Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Representative Works for Solo Viola by Bolivian Composers Mauricio Fredy Cespedes Rivero Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC REPRESENTATIVE WORKS FOR SOLO VIOLA BY BOLIVIAN COMPOSERS By MAURICIO FREDY CESPEDES RIVERO A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree A,arded: Spring Semester, 2010 Copyright © 2010 Mauricio Fredy Cespedes Rivero All Rights Reserved The members of the committee approve the treatise of Mauricio Cespedes Rivero defended on April 7, 2010. __________________________________ Pamela Ryan Professor Directing Treatise __________________________________ 6ames Mathes University Representative __________________________________ Ale7ander Jimene8 Committee Member __________________________________ Corinne Still,ell Committee Member Approved: __________________________________ Seth Beckman, Dean, College of Music The Graduate School has verified and approved the above-named committee members. ii I dedicate this treatise to my family who has al,ays supported me in every step of my life. iii TABLE OF CONTENTS List of Figures v Abstract i7 1. INTRODUCTION 1 2. MUSIC IN BOLIVIA 3 2.1 Pre-Columbian Period 3 2.2 Colonial Period 5 2.3 T,entieth Century Composers 7 2.4 The Viola in Chamber Music of Bolivian Composers 10 2.5 The Viola Solo Repertory by Bolivian Composers 12 3. TWO COMPOSERS AND THEIR COMPOSITIONS 13 3.1 Gerardo Yañe8- —Meditation for Solo Viola and Electro“ 13 3.2 Jorge I Bñe8- —Sonata for Solo ViolaA 24 4. CONCLUSION 38 APPENDID 39 A. ComposerFs permission to reproduce copyright materials 39 B. ComposerFs permission to reproduce copyright materials 40 C. Human Subjects E7empt Revie, 41 Scores 42 i3 BIBLIOGRAPHY 52 BIOGRAPHICAL SKETCH 54 3 LIST OF FIGURES Figure 1. Gustavo Navarre, String Quartet. Viola Score, Third Movement. 11 2. Gerardo Yañe8- @Ofrenda and Meditation for Solo Viola and Electro.“ 16 3. E7ample of rhythmic motive.Gerardo Yañe8- @Ofrenda and Meditation for Solo Viola and Electro.“ 16 4. E7ample of diminution of rhythmic patterns. Gerardo Yañe8- —Ofrenda and Meditation for Solo Viola and Electro.“ 17 5. Relationship bet,een Table 1, and Gerardo Yañe8. @Ofrenda and Meditation for Solo Viola and Electro.“ 18 6. Oscar ElJas Siles. Book of songs. 18 7. Phrase endings. Gerardo Yañe8- @Ofrenda and Meditation for Solo Viola and Electro.“ 19 8. E7position. Gerardo Yañe8- —Ofrenda and Meditation for Solo Viola and Electro.“ 20 9. E7pressive Melodies. Gerardo Yañe8- —Ofrenda and Meditation for Solo Viola and Electro.“ 21 10. Main Melodic Material. Gerardo Yañe8- —Ofrenda and Meditation for Solo Viola and Electro.“ 22 11. Development Section. Gerardo Yañe8- —Ofrenda and Meditation for Solo Viola and Electro.“ 23 12. Second part of the development. Gerardo Yañe8- —Ofrenda and Meditation for Solo Viola and Electro.“ 23 vi 13. The Coda. Gerardo Yañe8- —Ofrenda and Meditation for Solo Viola and Electro.“ 24 14. The main motive of four chromatic notes. 6orge I Bñe8 —Sonata for Solo ViolaA 25 15. Opening of the First movement, tempo di ciaccona. 6orge I Bñe8 —Sonata for Solo ViolaA 26 16. Use of augmented fourths. Jorge I Bñe8 —Sonata for Solo ViolaA 26 17. Variation I Jorge I Bñe8 —Sonata for Solo ViolaA 27 18. Thematic Material. Jorge I Bñe8 —Sonata for Solo ViolaA 27 19. Metric displacement. Jorge I Bñe8- —Sonata for Solo Viola.“ 27 20. Metric displacement Jorge I Bñe8- —Sonata for Solo Viola.“ 28 21. End of the Variation. Jorge I Bñe8 —Sonata for Solo ViolaA 28 22. Interval leaps. Jorge I Bñe8 —Sonata for Solo ViolaA 29 23. Coda of Variation II. Jorge I Bñe8 —Sonata for Solo ViolaA 30 24. Metric diminution. Jorge I Bñe8 —Sonata for Solo ViolaA 31 25. Variation III, tempo de chaconne 6orge I Bñe8 —Sonata for Solo ViolaA 31 26. Coda of the First Movement. Jorge I Bñe8 —Sonata for Solo ViolaA 32 27. Traditional Bolivian dance (HuayñoL. O. ElJas S. Carnaval Cruceño I 33 28. Second movement. Whole tone scale. 6orge I Bñe8- —Sonata for Solo Viola.“ 33 29. Transition material. Jorge I Bñe8 —Sonata for Solo ViolaA 34 30. Permutation of the melodic material. 6orge I Bñe8 —Sonata for Solo ViolaA 34 31. End of the second movement. Jorge I Bñe8 —Sonata for Solo ViolaA 35 32. E7ample of the third movement. Jorge I Bñe8 —Sonata for Solo ViolaA 36 vii 33. Rhythmic material of the third movement. 6orge I Bñe8 —Sonata for Solo ViolaA 37 34. Performance challenges of the third movement. 6orge I Bñe8 —Sonata for Solo ViolaA 37 35. Combination of the main melodic material. 6orge I Bñe8 —Sonata for Solo ViolaA 38 36. End of the movement. Jorge I Bñe8 —Sonata for Solo ViolaA 38 viii ABSTRACT As a Bolivian artist, the author has al,ays supported the idea of bringing Bolivian music to the world. The writerFs contribution over the years has been to collaborate with composers from Bolivia who have written for the viola. Some of the compositions performed use some of the most notable t,entieth century compositional techniques dra,ing from minimalism, serialism, electronic music and other styles. Despite the diversity of these compositions, each still contains the very essence of the nationalistic sound of Bolivian folk rhythms and melodies, from the very mystical and sad melodies of the Bolivian Andes to the e7troverted rhythms of the valleys and ama8on regions. This treatise, Representative Works for Solo Viola by Bolivian Composers, will showcase t,o of the most important works for solo viola, and will also discuss t,o of BoliviaMs most talented composers, Gerardo Yañe8, and Jorge I Bñe8, whose beautiful musical languages transcends time and space. The discussion of each composer and the composerMs work are divided in t,o sections- 1L The composerMs biography and musical background; and 2) The composerMs work for viola, analyses of folk influences, style, and some important aspects such as time, place, premiere of the composition. i7 CHAPTER 1 INTRODUCTION As a Bolivian citi8en, the author of this treatise has been in close contact with Bolivian art, including important artists, writers, painters, and musicians. Music has al,ays been a significant part of his life, whether folk music or classical. From his earliest days, the author could al,ays hear and appreciate his Bolivian musical heritage, even as he sought to master Western European classical music and the instruments that create it. This desire led to his intimate acquaintance with the viola, which he vie,ed as similar to Bolivian music itself- underrated, understated, full of history, and in dire need of greater championing in the worlds of academics and music. This treatise seeks to show the effect that Bolivian music has had on the viola, and vice-versa. Like Bolivia, the viola has a long history largely unknown in South America, even to those intimately acquainted with it. Before the da,n of the t,entieth century, the viola was a pivotal part of chamber and orchestral music, but relatively fe, composers wrote solo pieces that featured this middle voice of the viola de braccio family. However, during the past century, the use of the viola as a solo instrument began to increase in popularity among both composers and performersN —the repertory for unaccompanied viola gre, e7tensive, with the number of solo viola performers increasing worldwide.“1 Countless composers in the Western European tradition from all corners of the globe began to write pieces that featured the viola in a solo role, not only increasing the amount of music for violists to perform, but helping to esta lish the viola as an instrument capable of producing significant and moving music. These efforts resulted in the instrumentMs increased importance as part of the classical music repertory, as well as its ne, significance in concert halls around the world. The emergence of the viola as a solo instrument had a significant effect on Bolivian 1 Michael D. Williams, Music for Viola. Detroit. 1E7E. 1 composers. In Bolivia, a select and talented group of composers began composing for the viola, ,ith t,o composers emerging as the best and most note,orthy in the country- Jorge I Bñe8 and Gerardo Yañe8. Their compositions incorporate many of the elements that helped define Bolivian music. I Bñe8Fs —Fantasia for Solo ViolaA and Yañe8Fs —Meditation for Solo ViolaA are both e7amples of works for the unaccompanied viola that incorporate a Western European style of compositional technique with folk music influences. Bolivian classical music is relatively ne,N hence, it is not well known outside of the country. However, composers such as I Bñe8 and Yañe8 have composed a variety of large works, including symphonies, chamber music pieces, and compositions for hybrid ensembles of Native American and European instruments. The solo viola repertory, as ne, as it may seem to those unfamiliar with the works, has been a part of these t,o composersM respective musical outputs for the last decade. The authorFs goal in writing about the solo viola pieces of I Bñe8 and Yañe8 is to make them more accessible to scholars and performers outside of Bolivia who may have little or no prior knowledge of the compositions, or their connection to the foundations of musical history and legacy of Bolivian music. 2 CHAPTER 2 MUSIC IN BOLIVIA 2.1 Pre-Colu bian Period One of the most important writers about Bolivian music, Atiliano Auza, describes it as —a mi7ture of romanticism, nationalism, modernism, and some touch of e7perimentalism.“ In other ,ords, Bolivian music reflects the historical processes that resulted from the Spanish conquest of Native Americans.