University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-2020 Life and Legacy of Luis Gianneo: A Comprehensive Study of His Compositions for Violin Maria Belen Hernandez Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Hernandez, Maria Belen, "Life and Legacy of Luis Gianneo: A Comprehensive Study of His Compositions for Violin" (2020). Dissertations. 721. https://digscholarship.unco.edu/dissertations/721 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2020 MARIA BELEN HERNANDEZ ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School LIFE AND LEGACY OF LUIS GIANNEO: A COMPREHENSIVE STUDY OF HIS COMPOSITIONS FOR VIOLIN A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Maria Belen Hernandez College of Performing and Visual Arts School of Music Music Performance December 2020 This Dissertation by: Maria Belen Hernandez Entitled: Life and Legacy of Luis Gianneo: A Comprehensive Study of his Compositions for Violin has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Performing and Visual Arts in the School of Music, Program of Violin Performance. Accepted by the Doctoral Committee ______________________________________________________ Jubal Fulks, D.M.A., Research Advisor ______________________________________________________ Carissa Reddick, Ph.D., Committee Member ______________________________________________________ Deborah Kauffman, D.M.A., Committee Member ______________________________________________________ Michael Welsh, Ph.D., Faculty Representative Date of Dissertation Defense ______________________________ Accepted by the Graduate School __________________________________________________________ Jeri-Anne Lyons, Ph.D. Dean of the Graduate School Associate Vice President for Research ABSTRACT Hernandez, Maria Belen. Life and Legacy of Luis Gianneo: A Comprehensive Study of his Compositions for Violin. Published Doctor of Arts dissertation, University of Northern Colorado, 2020. The purpose of this research is to promote the complete works of composer Luis Gianneo (1897–1968) through the analysis of his pieces for violin, including the Aymara Violin Concerto, the Sonata for Violin and Piano, Cinco Piezas for violin and piano, and Tres Piezas for violin solo. These pieces represent the wide variety of the styles and compositional techniques that Gianneo explored during his lifetime. In his violin concerto and works for violin and piano, Gianneo cultivated Argentine nationalism as well as European influences such as Neoclassicism. Later in his life, in Tres Piezas for violin solo, he experimented with serialism. A brief history of music in Argentina will contextualize the composer’s works and legacy in his native country and the world. Through the study and analysis of his violin works, the student and scholar will better grasp Gianneo’s unique musical language and style. Gianneo’s life impacted not only musicians, but also institutions, which he was committed to creating and improving. He created many youth orchestras and participated in the leadership of musical associations. Today, many conservatories, libraries, and a string quartet in Argentina are named after Luis Gianneo. There is, however, a lack of in-depth information about the composer, particularly in sources other than publications in Spanish. This research intends to promote Gianneo’s music, encourage the publication of his works, and bring to light his life and musical legacy as a source of information for those looking to learn more about Gianneo. iii ACKNOWLEDGEMENTS I would like to express my gratitude to all those who have contributed to this research and supported my musical journey. First, I would like to thank the members of my committee, Dr. Jubal Fulks, Dr. Carissa Reddick, Dr. Deborah Kauffman, and Dr. Michael Welsh, for their guidance and expertise. With infinite gratitude I want to recognize the contribution of the composer’s son, Luis Gianneo, to this research. He authorized the inclusion of his father’s copyrighted scores as musical examples, and shared warm memories of his father in our interview, encouraging the present study. I would like to thank all of the Argentine musicians, researchers, and institutions that provided scores, resources, and insights, especially to Lucio Videla and the Instituto de Investigación en Etnomusicología, Luis Roggero and Sebastián Masci (Cuarteto Gianneo), José Santillán (Melos Ediciones Musicales), and the Instituto Nacional de Musicología Carlos Vega. I am deeply appreciative of Dr. Gary Galván and the Fleisher Collection at the Free Library of Philadelphia for providing manuscripts, valuable information, and letters between the composer and the Fleisher Collection. I would like to thank maestro Luis Gorelik and the Orquesta Sinfónica de Salta for awakening my appreciation of Gianneo’s music through our recording session of the Aymara Violin Concerto (with violin soloist Tatiana Samouil) and Obertura para una Comedia Infantil for Sony Music in 2010 while I was a member of the violin section. iv I truly value the encouragement and accountability provided by my friends and colleagues. A very special note of appreciation to my friend and editor, Juliette Angoulvant, who thoroughly revised this study and provided ideas to improve its comprehension. I would like to thank my family: my mother, pianist and researcher Patricia Espert, for inspiring my love for Argentine music, and for contributing to this research with bibliographies and resources; my father, Luis Hernández, and my brother Sergio Hernández, for their unconditional love, support, and encouragement; and to my sister, Lourdes Hernández, who always inspired me to be passionate in my endeavors. Finally, I want to express sincere gratitude to my husband, Cody Thomson, who encouraged me daily and who was a pillar of strength along the way. v TABLE OF CONTENTS PREFACE.................................................................................................................................... 1 CHAPTER I. INTRODUCTION: HISTORY OF MUSIC IN ARGENTINA FROM THE COLONIAL PERIOD TO THE 1960s....................................................................... 3 The Colonial Period From National Independence to National Organization Immigration, Popular Music, and Nationalism The Renovation Movement: Grupo Renovación Twentieth-Century Music and Cultural Institutions II. LUIS GIANNEO: HIS LIFE AND HIS WORKS.................................................... 24 Life Works and Style III. AYMARA VIOLIN CONCERTO.............................................................................. 43 Introduction Analytical Methodology Movement I Movement II Movement III IV. SELECTED WORKS FOR VIOLIN........................................................................ 80 Introduction Analytical Methodology Sonata for Violin and Piano Cinco Piezas for Violin and Piano Tres Piezas for Violin Solo vi V. CONCLUSION....................................................................................................... 119 Luis Gianneo’s Legacy BIBLIOGRAPHY..................................................................................................................... 131 APPENDIX............................................................................................................................... 136 A. CATALOG OF WORKS FOR STRINGS B. COPYRIGHT AUTHORIZATION C. CONCERT PROGRAMS vii LIST OF FIGURES Figure 3.1. Aymara Violin Concerto, movement I. Formal analysis................................................ 57 3.2 Measure comparison between versions of the Aymara Violin Concerto, mov. I........... 61 3.3. Aymara Violin Concerto, movement II. Formal analysis.............................................. 63 3.4. Aymara Violin Concerto, movement II, mm. 1–16, double period analysis................. 65 3.5. Measure comparison between versions of the Aymara Violin Concerto, mov. II......... 70 3.6. Aymara Violin Concerto, movement III. Formal analysis............................................. 71 3.7. Aymara Violin Concerto, movement III. Formal analysis, transition simplified.......... 71 3.8. Measure comparison between versions of the Aymara Violin Concerto, mov. III........ 77 4.1. Luis Gianneo, Sonata for Violin and Piano, movement I. Formal analysis................... 86 4.2. Gianneo, Sonata for Violin and Piano, movement II. Formal analysis......................... 92 4.3. Gianneo, Sonata for Violin and Piano, movement III. Formal analysis........................ 94 4.4. Gianneo, Cinco Piezas, Vidala. Formal analysis........................................................... 98 4.5. Gianneo, Cinco Piezas, Canción Incaica. Formal analysis........................................... 99 4.6. Gianneo, Cinco Piezas, Chacarera. Formal analysis.................................................... 102 4.7. Gianneo, Cinco Piezas, Canción de Cuna. Formal analysis.......................................... 106 4.8. Gianneo, Cinco Piezas, Zapateado. Formal analysis.................................................... 107 4.9. Gianneo, Tres Piezas for violin solo. Length comparison