A Guide to the Latin American Art Song Repertoire: An Annotated Catalog of Twentieth-Century Art Songs for Voice and Piano

9 Ecuador

157 9 Ecuador According to author John L. Walker, the main barriers to the success of art music in Ecuador are a lack of government support and the overall poverty from which the composers come, a lack of performing forces, and a lack of music publishing.1 Composers in Ecuador can be classified in several ways, although the most common seems to be according to generation.2 Most are nationalistic in the sense that they strive for a voice that is specifically “Ecuadorian,” and most incorporate traditional nationalistic tendencies, such as the use of indigenous (Quechua, Incan, or Amazonian) elements. Although several efforts have been made to preserve indigenous musical traditions, little can be found from before the 1860s. Musicologist Pablo Guerrero has played an important role in preserving traditional music, and also founded the Corporación Musicolog ía Ecuatoriana (CONMUSICA).3 Previous composers of the twentieth century such as Segundo Luis Moreno (1882–1972) and Luis H. Salgado (1903) set the pace for nationalism in Ecuadorian music. The former was also an important figure in the collection of popular and indigenous music, and in his own compositions used indigenous Ecuadorian melodies and folk rhythms within a European Romantic harmonic language.4 Salgado also used native themes and indigenous musical elements, perhaps paving the way for the important contributions of Gerardo Guevara (1930–), who incorporated traditional Amazonian rhythms into his works.5 Guevara continues to be an integral figure, striving to preserve Amazonian elements in Ecuadorian music. The composers during the first third of the twentieth century contributed in various ways to Ecuador’s music. Ángel Honorario Jiménez a guide to the latin ­american art song repertoire 158 Guevara, Gerardo, 1930– 9.1, Yaraví, —, César Monroy, B3–G5, Med-high, PEN, The Art Song in Latin America, + Luzuriaga, Diego, 1955– 9.2, 2 Canciones infantiles, 1982, —, —, Medium voice, —, LCP, — 9.3, Mademoiselle Satan, 1982, Jorge Carrera Andrade, —, Baritone, —, LCP, — Paredes Herrera, Francisco, 1891–1952 9.4, Mélodies populaires indiennes 9.4a, Méjico (Himno), 1923, —, —, —, CMC, — 9.4b, Ferreira (Tango), 1923, —, —, —, CMC, — Additional title: Durán, Sixto María (from Mélodies populaires indiennes) [CMC]. Publishers CMC, Castellanos-Molino Corporation PEN, Pendragon Press Collections +, LAMC (Latin American Music Center), Indiana University Sources (See bibliography for publication information ) LCP, The Living Composers Project (online resource) Wilson, The Art Song in Latin America: Selected Works by Twentieth-Century Composers was an important figure in the leftist worker’s movement during the 1930s and 1940s. Néstor Cueva Negrete created a new system of musical notation called Nescueván, and Corsino Durán created folk-like tunes reminiscent of Andean music, which Guerrero called “recreations or stylizations.”6 Others, like Pedro Pablo Traversari (1874–1956), used a more neoRomantic approach indicative of European training. Experimental composers from Ecuador exist as well, such as Mesías Maiguashca (1938–), who studied at the Eastman School of Music (University of Rochester, New York) and worked with Karlheinz Stockhausen.7 The latest generation of composers includes Milton Estévez (1947–), Arturo Roda (1951–), and Diego Luzuriaga (1955–).8 ...