, accessed September 2015, http://www.guitarandluteissues.com/morris/heinrich.htm

Figure 1. The Munich Guitar Quartet3 circa 1912. From left to right Albert with a Terz Bogengitarre (tuned a minor third higher than a normal guitar), Buek with a Lyra- Terzgitarre with 24 frets and a number of sympathetic strings, Rensch with a Quintbassogitarre (tuned a fifth lower than a normal guitar) and Kern with a Wappenformgitarre (an instrument shaped like a large mandolin) with a number of free bass strings, which could have been tuned to a chromatic scale.4

Heinrich Albert (1870-1950) left the Munich Guitar Quartet in the 1920s and was replaced by Hermann Hauser on the terz guitar. Hauser came from a family of musician and luthiers and later became one of the most important luthiers in the Twentieth

Century. His guitars were played by Andrés Segovia (1893-1987) for three decades.

Albert was a contemporary of two other great Spanish guitar figures of late 1800s and

3 Published in “Der Guitarrefreund” No.1 January-February 1914.

4 Source: “Heinrich Albert and the First Guitar Quartet,” last modified February 28, 2007, accessed September 2015, http://www.guitarandluteissues.com/morris/heinrich.htm

early 1900s: Miguel Llobet (1878-1938) and Francisco Tárrega (1852-1909). However, the majority of their performances did not include Albert’s works for the quartet repertoire and were instead focused on original solo guitar repertoire rooted in Spanish music, as well as transcription from the great Spanish piano composers like Enrique

Granados (1867-1916) and Isaac Albéniz (1960-1909). Albert’s contribution to chamber music included duos, trios, quartets as well as chamber music with guitar, and other instruments: flute, viola, and guitar; voice with guitar accompaniment.

Another professional guitar quartet appearing later in the 20th century is The

Romero Guitar Quartet, also known as “The Royal Family of the Guitar.” They have been performing since 1960. In an article from The New York Times it says:

"Collectively, they are the only classical guitar quartet of real stature in the world today; in fact, they virtually invented the format."5 The original members of the quartet were

Celedonio Romero and his three sons, Celin, Angel and Pepe. When Angel left the quartet Celin’s son Celino joined and when Celedonio passed away in 1996, Angel’s son

Lito joined. The quartet members have always been members of the Romero family. The

Romero’s have performed internationally in their more than 50 years of career. The repertoire that is mostly associated with them is Spanish music, as well as early music, including arrangements of Vivaldi, Bach, amongst others. Pepe and Angel, each enjoy very successful careers as solo performers.

5 The Romeros “The Royal Family of the Guitar, “ last modified 2002, accessed June 2016, http://www.romeroguitarquartet.com/frameset.html.

One of the most prominent guitar quartets is the Los Angeles Guitar Quartet. It was established in 1980 at the Thorton School of Music at the University of Southern

California, under the guidance and coaching of Pepe Romero. Originally called the USC

Quartet,6 the founding members include Anisa Angarola, William Kanengiser, Scott

Tennant, John Dearman. Anisa was replaced later by Andew York who then left the quartet in 2006 and was replaced by Mathew Grief, a former student of both Kanengiser and Tennant.

6 Mark Ari, “The Process Never Stops: The Los Angeles Guitar Quartet’s Scott Tennant discusses the group’s evolution.” Accessed June 14, 2016. http://classicalguitarmagazine.com/the-los-angeles-guitar- quartet-has-braved-hell-er-mexico-and-high-water/.

CHAPTER II. ERNESTO CORDERO

Composer’s Biography

Composer and guitarist Ernesto Cordero (born in 1946 in New York and raised in

Puerto Rico) has composed a large rich catalogue of music distinguished by its Caribbean flavor. He has written nine concertos: four for guitar, two for violin, one for flute-piccolo, one for oboe and one for the Puerto Rican cuatro, as well as orchestral and choral works, art songs accompanied by the guitar, piano or orchestra, and a variety of chamber works in which the guitar appears. Several of his numerous ensembles and guitar solos have become standards. He has received important awards for composition and his music is performed and recorded worldwide by the finest artists. To date, there are more than fifty recordings of Cordero's works and he is represented by leading publishers, such as Max

Eschig (France), Berben (Italy), Chanterelle, Antes Edition and Hubertus Nogatz

(Germany), Doberman-Yppan and D’oz (Canada), Mel-Bay Publications, Boosey &

Hawkes, Falls House Press, Editions Orphée, TrevCo Music Publishing and Michael

Lorimer Editions (USA).

Although Cordero is generally known today only as a composer, he was also a performer. New York Times reviewer, Peter G. Davis, praised Cordero as both a guitarist and composer after his 1978 New York Carnegie Recital Hall debut:

His technique is impeccable, remarkable for its finger independence and ability to clarify and articulate the most complex textures. The colorist variety of his playing is also extensive, and the subtle interplay of tonal nuances gave each

piece a solid musical profile as well as supplying a beguiling sensuous wash of sound."7 Of Cordero's compositions, Davis stated, "...like Mr. Cordero's performances they projected a healthy combination of skill, sensitive invention and sound musical effect.”8

His music is characterized by applying a great variety of performance techniques and this variety is also evident in his compositions for guitar quartet.

The most important Puerto Rican artists, including Guillermo Figueroa, Iván

Rijos, Leonardo Egúrbida, Juan Sorroche, Edwin Colón Zayas, have all performed

Cordero’s concertos, as have leading international performers including, Angel Romero,

Carlos Barbosa Lima, Manuel Barrueco, Costas Cotsiolis, Eduardo Fernández, Pepe

Romero, Alirio Díaz, and Carlos Pérez among many others. Some orchestras that have played his works include the Puerto Rico Symphony Orchestra, Orpheus Chamber

Orchestra, Philharmonie Baden-Baden, Nouvel Orchestre Philharmonique de Radio

France, National Philarmonic Orchestra of Russia, Orquesta de Cámara Reina Sofía, I

Solisti di Zagreb and Orquesta Simón Bolivar.

Ernesto Cordero began his higher studies in 1963, when he entered the

Conservatory of Music in Puerto Rico. He continued at the Royal Conservatory of Music in Madrid, Spain where he earned a diploma in 1971. Subsequently, he did post-graduate work in composition with Roberto Caggiano in Rome, Italy from 1972 to 1974 and with

7 “Críticas,” last modified 2012, accessed August 23, 2016, http://ernestocordero.com/criticas.html.

8 Ibid.

Julian Orbón in New York from 1977 to 1978. He first studied guitar from 1961 to 1964 with Jorge Rubiano and he later worked with several teachers, most importantly Regino

Sainz de la Maza in Spain in the from 1967-1970 and Alírio Díaz from 1972-1974 and

Claudio de Angelis in Italy in 1972. Since 1971 he taught composition and guitar in the music department of the University of Puerto Rico from 1971-2005. In addition to his activities as composer, performer and teacher, Ernesto Cordero, was music director of the

International Guitar Festival of Puerto Rico from1980 –1997. He is in demand throughout the world as a distinguished participant in leading competitions and festivals.9

Leo Brouwer says: “Cordero quintessentializes for us the sonority of the world of 16th- century music, with a contemporary touch, in a totally organic manner. His sonority also possesses a quality which humanity has sought and will forever seek; a serene beauty.”10

Punto y canto para cuatro ángeles

Cordero’s Punto y canto para cuatro ángeles is dedicated to the famed classical guitar ensemble, the Los Angeles Guitar Quartet, who premiered the composition in San

Juan, Puerto Rico on December 18, 1996. The title translates roughly to “dance song for four angels.” Punto is a genre of popular Cuban music, in addition, punto refers to the early 17th-century instruments that were plucked instead of strummed, as in the

Andalusian style of playing flamenco music. In this style chords for accompaniment were

9 Michael Lorimer [?] Ernest Cordero, Compositor, last modified 2015, accessed June 6, 2016, http://ernestocordero.com/biografia.html.

10 Ibid.

broken and played arpeggiado with a pick instead of a rasgueado (strum). The traditional instrumentation of the punto includes the Spanish guitar, in combination with regional guitar-like partner instruments of trés Cubano (three-courses instrument from Cuba), tiple (guitar like instrument with higher pitch and five strings), laud (six double-courses) and percussion instruments such as güiro (scraped percussion instrument), and clave

(wooden sticks). An example of punto can be observed in measure 3 in the first guitar part, where the harmony is arpeggiated in the traditional montuno style of Caribbean music. Cordero depicts the rhythms and harmonies of the punto and other Afro-

Caribbean genres, such as the güajira and son. In mm 1 and 2, the first, second and third guitars present a variation on the rhythmic pattern of the güajira, a traditional music and dance genre that translates to “humble farmer.” The güajira can be traced to troubadour music brought by the Spanish to the Caribbean. The traditional ensemble for güajira consists of a guitar, tres and minor percussion. The progression of the “Punto Güajiro” is

I-IV-V-V in 2/4 time, but this evolved in the güajira to a chord progression of I-IV-V-IV-

I in a 2:3 clave.

Son Clave (3:2) Rumba Clave (3:2) 4 ¿™ ¿™ ¿ Œ ¿ ¿ Œ ∑ 4 ¿™ ¿™ ‰ ¿ Œ ¿ ¿ Œ ∑ ∑ &4 4 J

8 ∑ ∑ ∑ ∑ ∑ Son C∑lave (3:2∑) ∑ ∑ Ru∑mba Clave (3:2) & 4 ¿™ ¿™ ¿ Œ ¿ ¿ Œ ∑ ¿™ ¿™ ‰ ¿ Œ ¿ ¿ Œ ∑ ∑ ∑ &4 J 18

& ∑ ∑ ∑ ∑ 9 ∑ ∑ ∑ ∑ ∑ ∑

Figure10 2. The clave is a& rhythmic∑ pattern Guit.that∑ is IV the underlying∑ structure∑ for many∑ of the ∑ ∑ ∑ ∑ ∑ 28 Caribbean music genres in Cuba and Puerto Rico. It can be either in a 2:3 pattern or a 3:2 pattern.IR ILento The eterm delicato clave J = also ca 44 refers also to a specific percussion instrument that performs & ∑ ∑ the pattern.∑ Here we∑ can see∑ two examples∑ of two∑ different∑ types of ∑3:2 clave. ∑ 19 ' li 2 1 I ., ∑ ∑ 19 , ∑ ∑ li ∑ ∑ ∑ ∑ ∑ ∑

pp & I 38 I··!

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Energico J= ca 92 29 151 pizz. 48 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ii'oggg"Jtj∑ ∑ ∑ ∑ lg_gggjj@j∑ ∑ ∑ ∑ & > >'-" > > ::> ppcresc. p Clave 3:92 58 155 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ Figure 3.∑ Ernesto ∑Cordero, Punto∑ y canto∑ para cuatro∑ ángeles∑ , mm 151∑ . The Son∑ Clave is presentedi compressed into one measure in guitarI 4.

49 68 The main theme of the piece∑ (m. 1) of∑ Punto y canto∑ para cuatro∑ angeles∑ was ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ & ∑ ∑ ∑ ∑ breve 157 taken from as a guitar duo Cordero composed in 1981 called7 Two Short Songs.7 He used 75 this piecee: as the main 5theme9 forg development * and - variations¥1¥!1 for Punto y canto, 5 paraM > > > > r '1 o' "r > > , & ∑ ∑ ∑ ∑ ∑ ∑ ∑∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ cuatrof angeles. The first& of the songs written in punto cubano style is named Mi

Güajirita, meaning “my little güajira,” referring to the way Cubans refer affectionately to 69 3 3 1 3 3 1 ∑ ∑ ∑ ∑ ∑ ∑ J J ?& i· J JAi J i· J J i- Jr-{j J ::>- :::>- ::::-- ::::=- >- >- >- >- >- ::::>- :::::- ::>- ppp pp

& ∑ ∑ ∑ ∑ ∑ ∑

::>- :;:::- :>- >- >- >- >- ::::::- ::>- >- ::::- :>- p mp 00265 24

a woman from the country side. The second song, Canción azul, resembles a Cuban bolero with, romantic and slow melodies. Here the first guitar plays the melody and the second guitar accompanies.

In 2002 he renamed the piece Sonatina Tropical adding a third movement, Salsa en Piñones, influenced by popular music from Puerto Rico that is now recognized internationally (Salsa refers to the popular dance genre; Piñones refers to a beach in the northeast end of the island). The third movement has an A-B-A form. The melody in the

A section is based on a montuno with a pattern recognizable today in salsa music. The B section resembles a more improvisatory setting, based on the well-known popular güajira song El Ratón (the mouse), by Puerto Rican composer Cheo Feliciano.11 Guitars 1 and 2 of Sonatina Tropical later became guitars 1 and 4 of Punto y canto para cuatro angeles, but not for the entirety of that piece.

11 Ernesto Cordero, Sonatina Tropical. (Québec, Canada: Les Éditions Dobberman-Yppan, 2002).

Sonatina Tropical Ernesto Cordero

al duo Castafion-Bafiuelos I- MI GUAJIRITA

Con grazia J= 80 VIII X

mf mp mf

gtiss.

II 4- (tamb.opt.) r - m;{ delicato mp

Figure 4. The first two measures of Sonatina Tropical.

The main theme in the Punto y canto para cuatro angeles is presented in the first

measure in guitars 1 and 2. It reappears many times throughout the piece, in different

sections and in different guitars. Although the key signature would suggest that the piece

is in G Major, measure 1 starts with a I-IV-V güajira progression in C Major. It is not

until measure 6 that we arrive in the key of VIIG. This is recurrent with the main theme, it is

often presented transposed to a different key, with variations, and different textures. The

variety in textures is accomplishedrrif by changing the voicing of the chords, adding pizz. dissonances, and on occasions adding percussions strokes to the body of the guitar.

... --- 26

Figure 5. Ernesto Cordero, Punto y canto para cuatro ángeles, mm 1–3. An example of the rhythm of the güajira in the first two measures of guitars 1, 2 and 3. On the third measure in guitar 1, the progression I-IV-V, characteristic of the güajira, is arpeggiated instead of block chords, a characteristic of the punto.

The second theme is presented in section B (m.15), this segment is more melodic and serene, resembling a song in the style of Cuban bolero. Guitar 1 plays the main melody while the other parts accompany with arpeggiated chords characteristic of the bolero, the chords are connected with passing tones creating a descending chromatic bassline. The melody is often echoed by the third guitar, in a style that resembles the

melodic improvisations that the requinto12 plays in traditional boleros. Throughout the piece, the two main themes: the güajira and bolero re-appear with small transitional sections. The second theme does not change, but the first theme, the güajira, is presented with less tonal characteristics. More percussive parts are added as the piece progresses. In section H there is use of hemiola and syncopations. The same rhythm is used throughout all the guitar parts, with block chords in an ascending motion with crescendo and forte indications. This creates an atmosphere of tension throughout the following sections, until we get to section N. This is the central part of the piece. Now we encounter a completely contrasting section with indications of lento angelico (slow and angelic), In notations throughout the different moments of the piece Cordero refers to the Los

Angeles Guitar Quartet, making a play on words with descriptions of angelic character.

This section is composed entirely in harmonics and a third theme is presented. This is the first time that the composer creates a space for improvisation, an important characteristic of Caribbean music, and a skill associated with traditional performers of his homeland. In measure 106, Cordero gives the performer the opportunity to improvise inside a frame of specific pitches based on a minor pentatonic scale, and by keeping the eighth note as the constant rhythm. The diamond-shaped notes indicate that the improvisation is via harmonics, and evoking the theme in the free parts. This overlapping improvisations ends with a cluster of pitches related to the E minor scale. The composer indicates that the improvisations last between 20 and 25 seconds.

12 Requinto is a smaller guitar tuned a 4th higher than a standard guitar. It was made popular in bolero music by Trío Los Panchos.

Figure 6. Ernesto Cordero, Punto y canto para cuatro ángeles, mm. 106-113. An example of harmonic and melodic improvisation. there are some guidelines to follow, for example, bringing in the main theme back and specific clusters of notes to use during this section.

In the next sections, various themes and rhythm from throughout the piece are re- encountered and re-instated, but with minimalistic characteristics. There is a transition in harmonics in section R (similar to section N) that comes to a breath follow by guitar 4 playing a compressed Son Clave (mm. 92) with pizzicato and seco, signifying the use of

the clave in salsa music. It builds up with overlapping rhythms adding more guitars and

ending the section with a fermata. Guitar 1 plays a small percussion solo using the guitar

to emulate a bongó. Sections like these pauses are called cortes (breaks) in salsa music,

and are common features that builds excitement towards the end of the piece.

tapa trasera de Ia guitarra. D = mano derecha, S = mano izquierda dos de Ia guitare. D =main droite, S = main gauche back of the guitar. D = right hand, S = left hand 157 breve II D s D D S D D s D s D D S D D S s1m. 1"':'.

' tJ ;:.. ;.. "' >- >- "' >- ;:.. ;:.. >- f pizz. sec co ,.. > ,.. ,.. ,.. ,.. ord. it:· II !1: : ·- ...... - tJ I" ""'-J I" fcresc. Figure 7. Ernesto Cordero, Punto y canto para cuatro ángeles, mm 158. First guitar with the rhythm and indications for the percussion with the guitar. This rhythm emulates the bongo drum. ord. II ,...... , to.. !"--. ' to.. _..._rl II tJ ...... > >-....__., > > >- >- ::> > ::> ::> >->

ord. ,..._ fl - j. tJ !]I . :;i ; >- > >- >- >- > >- > > > >J t f

160 fl tJ

II tJ

l.v. _, fl ii I r 1 , M I r J tJ r. J-r r r . J...... -r r > > >- > > >- pp

l.v. II >- >- >- >- >- >- tJ - - - .. - - - .. = -- - . = -- - - • r-r r-r i' ...... -t..__r i' -Lr r> r r r >- PPP PP

00265 30

NOTACION - NOTATION

Golpe sabre el costado superior Percussion sur la petite partie Percussive blow on the upper usando la mana izquierda. de l'eclisse superieure avec la side with the left hand. main gauche.

Golpe sabre el costado de la Percussion sur l'eclisse Percussive blow on the side of guitarra con la mana izquierda. inferieure pres du manche avec the guitar with the left hand. la main gauche.

Golpe sabre la parte inferior y Percussion sur la partie etroite Percussive blow on the lower estrecha de la tapa arm6nica, inferieure de la table and narrow part of the mana izquierda. d'harmonie avec la main soundboard, left hand. gauche.

Golpe sabre la parte inferior de Percussion sur la partie Percussive blow on the lower la tapa arm6nica con la mana inferieure de la table part of the soundboard with the derecha. d'harmonie avec la main droite. right hand.

Todos esos golpes han de Tous ces effets de percussion All these percussive blows hacerse usando la coyuntura peuvent etre faits avec la should be effected using the entre la primera y segunda phalange moyenne de l'index middle phalanx of the index or falange del dedo indice o medio. ou du majeur. middle finger.

Posiciones aproximadas. Endroits approximatifs. Approximate spots.

Figure 8. Ernesto Cordero, Punto y canto para cuatro ángeles. Instructions to where to - strike the guitar to get different strokes and slaps sounds during the percussive improvisation.

In Figure 8, we can see the specific places where the composer wants the

performer to strike the guitar to create a percussive effect, thus adding another layer of

texture to the piece and using rhythmic characteristics important to Caribbean music. To

indicate how to strike the guitar, he uses percussion symbols and uses the location of the

pitches to indicate where on the guitar to strike. This creates different effects that imitate

characteristics of drums. The strokes and slaps in the body of the guitar could be seen as

representatives sounds and rhythms of the conga and bongó drums which are very

common in the folklore of Afro-Caribbean music. Cordero requires a demonstration of

artistry and skill, but demands performers demonstrate it through a knowledge of regional

percussion patterns.

CHAPTER III. LEO BROUWER

Composer’s Biography

Leo Brouwer is arguably the most influential guitarist-composer of the twentieth century. He has composed for solo guitar, duos, quartets, ensemble, and orchestra. He has created 11 concertos for guitar, works for choir, and over 120 soundtracks for films.

Brouwer graduated in 1955 from the Conservatorio de Peyrelade in Havana where he studied guitar under Isaác Nicóla. Later he was awarded a scholarship from the Cuban government to study composition at the Julliard School of Music in New York and at the

Hartt School of Music Connecticut. In 1961 he became Director of ICAIC (Cuban

Institute of Art Industry and Cinematography), and the composition professor at the

Conservatorio Nacional.

Brouwer’s style of composition may be categorized in three distinct periods: in the first style period (1955-1961), he explores the possibilities of the guitar using material from his roots in Cuba, with the idea of creating universality in collaboration with composers from the Grupo renovación cultural. They adopted the classical forms but remained deeply rooted in their Cuban musical heritage. The second style (1961-1980) is more avant-garde, resulting from his experiences when traveling in Europe and being in contact with Penderecki and Hans Werner Henze. During this time Brouwer starts utilizing twentieth century compositional techniques such as minimalism, extended techniques, and atonalism. The third and current style, beginning in 1980 has been

labeled "National Hyper-Romanticism." This style is a return to Afro-Cuban roots mixed with elements of tonality, traditional forms, programmatic gestures, and minimalism.13 In

1963 with his composition Sonograma I for prepared piano, Brouwer emerged as the most relevant composer in the avant-garde movement in Cuba.14 Paisaje Cubano con lluvia, resembles more of the late second period because of the compositional techniques, programmatic and minimalistic, although the piece has a tonal characteristics that are part of the more romantic Brouwer.

Brouwer began a series of minimalist pieces known as Paisaje Cubano in the

1980s. Paisaje cubano con lluvia (Cuban Landscape with Rain) for guitar quartet was completed in 1984; Paisaje cubano con rumba (Cuban Landscape with Rumba) in

198515, Paisaje cubano con campanas (Cuban Landscape with Bells) for solo guitar in

1986; Paisaje cubano con tristeza (Cuban Landscape with Sadness) for solo guitar in

1996; Paisaje Cubano con fiesta (Cuban Landscape with Festivities) for solo guitar in

2007. As the titles suggest, these are programmatic pieces. This chapter will focus on

Paisaje Cubano con llluvia for guitar quartet.

13 William J. Zick, “Leo Brouwer Afro-Cuban Composer, Guitarist & Conductor,” last modified January 1, 2016, accessed April 15, 2016, http://chevalierdesaintgeorges.homestead.com/brouwer.html.

14 Vladimir Wistuba-Alvarez, “LLuvia, rumba y campanas en los paisajes Cubanos de Leo Brouwer y otros temas” Latin American Music Review,” 10, no. 1 (June 1989): 135-147.

15 Originally composed for a recorder quintet and commissioned by Frans Bruggen, in Holland. Premiered in Amsterdam in 1985. Later Brouwer arranged it for guitar quartet.

In an interview in 2011 for the 13th Habano Festival16, Brouwer describes what motivated him to compose for guitar and how the activity changed his views on life:

I started composing to fill the gaps in the guitar repertoire in the 1950s, when we didn’t have anything from the great composers of previous centuries. They had written for guitar or instruments from the guitar family or predecessors, but they had not been transcribed, or converted from tablature into the current notation, or edited. It occurred to me that I had to do a little of that completing work. On the other hand, the analysis of a few compositions for guitar from the past, particularly from the 19th century, helped me discover that they were relatively poor in certain codes that were considered rich, such as in works by Beethoven, Brahms or Stravinski, for example; that’s why I decided to take on that role. That’s why when I started to make music, the view of life changed me in terms of composition, because I started to see composition in the landscape, in nature, in the description of planes of a single city.

The idea of creating a landscape series and other programmatic music was connected to Brouwer’s interest in painting and visual arts from a very young age. He was an admirer of Paul Klee and the Bauhaus aesthetic. Klee’s abstract and photo- minimalistic artistry was an important influence in Brouwer’s approach to musical minimalism. Musicians borrow the term “minimalism” from the arts to describe “a style of composition characterized by an intentionally simplified rhythmic, melodic and harmonic vocabulary.”17 Leo Brouwer’s guitar quartet and other chamber works have contributed vastly to the minimalist genre.

16 “Leo Brouwer: An Essential Musician,” last modified January 22, 2011, accessed July 16, 2016 http://habanosnews.habanos.com/en/leo-brouwer-essential-musician.

17 Keith Potter, “Minimalism” Oxford Music Online, accessed July 18, 2016, http://www.oxfordmusiconline.com

Cuban Landscape with Rain (Paisaje Cubano con Lluvia)

In Paisaje Cubano con lluvia we can see that Brouwer maintains the customary disposition of the guitar parts associated with the guitar quartet where guitars 1 and 2 play in the higher registers, with guitar 1 generally being the highest; guitar 4 providing rhythmic support, accompaniment and articulating the bass line, and guitar 3 filling in.

(Figure 10)

Figure 9. The pentatonic introduction in mm.1-4, and the arrival to G Lydian m.10.

Paisaje Cubano con lluvia is a highly programmatic and minimalistic piece. The entire piece is a vivid description and representation of a rain storm in the Caribbean. It starts with isolated quarter notes referencing subtle droplets of rain, presented almost as a kind of music pointillism. This adds a polyrhythmic texture that is a predominant characteristic in the piece, and a common trait of Afro-Cuban music. At rehearsal A, guitar 1 starts by performing a single note on the first measure and repeating each measure four times. This applies to the introduction as a whole. Another guitar is added every four measures until finally all guitars commence in an almost fugal or imitative manner, creating an effect similar to an stretto mm 5-9 and again in mm. 63-74.18

Brouwer commonly utilizes forms from the baroque such as the fugue with syncopations characteristics of Cuban music. As the different guitar parts commence in a downward motion, the sonorous effect is of that of rain drops falling on the roofs of houses and buildings, evoking the calm before the storm. Harmonically, in rehearsal letter A, the piece starts by introducing pitches that create an atmosphere of B minor pentatonic, from mm. 1-4. Every part maintains the quarter note as the pulse of the introduction, creating an atmosphere of calmness. This initial material is reinstated in the Coda. From mm. 5-9, the notes correspond to a B minor scale, but the piece gravitates towards G Lydian as a tonal center confirmed by the lower G bass in mm.10. This scale is kept throughout rehearsal letter B section, mm. 10-23.

18 “Stretto” It refers to when all the voices are playing the subject in fugue in an overlapping manner. It serves as a way of creating excitement, and tension in climatic situations.

Pitchs in the order presented b. œ œ œ #œ Œ a) & œ #œ œ c.

B minor pentatonic œ œ #œ œ b) & œ Œ Ó

G Lydian #œ œ œ #œ œ c) & œ œ œ

Figure 10. a) notes as the order presented in mm 1-7; b) B minor pentatonic created with pitches of mm. 1-4; c) G Lydian scale created with notes from mm1-8.

Guitar 3 and 4 serves as an accompaniment through the B section while guitar 1 and 2 are written in a manner of call and response, using tremolo technique. Call and response is a characteristic of common Caribbean and Latin-American genres like the salsa, bomba, plena, batá, and rumba. The dialogue may be between the singer and the chorus, known as coro-pregón, or it the dancer and the percussion in genres like the rumba (Cuba), bomba and plena (Puerto Rico). The performers of Paisaje Cubano should strive to project the dynamism of this give and take.

In rehearsal letter C, there is an unforeseen harmonic change that gravitates towards an B-flat minor chord, mm. 24-25. The modality of the chord shifts to Major in mm. 26 and stays through the section. In mm. 32 the harmony returns to G Lydian and remains in this tonal center through the rest of the piece, with the exception of the coda which verbatim restates the opening six measures.

At rehearsal D the same harmonies from rehearsal B are reinstated. In rehearsal E,

the texture is indicated as sul tasto19 (meaning over the fingerboard) and the pulse

changes to the eighth-note. Each guitar plays a different grouping of eighth notes: 8, 6

and 4. With the indication of legato and ad lib, the pulse becomes more flexible, 2 a) b) a) b) &4 œ œœobscuringœœ œ theœ downbeat.œ œ œ Thisœœ œchangesœœ œin mm.œ œ 64œ whenœ œtheœ cinquilloœœ œ rhythmicœ œ œ figure,œ œœ a œœœ decidedly Cuban motive, appears in guitar 3.

8 2 a) b) & œ œ œ œ ∑ ∑ 4 œ œœ œœ œ œ œ œ œ œœ œœœ œ œ œ œ ∑ ∑

17 Figure 11. There are two different ways to write the Cuban cinquillo (rhythmic pattern of ∑ five∑ notes).∑ Cinquillo∑ is fundamental∑ ∑ rhythmic∑ pattern∑ for ∑the danzón∑ Cubano,∑ a ∑GUit.∑ III & traditional dance from Cuba.

Poco stacc. Pii stacc.

30 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Figure 12. Guitar 3 of Paisaje Cubano con lluvia, mm 64-65. Although not an exact imitation of the cinquillo it shares similarities in the syncopation created.

43 At rehearsal letter F begins an abstractPiri presto section possibile that follows non-metric time. The

& ∑ cues∑ for the∑ players∑ are given∑ based∑ on the∑ duration∑ of seconds∑ in ∑each guitar∑ part,∑ they ∑

are added through what Daniel Fernando Castro has labeled “aggregative pentatonicism.”

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 19 Sul tasto: close to the frets not to the sound whole. This creates a less aggressive and more warm or round sound.

69 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ --4 V

Agitato pizz. Bartok pizz., irregolare @ Bartok a nat. 20"-25" 10,L1 5,,___-_*____r 3'L5,,_ ------

Poco a poco dim. rl niente CODA x4 x4 nat, x4 x4 x4 Y.4

pw l.v. 38

20 Rehearsal sections G and H are the penultimate sections of the piece and are the most intense and aggressive. Brouwer indicates that players should use a Bartok pizzicato, irregolare, 21 this section is free and improvisatory, since it depends on the ensemble for the interpretation. This is the climax of the piece which can be seen as a musical representation of how it feels to be in the middle of a tropical storm or hurricane.

Figure13. Brouwer is well known for his use of extended techniques in the guitar. Here we can see the description and function of the symbols that Brouwer used in Paisaje Cubano con Lluvia. Notice the symbols used for cues and time duration.

20 Daniel Fernando Castro Pantoja. Aguacero: A semiotic analysis of Paisaje Cubano com Lluvia by Leo Brouwer. TRANS-Revista Transcultural de Música, 18 (2014). www.sibe/trans.com

21 To realize a Bartok pizzicato, the player pulls and snaps the guitar string so that it hits the fretboard in an aggressive manner. Also known as snap pizzicato.

Figure 14. Here we can see the climax of the piece in Rehearsal G and H. Notice the use of extended techniques and the reinstatement of the introduction.

In an interview with Vladimir Wistuba-Alvarez, Leo Brouwer explained his visual inspiration for Paisajes. In answer to the question: is there a specific landscape in

Habana that you have in mind? Brouwer replied:

to me it is the Cuban landscape, but not only the nature. It can be any landscape in the world, it is the landscape that man recreates, and transforms… it does not need to be an urban landscape like New York or Paris with the Eiffel Tower, but the man with his cultures that transforms it…22

When performing this piece, it is tangible the programmatic characteristics and intentions of the composer. Its effect is very powerful by evoking mental images in both the performer and the audience.

22 Vladimir Wistuba-Alvarez, “Lluvia, rumba y campanas en los paisajes cubanos de Leo Brouwer y otros temas.” Latin American Music Review,” 10, no 1. (January 1989): 135-147.

CHAPTER IV. SÉRGIO ASSAD

Composer’s Biography

Sérgio Assad (b. 1952) is renowned as a performer, with his brother and fellow guitarist Odair Assad in the Duo Assad, and as a composer of solo and chamber works for the guitar. His compositions range from chamber pieces for guitar with flute, viola, cello, and orchestra. Assad grew up in a musical family in Mococa, São Paulo, Brazil, where as a child he learned how to play Brazilian folkloric music and started a duo with his brother. His father, Jorge Assad, was a respected choro musician and from him,

Sergio absorbed elements of this expression ensemble style. He studied under Monina

Távora, considered one of the finest guitar teachers in Brazil and a disciple of Andrés

Segovia. Assad’s performances, compositions and arrangements have established new standards of quality. The virtuosity of the Duo Assad has also inspired new works from great composers such as Astor Piazzolla, Radamés Gnattali, Nikita Koshkin, and Jorge

Morel. They have also collaborated with outstanding musicians such as Yo-Yo Ma,

Nadja Salerno-Sonnenberg, Fernando Suarez Paz, and Paquito D’Rivera.23 The Duo

Assad recently recorded an album with Paul Simon from Simon & Garfunkel.

Sergio Assad’s compositions have been well received and acclaimed internationally. Many of his solo and ensemble works have become standard repertoire for the classical guitar. His compositions have been used as mandatory repertoire for international competitions such as the Guitar Foundation of America International

23 “Assad Brothers,” last modified 2016, accessed August 23, 2016, https://assadbrothers.com/biography/

Competition, and have been performed and dedicated to great guitarists such as David

Russell (Aquarelle, for solo guitar 1986) and Los Angeles Guitar Quartet (Interchange, for guitar quartet and orchestra 2009).24 Assad won two Latin Grammy awards, one for his performance in Sérgio and Odair Assad Play Piazzolla and the second for his composition “Tahhiyya Li Oussilina,” in the album Jardim Abandonado named after a piece by Antonio Carlos Jobim (1927-1994).

Assad’s compositions for guitar quartet include: Uarekena (1997), Alvorada

Tropical commissioned by the EOS Guitar Quartet (2007), Sinceridade written for

Maogani Guitar Quartet (2007), Interchange (2009, concerto for guitar quartet and orchestra) and One 4 All 4 One dedicated to Quartet Eclisses (2016).

In an article for Soundboard, Sérgio described his compositional development:

The way I developed as a composer had a lot to do with my experience with Brazilian popular music. I grew up playing traditional Brazilian music, like choros and other traditional forms. Brazilian harmony is quite complex, and the music I would compose later in my life had a lot to do with this harmonic language. From the beginning of my training, I became very familiar with modulations to unrelated keys and their modes, as well as a certain language of improvisation. Brazilian melodies are very rich, and run from linear in shape to a high level of angularity. Mixing these elements with a more academic approach to composition helped me shape the way I write.25

One of the most influential genres in Brazilian music is the choro, the music performed by Sergio Assad’s father. The origin of the word translates to “cry” or

24 “Interchange: Concertos by Rodrigo and Assad,” Last modified 2016; accessed July 2016, http://www.lagq.com/recordings/interchange-concertos-rodrigo-assad

25 Sérgio Assad, “From Interpreter to Composer,” Soundboard, 39, no. 3 (2013): 8.

“lament.” It has become integrated into popular music, and its form has been used in classical music by composers such as Villa-Lobos and Assad. In Rio de Janeiro between

1875 and 1900 popular instrumental ensembles wandered the streets performing dance music such as maxixes and polkas, as well as sentimental and melancholic love songs in the modinha style. This type of ensemble, known as chorões came to be known as choro.

Traditionally its instrumentation includes guitar, flute, and cavaquinho (small four- stringed guitar of Portuguese origin). Modern instrumentations for the choro include other melodic instruments such as the saxophone, clarinet and mandolin. These instruments are accompanied by a rhythm section that include violāo de sete corda

(seven-string guitar) and small percussion such as the pandeiro (tambourine). 26 Choro music follows a specific form that resembles a five-part rondo: ABACA.

Sinceridade

This practice of using folkloric genres with an academic approach is reflected in

Assad’s quartet. Sinceridade is written as a choro and follows its specific form:

Sections A B A C A

Measures 1-33 34-65 66-97 98-141 142-182

Figure 15. Rondo form of Sinceridade.

26 Gerard Béhague, “Choro,” last modified 2016, accessed July 15, 2016, http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/article/grove/music/05679?q= choro&search=quick&pos=1&_start=1#firsthit

Choro music is known for virtuosic melodies, bass lines that are usually performed on a 7 string guitar, and is often improvisations. Sinceridade embraces the choro aesthetic and has a mellow mood resembling a slow jazz standard; choro music has been referred to as the New Orleans Jazz of Brazil.27 Although the piece does not include space for improvisation, the melody is improvisatory in character.

The main motive, presented in the introduction of the piece is presented in m.1 as an Am7 arpeggio that is re-introduced in every “A” section. The motive is transposed to different keys throughout the section in a manner of call and response (see fig. 16).

27 Saint Paul Sunday, “What is Choro Music?,” last modified 2016, accessed July 15, 2016, http://saintpaulsunday.publicradio.org/features/0109_choro/

Choro S. Assad Score Arranjo: Paulo Aragão e Mauricio Marques

call response violão 1

4 4 1 4 3 3 Am7 1 1 1 2 3 1 4 2 3 2 3 2 violão 2 (7 cordas) 3 4 3

3 1 4 1 violão 3 6 6 1 2 0 0 4 0 3 4 0 violão 8 cordas 5 3 3

call

10 call response 2 3 1 4 1 V.1 A ﬂat 4 2 4 4 2 2 1 1 2 402 1 4 3 1 2 1 2 1 V.2 4 5 4 4 4 0 3 3 2 1 2 1 2 0 2 4 1 V3 4 4 4 3 4 5 5 5

032 4 V.8 Main Motive 7 2 6 5 4 1 7

response call

4 4 20 0 V.1 3 0 4 4 0 V.2 4 5 2 1 4 1 V3

V.8

Figure 16. Sinceridade, mm 1-29. Call and response patterns and descending chromatic bass line.

This transposing of the theme to unrelated keys and the use of extended chords creates a jazzy feel. The improvisatory style of writing returns, in the B section,

supported now by a rhythmic foundation characteristic of the choro, which appears numerous times through the piece (see figures 17 and 18).

œœ œŒ Ó 2 œ œ œ œœ œœœ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & 4 J J

Figure 17.& Syncopated∑ binary∑ figures∑ characteristics∑ ∑ of choro∑ music.∑ This∑ rhythmic∑ figure∑ ∑ ∑ ∑ has been use by Villa-Lobos, Assad and other Brazilian composers.

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Figure 18.& Sinceridade,∑ guitar∑ 2 and∑ 3 mm.∑ 30-38∑, the selection∑ in∑ red marks∑ the ∑ ∑ ∑ ∑ ∑ measures with the rhythmic pattern.

A more rhythmic unison forms among the parts in the C section, creating rhythmic 5breaks.0 As a genre, choro can be classified as both as folkloric and or popular, a ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ relationship & explored by the famous twentieth-century composer Heitor Villa-Lobos, who was also influenced by choro rhythms in his compositions (see fig. 19).28

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & 28 Eduardo Costa, “Sergio Assad’s (b.1952) Aquarelle and Fantasia Carioca: A Performer’s Guide” (DMA diss., University of Arizona, 2012).

74 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ & J J J J Choros - nº 1

c 2 C 5 c 347 21 4 4 4 2 2 4 2 1 4 4 3 0 3 3 4 3 ≈ œ œ œ œ œ œ # œ. œ œ œ. œ œ . ≈ œ œ 1 œ. œ œ œ œ œ œ œ g #œ. œ ≈ œ#œ n1 œ œ ≈ œ œ œ #œ œ #œ. œ nœ œ œ œ2 œ œ V g# œ.3 œ # œ. œ 2nœ. œ œ. œ g #œ œ œ2 œ g œ œ œ œ œ œ œ

c 1 26 4 4 4 0 4 0 4 3 3 œ œ œ œ œ œ œ œ 2 œ œ œ 2 # œ œ œ 2 nœ nœ œ œ œ œ œ œ#œ œ œ œ œ V bœ œ œ œ œ œ b œ œ œ œ œ œ #œ œ œ œ œ œ nœ œ œ œ œ œ œ 1 nœ bœ œ bœ1 œ bœ œ Fine Figure 19. Excerpt from Choro No.1 by Heitor Villa-Lobos,Arm. 12 using the syncopated rhythm c 3 from figure 17.U Mm. 26-29. c 2 30 4> 4 4 4 4 3 0 ‚ 4 4 œ 2 œ ‚ œ. œ 2 # g œ 2 œ œ œ œ ﬁn 2 . œ. œ œ 2 g œ œ 1 3 #œ #3 œ œ œ œ. œ œ œ b3 œ œ V 1 g œ œ #œ n œ ‰ œŒ œ œ œ Uarekena g œ œ J œ3 œ gnœ Œ œ œ œ œ œ ˙ œ œ In its recording of Spirit of Brazil, the Aquarelle Guitar QuartetF documented their performance35 practice for the piece Uarekena, a composition named after an Amazonian 4 4 4 2 4 1 2 4 2 4 3 1 1 4 . 1 œ œ 2 œ œ œ œ œ. œœ œ œ. 2œ œ œ œ œ 3œ œ œ œ tribe. The musicians1. describe the#1 œ adjustmentsœ œœ œ madeœœn0 œ byœ theœ composerœ œ inœ the second(3)œ œ œ œ V #œ œ œ œ œ œ3 0 œ œ œ #œ2 œ 2 œ œ œ œ œ œ 3 œ œ œ3 œ ‰Œ edition to suitœ the capabilities of their quartetœ1 . #œ2 J c 5 c 1 c 3 (4) Originally, Uarekena was writtenp for three standard classical guitars and seven- 40 4 4 4 3 3 2 4 0 string guitar with an extended bass range. As none of us actually plays0 a seven3 - œ œ œ œ œ œ 4 0 0œ œ 4 3œ string guitar we haveœ optedœ for the2 composer’s#œ secondœ # œversion,œ œ 1forœ four standardnœ œ0 œ . œ2 œ œ œ œ œ 2œ œ œ œ œ2 œ œ œ œ œ œ œ . guitVars,nœ1 whichœ resulted in… œ…œ havingœ toœ tuneœ theœ sixthœ stringœ œ downœ a fourthbœ œ œ toœ a . œ3 œ œ #œ1 œœœnœ œ3 1 2 B.29 J ‰ bœ bœ œ nœ

c 1 C 2 C 1 (1) c 3 Assad’s45 choice of instrumentation is an important detail in consideringU(2) the 4 4 2 4 4 4 4 4 0 1 0 4 j j 3 œ . 2 œ 1 œ œ œ œ œ œ. 2 œ 2 œ œ œ 2 œ œ g œ œ œ 2 œ b œ œ. 3 œ. œ œ relationship withnœ folkœ musicalbœ œ genres.œ œ Thegn#œ sevenœ -stringnœ œ guitarœ œ 3 œ is essentialœ œ. to choroœ. œ music;œ V œ œg œ œ J 1 œ œ3 b œ œ g œ œ 1 œ. œ3 bœ4 3 g œ rit. 3 œ (5) rit.‰ the extra bass string provides a deeperœ bass preferred in theœ genre. The fourth guitarœ in Copyright Solo Guitar Society a tempo http://www.mpavanelli.com F Uarekena is assign the typical role of the seven-string guitar, accompanying with an elaborated bass line that, often provides counterpoint to the melody (see fig. 21). To

29 Spirit of Brazil, CD-ROM (Chandos Records, 2009).

emulate the seven-string guitar, the six-string is tuned to a low C instead of the traditional low E.

Figure 20. Here we can see the bass line of the fourth guitar with the 6th string tuned to Low C, a pitch that could not be played unless the instrument was retuned.

Assad, like Cordero, uses the guitar as a percussion instrument. His notations indicate the specific location and technique to create the desired timbre on the sound box of the guitar.

Figure 21. Here we can see the indications of the composer as to improvise with percussion using both hands in the resonating box of the guitar, for guitars 1st and 3rd. He also gives the option to the 2nd guitar that his section can be improvised.

CHAPTER V. CONCLUSION

The influence of folkloric and popular music genres in the classical guitar quartet compositions of Ernesto Cordero, Leo Brouwer and Sérgio Assad is palpable. Not only do these guitarist-composers follow both contemporary and traditional trends, but they also require guitarists to become co-composers of the piece through improvisation. The contributions of these guitarist-composers to the repertoire of the guitar quartet are representative of current trends in Latin-American classical music.

The influence of Caribbean music in the compositions of Ernesto Cordero is not limited to traditions from his native Puerto Rico. He uses modern harmonies with traditional harmonic progression30 from a range of Afro-Caribbean rhythms frequently found throughout Latin America in genres such as bolero, güajira, and punto. Their music call for an active involvement from the performer to listen to music of this style.

Leo Brouwer intertwines avant-garde compositional techniques such as minimalism with sounds rooted in Cuban music. This creates a distinct style recognizable to every guitarist and it situates traditional Cuban music in a universal setting. Sérgio Assad’s compositional style draws upon folkloric and popular genres from Brazil such as música popular brasiliera (MPB, brazilian popular music), the use of extended chords, and jazz influence. His compositions favor lyrical and cantabile melodies with very powerful rhythms and virtuosic polyphonic textures that make his music exhilarating.

30 For example when Cordero uses the traditional güajira progression but the harmonies are not traditional, and related to twenty century music.

The music of these composers is influenced by classical music forms and harmonic functions, but also reflects the deep musical roots of each composer. Resulting are three different styles of composition that share the use of popular, classical, and folkloric music in common. The influence of popular styles expand the repertoire for the guitar quartet and enrich the options for performers and listeners. These guitar quartets exemplify the capabilities of the medium and provide a model for non-guitarist composers. Composers who are unfamiliar with the instrument tend to find it difficult to write for the guitar. These pieces may reduce that concern by showing the pitch range of the guitar and the great variety in the technique of the instrument. By crossing the boundaries between classical and popular music, these quartets make classical structures more accessible to the community and invite performers to explore additional venues for sharing the music with the public. The quartets need not be exclusively attached to concert halls like other styles of classical guitar. The challenge of performing these quartets comes from the need to rehearse and coordinate the ensemble parts, not merely from the required technique. The joy of performing these works lies in the ability to create sonic worlds as a team, something that classically-trained guitarists are not typically encouraged to do.

Cordero, Brouwer, and Assad set new standards for composing for the guitar quartet. Their compositions are accessible, but also innovative, and reflect their individual cultural influences. The compositions are an inspiration to guitarists, composers, and the audience.

At this point I would like to talk about my experience performing these pieces, as this research served as the basis for a lecture recital. When rehearsing these pieces, I pondered the possible order for the performance. The end result was the following:

Sinceridade, Paisajecubano con lluvia, and Punto y canto para cuatro angeles. In my opinion, this is an effective order because the music becomes progressively more demanding in technical difficulty, the duration of the pieces, and in intensity. This order made it more comfortable for the performers and provides a calmer ambience for the quartet. The audience reacted well to the increasing drama of this order. Since

Sinceridade is a slower, less technically demanding piece, it provided a great transition between the lecture and the performance, but even without preamble, it makes for a comfortable opening for this grouping. Paisaje Cubano con lluvia is a programmatic piece with outstanding special effects simulating a storm. Placing it second on the program helped build excitement and mystery. Creating the dramatic effects in the performance was exciting for the performers and, in our experience, captured the imagination of the listeners. Punto y canto para cuatro angeles was the perfect ending. It is the longest piece of the set, comprised of multiple sections. There is a good deal of contrast among these sections with the references to bolero, guajira, improvisations with harmonics, breaks, guitars simulating percussion instruments, and a loud and fast strumming section between the four guitars leading to the powerful conclusion of the work.

For an effective performance, memorizing the music is ideal. Performing from memory is not common when performing as ensemble, since different cues are written in

the score so the players do not get lost and have a point of reference in case they do. It is a very common practice to play from memory in popular and folk ensembles. It has a more theatrical appeal and is easier to engage with the audience—it allows performers to interact more freely with each other and with the listeners. We found that, at a minimum, certain sections should be memorized so that the performers can look at each other and have a tighter result. This is especially important both at the beginnings and ends of each section, and is extremely important at the beginning and conclusion of the piece.

One of the most demanding aspects when performing these pieces is achieving a groove required to make the Latin rhythms swing. This is challenging; in order to assimilate and internalize the music, performers needs to immerse themselves in these genres. For example, the way that the clave is written, it is not the same way as it is played. To obtain the proper musical inflection, it is important to listen to authentic examples of the root musical styles.

I would like to offer a suggested listening list (easily accessible through

YouTube) that will familiarize the performer with the genres encountered in the featured quartets:

Salsa artists

• Ruben Blades (Patria) • Cheo Feliciano (El Ratón) • Hector Lavoe • El Gran Combo de Puerto Rico Bolero artists

• Los Panchos • Ibrahim Ferrer • Los Tres Ases Choro artists

• Paulo Nascimento • Yamandu Costa • Chiqo Buarque • Pixinguinha • Ernesto Nazareth This is not a comprehensive list of relevant examples, but it will help the listener begin to discern the different nuances in the music.

The featured quartets by Ernesto Cordero, Leo Brouwer, and Sérgio Assad discussed in this document represent just three examples from the guitar quartet repertoire. I trust that this research will encourage readers to explore other music for guitar quartet, particularly by Latin American composers. It is the aim of this research to inspire performers to have a better understanding of these guitar quartets, to perform existing repertoire and to pursue future commissions for the guitar quartet genre.

APPENDIX

Copy of the program from the concert premier by the Los Angeles Guitar Quartet of Punto y canto para cuatro angeles. In San Juan Puerto Rico on December 18, 1996. This was the first version of the piece, the one that is published is the revised version from 1999.

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