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

4 Chile

128 4 Chile The same trends appear in Chilean music as in Bolivian music: folk and European influences, and later, contemporary tendencies—all of which combine to create a rich body of colorful and diverse music. The Revista musical chilena, a musicological journal devoted entirely to Chile, is probably the most current source of information on this body of work.1 Gerard Béhague writes that nationalism has met with some skepticism from Chilean composers, most notably Domingo Santa Cruz (1899–1977), perhaps due to the fact that the Chilean people do not feel as connected to folk and popular traditions as people in other areas of Latin America do.2 Santa Cruz’s argument, however, seems to have been that Chilean music should be set apart for its quality, which should reflect the particular Chilean persona, and not for its incoporation of elements seen from the outside world as exotic or different.3 Santa Cruz’s songs do represent the quality for which he hoped, and are deliberately lacking in elements that could be labeled Andean or folk-influenced. His major song cycles Cuatro poemas and Cantos de soledad exhibit Impressionistic and atonal tendencies, while the songs in Canciones del mar are more neoclassical in their exploration of counterpoint, fugue, and canon combined with polytonal harmonies.4 Greater nationalistic tendencies are illustrated in the songs of Pedro Humberto Allende (1885–1959), whose settings of popular poetry are more traditional in terms of tonality and form. Allende represents the opposite end of the spectrum from Santa Cruz in that he was one of the first people to collect actual examples of Mapuche (Araucanian Indian ) music.5 The folk music itself is complicated and varies by region and tribe, but in general it is non-Western in harmonic language and chile 129 overall conception, and a small part of a much larger “symbolic communication ” process.6 The post-Impressionistic works of Jorge Urrutia Blondel (1905– 1981) and the dissonant, polytonal writing of Alfonso Letelier (1912– 1994) are predecessors to the important works of Juan Orrego-Salas (1919–). Not only a prolific contemporary composer but also an active musicologist, Orrego-Salas was the first director of the Latin American Music Center at Indiana University, and continues to be an important proponent of Latin American music worldwide. Allende, Pedro Humberto, 1885–1959 4.1, Seis cantos infantiles 4.1a, I. Este niñito compró un huevito, 1940, Traditional poetry, B3–B4, Low, —, TR, The Latin American Art Song, + 4.1b, II. Tutito hagamos ya, 1940, Traditional poetry, D4–A4, Low, —, TR, The Latin American Art Song, + 4.1c, III. Pimpín sarabín, 1940, Traditional poetry, D4–B4, Low, —, TR, The Latin American Art Song, + 4.1d, IV. Mañana es domingo, 1940, Traditional poetry, D4–Eb5, Med, —, TR, The Latin American Art Song, + 4.1e, V. Cotón colorado, 1940, Traditional poetry, B3–F5, Med, —, TR, The Latin American Art Song, + 4.1f, VI. Comadre Rana, 1940, Traditional poetry, A3–D5, Low, —, TR, The Latin American Art Song, + Amengual Astaburuaga, René, 1911–1954 4.2, Caricia, p1935, —, D4–A5, High, Mezzo, —, IEM, —, + Botto Vallarino, Carlos, 1923–2004 4.3, Songs of Love and Solitude, op. 12, 1959– 1960, James Joyce, —, —, —, —, —, + Carmona, Oscar, 1975– 4.4, Ausencias, 1995–1997, Cecilia Carmona, —, Soprano, —, —, LCP, — García, Fernando, 1930– 4.5, Bestiario, 1987, Nicolás Guillén, —, Soprano, —, —, LCP, — 4.6, Buenas maneras, 2004, Ómar Lara, —, Baritone, —, —, LCP, — 4.7, Cantos de otoño, 1969, Andrés Sabella, Federico García Lorca, —, Tenor (1969), Soprano (1984), Two versions, —, LCP, — 4.8, Cuatro apuntes líricos 4.8a, 1., 2005, Sonia Luz Carrillo, —, Female voice, —, —, LCP, — 4.8b, 2., 2005, Alberto Pérez, —, Female voice, —, —, LCP, — 4.8c, 3., 2005, César Vallejo, —, Female voice, —, —, LCP, — 4.8d, 4., 2005, Vicente Huidobro, —, Female voice, —, —, LCP, — 4.9, Cuatro recitativos, 1987, Ómar Lara, —, Bass, Original version as Decires de espanto y amor for Soprano (1986), —, LCP, — 4.10, Decires de espanto y amor, 1986, Ómar Lara, —, Soprano (1986), Bass (1987), a guide to the latin ­american art song repertoire 130 Two versions; also as Cuatro recitativos, —, LCP, — 4.11, El espejo de agua, 1983, Vicente Huidobro, —, Bass (1983), Baritone (1992), Two versions, —, LCP, — 4.12, Himno de la CUT, 1963, —, —, —, Original version for choir, —, LCP, — 4.13, Poemas en tiempos de guerra, 2004, Vicente Huidobro, —, Tenor, —, —, LCP, — 4.14, Retazos de poesía, 2001, Vicente...