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TomylovelywifeMabel,andchildrenCarlaandCristian fortheirunconditionalloveandsupport. ii
ACKNOWLEDGEMENTS Thisworkhasbeenpossiblewiththecollaboration,inspirationand
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TABLEOFCONTENTS ListofFigures......vi ListofTables.......vii Abstract..viii Chapter 1.INTRODUCTION....1 2.HISTORICALPRECEDENTS5 DevelopmentoftheChoralMusicTraditioninPuertoRico.5 EarlyDevelopmentTheSacredBackground....7 20thCenturyChoralMusicofPuertoRico..18 3.ROBERTOSIERRA:INTRODUCTIONTOHISLIFE ANDMUSIC...29 EarlyyearsandMusicEducation.37 CompositionalStyleandOutput.....33 ChoralWorks...38 4. ANALYTICALNOTATIONSONSIERRASMISSALATINA Background....47 PremiereandReception....................................49 StylisticConsiderations52 MusicalAnalysis:Introitus.....55 MusicalAnalysis:Kyrie.......................60 MusicalAnalysis:Gloria..................................64 MusicalAnalysis:Credo...........................77 MusicalAnalysis:Offertorium.....................89 MusicalAnalysisSanctus:.......................93 MusicalAnalysis:AgnusDei..99 5. SUMMARYANDCONCLUSIONS..105 iv
LISTOFFIGURES Figure Page 3.1 CantosPopulares.CantoMatutino...........39 3.2 CantosPopulares.Nocturno.Superimposedrhythmicpatterns.40 3.3 GuakiaBaba.Tresillofigurecyclicalpatternsjuxtaposition43 3.4 LuxAeterna.Canonicrhythmicpassages..46 4.1 DapacemdomineoriginalchantinDPhrygian..56 4.2 Introit.DapacemdomineinDPhrygian...56 4.3 Introitus.SuperimposedGloriapatriandLaetatussumtexts58 4.4 IntroitusCoda.Introductionofthetresillorhythmicfigure...60 4.5 Kyrie.Introduction(Octotonic) 61 4.6 Kyrie.Introductionofthetresillomotive. 62 4.7 Christeeleison.Tresilloandquintillorhythmicmotives.. 63 4.8 Gloriainexcelsis.Tresillousedasameter.. 67 4.9 BaritoneincipitLaudamustesmontunosection............................ 68 4.10 Gloria.Glorificamuste...................................................................... 69 4.11 Gloria.DomineDeusfinalphrase... 72 4.12 Gloria.QuisedesadeteramPatris...... 73 4.13 Gloria.InGloriadeiPatris.Subject.Fugatosection 75 4.14 Gloria.Fugatosection.Subjectinvertedandtransposed. 76 4.15 Gloria.ReturnoftheAsection. 77 4.16 Credo.Credoprincipalmotives 79 4.17 Credo.InunumDominummotive... 80 4.18 Credo.Etincarnatusest...... 83 4.19 Credo.Etresurrexitpassagewordpainting... 85 4.20 Credo.Etascenditincaelum 86 4.21 Credo.Texturalvariationtodepictmanychurchesandmanyfaiths88 4.22 Offertory.Orchestraprelude.. 90 4.23 Offertorium.RogateJerusalem(Baritonesolo) 90 4.24 Offertory.DepictionofSion 91 4.25 Offertory.Crossrhythms. 92 4.26 Santus.Openingmeasures.Polyrhythmsandmixedmeters... 94 4.27 Sanctus.Plenisuntcaelimotive.Cubansonprogression. 95 4.28 Sanctus.Plenisuntcaelimotive 96 4.29 Sanctus.Benedictus.ChoirandSoloists.. 97 4.30 Sanctus.Returnofprincipalmotive. 98 4.31 AgnusDei.Texturaldensityillustrationonpeccatamundi 101 4.32 Agnusdei.Pacemrelinquovobis,acapellapassage... 102 4.33 AgnusDei.Alleluiasection.Callandresponse... 103 vi
Table Page Table4.1.Movement1(Introitus).FormalStructure..59 Table4.2.Movement2(Kyrie).FormalStructure...64 Table4.3.Movement3.(Gloria)FormalStructure65 Table4.4.Movement4(Credo)Formalstructure ..82 Table4.5.Movement5(Offertorium)Formalstructure93 Table4.6.Movement6(Sanctus)Formalstructure...99 Table4.7.Movement7(AgnusDei)Formalstructure.104
LISTOFTABLES
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century.Sincethen,politicalandculturaleventshavesetthestageforthe emergenceofnativecomposerswhohavemadesignificantcontributionstothe islandswealthofchoralmusic.Ahandfulofthesecomposershavetranscended theirgeographicalbarrierstobecomerecognizedbyabroaderinternational audience.Amongthemostoutstandingandprolificofthesecomposersis RobertoSierra. Today,RobertoSierra(b.1953)isconsideredoneofLatinAmericasmost activecontemporarycomposers.Hisoutputincludessymphony,concerto, oratorio,mass,chamber,choral,songcycle,chamberopera,andinstrumental pieces.Anumberofhisworkshavebeencommissionedandpremieredby variousnationalandinternationalorchestrasandarebecomingincreasingly recognizedasstandardrepertoire.In2003,RobertoSierrawasawardedthe prestigiousAwardinMusicbytheAmericanAcademyofArtsandLetters. Additionally,SierrabecamethefirstPuertoRicancomposernominatedfora GrammyAwardintheclassicalcategoryin1999.1 Inrecentyears,Sierrahasproducedasignificantbodyofinstrumental
http://www.prpop.org/biografias/r_bios/roberto_sierra.shtml
Populares,foracapellachoir(ca.9);LuxAeterna,forSATBchorus(ca.5);Guakia Baba;foracappellachoir(ca.5);andIdilio,forSATBchorusandorchestra(ca.7). OneofSierrasmostrecentlyperformedextendedchoralworksishis mass,MissaLatinaforSoprano,Baritone,Chorus,andOrchestra(ca.71). LeonardSlatkinaskedSierratowritealargechoralscoretohelptheorchestra celebratetheanniversaryoftheNationalSymphonyOrchestra.TheChoralArts SocietyofWashingtoncocommissionedSierratowriteaworktocommemorate the75thseasonoftheNationalSymphonyOrchestraandthe40thanniversaryof theChoralArtsSocietyofWashington.ThiscommissionresultedinwhatSlatkin describedas,Oneofthemasterpiecesofourtimes.2T.L.Ponickdescribesthis masssignificancetochoralliteratureinanarticlefromtheWashingtonTimes: [...]themostsignificantsymphonicpremiereintheDistrictsince thelateBenjaminBrittensstunningWarRequiemwasfirstperformed inthestillunfinishedWashingtonNationalCathedralinthelate1960s [...]3 Purpose Thefocusofthisstudyisthreefold.First,itwillprovideanadditional scholarlyresourcedevotedtothelife,musicaloutput,andachievementsof RobertoSierra.Second,thestudywillprovideadetailedanalysisofRoberto Sierraschoralwork,MissaLatina.Third,thestudywillprovideahistorical overviewofthechoralmusictraditionofPuertoRico,identifyingsomeofthe mostsignificantcontemporarychoralcomposers.Thefollowingresearch questionsguidedthisstudy:
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http://www.subitomusic.com/thecomposer_news.htm Tim Page, "The Joyful Noise of Missa Latina." The Washington Post (February 3, 2006) C1-4.
1. WhatistheextentofRobertoSierrasmusicalcontribution? 2. WhatarethemoderncompositionaltechniquesandLatinmusical elementsusedthroughoutMissaLatina?Howdotheyunifythis work? 3. Whatwerethepoliticalandculturaleventsthatpromotedthe developmentofchoralmusictraditioninPuertoRico. Delimitations InvestigationsledbyErnestoRiveraAlonzo(2002)4,JamesBall(1992)5, andRobertoJ.Gonzalez(1983)6reflectageneralanalysisofselectedinstrumental worksbyRobertoSierra.AlthoughthereisnecessityforfurtherstudyofSierras orchestralandunaccompaniedchoralworks,thisstudyonlyprovidesa descriptiveanalysisofSierrasMissaLatina,alargescaleworkforSopranoand Baritonesoloists,chorus,andorchestra. NeedfortheStudy Inrecentyears,asmallyetgrowingbodyofscholarshiprelatedtothe instrumentalmusicofPuertoRicancomposershasbeguntoemerge.Thisisnot thecaseinthechoralcounterpart.Anextensiveinvestigationofstudies regardingthechoralmusicofnativePuertoRicancomposersillustratesthat scholarlyresourcesonchoralworksbysignificantPuertoRicancomposersare primarilylimitedtobibliographicalstudies,historicalpublications,orcritical
dissertationwillincludemusic,analysisofmusic,personalinterviewswiththe composer,broadcastinterviews,apostperformanceinterviewsession,reviews ofperformances,conversationsoverthephone,andemailstoandfromthe composer.Secondarysourceswillinclude:textbooks,encyclopedias, dissertations,theses,articles,periodicals,andinternetwebsites. OrganizationoftheStudy Thisdocumentiscomposedoffivechapters.Aftertheintroduction, Chapter2offersahistoricalperspectiveoftheoriginsanddevelopmentofthe choralmusictraditionofPuertoRicofromthe19thcenturytothepresent. Chapter3includesareviewofthemusicalinfluencesthatshapedRoberto Sierrasmusicalstyle,hisbiographicalinformation,andanoverviewofSierras musicaloutput.Chapter4providesbackgroundinformationsurroundingthe MissaLatinaspremiereandreception,followedbyanindepthmusicalanalysis ofeachofthemovementsofthework.Chapter5summarizesthefindingsand offersconcludingremarksregardingtheanalysis.TheAppendicesincludethe completetextofMissaLatina(withEnglishtranslationswrittenbythecomposer), aselectedlistofworksandadiscography. 4
CHAPTER2 HISTORICALPRECEDENTS DevelopmentoftheChoralMusicTraditioninPuertoRico ThedevelopmentofchoralmusicinPuertoRicoisconsidereda contemporaryphenomenonofthe19thcentury.7Itsorigins,however,havebeen tracedtotraditionsstemmingfromEuropeansacredmusicbroughttoPuerto RicobytheSpanishinthe18thcentury.Sincethen,bothnativeandforeign composershavemadesignificantcontributionstotheislandswealthofchoral literature.Suchgrowthhasbeenattributedtothevarioussignificantsocio economicandpoliticaleventsthatarereflectedintheuniqueflavorofPuerto Ricanchoralliterature. Severalresearchershavereviewedtheliteratureinanattempttotracethe originsanddevelopmentofPuertoRicoschoralmusic.8Composerand musicologistHectorCamposParsirecordedthehistoryofPuertoRicanmusicin avolumeoftheGranEnciclopediadePuertoRico(1976).CamposParsiincludeda briefsummaryoftheinfluencesofindigenouspeoplecalledtainos,colonialism, andAfricanmusictraditiononthedevelopmentoftheislandscultureand nationalmusicallanguage. Heprovidedanoverallaccountofthemusicalhistoryinthe19thand 20thcenturies.Furthermore,Parsiincludedthemusicalcontributionsofall
LuisOlivieri,AShortHistoryofChoralMusicinPuertoRico,inInternationalChoral Bulletin20/2,(2000),p.24. 8HctorCamposParsi,LaGranEnciclopediadePuertoRico,7.Madrid:EdicionesR. (1976):240248.AlsoinDanielMendozadeArces,DomingoDelgadoGomez(180556):Puerto Ricanmastercomposer,inLatinAmericanMusicReview,16/2(1995):16;andinOlivieris,A shorthistoryofchoralmusicinPuertoRico.AlsoinDonaldThompsonandAnnieThompson, MusicinPuertoRicofromtheAgeofColumbustoModernTimes:AnAnnotativeBibliography, Metuchen,NJ:ScarecrowPress,(1991).
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nativeandnonnativecomposersandmusicians.Hisbookisoneofthefew sourcesthatincludethehistoryofchurchanduniversitychoralensembles.The lastchapterisdedicatedtocomposerswhoestablishedasignificantmusical legacyinthe20thcentury,includingPabloCasals. Asecondresearcher,DanielMendozadeArce(1989),tracedachronology oftheSpanishsuccentorswhoservedattheSanJuanCathedralfrom1749to 1857.9Succentorswerethemusicdirectorsofthetime.Inthisreview,Mendozade Arceprovideddetailedhistoricalreferencesofthechurchsappointedbishops, organization,andmusicpersonnel.Healsoprovidedvaluableinformation regardingthemusicalcontributionsthatimportantfiguressuchasDomingo Delgadomadetosacredmusic. Inaddition,LuisOlivieri(2000)conductedathoroughhistoricalreview thatprovidedacondensedversionofthehistory,currentconditions,andfuture challengesofchoralmusicinPuertoRico.10Thiselaboratereviewwaswritten withseveralpurposes.First,theauthortracedthechoraltraditionoftheislandto churchhistoryanddiscussedthechurchsinfluencesonthedevelopmentof choralmusictopresenttimes.Second,Olivieridiscussedthemaincontributions thatnativecomposersmadetothechoralhistoryoftheisland.Third,Olivieri examinedthehistoricalinfluenceofProtestantchoralmusic,aswellasthe historyofpublicschoolmusic,thecollegechoirmovement,andtheformationof severalnewindependentchoirs.Fourth,Olivieriincludedinformationonsacred andprofessionalchoralfestivalsheldinPuertoRicotheCasalsFestival,in particular.Finally,Olivieriincludedalistofavailablepublishedchoralsacred andnonsacredanthologies.
Earlydevelopmentthesacredbackground PreviousstudiesofchoralmusicinPuertoRicoacknowledgethat
churchchoirsthatperformedworkswrittenintheisland.Thelastappointed SpanishsuccentorattheSanJuanCathedralwasDomingoDelgado(18141856). DelgadowasbornintheCanaryIslandsandwassent,alongwithanorganist,to PuertoRicoin1836tofillthesecondsuccentorposition.Thecomposerhad previouslyservedassinger,copyist,secondorganist,andsuccentoratLaLaguna CathedralintheCanaryIslands. AmongDelgadosworksforchoirisPsalm6(DomineinFurore)fortenor, bass,choir,andorchestra,whichmaybetheoldestPuertoRicanchoralwork preserved.13OthercompositionsincludeMisadelaProvidencia,fortenor,bass, choirandorchestra,whichwascomposedin1856.InadditiontoDelgadosmass, thePuertoRicoGeneralArchivepossessesmanuscriptsforhisSalvea2for violins,clarinet,andbass,Misaa2forviolins,clarinets,frenchhorns,andbass, andInvitatorioOfficioGrande,forwhichonlytheclarinetscoreexists.
Ibid,2000 FranciscoCallejo,MsicayMsicosPuertorriqueos.SanJuan:EditorialCoqu(1976):18 13Olivieri,AshorthistoryofchoralmusicinPuertoRico.
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AlthoughhewasborninSpain,Delgadohasbeenreferredtoasthefirst PuertoRicanmastercomposerwhocreatedabeautifulrepertoireofsacredmusic thathassurvived.14Unfortunately,justafewwrittenpiecesofhismusical legacyareavailableatLaLagunaCathedralandSanJuanCathedralarchives. TheConventofSantaCatalinaatLaLagunapossessessomeofDomingos manuscripts,includingmasses,amagnificat,motets,andabenedictus,among otherminorworks.Delgadosmusicwasconceivedprimarilyforreligious services,ratherthanforthetheaterorconcerthall.Hismusiccontainsmelodic lyricismratherthanaconservativeharmonictreatment,whichisattributedtohis Iberianmusicalbackground,whichincludedItalianopera.Delgadoisconsidered bymanytobetheforemostcomposerofreligiousmusicinPuertoRicoduring thesecondhalfofthe19thcentury. AnothercomposerofthetimewasJuanMorelCampos(18571896),who servedasorganistatthePonceCathedral.Hecomposedmasses,litanies,and salvesforhischurchchoir.MorelCamposalsofocusedoncomposingfolk music,forwhichheismostremembered.LikeMorelCampos,JoseGaudieralso composedmusicforchorus,organ,andorchestra,muchofwhichwasused duringGoodFridayservices,andhasbecomealongheldtraditionwithinthe CatholicChurch.Aroundthesametime,composerBraulioDueoColn(1854 1934)servedasorganistandchoraldirectorattheParroquiadelaSantaCruzin Bayamn.Hissacredworksincludemasses,salves,andlitanies.HisSalvefor contraltoandorchestrawonFirstPrizeattheCertamendelAteneo Puertorriqueoin1910.
14Callejo,MsicayMsicosPuertorriqueos:1822.
In1858,QueenElizabethIIofSpaincreatedadecreethatallowedforthe creationoftheMusicChapelintheSanJuanCathedral.NativecomposerFelipe GutierrezEspinosa(18251899)becamethefirstChapelMasterappointedtothis position.ThedecreesfinancialendowmentallowedGutierrezEspinosatohire singersandinstrumentalistsforsacredservices.Consequently,Gutierrez Espinosacreatedanextensivebodyofchoralmusic,followingtraditional practices,whichmostEuropeancathedralshadalreadyundertaken.Gutierrez Espinosasmusicalcontributionsreachedfarbeyondhischurchdutiesashe establishedareputationasasuccessfulmusiceducator.In1870,Gutierrez EspinosacreatedtheAcademyofMusicinSanJuan.Theacademysopen enrollmentofferedmusicalinstructionandorganizeda250voicechorus. AccordingtoMenendez(1995),GutierrezEspinosaschoralrepertoireis consideredoneofthemostextensivecollectionsofnativesacredliterature.15 GutierrezEspinosasorchestralmusichasbeendescribedasreflectiveof theAustroGermansymphonismof1780to1850.16Hisreligiouspiecesreflectan originalandbrilliantcompositionalstyleevidentinworkssuchasMassinC Majorforchorusandorgan,MisadelaProvidencia(1856)forchorus,tenor,and baritonewithorchestra,SalveReginaforchorusandorgan,TeDeum17,and litaniesandpassions.Furthermore,EspinosawasthefirstPuertoRicancomposer towriteanopera,Guarionex.Hiscompositionswerecompiledandpublishedby MenendezMaysonetfromtheUniversityofPuertoRico.Thereareatotalof118 compositionsinthiscollection,ofwhich91arevocalsacredworks.
GuillermoMenedezMaysonet,Nuestroprimermaestrocoral:FelipeGutierrezy Espinosa,Choral,11/1,(1995):8 16MendozadeArce,DomingoDelgadoGomez(180556):PuertoRicanmaster composer. 17LuisOlivieri,NotassobreelTeDeumdeFelipeGutierrezEspinosa,Coral,11/1, (1995):8
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Thehistoricalpoliticalinfluencesattheturnofthecentury In1898,PuertoRicobecameaUnitedStatesterritorythroughtheTreatyof ParisasaconsequenceoftheSpanishUSAmericanWar,settingforthaneraof adjustmentfeltalmostimmediatelyinchurchmusic.Eliminationofgovernment supportforthechurchmeanttheinevitableeradicationofsalaries formembersofchurchorchestras.Thiseventhadadevastatingeffectonthe musicaltraditionoftheSanJuanCathedral,andmorespecifically,itimpacted traditionalconcertsthatGutierrezEspinosahadconductedfordecades. Additionally,itmeanttheeliminationofnumerousorganistpostsatchurches throughouttheisland.Furthermore,abacklasheffectmarkedtheendof governmentscholarshipsformusicalstudiesabroad,which,accordingto Thompson(1984),onlycontributedtothegeneralfeelingofdisappointmentand frustrationamongmusicians.18 Continuingthetraditionofchoralmusic,othercomposersstartedto
DonaldThompson,LamsicacontemporneaenPuertoRico,RevistaMusical Chilena,38/162,(1984):110117.
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19AmauryVeray,PresentacindeJosQuintn,Coral,4/1(1981):3.
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lostforover70yearsuntilmusicologistandcomposerAmauryVeraydiscovered portionsofthemassin1973.20Verayrestoredandreorchestratedthe workformixedchorus,andtheresultingpiecepremieredatQuintonshome churchin1974.21Eventually,thispiecewouldbeexpandedandreorchestrated forfullorchestraandchorusbycomposerRobertoSierraforitsCarnegieHall debutinNovemberof2003.Quintonsremainingsacredworkswerecompiled andpublishedinObrasCompletasdeJosIgnacioQuintn,VolumeIV(1986).22 Anothercomposer,BraulioDueoColn(18541934),wasaflutistand orchestraconductoraswellasacomposer.Inadditiontohiswellknowndanza compositions,heservedasorganistandchoirdirectoratSantaCruzChurchin Bayamn.HissacredworksincludeSalveforcontraltoandorchestra,AveMaria, andvariouslitanies. AccordingtoOlivieri(2000),musicattheSanJuanCathedralbeganto expandduringRamonMorlaTrenchs(18751953)tenure,duringwhichthe organistandcomposerconductedspecialmusicwithuptothirtyfivesingers accompaniedbyaninstrumentalensemble.Someofhismostoutstandingsacred choralorchestralworksincludehisrenditionoftheSevenLastWordsofChrist writtenforchorus,soloists,andorchestra,andtheMisaCarmelitana(1905)for mixedchoir,soloists,andorchestra.Thecompositionwaslaterawardedatthe prestigiousCertamendelAteneoPuertorriqueoin1914.
Ramon Rivera Bermudez, Biografa de Jos Ignacio Quintn Boletn de la Academia de Artes y Ciencias de Puerto Rico, 7/1, (1976):47-59. 21JosRivera,PersonalinterviewwithRobertoSierra.ComposerRobertoSierra performedinthechoralensembleperformingQuintonsreorchestratedRequiemdirectedby AmauryVeray. 22 AmauryVeray,PresentacindeJosQuintn
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Protestantinfluencesinchoralsacredmusic AftertheoccupationofPuertoRico,Americanmissionariesbeganefforts tofacilitateProtestantchurchdevelopment.Asaresult,thepracticeofsinging hymnsatserviceswassoonadopted,enablingthefastdevelopmentofchoral singinginnewlyformedevangelicalchurches.Contrarily,theCatholicChurch continuedconductingatraditionalLatinmasswhiletheProtestantchurchused thevernacularlanguage.AccordingtoOlivieri,thefirstchurchchoralensemble consistedofonlyenoughvoicestoformaquartetattheEvangelicalSeminaryof PuertoRicoin1920. Thefirsttwoevangelicalchoirsestablishedintheislandwereorganized bytwoAmericanmissionariesin1928.First,SisterHallieLemongathered parishionerstoformthechoirCoralMajorattheSegundaIglesiaCristianade Bayamn(SecondMissionChurchofBayamon).In1978,thischoirwasrenamed CoraldeSalvadorGuardiola.Second,Ms.AliceRyderorganizedachoiratthe PrimeraIglesiaBautistadeRioPiedras(FirstBaptistChurchofRioPiedras). Thesechoirsquicklybegantoperformatotherevangelicalchurchesaroundthe island,servingasmodelsforfuturechurchchoirs.Consequently,severalchoral groupsemergedthroughouttheislandtheCaguasBaptistChurchChoir(1939), InterdenominationalChoirofSanJuan(1944),InterdenominationalChoirof Ponce(1949),ChristianChurchofBayamn(1948),andtheBayamnLutheran Choir(CorodeBayamn),tonameafew. Developmentofchoirsinhighereducationinstitutions Theearlypartofthe20thcenturymarkstheinitialstagesofchoralmusicin
collegeinstitutionsofPuertoRico.Dr.BartolomBover(19031984)hasbeen
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recognizedastheinitiatorofthemoderneraofchoralmusicinPuertoRico.23 Dr.BoverarrivedinPuertoRicoin1931andwasordainedaCatholicpriest,later joiningtheEpiscopalChurchandearningdoctoratesinphilosophyandtheology. In1932,BoverreceivedaninvitationtojointhefacultyatthePolytechnic University,laterknownasInterAmericanUniversityofSanGerman.Bover becamethefirstmusiciantodirectachoralensembleataPuertoRicaninstitution ofhighereducation.Whileworkingthere,BoverfoundedLaMasaCoraldel InstitutoPolitcnicodeSanGermn,whichhedirectedfrom1932to1950.Its repertoireconsistedofsacredandsecularchoralclassicsofthemastersandfolk musicarrangementsfromnativecomposers.Boverschoirperformedatmany schools,universities,andculturalinstitutions,andhethusbecamethefirst conductortoperformPuertoRicanchoralmusicinaforeigncountry,the DominicanRepublic,in1939. Boverisconsideredthepioneerofuniversitychoralmusicbymany historiansandmusicologists.24Afterhefoundedandconductedthechoiratthe PolytechnicUniversity,hecontinuedtoestablishothercollegeandcommunity choirssuchastheGleeClubdelAirearoundtheisland.In1958,someofhis formerstudentsfollowedBovertoformLaCoraldeSanJuan,achoirwhose primaryengagementsincludedliveradioperformances.Hisensembles engagementsincludedpresentationsatmanyculturaleventswiththeProArt SocietyofPuertoRico.Inaddition,Boverschoirsmadeconcertappearancesin theUnitedStatesandtheVirginIslands.
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BovertaughtandconductedchoirsattheUniversityofPuertoRicofrom 1951until1953,andatthePuertoRicanJuniorCollegefrom1958until1975. BoveralsoservedasmusicdirectorattheCathedralEpiscopaldeSanJuanfor overfortyyears.Hisexemplaryteachingandcommitmenttochoralmusic performanceinspiredmanyofhispupils,someofwhomeventuallybecame prominentmusicians:sopranoMaraEstherRobles,conductorAngelMattos Nieves,composerPabloFernndezBadillo,andbaritonePabloElvira.Boveralso encouragedconductorAugustoRodrigueztoorganizetheUniversityofPuerto RicoChorusin1936.25 Anotherimportantleaderinthedevelopmentofuniversitychoirswas AugustoRodriguez(19041993).RodriguezbeganhismusicalstudiesinSan Juan.Atage28,hetraveledtotheUnitedStatestopursuefurthereducationat HarvardUniversityandtheNewEnglandConservatoryofMusicunderthe directionofWalterPiston,FrederickS.Converse,andArchibaldT.Davidson. RodriguezlaterreturnedtotheislandandtaughtmusicattheUniversityof PuertoRico(UPR),becomingtheuniversitysfirstchoraldirectorin1936.26For manyyears,helednumerousconcerts,includingthefirstPuertoRicanchoral concertperformanceatCarnegieHall(1949).Inaddition,underhisleadership theUPRchoiralsobecameanexponentofnativechoralmusictointernational audiencesconsistingofpeoplefromtheUnitedStates,Haiti,Panama,Chile, Peru,Colombia,andVenezuela.Rodriguezsfourdecadesaschoralconductor, musicologist,composer,pianist,andchoralarrangerattheUniversityofPuerto Ricoestablishedanundisputedtraditionofchoralexcellenceatoneoftheoldest collegiateinstitutionsoftheisland.
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Mattos,SemblanzadeBartolomBover:iniciadordeunaeracoral PedroGonzlezPadr,AlamemoriadeAugustoRodriguez,Coral11/2,(1999):p.89
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InspiredbyRodriguez,otherchoirsbegantoemergeatnewcollege institutionsandregionalbranchesoftheUniversityofPuertoRicoandtheInter AmericanUniversity.Currently,theUniversityofPuertoRicohasapproximately 10branches,eachofwhichhasatleastoneconcertchoir.Similarly,theInter AmericanUniversityalsoformedchoirsinthreemajorcities.Othercollege choirswerealsoformedattheCatholicUniversityofPuertoRicobycomposer andconductorAbeldiMarcoandattheConservatoryofPuertoRicobyAugusto Rodriguez.TheMetropolitanUniversity,TuraboUniversity,Polytechnic University,andAdventistUniversityoftheAntillesalsoformedchoirsaround thistime. Aneraofeconomicalandculturalrenaissancethe1950s In1952,theUnitedStatesgrantedPuertoRicoCommonwealthstatus.This politicaleventwouldsubsequentlyunleashachainofeconomicactivities, creatinganeraofculturalrenaissanceledbygovernmentsponsoredinstitutions andcommissionsofmusicalperformancesthroughouttheisland.Oneofthefirst governmentagenciescreatedbyGovernorLuisMuozMarintopromote culturaldevelopmentwasthePuertoRicanInstituteofCulturein1955. Anotherimportanteventinthedevelopmentofclassicalmusicwasthe cellistPabloCasalscommitmenttothedevelopmentofmusicalartsinthe island.CasalsestablishedhisresidenceinPuertoRicoaftervisitinghismothers hometownin1955.Hedecidedtocontributetotheislandsartisticdevelopment, makinghispresenceimmediatelyfeltamongmusicians.Scholarshipsinhis namewereawardedtogiftedmusiciansenablingthemtostudyabroad.The Spanishborncomposervoicedhisdreamsofcreatingaconservatoryanda symphonyorchestra.
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Thecurrentgovernor,MuozMarn,incorporatedCasalssideasintohis socioeconomicdevelopmentplans.Consequently,threevitalagenciessoon becamethemainconduitsforachievingadreamthatCasalsandothersbefore himshared.TheCasalsFestivalwasfirstestablishedasaculturalcomplementto PuertoRicosindustrializationprogramin1957.Thefestivalsprimarygoalwas tofeaturestandardclassicalrepertoireofthemasters.AsCasalsoncestated, PuertoRicanswillbeexposedtothebestmusicperformedbythebest musicians.27 Thenewlyformedfestivalservedasavitalvenueforintroducingclassical music,includingchoralorchestralrepertoires,beginningwithitsensemblesfirst performanceofBeethovensChoralFantasyin1959.Duringtheinitialstagesof thefestival(19601964),CasalsextendedaninvitationtotheClevelandOrchestra ChoirunderthedirectionofRobertShaw.Shawbecamethefirstdirectorto performmajorchoralworksbyBeethoven,Faur,Schubert,andHaydninPuerto Rico.Sincethen,thefestivalhasfeaturedtheClevelandOrchestraChoirand otherchoirsinannualperformancesofmajorchoralworksfromBach,Handel, Haydn,BeethovenandBrahmstoBerlioz,Orff,Dvorak,Verdi,Stravinsky,and PendereckiunderthedirectionofvariousconductorsincludingRobertShaw, EugeneOrmandy,ZubinMetha,andKrzysztof Penderecki. Consequently,twoothermusicalagencieswerefoundedassubsidiariesto thePabloCasalsCorporation.ThefirstwasthePuertoRicoSymphonyOrchestra (1958),whichhasservedastheprincipalorchestrafortheFestivalsince1981.In addition,theorchestrahasperformednumerousnativechoralorchestralworks aspartofitsconcertseasons.Finally,thePuertoRicangovernmentcreateda ConservatoryofMusic,chargedtoofferthehighestlevelofmusiceducation
Donald Thompson and Annie Thompson, Music in Puerto Rico: A Readers Anthology, Lanham: Scarecrow Press Inc., (2002), p. 54
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possible.ThankstoitsadvisorycommitteeandCasalsclosecollaborationwith thegovernor,thePuertoRicanConservatoryofMusicbecametheprimary institutionresponsiblefortrainingprofessionalmusiciansintheisland.By1965, theConservatoryofMusicschoirwasperformingalongwiththeCleveland ChorusattheCasalsFestivalunderconductorRobertShaw.Sincethen,thechoir hasperformedattheCasalsFestivaleveryyear. Initsformativeyears,theCasalsFestivalschoralrepertoirehadprimarily featuredmainstreamclassicalmasterworks.Inspiteofthosecontributions,critics claimedthatthefestivalhadmarginalizednativecomposersbyexcludingtheir compositions.Therefore,by1976theNationalAssociationofComposersbegan topersuadefestivalorganizerstoincludeworksbynativecomposers.Asa result,worksbyCamposParsi,Delano,andVeraywereperformedatthe Festivalin1976nearlytwentyyearsafteritsinauguralconcert. Independentchoirs Sincethe1950s,agrowingnumberofindependentchoirsthatwerenot
necessarilyaffiliatedwithanyreligiousoreducationalinstitutionbeganto emerge.Thesechoirsmadeinvaluablecontributionstothedevelopmentof choraltraditionbyperformingamorespecializedchoralrepertoirefroma cappellamusictosymphonicworks.AmongthefirstweretheGleeClubdelAire (1951)foundedbyBover,CorodeBayamn(1950),andCoraldeSanJuan(1958). Inaddition,CoralPolifnicadePonce(1964)andCoraldeAugustoRodrguez (1970)quicklybecameknownassomeofthebestchoralensemblesintheisland. Subsequently,otherchoirswereformedtomeetthevocaldemandsof performancesoflargechoralworks. ElCoroSinfnicodePuertoRicobeganin1982andhaspresentedannual performancesofHandelsMessiahandBachsSt.MathewsPassion.Thischoir, 17
currentlyconductedbyJamesRawie,hasperformedandhostedseveralchoral festivals.AmongthemostrecentchoralensemblesincludeCoralFilarmnicade SanJuan,CasalsFestivalChorus(1986),CamerataCoral(1991),CoroSchola Cantorum(1992),EscaloniaFilarmnica,CoralBelCanto,andOrfenSanJuan Bautista(1994).Inaddition,theindependentchildrenschoirshavebecomea respectedtraditionsinceElCorodeNiosdeSanJuanwasformedin1966by ProfessorEvaLuco.OtheractivechildrenschoirsincludeCorodeNiosde PonceandCorodeNiosdeCaguas. 20thCenturyChoralMusicofPuertoRico TheinfluenceofthePuertoRicandanzaonchoralmusic Thechoralworkofnativecomposershasinfluencedthetraditional
instrumentalgenres.Forexample,choralliteraturedatedinthe20thcentury initiatedtheuseoftextinnativegenressuchasthedanza.Althoughtheoriginof thePuertoRicandanzaisstilldebatedamongstmusicologists,thereisgeneral consensusthatitoriginatedaround1840.Thedanzaisamusicalcomposition writtenin2/4meter,anditsformalstructureconsistsoftwomainsections:paseo andmerengue.Thispopulargenre,performedbybandsandorchestras,becamea danceformforsocialeventsduringthelate19thcentury28.Thepaseoservesasan introductiontothedanzasmainsection,knownasthemerengue.Thepaseosection usuallyconsistsofeightmeasures,inwhichitsmajesticandelegantcharacter allowsdancecouplestopromenadearoundtheballroomuntilitsfinaldominant chordisheardinanticipationoftheprincipaldancesection.Themerengue consistsofthreemainsections.Thefirsttwonormallycontainsixteenmeasures eachandaresimilarincharacter,whilethefinalsectionstonalandmusical
NlidaFronteradeMuoz,ASelectedNineteenCenturyPuertoRicanComposers andtheirMusicalOutput,DAI(NewYorkUniversity),1988,p.8796
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characteroffersarichcontrasttoitsprecedingsections.Itiscustomarytohear thefirstthemeofthemerenguerepeatedinitsrecapitulation.Danzasoften includedcodasectionsaftertherecapitulationtoendthedance. Bytheendofthe1930s,mostmajornativecomposers,includingManuel A.Tavarez,JoseI.Quintn,andJuanMorellCampos,hadnotonlycomposed differentstylesofdanzasbutwereemployingthemassignaturepiecesinconcert performances.Consequently,theislanderssoonbegantoembraceandadoptthis musicasasymbolofnationalpride.Thedanzastyleofmusicwasoriginally conceivedasaninstrumentaldanceformusedatsocialgatheringsandwas performedbypiano,band,ororchestra;therefore,itwastypicallynotsettotext. AccordingtoRoberts(1995),composerslaterbegantosetthispopular styleofmusictopreexistingpoems.29AclassicexampleisfoundinAngel MislnsmusicalsettingofGustavoA.BecquerspoemTuyYo.Thisisalso evidentinVirgilioDvilaspoemLaCriolla,whichissettothemusicofBraulio DueoColn.Incontrast,textcouldalsobeaddedtopreexistingmusicasfound inRodrguezsRitmoArdiente,originallywrittenforpiano.Inthiscase, Rodrguezmadeachoraltranscriptionofhismusicandaddedthetextfroma preexistingpoem. Accordingtohistoricalwriters,choraldanzasarerelativelyyoung,inview ofthefactthatbythemid19thcentury,folkmusichadalreadybeenarrangedfor choirsinothercountries.Dr.BartolomBoverbecamethefirstchoralarrangerof PuertoRicandanzas,includingLaBorinquea(PuertoRicosnationalanthem)by Astol,MisAmoresbyCampos,ElCoqubyQuintn,andMargaritabyTavarez.30 ThesedanzaswereincludedinhiscollectionentitledArreglosCoralesdelDr. BartolomBover.
29 30
Evelyn Roberts, La danza Puertorriquea en la msica coral, Coral, 11/1, (1995), p.6. Ibid, Roberts
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Similarly,AugustoRodrguezalsomadechoralarrangementsofdanzas, folk,andpopularsongsfortheUniversityofPuertoRicoschoir.Thechoirsfirst documentedperformanceofachoraldanza,Tormento,byJuanMorelCampos, occurredin1937.SomeofRodrguezsbestknowndanzaarrangementsincluded CriollabyBraulioDueoColn,aswellasConga,NoMeToques,LaurayGeorgina, andTormento,originallywrittenbycomposerJuanMorelCampos.Rodrguez establishedanextensivebodyofPuertoRicanchoralworksincludingover125 arrangementsandcompositionsofnativeandinternationalfolkandpopular music.AsmallsampleofRodrguezsmusiccanbefoundintwopublished worksentitledCuadernodeMsicaCoral(Danzas)andCuadernodeMsicaCoral (MsicadeAugustoRodrguez).Inaddition,Rodrguezwasknownforcultivating theartofacappellamusic.SomeofhismostpopularworksincludeRitmo Ardiente,adanzaformixedchoirormenschorus,JesucristoEsTuSoloRescate, andElPiragero. ThefirstPuertoRicanmusicologist,FernandoCas,concludedthat Rodrguezsdanzacompositionsforpianoremainprimarilywithinthetradition ofMorelCamposandQuintonsmusic,andhisrhythmicingenuitysurpasses thatofhispredecessors.31Furthermore,Olivieri(2000)statedthatRodrguezs artsongscomposedbetween1935and1938areconsideredtobeamonghisbest compositionalworks.Furthermore,Rodrguezdescribedtheimpressionistic influencesfoundinhisrecitedmelodies,statingthatancientscales, impressionisticharmonies,andrhythmicflexibilityaccentuatingmusical intentionwereallcombinedtoreflectanidealizedatmosphere.Alongwith Bover,Rodrguezestablishedatraditionofperformingfolkmusicincluding danzas,villancicos,plena,andaguinaldoarrangementsatnationalandinternational
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concerts.Otherearlycomposerswhocontinuedtoexpandthefolkchoral literatureincludePabloFernndezBadillo,RubenColnTarrants,andEsther Alejandro.32 Folkmusicchoralcomposersandarrangers PabloFernndezBadillo(b.1917)hasinspiredhundredsofsingersofall agesthroughhismusic.Asapublicschoolteacherofchorusandband,Badillo enrichedthelivesofmanystudentsatthecitiesofAguadillaandArecibo. BadillostudiedattheUniversityofSanGermanunderBartolomBoverandlater studiedcompositionattheConservatoryofPuertoRico.Hispublishedworks includeArborI(1969)andArborII(1971),whichcontainacollectionofoverone hundredchildrenssongsforunisonchorusandpiano,Albaricias,aChristmas musicaldrama,andCantarRiqueo(revisededitionin1975),acollectionof37 secular,sacredandChristmassongsformixedchoirs.Manyofthesesongswere laterrecordedbytheInterAmericanUniversityChoirofSanGermn,underthe directionofDr.RobertSmith,forthePuertoRicoInstituteofCulturein1973. Badillospopularcompositionsandchoralarrangementshavebeenperformedat manyschoolanduniversityconcerts,includingthechoralfestivalshostedbythe DepartmentofEducationunderAugustoRodrguez.Furthermore,Fernndez BadillopublishedahymnbookentitledHimnarioCriollo(1977),acollectionof104 originalhymns. Anothermajorcontributioncomesfromcomposerandchoralconductor RubenColnTarrats(1940),whobeganhisstudiesattheFreeSchoolofMusic. HeattendedtheInterAmericanUniversityinSanGermanforhisundergraduate musicdegreeunderDr.RobertL.Smith,Dr.RoyHarris,andDr.JamesMcCoy.
KerlinaDelgansandLuisE.Pabn,CatlogodeMsicaClsicaContemporneadePuerto Rico,RioPiedras,PuertoRico:ProArteContemporneo,(1989),p.56.
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MoralesNieva(1928),originallyfromValdepeas,Spain.Nievastudied OrchestralConductingattheManhattanSchoolofMusic,butin1954hemoved toPuertoRicopermanently.HetaughtatUniversidadofTuraboandthe ConservatoryofMusic.Hiscompositionsincludenumerousorchestraland choralworks:CantataParalaPascuadelSeorwrittenformixedchorus,soprano soloist,andorchestra;LasSietePalabras(SevenLastWordsofChrist),formixed chorusandchamberorchestra;Magnificatforchorus,soloist,organ,andtimpani; AnglicanTeDeumforchorus,organandharp;MisaPaleocristianaforchorusand organ;ServicioSabticoforchorusandorgan;MisadeSanCrisstomosformixed chorus.Nievaalsocomposednumerouscantatasforsolovoiceandinstrumental ensembles. AnothernoteworthycomposerofsacredmusicisFatherAbelDiMarco
buthaslivedintheislandsince1972,madegreatcontributionstothefieldof sacredmusic.HejoinedthefacultyattheConservatoryofMusicasprofessorof 22
theoryandcomposition.AccordingtoOlivieri,halfofhiscompositionalworks werewrittenforchoirs,includingSinfoniaSacradeAdvientoforthreemixed choirs,symphonicband,andorgan.Thisworkwaspremieredbythe InterdenominationalChoir(1987).MilanoalsowroteInDulciJubiloforthree mixedchoirs,brassensemble,andorgan(1985),EcceVirgo,consistingofthree motetsandpremieredbyCoralPolifnicadePonce(1990),TeDeumfordouble choirandorgan(1998),andLuxMundi,amotetfordoubleacapellachoir, premieredbytheConservatoryofMusicConcertChoir(1990).AmongMilanos compositionsareEspejodeUnaReina(1991),achildrensopera,ApagatosAlelus (1993)forchorusandorchestrapremieredbyCamarataCoral,andSinfona Colombina,forchoir,sopranosoloistandorchestra,aswellasmanyotherpieces. 1950presentClassicalcomposers Soonaftertheturnofthecentury,manyrapidpoliticalandcultural changesincitedamovementamongClassicalmusiccomposersoftheisland.The movementfocusedonamplifiedtraditionalfolkmusicwithintheframeof EuropeanClassicalforms.33ComposersJackDelano,AmauryVeray,andHector CamposParsibecameknownasthePuertoRicanNationalisticSchoolof Composers. Thefollowingisachronologicallistofthosewhohavemademajor contributionsandtheirprimaryworks.JackDelano(19141997),aRussianborn photographerandmusician,wasbroughttotheUnitedStatesasachild.34He studiedviolaandcomposition(19241932)atthePennsylvaniaAcademyofFine Arts.Aftervisitingtheislandin1941,hedecidedtoreturn,andsettledinPuerto
33WilliamOrtz,APanoramicViewofPuertoRicanNewMusicinWorldNewMusic
Magazine,6(September1996),12. 34 Donald Thompson, Jack Delano, The New Grove Dictionary of Music and Musicians, Ed. S. Sadie & Tyrell. London: McMillian (2001)
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Ricoin1946andassumedvariousrolesinseveralgovernmentagencies.Delanos worksincludemusicalscoresforfilms,incidentalmusic,ballets,orchestral works,andsongs.HischoralworksincludeEstaLunaEsMa(1962),forwomens chorusandsopranosolo,MeVoypaPonce(1965),achoralsuitedepictingthe musicalflavoroftheregion,formixedchoir,Burundanga(1988),anAfro Caribbeancantatabasedonnativefolkelementsforchorus,soloists,and orchestra,LaRosayelColibrformixedchorusandtrumpet(1992),andPtalode Rosaforchildrenschoir(1993).Delanosmusichasbeendescribedas conservativeinstylebutpleasantlyspicedwithdissonance.35Inaddition,Delano becamethefirstcomposertoincorporateandblendnativerhythmicandmelodic elementsintomodernClassicalmusic. AnotherprominentcomposerofthePuertoRicannationalistschoolwas musicologistAmauryVeray(19221995)whostartedhisstudieswithOlympia Morel,thedaughterofthegreatcomposerJuanMorelCampos.Hegraduated fromtheUniversityofPuertoRicoandcontinuedhisstudiesattheNewEngland ConservatoryandtheManhattanSchoolofMusic.Later,Veraypursued postgraduatestudiesinRomebeforehejoinedthefacultyatthePuertoRico ConservatoryofMusic.Hewrotenumerouscompositionsfororchestraand instrumentalensembles,aswellasincidentalmusicalscoresforfilmandart songs.36VerayschoralcompositionsincludeGloriaandAgnusDei(1952)for soprano,mixedchorus,andorgan,ElNiodeAguadilla(1955)forsoprano, narrator,femalechorus,andorchestra,DosMotetesReligiosos(1956)formixed chorus,LaHijadeIorio(1956),incidentalmusicformixedchorusguitar, percussion,pianoandorgan,LaVirgenVaCaminando(1968)formixedchorus,
DonaldThompson,LamsicacontemporneaenPuertoRicoinRevistaMusical Chilena,38/162(1984),110. 36 Cirilo Toro, Diccionario Biogrfico de Compositores Puertorriqueos, Ponce, Puerto Rico: Ediciones Guayacn, (2003), p.113.
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andDeProfundis(1970)fornarrator,mixedchorus,percussion,piano,harp,and strings. Next,HctorCamposParsi(19251998)beganhismusicalstudiesatthe UniversityofPuertoRicoandwasawardedascholarshiptocontinuehisstudies attheNewEnglandConservatoryofMusicandwithAaronCopelandat Tanglewood.HelatertraveledtoParistostudywithNadiaBoulanger.This illustriouscomposerbecameaproponentofthenationalisticmovementinmusic byintegratingfolkelementsintohisworks.37Camposnumerouscompositions includeincidentalmusic,ballet,andmusicforpiano,orchestra,tape,film,organ, voice,andstrings.HischoralworksformixedchorusincludeAleluya(1948),Ave Maria(1954),CantodeYerba(1948),LaPastorcita(1951),Aguinaldo,andLaRosa MsBlanca(1951).38HealsowroteacantatatitledTheSalutations(1952)forvoices andpiano,followedbyachoralorchestralcompositioncalledUbaoMoin(1968) foralto,malenarrator,narratingchorus,singingchorus,andorchestra.His musicalcontributionsincludehisworkasamusicologist,composer,teacher,and administrator. Continuingthelistofthosewhohaveearnedfameinthe20thcenturyis theAmericancomposerFrancisSchwartz,whostudiedattheJulliardSchoolof MusicandheldvariouspositionsattheUniversityofPuertoRicofrom1971until 1986.HealsoreviewedmanyClassicalmusicconcertsfortheSanJuanStar. Schwartzmusicmadeasignificantimpactinthelatesixtieswhenheand colleagueRafaelAponteLedeformedtheFluxusgroup.39Thegroupsmain purposewastopromoteavantgardemusicandexploreanalternativetothe
AureliodelaVega,LatinAmericancomposersintheUnitedStates,LatinAmerican MusicReview,1/2(1980),p.162175. 38 Suzanne Tiemstra, The Choral Music of Latin America: A Guide to Composition and Research, New York: Greenwood Press, 1992 39WilliamOrtiz,ApanoramicviewofPuertoRicanNewMusic,WorldNewMusic Magazine,6(1996),p.12.
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existingnationalisticmusicaltrends.Schwartzmusicalstyleisknownbecauseof itsuseofPolyArtaesthetics,whichtriestoevokeatotalphysicalresponse throughthestimulationofthesensorydomains.40Thisconceptisfurther exploredinSchwartzmusicthroughtheintegrationofcorporalmovement, humor,aroma,synesthesia,hightechnology,chanceelements,andaudience participation.HischoralworksincludePazenlaTierra,formixedchoirandtape, Plegaria,(1973)41forsolovoice,mixedchorusandorchestra,LeTempledelaFleur (1978)forfemaleandmalevoice,mixedchorus,fluteguitar,percussionand aromas,andCantataJuvenildelNuevoMundo,(1992)forchildrenschorus,tenor, andpiano. YetanothersignificantmusicalcontributorisEstherAlejandro(b.1947), thefirstfemalegraduatefromthePuertoRicoConservatoryofMusicin composition.ShelaterstudiedcompositioninFrancewithNadiaBoulanger.Her choralworksincludedanzasandsacredworkssuchasIdilio,adanzabyJ.M. Camposformixedchoir,GloriaaDios(1984)indanzastylewrittenformixed choirandorchestraorpiano,andMadrugada,formixedchoir.Hersacredworks includePopuleMeus,amotetforSATB,BrillUnaEstrella,HoyHaNacido,Padre Nuestro(TheLordsPrayer),andAdormosteCristo.42 WilliamOrtz(b.1947)isanotherveryactivecomposerwhoseworks includechamber,orchestral,electronic,computermusic,opera,artsongs,and choralmusic.AstudentofCamposParsiattheConservatoryofMusic,hewas latergrantedadoctoraldegreeincompositionfromofNewYorkState
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UniversityatBuffalo.HischoralworksincludeAcappella(1983)andCancin NacidadeLucha(1985)forunaccompaniedmixedchorus. CarlosVzquez(b.1952)isyetanotherPuertoRicancomposerwhois consideredaleadingexponentofelectronicandcomputermusicintheisland. HebeganhisstudiesattheUniversityofPuertoRicounderAponteLede.His choralworksincludeLaCaradeunAngelito(1980)formixedchorusnarratorand tape,andSerenataparaCoro(1983). Additionally,RaymondTorresSantoshasreceivedinternationalaccolades forhismusiccompositions.TorresSantosbeganstudyingcompositionwith VerayattheCasalsConservatoryofMusicinPuertoRico.Helatercontinuedat StanfordUniversityandwasgivenascholarshipbytheWestGerman governmenttostudyattheInstituteofNewMusicatDarmstadt.Hereturnedto CaliforniaandreceivedhisPh.D.fromtheUniversityofCaliforniain1985.His commissionedworkshavebeenperformedbyorchestrasinLatinAmerica,the UnitedStates,andbyseveralEuropeanensembles.RaymondSantosworks includeawidepalateofstylesrangingfromcommercial,electronic,filmmusic, orchestral,chamber,songcycles,andchoralworksincludingBellaEstrella, PastoresaBeln(1989),acarolformixedchoirandorchestra,GuakiaBaba(1988) fortwomixedchoruses,CancindelasAntillasforchoirsoloistsandorchestra, JerseyPolyphonyfortwochoruses,pianoandpercussion,EstaEsTodaMiVida (1979),acantataformixedchorusandorchestra,PastoresaBelnforSATB,piano ororchestra,ElegadeReyes(1981)43,acantatafornarrator,chorus,rondalla,and chamberorchestra,andhisRequiem(1995)forsoloists,childrenschoir,SATB choir,andorchestra.
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Luis Olivieri, Elegia de Reyes, Coral, 4/3 (1987):9. This unique work commissioned by the InterAmerican University utilizes native folkloric elements combined with jazz and vanguard musical languages.
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Finally,RobertoSierra(1953)hasbeenreferredtoasoneofLatin Americasmostactivecontemporarycomposers.44Hisprolificoutputincludes symphonies,concerti,oratorio,choral,chamber,ballet,instrumentalpieces,song cycles,filmscores,andnumerousarrangements.RobertoSierrapursuedearly studiesattheConservatoryofMusicandtheUniversityofPuertoRico. Aftergraduation,SierrawenttoEuropetofurtherhismusicalknowledge, studyingfirstattheRoyalCollegeofMusicandtheUniversityofLondon,and laterattheInstituteforSonologyinUtrecht.Between1979and1982hedid advancedworkincompositionattheHochschulefrMusikinHamburgunder therenownedGyrgyLigeti.SierrabecamethefirstPuertoRicancomposer nominatedforaGrammyAwardintheclassicalcategory. Inconclusion,thebodyofchoralmusicliteratureofPuertoRican
http://www.schirmer.com/composers/sierra/bio.html
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CHAPTER3 ROBERTOSIERRA:INTRODUCTIONTOHISLIFEANDMUSIC RobertoSierraisconsideredtodaytobeoneoftheleadingAmerican composersofhisgeneration.In1987,Sierracametoprominencewhenthe MilwaukeeSymphonyOrchestraperformedhisfirstmajororchestral composition,Jubilo,atCarnegieHall.Sincethen,hisworkshavebeenperformed bythemajororchestrasofPhiladelphia,Pittsburgh,Atlanta,Houston,Chicago, Milwaukee,Minnesota,Dallas,Detroit,SanAntonioandPhoenix,aswellasby theAmericanComposersOrchestra,theNewYorkPhilharmonic,theLos AngelesPhilharmonic,theNationalSymphonyOrchestra,theKronosQuartet, ContinuumandVoicesofChange. Internationalorganizationswhichhaveperformedhisworksinclude EnglandsBBCSymphony,theRoyalScottishNationalOrchestra.Somenotable festivalswhichhavefeaturedRobertoSierrascompositionsareWolfTrap,the SantaFeChamberMusicFestival,FestivalCasals,theSchleswigHolsteinFestival inGermany,andFrancesFestivaldeLille.Fromthisexpansiveandprestigious listing,onecanappreciateSierrasoutstandingreputation. Earlyyears&MusicEducation SierrawasbornonOctober9,1953inVegaBaja,PuertoRico,aplace wherelocalpopularandfolkmusicsuchassalsaandbombaareaubiquitouspart oflife.AccordingtoSierra,thesesounds[salsaandbomba]wereeverywhere. TheseedsthatbloomedintothisgreatcareerwereplantedinSierrasearly childhoodwhenhisparents,DesiderioSierraandGloriaEnriquez,purchaseda
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pianointendedforhissisterstraining.45Afterseveralyearsofautodidactic study,Sierrabeganprivatelessonsatagefifteen.Thatsameyearalsomarkeda tragiceventinSierraslife:thesuddendeathofhisfather,which,accordingto Sierra,wasoneofthemostdifficultsituationshehadeverdealtwith.However, hisselfmotivationandloveformusicenabledhimtoembarkonthestudyof classicEuropeanrepertoire. SierrawaswelcomedasapianistintothePreparatoryDivisionofthe PuertoRicoConservatoryofMusic,wherehisacademiccourseworkincluded theoryandharmony.Promptedbytheknowledgeintroducedtohiminthese classes,Sierrabeganplayingwiththeideaofcomposing.Hecontinuedpiano studiesandperforming,butcompositionsoonbecamehisfocus.46 Afterhighschool,SierracontinuedstudyingattheUniversityofPuerto Rico(19701975)andthePuertoRicoConservatoryofMusic(19691976),both fromwhichheeventuallyreceivedundergraduatedegreesinHumanitiesandin MusicComposition,respectively.Afterfinishinghisschooling,Sierrasoonbegan tolookelsewhereforartisticinspiration.Whilestillincollege,hehadvisited EuropeandbecameinterestedinthecityofLondon.Heeventuallyrelocated theretobeginstudiesattheRoyalCollegeofMusicobtainingaCertificateof AdvancedStudiesinComposition,andlater,earningaMasterofMusicdegree inCompositionfromtheUniversityofLondon(19761978). AccordingtoSierra,Londonwasaparticularlylivelyplaceinthe contemporarymusicworldatthistime:IwouldhearpiecesbyPierreBoulez, KarlheinzStockhausen,LucianoBerio[]whenapiecegetswritten,itwill inevitablybeperformed[inLondon]withinweeks.InLondon,Sierraattended
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manyconcertsofBoulezsmusicandfrequentedtheleviathanPromsFestivalat theRoyalAlbertHall.47 FromLondon,SierramovedtoHollandtostudyelectronicandcomputer musicattheInstituteforSonologyinUtrecht(197879)andlearnedthatthe renownedHungariancomposerGyrgyLigeti(19232006)wouldbeleadinga seminarattheprestigiousAixauProvenceFestivalthefollowingsummer.Upon arrivalinAixauProvence,hejoinedonehundredothercomposersinoneof Ligetisclasses.Themaestrosuggestedtohisfledglingstudentsthattheyleave copiesoftheirscoreswithhimforperusalandfeedback. Despitethelargenumberofstudents,LigetitookakeeninterestinSierras music.Consequently,Ligetiaskedtheyoungcomposerabouthisplansforthe followingyearandinvitedhimtotraveltoHamburg,Germanyforprivate study.SierraimmediatelyacceptedandjoinedLigetisstudioforanentire academicyear. Duringtheperiodbetween1979and1982,Sierrapursuedadvancedwork incompositionattheHochschulefrMsikinHamburg.Ofhislessonswith Ligeti,Sierraobserved,Itwasafantasticandimportantexperienceforme.He wasalwayssearchingfortheinnervoiceinmywork.Thisisprimarytostudy withhim.48 AccordingtotheLigetischolarRichardToop,theHamburgclasses attractedmanytalentedyoungcomposerswhowereeagertolearnfromoneof themostrespectedofalllivingcomposers.Likewise,someofthesecurious youngcomposerswerealsoasourceofstimulusforLigeti.Forexample,Sierra drewLigetisattentiontothecomplexpolyrhythmsofCaribbeanandSouth
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Americanmusic,someofwhichfoundtheirwayintoLigetisworksofthe1980s (PianoConcerto).49 AfterlivinginEuropeforsixyears,Sierradecidedtoreturntohisnative PuertoRico(1982).HeacceptedadministrativepositionsattheUniversityof PuertoRico(DirectorofCulturalActivities)andthePuertoRicoConservatoryof Music(Chancellor).Withinafewyears,hebecameDeanofCompositionand thenDirector.Hisgrowingcompositionalprowessandenrichingtravelswere beingrewardedbytheveryorganizationthathelpedsethimonthispath.He wasactiveinthisacademicleadershipforseveralyears.Then,inearly1989,he receivedaphonecallfromtheMilwaukeeSymphony,offeringhimathreeyear tenureasitsComposerinResidence. SierrastimeinMilwaukeeprovedtobeveryproductiveonmanylevels. Hisresidentialdutiesincludeddevelopingacompetition(thewinnersofwhich wouldreceiveaperformancebytheorchestra).Sierrasotherresponsibilities includedadvisingintheprogrammingofcontemporaryliteratureand composingmusic.Attheendofthreeyears,theMilwaukeeSymphonyreleased arecordingonKossClassicsofSierrasworks.Beyondorchestralwork,Sierras MilwaukeeeraoutputincludesachamberpieceentitledPiezasCaratersticas (1991).Thecomposeroffersabriefdescriptionofthiswork:
[InPiezasCaractersticas,]eachmovementusesadistinctiveinterval asitsmainstructuralfeature.Thecoloroftheintervalplaysarolein themoodofeachindividualmovement.Theworkisinflectedwith Latinelements.50
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CornellUniversityinIthaca,NewYork,leavingavacancy.Sierraappliedforthe position,andinthefallundertookhiscurrentpositionattheschool.His extensiveinvolvementintheteachingofcontemporarymusicresultedinhis teachingarangeofclasses.Thoseclassesincludedprivatelessonsin composition,historicalsurveycoursesin20thcenturymusic,andgraduate seminarsfocusingonthemusicofOlivierMessiaenandhisformerinstructor, Ligeti.OtherteachingresponsibilitiesincludeservingasVisitingProfessorat YaleUniversityfrom1995to2002.Amidsthisbusyteachingschedule,Sierrahas maintainedanimpressivelevelofcompositionaloutput.Hisuniquestylegained prominencewithintheclassicalmusicworld. CompositionalstyleandOutput SierrasPuertoRicanmusicalrootsareeverpresentinhiscompositions attimesovertly,atothertimesobliquely.Asmentionedabove,thesounds associatedwithhisnativecountrypermeatethecultureand,therefore,arepart oftheDNAofthecomposerswork.Alsowovenintothedoublehelixofhis aestheticistheinfluenceoftwopillarsofmodernmusic:IgorStravinskyand BelBartok.51InSierraswords,Stravinskyhasbeenalwaysacomposerthatis presentbecauseofhisuseofrhythm.Mymusicdoesntsoundlikehis,ofcourse, butIthinkhisrhythmicsensehasinfluencednotonlyme,butalsocomposers throughoutthepastcentury.Bartokslyricismisimportanttome,andhisuseof avernacularapproachhasbeenanprofoundmodelaswell.52 AsRobertoSierrasstylehasevolved,hehassynthesizedEuropean modernism.WithLigeti,hedevelopedanabstractthoughtprocesswith elementsofPuertoRicanandLatinAmericanfolksong,jazz,salsa,andAfrican
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McIntyre, www.subitomusic.com/st_sierra.htm Laurie Shulman, The New Groves Dictionary of Music and Musicians, vol. 23, p 364-365.
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rhythmsaprocesshecallstropicalization.53Sierrasmusicisdeeplyrootedin theLatinAmericantradition,fullofcolorandbrillianceandpulsatingrhythm. However,Sierrahastakenhisheritageintothemainstreamoftwentiethcentury westernmusic,creatingmusicofsubstanceandoriginality.54 Evenwithintheseinfluences,Sierrasattractiontodualityispresent(e.g. rhythmicimpulseversuslinearconstruction).Sierraembracesthistruthin differentways,manipulatingbasicarchitecturalelementsofcomposition,at timesinjuxtaposition.Forinstance,InAlegra(1996),thebrightrhythmicdriveof 2beatspermeasure(in6/8time)isoffsetbytheconstantuseofsyncopated passagesbetweenthemelodiclineandtheinstruments.Inaddition,thethird movementofConciertoparaOrquesta(1999)alternatesbetweenangularthematic materialinthebrass,andmomentsofbittersweetmelodicfragmentsbythe winds.55 AnotherexampleofSierrasmanipulationofcompositionalelementsis evidentinFandangos(2000).FandangosisdecidedlyPuertoRicaninoverallstyle, veeringperiodicallyintoadventurousharmonicmaterial.Furthermore,it interspersesdenseaccumulationsoforchestralcolorthatburstforthfromwithin arelativelystraightforwardhomophonictexture.56Consequently,Fandangoshas becomeoneofSierrasmostfrequentlyperformedcompositions.Inareviewfor TheGuardianLondon,AndrewClementswrote: ItisanexpertlyscoredpiecethattakesadancebySolerandpassesit repeatedlythroughtheprismofcontemporaryharmonicandrhythmic procedures;theresultisattractive[...]57
53 54
Ibid, Shulman Ibid, McIntyre 55 Sierra, http://www.robertosierra.com/reviews 56 Ibid , Sierra 57 Ibid, Sierra
34
CommissionedWorks CommissionedbyLeonardSlatkinandtheNationalSymphonyOrchestra (NSO),FandangoshasbeenfeaturedonnumerousNSOprograms,includinga Europeantour,andinresidenciesaroundtheUnitedStates.Afteritspremiere, SlatkinsaidtoSierra:Thisisapiecethatwillbedonebymanyotherconductors andorchestras.58Hispredictionwasindeedprescient,asFandangoshas receivedperformancesbygroupsincludingtheClevelandandMinnesota Orchestras,PhoenixSymphony,andtheLosAngelesandBuffaloPhilharmonics. Inaddition,MaestroSlatkinledtheBBCSymphonyOrchestraperformanceof FandangosattheopeningconcertoftherenownedLondonPromsinJuly2002. OthercommissionsofSierrasworksincludeConmadera,metalycuero,co commissionedbytheLosAngelesPhilharmonic,theRoyalScottishNational Orchestra,andtheCasalsFestival.Consequently,thisworkspremierewaspart oftheBBC20thCenturyRetrospectiveSoundingtheCentury.Additionally, Fanfarria,ariaymovimientoperpetuoforviolinandpianowascommissionedby theLibraryofCongresstocelebrateCoplandscentennial.SierrasConcertofor OrchestrawascommissionedbytheKoussevitzkyMusicFoundationandthe PhiladelphiaOrchestraforthecentennialcelebrationsofthePhiladelphia Orchestra.RobertoSierraslatestguitarconcerto,Folias,writtenfortheworld acclaimedguitarvirtuosoManuelBarrueco,premieredinOctober2002. AnotherrecentcriticalandpopularsuccesswasSierrasConcertofor SaxophonesandOrchestra(2003),premieredbytheacclaimedsaxophonistJames CarterandtheDetroitSymphonyOrchestra(DSO)conductedbyNeemeJrvi. ReviewingthepieceintheDetroitNews,LawrenceB.Johnsonsaid,
[Sierras]threemovementconcerto,whichhasthesoloistswitchingoff betweentenorandsopranosaxophones,isadelightandathriller,idiomatic
58
35
Infact,thepiecewassowellreceivedthattheDetroitSymphonyOrchestra programmeditssecondrunofperformancesseveralmonthslater. OneofSierrasrecentlycommissionedworks(SinfoniaNo.1)wonthe2004 KennethDavenportCompetitionfororchestralworks.Sierrasfirstworkinthe traditionalsymphonicformwasperformedbytheSt.PaulChamberOrchestra (SPCO).RobertoSierrastructurallymodeledhisSinfoniaNo.1afterBeethovens firstsymphony.Aboutthiswork,thecomposercommented,Iwantedtodo somethingwiththesharpnessandclarityoftheearlyBeethovenpieces.Beyond overallstructure,thereis,infact,athematicreferencewithintheworksscherzo movement.60Sierradescribeshisworkinthisstatement:
DuringthelastdecadeIhavewrittenseverallargescaleorchestralworks:Tropicalia duringmycomposerinresidenceyearswiththeMilwaukeeSymphonyOrchestra,and ConcertoforOrchestra,writtenmorerecently(2000)duringmyresidencywiththe PhiladelphiaOrchestra.However,thisworkisthefirstofthemultimovementworks thatItitleSymphony.Thereisonegoodreasonforit;itisindeedasymphonyinterms ofthestructure,notfar(exceptforaspectsoftonality)towhatBeethovendidinhisfirst symphony.Infact,ImodeledmyworklooselyonBeethovens1st.Forexample,thefirst movementstartswithaslowexpressiveadagio,followedbyanallegrothatclearly containsthebasicformalelementsofsonataform.Thesecondmovementburstswith emotionandintenseorchestralcolors.Thescherzothatfollowslooksagainat Beethovensclassicism,althoughherethetimesignatureisnottheusual3/4butrathera bouncy5/4.Thesymphonycloseswithanothermovementinsonataformprecededbya slowintroductionthatleadstoanexpositioninfusedwithrhythmsevocativeoftheclave beatinsalsamusic.61
36
Kandinskycontains11shortmovements,eachnamedafterworksbytheRussian abstractionistpainterWassilyKandinsky(18661944). MostRecentCommissions SomeofSierrasmostrecentcommissionsincludeSinfonaNo.2, commissionedbytheUniversityofMiami,SchoolofMusicAbrahamFrost CommissionSeriesandSinfonaNo.3,commissionedbytheMilwaukee SymphonyOrchestrawithfundingfromtheJoyceFoundationofChicago. Inaddition,SierrarecentlycompletedDoubleConcertoforviolinandviola,co commissionedbythePittsburghandPhiladelphiaOrchestras,Bongo+, commissionedbytheJuilliardSchoolincelebrationofits100thanniversary,and lastly,Borikn,afourteenminutelongorchestralwork,commissionedand performedbytheCasalsFestivaltocelebrateits50thanniversaryinFebruary 2006. Upcomingcommissions SierrasupcomingcommissionsincludeaworkfortheDallasSymphony
PopularesattheFestivalofNewMusicinHuddersfield,England,underthe directionofJamesWood.Inthisfiveminuteacappellasettingformixedchoir, thecomposerdepictsthetropicalatmosphereofmorning(CantoMatutino), sunset(Ensueo),andevening(CantoNocturno)withoutanyuseofwords.Inan interviewconductedbyLuisOlivieri,SierracommentedthatCantosPopulares evokesHispanicCaribbeanfolkloricandpopularelementsbymergingthe variousmelodicandrhythmicelementsoftheisland(PuertoRico),yetdoesnot focusonaspecificgenreofmusic.Interestingly,Sierraalsoexpressedhisdesire tocomposeasettingofthetraditionalMassinthenearfuture.62 InCantosPopulares,thecomposercreatesthreepicturesqueillustrations,
depictingeachpartofthedaybyutilizingawiderangeofvocalcolors.Thefirst section,CantoMatutino,translatedasMorningSong,beginsasasongthat graduallytransformsitselfintoacacophonyofpercussivesound.Thisprocess climaxesinapitchlessandhighlysyncopatedpassageresembling,inSierras words,atypeofwhitenoise.63Fortheremainderofthesection,Sierrauses thisprocessinreverse,culminatingwiththeinitialsongheardinthe introductorypassage. Alsointhisfirstsection,Sierrareliesonhiscreativeuseofunvoiced fricatives,aspirates,andplosiveconsonantsinvariousvocalregistersand dynamiclevels.Thecomposeremploystextualdensity,splittingthechoirinto sixteenseparatepartstoachievewhatSierradescribesasamusicaleffect
62
38
Figure3.1CantosPopulares.CantoMatutino.
64
Ibid,Olivieri,(1989).
39
Figure3.2.CantosPopulares.Nocturno.Superimposedrhythmicpatterns.
40
InareviewbyPeterJacobifortheHeraldTimes,hewrote:
[...]Thefirst[CantosPopulares]actuallyrecalledthemoreavantgardemusicofGyrgy LigetiandKrzystofPenderecki;itsoneofthoseconcoctionsfeaturingstaggered chorallinesthatmakealistenerthinknooneistakingabreathbecause themusicneverpauses[]66
Idilio(1990) IdilioisauniqueworkforSATBtextlesschorusandorchestrawhich,
Inaddition,theMilwaukeeSentinelreviewstated: Sierras[]Idilio[...],asensuoustributetothePuertoRicanrainforest
incorporatingwordlesschorus,reaffirmedoneofthestrongestcompliments thatcanbepaidtoacomposertodaywhochoosestoworkwithtraditional toolsofmelody,harmony,andrhythm:Hismusicrepresentsauniquevoice, strikinginitsoriginalityandbearingnotracesofderivationorimitation.69
PeterJacobi,http://www.music.indiana.edu/publicity/press/ ArticlesPreviews&Reviews/articles/200503/20050307HTJacobi2.shtml. 67 Nick Strimple, Choral Music in the Twentieth Century, Amadeus Press, LLC Pompton Plains, NJ, (2002):207 68WalterAaronClark.SocietyofAmericanMusic,16/1,(1998):110. 69G.SchirmerInc.,AssociatedMusicPublishers,Inc., http://www.schirmer.com/default.aspx?TabId=2420&State_2874=2&WorkId_2874=33176
66
41
GuakiaBaba(1992) SierrasetsthisSATBacappellaworktothepoemoftheillustriousPuerto
Rafael Gonzalez Brothwell, An original composition, La Cosecha for Orchestra, and La Clave: A Cultural Identity. DAI (Louisiana State University), 2005, p.167
70
42
71
Ibid, p.167
43
TheNewYorkpremiereperformanceofBayoanhadfavorablereviewsstating:
Mr.Sierrasscorewasvividallthewaythrough;heisfirstandforemost abrilliantandcolorfulorchestrator,amasterofawiderangeofadvancedtextures,but alsoanengagingmelodistandmanipulatororrhythms.75
LuxAeterna(1996) SierrasLuxAeternaissetforanunaccompaniedmixedchorus.Itsabstract
John Pareles, The New York Times, C-1, October 14, 1994. Roberto Sierra. Bayoan and Extasis de Santa Teresa, Bronx Arts Ensemble, Albany Records, Ibid, Sierra. Alex Ross,In Performance, Classical Music, New York Times (October 17, 1994).
CD cover.
74 75
44
Inanotherreview,byBenjaminFrandzelwrote:
HonoringLigetismanyyearsasateacher,theprogramfeaturedworksbytwoofhis studentswhobecamemajorcomposers.Inanhomagetothemaestro,PuertoRican composerRobertoSierracreatedhisownsettingofLuxAeterna,withmanyofhis teacherstechniques.SierraborrowsLigetistempoanduseofcanon,thoughinamore audibleapproachwithlessdensevocallines.Sierrasharmoniesareoftenbeautifuland hiscounterpoint,excellent;theSingerssoundedstrongandconfidentinthiswell preparedperformance[]77
76 Benjamin Frandzel, San Francisco Classical Voice, http://www.sfcv.org/arts_revs/volti_3_15_05.php 77 Benjamin Frandzel, San Francisco Classical Voice, http://www.sfcv.org/arts_revs/sfchambersingers_4_8_03.php (March31,2003).
45
Figure3.4.LuxAeterna.Canonicrhythmicpassages. ThecompositionalstyleofRobertoSierrasearlyworksreflectshisunique
CHAPTER4 ANALYTICALANNOTATIONSONSIERRASMISSALATINA Background TheNationalSymphonyOrchestrasassociationwithRobertoSierradates backtotheirfirstperformancesofSASIMA,conductedbyZdenekMacalin1990. SincethentheNationalSymphonyOrchestra(NSO)hascommissionedand performedseveralofSierrascompositionsduringMaestroLeonardSlatkins tenureasMusicDirector.ThemostrecentofthesecompositionswasFandangos,a brieforchestralworkintroducedbySlatkinandtheNSOin2001.In2003, MaestroSlatkinaskedSierratoconsiderwritingaworktocommemoratethe 75thseasonoftheNationalSymphonyOrchestraandthe40thanniversaryofthe ChoralArtsSocietyofWashington,whichalsocelebratestheeffective collaborationofthesetwoorganizationsoverthedecades.Mr.Sierraembraced thisopportunitytowritehismostambitiousworktodate,afullconcertlength settingoftheRomanCatholicmasslastingseventyoneminutesawork describedasoneofSierrasmostwellroundedmasterpieces.78
SierrasstatedpurposeregardinghisMissaLatina(ProPax)isthatitwasa
78 79
Robert Aubry Davis, Pre-concert Lecture with Roberto Sierra (January 31, 2006). John Chester, Pre-concert interview with Roberto Sierra, Library of Congress (February 2,
2006).
47
Thecomposerssubtitle,ProPax,identifiestheworkasamassforpeace,
ThecomposersoriginalintentionwastosettheOrdinaryoftheMass
80 81
Ibid, Chester. Ibid, Chester 82 The liber usualis contains chants of biblical passages.
48
PremierandReception ThepremiereofMissaLatinatookplaceonFebruary24,2006attheJohn
49
Also,DanielGinsberg,areviewerfortheWashingtonPostwrote:
[MissaLatinais][...]filledwithsuchclassicLatinoelementsassalsalikerhythms,bright orchestralcolorsandevocativepercussion,MissaLatinaisanaturalnextstepforthe52 yearoldcomposer,whosaysheseeksheartfeltmusicwithadeepemotionalcontent. Inthisway,SierrarecallsearlierLatinAmericancomposerssuchasHectorVillaLobos andAlbertoGinastera,whofeaturedsoundsfromtheirrespectiveBrazilianand Argentinehomes.OsvaldoGolijovofArgentinaisperhapstheonlyothercomposer todaywhopossessesthesamecommandoftheLatinworldsuniqueidiom.87
TimPagefromtheWashingtonPostwrote:
[...]theMissaLatinaisremarkablyorganicinitsexpression:Ifitismusicthatsetsoutto belikedperhapsloveditisalsoaunifiedand,onesuspects,deeplyfeltutteranceof theheart.Itcertainlyreceivedajoyfulsendoff.Thechorussoundedbothtransparent andpowerful;sopranoHeidiGrantMurphysangherlong,limpidpartwithafreshand floridsweetness,whileNathanielWebsterbroughtdecorumandagilitytothepassages forbaritone.Slatkin,whocommissionedtheMissa,seemedtobehavingthetimeofhis life,workinghard,conductingwithaffection,withafullcommandofthescoresmany complicationsandthatsamesenseofrapt,delighteddiscoveryIrecallfromhisyears withtheSt.LouisSymphony.Judginganyworkontheevidenceofsuchabrief acquaintanceisalwaysrisky;still,itisprobablysafetosaythattheMissaLatinawill bringpleasuretoagreatmanylisteners.SamuelJohnsonusedtosaythatthefirstdutyof abookwastomakeuswanttoreaditthrough;similarly,Icantimagineanybodywho startslisteningtotheMissaLatinawantingtoturnitoffbeforeitisover.88
Scribneralsovoicedhisaccoladesduringalocalradiointerview:
Thisisaworkthathasgreatgrandeurandimmediatelyconnectswithitsaudience [Instantly],andyet,ithasthedepthwhichwillassureitslonglifefarbeyondouryears [...]IwouldliketopaytributetoRobertoandothercomposerswhohavejoinedhis
50
persuasionthatthebiggestchallengeofourtimeistoreconnectthecomposertoits audience[...]MissaLatinaeasilytakesitsplaceasoneofthemasterpiecesofourtime.89
LeonardSlatkinstated:
conductorLeonardSlatkin,choralconductor,NormanScribner,andsoloists, offeredapostconcertdiscussiontotheconcertattendees.Init,conductor LeonardSlatkinledaninformaldiscussionincludingtheirpersonalimpressions regardingthemass,aswellasperformancecommentary.Slatkinbegan, commentingthattheorchestradidnotsolelydoublethechoir,but,rather,hadits ownmusicalmaterial.Inaddition,baritonesoloistNathanielWebsterstated,I foundthevoiceleadingtobeclearandfriendlytomypassagesasentiment echoedbysopranoHeidiGrant.91 LeonardSlatkinconcludedthelecturebysolicitingtheaudiences comprisedofconcertviewers,performersandcriticspersonalimpressions regardingtheMass.Theresponsefromtheaudiencewasoverwhelmingly positiveincludingcommentssuchas:Iamamazedonhowthecomposer broughtthecontemporaryidiomofthisLatinmasstotodaysaudience,and
89
JohnChester,PreconcertinterviewwithRobertoSierra,LibraryofCongress(February
51
describeshismusicasheartfeltmusicwithadeepemotionalcontent.Sierra treadsamoremelodicterrainthanotherLatininspiredcomposersworking today,whichiswhatattractedNSOMusicDirectorLeonardSlatkintohiswork. Thecomposerutilizesavarietyofcompositionaltechniquesandstylesto expresshispersonalviewofthemasstext.Inaddition,eachmovementofthe masshasitsowndistinctflavor,orasthecomposerdescribes,adifferent tradition,yetisclearlyunifiedbyrhythmicandharmoniccoherentelements. Theopeningmovementofthemass(Introitus)employschantlikemelodies,open parallelharmonies,useofdifferentmodalitieswithhintsofnondiatonic harmonies,andsuperimposedtext,revealingSierrasabilitytosynthesizetheold andthenew. Thesecondmovement(Kyrie)displaysSierrascreativeuseoftexturesby playingwiththehomophonicversuspolyphonicsettingsofthetext.The composerusesthepleadingmomentsofthistexttoweavethesoloistslinesin andoutofthetexturewhilethechorussings,thuscreatingasenseofdialogue betweenthesoloistsandchoir.Thismovementalsointroducesharmonicshifts betweendiatonicandnondiatonicsonoritieswhichareprevalentthroughoutthe mass,asifsymbolizingourstruggleforpeace.Inaddition,Sierrausesthe Christemiddlesectionofthismovementtoformallyintroducesegmentsofthe
92
Ibid, Slatkin.
52
principalrhythmicmotive,which,accordingtothecomposer,cannotbelabel sincetheyareallderivedfromthesamemotherfigure.93 Thefourthmovement(Gloria)isamultisectionalsettingwhichutilizes alternativeharmonicvarietyalludingtodiatonic,modal,andseveralnon diatonicsonorities.Inaddition,theLaudamustesubsectionfeaturesthechoir andsoloistspraisingGodasSierrasetstheirwordstotherhythmsofsalsa music.Thissectionendswithainspiritedfugatopassagesupportedbythe orchestrassyncopatedLatinrhythms. YetitisinthecentralCredomovementinwhichthecomposerbelieves thathisviewofspiritualityandtoleranceandtheirroleincontributingtopeace emergemostclearly.AccordingtoScribner,Sierrahasverynewwaystotalk abouttheCredo,newwaystosetthetrialsandtribulationsofourtimesregarding organizedreligion.TheCredoisthesinglemovementthathadthemostunique andspecialimpactofallthemovementsofthismasterpiece.94Thiscentral movementsuseofvariationinsomecasesservesasstructuralunification.By bringingbacktheprimarymotivesafteracontrastingsection,Sierracreates structuralclarity.Also,Sierrasuseoftempovariation(slowfastslow)between subsectionsprovidestructuralclarityandbalanceinthistwentyminutelong movement. Inthefifthmovement(Offertorium),Sierraemploysamultistylistic approachtoillustratethemeaningtext.TheOffertoriumbeginswithadramatic orchestralpreludewhosetextureandintensitygraduallydissipateasitleadsinto theBaritonestranquilprayerofpeaceforJerusalem[humanity].Subsequently, thecomposerreversesthisapproachbyaddingtheSopranosoloistsandchoir. SierraalsoreintroducestheLatinrhythmicelementandconcludeswiththe
93 94
Sierra,PersonalInterviewwithcomposer(February1,2006). Slatkin,Postconcertdiscussion(February2,2006).
53
choirsrhythmicmotivesthatorganicallyintensifytowardstheirfinal acclamationonthewordAlleluia. Thesixthmovement,(Sanctus),employsasimilarmultistylisticapproach tothesettingofitstextasinthepreviousmovement.Thatis,themovement beginswithanenergeticsection,SanctusDominus,followedbyamoreflowing section,featuringdancelikeLatinrhythmsplenisuntcaeli.Thepenultimate sectionfeaturesonethemassmostbeautifulmelodiesfeaturingtheSoprano, Baritone,andchoir.Sierraunifiesthisshortmovementbyculminatingwitha modifiedreturnoftheBsection. Thelastsectionofthemass,AgnusDei,featurestheBaritone,Soprano,
andtheLatinocharacter.Sierrastates,ItisinfusedwiththeCaribbean
54
gesturesthatalludetomypersonalbackground,myownHispanicheritage, whichcolorsomuchofmymusic.97Thesegesturesareparticularlyevidentin theLaudamusteoftheGloriaandthePlenisuntcaelioftheSanctus. Introitus(ProPax) SierrasmassbeginswithanIntroitsubtitledPropax,intendedasaprayer forpeace.98TheIntroitisoneofthefivePropersoftheMass,originallysungby thescholatoaccompanytheentranceofclergytothealtaratthebeginningofthe Mass.99Thisfirstmovementissetforsopranosolo,SAchorus,andorchestrain binaryform(A,B,Coda)(seeTable4.1).ThetempoindicationismarkedComo unaplegaria(quarternote=56).Thesopranobeginsherplea,singinginmessadi vocethewordsDapacemDomine.Thisimportantmelodicmotifisutilized throughouttheentiremovement.ThismotifisbasedupontheDapacemdomine chant(seefigure4.2).Herprayerisaccompaniedbytheorchestrassustained parallelfourthandfifthharmoniesmovingbystepsinthelowerstringsagainst ornamentedsegmentsinthewoodwinds.
55
Figure4.2.Introit.DapacemdomineinDPhrygian. 56
Bytheendofthethirdphrase(mm.1017),amoredefinedsenseof rhythmicmotionisclearlyestablished.Thefirstclimaticmomentofthismass occursonthelastphrase,etplebestuaeIsrael(thepeopleofIsraelasGods servants),atwhichpointthesopranossustainedGisheardovertheorchestras rapidlyascendingDPhrygianscalarpassageswhichcadenceforthefirsttime withamajorsonority(mm.3838).SectionAconcludeswithabriefrestatement oftheinitialmelodicmaterial,thistimeperformedbytheoboeandclarinetand spicedwithsubtleoctatonicflavorsaboveaDpedal,depictingascene reminiscentofancientJudaictimes(mm.4147).100 IntheBsectionoftheIntroitus,Sierrajuxtaposestheinitialphrasesofthe LaetatusSum101againsttheGloriaPatri,whichistraditionallyrecitedaftereach psalmintheDivineOfficesinceSt.BenedictsRuleof525.102Sierraseamlessly interweavesthesetwoinsteadofpresentingeachseparately.Thefemalevoices chanttheLeatatusSuminunison,whilethesopranosoloistsimultaneously carriesthetextoftheGloriaPatrioverthefemalevoices.Bothoftheselines mergeatthefinalAmensection,thusendingthemovementwithopenfourths inDPhrygian,asitoriginallystarted. ThroughouttheIntroitus,Sierrasexpressivesettingofthetextcontains someofthesamemelodiccharacteristicsassociatedwithchant.Regardingthe intervalsbetweenpitchesinchantmelodies,RichardHoppinstates:
Inalltypesofchant,melodicprogressionsareprimarilyconjunctthatismovingby stepupordownthenotesofthemode.Skipsofathirdineitherdirectionarethemost commonformofdisjunctmotion,andsomechantsconsistofnothingbutseconds,
57
103
Hoppin,MedievalMusic,p.15
58
Movement1.Introitus Form Text Tempo TimeSignature Forces TonalArea Length A Dapacemdomine Comounaplegaria q=54 3/4 Sopsolo,Orch daeolean/phrygian 48mm B Leataussum Unpocomas q=56 3/4 Ssolo,SAChoir,Orch Dphrygian/octatonic 28mm Coda (Understated Introduction) Unpocomas q=56 3/4 Orch. gaeolean 14mm
59
Figure4.4.IntroitusCoda.Introductionofthetresillorhythmicfigure. Kyrie Thesecondmovementofthemassissetforsoprano,baritonesoloists,and chorusinABAform(Figure4.6).Thetempomarkingindicatingcongran expression(quarternote=58)beginswithadescendingDoctatonicscale(D,Db,F, F#,G#,G,B,C),employingsharpminorsecondsdissonancesoneachstrong beatanddissolvingintoparallelfifths(F#sharpandC#sharp).Theopening twomeasuresoftheKyrie105,introducedbytheorchestrastriplefortedissonant chords,createanabruptdynamiccontrasttothepreviousmovement(seeFigure 4.5).Thefirstpartofthismovementconsistsofthreeintroductorychoral
Kyrie, the first part of the Ordinary of the Mass, is a part of the opening Entrance rite of the Roman Church and is sung immediately following the Introit.
105
60
Figure4.5.Kyrie.Introduction(Octatonic)
Giro is a percussion instrument which, along with the claves, cowbell, and maracas, is found in many Spanish speaking Caribbean cultures. Dale A. Olsen & Daniel E. Sheehy, The Garland Handbook of Latin American Music. New York, NY:Garland Publishing Inc. (2000):135.
106
61
TheBsectioncontrastsrhythmicallyandtexturallyfromtheAsection. Forthiscontrastingsection,Sierraassignsthefirsttwoadditivesegmentsofthe tresillotothebaritoneandsopranosoloparts,heardonthewordChriste (Christ,seeFigure),andassignsthequintillopatterntotheguiroandclarinet parts.Theserhythmicpatternsarethenjuxtaposedagainstthechoralparts, horns,andstringssustainedphrases,fluctuatingbetweendiatonicandoctatonic harmonies.Themiddlesectionalsointroducesthe3/2clavepattern(seefigure 4.6),culminatinginarhythmicacclamation.TheBsectionendswitha modulatingcadentialextensiondeliveredbythesoloistsandprecededbyafour measureinstrumentalinterlude.ThisinterludemodulateschromaticallytoDb major,ultimatelyreturningtoF#sharpharmonicminor.
Figure4.6.Kyrie.Introductionofthetresillomotive.
62
63
26mm
Gloria GloriainexcelsisisthesecondpartoftheOrdinary.Thishymnofpraise
The Gloria is one of the psalmi idiotici, a psalm-like text composed by an individual rather than being taken from the Biblical Psalter. Jeffers, 2000: 46.
107
64
Gloriainexcelsis Sierrabeginsthishighlyrhythmicandfestivemovementwithatempo indicationof(dottedquarter=126)markedCongranallegria(withgreatjoy).Sierra adoptsthetresillosadditivepattern(3+3+2)asitsopeningtimesignature.This tresillopatterncanclearlybeseenintheorchestralwriting,aswellasthevocal writing.AonemeasureascendingCovertonescale108precedesthesopranos entranceonthewordGloria.Thispatternisfollowedbytheremainingvocal partsatpointsofimitationeverytwomeasures(mm113). Sierrafollowstheopeningsectionwithasupplicationforworldpeace(et interrapax).Thesectionbeginswithmalevoicesofthechorussinginginunison, followedbyabaritonesoloist.Thefemalevoicesofthechoruslaterenterin homophony,concludingonthewordpaxandfollowedbyafestive instrumentalinterludeinFmixolydian. Sierra repeats the opening text, and although the text is repeated, he only recapitulates the motive from measures 11 through 15, with slight modifications. Sierrachangestheaccompanyingrhythmicpatternintheorchestratoincludethe quintillo figure and concludes this section with a coda, which contains a three fold proclamation of the opening motive followed by another instrumental interludeinovertonesonorities.
The overtone scale, is a non-diatonic scale based on the eighth to fourteenth partials of the overtone series (C,D,E,F#,G,A,Bb,C). Elliott Antokoletz, Transformations of a Special non-diatonic mode in Twentieth-Century Music: Bartok, Stravinsky, and Scriabin, and Albrecht. Musical Analysis, 12/1, (March 1993): 25-45.
108
65
Table4.3.Movement3(Gloria).FormalStructure
Text Form Tempo Gloria A Con allegria (h.=126) Time Signature Forces 3+3+2 baritone, Choir C(OT), Oct, Fmix. F/B/F, (OT) 113mm Laudamus B Congusto Movement3.Gloria Gratias Domine QuiTolis Quoniam InGloria Deus tuSolus C D E F G Moderato (q=84) 3/4 soprano Women Baeolean to Dmaj7 Rapido (q.=116) 6/8 S,B, Chorus Expresivo (h=58) 4/4 3/4 Chorus Rapido (h.)=76 Cuttime S,B, Chorus Octatoni c 3+3+2 Chorus Gloria A
(q=120)
4/4 baritone, Chorus D Mixolydia n vI
Tonal Area
Length
45mm
44mm
S,B, Chorus,Or ch A,D D aeolean aeolean Cphy, Oct. Oct, FLydian Aminor Fmixo, Oct. 138mm 67mm
C(OT) to CMaj.
59mm
118mm
32mm
66
Figure4.8.Gloriainexcelsis.Tresillorhythmusedasthemeter. Laudamuste LaudamusterevealsSierrascreativeabilitytoinfuseLatinofolkand popularrhythmicelementswithecclesiastictext.Thishymnofpraiseissetin Chachachstyle109,mimickingapopularmusicalCubandanceformwithorigins rootedintheCubandanzn.110Sierrastempoindicationof(quarternote=120) markedCongusto(withflavor)adoptsasimilarformalstructure(ABA)tothat usedintheprevioussection.Theharmonicprogressionforthissectionisbased ona(iiV)progression111,allowingthemusictodevelopthroughthesequential layeringofmelodicandrhythmicelements.
109 80
A Cuban dance from Peter Manuel, Popular Musics of the Western World (1988): 31. Olsen & Sheehy, 135. Rebeca Mauleon, The Salsa Guide Book for Piano & Ensemble (1993):142.
111
67
ThebaritonesolobeginsthismovementwithathreemeasureincipitinF Lydian(mm.110113,seeFigure4.9.)TheAsectionstartswiththewomens entrance,singinginfourpartharmonytheopeningmotive(Laudamuste)inthe twomeasurerhythmicpatternperformedthroughoutthissection,inconjunction withsixadditionallayersplayedbytheorchestraasanostinato.Sierracontinues todevelopthemontuno112byaddingfirstthebaritonesolowithshort improvisatorylikesyncopatedmotives,resultingincrossrhythmicinteractions (mm.118).Thissectiondevelopsfurtherasthemalesectionofthechorussings thecontrabasspart(tumbao113)withtext.However,themotivicmaterialinthe nextsection,performedbythefemalevoicesandechoedbymalevoices,contains moresustainedlyricallines.Thesewordsarelaterheardatpointsofimitation everytwobeats(mm.141146),endingwithathreefoldhomophonicacclamation bythechorus(glorificamuste,mm.147151).
Figure4.9.BaritonesincipidLaudamustesmontunosection.
112
113
Montuno- a repetitive harmonic progression featuring an instrumental of improvised passage. Tumbao- rhythm used in the Cuban son which anticipates the downbeat.
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verysimplestyle.Thisacclamationintriplemeterismarkedmoderatowitha tempoindication(quarternote=84).Inaddition,itstonalcenter(baeolean)
69
beginsontherelativeminoroftheprecedingmovement.However,Sierraseems toavoidtonicizingthemotivicmaterialwhichstartsonf#,thethirdofthescale degreeofthelasttonalarea(Dmajor)oftheLaudamuste,anddominantofthe newtonalarea(baeolean)mode.Thispracticeiscarriedoutthroughoutthis section,placingthesopranoontheseventhscaledegreeoftheDmajor,whilethe choirendsonthethirdandfifthscaledegreeofaDmaj7chord.Inadditionto thisambiguityofmodes,Sierraavoidssymmetricalphraselengths.The asymmetricalphrasestructureiscomprisedofthreesegments[(2+5+5)+(2+5+5)+ (3+5+3)]whichareinterconnectedbyinterweavinginstrumentalelisions.Sierra concludesthissectionwithacadentialextension.Asinthelastsection,thecall motiveisheardduringthelastthreemeasures. DomineDeus Usedasapetitioninthemass,DomineDeusismarkedrpidowithtempo indication(dottedquarternote=116)in6/8,andbeginswithasixmeasure instrumentalprelude.Thepreludeemploysastreamofcontinuouspulsating eighthnotes.Thistechniquesetsintomotionthishighlysyncopatedmovement filledwithcrosspassages.Itsformalstructureconsistsofsmall,definedsections internaryform(ABB1A1).Thefirstsectionstartswiththealtosandbasses singinginoctavethewordsDomineDeus(m.208),andlatertheyarejoinedby thesopranoandtenorsvoicesattheoctaveabove,singingasimilarmotivein imitation.Thissectionsoondevelopsintoarhythmicallydrivenpassage, alternatingbetweenthedupleandtriplemetricpulses. TheBsectionbeginswithsoftandsustainedfluidvocallines accompaniedbytheorchestrasundulatingeighthnotemotionwithnondiatonic sonorities.ItprovidesasubtlecontrastincharacterasitdescribestheFili unigente(OnlySonoftheFather,mm.252). 70
ThereturnoftheAsectionarriveswithaquicktransitionfromoctatonic sonoritiestodiatonictonalities(Dmaj)onDomineDeus,AgnusDei(mm.304). SierraalsocombinesthemusicalelementswhichcharacterizedtheAsection, includingrapidlypulsatingeighthnotesandrhythmicvocalsegmentsonDomine Deus.Hethenreplacestherhythmicvocalsegmentswithlyricalwritinginthe vocalparts.Furthermore,Sierrabuildsthemomentumtowardtheclimaticfinal chordbybuildingonasenseofexpansivenessinthechoralwriting,densityof orchestraltexture,andtheuseoffunctionalharmonyleadingtothefinalcadence onthewordsFiliusPatris(Sonofthefather,mm.322).Sierraalsosurprisesthe listenerbyplacinganAmajorchordagainstanAminorchordonthisclimatic chordacompositionaltrademarkalsofoundintheworksofScriabin.The remainingtwelvemeasuresfollowingthisclimaxgraduallychangedynamic, textureandtempo,transitioningtotheprayerfulQuitolismovement.Sierra achievesthistransitionbyreturningtothecallmotive(ca)playedbythebrass totonicize(Aminor). Quitolis Quitolisisacontrastingsectionwhichbeginswitharecurringrhythmic
sins,whilequisedesadexteramPatris,meaningyouwhoareseatedatthe righthandoftheFather,isheardinascendingmanner. SierrassensitivitytothechoralsingermakestheMissaLatinachallenging butaccessibletosingers.Inapreconcertinterview,NormanScribner commentedonSierraskeensenseofvoiceleading:Nomatterhowdifficultthe passage,he[Sierra]haspreparedavocallineeitherthroughavocalor instrumentalpassageleadingoranticipatingthepitchorjustdoublesthevoices atthespotneededthemost.Aclearexampleisfoundpriortothechoirs entranceonthewordsQuisedesadexteramPatris(mm.371,seefigure4.12),and thefollowingmensentrance(mm.374). Inthispassage,Sierrausesonlythreeinstrumentsinthemeasurepriorto thechoirsentrance(anticipatingtheirpitches,CandBb,seefigure4.12.)The trumpetandharpplaythesepitchesontheendofthesecondbeat,whichis
Figure.4.11.Gloria.DomineDeusfinalphrase.
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followedbythechoirstriplefortehomophonicacclamationofcumSantoSpirito ingloriadeiPatri,Amen. TheGloriaendswithauniquesettingofInGloriadeiPatriinfugato style,accompaniedbyLatinrhythmicpatterns.Again,Sierrascreativeabilityto infuseLatinflavorsintocontemporarymusicismasterfullydemonstratedas hetransformstherhythmictexturebyjuxtaposinglayersofrhythmicpatterns inherentinsonmontunostyle.Thesonmontunoisthetermusedtoidentifythe repeatedsyncopatedpianovamp.Itconsistsofatwomeasurepatterncontaining twostrongbeatsfollowedbysevenupbeats(seefigure4.12).Theroleofthe pianointhistypeofmusicismoreofarhythmicone,asitplaysrepeatedostianti (vamp)whileitalsoestablishestheharmonicfoundationofthemusic.114 Anotherinstrumentsharingasimilarroleisthedoublebass,usedinthis sectiontoreinforcethetresillopatternanditsharmonicprogression.Inaddition, Sierrausesseveralpercussiveinstrumentsincludingtheclaves,cencerro (cowbell),bongos,congas,xylophone,andmarimba,toaccentuateaspecific patternandstrengthentherhythmictexture(seefigure4.13).Themelodic materialsofthesubjectandcountersubjectarebuiltontwoaugmentedsixth chordsseparatedbyaminorthird.Coincidentally,eachsharethesameprime form[0268]andwhencombined,makeaperfectlysymmetricalscale(seefigure 4.13).
114
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Figure.4.13.Gloria.InGloriadeiPatris.Subject(primarymotive).Fugatosection. Sierrabuildsthefugalsectioninpyramidformation.115Thesubjectsfirst appearanceisintroducedbythebassesonpitchclass[7,1,3]beginningonaG pitch,whichislocatedatthemidpointofaC#(0,1)octatonicscale.Accordingto Persichetti116,thetritoneintervaldividestheoctatonicscaleintoequalsegments, makingitsrelationshipcomparabletothedominantfunction.Thefugalmotiveis lateransweredbythetenorsonetritoneapart,beginningonaC#withpitch class[1,9,7].Similarly,thealtoandsopranocounterpartsrepeatthispattern. Aftertheexposition,Sierrausesvariouscompositionaltechniquessuchas splittingthefugalsubjectbetweentwovoices(mm.485490,seefigure4.14), inversionsandtranspositions.Thesectionconcludeswithacrossrhythmic
Pyramid formation is a textural device that layers each voice, beginning with the basses and ending with sopranos. 116 Persichetti, 35.
115
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passageemployingsyncopatedrhythmicvariationsofthewordAmen (mm.501).
Figure.4.14.Gloria.Fugatosection.Subjectinvertedandtransposed. Abriefdevelopmentsectionbasedontheoriginalmotiveisdeveloped andsubjectedtovariouscountertechniques(mm.508519).Thecomposer transformsthepassagebyintroducingadifferentoctatonicscaleB(0,1)and changesitstexturebyassigningthemelodicmaterialtothesopranoandbaritone soloists.Inaddition,hereassignsthepianosmontunopatterntothemarimba andxylophoneparts,interchangeably. ThefugalmotivereturnsonCumSantoSpirituinverted,transposed,and rhythmicallymodifiedinthetenorpart,pitchclass{137},andansweredbythe sopranosatritoneapart(mm.519532,seefigure4.15).Meanwhile,thealtos reintroducetheprincipalmotivesanswer,andthebassesconcludewiththe principalfugalmotive.
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doubtfulstatementofthewordcredo.Sierrasetsthistextwithtwoquasi atonalcredomotiveswithpitchclass{6521},{4652}.Thesemotivesarelater heardinvertedandtransposedthroughthemovement(seeFigure4.17).Thisis thenechoedbysuspendedharmoniessungbythechorus.Thecomposer suggeststhatthesesuspendedharmoniesrepresentunresolveddoubt. Thismovementencapsulatesthecomposersownpersonalstatementof faith.Sierracomments,Credosareusuallyverycentralized.Onedifferenceis thatmyCredoismoreintrospectiveandofanintimatenaturebecauseitdeals withthepersonalbeliefeveryonehasanddoesntlimitustomembershipin [one]church.117ThefirstclimaticmomentoccursonthewordsPater Omnipotentem(mm.34).Thisfirstsectionendswithaseriesofhomophonic credostatements,eachbecomingshorter,strongerandfasterinanticipationof thebaritonesconfidentarrivalonanEmajorchord.(mm.50) ThroughouttheCredo,themusicdepictsseverallevelsofoppositional
117
Ginsberg, TheWashingtonPost.(January29,2006):N10.
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Figure.4.16.Credo.Credoprincipalmotives. InunumDominum Thenextsection,markedintenso,reintroducestheinunumDeummotive (mm.1215)onthewordsinunumDominum.Thismotiveistransposedand interchangedbetweenthemaleandfemalevoicesofthechorus.Theprevious credomotivereturnsexchangedandtransposedinboththesopranoand baritonesoloparts.Sierrathencreatesadensetextureviatheuseofa polyrhythmicpassagefilledwithsyncopatedvocalostinatopatterns accompaniedbyadenselayeringofdisplacedbeatsintheorchestra(mm.8285). Inthispassage,thethickrhythmicdensitycreatesacacophonyofsounds manipulatedbymetricallydisplacedrhythmiclayersuntilthesenseofmeteris obscured. 79
Figure4.17.Credo.InunumDominummotive. Thispassageisthenfollowedbyabriefanimandosection,withatempo marking(quarternote=152)intriplemeter(mm.94).Thesectionisdiatonicand basedonsonoritiesofaBb7chord.Thevoicesofthechorusenterinpyramid formationbutwithoutpointsofimitation.TheorchestrasimplyreinforcestheBb majorchordwithaDpedaltoreinforceitsrhythmicdrive.Thetexturechanges whenSierraaddsthesolovoicesandthefemalevoicesofthechorusinthirds (BbD)followedbythemalevoices,alsointhirds,resultingincrossrhythms. Withcontinuedrepetition,thetriadexpandstoincludethefullchord. DeumdeDeum TheDeumdeDeumsectionbeginsabruptly,withaforztando(Fo7)chord intheorchestraimmediatelyechoedbythechoirsustainingthetextDeum.The baritoneandsopranosoloalsojoin,singingthesamewords.Thissectionis followedbyanoctatonicpassagefeaturingthesoloistssingingDeumdedeo, lumendelumine(GodofGod,andLightofLight)whilethechorussoftly continuestosustainthesewords,supportingtheirmelodicmaterial.
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NextSierraprovidesabrieftransitioninanothersection,utilizingthe sametext.Thistime,however,Sierralayerseachvocalpartinpyramidformation enteringonemeasureapart.Thisformationplacesthebassesenteringon(Ab) followedbythetenorson(F)andimitatedbythealtosandsopranos, respectively.Themelodicmaterialinthisinitialpassagecontainsonlyfour pitcheswhichtogetherformaBb7chord(Bb,D,F,Ab),whiletheorchestras melodicandharmonicmaterialisfilledwithchromaticpassagesandnon harmonicpassingtones.Inaddition,Sierrasetsthetresillofigure,heardasa rhythmicostinatopatterninthevocalandpercussionparts.Themomentumof thissectiongraduallybuildsintoahighlysyncopatedpassage,employingthe sonoritiesofanalteredoctatonicscale(mm.139147).Thechoircontinuesto developthismotivethroughanotherimitativesection,thistimelayeredinan invertedpyramidformation(S,A,T,B).
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Table4.4.Movement4(Credo).Formalstructure
Credo
Text Credo in unum Deum Et In unum Dominum Deum de Deum Forces S,B, Chorus S, B, Chorus Chorus Tempo Intenso (q =69) Rapido (h=80) S,B, Chorus Baritone, Chorus Lento ( q =69) ( q =138) ( q =96) Orchestral Interlude Crucifixus Et Ascendit Orchestra, S, B, Chorus S, B, divisi Chorus Sop & Bass Duet Espresivo 4/4 3/4 Time Signature 4/4 4/4 4/4 (3+3+2) 3/4 Tonal Area Atonal/ Oct Diatonic/ Nondiatonic D Phrygian to Bb Oct Length 70mm 58mm 90mm
43mm
21mm
(q=63)
Rapido ( q =132) Profunda Expression ( q =48) 4/4 4/4
54mm
41mm
12mm
4/4
44mm
4/4
51mm
4/4
15mm
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Etincarnatusest OneofthemostlyricalpassagesoftheCredoisSierrassettingofEt incarntusest,whichdepictstheincarnationoftheHolySpirit.Thispeaceful lullaby,setin3/4meter,featuresaduetbetweenthesopranoandbaritone soloistswhoarelaterjoinedbythechoirontheirlastphrase(mm.250).The passagebeginswiththebaritonesdescendinglineechoedbythesopranoin looseimitation.Throughoutthispassagetheirlyricalmelodiesbecome intermingledinacontinuousstreamofphrasessupportedbytheorchestras noninterruptedeighthnotepassagesflowingthroughthenoncadential material.AspreviouslyheardintheBenedictus,Sierraemploysnontraditional harmonicsequencescreatingasenseoftonalambiguitywhichfluctuates betweentheinitialtonalcenter(DPhrygian)anditsrelativetonalcenter(Bb Ionian),heardatthelastphrasewiththechoirsarrival.
theonlysectionwithintheCredowhichbeginswithabriefinstrumentalprelude. Sierracreatesrhythmicdensitybysuperimposingpolyrhythmicsubdivisionsof thebeat.Harmonically,thissectioncontainsatonal,extendedoctatonicsegments andchromaticpassages,depictingthefeelingofdistressassociatedwiththe crucifixionpassage.Strongsentimentisbestexpressedbythebaritonesthree foldentranceofthewordcrucifixus,whichbeginsfortissimoandgradually dissipatesasitdescends.Meanwhile,thesopranossoftentranceonthissame wordadoptstheopeningcredomotivelaterjoinedbythechoirsentranceona C#sharpminorchordoncrucifixus(mm.302). Sierraspicturesqueillustrationoftheresurrectionsceneoffersyetanother
Figure.4.19.Credo.Etresurrexitpassagewordpainting. ThepreviousillustrationservesasapreambletoSierrasmusical
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Figure.4.20.Credo.Etascenditincaelum. SierrassettingoftheCredocanbestbedescribedasamusicalportrayalof
SanctoinAbmajor,mm.400).However,thispeacefulmomentisbriefly interruptedbythepassageoftheCredostating,Ibelieveinoneholycatholic andapostolicchurch. OneofthewaysinwhichSierradivertsfromthetraditionalsettingofthe CredoishisunprecedentedtreatmentofthepassageoftheCredostatingthebelief ofoneApostolicChurch,atwhichhechangesthetexturaldensityofthispassage bydividingthechoirandsoloistsintotenindependentlines.Healsodraws particularattentiontotheEnaturalenharmonicpitchheardaspartofa superimposedostinatopatternsetonebeatapart.Thisresultsinvertical hemeolaswitha3:2relationship(mm.416).ThechoirendsonaCmajorseventh chordaccompaniedbyaseriesoftransposedoctatonicsequencesintheorchestra andresultinginunresolvedharmonies(mm.421). AccordingtoSierra,theunusualtexturaldensityinthissectionrepresents differentchurchesandfaithssearchforsameGod.Hestates,WhentheCredo wasfirstintroducedintheChristianchurch,theCredoreflectedarealisticview oftheChristianrealitywhichatthetimewascorrect.Thatis,theCatholic, Apostolic,andRomanChurchwastheonlywaysforChristians.However,this doesrepresenttherealityofourtimes.Ourmodernsocietynowhasmany churchesandmanyfaiths.118
118
JohnChester,PreconcertinterviewwithRobertoSierra,(2006).
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88
89
90
Figure.4.24.Offertorium.DepictionofSion. Forthethirdsection,Sierrareintroducesthechorusinarhythmicpassage
Figure4.25.Offertorium.Crossrhythms. ThefinalsectionoftheOffertoriumfeaturesthechorusinalivelyAlleluia
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Table4.5.Movement5(Offertorium).Formalstructure.
Offertorium
Text Form Tempo Agitado (q=112) Time Signature Forces Tonal Area Length Sanctus TheSanctusisthefourthsectionoftheOrdinaryoftheMassandisthe ( q=63) 3/4 Full Orchestra Chromatic/ Oct 52mm Baritone, Choir Caolean/ Alt.Oct 40mm Baritone, Choir Oct 30mm 25mm Orchestra Prelude Rogate FiatPax Laudate Alleluia
Throughcomposed Intenso Subito ( q=96) ( q=88) 4/4 Choir Conbrio (h=84) Choir Bbmajor 64mm
93
94
120
96
Figure4.29.Sanctus.Benedictus.ChoirandSoloists Thefirstpartofthesectionfeaturesthesopranosoloistperformingoneof
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Figure4.30.Sanctus.ReturnofprincipalmotiveHosannas. 98
Table4.6.Movement6(Sanctus).Formalstructure
Sanctus
Text Form Tempo Sanctus A Con alegria (q=148) Time Signature Forces TonalArea Length AgnusDei ThetextforfinalmovementoftheMissaLatinabeginswiththewords LambofGod,foundintheancientRomanandAmbrosianritesGloriain excelsis.121TheAgnusDeiissetforsopranoandbaritonesoloists,choir,andfull orchestrawithtempoindication(quarternote=60)in3/4meter.Inaddition,its formalstructureisin(AB)binaryform. Throughoutthismovement,thecomposerpaintsnumerousmusical illustrationstocreativelyexpressthemeaningofthetext.Forinstance,the baritonesfirststatementbeginswithachantlikemelody,ornamentedwith sixteenthnotepassagesandmovinginstepwisemotioninDphrygian.The melodicdirectionofhisphrasebeginsonanFpitchandgraduallyincreasesin 3/4,5/8 Chorus DbMaj 44mm Pleni B,B Congraciay dulura (h=66) Common time S,B, Chorus Cmaj 30mm Hosanna C (h=80) Common time Chorus Cmaj 19mm Benedictus D Conternura (q=80) 3/4 S,B, Chorus Cmaj 89mm Hosanna C Congraciay dulzura (h=66) 4/4 Chorus Cmaj 21mm
These words are also attributed to Johns words to Jesus: Behold, the Lamb of God, who takes away the sins of the world (John 1:25-26, 29). Jeffers, 57.
121
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dynamiclevelasitascendstotheoctaveaboveonthewordsAgnus Dei,reachingtowardtheheavensashecallsuponontheLambofGod. Likewise,Sierrasetsthewordspeccatamundionthreechromatically descendingpitches(EbDC#),placestheseinthemaleslowregister,andends onalow(Apitch)tosymbolizethesinsoftheworld.Furthermore,heusesa rhythmiccompositionaldevicetoillustratechaos.Sierrasplitsthemalevoices intofourpartharmony,assignseachadifferentrhythmicpattern,andlayers eachpatternonebeatapart.Theresultofthiscanonicpolyrhythmicapplication andtherepetitionofthemelodicmotivehelptodepicttheearthspinningonits axis,constantlyrotatingmundi(seefigure4.30).Theremainderofthispassage graduallyintensifiesthroughthechoirshomophonicrepetitionsonMiserere (havemercy),nowheardatatriplefortedynamiclevelandinangularsonorities basedontheCsharp(0,1)octatonicscale.Thispassageillustratesadesperate pleaformercy.Thenexttwopassagesfeaturethesopranosoloandchoir,again, graduallyshiftingbetweenmodal,diatonicandoctatonicpassages.
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Figure4.31.AgnusDei.Texturaldensityillustrationonpeccatamundi. SierrassettingoftheAgnusDeiincludesthetraditionaltextusedbymost
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achievedthroughharmonicprogressionsmodulatedbycommontone.Sucha compositionaltechniqueallowsthemusictomodulatethroughawidearrayof harmonicsonoritieswithaminimalamountofmovementwithinthevocalparts. Ontheotherhand,thesopranoslyricalmelody,filledwithsoaringleapsand scalarpassages,isornamentedwithappoggiaturasandsuspensionsabovethe choirssustainedromanticharmonieswhicheventuallyendonanFmajorchord (see.Figure.4.31.)Thelastsixmeasuresofthissectionreintroducethecall motiveontheEbandCpitchesinaccelerando,thistimesettingthepitchesfor thechoirsupcomingentranceandannouncingthearrivaloftheMassfinal Alleluiasection.
Figure4.32.AgnusDei.Alleluiasection.Callandresponse. Finally,theharmonicprogressionusedinthismovementisbasedontheI
VVIdiatonicrelationship,andrecurseveryfourmeasures.Thisprogressionis initiallyheardinGmajor(mm.116132)andlaterintheFmajorandEbflat
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majortonalareasuntilittriumphantlyreachesitsconcludingpassagesinC major.
Table4.7.Movement7(AgnusDei).Formalstructure.
AgnusDei Text Form Tempo AgnusDei A Moderato (q=60) TimeSignature Forces TonalArea 3/4 S,B, Chorus DPhrygian/ Oct 55mm __ S,Chorus Acapella Diatonic/non functional/ Fmaj 48mm DonaNobis Pacem C __ Alleluia D Rapido (h=120) Commontime S,B, Chorus Cmaj
Length
117mm
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andsecularmusic.Theoriginofthisrichtraditioncanbetracedbacktothe SpanishCapitularyActsof1600,whichmandatedtheinstallationofapermanent musicstaffintheSanJuanCathedral.Fromthatpoint,thechurchimported SpanishmusiciansupuntiltheappointmentofcomposerFelipeGutierrez Espinosa,whobecamethefirstnativeChapelMasterattheSanJuancathedralin thelate19thcentury.Themusicstylesoftheearlysacredmusiccomposers DomingoDelgado,FelipeGutierrezEspinosa,JuanMorelCampos,Braulio DuenoColnandJosIgnacioQuintnclearlyreflectsclassicalEuropean influencesintheirchoralworks. Theearlypartofthe20thcenturymarkstherebirthormoderneraof
PuertoRicochoralmusictradition.Thisrebirthcomesintoplaceviathree unrelatedyetsignificantcircumstancesthatcontributedtothedevelopmentof choralmusicoftheisland.Thefirstinvolvestheformationofevangelicalchoirs establishedbySisterHallieLemonandMs.AliceRyder,twoAmerican missionarieswhogatheredparishionerstoformevangelicalchoirsin1928.Their choirsperformancesatotherevangelicalchurchesaroundtheislandwerethe modelsforfuturechurchevangelicalchoirs. ThesecondofthesecircumstancesinvolvestheeffortsofDr.Bartolom BoveratthePolytechnicUniversityofPuertoRicoand,later,ofAugusto RodriguezattheUniversityofPuertoRicointhelate1930.Thesechoralmusic pioneersbeganandexpandedthechoralartforminhighereducationby establishingvariousuniversitychoirsacrosstheisland.Furthermore,they becamethefirstexponentsoffolkandpopularnativechoralmusiccomposedby 105
PuertoRicancomposers.Theirvisionandeffortsallowedthemtobecomethe firstambassadorsofchoralmusicthroughmanylocalandinternational performances. ThethirdcircumstanceattributedtotherebirthofchoralmusicinPuerto RicostemsfromthedevelopmentofchoralsettingsofPuertoRicanfolkand popularmusic.Bytheendofthe1930s,BoverandRodrguezhadestablisheda traditionofperformingfolkmusicincludingdanzas,villancicos,plenaand aguinaldoarrangementsatnationalandinternationalconcerts. AftertheUnitedStatesgrantedPuertoRicoCommonwealthstatusin 1952,governmentsponsoredinstitutionsandcommissionsledaneraofcultural renaissancewhichinvolvedthePuertoRicanInstituteofCulturein1955,the CasalsFestivalin1957,theconservatoryofPuertoRicoandthePuertoRico SymphonyOrchestrain1957,allofwhichwereimportantculturalcomplements toPuertoRicosindustrializationprogramledbyGovernorLuisMuozMarn. Theorganizationsservedasvitalvenuesforintroducinglargechoraland orchestralworksbygreatclassicalcomposersincludingthemusicofformer studentcomposerswhohavemadesignificantmusicalcontributionstothe classicalliterature. Sincethelate1950smanyotherculturalmusicalorganizations,along
musichasgainednationalandinternationalreputation.Formorethanadecade, Sierrasworkshavebeenpartoftherepertoireofmanyoftheleadingorchestras, ensemblesandfestivalsintheUSAandEurope. SierrawenttoEuropetofurtherhismusicalknowledgeattheRoyal CollegeofMusicandtheUniversityofLondon,theInstituteforSonologyin Utrecht,anddidadvancedworkincompositionattheHochschulefrMusikin HamburgundertherenownedGyrgyLigeti.AfterhisreturnformEurope, SierraservedinadministrativepositionsatbothofthePuertoRicaneducational institutionsfromwhichhereceivedhisformerdegrees. Sierraisaprolificcomposerandorchestratorwhosecompositionaloutput includesmorethanonehundredpublishedworks.Sierrasorchestral compositionsreceivednumerousawardsincludingthe2004KennethDavenport CompetitionforOrchestralWorksforhisSinfoniaNo.1andthe1983Budapest SpringFestivalfirstprizeforhisSalsaparavientos,andhisSuitewonfirstprizeat theAlienorHarpsichordCompetition.In1987,theAlmeidaFestivalinLondon devotedanentireconcerttohischamberworks,aneventrecordedand broadcastedbytheBBC.In2003SierrawasawardedtheprestigiousMusic AwardbytheAmericanAcademyofArtsandLetters.Theawardstates: RobertoSierrawritesbrilliantmusic,mixingfreshandpersonalmelodiclines withsparklingharmoniesandstrikingrhythms[...] AlthoughSierraisbestknownforhisorchestralworks,littleisknown abouthischoralcompositions.Forthisreason,theprimarypurposeofthisstudy wastoanalyzeanddescribeSierrasMissaLatina. SierrastitleMissaLatinareferstothetraditionalLatintextandthe Caribbeancharacterthatalludestohispersonalbackground.Thesubtitle,Pro Pax,identifiesthisworkasapleaforpeace.SierrapreparedhisownEnglish translationoftheLatintextandincorporatedselectedtextfromtheproperas 107
intercessionprayersintheIntroitus,Offertorium,andintheconcludingsectionof theAgnusDei.Sierrassettingofthismasscallsforsopranoandbaritonesoloists, choir,andalargemodernorchestraaugmentedwithvariousCaribbean percussiveinstruments(bongos,congasandCubantimbales). AmongthestylisticfeaturesthatcharacterizeSierrasmassarethe beautifulmelodiclinesfeaturingthesopranosoloandchorusintheintimate sectionsofthemass,includingbenedictus(Sanctus)andthegratiasagimustibi (Gloria),sections.Sierrademonstrateshisexceptionalabilitytotransformsomeof thesebeautifulmelodiesintoetherealpassages,whichScribnerdescribesas simplybreathtaking.123ThisisparticularlyevidentintheSion(Offertorium) andpacem(AgnusDei)sections.Sierraachievesthiseffectviahisinnerfoldingof nonfunctionalharmoniesbetweenthesopranosoloistandacappellachoir. ThroughoutthemassSierrafrequentlymakesuseofmodalanddiatonic harmonies,nondiatonicsonorities(octatonic)andatonalpassagestoexpressor depictaparticularmoodormeaningofthetext.Forexample,Sierrausesmodal (Aeolean/Phrygian)andopenharmonies(perfectfourthsandfifths)withchant likepassagesinthedapacemlaetatussum(Introitus),rogate(Offertorium),andthe openingmotiveintheAgnusDeisection.ThroughouttheMissaLatina,Sierra makesfrequentuseofharmonicshiftstorepresentconflictingideas.Someofthe ideasexploredinthismasspertaintohumaninnerstrugglesoffaithandour struggleforworldpeace.Sierrafirstexploredthisdualityinthesecond movement,Kyrie(octatonicdiatonic),yetitisinthecentralmovementofthe massinwhichSierraprovidesauniqueandunprecedentedsettingofthenicene creed(Credo).Inthismovement,theatonalpassagesrepresentfeelingsofdoubt
123
LeonardSlatkin,PostConcertDiscussion,KennedyCenterforthePerformingArts(February2, 2006).
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whiletheharmonicpullfromoctatonictodiatonicpassagessymbolizesour desiretobelieve,or,spiritualconviction. Sierrasunderstandingandmasteryofchoralandorchestraltexture allowshimtoexpressmusicalimagesofthewrittentext.Inaddition,itallows himtocreateaheartfeltmusicalillustrationofhispersonalandspiritual viewsofthisancienttext.Sierrascontinuousvarietyofcompositional techniquesusedtosetthetextcontainmonody,homophonyandcontrapuntal includingpolyphonic,fugatolikeandlayeredostinatopassages,providinga senseofbalancebetweenthesoloandchoralpartsanditsoverallstructure. RobertoSierrasuniqueabilitytoinfuseandmanipulateCaribbeanfolkand rhythmicelementsintomodernidiomshasbecomeoneofhismostimpressive compositionaltrademarks.ThroughouttheMissaLatina,Sierrausesvarious Latinrhythmscommontoacclamatoryorcelebratorypassages.Someofthe mostidentifiableLatinrhythmsalludedtointheMissaLatinaalsoserveasthe rhythmicbasisforpopulardanceformsincludingthemontunosectionofacha chach(laudamuste)andgajira(plenisuntcaeli),andCubansonamongothers. Coincidentally,thevariousrhythmicpatternsheardindifferentsections ofthemassderivedfromorcontainthemothercellortresillofigure(3+3+2). Therefore,Sierrainadvertentlyusesthetresilloasaunifyingrhythmicelement acrossalleightmovementsoftheMissaLatina.Furthermore,hesetsthetresillo figureinavarietyofways.Forexample,Sierraincludedarhythmsetinsubdued tempo(CodasectionoftheIntroitus)astheprincipalmelodicmaterial(Kyrie),a timesignatureandmeter(Gloria),subsidiarymaterialandasanaccompaniment (Credo)inchoralhomophonicstatementsofthelaudate(Offertorium),andasthe rhythmicbaseofamotive(SanctusandAgnusDei). Sierraschoralmusiccontinuestoevolvefromtheabstractbeginnings exhibitedinthecompositionalstyleofCantosPopularesandLuxAeterna,tothe 109
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APPENDIXA MISSALATINATRANSLATIONS ProPax LatinEnglishText(adaptedbyR.Sierra) INTROITUS Dapacem,Domine,sustinentibuste, Givepeace,OLord,tothemthatpatientlywaitforthee, utprophetaetuifidelesinveniantur: thatthyprophetsmaybefoundfaithful: Exaudiprecesservitui,etplebistuaeIsrael. HeartheprayerofthypeopleIsrael. Laetatussuminhis,quaedictasuntmihi: Irejoicedatthethingsthatweresaidtome: IndomumDominiibimus. WeshallgointothehouseoftheLord. GloriaPatri,etFilio,etSpirituiSancto. GlorytoFather,andtoSonand,andtoHolySpirit. Sicuteratinprincipio, Asitwasinthebeginning etnunc,etsemper, andnow,andalways, etinsaeculasaeculorum.Amen. andinagesofages.Amen KYRIE Kyrieeleison. Lord,havemercy. 111
Christeeleison. Christ,havemercy. Kyrieeleison. Lord,havemercy. GLORIA GloriainexceslisDeoetinterra GlorytoGodinthehighest, paxhominibusbonaevoluntatis. andpeacetohispeopleonearth. Laudamuste,benedicimuste, LordGod,heavenlyKing, adoramuste,glorificamuste, almightyGodandFather, gratiasagimustibi,proptermagnamgloriamtuam, weworshipyou,wegiveyouthanks,wepraiseyou DomineDeus,Rexcaelestis, foryourglory.LordJesusChrist, DeusPateronmipotens,DomineFiliunigenite, onlySonoftheFather, JesuChriste,DomineDeus,AgnusDei, LordGod,LambofGod, FiliusPatris;quitollispeccatamundi, youtakeawaythesinsoftheworld, miserenobis;quitollispeccatamundi, havemercyonus; 112
suscipedeprecationemnostrum;quisedesaddexteram youareseatedattherighthandofthe Patris,misererenobis,Quoniamtusolus Father,receiveourprayer.Foryoualone Sanctus,TusolusDominus,TusolusAltissimus, aretheHolyOne,youalonearetheLord,youalonearetheMostHigh, JesuChriste,cumSavtoSpirituinGloriaDeiPatris.Amen. JesusChrist,withtheHolySpirit,intheGloryofGodtheFather.Amen. CREDO CredoinunumDeum,Patremonmipotentem, IbelieveinoneGod,theFatherAlmightly,maker factoremcaelietterrae,visibiliumommniumet ofheavenandearth,andofallthingsvisibleand invisibilium.EtinunumDominumJesum invisible.IbelieveinoneLord,JesusChrist, Christum,FiliumDeiunigenitum,etexPatre theonlySonofGod,eternallybegotten natumanteomniasaecula.DeumdeDeo, oftheFatherGodfromGod, lumendelumine,DeumverumdeDeovero, LightfromLight,trueGodfromtrueGod. genitum,nonfactum,consubstantialemPatri:perquem begotten,notmade,ofonesubstancewiththeFather.Bywhom omniafactasunt.Quipropternoshominess,et allthingsweremade.Whoforusmenandforour 113
propternostrumsalutemdescenditdecaelis. salvationcamedownfromheaven: EtincarnatusestdeSpirituSanctoexMariaVirgine: andbecameincarnatebytheHolySpiritoftheVirginMary: ethomofactusest.Crucifixusetiampro andwasmademan.Hewasalsocrucifiedforus, nobissubPontioPilato;passusetsepultusest, sufferedunderPontiusPilate,andwasburied. etresurrexittertiadiesecundumScripturas, OnthethirddayheroseagainaccordingtotheScriptures; etascenditincaelum,sedetaddexteramPatris. heascendedintoheavenandsitsattherighthandoftheFather. Etiterumventurusestcumgloria,judicarevivosetmortuos, Hewillcomeagaininglorytojudgethelivingandthedead, cujusregninoneritfinis.EtinSpiritumSanctum, andhiskingdomwillhavenoend.IbelieveintheHolySpirit, Dominumetvivificantem:quiexPatre theLordandGiveroflife,whoproceedsfromtheFather Filioqueprocedit.QuicumPatreetFilio,simul andtheSon.WhotogetherwiththeFatherandtheSon adoraturetconglorificatur:quilocutusestper isadoredandglorified,andwhospokethroughthe prophetas.Etunam,sanctam,catholicamet prophets.Ibelieveinoneholycatholicandapostolic apostolicamEcclesiam.Confiteorunumbaptisma Church.Iconfessonebaptism 114
inremissionempeccatorum.Etexspecto fortheforgivenessofsins.andIawait resurrectionemmortuorum, theresurrectionofthedead, etvitamventurisaeculi.Amen. andthelifeoftheworldtocome.Amen. OFFERTORIUM RogatequaeadpacemsuntJerusalem: PrayyeforthethingsthatareforthepeaceofJerusalem: etabundantiadiligentibuste. andabundanceforthemthatlovethee. Fiatpaxinvirtutetua:etabundantiainturribustuis. Letpeacebeinthystrength:andabundanceinthytowers. Lauda,JerusalemDominum:laudaDeumtuum,Sion. PraisetheLord,OJerusalem:praisethyGod,OSion. LaudateDominum,quiabenignusest: PraiseyetheLord,forheisgood: psallitenominiejus,quoniamsuavisest: singyetohisname,forheissweet: omniaquaecumquevoluit,fecitincaeloetinterra.Alleluia. whatsoeverhepleasedhehasdoneinheavenandinearth.Alleluia. SANCTUS Sanctus,Sanctus,Sanctus, Holy,Holy,HolyLord, 115
DominusDeusSabaoth. Godofpowerandmight. Plenisuntcaelietterragloriatua. Heavenandeartharefullofyourglory. Hosannainexcelsis. Hosannainthehighest. BenedictusquivenitinnomineDomini. BlessedishewhocomesinthenameoftheLord. Hosannainexcelsis. Hosannainthehighest. AGNUSDEI AgnusDei,quitollispeccatamundi,misererenobis. LambofGod,youtakeawaythesinsoftheworld,havemercyonus. AgnusDei,quitollispeccatamundi,misererenobis. LambofGod,youtakeawaythesinsoftheworld,havemercyonus. AgnusDei,quitollispeccatamundi,donanobispacem. LambofGod,youtakeawaythesinsoftheworld,grantuspeace. Pacemrelinquovobis:pacemmeamdovobis, MypeaceIleaveyou:mypeaceIgiveyou, dicitDmoinus,Alleluia. saiththeLord.Alleluia.
116
DoceBagatelasforStringOrchestra
(ca.70)
ConciertoEvocativoforSoloHornandStrings ConTresforClarinet,BassoonandPiano
117
EssaysforWindQuintet
(ca.10) (ca.7) (ca.17) (ca.14) (ca.17) (ca.5) (ca.6) (ca.13) (ca.10) (ca.10) (ca.16) (ca.8) (ca7) (ca.10) (ca.12) (ca.12) (ca.7) (ca.11)
Kandinskyforviolin,viola,celloandpiano
Octetofor2Oboes,2Clarinets,2Bassoons,and2Horns
PequeoConciertoforGuitar,Flute,Oboe,Clarinet,ViolinandCello PiezasCaractersticasforBassClarinet,Trumpet,Piano,ViolinandCello
TemayvariacionesforClarinetandPiano TresfantasasforClarinet,CelloandPiano
118
TresHomenajesHngarosfortwoGuitars
IdilioforSATBChoirandOrchestra LuxternaforSATBChorus
MissaLatinaforSoprano,Baritone,ChorusandOrchestra
119
OrchestralWorks(includingpieceswithsoloists) AJoyousOvertureforOrchestra AlegraforOrchestra BoriknforOrchestra (ca.5) (ca.6) (ca.12) (ca.28) (ca.22) (ca.10) (ca.20) (ca.20) (ca.20) (ca.25) (ca.10) (ca.22) (ca.12) (ca.15) (ca.15) (ca.23) (ca.8) G.Schirmer
Conmaderametalycueroforsolopercussionandorchestral ConcertoforSaxophonesandOrchestra
DobleConciertoconcertoforviolin,violaandOrchestra EljardndelasdeliciasforOrchestra
EvocacionesconcertoforViolinandOrchestra FandangosforOrchestra
120
(ca.22) (ca.10) (ca.6) (ca.4) (ca.11) (ca15) (ca.17) (ca.15) (ca.23) (ca.23) G.Schirmer G.Schirmer G.Schirmer
Sinfonan.1forOrchestra Sinfonan.2forOrchestra
PiezasImaginariasforPiano
121
RitmorrotoforClarinet SuiteforHarpsichord
BeyondtheSilenceofSorrowsongcycleforSopranoandOrchorpiano
(ca.25)
CincopoemasaztecasforSoprano(orTenor)andPiano DoaRositaforMezzoSopranoandWindQuintet
ElxtasisdeSantaTeresaforsopranoandChamberOrchestra RimasforSoprano(orTenor)andPiano
122
APPENDIXD COPYRIGHTPERMISSION
124
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dePuertoRico,RioPiedras,PuertoRico:ProArteContemporneo,(1989): 56. Hoppin,RichardH.MedievalMusic.NewYork:NY:W.W.Norton&Company (1978):54. Jeffers,Ron.TranslationsandAnnotationsofChoralRepertoire.SacredLatin Text.1.Corvallis,Oregon:Earthsongs(1988):46. LaurieShulman,TheNewGrovesDictionaryofMusicandMusicians,2nd Edition,Ed.Standley,(2001)23:364365. Manuel,Peter.PopularMusicsoftheWesternWorld,NewYork,NY:Oxford UniversityPress.(1988):31 Mauleon,Rebeca.TheSalsaGuideBookforPiano&Ensemble.NewYork,NY: SherMusicCompany(1993):142. Olsen,DaleA.&Sheehy,DanielE.TheGarlandHandbookofLatinAmerican Music.NewYork,NY:GarlandPublishingInc.(2000):135. Thompson,Donald&Schwartz,Francis.ConcertLifeinPuertoRico,SanJuan, PuertoRico:UniversityofPuertoRico(1998). Thompson,Donald&Thompson,Annie.MusicinPuertoRico:AReaders Anthology,Lanham:ScarecrowPressInc.,(2002):54 Thompson,Donald&Thompson,Annie.MusicinPuertoRicofromtheAgeof ColumbustoModernTimes:AnAnnotativeBibliography,Metuchen,NJ: ScarecrowPress,(1991). Tiemstra,Suzanne.TheChoralMusicofLatinAmerica:AGuidetoComposition andResearch,NewYork:GreenwoodPress,1992 Toro,Cirilo.DiccionarioBiogrficodeCompositoresPuertorriqueos,Ponce, PuertoRico:EdicionesGuayacn,(2003):113. Persichetti,Vincent.TwentiethCenturyHarmony:creativeaspectsandpractice. NewYork,W.W.Norton&company,Inc.(1961). 127
RichardToop,GyorgyLigetti.London,England:PhaidonPressLimited: (1999):185. Strimple,Nick.ChoralMusicintheTwentiethCentury,PomptonPlains, NewJersey:AmadeusPress,LLC:(2002):207 Periodicals Antokoletz,Elliott.TransformationsofaSpecialnondiatonicmodein TwentiethCenturyMusic:Bartok,Stravinsky,Scriabin,andAlbrecht. MusicalAnalysis,12/1,(March1993):2545. Clark,WalterAaron.SocietyofAmericanMusic,16/1,(1998):110. DelaVega,Aurelio.LatinAmericancomposersintheUnitedStates,Latin AmericanMusicReview,1/2(1980):162175. Ginsburg,Daniel.ComposerRidesIslandsFolkCurrent,TheWashingtonPost (January29,2006):N10. GonzlezPadr,Pedro.AlaMemoriadeAugustoRodriguez,Coral11/2, (1999):89 Johnson,LawrenceB.DetroitNews.October18,(2003),Sec.D1. Mattos,Angel.SemblanzadeBartolomBover:iniciadordeunaera coral.Coral,1/1(1993):79. MendozadeArce,Daniel.DomingoDelgadoGomez(180556):PuertoRican MasterComposer,inLatinAmericanMusicReview,16/2(1995):16 MenedezMaysonet,Guillermo.Nuestroprimermaestrocoral:FelipeGutierrez yEspinosa,Choral,11/1,(1995):8 Olivieri,Luis.AShortHistoryofChoralMusicinPuertoRico.International ChoralBulletin(2000)20/2:24. Olivieri,Luis.BartolomBover:PionerodelaMsicaCoralUniversitariaen PuertoRico.Coral,11/1,(1995):3. 128
Luis Olivieri, Elegia de Reyes, Coral, 4/3 (1987):9. Olivieri,Luis.CantosPopulares:Obracoralpuertorriqueaestrenadaen Inglaterra.Coral,5/3(1989):3. Olivieri,Luis.NotassobreelTeDeumdeFelipeGutierrezEspinosa,Coral. 11/1,(1995):8 Olivieri,Luis.SeccindePartiturasCoral,4/2,(1981):4 Ortiz,William.APanoramicViewofPuertoRicanNewMusic.WorldNew MusicMagazine.6(September1996):12. Page,Tim.TheJoyfulNoiseofMissaLatina.TheWashingtonPost(February3, 2006):C14. Pareles,John.TheNewYorkTimes,C1,October14,1994. Ponick,T.L.HighRewardinMissaLatina,TheWashingtonPost(February4, 2006). RiveraBermudez,Ramon.BiografadeJosIgnacioQuintnBoletndela AcademiadeArtesyCienciasdePuertoRico,7/1,(1976):4759. Roberts, Evelyn. La danza Puertorriquea en la msica coral, Coral, 11/1, (1995):6. Ross,Alex.InPerformance,ClassicalMusic,NewYorkTimes,October17,1994. Thompson,Donald.JackDelano,TheNewGroveDictionaryofMusicand Musicians,Ed.S.Sadie&Tyrell.London:McMillian(2001) Thompson,Donald.LamsicacontemporneaenPuertoRico.RevistaMusical Chilena,38/162,(1984):110. Shulman,Laurie.TheNewGrovesDictionaryofMusicandMusicians,vol.23, (2001):364365 Veray,Amaury.PresentacindeJoseQuintn.Coral,4/1(1981):3. 129
InterviewsandLectures Chester,John.PreconcertinterviewwithRobertoSierra.LibraryofCongress (February2,2006). Davis,RobertAubry.PreconcertLecturewithRobertoSierra(January31,2006). Rivera,J.Personalinterviewwithcomposer.February1,2006. Washington,D.C. Rivera,J.Interviewwithcomposer.February2,2006.Washington,D.C. Slatkin,Leonard.Postconcertdiscussion.KennedyCenterforthePerforming Arts(February2,2006). Websites BenjaminFrandzel,SanFranciscoClassicalVoice http://www.sfcv.org/arts_revs/volti3_15_05.php BenjaminFrandzel,SanFranciscoClassicalVoice, http://www.sfcv.org/arts_revs/sfchambersingers_4_8_03.php(March3,2003). ChristopherMcIntyre http://www.subitomusic.com/st_sierra2.htm G.SchirmerInc.,AssociatedMusicPublishers,Inc. http://www.schirmer.com/composers/sierra/bio.html G.SchirmerInc.,AssociatedMusicPublishers,Inc., http://www.schirmer.com/default.aspx?TabId=2420&State_2874=2&WorkId_2874 =33176 PeterJacobi http://www.music.indiana.edu/publicity/press/ArticlesPreviews&Reviews/article s/200503/20050307HTJacobi2.shtml RobertoSierra http://www.robertosierra.com 130
SchoolofFineandPerformingArts,StateUniversityofNewYorkatPaltz http://www.newpaltz.edu/artsnews/release.cfm?id=262 SubitoMusic http:www//subitomusic.com/thecomposer_news.htm Scores RobertoSierra CantosPopulares 1983 NewJersey:SubitoMusic GuakiaBaba 1999 NewJersey:SubitoMusic LuxAeterna 1999 NewJersey:SubitoMusic MissaLatina 2005 NewJersey:SubitoMusic Recordings RobertoSierra.BayoanandExtasisdeSantaTeresa,BronxArtsEnsemble,Albany Records,3792,1988. 131
BIOGRAPHICALSKETCH JoseRiverareceivedhisBachelors(1991)andgraduatedegrees(1995 1997)inMusicEducationfromFloridaStateUniversitywherehecompleted choralstudieswithAndrThomas,JudyBowers,KevinFenton,andRodney Eichenberger.HetaughtstudentselementarymusicatBondElementary,and servedasDirectorofChoralActivitiesatRickardsHighSchoolandChilesHigh SchoolsinTallahassee,Florida. PriortothecompletionofthePh.D.inChoralConducting/Music EducationfromtheFloridaStateUniversity,hewasappointedasaVisiting AssistantProfessorattheUniversityofHoustoninTexas.
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