U UNIVERSITY OF CINCINNATI Date: April 8, 2009 I, Aaron Mitchell , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Choral Conducting It is entitled: A Conductor's Guide to Ariel Ramírez’s Misa Criolla Aaron Mitchell Student Signature: This work and its defense approved by: Committee Chair: Dr. Earl Rivers Dr. Elmer Thomas Dr. Terence Milligan Approval of the electronic document: I have reviewed the Thesis/Dissertation in its final electronic format and certify that it is an accurate copy of the document reviewed and approved by the committee. Committee Chair signature: Dr. Earl Rivers A Conductor’s Guide to Ariel Ramírez’s Misa Criolla A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Ensembles and Conducting Division of the College-Conservatory of Music 2009 by Aaron Paul Mitchell B.M., Brigham Young University, 2000 M.M., Temple University, 2004 Committee Chair: Dr. Earl Rivers ABSTRACT Although Misa Criolla has been a popular work since the first recording was issued in 1964, until recently there has been little written about the work itself, or its composer, in part because of the unique and localized folk elements that constitute its compositional framework. Composer and pianist Ariel Ramírez spent much of his life studying and promoting the folk traditions of his homeland in Argentina. Once he composed and recorded Misa Criolla, following right on the heels of the second Vatican Council with a newly authorized translation of the mass into Spanish, the work quickly gave him an international presence. While widely admired, Misa Criolla is sometimes viewed with a degree of skepticism by conductors in North America because of a lack of available information related to the traditional elements in the music, the creole instruments used in its scoring, challenges with language and rhythm, and questions about the viability of the available printed score. This conductor’s guide will seek to demystify the work, focusing on practical issues that conductors face in preparing and presenting Misa Criolla. After establishing a background on the composer and his most popular composition, this guide will examine the traditional dance rhythms and song forms that create a structural backbone for each movement, providing examples from regional folk traditions. Primary areas addressed will also include a discussion and comparison of existing editions, problems associated with existing scores, instrumental parts, and the role of improvisation, as well as a detailed examination of conducting and rehearsal concerns and a comprehensive IPA transcription of the text. The aim of this document is to aid conductors in their efforts to present informed and successful performances of Misa Criolla. iii COPYRIGHT NOTICES AND PERMISSIONS Misa Criolla By Ariel Ramírez Copyright © 1965 (Renewed) by Lawson-Gould Music Publishers, Inc. All Rights Controlled by WB Music Corp. All Rights Reserved. Used by Permission Misa Criolla By Ariel Ramírez Copyright © 1965 (Renewed) by Editorial Pigal 1965, 1989 Revised, and 2001 Revised Editions Inclusive. All Rights Controlled by Warner/Chappell Music Argentina. All Rights Reserved. Used by Permission iv Copyright © 2009 by Aaron Mitchell All rights reserved ACKNOWLEDGEMENTS During 1995-7 I lived in the Amazon region of Brazil on a service mission and gained a love for the people and culture of South America. The rich native traditions and the omnipresent mix of European and native elements in everyday living was inspiring to see. I gained an interest in Brazilian composer Heitor Villa-Lobos and spent some time researching his lesser-known choral works. Some years later, teaching public school in Connecticut, I first heard a recording of Misa Criolla. The unmistakable folk characteristics, replete with history and tradition and blended with European influences in a religious setting, were very appealing to me. Since then, I began a journey of learning related to the work that brought me to where I am today. There are several individuals who contributed to this document, in their discussions and emails with me. In Argentina, Oscar Escalada invited me to translate and edit an article he had put together on Misa Criolla and The Choral Journal published it along with my own article on the subject (part of this document) in 2008. Facundo Ramírez, the composer’s son who, as a composer and conductor himself, has probably more experience with this work than anyone other than his father, has been extremely helpful and gracious. I also appreciate the contribution of many individuals who responded to my emails about the work, including Rig Mutschler (Foundation of Argentine Music in Holland), Marcelo Gasio (Warner-Chappell of Argentina), Alicia Lagos (former owner of Editorial Lagos), Luis Garay (percussionist for the Naxos recording of The Choral Arts Society of Washington), Thomas Sheets (transcriber of the instrumental parts for Lawson-Gould), and many others. I would be remiss if I didn’t thank the excellent mentors who helped me along the way. Mr. Alan Harler (Temple University), an associate of the late Julius Herford, is one of the greatest conductors and musicians I have known. I owe him much more than an vi acknowledgement, but for the purposes of this work, he certainly deserves credit for allowing me to lead a performance of Misa Criolla as a young master’s student at Temple University. Dr. Earl Rivers (University of Cincinnati College-Conservatory of Music [CCM]), who administers perhaps the greatest graduate choral conducting program in the country with amazing skill, has been a tremendous support in all of my pursuits, and his contribution to my career and life will never be forgotten. I also would like to thank Dr. Dale Warland for his willingness to make time for a discussion or lesson and for his imparted wisdom as a frequent visitor and later visiting professor at CCM—his contribution to the choral art is invaluable; Dr. Ronald Staheli (Brigham Young University) for inspiring me with a philosophy that real art lies in the details and that conducting can and should be beautiful and expressive; Dr. Mack Wilberg (Mormon Tabernacle Choir, formerly Brigham Young University) who led by example with his tremendously effective programming and impeccable ear, not to mention the incomparable choral arranging instruction; and the faculty at the Berkshire Choral Festival: Trudy Weaver-Miller and Frank Nemhauser, and several master conductors in the beautiful Berkshire Hills of Massachusetts, including Duain Wolfe (Chicago Symphony Chorus), Robert Page (formerly Pittsburgh Symphony, Mendelssohn Choir of Pittsburgh), Joseph Colaneri (Metropolitan Opera), Raymond Harvey (Kalamazoo Symphony), Amy Kaiser (St. Louis Symphony Chorus), Nicholas Cleobury (Oxford Bach Choir), J. Reilly Lewis (Washington Bach Consort), and Vance George (formerly San Francisco Symphony Chorus), who took me in during the summers allowing me to join the staff as a young conducting apprentice. The impression was indelible as they guided me through many of the great choral-orchestral masterworks. vii I also think back to those who got me started on this career path. There was a diligent junior high choir teacher, Pam Allen, who recruited me from an overfilled drama class convincing me, rather against my initial will, to join choir instead. She used me as an accompanist in seventh grade and featured me as a piano soloist, doing everything she could to put me on the choir path—and she did. I think of my high school choir teacher, the late Joel Fernatt in Ramona, California, who inspired me with great music and a real conviction for what he did. I recall a one-on-one discussion we had where he very seriously encouraged me to consider a career in music education. I was somewhat taken aback and responded with a ―thanks, but it’s not for me. I have other plans.‖ Music was not in my career plans at the time. He died, far too young, before I could let him know where life’s paths had led me. There were a number of other inspiring teachers along the way, and each deserves credit and appreciation. Finally, I thank my own family: parents who were always supportive of my choices, and grandparents who took me in and taught me about life and the value of hard work. Above all, my wife and four beautiful children deserve a world of thanks for their patience and love during my graduate studies and as I started my career in university teaching while completing my DMA document. Without their support, this document would not have been possible. viii CONTENTS FIGURES ............................................................................................................................................ xi TABLES ........................................................................................................................................... xiv Chapter 1. ARIEL RAMÍREZ AND HIS MISA CRIOLLA ............................................................................... 1 Composer Biography ............................................................................................................. 1 Genesis and History of Misa Criolla ...................................................................................... 5 2. MISA CRIOLLA: FOLK ELEMENTS ..............................................................................................9 A Creole Mass, Defined........................................................................................................