ABSTRACT Title of Dissertation: EXPLORING THE GUATEMALAN PIANISTIC LEGACY: REVEALING THE HIDDEN GEMS OF THE 20TH AND 21ST CENTURY Francisco Alfonso Hernández Mendoza, Doctor of Musical Arts, 2024 Dissertation directed by: Professor Larissa Dedova School of Music In the 20th and 21st centuries, the country of Guatemala produced an extraordinary amount of excellent music written for the piano. Composers Manuel Martínez-Sobral, Ricardo Castillo, Jesús Castillo, Jorge Sarmientos, and more contemporary figures such as Joaquín Marroquín, Enrique Solares, and Xavier Beteta all contributed to the evolution of piano compositions. In this performance dissertation, I will perform selected works from this legacy. I will also provide an in-depth analysis of the selected works and historical context, educational influences, and cultural exchanges that have shaped this musical tradition. The repertoire will be explored with a particular emphasis on pointing out various composer’s stylistic characteristics. The selected dissertation repertoire includes my two-piano arrangement of Jorge Sarmientos’ “Concierto para Piano No. 1 Op. 10” for its academic value and to aid in studying and performing this pivotal Guatemalan piano concerto. This DMA dissertation project includes two solo recitals and a two-piano recital, showcasing my arrangement of Sarmiento’s concerto. The written portion of the dissertation also presents the score of this arrangement. All recitals were held in the Gildenhorn Recital Hall at the University of Maryland, College Park, Maryland. The live audio recordings of these recitals can be found in the University of Maryland's Digital Repository. EXPLORING THE GUATEMALAN PIANISTIC LEGACY: REVEALING THE HIDDEN GEMS OF THE 20TH AND 21ST CENTURY by Francisco Alfonso Hernández Mendoza Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2024 Advisory Committee: Professor Larissa Dedova, Chair Professor Mikhail Volchok Professor Rita Sloan Professor Gretchen Horlacher Professor Ana Patricia Rodríguez, Dean’s Representative © Copyright by Francisco Alfonso Hernández Mendoza 2024 ACKNOWLEDGEMENTS I want to thank my family for all the support throughout my 13 years of music study in Guatemala, followed by 15 years of study in the United States. I especially think of my brother, Oscar, as I could not have reached this point without his unconditional help. I dedicate this dissertation to them. My former piano teachers—from Guatemala and the United States—Zoila Luz García Salas, Nancy Weems, Slava Gabrielov, Rebecca Penneys, and Roberta Rust—also come to mind. I would also like to thank my doctorate teacher and advisor, Larissa Dedova, for pushing me to understand the importance of true listening and slow practice and to dig deeper into what is inside the music. I would also like to thank my Dissertation Committee for their interest and belief in the impact of this dissertation project. Special thank you to Guzal Isametdinova for her incredible performance in the third dissertation recital. The last recital, with its challenging pieces for two pianos, would not have been possible to complete this year without her outstanding collaboration. She made me play much better. It took a lot of work to keep up with her exceptional playing during the performance. In Guatemala, I am grateful to Lic. Osmar Melia for helping me acquire many scores during the 2020 pandemic while I could not travel to my country. ii iii TABLE OF CONTENTS ACKNOWLEDGEMENTS .......................................................................................... ii TABLE OF CONTENTS ............................................................................................. iii FIRST DISSERTATION RECITAL PROGRAM ....................................................... 1 PROGRAM NOTES ..................................................................................................... 3 SECOND DISSERTATION RECITAL PROGRAM ................................................ 32 PROGRAM NOTES ................................................................................................... 34 THIRD RECITAL PROGRAM .................................................................................. 49 PROGRAM NOTES ................................................................................................... 50 BIBLIOGRAPHY .......................................................................................................134 J. SARMIENTOS CONCIERTO PARA PIANO Y ORQUESTA NO. 1 OP. 10 ............ 54 1 FIRST DISSERTATION RECITAL PROGRAM December 09, 2020. 8:00 PM Gildenhorn Recital Hall, Clarice Smith Performing Arts Center College Park, University of Maryland Francisco Alfonso Hernandez Mendoza, piano Title: Guatemala 1906 – 1950: Vitrina Musical (Music Showcase) Manuel Martínez-Sobral (1879 - 1946) Sonata para Piano (Guatemala, 1906) I. Allegro II. Andante quasi un adagio III. Scherzo IV. Allegro Vivace Ricardo Castillo (1891 - 1966) Poème Pastoral (Paris, 1919) I. Sous le bois (Under the forest) II. Le vent a mis les arbres en fête (The wind made the trees celebrate) III. Nuages (Clouds) IV. Jeux (Games) V. Clair de lune (Moonlight) VI. Souvenir (Memory) Ricardo Castillo (1891 - 1966) 8 Preludios (Guatemala, 1950) I. Presto II. Lento III. Moderato IV. Andante con moto V. Molto moderato VI. Allegretto VII. Giusto VIII. Moderato Ricardo Castillo (1891 - 1966) 2 Suite en Re (Guatemala, 1938) I. Presto II. Giocoso III. Espressivo IV. Cantabile V. Malinconico Jesús Castillo (1877 - 1946) Aragonesa and Serenata Iberia from Segunda Suite Española (n.d) Jesús Castillo (1877 - 1946) Fiesta de Pájaros. Valse-Capricho Español. (Bird´s Feast) (Guatemala, 1909) Manuel Martínez-Sobral (1879 - 1946) Evocaciones - Marcha Fúnebre (Guatemala, 1917 - 1919) 3 PROGRAM NOTES To understand Guatemala’s uniquely nuanced and advanced approach to piano composition within the context of its musical education system, it is important to explore the artistic mentorship and cultural environment that shaped the composers. Examining the influences of their teachers and the settings in which they were educated provides valuable insights into the development of their distinctive musical styles. According to musicologist and historian Dieter Lehnhoff, five key factors significantly advanced Guatemalan music towards the end of the 19th century. First, the arrival of opera companies from Spain and Italy introduced new musical forms and styles. Second, the return of five Guatemalan pianists and composers, who had studied in Europe on scholarships, enriched local music with their skills and experiences. Third, the establishment of military bands from 1875 to 1885 enhanced musical training and public performances across the country. Fourth, the founding of the National Conservatory of Music in 1887 formalized music education, nurturing future generations of musicians. Lastly, the invention of the chromatic marimba created a new medium for compositions to develop in the popular culture. 1.1 LUIS FELIPE ARIAS (1862-1908) An important figure of this epoch was Luis Felipe Arias (1862-1908), the major contributor to the pianistic musical landscape in Guatemala City of the first decade of the 20th century. A renowned and award-winning composer and pianist, 4 whose compositions were first prize winners in the Exposisiones Nacionales from 1904 with the piano work Vals de concierto and 1905 Vals-concierto Lidy. He trained for eight years in a conservatory in Naples in the with studies in composition, piano, and violin. Tragically, Arias' life and cultural influence were cut short when he was assassinated during the dictatorship of Estrada Cabrera, which lasted from 1898 to 1920. The circumstances surrounding his death are ambiguous, with some sources suggesting direct orders for his execution by Cabrera given to an Italian assassin1, while others mention a fatal case of mistaken identity. 2 Contemporary periodicals of the era, while not offering exhaustive details on the circumstances of Arias's death, collectively acknowledged the profound void left by his passing. La Mañana and Diario de Centro America reported on the event commemorating the profound artistic loss: “la irreparable pérdida del notable artista don Luis Felipe Arias" (the irreparable loss of the notable artist Luis Felipe Arias)3 . Arias's funeral, held at the Iglesia de San Juan in Guatemala City, included a choir and orchestra, poetry readings, and farewell prayers by Manuel Martínez-Sobral4, a demonstration of the close bond between two artists. Luis Felipe Arias maintained a close mentorship and friendly relationship with Manuel Martinez-Sobral, which will be explored in detail later in the program notes. 1 Junta Libertadora. Red Page: Via Crucis of a Central American Republic; Victims of the President of Guatemala. New York: Junta Libertadora, 1914, p. 7. Accessed March 22, 2024. https://lccn.loc.gov/ca25001002. 2 Slonimsky, Nicolas. Music of Latin America. (London: George G. Harrap & Co. Ltd., 1946), p. 200. 3 Enrique Anleu Díaz, La música en la nueva Guatemala de la Asunción (1776 - 1944) (Guatemala: Centro de Estudios Folklóricos, Universidad de San Carlos de Guatemala, 1996), 7 4 Ibid. https://lccn.loc.gov/ca25001002 5 The assassination of Luis Felipe Arias, regardless of its cause, brought a premature end to a highly productive phase of cultural innovation, music premieres, and music education, an era posthumously titled "la década de Luis Felipe Arias" (the decade of Luis Felipe). A pioneer of musical aesthetics, Arias was pivotal in the dissemination and debut of orchestral compositions by Beethoven, Mendelssohn, and Wagner, alongside promoting the piano music of Chopin, Liszt, Brahms, and Schumann. A contemporary journalist touted Arias' influence in shifting Guatemalan audiences away from what was dismissed as "trivial salon works" towards a newfound appreciation for the works of the “grandes románticos” 5 or "great Romantics." As an educator and artistic administrator, Arias became director of the National Conservatory of Guatemala in 1901.6 Among his notable students were several distinguished figures in the early 20th century academic music scene. These included Rafael A. Castillo, who gained recognition for his piano compositions that were published in Germany, Mexico, and the United States; Rafael Vásquez, who ascended to the roles of director for both the Military Band and the Police Band; and Alfredo Wyld, whose international career led him to Paris where he collaborated with the Russian Ballet of Sergei Diaghilev and developed a friendship with the composer Florent Schmitt (1870-1958). 7 5 Ibid. 6Ibid., 14 7 Dieter Lhenhoff, Creación Musical en Guatemala (Guatemala: Universidad Rafael Landívar, 2005), 199-200 6 With a highly successful career as composer, cultural promoter, and concert pianist Alfredo Wyld, would make a rich subject for other doctoral piano dissertation projects focused on performance. His works for piano include Études considered highly efficient to develop technique, to such an extent they were included in the Conservatory of Paris curriculum. These include Étude en Double Notes, Étude d'arpèges, and Étude de Gamme. Rafael Vazquez, Arias’ student at the National Conservatory, recalls Arias's efforts to enhance the conservatory education, urging students to understand and embrace the trends and methodologies prevalent in European schools. In Arias's era at the conservatory, students were exposed to a diverse range of works, spanning from Scarlatti and Bach to Charles-Valentin Alkan and Isidor Philipp: “en lo que respecta a la revolución de ideas, innovación de estilos, invención de fórmulas y orientación de escuelas, sabíamos de los intentos -éxitos y fracasos- desde Monteverde y Pórpora hasta Widor y Gabriel Faure”8 (As for the revolution of ideas, innovation of styles, invention of formulas, and direction of schools, we knew of the attempts—successes and failures— from Monteverdi and Porpora to Widor and Gabriel Fauré). Arias's influence endured for years, fostering a pianistic culture deeply rooted in the broad expressive range of Romantic piano composition. Twenty-four years after Arias's passing, Vasquez reflected on this legacy in his 1932 article titled Ideas estéticas sobre la música (Aesthetic Ideas About Music): “Si para los clásicos la técnica musical fue una ciencia dominada, que ya no exigía esfuerzo de ingenio, ara los románticos fue, por lo contrario, fuerza dinámica capaz de desarrollar el poder imaginativo y la voluntad creadora.” 8 Díaz, La música en la nueva Guatemala de la Asunción (1776 – 1944), 14 7 (If for the classical composer’s musical technique was a mastered science, which no longer required effort of ingenuity, for the Romantics, on the contrary, it was a dynamic force capable of developing imaginative power and creative will.)9 Most piano composers who were influenced by Arias, were admirers of a style that emerged in the previous century. The 1932 writings of Vasquez depict a complete devotion to Romantic music writing, contrary to the compositional trends happening in Europe at the time. Arias’ artistic influence placed music composition as the “perennial blossoming of new ideas and procedures, a constant struggle to assimilate itself to the eternal drama of human passions."10 An approach aligned with the greater-than-life pathos embedded in the compositions of the great romantic composers in Europe. Figure 1: Left to right, Mariano Bracamonte (violinist) Germán Alcántara (trumptetist), Tránsito Molina (cellist), Luis Felipe Arias, Fabián Rodríguez (band director) and Julián Paniagua (violinist).11 1895 National Conservatory Faculty with Felipe Arias in the middle. While the compositional output of Luis Felipe Arias is not as extensive as other contemporaries, his impact in developing Guatemalan music education was key 9 Lehnhoff, Creación Musical en Guatemala, 202 10 Ibid., 203 11 Díaz, La música en la nueva Guatemala de la Asunción (1776 - 1944), 14 8 in creating momentum in technical and compositional progress in the early 20th century. It is important to note that virtually all of Aria´s compositions for piano are still unpublished, and there is not a clear record of a list of his complete piano works. Igor de Gandarias’ extensive anthology Música guatemalteca para piano mentions only one work – Miniaturas (1865) published by the Universidad de San Carlos de Guatemala in the 1981 edition Música de Guatemala12. However, recent rediscoveries include a handwritten manuscript of Valse found in 2020 by accident in the private library collection of pianist and composer Juan de Dios Montenegro (1929-2014) while Lic. Osmar Meliá, a current piano faculty member at the National Conservatory of Guatemala, was conducting research on Montenegro´s compositions. Figure 2: First measures of Luis Felipe Aria´s Valse. Handwritten manuscript. Page 1 of 10. A gratifying discovery, Valse was not found during Gandarias’ research while he was building the Guatemalan piano anthology. In fact, Gandarias’ highly detailed work did list many works collected in Montenegro´s library, but Arias’ work went 12 Igor de Gandarias, Música guatemalteca para piano: Antología histórica Siglos XIX-XXI (Guatemala: Dirección General de Investigación, Universidad de San Carlos, 2008), 24 9 unnoticed. Valse is a composition with elaborated pianism and embellishments, cross hands sections, that showcases the mastery of the instrument in a salon-like romantic style. It is highly probable that Arias himself performed this composition while working at the National Conservatory. 1.2 MANUEL MARTÍNEZ-SOBRAL (1879-1946) It is under the influence and legacy of Luis Felipe Arias, that Manuel Martinez-Sobral (1879-1946), developed his piano and compositional training. As previously hinted in Sobral’s participation during Aria’s funeral, both musicians had a close relationship based on mentorship and friendship. Both of Sobral’s pieces in the First Dissertation Program: Sonata para piano (1906) and Evocaciones - Marcha Fúnebre (1917) are dedicated to Arias. Sobral writes “A Luis Felipe Arias, maestro y amigo” (To Luis Felipe Arias, teacher and friend) on the title of the Sonata. Furthermore, the Funeral March is based on a melody by Arias. In fact, the cycle of three works named "Evocaciones" serves as commemorations of the lives of two artists close to Sobral: I. Marcha fúnebre; II. "Atardecer: en los funerales del Maestro Rafael A. Castillo" (Sunset: at the funeral of Maestro Rafael A. Castillo); III. "Elegía: a la memoria gratissima de Luis Felipe Arias, maestro y amigo" (Elegy: to the most grateful memory of Luis Felipe Arias, teacher and friend). Much of Manuel Martinez Sobral's music was thought to be lost until it was rediscovered by his grandson, composer Rodrigo Asturias. Asturias played an 10 essential role in publishing the majority of Sobral's compositions through the French publishers Durand and Max Eschig.13 According to Rodrigo Asturias, Martínez-Sobral never traveled outside of Guatemala during the time he was composing. 14 Being a highly capable pianist – as shown in accounts and through the writing of his piano music - and without being influenced by the compositional trends of early 20th century, his music solely reflects the evolution from the Viennese sonata tradition—emulating Haydn, Mozart, Beethoven, and Schubert—to the romantic expressiveness prevalent in the mid-19th century. Furthermore, Asturias claims that Martinez-Sobral only had access to music written until 186015, however this might be an exaggeration, as records show the music of Alkan and Fauré16 being studied at the National Conservatory. Nevertheless, the main point of the argument on Martinez-Sobral’s remains true: his piano works, mostly written between 1903 and 1924, are completely inspired on the classical and mid-romantic styles, that is, compositional styles that emerged and were popular 150 to 70 before his time. Most of Martinez-Sobral’s compositions were for piano; he wrote symphonic music as well however these were second versions of original piano music.17 While Martinez-Sobral's piano compositions remained traditional and did not incorporate modern trends, other facets of his life were in tune with modernity. In 13 Lehnhoff, Creación Musical en Guatemala, 202 14 Rodrigo Asturias, liner notes for Guatemala Volume 3: Manuel Martínez-Sobral, performed by Suzanne Husson, Marco Polo, 1998. 15 Rodrigo Asturias, Guatemala Volume 3: Manuel Martínez-Sobral. 16 Díaz, La música en la nueva Guatemala de la Asunción,14 17 Asturias, Guatemala Volume 3: Manuel Martínez-Sobral. 11 different instances, Martinez-Sobral published short stories in the 1908 Electra Magazine, founded by plastic artist Justo de Gandarias.18 This illustrated magazine published matters of science, art and literature, and it was considered an innovative magazine of the time that housed modern literary trends. 19 Furthermore, he was an avid cyclist who participated in numerous races. Below is an illustrative image of Martinez-Sobral, a composer known for his conservative approach to music composition, on a bicycle. It's noteworthy that during this period, the modern "safety" bicycle—characterized by its equal-sized wheels— was regarded as "an emblem of progress and one of its agents at the fin de siècle.”20 The bicycle has been a symbol of progress, renewal, and promising times ahead, as highlighted in various cultural and artistic expressions. Figure 3. Manuel Martinez-Sobral posing in a modern “safety” bicycle. 18 Igor de Gandarias, Música guatemalteca para piano: Antología histórica Siglos XIX-XXI, 47. 19 Boyd Carter, "El Modernismo en las Revistas Literarias: 1894," Chasqui (February 1979): 15. 20 Nanci J. Adler, "The Bicycle in Western Literature: Transformations on Two Wheels" (Master of Liberal Studies Theses, Rollins College, 2012), 3. 12 Branching out from the arts later in life, Martinez-Sobral immersed himself in politics and law, serving as a lecturer at the School of Law at la Universidad de San Carlos. His political career extended to a position as a congressman from 1933 to 1942, during the regime of General Jorge Ubico.21 This Dissertation Recital program opens and closes with works by Manuel Martinez-Sobral. While written a little over 10 years apart, the styles from the Sonata para Piano (1906) and Evocaciones: Marcha Fúnebre (1917) portray the contrasting aesthetics of the music written during the classical era as compared to the height of romantic piano writing. The preface of the Sonata para Piano, written by Rodrigo Asturias gives a clear harmonic explanation of the four-movement sonata cycle. Figure 4: Rodrigo Asturias’s formal analysis of the Martinez-Sobral’s Sonata para piano.22 21 Lehnhoff, Creación Musical en Guatemala, 202 22 Rodrigo Asturias, preface to Sonata for Piano by Manuel Martínez-Sobral, ed. R.A. Asturias (Paris: Max Eschig, 1906) 13 As seen in the chart, the structure of each movement has the stereotypical classical harmonic relationship between tonic and dominant harmonies. No striking key relationships or harmonic motions that move outside the Viennese-style. The same case with the middle movements that are written in the subdominant key (F major). Moreover, a second slow and lyrical movement is followed by an idiomatic scherzo third movement. This sonata-cycle structure is commonly found in most of Beethoven’s early piano sonatas. Asturias' observation that this work pays tribute to the Viennese Sonata style of Haydn, Mozart, Beethoven, and Schubert is accurate. It demonstrates a thorough grasp of the form and thematic relationships characteristic of the 18th-century sonata. However, a more detailed examination reveals a blurring of lines between classical writing with romantic idioms. It is particularly striking to observe the differences in composition between the Sonata’s first Allegro movement and the concluding Allegro vivace. In the Allegro, the presentation of the first and second themes features idiomatic early classical piano writing, with Alberti basses, commonly seen in many of Haydn and Mozart’s compositions. If the first theme were presented out of context, an expert might assume that the passage originated from a work written in the early 18th century. 14 Figure 5: Sonata para Piano. I. Allegro, mm. 5 – 8.23 However, throughout the first movement's development, textures aligned more with late classical and romantic piano writing begin to emerge. Notable is the expansion of the Alberti bass to bigger gestures of intervals of 10ths. Figure 6: Sonata para Piano. I. Allegro, mm. 169 - 170.24 One of the clearest instances of the evolution of the Alberti-bass is found in Beethoven’s writing, which began to incorporate extensions beyond the conventional fifths and sixths. This expanded use of the Alberti bass first appears in Beethoven's sketches from 1793 and are published first in the Piano Variations Op. 34 (1802).25 Additionally, a significant example of this Alberti bass extension is notable in Beethoven's Piano Sonata Op. 81a, "Les Adieux (1909). 23 Manuel Martínez-Sobral, Sonata para piano (1906; Paris: Max Eschig, 1996) 24 Ibid. 25 Derry, Siân R. "Beethoven’s Experimental Figurations and Exercises for Piano." PhD diss., University of Manchester, 2012, p. 163. 15 Figure 7: Beethoven’s Sonata Op. 81a. 1st movement, mm. 16 – 27.26 The second movement, Andante quasi un adagio, resembles a pastoral-like lied and it is structured in a contrasting ternary form. The middle section, marked un poco agitato, is in the minor dominant, with its agitated character driven by a persistent syncopated rhythm in the middle voice. This contrasts the first section, which features more stable rhythms highlighting the main melody's simplicity. Starting at measure 165, the closing section begins, illustrating that while this sonata draws on classical forms, it was composed for a modern piano. The range used here is notably broader than the themes introduced in the opening of the first and second movements. 26 Sigmund Lebert and Hans von Bülow, eds., Beethoven Complete Piano Sonatas (New York: G. Schirmer, 1895) 16 Figure 8: Sonata para Piano. II. Andante quasi un adagio , mm. 161 - 165.27 The third movement, a Scherzo in F major, unfolds in a lively 3/4 meter, juxtaposed with a contrasting lyrical section in C major. This movement bears a striking resemblance to Beethoven's Scherzo in the Sonata Op. 2 No. 3 in C major, particularly in the use of transitional motifs that are evident in both Beethoven's and Sobral's Scherzi. Figure 8: Martinez-Sobral’s Sonata para Piano. III. Scherzo, mm. 46 - 53.28 27 Martínez-Sobral, Sonata para piano 28 Ibid. 17 Figure 9: Beethoven;s Piano Sonata No.3, Op.2 No.3. III Scherzo. Allegro mm. 29 - 36.29 The last movement is the most virtuosic of all Sobral’s sonata movements. The movement still has a traditional tonal tonic to dominant thematic relationship but diverges significantly from 18th-century piano writing. The Allegro Vivace explores the extensive range of the modern piano, featuring cascades of arpeggios, robust octaves, and elaborate accompanying figures. In comparison, the Alberti bass introduced at the beginning of the first movement now seems remote, as if it belongs to a different piece from another composer. In Asturias' edition, two versions are provided for the last movement coda beginning at measure 221. The second version presents a denser texture, adding extra voices that serve as direct counterpoint to the melody in the right hand. By the end of this dissertation project, the original manuscripts had not been reviewed. Future research into this Sonata should prioritize examining these manuscripts to shed light on which version was initially composed and which one the composer preferred. 29 Lebert and Bülow, eds., Beethoven Complete Piano Sonatas. 18 Manuel Martinez-Sobral’s Evocaciones: Marcha Fúnebre (1917) is the other piece chosen for the First Dissertation Recital. The profound expressiveness, virtuosic demands, and rich palette of tonal colors makes it an effective piece to conclude a recital or to position before an intermission. As previously mentioned, Marcha Fúnebre was included in the collection Evocaciones, which contains 3 different works written between 1906 and 1924 to commemorate artists who were close to Martinez-Sobral. Marcha Fúnebre is a rhapsodic elaboration of a melody by Luis Felipe Arias. It begins with a simple and dignified theme that undergoes extensive development, transforming into various virtuosic expressions that showcase the piano's dynamic range and coloristic possibilities, akin to the style of a romantic paraphrase.30 Rodrigo Asturias highlights the unique formal structure of the work, particularly its harmonic architecture, which features four distinct structural cadences on the ii, V, III, and i degrees of C# minor. These key relationships mirror the intervallic relationships found in the motif of the second theme. Figure 10: Rodrigo Asturias’s formal analysis of the Martinez-Sobral’s Marcha Fúnebre.31 30 Rodrigo Asturias, preface to Evocaciones I. Marcha Funebre by Manuel Martínez-Sobral (Paris: Max Eschig Publications, 1992) 31 Ibid. 19 The pieces by Martínez-Sobral chosen for the First Dissertation Recital, embody a bridge between classical forms and romantic expressiveness, showcasing Sobral’s deep understanding of form and harmony while pushing the boundaries toward the emotive capabilities of the piano. This transition from classical to romantic idioms within the same work suggests a deliberate and creative blending of styles, reflective of the composer's artistic growth and the evolving piano tradition of the early 20th century. Additional works by Manuel Martinez-Sobral, that are not included in this dissertation program are: Cinco piezas características y una Romanza (1903-1919); Evocaciones: II. Atardecer (1926), III. Elegía (1908); Hojas de Álbum I. Danza, II. Tiempo de vals lento, III. Intermezzo, IV. Scherzando, V. Duetto, VI. Mazurka, VII. Tonada, VIII. Danse des marionnettes, IX Berceuse, X. La Baignoire des ondines; Series de Valses I. Deja que cante al pie de tu ventana, II. Lejana Juventud, edad de ensueño (1937), III. Maria Teresa (1910), IV. Otoño; Tres piezas (1915-16); Vals brillante de concierto (1908); and Volapié (1905). Through the efforts of Rodrigo Austurias, most of Martinez-Sobral piano works can be listened in two CDs released by the Marco Polo Label, titled Guatemala Volume 3 and Guatemala Volume 5. These works are recorded by Suzanne Husson and Michel Bourdoncle. The recordings were released in 1999 and 2003, more than 20 years have passed without any additional interpretations of Sobral works. 20 1.3 JESÚS CASTILLO (1877 - 1946) In Guatemala, the piano and the marimba are indissoluble.32 In the early 20th century, the Guatemalan Creole people became interested in the marimba – an instrument previously played mostly by indigenous peoples – noticing the instrument for its capabilities to perform salon music during public events. Consequently, governmental sponsored initiatives promoted the development of marimba ensembles which occurred parallel to the developments of the chromatic marimba in other parts of the world.33 The union of piano and marimba music predominantly occurred in the city of Quetzaltenango. During the beginning of the 20th-century, it became a widespread custom to interpret piano compositions on the marimba – an instrument whose Guatemalan chromatic version originated in Quetzaltenango. This tradition laid the groundwork for an increase of creative marimba and piano works across different regions of the nation.34 The integration of the marimba into the ruling and working class, went hand to hand with the popularization of Spanish music. While Spanish music was performed for the aristocracy, during the early 19th century, it became more widespread, when the public theatre Teatro Carrera, was opened in 1859.35 32 Gandarias, Música guatemalteca para piano: Antología histórica Siglos XIX-XXI, 64 33 Ibid. 34 Ángel Roberto Pérez Chamalé, "La Influencia de la Música Indígena en la Segunda Suite y Tres Rapsodias Indígenas para Piano de Jesús Castillo" (Licenciatura en Música, Escuela Superior de Arte, Universidad de San Carlos de Guatemala, 2023), 14. 35 Gandarias, Música guatemalteca para piano: Antología histórica Siglos XIX-XXI, 66 21 Figure 11: Teatro Carrera, 1859, later named National Theatre, and finally Teatro Colón36 In the years 1873 and 1874, the cultural scene of Guatemala City was enriched by a successful Spanish Zarzuela successful company. This troupe captivated audiences with over two dozen productions, which were met with enthusiastic reception by the urban public. The popularity of Zarzuela in Guatemala surged towards the end of the 19th century and continued to flourish into the early decades of the 20th century. The resounding success of these Zarzuela seasons provided further motivation for composers to write in a Spanish style. 37 It is noteworthy that although these performances were public, they were mostly accessible to patrons who possessed the financial means to purchase tickets. A popular periodical of that era, La Ilustración Guatemalteca, highlighted the economic barriers posed by the high cost of attending Zarzuelas. “El público por su parte, opina que debe existir harmonía entre las notas altas que se dan en el palco escénico y los precios altos que se pagan en la 36 Díaz, La música en la nueva Guatemala de la Asunción (1776 - 1944), 7 37 Lehnhoff, Creación Musical en Guatemala, 192 22 taquilla del billetero…. Y mientras ésta no exista, no prodigará su asistencia a los espectáculos.”38 (The audience, for their part, believes that there should be harmony between the high notes produced on stage and the high prices paid at the box office... And as long as this harmony does not exist, they will not lavish their attendance on the shows.) While the newspaper article laments the high ticket prices, it suggests a desire among the general audience for greater access to these performances. By the time Jesús Castillo (1877 - 1946) began his musical career, marimba music, along with Spanish or Spanish-inspired compositions, were already prevalent in the major cities of the country, including his hometown of Quetzaltenango and Guatemala City. As previously mentioned, many Spanish-inspired piano compositions became popular due to the popularity of marimba virtuosos and ensembles of the time. The Spanish influence is notably embodied in Castillo’s Aragonesa and Serenata Iberia performed in the First Dissertation Program. These pieces serve as the concluding sections of the Segunda Suite Española, which also comprises two initial movements: Seguidilla and Bolero. Together, the four movements form the complete suite, showcasing a rich tapestry of Spanish musical motifs, harmonies and dance inspired works. Jesus Castillo’s Vals-Capricho Español Fiesta de Pájaros, originally composed for piano, became widely popular in its marimba version. Presently, this piece is predominantly performed by marimba or marimba ensembles, with its rendition as a piano solo rarely programmed in concerts. This transition from piano to 38 La Ilustración Guatemalteca: Revista Quincenal, vol. 1, no. 11 (January 1896), 176 23 marimba is emblematic of a broader artistic movement, where traditional compositions acquired new avenues to reach the broader audiences when played on Guatemala's national instrument. Grove Music Online's short entry on Jesús Castillo provides a brief overview of the composer's life and contributions, emphasizing well-known aspects of his career and influence. It highlights the composer as a pioneering figure in Guatemalan musical nationalism. His extensive research on this music was encapsulated in his publication "La música maya-quiché: región de Guatemala" in 1941.39 Jesús Castillo's most significant contributions lie in his extensive fieldwork, where he documented indigenous musical practices, melodies, rhythms, and instruments. Although the First Dissertation Recital of this doctoral project does not feature piano music inspired by Guatemalan Indigenous traditions, it is crucial to acknowledge the pioneering ethnomusicology work of Jesus Castillo. As one of the first composers and ethnomusicologists in the Americas, Castillo conducted in-depth research on folk and indigenous music of Guatemala. Understanding his contributions in this field offers valuable context for this Doctoral project, highlighting the rich musical heritage that, while not directly represented in this recital, underpins the broader field of study. The recent theses by Guatemalan pianist and researcher Roberto Pérez Chamale, "The Influence of Indigenous Music on the Second Suite and Three 39 Dieter Lehnhoff, "Castillo, Jesús," Grove Music Online, 2001, accessed March 25, 2024, https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000005139. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000005139 https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000005139 24 Indigenous Rhapsodies for Piano by Jesus Castillo”40 explores the meticulous study and integration of indigenous Guatemalan musical elements into classical music compositions through the groundbreaking work of Castillo. Chamale's study not only highlights the composer’s role as a pioneering figure in incorporating indigenous musical elements into classical compositions but also emphasizes the importance of these works in understanding the cultural and musical dialogues between European and indigenous Guatemalan traditions. Castillo’s piano music was predominantly inspired by Mayan musical concepts. Igor de Gandarias enumerates thirty-eight compositions for piano, of which twenty-one are influenced by Mayan themes.41 Moreover, Jesús Castillo's opera "Quiché Vinak," (1917-1925), is a remarkable testament to his artistic legacy. The opera’s Mayan title can be translated as “K’iche’ People’s Opera.” The work is set on the eve of the Spanish invasion of Guatemala in 1524. It narrates the story of Princess Alitza, who is to be sacrificed by the Quiché high priests to appease the gods and prevent world destruction. However, Quiché Prince Amalchi, with magical powers, rescues her. The priests, determined to complete the sacrifice, capture them again. As they face death, they profess eternal love and foresee the Quiché's downfall, which coincides with the arrival of the Spanish conquerors.42 40 Chamalé, "La Influencia de la Música Indígena en la Segunda Suite y Tres Rapsodias Indígenas para Piano de Jesús Castillo". 41 Gandarias, Música guatemalteca para piano: Antología histórica Siglos XIX-XXI, 24 42 Julio Román, "La Ópera Quiché Vinak es declarada Patrimonio Cultural Intangible de la Nación por el Ministerio de Cultura y Deportes," Prensa Libre, October 21, 2021, https://www.prensalibre.com/vida/que-bueno-es-mi-pais-sec_vida/la-opera-quiche-vinak-es-declarada- patrimonio-cultural-intangible-de-la-nacion-por-el-ministerio-de-cultura-y-deportes-breaking/ https://www.prensalibre.com/vida/que-bueno-es-mi-pais-sec_vida/la-opera-quiche-vinak-es-declarada-patrimonio-cultural-intangible-de-la-nacion-por-el-ministerio-de-cultura-y-deportes-breaking/ https://www.prensalibre.com/vida/que-bueno-es-mi-pais-sec_vida/la-opera-quiche-vinak-es-declarada-patrimonio-cultural-intangible-de-la-nacion-por-el-ministerio-de-cultura-y-deportes-breaking/ 25 Written in collaboration with librettist Virgilio Rodríguez, this work is one of the first operas highlighting indigenous themes written in the Americas.43 After its highly successful premiere at the Teatro Abril in 1924, Jesús Castillo was awarded the Ordre des Palmes Académiques, by the French ambassador, and copies of the work were sent to different cities in Germany and the United States.44 However, it was not until October 2021 that the opera was performed again in Guatemala City. It was almost 100 years later that this groundbreaking opera became recognized, by Ministerial Decree, an Intangible Cultural Heritage of the Nation. Acknowledging that the State has a high interest in its preservation, as key to strengthening Guatemalan national identity, considering its significant historical, cultural, and artistic value. It's now officially viewed by the Guatemalan Government as one of the pioneering musical and theatrical works highlighting Guatemalan compositions and is one of the earliest nationalist operas in the Americas. 45 While the opera was forgotten, the majority of Jesus Castillo’s compositions continue to be a vital component of Guatemala's traditional music scene. During his lifetime, Castillo's music was integral to the repertoire of Quetzaltenango's most renowned marimba bands. This enduring legacy persists, with his compositions still being performed regularly today, maintaining their prominence and influence in the country's musical landscape. Castillo's piano music stands as a testament to his innovative spirit, showcasing how the piano can be a vessel for cultural expression, 43 Ibid. 44 Ibid. 45 Ministerio de Cultura y Deportes, "Acuerdo Ministerial número 1136-2021," Diario de Centro América, (Guatemala: Gobierno de Guatemala, 2021). 26 connecting traditional folk elements with the broader narrative of classical music in Europe, especially Spain. 1.4 RICARDO CASTILLO (1894 - 1966) The odds of siblings exerting an equally profound impact on a country’s musical landscape are slim. Nevertheless, Jesus Castillo’s, younger brother Ricardo Castillo (1894-1966) was also a pivotal contributor for the exploration and strong influence of French aesthetics on Guatemalan music composition.46 An influence that lasted into the late 20th century. His journey to Paris for advanced musical studies marks a significant milestone in the integration of French compositional techniques within the Guatemalan musical language. During the pivotal years from 1906 to 1922, Castillo studied in Paris under the tutelage of Paul Vidal47, a distinguished composer who not only was awarded with the Prix de Rome in 1886 but also maintained a close collaborative relationship with Claude Debussy48, and contributed to the musical development of Nadia49 and Lili Boulanger.50 By the time of Castillo's arrival, Vidal was an esteemed educator in his 46 Gandarias, Música guatemalteca para piano: Antología histórica Siglos XIX-XXI, 70 47 Rodrigo Asturias, booklet for Guatemala, featuring works by Ricardo Castillo, (Marco Polo, 1994). 48 Charlton, David. "Vidal, Paul Antonin." Grove Music Online. 2001; Accessed 26 Mar. 2024. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000029305. 49 Potter, Caroline. "Boulanger, (Juliette) Nadia." Grove Music Online. 2001; Accessed 26 Mar. 2024. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000003705. 50 Fauser, Annegret, and Robert Orledge. "Boulanger, (Marie-Juliette Olga) Lili." Grove Music Online. 2001; Accessed 26 Mar. 2024. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000003704. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000029305 https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000029305 https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000003705 https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000003705 https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000003704 https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000003704 27 late fifties, and the relationship between the two musicians flourished, profoundly impacting Castillo's artistic direction. The period of Castillo's studies in Paris was crucial in shaping his compositional language. His repertoire, encompassing 17 pieces for piano, consistently exhibits the idiomatic nuances reminiscent of the 20th-Century-French suite, such as Ravel’s Tombeau de Couperin and Debussy’s Suite Bergamasque . This significant phase of Castillo's career exemplifies the symbiotic relationship between French musical aesthetics and Guatemalan compositional practice, marking a defining chapter in the evolution of music in Guatemala. His relationship with France grew strong, he even went through a voluntary enlisting to fight for France during the First World War.51 Subsequently, two pivotal developments occurred that significantly influenced the trajectory of Guatemalan musical composition. Firstly, in 191852 Castillo married Georgette de Contoux (1901-1958), an esteemed pianist of that period, who trained with Alfred Cortot and was a laureate of several Conservatory awards, including the distinguished Prize of Excellence.53 Secondly, in the year 1922, the couple embarked on a return to Guatemala, where they commenced their educational legacy, initially giving private lessons in Ricardo Castillo’s hometown Quetzaltenango, and subsequently at the National Conservatory in Guatemala City.54 Their marriage proved to be of lasting impact, as 51 Ricardo Castillo, Ocho Preludios, edited by Sandra Castillo Gallusser, digital transcription and revision by Juan Andrés de Gandarias López, cover design by Dennis Leder, introductory text by Igor de Gandarias, (Guatemala: MK Ediciones, 2020), 2 52 Ibid. 53 Asturias, Guatemala, featuring works by Ricardo Castillo 54 Gandarias, Música guatemalteca para piano: Antología histórica Siglos XIX-XXI, 70 28 together they nurtured a generation of composers and pianists, leaving a deep mark on the nation's academic cultural landscape and the aesthetic direction of the late 20th century. This enduring legacy is reflected in the repertoire of the Second Dissertation Recital. Many works after 1950, written by different renowned Guatemalan composers, including Enrique Solares, Manuel Herrarte, and Jorge Sarmientos are dedicated to this couple. Ricardo Castillo's oeuvre is often viewed through the lens of early 20th- century French aesthetics, characterized by neoclassical clarity, a moderation of romantic expressiveness, and conciseness in composition. These elements reflect a deliberate return to the emotive depth found in the works of Rameau and Couperin. Additionally, Castillo's piano compositions exhibit traits of the "New Virtuosity," a term associated with Maurice Ravel's Jeux d'eau, emphasizing delicate textural nuances and the jeu perlé technique.55 Ricardo Castillo’s piano works were predominantly brief. These characteristics are readily apparent in his body of work, including Suite en Re; and they are aligned with the stylistic trends prevalent in France during that era. Written in 1938, the short five-movement piece is all centered in D major, with an exception to an interlude in A minor. Characterized by its elegance and the economical use of thematic material, the suite employs a single principal motif, which undergoes variations across the different movements. In the liner notes of Castillo’s piano 55 Reginald Gerig, Famous pianists & their technique (Bloomington: Indiana University Press, 2007), 320. 29 works, Rodrigo Asturias captures the essence of his style by noting a particular "quality and freshness of ideas, as well as his candour, bordering on ingenuousness."56 Ricardo Castillo's work Suite Pastorale, composed during his early years in Paris, exemplifies the Debussy influence on his early oeuvre. The work was written shortly after completing his studies with Paul Vidal.57 This evocative suite, comprised of six movements bearing French titles, resonates with the thematic and stylistic essence of Claude Debussy. Notably, it includes movements titled Clair de Lune, similar to its counterpart in Debussy's Suite Bergamasque; and Nuages, which also shares the same title as Debussy’s orchestral work Nocturnes. The work, published by the French editor J.Hamelle, was first performed in Paris in 1919 by Georgette Contoux.58 The 8 Preludes belongs to the last set of pieces composed by Ricardo Castillo. Consistent with his early works, Igor de Gandarias describes these pieces are presented as a cycle of small works cast in simple forms (binary or ternary). According to Gandarias, the intimate and abstract nature of their content is heralded by the opening phrase that precedes the series: “Mon âme a son secret, ma vie a son mystère"(My soul has its secret, my life has its mystery). The cycle pays tribute to five pillars of 20th-Century Western classical piano music: Claude Debussy, Maurice Ravel, Modesto Moussorgsky, Igor Stravinsky, and Olivier Messiaen. 59 56 Rodrigo Asturias, booklet for Guatemala, featuring works by Ricardo Castillo, (Marco Polo, 1994). 57 Ibid. 58 Ibid. 59 Ricardo Castillo, Ocho Preludios, edited by Sandra Castillo Gallusser, digital transcription and revision by Juan Andrés de Gandarias López, cover design by Dennis Leder, introductory text by Igor de Gandarias, (Guatemala: MK Ediciones, 2020), 3 30 Ricardo Castillo took great pride in these preludes. He expressed this sentiment in the cultural periodical El Imparcial, where he frequently contributed, stating: “I want to tell my friends, disciples, and those who I know hold affection for me, that Messiaen, the genius of current music; Lesur, composer and professor of composition at the Paris Conservatory, Leibowitz, who revived dodecaphonism and is one of Europe's most valuable personalities, Horenstein, a renowned orchestra conductor, Mme. Ple, an exquisite composer, and other distinguished figures have had the warmest praise for my 'EIGHT PRELUDES' for piano.”60 This quote not only highlights the widespread acclaim Ricardo Castillo's Eight Preludes for piano received from eminent figures in the music sector but also subtly indicates Castillo's personal connections with these renowned musicians and composers. Moreover, he continued expressing his affinity for his creation: “But I adore my PRELUDES and recently heard them played well by Georgette. A pianist told me they were easy; I don't think so. I believe it's easy to butcher them, especially number two; another I heard played 'LIKE A TRIUMPHAL MARCH!!!” The year following its creation, these works were awarded the First Prize in the Music Section of Guatemala's National Permanent Contest of Sciences, Letters, and Fine Arts, judged by an international panel in Mexico.61 Ricardo Castillo was an internationally recognized composer whose charismatic dedication to music education and composition not only shaped his students' careers but also left an indelible mark on the nation's musical landscape. 60 Ricardo Castillo, Recopilación de sus escritos publicados en El Imparcial 1960 - 1966, compiled by Miarka Castillo Contoux, 1st ed. (Guatemala: MK Ediciones, 2004), 3 61 Ricardo Castillo, Ocho Preludios, edited by Sandra Castillo Gallusser, digital transcription and revision by Juan Andrés de Gandarias López, cover design by Dennis Leder, introductory text by Igor de Gandarias, (Guatemala: MK Ediciones, 2020), 3 31 Closing the program notes on Ricardo Castillo is a heartfelt reflection from the acclaimed composer Jorge Sarmientos:" “Las clases de don Ricardo eran maravillosas porque no era un catedráico cuadrado, mas bien era muy dinámico, alegre y recreativo. Sus clases eran todo cuentos y anécdotas ... nosotros "babeabamos". Para mi fue como un padre, un padre de la musica”62 (Don Ricardo's classes were marvelous because he wasn't a conventional, rigid professor; instead, he was incredibly dynamic, joyful, and engaging. His lessons were filled with stories and anecdotes... we were literally drooling. For me, he was like a father, a father of music.) 62 Castillo, Recopilación de sus escritos publicados en El Imparcial 1960 - 1966, note on the back cover. 32 SECOND DISSERTATION RECITAL PROGRAM March 10, 2022. 5:00 PM Gildenhorn Recital Hall, Clarice Smith Performing Arts Center College Park, University of Maryland Francisco Alfonso Hernandez Mendoza, piano Title: Guatemala 1950 – 2015: Vitrina Musical (Music Showcase) Xavier Beteta (1980) Tiene duende (United States, 2014) Manuel Herrarte (1924 – 1974) Six Sketches (United States, 1953) I. Valsante II. Melancólico III. Vivo IV. Simple V. Sombrio VI. Festivo Manuel Herrarte (1924 – 1974) Suite (Mexico, 1954) I. Barcarolla II. Intermezzo III. Movimiento Joaquín Marroquín (1933-2001) Suite Chapiniana (United States, 1964) I. Pastorale II. Burlesque III. Nocturno IV. Ronda V. Fiesta Xavier Beteta (1980) Miniatures Fantastiques (United States, 2015) 33 I. El camino del sur II. Porcelain doll III. Les adieux Enrique Solares (1910-1995) Сорок (Forty) (Guatemala, 1950) Enrique Solares (1910 -1995) Idea con 15 deformaciones (Idea with 15 deformations) (Italy, 1962) I. Idea. Moderato II. Larghetto III. Allegro IV. Animato V. Animato VI. Allegro Umoristico VII. Con brio VIII. Marziale IX. Con anima X. Tranquilo XI. Tempo di minuetto XII. Allegretto XIII. Marziale XIV. Allegretto XV. Transición. Brillante XVI. Alegro Assai Jorge Sarmientos (1932 - 2012) Tocata para piano Op. 3 (Guatemala, 1952) Jorge Sarmientos (1932 - 2012) Nocturno Op. 24 (Guatemala, 1960) Jorge Sarmientos (1932 - 2012) Sonatina para Piano Op. 15 (France, 1954) I. Allegro moderato II. Allegretto – Canzón Danzante III. Rondó – Allegro Vivace 34 PROGRAM NOTES The composers featured in the Second Dissertation Recital—Manuel Herrarte, Enrique Solares, Joaquín Marroquín, and Jorge Sarmientos—were deeply influenced by the teachings of Ricardo Castillo at the National Conservatory. While Xavier Beteta, a student of Rodrigo Asturias, indirectly connects to Castillo's legacy, making Castillo his musical grandfather. This lineage highlights Castillo's enduring influence, as each composer, regardless of their individual journeys and training across the globe, traces a foundational link back to Castillo's pedagogy and 20th century French musical aesthetics. 2.1 MANUEL HERRARTE (1924 – 1974) Details about pianist and composer Manuel Herrarte's life (1924 – 1974) and career are limited. The most comprehensive account is documented by Igor de Gandarias in the 2008 publication Diccionario de la Música en Guatemala (Fase I: área académica): Herrarte's formal education in music began under the tutelage of Ricardo Castillo for composition and Georgette Contoux for piano, complemented by orchestral studies with the Austrian-Guatemalan conductor Franz Ippisch. He furthered his musical development at the Eastman School of Music, where he studied under Howard Hanson and spent a summer studying piano with Robert Casadesus. His career later transitioned to diplomacy, where he served as a Cultural Attaché at the Guatemalan embassy in New York before ultimately returning to Guatemala. 63 63 Igor de Gandarias, coordinator, Diccionario de la Música en Guatemala (Fase I: área académica), (Guatemala: Universidad de San Carlos de Guatemala, Dirección General de Investigación, Programa Universitario de Investigación en Cultura, Pensamiento e Identidad de la Sociedad Guatemalteca, Centro de Estudios Folklóricos, 2009). 35 Herrarte was an active pianist and considered one of the most virtuoso pianists of Guatemala in his generation. 64 Nevertheless, his two appearances at Carnegie Hall received unenthusiastic reviews. Reflecting on his 1949 debut, a New York Times observed: “The young pianist must have been very nervous, for he went through his major selections—the Bach-Busoni Chaconne and Chopin’s B-flat minor Sonata—too fast and with his foot too steadily planted on the loud pedal. After the intermission, though, the playing was clearer, more supple and brighter in tone.”65 In a review of his second recital at Carnegie Hall of 1957, the New York time critique was similar: “He communicated a sense of excitement in some of the faster movements, but did not seem to have much else in mind. In the Domenico Scarlatti Sonatas that opened the program Mr. Herrarte seemed too nervous to do the works technical or musical justice. He played the Schumann Intermezzi Op. 4, and a Fauré Nocturne agreeably but without especial distinction.”66 However one must consider the subjective nature of reviews. As the German composer Max Reger famously replied to a critic of his work: “I am sitting in the smallest room of my house. I have your review before me. In a moment it shall be behind me.”67 Herrarte is recognized in the academic and art music circles in Guatemala. This is seen particularly, in his inclusion among the illustrious cultural figures featured on the Difusores Acústicos a prominent work by the esteemed Guatemalan 64Lehnhoff, Creación Musical en Guatemala, 280 65 P., R. "HERRARTE, PIANIST, MAKES DEBUT HERE." New York Times (1923-), May 03, 1949. https://www.proquest.com/historical-newspapers/herrarte-pianist-makes-debut- here/docview/105988940/se-2. 66 "MANUEL HERRARTE GIVES PIANO RECITAL." New York Times (1923-), May 14, 1957. https://www.proquest.com/historical-newspapers/manuel-herrarte-gives-piano- recital/docview/114249348/se-2 67 "Max Reger." In Oxford Essential Quotations, edited by Ratcliffe, Susan. : Oxford University Press, https://www.oxfordreference.com/view/10.1093/acref/9780191826719.001.0001/q-oro-ed4-00008775. https://www.proquest.com/historical-newspapers/manuel-herrarte-gives-piano-recital/docview/114249348/se-2 https://www.proquest.com/historical-newspapers/manuel-herrarte-gives-piano-recital/docview/114249348/se-2 https://www.oxfordreference.com/view/10.1093/acref/9780191826719.001.0001/q-oro-ed4-00008775 36 painter Efrain Recinos. These Acoustic Panels adorn the auditorium of the National Conservatory of Music, showcasing global icons across various art forms, including Rimsky-Korsakov, Mendelssohn, Bernstein, Manuel de Falla, Carlos Chavez, Maurice Ravel, and Guatemalan composers Jesús and Ricardo Castillo, in addition to pianists Georgette Contoux de Castillo, and Guatemalan pianist José Arévalo. Reflecting on Herrarte's depiction in the painting, Recinos remarks: “Lo escuché. por ultima vez como solista en el conservatorio antiguo. En su retrato viste una camisa rosa llena de pianistas y mujeres desnudas. Su viuda me dijo que siempre vistió de negro. Pero yo, que algunas veces parrandeé con el, pude ver su alegría interior. Eso explica su sonrisa; es el único retrato sonriente de todos.”68 (I heard him for the last time as a soloist at the old conservatory. In his portrait, he wears a pink shirt full of pianists and nude women. His widow told me he always dressed in black. But I, who sometimes partied with him, could see his inner joy. That explains his smile; it is the only smiling portrait of them all.) Figure 11: Top: National Conservatory of Guatemala Acustic Panels. Bottom left: Manuel Herarte. Bottom right: Herrarte’s shirt design.69 68 José Toledo Ordóñez, ed., Efraín Recinos Difusores acústicos, 2nd ed. (Guatemala, Guatemala: Serviprensa, S. A.), 164 69 Ibid. 37 Herrarte has around 10 compositions, all mostly in a similar neoclassic style, with a joyous character like the one described by Efrain Racinos. One of the most common ones played are the 3 Danzas, which was is published by Pan American Union in Washington D.C.. Suite No. 1 (1954) and Six Sketches (1953) are a compilation of short movements in a neoclassical style that sheds light on Herrarte's early neoclassic training with Ricardo Castillo. While he studied for few years in the United States during the 1950s, his musical composition style is much more strongly influenced by Castillo. 2.2 JOAQUÍN MARROQUÍN (1933 – 2001) The scarcity of published information on Herrarte is similar to Joauquín Marroquín (1933-2001). He was born in a city close to Guatemala City, Mazatenango. Losing his parents at a young age, he was housed at the National Hospice in 1939. At the age of 14, he obtained a scholarship to enroll at the National Conservatory where he studied piano with Georgette Contoux and composition with Ricardo Castillo. Later he obtained a scholarship to study piano and composition at Oberlin in Ohio with Edward Mattos, Jacob Radunsky and Joseph Wood.70 Nationally, he won many awards including the Piano Competition Pro- Centenario de Edward MacDowell (1961). And more notably his Concerto Grosso (piano and orchestra) (1954) and Concertino para piano y orquesta (1967) won awards in the Certamen Centroamericano “15 de Septiembre”. 71 This competition, created during the Revolutionary Era (1944-1954) is recognized as one of the most 70 Gandarias, Diccionario de la Música en Guatemala (Fase I: área académica), 95. 71 Ibid. 38 prestigious artistic contests in Guatemala. Currently it is under the sponsorship of the Ministry of Culture and Sports; this competition includes participants from across Central America in the branches of literature, music, and visual arts.72 Suite Chapiniana (1964) is dedicated to renowned American pianist Harvey Lavan "Van" Cliburn. It is not clear if they met during Marroquin’s stay in the United States. The music is published by Peer International Coorporation, and it has a foreword that summarizes the general character and concept of the suite: “The title CHAPINIANA refers to the Chapas area of Guatemala. The mood of the countryside with Indian shepherds playing lonely melodies on their flutes is set by the PASTORAL. The brusque humor of the BURLESQUE, the exotic spell of Guatemalan nightfall in NOCTURNE, the wistful sentiment of RONDA, and the exploding gayness of FIESTA all give a colorful picture of Chapas.” Marroquin's contributions to piano music feature notable works for piano and orchestra, including Concertino para piano y orquesta (1967), Concerto Grosso and Fantasía Concertante. His repertoire for piano solo encompasses pieces such as Suite Chapiniana, a Suite, Debussyanas, and Despedida Patética (1989). The later was included in the government-sponsored LP Antología de Música para piano Guatemalteca, where the composer himself recorded the piece. This album also has works by Ricardo Castillo and Marroquín. Alongside another recording pianist featured on the LP, Juan de Dios Montenegro, the back cover lauds both artists as the most esteemed pianists of their era.73 72 Ibid. 73 Joaquín Marroquín and Juan de Dios Montenegro, piano, Antología de Música Guatemalteca para Piano, produced and annotated by Igor de Gandarias (Guatemala: Departamento de Apoyo a la Creación, Ministerio de Cultura y Deportes, 1991). 39 2.3 ENRIQUE SOLARES 1911 – 1995 Enrique Solares is renowned as a pivotal figure in 20th-century Guatemalan music. His formative years were spent studying piano under Georgette Contoux de Castillo and Raul Paniagua at the National Conservatory, complemented by composition lessons with José Castaneda and Ricardo Castillo. His burgeoning talent was publicly acknowledged in 1928 when he was just 18, as highlighted in a feature by the Revista Musical de Guatemala. Solares's musical journey took him to California for piano studies with Ernest Bacon and then to Prague in 1936 for six-year composition study period. He further refined his skills under the tutelage of the neoclassical composer Alfredo Casella. Beyond his musical endeavors, Solares, much like his contemporary Manuel Herrarte, pursued a diplomatic career. He served in various capacities at Guatemalan embassies in Italy, Belgium, Spain, and France.74 After the diplomatic career, he settled in Guatemala, in 1984, where he taught music privately. Most of his composition output stopped on his later life, most likely due to many lengthy health problems that foreshadowed his death. 75 A highly regarded composer in Guatemala, eight of his works received awards at the Certamen Centroamericano “15 de Septiembre” between the years 1947 and 1960.76 Most of Solares’ compositions written are for piano, with more than 30 works spanning the years 1930 – 1987.77 His piece Copok, released by Elkan Vogel in Philadelphia in 1948, is a lyrical work that displays a shift toward modernity with the 74 Lehnhoff, Creación Musical en Guatemala, 269-70 75 Ibid. 76 Gandarias, Música guatemalteca para piano: Antología histórica Siglos XIX-XXI, 41-42 77 Gandarias, Diccionario de la Música en Guatemala (Fase I: área académica), 151-152 40 use of polytonal techniques, various modes, and increased harmonic and rhythmic complexity.78 Idea con 15 deformaciones," is a unique piece by Enrique Solares that remains in handwritten form, unpublished. The copy used for the Second Dissertation Recital is preserved within the private music archive of Juan de Dios Montenegro in Guatemala City. This work stands out for its inventive structure, resembling a compositional puzzle, where Solares explores 15 distinct treatments of a musical idea without altering the original notes but by reordering them to modify the intervals. This reorganization includes techniques such as retrograde, inversion, and retrograde inversion. Each 8-measure variation treats the theme with contrasting characters, ranging from nostalgic and humorous to introspective and virtuosic, showcasing Solares' adeptness in creating a multifaceted composition through an economic use of musical material. 78 Ibid., 95. 41 Figure 12: Enrique Solares: Idea con15 deformaciones.79 A chart with the first measures of deformations I-VII. Each first measure has different treatment of the principal idea. 2.4 JORGE SARMIENTOS (1931 – 2012) Following the path of Ricardo Castillo, another student of Castillo, Jorge Sarmientos (1931 – 2012) traveled to Paris on a scholarship to study with Jean Fournet at the École Normale de Musique de Paris, from 1955 and 1956.80 Born in a rural area he grew up in a family of farmworker musicians, where the marimba was played.81 His 14 piano compositions, the majority created between 1950 and 1965, incorporate indigenous Guatemalan elements, such as marimba-like textures and folkloric themes, blended with neoclassic tendencies. 79 Enrique Solares, Idea con 15 deformaciones, manuscript, in the private archive of Juan de Dios Montenegro, Guatemala City. 80 Gandarias, Diccionario de la Música en Guatemala (Fase I: área académica), 73. 81 Lehnhoff, Creación Musical en Guatemala, 254. 42 This period contrasts with his later works post-1965. That year, he started his studies with avant-garde luminaries Roger Sessions, Mario Davidovsky, and Iannis Xenakis at the Instituto Torcuato di Tella in Buenos Aires, and his compositions began to echo the post-WWII avant-garde movements, incorporating advanced techniques such as clusters, chance or aleatory notation, and serialism82 His education was further shaped with orchestra studies in Switzerland and Bologna with Pierre Boulez and Sergiu Celividache. In his later period, Sarmientos shifted his focus away from solo piano compositions, with the notable exception of his Piano Concerto No. 3 and a Nocturno written in 1990. The concerto has been published in a two piano version through the efforts of the Direccion de Extensión Universitaria,of the National University of San Carlos. 83 At 21, Sarmientos composed Tocata para Piano Op. 3 (1952), one of his early yet substantial piano pieces, earning him the Certamen Centroamericano “15 de Septiembre” accolade that year. Influenced and written as an homage to George Gershwin, listeners can discern echoes of “Rhapsody in Blue”, right from the opening measures of Sarmiento’s work. 82 Dieter Lehnhoff, Creación Musical en Guatemala, 273 83 Ibid. Figure 13: Comparison of Gershwin’s Rhapsody in Blue and Sarmiento’s Toccata Op. 3 opening motif. Figure 14: Comparison of Gershwin and Sarmientos’ toccata textures. Conversely, the introspective Nocturno para piano Op. 24, a tribute to Fauré, marks one of his final piano works, before a shift towards orchestral and avant-grade compositions thereafter. The 4 minutes piece is founded on a: a descending fifth from G-sharp to C-sharp, that later completes completing a tonic triad. Throughout the 43 piece, Sarmientos creatively manipulates this descending fifth motif, setting it against harmonies that belong to keys closely related to C-sharp minor. The motif subtly transforms in response to the shifting harmonies, allowing the interval of a fifth—a typically neutral interval—to take on varied emotional hues through the contrasting accompaniments in the left hand. This technique offers a performance opportunity to infuse the piece with both variety and drama, showcasing how a straightforward melodic line can be enriched by its harmonic context. Figure 15: Excerpt illustrating a passage from Jorge Sarmientos’ ‘Nocturno para piano Op. 24,’ where the descending fifth motif is set against different harmonies. 2.5 XAVIER BETETA (b.1980) Xavier Beteta studied privately with Rodrigo Asturias and achieved International recognition by winning the Silver Medal at the International Antonin Dvorak Composition Competition in Prague in 2013. His academic journey in music theory led him to the University of Cincinnati and later to the University of California 44 45 San Diego for a Ph.D. in composition, studying with Roger Reynolds and Philippe Manoury. Beteta's compositions have resonated at international festivals and have been performed by prestigious ensembles worldwide. Beyond music, he holds a law degree from Salmon P. Chase College of Law and explores interests in art law and poetry. He an Assistant Professor at Wheaton College.84 In Xavier Beteta's doctoral dissertation, “La resurrección de la Memoria and the Path of Re-Enchantment”, he provides a detailed exploration of his compositional philosophy and style, particularly the one starting in Tiene Duende. This work signifies a pivotal moment in Beteta's career, where he transitions from modernist conventions to an inward approach. This aesthetic diverges from a preoccupation with novelty and innovation, instead aiming to capture an elusive sense of mystery and magic inherent in certain artistic expressions.85 Tiene Duende is portrayed as a pivotal work for Beteta, it is a composition deeply rooted in the concept of duende, inspired by Federico García Lorca's exploration of the term, particularly its association with the intense emotional depth found in flamenco. In Tiene Duende, Beteta seeks to evoke this same depth and unexplainable allure, employing musical elements that resonate with the concept's profound emotional and spiritual settings. 86 The compositional approach in Tiene Duende marks a return to Beteta's earlier methods of creating music through improvisation. This piece for solo piano is characterized by its use of long-held notes, minor thirds, and stark, primitive 84 Xavier Beteta, "Bio," accessed March 27, 2024, https://www.xavierbeteta.com/new-page-2. 85 Francisco Xavier Beteta, "La Resurrección de la Memoria and the Path of Re-Enchantment" (PhD diss., University of California San Diego, 2017), 10, https://escholarship.org/uc/item/04v705gs. 86 Ibid. https://www.xavierbeteta.com/new-page-2 46 percussive sounds, which Beteta does not develop further: “It is also a piece where the stylistic features of my new aesthetic are gestated, there are long-held notes, the use of minor thirds, and strong and primitive blows without any further development.87 Furthermore, Beteta highlights the significance of the note C-sharp and its minor chord within Tiene Duende, suggesting a specific tonal color and mood that aligns with the piece's thematic essence. “I think the particularity of this chord lies precisely on the fact that is sharp; there is something about that specific tuning that makes the chord different to my ear. I think this chord has a certain mood or color that distinguishes it from other chords.”88 In addition, the incorporation of "knocks" in the music, symbolizing a primitive, and raw sound: “Knocks” are very prominent in my music; to me they have the meaning of “someone knocking at the door” or “someone hammering on wood.” I want a primitive sound, a blow that is just a simple hit, at regular intervals, it has no sophistication at all, and it should resemble a banal sound from primitive times.”89 In 2021, Xavier Beteta posted a succinct, yet profound description of Miniatures Fantastiques in the Cultura in Atto website.90 These works are written in a similar style and aesthetical approach than Tiene Duende Beteta explains that 87 Ibid. 88 Beteta, "La Resurrección de la Memoria and the Path of Re-Enchantment", 20. 89 Ibid. 90 Xavier Beteta, "Xavier Beteta: Miniatures Fantastiques," Cultura In Atto, blog post, https://www.culturainatto.com/post/xavier-beteta-miniatures-fantastiques. https://www.culturainatto.com/post/xavier-beteta-miniatures-fantastiques 47 Miniatures Fantastiques, a set of piano pieces composed in 2015, was crafted with the intention of offering pianists an accessible introduction to his musical style. Inspired by a fantastic theme, these three short pieces encapsulate Beteta's imaginative musical narrative, each telling its own unique story. Through these compositions, Beteta invites performers and listeners alike to explore the realms of his musical imagination, characterized by its vividness and emotional depth. The first piece, El Camino del Sur (The Path to the South), Beteta describes it as an evocative musical journey that invites the listener to envisage a mystical path leading to an extraordinary land far removed from the mundane aspects of daily life. Beteta's composition suggests that this path, while maybe physically situated in the South, symbolizes a deeper, metaphorical journey: “It is located in the South, perhaps physically, like in South America, but also, metaphorically, where the South means to “go back” or “return” to a time past.”91 In contrast, Porcelain Doll is Beteta’s reflection on the nature of beauty and fragility. Through delicate musical phrases, Beteta aims to capture the essence of ephemeral moments, likening them to the delicate constitution of a porcelain doll. The piece uses extended techniques such as soft glissandos in the strings of the piano. This piece resonates with a sense of nostalgia and melancholy, emphasizing the fleeting nature of beautiful experiences. Following this, "Les Adieux" (The Farewells) articulates the emotional weight of parting and the conclusion of a journey. Beteta discovered in this movement that his composition had taken him to a “place of fantasy, but this place is ephemeral and at the end, we are back where we 91 Ibid. 48 started, searching again.”92 Beteta’s realization points us back to the title of this strikingly beautiful set of movements: Miniatures Fantastiques. 92 Ibid. 49 THIRD RECITAL PROGRAM March 28, 2024. 5:00 PM Gildenhorn Recital Hall, Clarice Smith Performing Arts Center College Park, University of Maryland Francisco Alfonso Hernandez Mendoza, piano Assisted by: Guzal Isametdinova, piano Title: Guatemalan Gidden Gems: Unpublished works for two pianos Jorge Sarmientos (1932 - 2012) Arranger: Alfonso Hernández (1991) Concierto para piano No. 1, Op. 10 (Paris, 1956) I. Moderato rígido II. Andante III. Vivace Guzal Isametdinova, second piano Manuel Martínez-Sobral (1879 - 1946) Sonata para dos pianos “Acuarelas chapinas B” (Guatemala, 1922) I. La parada II. Misa mayor III. La hora del cocktail IV. En la ventana Guzal Isametdinova, second piano 50 PROGRAM NOTES 3.1 MANUEL MARTINEZ-SOBRAL ACUARELAS CHAPINAS Most of the insights on Manuel Martínez-Sobral’s Acuarelas Chapinas (Guatemalan Watercolors) para are provided by Rodrigo Asturias through the CD liner notes from the work’s orchestral and two-piano recordings. The information in these CDs is an abridge version of a larger essay on the work that is not published, but Austurias kindly provided it for my research.93 Acuarelas Chapinas, translated as "Guatemalan Watercolors," is a musical depiction of various scenes and moods reflective of Guatemalan life, especially in Guatemala City. The piece is inspired in 4 different instances of a Sunday in Guatemala City. 94Below is Figure 16, provided by Asturias, depicting the places and times each movement belongs to: Figure: 16: The four movements of Acuarelas Chapinas and their respective place, time of the day, and formal structure. 93 Rodrigo Asturias to Alfonso Hernandez, "Rodrigo Asturias Works," email message, May 4, 2020. 94 Rodrigo Asturias, liner notes for Guatemala Volume 1, by Manuel Martínez-Sobral and Ricardo Castillo, Moscow Symphony Orchestra, conducted by Antonio de Almeida, Marco Polo, CD booklet cover. 51 Martínez-Sobral composed three versions of this piece: the first, a solo piano sketch from 1903, of which the complete version is lost, laid the groundwork for the more intricate orchestral version in 1907. The latest one, published by Max Eschig, is currently available in a digital format through the Nkoda digital library. Thanks to the efforts of Rodrigo Asturias, the orchestral version was recorded with the Moscow Symphony Orchestra, under the baton of António de Almeida in 1994. Composed when Martínez-Sobral was just 29 years old, it showcases a mature and innovative approach to an orchestration and thematic development.95 Through email conversations, Asturias details in his communication that Editions Max Eschig, which holds the rights to the orchestral version of Acuarelas Chapinas, did not give the same attention to the two-piano version, possibly because it was created after the orchestral version had gained recognition. A copyist meticulously digitalized the two-piano version from Sobral's original, and this copy was subsequently provided to Asturias. As a result, the performed two-piano version remains unpublished, even after more than a century.96 Unfortunately, by the end of this Doctoral Project logistical challenges have prevented me from accessing the original manuscript in Sobral's handwriting, which would significantly aid to further research and interpretation of this work. This would clarify different types of articulations and dynamics that are inconsistent throughout the work. The third version, reworked in 1922 as the "Sonata for Two Pianos (Acuarelas Chapinas B)," performed in this recital, represents the first significant two-piano work written in the 95 Ibid. 96 Rodrigo Asturias to Alfonso Hernandez, "Rodrigo Asturias Works," email message, May 4, 2020. 52 20th century within the Central American context. This rendition not only expands on the thematic material but also explores the possibilities of interaction and dialogue between two pianos, offering a fresh perspective on the underlying motifs and scenes depicted in the music. 97 3.2 JORGE SARMIENTOS CONCIERTO PARA PIANO Y ORQUESTA NO. 1 OP. 10 The absence of the Guatemalan piano concerti genre stands out in contemporary concert programing. Extensive research and interviews with Guatemalan musicologists, along with consultations with the archivist of the Guatemala National Symphony Orchestra, reveal a stark reality: most 20th-century Guatemalan concerti have not been digitized and, in many cases, they only exist in the form of orchestral scores. This situation underscores a critical barrier to the dissemination and performance of these works: the absence of two-piano performance editions. Such editions are crucial for the study and rehearsal of concerti, facilitating pianist to practice or perform with an accompanist playing the reduction. The lack of these resources has significantly hindered the exploration and performance of Guatemalan concerti, underscoring an urgent need for scholarly and practical attention to these compositions. In this context, Jorge Sarmientos, whose solo piano works were explored in the Second Dissertation Recital, has concerti that exemplify the challenges faced by this orchestra-piano genre. His Piano Concerto No. 1 Op. 10, written in 1956, a work 97 Asturias, Guatemala Volume 1. that resonates with Guatemalan cultural idioms and French musical aesthetics from his time in Paris, lacked a two-piano edition. Moreover, according to his son and archivist, Igor Sarmientos, the recording of its premier with the National Symphony of Guatemala is reportedly lost, highlighting the challenges in accessing and performing such works. Sarmiento’ concerto, which earned the prestigious Guatemalan award Certamen Centroamericano “15 de Septiembre” , remains elusive to performers and scholars alike, its marimba-like textures and folkloric nuances buried in obscurity. I The case of Sarmientos’ concerto is not isolated but emblematic of a broader issue within Guatemalan musical scholarship and performance practice around concerti. The absence of accessible scores and performance materials for Guatemalan piano concerti halts the potential performers and researchers, stalling the discovery and appreciation of the country's output in this genre. The orchestral reduction I created as part of this Dissertation Project aspires to open new avenues for the study and performance of Guatemalan piano concerti, enriching the global musical community's understanding and appreciation of Guatemala's artistic contributions. The 20th and 21st-century Guatemalan piano music provided a unique contribution to the musical heritage of Central and South America. With a rich history that weaves together multiple traditions, it stands apart in its many musical styles. It has remained largely invisible despite being highly sophisticated, technically and musically. I hope my dissertation brings this repertoire to the center stage and provides global recognition to this exceptional body of work. 53 54 CONCIERTO PARA PIANO Y ORQUESTA NO. 1 OP. 10 JORGE ALVARO SARMIENTOS DE LEÓN Arrangement for two pianos by Alfonso Hernández { { { { 1er PIANO (Solo) 2do PIANO (REDUCCIÓN ORQUESTAL) Moderato rígido ff mf ff Moderato rígido 1 2 5 mf p mf 24 24 24 24 & > > ”“ > JORGE ALVARO SARMIENTOS DE LEÓNTranscripción a dos pianos por Alfosno Hernández Escrito especialmente para el virtuoso José Arévalo Guerra en Paris en 1956 CONCIERTO PARA PIANO Y ORQUESTA NO. 1 OP. 10 ? > > > & > > . . > ? > > . . > & > ? > & > . . ? > . . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # # œ œ œ œ œ œb b œ œ n n œ œ b b œ œ œ œ b b œ œb b œ œ œ œb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# # œ œ œ œ œ œ b b œ œn n œ œb b œ œ œ œb b œ œ b b œ œ œ œ b b œ œ Œ œœœœœ## J ‰ Œ œœœœœ## J ‰ ‰ œœœœœ## J ‰ œœœœœ J Œ œœœœœ b nnb J ‰ Œ œœ œ j ‰ Œ œœ œ j ‰ ‰ œœ œ j ‰ œœ œ j Œ œœœ œb bbb j ‰ œ œb b œ œb b œ œ œ œb b œ œ œ œb b œ œ œ œ# # œ œn n œ œ œ œ# # œ œn n œ œb b œ œ œ œb b œ œ œ œ# # œ œn n œ œ# # œ œ b b œ œ œ œ œ œ n n œ œ b b œ œ œ œ œ œ# # œ œn n œ œb b œ œ b b œ œ b b œ œ œ œ b b œ œ œ œb b œ œ œ œ# # œ œn n œ œ œ œ# # œ œn n œ œ b b œ œ œ œ b b œ œ œ œ# # œ œn n œ œ# # œ œb b œ œ œ œ œ œn n œ œb b œ œ œ œ œ œ# # œ œn n œ œ b b Œ œœœœœ b nnb J ‰ ‰ œœœœœ b nnb J ‰ œœœœœnnb J æææ ˙ ˙n n æææ ˙ ˙ Œ œœœ œb bbb j ‰ ‰ œœœ œb bbb j ‰ œœœ œ j æææ ˙ ˙n n æææ ˙ ˙ { { { { 1 2 ff 9 ° * ° * ° * ° * ff 1 2 13 ° * ° * ° * & > ”“ > > ”“ > > ”“ > > > ”“ > ? 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& œ œœœ # ## œœœ bb œ œœœ## # œ .œ .œœœ # ## .œœœœ n ### .œ .œ œœ### .œn ? . . . . . . œœnn œn œœ## œ# œœ# œ# & > > > > > > ? & > > œœœœœ n #n# œœœœœ œœœœœ### œœœœœ ? & ? œœ œ œœ# œ & > > > > > > ? & > ? 3 3 ? & ∑ ∑ ? ∑ ∑ œœnn œn œœ œ œœ# œ œ# œ œ# œn œb œ# œn œn œ# œ# œ œn œb œb œb œb œœœœ#n n # œ œn n œ œ # # œœœœ### œ œ n n œ œ œ# œ# œ# œ# œ œ œ œœœ œ# ### œ œœœœ#n# œn œœœ # ## œœœœ # ## œœœœ n n# œœœœ # n# œœ## œ# œœn œ œœœ## # œœœ ## œœ œ œœ œ# ## œœœœb b œ œn n œ œ # # œœœœ # ### œ œ n n œ œ œ# œ# œn œ# œ# œ# œ œ œb œ œ œ# œ# œn œ# œ œ œ œ œ œ œ œ œn n œ œn œ œ œ œ # # œœœ n n œœœn b œœœœœ ### ≈ œœœ bb œn ≈ œœœ bb œn œ# œ# œ œ œ œ œ œ œb œ œ œ œ œ# œ œn œœ œ# ## œ œb b œ œb b ≈ ‰ Œœ# R œ# Œ 6 { { { { { 1 62 1 65 1 68 1 2 f Vivo quasi allegro 71 ff Vivo quasi allegro ? & ? & 3 3 3 3 3 3 3 3 3 3 3 3 ? & & 3 3 3 3 3 3 3 3 œ œb b œ œn n œ œ œ œ b b œ œ œ œ & ? œ œ n n œ œ œ œ b b œ œ œ œ n n œ œ b b & œ œb b œ œn n œ œ œ œ b b œ œ œ œ œ œb b œ œ œ œ b b œ œ œ œ# # œ œ œ œ n n œ œ œ œb b œ œb b œ œ œ œ ? œ œ œ œ œ œ b b œ œ œ œ œ œ b b œ œ œ œ b b œ œ œ œ # # œ œ œ œ œ œ œ œb b œ œ# # œ œ œ œ œ œ# # & ? & > > > œ œ # # œ œ n n œ œ # # œ œ œ œ œ œ b b œ œn n œ œ œ œn n œ œ# # œ œn n œ œ b b ? œ œ œ œ# # œ œ œ œ œ œb b œ œb b œ œ œ œ œ œ# # œ œ œ œb b œ œ & ∑ ∑ ‘“ > >”“ ? ∑ ∑ > > ≈ œœ œb nb œn ≈ œœœ œb ≈ œœ œn ## œ ≈ œœ œb nn œn ≈ œœ œb nb œn ≈ œœ œ œn ≈ œœ œ œ ≈ œœœ bb œn ≈ œœœb b œn ≈œœœ œ# ≈ œœœ## n œ ≈ œœœnn b œn œ œb b œ œ œ œ œ œ b b œ œb b œ œ b b œ œ œ œb b œ œ b b œ œ œ œ n n œ œ b b ≈ œœœ bb œn ≈ œœœ bb œn ≈ œœœ œ ≈ œœœb œn ≈ œœœ bb œn ≈ œœœ bb œn ≈ œœœ œ ≈ œœœb œn œ œ b b œ œ b b œ œ œ œb b œ œ b b œ œ b b œ œ œ œb b œ œb R œ œœ œœnn œœœœ ‰ œœœœJ œœœœ œœœœbb b ‰ œ œ j œ œ ‰ œ œ j œ œ œ œb b Œ ‰ œœœœn b J œœœœ Œ Œ ‰ œ œ j œ œ Œ 7 { { { { { 1 2 75 1 2 ff Allegro 80 cresc. p ff Allegro 2 84 & > > > > > > > > > > > > > ? > > > > > > > > > > > > & > > > > > > >“: ; ? > > > > > > > & > > œ œb œ# œ œ# œ œ œb œ# œ ? > > > ‘“ & ? 7 7 7 7œ & >“: ; > ? > > & > > > > > > > > > > > > > ? > > > œœœœbb b ‰ œœœœ b bb J œœœœbb b œœœœ # n nn œœœœnn n# ‰ œœœœ # J œœœœ # œœœœn œœœœn œœœœ œœœœ ‰ œœœœ J œœœœ œ œb b ‰ œ œb b j œ œb b œ œ œ œn n ‰ œ œ j œ œ œ œn n œ œ œ œ œ œ ‰ œ œ j œ œ ‰ œœœœbb b J œœœœœbb bnb J ‰ Œ ‰ œœœœ#n nn J œœœœ# J ‰ Œ ‰ œœœœœn n J Œ œœœœœJ ‰ ‰ œœœœœJ ‰ œ œb b j œ œb b ‰ ‰ ‰ œ œn n j œ œ j ‰ Œ ‰ œœ œ j Œ œœ œ j ‰ ‰ œœ œ j œœœœ œœœœ œœœœ œœœ Œ œ œ œ œ œ œ œ œ# œ œ œb œ œ œ œ œ œ œb œ# œ œ œ# œ œœœ# Œ Œ œœœœœJ ‰ ˙̇̇ ˙̇ ˙̇̇ ˙̇## œœœœœ ## œœœœœ# Œ œœ œ j ‰ ææ ˙ ˙ ææ ˙ ˙ œ œ ™ ™ œ œ j œœœœœ <#> <#> œœœœœ # œœœœœ ## œœœœœ ## œœœœœ# œœœœœ œœœœœ # œœœœœ ## œœœœœ ## œ œ œœœœœn n œ œ# # œœœœœnn n œ œ œœœœœ b b bb œ œb b ˙ ˙ œ œ ™ ™ œ œ j ˙ ˙ œ œ œ œ# # œ œ œ œ 8 { { { { { 2 89 2 fp p Poco meno mosso96 2 pquasi tranquillo Più lentorit. 101 2 p espres. 108 pp dolce 2 114 & > > > > > > > > > > > > > > > ## ? & #n ## #n## ## ? & - - - # ? ∑ ∑ ∑ & # n# # # # # #n ? & # n n# n # # n # # n # n # ? œœœœœ b bn œœœœœ œœœœœ œœœ œœb bb œœœ œœb œœœœœ b b œœœœœ œœœœœ œœœ œœb bb œœœ œœb œœœœœ b b œ œn n œœœœœ b bb œ œ œœœœœn# n## œ œ# œœœœœnn n œ œ n n œ œœ œœ œ œ œ œ œ œ œ œ œ œb b ™ ™ œ œ j ˙ ˙b b œ œ ™ ™ œ œ j ˙ ˙b b œ œ# # œ œ œ œb b œ œn n œ œ ™ ™ œ œ n j œ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œœ œ œ œ œœœ œœ œ œ œ œ œ œ œ œœœ œœ j œ œ œ œ œ œ œ œ œn œ œ œ œn œ œ œ œ œ ™ ™ œ œ j œ œ ™ ™ œ œ j œ œ ™ ™ œ œ j œ œ j ‰ Œ œ œ j ‰ Œ œœ j œœ œœ j œœ j œœ œœ j œœ œ j œœ œ œœ œ j œœ œ j œœ œ œœ œ j œœ j œœ œœ j œœ j œœ œœ j ˙ œ̇ œ œœ# œœ#n œœ œ œ j ‰ Œ œœ œj œœ œ œœ œj œœ œj œœ œ œœ œj œ œ œ œ # œœ# œœ#n œœ œ œ # œœ# œœ#n œœ œ œ # œœ# œ œœ#n œœ œœ œœ# œ œ œ ™œœ œœ œœ œœ# œ j œœ#n œœ œ œœœ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ ™œœ œœ# œ j œ œœnb œœ œœ œœ# œ œ œ ™œœ œœ œ œ œœn œ j œœ#n œœ œ œ œœ œœ œ œ ˙œœ œ œ œœ œœ# œ œ b n œœ œn œ œ œ œ œ œ œ œ œ 9 { { { { 2 pp 119 1 123 1 127 1 130 & # # #œœ œœ ? œ œ # œ œ # & & ? & 3 3 & ≈ œœœ#b ™™ ™j ≈ ? œ œb & nb & œ ≈ œœœ## ™™ ™ J œ# œ œ œœœ#b œ# œœœb œ œœœ## ? # bb n nœ œ œ œn œœ œ œœ œ# œ œ̇ œ œœ# œœ œ b n œœ œ œ œœ œ œ# ˙ ˙̇ ˙̇ ˙̇ ˙̇ œ œb œ œ œ œ œ œ œ œ œ œ ™ ™ œ J œ œ œ œ# # œ œ œ œ œ œ ™ ™ œ œ J ≈ œœœ œ œb œœœb ≈ œœœ##n ™™ ™ j ≈ œœœ œn œb œœœnb ≈ œœœ##n ™™ ™ j ≈ œœœ œn œb œœœnb ≈ œœœ##n ™™ ™ j ≈ œœœ œn œb œœœnb ≈ œœœ##n ™™ ™ j ˙ ˙ # Œ œ ˙ ˙ # Œ œ ˙ ˙ # Œ œ ˙ ˙ # Œ œ œ œ œœœœ# œœœœ b œœœœ n n# ™™ ™ ™ œœœœnn n J œœœœ œœœœ b œ œ# # œœœœb œ œ n œ œ ≈ œœœ œn œb œœœnb ≈ œœœ##n ™™ ™ j ˙ ˙ # Œ œ ˙̇œ œ œœ# œ ˙ ˙ œ œ œ œœœ#b œœœbnn ™™ ™ j ˙̇̇ ˙ n n## œœœœœ## nn# œœœœœ# œœœœœn ˙ ˙̇œ œ œb œn ˙ ˙ œ œœœ œ œb œœœb œœ œœ ˙̇œ œ œœœnn 10 { { { { { 1 133 1 2 138 ° * mf Solo mfp 1 2 142 & ? bb nn # & œ# œ œ# œ# ? & # #n ? & ? & ? ° ° & n# ## ? œœœœœ## n# œœœœ œ# œœœ œœn ## ˙̇̇ ˙# œœœ œ# œœ œ# ## œœœbnn œœœ œ# œ œn # œ œn # œ œ# œ œ œ œ # œ œ # œ œ œ œ œœœ œ œ# œ œœœ œn œ# œœ œn œn œ œn œ# œ œ œ œ œ œ œ œ œ œn œ œ# œ# œ œn œ# œ# œ œ œ œ œ œ# œn œ ˙̇̇#n œ œœ# # œ œœ# # œœ œ œœ œ # # œœ œ # # œœ œ # # n ˙ œ# œ# œ œ# œ œ œ œ œ# œ œœ# œ œn œ œn œ# œ œ œb œn ˙̇̇œ œ œ œ œ œb œ ˙̇̇##n œœ̇˙ œœ# ˙̇ ˙# ˙̇ ˙ ˙̇ ˙ ˙̇ ˙ œœœœœ ### œœœœœ œœœœœ # nn# œœœœœ œœœœœ # #n œœœœ## # œœ œ# # œœ œ # œœ œ # œœ œ # # œœœœ nb œn œ# œ œn œ œn œ œœ# œ œn œ œ œ œ œœ## œ œ œ# œ œœœ## œœœn œ œ œ# œ# œ# œ# œ# œœ ˙̇̇ ˙# ### œœœ œn b œœœ œ# ##n œœœ œ#n œœœ œ œœ œœœ˙ œœ œ# ˙̇ ˙# ˙̇ ˙ œ œ œœ œ œœ œ# œ œ œœ œ# ## 11 { { { { 1 2 mp poco animato 146 poco animato 1 2 accel. 150 accel. p & ? & b ? & ∑ ? ∑ & & ## n ? & & # # nb . . . . . . . . ? œœœœ# n# œœœœœ ### ˙̇ ˙̇n nn œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œn œ# œ# œ ˙̇ ˙ n n œ œ b b œn œ œn ‰ œœœn ™™ ™ œœœ# œœœ œœœ œœœ œœœ# œœœ œœœ#n œœœ œœ œ# œœœnb ˙̇œ œn œœ œ # j ‰ Œ œb œ œ œ œ œb b œ œ œ œn n œ œb b œ œ œœ œ# # j ‰ Œ œœ œ # œœœ # nb œœœ n œœœ ## œ œ œ œœ œ œ œn œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ# œ œœ œ œ œb œ œœ œ œœœ œœœ## œœœ b nn œœœ#n œœœ## œœœ œœœn œœœ œœœ## œœœ œœœn œœœ œœœ#b œœœ œœœœ#n œœœœ œ œ œ œœœœ œœœ œ œn œ œœœœ œœœ œ œ œ œœœœ œœœ œ œ œ œ œœ œn# œœ œ## œœ œn œœ œ # œœ œn # œœ œ # œœ œ # œœ œn œœœ### œœœn j ‰œœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ œ œJ ‰ œ œ j ‰ œ œj ‰ œ œb b œ œb b j ‰ 12 { { { { 1 2 Più animato 155 f Più animato 1 2 158 & > > ”“ ”“ 3 3 3 3 & & > > 3 3 3 3 & # . # . > . ? & 3 3 3 3 3 3 & ? 3 3 3 3 3 3 & # # # n n . > # . . . # . > . . . ? œ œœ œb œ œ œ œœ# œ œœ ‰ œ œn œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œœœ#b œœœ œœ œn œœ œ œ# œ# œ# ‰ œ# œ# œ ‰ œ# œ# œ# ‰ œ# œ# œ ‰ œœœ# œœœ# j ‰ ‰ œ œ œ J œ œ œ œ œ œ ™ ™ œ œ œ œ# ‰ œ œjœ J œ œ œ œj ‰ ‰ œœ œ j ‰ œœ œ j Œ œœ œ j ‰ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ# œ œ# œ# œ# ‰ œ œ# œ ‰ œ# œ# œ# ‰ œ# œ# œ ‰ œ# œ# œ# ‰ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ™ ™ œ J œ œj œ œ œ# œ œ œ# ‰ œ œ œ œœ J ‰ œœ œ j Œ œœ œ j ‰ ‰ œœ œ j Œ œœ œ j ‰ 13 { { { { { 1 2 161 1 2 164 mf 2 p poco rall. 168 & ? 3 3 3 3 3 3 ? ? 3 3 3 3 3 3 & # n n . > . . > # > # > > > > ? ? > > ? & # # # ∑ ? ∑ & > > ? > > . . . . . . & . . > > . . . . . . . ? > ? . . . . . . . . . . . . . . . . . . . . . . . . ‰ œ œ œ ‰ œ œ# œ ‰ œ œ œ ‰ œ œ# œ ‰ œ œ œ ‰ œ œ œ œ œ œ# ‰ œ œb œn ‰ œ œ œ# ‰ œ œb œ ‰ œ# œ# œ# ‰ œ# œ# œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œœ J œ œ œ œ ‰ œ œ œ œ œ œ œ œœ J ‰ œœ œ j Œ œœ œ j ‰ ‰ œœ œ j Œ œœ œ j ‰ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œœ R ≈ ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ r ≈ ‰ Œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œœ œ ‰ œœ œœ œœ œœ œœ œœ œœ ‰ œœ œ j Œ œœ œ j ‰ œœ œ j ‰ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œœ# œœn œœ œœ œœ# œœ œœ œœ œœ œ# œœ œœœ œ œœ œ œœ œ œœ œ œœ œ# œœ œ œœ œ œœ œ# œœ œ œœ œ œœ œ œœ œ œœ œ# œœ œ œœ œ œœ œœœ œ œœœœœœœ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ 14 { { { { { { 1 2 Tempo primo176 Tempo primo 1 2 181 f 1 2 186 ? ∑ ∑ . . . . . . . . . . . . . . . . . . . . & . . . . ? ∑ ∑ . . . . . . . . . . . . . . . . . . . . . . . . ? . . . . . . . . . . . . . . . . . . . . ? . . . . . . . . . . . . . . . . . . . .‘“ & . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ? & . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ? . . & . . ? . .“: ; . . & . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . & . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . & ? œœb œœ œœ œœ œœ œœ œœn# œœb œœn# œœ œœ## œœ œœ## œœ œœnn œœ## œœn œœ## œœn# œœbn œœn# œœn œœ## œœn œb œ œ œ œ œ œn œb œn œ œ# œ œ# œ œ# œ œ œ# œ œb œn œn œ# œn œœœbb œœœ œ œœœ œœœ œ œœœbb œœœ œ œœœ œœœ œ œœœbb œœœ œ œœœ œœœ œ œœœbb œœœ œ œœœ œœœ œ œœœbb œœœ œ œœœ œœœ œ œb œb œ œ œb œb œ œ œb œb œ œ œb œb œ œ œb œb œ œ œœbn œœn# œœn œœ## œœn œœ## œœn œœbn œœn# œœ œœ œœ# œœ œœ œœ œœ# œœ# œœ œœ œœ# œœ œœ# œœ œœ# œœœn œœœ œœœ œœœ œœ œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œ œœœ œœ œ œœœ œb œn œb œn œn œ# œ œb œn œ œ œ# œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœbb œœœ œ œ# œœœ œœœ œ œ œ# œ œ# œ# œ# œ œ œ œ# œ œ# œ œ œ œ# œ œ œn œ œ œn œnœ# œ œ# œ œb œb œ œ œœ œ# ## j ‰ ‰ œ j Œ œ# j ‰ ‰ œ# j Œ œ j ‰ ‰ œ j œœ# œœ œœ œœ# œœ œœ œœ œœ# œœ# œœ œœ œœ# œœ œœ# œœ œœ# œœœn œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ# œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ# œ œ œn œn œn œ# œ œ# œ# œ œ œ# œ# œ# œ œœ œ# œ œ# œ œ# œ œœn œ œ Œ œ# j ‰ ‰ œ# j Œ œ j ‰ ‰ œ j Œ œ j ‰ 15 { { { { { { 1 2 sotto voce discreto Poco animato190 Poco animato 1 2 197 p 1 2 animando poco a poco poco rit. 206 p poco rit. & ∑ ”“ & ? ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? & “: ; ∑ ∑ ∑ ∑ ∑ ∑ ? & ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ? bb n ? & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? 6 6 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑? ‘“ 6 6 ? & ? ∑ ∑ ∑? œœœ# j ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œœ# œ œ œ œ# œ# j ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œœ# œ œ œ œ# ‰ œ# j Œ œ œ # j ‰ ‰ œ œ j Œ œ œ # j ‰ ‰ œ œ # j Œ œ œ # j ‰ ‰ œ œ j Œ œ œ # j ‰ ‰ œ œ # j Œ œ œ œœ œ œ œ œ œ j˙ œ œ œœ œ œ œ œ œ j˙ œœœ J ‰ œœœJ ‰ œœœ J‰ œœbb œJ ‰ ˙̇œ J‰ œnJ ‰ œœœ J ‰ œœœJ ‰ œ œ # j ‰ ‰ œ œ j Œ œ œ # j ‰ ‰ œ œ # j Œ œ œ # j ‰ œœ# j ‰ œ œ # j ‰ œœ# j ‰ œ# j ‰ œ# j ‰ œ# j ‰ œ# j ‰ œn œn œ œ œ œ# œ œb œn œ œ# œ œb œn œ œ# œ œ# œ œb œn