Classical Principle Weekly
December 6, 2022
Classical Music and Folk Music in Ibero-America Part 4: The 20th century
Although some Ibero-American composers were drawn into the dead-ends of artificial European trends in atonality and dodecaphony, many of them were too deeply rooted in political reality to endorse theories so existential, so meaningless to their people, and so lacking in any kind of physical basis in natural law. Instead, we hear the love of Bach. We hear the love of Mozart in Nunes Garcia. Although not so much the spirit of Beethoven. Perhaps we missed it. We would be very please, if you, dear readers, will educate us.
The modern virtuoso guitar tradition is seen as flowing from Spain, through Francisco Tarrega, Miguel Llobet, and especially, Andres Segovia. Although nothing should be denied to these men, a virtuoso tradition was also developing in Ibero-America.
VENEZUELA
We mentioned in Part 3 that Federico Villena developed the Venezuelan waltz, which incorporated many indigenous rhythms. Raul Borjes (1882-1967) advanced the Venezuelan waltz.
1. FLORES DE LA MONTAÑA: Raul Borges
Borjes taught Alirio Diaz and Antonio Lauro.
When Diaz wished to attend Segovia's master classes, Segovia responded that he had nothing to teach him. When Diaz insisted, Segovia made him his assistant teacher. Here is Diaz playing traditional Venezuelian folk music. I could not separate various pieces, so it's the entire album. Listen to as much or as little as you would like.
be/gsPBfsE2_oY https://youtu.
Antonio Lauro composed Venezuelan waltzes, the best known of which is number 3, "Natalia." When performed properly, the indigenous and African accents combine with the Bach-like property of creating multiple voices in a single voice. Listen carefully. This piece often consists of a single line of music that, like Bach's solo suites and partitas for violin, imply multiple voices. Many players blur this quality. Here, Sharon Isbin plays it, to our mind, correctly.
2. “Venezuelan waltz No. 3”: Antonio Lauro- played by Sharon Isbin.
In 1931 Venzuelan composer Juan Bautista Plaza composed his Fuga Criollo. He integrated Venezuelan melodies and rhythms with the fugue, especially a dance called the Joropo.
3. Here is a traditional “Joropo”.
Here is his Fuga Criolla, also in 6/8 time. The very act of a fugal setting of a Joropo, poses a challenge between what you think you know, and what is new.
4. “Fuga Criolla”: Juan Bautista Plaza
CUBA
5. Here is an anonymous “Danza Cubana” for 2 guitars.
Although Estaban Salas Y Castro was primarily a classical century composer, this villancico exudes some of the same spirit as the previous Danza Cubana:
6. “Que niño tan bello: Estaban Salas Y Castro”
7. Here is his “Un Musiquito Nuevo: Estaban Salas Y Castro”
ECUADOR
This traditional Ecuadorian Pasillo features 3 guitars playing very simple lines.
8. “Pasillo”
Carlos Bonilla Chavez (1923-2010), founder of Ecuadorian classical guitar, played a Pasillo on one guitar. He also introduced some rhythmic complexities, but in the same 6/8 time.
9. “Cantares del Alma”: Carlos Bonilla Chavez
ARGENTINA
Argentine guitarist and composer created this Danza Brasilera.
10. “Danza Brasilera”
Argentina's Carlos Guastavino (1912-2000) was sometimes known as "The Schubert of the Pampas." Listen to his haunting "La Rosa y sauce" (The Rose and the Willow).
11. “La Rosa y el sauce”: Carlos Guastavino
https://youtu.be/eBhs9zxzyxc?list=TLPQMjAxMTIwMjJqTngjur8O
Julián Aguirre (1868- 1924), was also from Argentina
12. “Triste No. 5”: Julián Aguirre
Here is his Aire Criollos number 3
13. Aire Criollos number 3: Julián Aguirre
Here is a waltz by Argentine Alberto Williams (1862-1952), grandson of Almancio Jacinto Alcorta, cited in Part 3. It is in what is sometimes called A B A form. The idea of that form as cyclical, misses the actual transformation. The first half of this waltz is beautiful, but is it an example of creative genius? That question is often best addressed by comparing the irony between the main theme and the middle section. He fares well.
14. Waltz: Alberto Williams
PARAGUAY
From Paraguay we have Augustin Barrios. The Jesuit reductions had been founded among the Guarini people. Domenico Zipoli taught there. The Jesuits were then kicked out of Ibero America. Later in the century, Brazil's Carlos Gomez wrote an opera, " O Guarini" in respect of the Guarini people. Barrios may have been born in the Jesuit center of Missiones. He was fluent in music, poetry, and languages (including Guarini). Being of partially Guarini origin, he adopted the name Mangoré (after a Guarini chief), and often played in full Indian garb (see video). Some of his contemporaries thought him to be a better guitarist than Segovia, who spent a lot of time in Ibero America.
Not to take away from Segovia's accomplishments,but his reputation as sole founder of modern guitar may be exaggerated. Barrios played his composition "La Cathedral" (The Cathedral), with its Bach-like fast section for Segovia, who may have been intimidated by it. Here is a rare 1933 recording of Augustin Barrios Mangoré playing his own composition, "La Cathedral."
15. “La Cathedral”: Augustin Barrios "Mangoré"
If you wonder about a few mistakes, one was obliged in those days, to keep a recording within a time limit, often meaning one had to play too fast.
BRAZIL
Brazil's Heitor Villa Lobos was, to our mind, a mixed bag. He sought to develop the folk music of Brazil, and helped establish musical teaching institutions. He called many of his pieces “Bachianas Brazileiras”, but to us, only one of them sounds anything like Bach—No. 4–but only for a while. Many feature too much of the 20th century emphasis on dissonance. Villa Lobos eschewed formal musical training, which may have hindered his ability to invoke the spirit of Bach. He dedicated his Etudes to Andres Segovia, and this one is like a Bach prelude.
16. “Etude No. 2”: Heitor Villa Lobos
His "Choros" were based on skilled street musicians, who could play in many styles. Here, the late great Julian Bream plays his Gavotte Choro.
17. “Gavotte Choro”: Villa Lobos
Villa Lobos is usually portrayed as an amateur guitarist, who needed Segovia to bring his works to fruition. Again, wefind this a bit suspicious. Here he is playing his Choro # 1, beautifully, and expertly.
18. Villa Lobos plays his “Choros No. 1”: 1939
MEXICO
Manuel María Ponce Cuéllar (1882 – 1948) combined Mexican folk music with classical beauty. This Andante has a Bach-like quality to it.
19. Sonata Classic II: Manuel Ponce
How shall we end? You may recall that in the late 18th century, the composer Joseph Bologne (Chevalier de St Georges- sometimes known as the black Mozart), went to Haiti to join the slave revolution. In the early 20th century, Ludovic LaMothe was known as the black Chopin. His song “Nibo”, became a liberation anthem, as it celebrated the withdrawal of American troops in 1934, after an almost 20 year occupation. Here is his Ballade in A minor.
20. “Ballade in A minor”: Ludovic LaMothe
How beautiful is this music from Haiti!