Cinco Canciones Con Versos de Juana de Ibarbourou_ the Art Song S

The Florida State UniversityDigiNole Commons Electronic Theses, Treatises and Dissertations The Graduate School 11-8-2011 Cinco Canciones Con Versos De Juana De Ibarbourou: The Art Song Style Of Ernesto Lecuona Christina Villaverde The Florida State University Follow this and additional works at: http://diginole.lib.fsu.edu/etd Recommended Citation Villaverde, Christina, "Cinco Canciones Con Versos De Juana De Ibarbourou: The Art Song Style Of Ernesto Lecuona" (2011). Electronic Theses, Treatises and Dissertations. Paper 5249. This Treatise - Open Access is brought to you for free and open access by the The Graduate School at DigiNole Commons. It has been accepted for inclusion in Electronic Theses, Treatises and Dissertations by an authorized administrator of DigiNole Commons. For more information, please contact [email protected]. THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC CINCO CANCIONES CON VERSOS DE JUANA DE IBARBOUROU: THE ART SONG STYLE OF ERNESTO LECUONA By CHRISTINA DIANE VILLAVERDE A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2011 Christina Diane Villaverde defended this treatise on October 21, 2011. The members of the supervisory committee were: Stanford Olsen Professor Directing Treatise André Thomas University Representative Douglas Fisher Committee Member Marcía Porter Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii we have held each other up all these years. Mom. You were always there with excellent editing skills. Cuban history lessons. I could never have completed this degree without you. but not least. I will always remember the times sitting next to you at the piano listening to the songs of Lecuona. I chose this topic to honor our Cuban heritage. especially to my mother Diane. encouraging one another to believe in our music and now look at how far we’ve come! To my dear friend Angel. my brother Ryan and my dear friend Angel. Through your gifts as a pianist and composer you have taught me to better understand my Cuban heritage through your “Cuba!” Last. to my husband Christian. shoulder rubs and the much needed cups of “café con leche. my husband Christian. To my dear brother Ryan. thank you for all the months of “tolerance” as I toiled through the research and for sharing your passion of Cuban music. thank you for sharing these songs of Lecuona with me. now we both are doctors! Abuela. always encouraging me to work harder and believe in the gift I was given.” Thank you for your love and support.I would like to dedicate this treatise to my family. you have always been my source of strength. iii . translation help. departed Grandmother Ramona. Lauren Smith Tony Daniels and Dee Beggarly for your years of support and friendship. To Bianca Lupsha. Meghan McCaskill. photos. I would like to first acknowledge Stanford Olsen for being one of the greatest mentors in my career and for his willingness to serve as the director of my treatise. iv . years of friendship. I can never truly express to you how grateful I am for all of the talks.ACKNOWLEDGMENTS I would like to express my sincere gratitude to a select group of people who helped bring this treatise to fruition and have inspired me to preserve the music of Ernesto Lecuona. I would like to thank Jane Clendinning for her willingness to answer any questions I had concerning interviews I conducted during my research. Equally. Javier Abreu and Edward Rothmel for hours of conversations about the music. I would also like to thank Mike Mann and Bruce Davis. this paper might never have been finished. patience and many wonderful shared performances and recitals. Marcía Porter and André Thomas for also serving on my committee and for their collective guidance. You are the sole reason why this paper has become a reality. letters and documents you shared with me. I would like to thank Evan Hause of Carlin America. for his kindness and assistance with my research and for copyright privileges. without your willingness to help me locate Fernando. I would like to express my appreciation for Jana and Russell Young who were the first to introduce me to singing and who have supported me from my early teenage years showing me the world that lay ahead. encouragement and tough love. To Fernando Lecuona. Equally. emails. Because of his instruction. thank you for all of your efforts and everything I came to learn about your Uncle Ernesto. Dean Beckman. to Carole Farley for her willingness to assist me throughout my research process and to Libby Larsen for her support of my career and interest in my treatise. encouragement and support throughout my years at Florida State University. to Larry Gerber and Alexander Jiménez for your support and love of Cuban song. I have become the performer and educator that I am today. They will always be my lifelong teachers. Special thanks to Dean Gibson. Inc. I would like to thank Douglas Fisher. 68 Transcription of live interview: Fernando Lecuona-nephew of Ernesto Lecuona. JUANA DE IBARBOUROU…………………………………………………………… 17 5. 92 BIOGRAPHICAL SKETCH OF THE AUTHOR………………………………………… 94 v .TABLE OF CONTENTS Compositions Cited………………………………………………………………………… vi List of Figures……………………………………………………………………………… vii Abstract……………………………………………………………………………………. CINCO CANCIONES CON VERSOS DE JUANA DE IBARBOUROU………………. APPENDIX E ……………………………………………………………………………. 51 Original Manuscript Excerpts APPENDIX D ……………………………………………………………………………. 19 4... ORIGINS OF MUSIC IN CUBA………………………………………………………. BIOGRAPHICAL SKETCH OF ERNESTO LECUONA……………………………...x 1. 41 APPENDIX A ………………………………………………………………………………42 Lyrics and Translations APPENDIX B ………………………………………………………………………………46 Phonetic Transcription (IPA) APPENDIX C ……………………………………………………………………………... .. 5 3.. MUSICAL GENRES IN LECUONA‟S SONGS………………………………………... 20 CONCLUSION……………………………………………………………………………. 86 Releases BIBLIOGRAPHY…………………………………………………………………………. 1 2. Señor jardinero. 5. 78-82 The following compositions are the property of the Lecuona Music Co. by Thomas Tirino) 1. 1-19 Mi amor fue una flor. 2. 48-62 3. 1-11. Art Songs (Ernesto Lecuona) Cinco canciones con versos de Juana de Ibarbourou 1. 21-41. 1-5 Noche azul. 71-90 2. Songs (Ernesto Lecuona) 1. Canción del amor triste. Balada de amor. 45-53 vi . 15-26. 3. 4. 1-20. 15-23. 53-70. and are the copyright of Edward B. 1-20. Vals maravilloso. 1-14.. Inc. Piano (arr. La comparsa. 1-20 Malagueña. 30-34 5. 33-36 4. a subsidiary of Carlin America. the mm. La señora luna. 1-6 II. 28-41. Quiero ser hombre. 24-34.COMPOSITIONS CITED The compositions below are that of Ernesto Lecuona and his sister Ernestina Lecuona. The mm. 27-32 ¿Me odias? (Ernestina Lecuona). 1-15. 20-23. cited below are used within the treatise with permission from the Lecuona Estate: III. Marks Music Corporation. cited below are used within the treatise by permission: I. 1 21 Figure 12 “Wind motive. 1-6 13 Figure 6 Example of “Cuban Habanera” rhythm 13 Figure 7 Ernestina Lecuona. 79 26 vii . “Canción del amor triste.” mm. “La comparsa. “Canción del amor triste. c. “Mi amor fue una flor. 27-32 (Example of Spanish Influence) 11 Figure 4 Example of a cinquillo rhythm 12 Figure 5 Ernesto Lecuona.” mm.” mm.” mm. “¿Me odias?” mm. “Canción del amor triste. 60-67 25 Figure 19 Ernesto Lecuona. 1930 3 Figure 2 Photo of Lecuona.” m. c.” mm. 1935 10 Figure 3 Ernesto Lecuona. 20-27 23 Figure 16 “Bird motive” 24 Figure 17 Ernesto Lecuona. 1920 18 Figure 11 “Death toll motive.” mm.” mm.” m.” mm. 1-20 16 Figure 10 Photo of the poet. “Malagueña.” mm. album publicity of Lecuona playing his songs.LIST OF FIGURES Figure 1 Photo of Lecuona. the Composer at Work c. “Canción del amor triste. 68-75 25 Figure 20 Ernesto Lecuona. 1-5 15 Figure 9 Ernesto Lecuona. Juana de Ibarbourou. “Canción del amor triste. “Canción del amor triste.” m. “Noche Azul. 9-14 23 Figure 14 Ernesto Lecuona.” mm. “Canción del amor triste. 6-8 21 Figure 13 Ernesto Lecuona. “Canción del amor triste.” mm. 1-19 14 Figure 8 Ernesto Lecuona. 16-19 23 Figure 15 Ernesto Lecuona. 78 26 Figure 21 Ernesto Lecuona. 28-35 24 Figure 18 Ernesto Lecuona. 10 40 Figure 42 Ernesto Lecuona.” mm. 78-82 35 Figure 35 Ernesto Lecuona. 33-34 38 Figure 39 Ernesto Lecuona.” mm. 8-14 29 Figure 25 Ernesto Lecuona. “Quiero ser hombre. 28-38 30 Figure 27 Ernesto Lecuona.” mm.18-25 37 Figure 38 Ernesto Lecuona.” m. 7 39 Figure 41 Ernesto Lecuona.” mm. “La señora luna. “Quiero ser hombre. “Balada de amor. 8-17 33 Figure 32 “Sigh motive” 34 Figure 33 Ernesto Lecuona. 3-5 32 Figure 31 Ernesto Lecuona.9 36 Figure 36 “Wedding motive” 36 Figure 37 Ernesto Lecuona.” mm. “Balada de amor.” m.” mm.” mm. 16-20 41 Figure 43 Ernesto Lecuona. “Señor jardinero. “Balada de amor.” mm. 1-3 28 Figure 24 Ernesto Lecuona.” mm.” m. “La señora luna. 87-90 27 Figure 23 “Man motive. “La señora luna.” m. 22-23 35 Figure 34 Ernesto Lecuona.Figure 22 Ernesto Lecuona. “Balada de amor. 39 31 Figure 28 Ernesto Lecuona.” mm. “Balada de amor.” m. 3 39 Figure 40 Ernesto Lecuona. “Vals maravilloso. “Señor jardinero. 23-25 41 Figure 44 Ernesto Lecuona. 59-62 31 Figure 29 “Child motive” 32 Figure 30 Ernesto Lecuona. “La señora luna.” m. “Quiero ser hombre. 16-22 29 Figure 26 Ernesto Lecuona. “Quiero ser hombre.” m. “Quiero ser hombre. “Canción del amor triste.” mm.” mm.” mm. “Balada de amor. 26 42 viii . 2011 94 ix .” mm. “Balada de amor. 32-40 43 Figure 47 Ernesto Lecuona. 50-53 43 Figure 48 Photo of Fernando Lecuona and Christina Diane Villaverde in his Florida home. “Balada de amor. June 24th.Figure 45 “Tear motive” 42 Figure 46 Ernesto Lecuona.” mm. x . Born in Guanabacoa. These included primarily the book titled Ernesto Lecuona: the Genius and his Music. In support of these statements. highlighting the five art songs that comprise his cycle Cinco canciones con versos de Juana de Ibarbourou (Five Songs with Verses by Juana de Ibarbourou). the Dissertation The Life and Music of Ernesto Lecuona as well a live interview with Ernesto Lecuona‟s oldest living relative. Although Lecuona is known to have composed more than 600 works. Cuba. show his abilities as an art song composer. I compared a sampling of Lecuona‟s works within his piano. His creative and successful setting of Juana de Ibarbourou‟s prose and poetry writings within the cycle along with musical characteristics of the German Lied found within the songs. his popularity compared to George Gershwin (1898-1937) and his compositional output rivaled that of Franz Schubert (1797-1828). first with his sister Ernestina and then with Dutch born pianist and composer Hubert de Blanck (1856-1932). very little is known about his art song output. vocal. He completed his compositional training with Joaquín Nin (1879-1949) and Maurice Ravel (1875-1937). Lecuona began his piano studies at an early age. a suburb of Havana. This treatise focuses on his success as a canción (song) composer. His piano skills were equal to that of Sergei Rachmaninoff (1873-1943). theatrical and orchestral repertoire and consulted various sources on the composer. and one of the most prolific composers within Latin America. his nephew Fernando Lecuona.ABSTRACT Ernesto Lecuona (1895-1963) is regarded as one of the most important Cuban musicians of the twentieth century. guaracha and pregón. and the musical fusion of Spanish melodic instruments (such as the guitar) and the African drum established the basis for most genres of Cuban music thereafter. some of which will be discussed in further detail in Chapter 3. Cuban composer and concert pianist Jose Manuel (Lico) Jiménez (1851-1917) was the first of the Cuban composers who is credited with embracing the Lied. son. Due to the subject of this treatise.CHAPTER 1: ORIGINS OF MUSIC IN CUBA The music of Cuba. rattles and claves. The clave. an Andalusian influenced dance. rich harmonies. The canción is an advanced stage of artistic development and does not fall within the scope of popular music. dances. some are more African. it closely resembles the nineteenth century German Romantic Lied in its classical sense. it is impossible to discern. The zapateo. X. 1 .1 As such. and excludes those that are purely for dance. Eventually these two cultures integrated. and if any remnants of its music was or is reflected in Cuba‟s. the Cuban canción (song). (an instrument similar to the guitar with three double strings) and the güiro (a hollowed-out dried squash). Emilio Grenet. rhythms and themes can best be described as an amalgamation of European (mostly Spanish) and African influence. use of motives. including its instruments. and others are blend of both influences. the cultural void left behind by the disappearance of Cuba‟s indigenous people was largely filled by African slaves and the Spaniards who brought them to Cuba. expanded harmonic language and the use of poetry for the text. a form within the Afro-Cuban tradition. is a composition that is performed by a small choral group accompanied by rhythmic instruments. Popular Cuban Music (Havana: Republic of Cuba. we have the contradanza. Some of these genres stylistically border more on the Spanish. it is important to discuss at length another category of Spanish influence. use of chromaticism. Unlike most other Latin-American countries colonized by the Spanish.2 Within the more blended group. bolero. such as the drums. 1929). The influence of German composers is seen within the music through the lyrical melodies. which comprises all compositions written for solo singing. Cuba‟s indigenous population was almost entirely annihilated. XXII. remains the typical dance of the peasants and is accompanied by the tiple. Instead. Some of the early Cuban compositions used the poetry of Heinrich Heine (1797-1856) for the text. He completed his 1 2 Emilio Grenet. criolla. it is his art songs that were mainly influenced by the artistically elevated 19th century Cuban canción. Violinist. bitterness. Brahms and Wolf. Cancíon Cubana. Although Lecuona masterfully composed music in various genres. specifically of the German romantic Lied composers. USA: Amadeus press. Lecuona used the historical base of the German and Cuban composers that preceded him and infused his own personal style. Compact disc) 5 Ernesto Lecuona. In several instances Lecuona wrote his own poetry for his art songs. “His texts reflected the passion. Heinrich Heine. He utilized texts of important Ibero-American poets such as José Martí (1853-1895). incorporating many of the local Cuban dance rhythms such as the bolero and criolla to create his own unique style of canciones. uses the poetry of Heinrich Heine in translation for the text. Juan Clemente Zeana (1832-1871). and the vehemence of a history truly lived and embodied in a song. Alberto Joy (Piccolo Tif. having written more than 400 songs for solo voice.musical studies in composition and piano performance at the Leipzig Conservatory (Germany) in 1859. opera and piano compositions. 4 No particular Cuban composer has been credited as having written solely within the Lied or cancíon genre. Cancíon Cubana. Schubert. pianist. José Angel Buesa and occasionally those of the German poet. Choral Music in the 20th Century (New Jersey. sensuality. hate.3 These composers adopted the established European song forms of the late nineteenth century. Schumann. including Beethoven. organist and composer Jose Mauri Esteve (1855-1937) composed chamber music. 918515420-609559356. sacred song. Emelina López. LLC. Guillermo Tomás (18681933). was an important composer and conductor who was heavily influenced by German operatic styles. Rosas y violetas. 1995. however Lecuona. His Lied composition. Alvaro Suárez. primarily those of Strauss and Wagner. melancholy of the Caribbean and tropical emotions in issues of love. Juana de Ibarbourou (18921979). 2002). Ernesto Lecuona.‟” 5 3 Nick Strimple. His theme can be grouped into „amatory songs. 205. was one of the most successful. 4 2 . the Composer at work c. 1930 Figure 1 3 .Photo of Lecuona. They were married at the Church of Versailles on November 7. Ernesto Lecuona Casado was born in Guanabacoa. 5 . 60. La Aurora de Yumurí. 1895. Ernesto Lecuona was a child prodigy in piano performance and composition and went on to become one of Cuba‟s most prolific composers. Canary Islands. By the 1870‟s he would become director of this and other newspapers in the city. opening the door to Fidel Castro and the formal control of his totalitarian Communist regime in 1959. 7 Lawrence A. 8 Rafael A. it is important to discuss the history of his parents. It was a time of prosperity for this region as here there were three political jurisdictions from which sixty percent of Cuba‟s sugar was exported. Matanzas from then on would be known as The Athens of Matanzas. 1885. Spain. as his birth was in the same year that Cuba was seeking to gain independence from Spain. 1963 in Santa Cruz de Tenerife. father of the composer. first as a writer for the Canary Islands Press and later as the director of the newspaper El Sol de Nivaria. He was born during a period of extreme political turmoil. “Rediscovering the „Cuban Gershwin.CHAPTER 2: BIOGRAPHICAL SKETCH OF ERNESTO LECUONA On August 6. Cuba. where Ernesto Lecuona Ramos would thrive almost immediately as he was hired by the most prestigious Cuban newspaper at the time.”7 Lecuona died while on vacation on November 29. Ernesto Lecuona Ramos. 2001).A. she was 6 Control of the island was then given to the United States in 1898 pursuant to the Treaty of Paris following the Spanish-American War. Cuba‟s fragile democracy would only last until 1952 when former democratically-elected president Fulgencio Batista staged a coup and ruled for seven years. Ernesto Lecuona: the Genius and his Music (Spain: R. Lecuona. due to the father‟s untimely death. He was greatly revered within Latin America as a composer and is still referred to as the “Cuban Gershwin.6 As the seventh and last child of the Lecuona family. Lecuona Enterprises.8 It was here in the city of Matanzas where he met a young lady named Elisa de la Caridad Casado Bernal. Johnson. Family Background In order to understand Lecuona‟s gifts. 2004).‟” Sun Sentinel (July 15. He was a medical student who later turned to journalism. as well as a growing intellectual movement. he would only know his father until the age of seven. Canary Islands. was born in 1834 in Santa Cruz de Tenerife. which eventually led to formal Cuban independence in 1902. Cuba to a Cuban mother and Spanish father. He immigrated to Cuba in 1860 with his sister Carmen and settled in the city of Matanzas where Cuban culture was most prevalent. “What smells here?”11 His nephew Fernando described Lecuona as a charming man. With a melancholy stare they always appeared to transcend the immediate object in front of him and focus on some distant place no one else could see. Ernesto and Elisa had seven children: Luis E. Even though he passed away when Ernesto was only seven years old. as described by his friends. 10 Lecuona. His hair. José Lecuona Casado. he died of a heart attack. she never concealed her commitment to the revolution that sought independence from Spain. The Life and Music of Ernesto Lecuona (Gainesville. Just eight days after arriving. 6 . I would have them wait so I could warn Ernesto that there was company so he could dress up. was always immaculately kept. But by far the most attractive feature of Lecuona was his large dark eyes.twenty-three and he was fifty-one years old. so generally whenever I would take someone to visit him. 16. Teodoro Lecuona Casado and Ernesto Lecuona Casado (the subject of this treatise). he was able to see the beginnings of his son‟s artistic and musical training under the early tutelage of his older sisters Elisa and Ernestina. he had to dress up and he was upset about having to always wear a coat and tie. 64. He would invest his money in artists who had promising careers. all expenses were paid by Ernesto. because he didn‟t like to be in pants… Since he was always out in public. 25. He would then tell them to 9 Gloria Castiel Jacobson. She was known to wave the Cuban flag in front of their home when her husband‟s Spanish friends came to visit and would secretly contribute to the independence movement financially. 1982). 2011. Elisa was a devoted wife. 11 Jacobson. mother and patriot. FL: University of Florida. Even though her husband was a Spaniard. Lecuona Casado.10 Appearance and Lifestyle Jacobson describes Lecuona as having been: Six feet tall and large framed. the composer carried his stature with dignity and natural grace. Elisa Lecuona Casado. Whether they made money or not. Fernando Lecuona Casado. not concerned with politics and always very generous with his time and money.12 Fernando went on to describe his uncle and his idiosyncrasies: During the week he would only be in his underwear. when she was able. His wonderful smile would brighten his face which.9 In 1902 Ernesto Lecuona Ramos decided to return to his homeland at the age of sixtyseven in an attempt to restore his failing health. jet black. Ernestina Lecuona Casado. June 24. always carried an expression that seemed to ask. 12 Fernando Lecuona interview. most especially his sister Ernestina. he would travel the world. perform at some of the most important venues. In 1916. 15 Jay Gatsby.” 16 At age fourteen he was accepted into the Cuban National Conservatory where he studied piano and composition with the Dutch-Cuban pianist and composer Hubert de Blanck (18561932). which later entered the repertoire of Cuban military bands. he would store the smaller pieces in his Chinese chest of drawers. fish and an assortment of other creatures. the titular character of F. Lecuona graduated from the Conservatory at the age of seventeen with a gold medal for his graduation performance of Schumann‟s A Minor Piano Concerto. entertain kings and queens.14 He loved to collect antiques. he would always be in his underwear. 16 Jacobson. where he raised pigs. a student of Igancio Cervantes (1847-1905) and Joaquín Nin (1883-1950). La Comparsa.13 Lecuona lived an exciting and diverse life. but otherwise. It was baggy underwear. Jacobson. who was an accomplished pianist and composer. Musical Training All seven children in the Lecuona family were musically gifted. 17. 14 7 . singers and composers and return home to Cuba to tend to his “small zoo”. Scott Fitzgerald's 1925 novel The Great Gatsby. There he continued his piano studies with Antonio Saavedra. which would eventually be the cause of his untimely death. at the age of twenty-one. This was the highest award given for piano. “By eleven he had written Cuba y América.17 Lecouna was the most successful musician in his family and starting working about this time. famous actors. but always had a host of people around him willing to translate or assist whenever he needed it. He would host grand parties at his ranch. poultry. in Havana. He never learned to speak English. It would make me laugh. He was a relatively quiet man and would keep his comments to himself. as a silent film pianist in the Fedora Theatre in Havana and as a pianist at the Moulin Rouge and Alhambra theaters.15 He was also a heavy smoker. much like a Cuban Jay Gatsby. 17 Hubert de Blanck founded the Conservatory in 1885. he traveled to New York City for his 13 Fernando Lecuona interview. deer. or share them under his breath.come in. she gave Lecuona his first piano lessons. who eagerly accepted the promising young pianist. 26. He gave his first public recital at the age of five and enrolled at the age of nine in the Peyrellade Conservatory. 18 Influences and Friends During an interview with Fernando Lecuona. who was number one in the world. Below is the response: FERNANDO LECUONA (FL): Ernestina was the one who first influenced Ernesto. and later became President of Poland. 8 . At this time. and Rachmaninoff and Paderewski. and the second were Rachmaninoff and Ernesto. Lecuona. he was contracted by RCA Victor to record his compositions and by Ampico Piano Co. The pianist who José Iturbi (1895-1980) was speaking to was Joaquín Nin. 19 Career Highlights On October 2. for piano rolls.American debut. 1928 in Paris to present Lecuona to a select audience. CHRISTINA VILLAVERDE (CV): But of those. presenting for the first time George Gershwin‟s 18 19 Jacobson. Some of the audience members were composers Maurice Ravel (1875-1937). I asked who Ernesto‟s influences were. Joaquín Turina (1882-1949). Rachmaninoff. neither you nor I can play!” The performance at Sala Pleyel would come a few days later accompanied by Cuban singer Lydia de Rivera. We‟ll never play like that. The first was Paderewski. It was said that at this performance Ravel blurted out the famous words “This is more than piano!!” And that Iturbi turned to Nin and whispered “That. 17. Rachmaninoff and Ernesto were together number two in the world. a concert at Aeolian Hall. look how he (Lecuona) plays. Alexander Gretchaninoff (1864-1956) and the Ambassador of Cuba to France— and future Cuban president—Carlos Manuel de Céspedes Quesada (1871-1939). Iturbi told another pianist.” That‟s because Ernesto could reach 14 keys in one hand. whose name I don‟t recall…“we can‟t play like that. The concert had been organized by Nin on June 2. 109. 1928 after taking a month vacation with Nin and Ravel. tied. and later it was Liszt and Tchaikovsky. did he know any of them personally? FL: Gershwin. And one time in the Sala Pleyel of Paris where Chopin and Liszt played together. Lecuona returned to Cuba to give another triumphant concert. Then it was Hubert de Blanck. yes. and Gershwin. orchestral works. In the 1930‟s and 1940‟s he also wrote a great deal of film music for such companies as MGM. Europe and the United States. Celia Cruz. about twenty-five miles north of New York City. ballet.20 This was a special concert under the direction of another prolific and well known Cuban composer and colleague of Lecuona‟s. Siempre en mi corazon (Always in my heart). “He wrote in his will that his remains would be kept there until Cuba was again free and sovereign. 23 Lecuona. 24 Jacobson. Alfredo Kraus.”24 a wish that has yet to be fulfilled. including Zarzuela. he suffered a heart attack and dies on November 29. 96. Gonzalo Roig (1890-1970) along with thirty-six additional professors from the conservatory. 111. Spain on vacation in 1963. and 20th Century Fox. During his career Lecuona performed throughout South America. 1963. Esther Borja. In 1931Roig composed the Cuban Zarzuela Cecilia Valdés based on the novel by Cirilio Villaverde (1812-1894). and the Orquestra de La Habana. Xiomara Alfaro. was nominated for an Oscar for best song. Warner Bros.Rhapsody in Blue. 98. as no one could play it as he does…22 Ernesto Lecuona wrote more than 600 songs for voice. the same way and in the same place his father did and only one year older than his father had been. Ernesto Lecuona Casado was buried in The Gate of Heaven Cemetery. 22 Lecouna. but lost to White Christmas.23 The Final Voyage Lecuona returned to his father‟s homeland of Tenerife. piano. This work is still performed today and is one of the most widely known Cuban Zarzuelas. interpreting Gershwin‟s Rhapsody in Blue. Among his many accomplishments was the founding of the Havana Symphony (with Gonzalo Roig). How ironic that he would die. 21 9 . Central America. 20 Lecouna. one trio and an opera. 20. Sandra Lopez and Tomás Tirino helped Lecuona achieve international popularity. His remains are then to be taken back to the land he loved and forever interred there. theatrical pieces. 110. In 1942 onf of his most popular songs. the Lecuona Cuban Boys Band.21 The Los Angeles Times wrote in 1933 about this historic event as Gershwin himself had been present for the performance: “Lecuona is a prodigious technician of the piano…Modern music is favored by his capacity as a performer. While there. Hundreds of interpretations of his songs by such artists as Plácido Domingo. c. album publicity with Lecuona playing his songs. 1945 Figure 2 10 .Photo of Lecuona. CHAPTER 3: MUSICAL GENRES IN LECUONA’S SONGS As mentioned in the early chapters.” mm. 27-32 (Example of Spanish influence) 11 . Lecuona‟s Malagueña (see figure 3) is one of his compositions that highlights the Spanish influence within the guitar-like writing in the treble clef. “Malagueña. Marks Music Company Copyright Renewed International Copyright Secured All Rights Reserved Used by Permission Figure 3 Ernesto Lecuona. the characteristics of the genres within Cuban music can best be described as a mixture of European (mostly Spanish) and African musical elements. Copyright © 1928 by Edward B. canciones. looking at the five art songs of Lecuona discussed in this treatise. 33. syncopated rhythms and playful melodic line. Lecouna‟s Noche azul (see figure 5) is an example of a bolero with its brief two m. criollas. pregones and zarzuelas. Emilio Grenet. introduction. The Cuban bolero during the time of Lecuona was an adaptation of the Spanish bolero. the bolero is one of Cuba‟s most characteristic song forms.”26 Its original 3/4 time was changed to Cuba‟s popular 2/4 time. only boleros. danzas. The bolero is always lyrical. and canciones have relevance. XXXVIII.27 The Cuban bolero is a slow-tempo song that typically begins with a brief introduction and typically makes use of the cinquillo (see figure 4). However. romantic and often times playful throughout the melody and accompaniment. some of which are boleros. and reflects the “optimistic quality of the Cuban character. which is a rhythmic cell:28 Figure 4 Example of a cinquillo rhythm tresillo or triplet pattern. 33. which better suited the Afro-Cuban rhythms of the island. 26 12 . Regardless of its origin.25 Lecuona composed within all of these forms. but more often the use of syncopated rhythms. 25 Jacobson. 28 The term cell in music refers to a small rhythmic design that can be isolated. 27 Jacobson. criollas.Cuban songs can be grouped into several categories. The rhythm seen below (see figure 6) is called the “Cuban Habanera”. Subsequent examples of Lecuona‟s songs will show the same tendency to use very dense and dramatic cords like those of his sister. In this piece you can clearly see a variation of the Habanera rhythm and dense chords30. “Noche azul. 53.” mm. 30 13 . Note in Ernestina‟s criolla how the accompaniment always lies in a much higher range then the voice.Copyright © 1929. characteristics that Leucona uses within the five art songs. 29 Jacobson. typically played in the bass clef. Lecuona is most remembered in his vocal literature for his Afro-Cuban songs. 1941 by Edward B. 1-6 Criollas (“creole song”) is a form that shows the influence of both the Spanish melody and the African rhythm29. Marks Music Company Copyright Renewed International Copyright Secured All Rights Reserved Used by Permission Figure 5 Ernesto Lecuona. Figure 6 Example of “Cuban Habanera” rhythm One of Lecuona‟s earliest influences of a criolla may have come from his sister Ernestina‟s composition titled ¿Me odias?(see figure 7). “¿Me odias?” mm. Used by Permission. 1-19 The canciones group comprises a wide variety of songs written for solo singing. The art songs discussed in the next chapter fall into this 14 . Marks Music Company.Copyright © 1929 by Edward B. Figure 7 Ernestina Lecuona. and within the broad range of the vocal line. The earliest songs came by way of Spain and were heavily influenced by Italian opera—highly romantic with dramatic aspects. This dramatic writing can be seen in the accompaniment. 2011. Marks Music Company.category. 15 .” mm. This piece was originally composed for the piano and is a marriage of two contrasting themes: the lyrical or romantic melody with the underlying Afro-Cuban rhythm typical in a spontaneous Carnival Procession in pre-Castro Cuba. July 5. Figure 8 Ernesto Lecuona. Lecuona‟s Mi amor fue una flor (see figure 8) is an example of one of his canciones that makes use of dramatic writing within the introduction. 1-5 Lecuona‟s La Comparsa (Carnival Procession) is an example of a popular canción (see figure 9) that was composed before the five art songs. “Mi amor fue una flor. Used by Permission.31 31 Interview with Maria Castillo McNab. Copyright © 1941 by Edward B. “La Comparsa.” mm. 1930 by Edward B.Copyright © 1929. 1-20 16 . Marks Music Company Copyright Renewed International Copyright Secured All Rights Reserved Used by Permission Figure 9 Ernesto Lecuona. dissatisfactions and contradictions one so readily and commonly discerns in their piteous cries. sensory images. 239. for nature is the mirror that reflects her thoughts…”33 Most of Ibarbourou‟s poetry is written in free verse. Natacha. in stanzas that read as musical verses. she married Captain Lucas Ibarbourou. Señor jardinero and La señora luna are both from Ibarbourou‟s collection of poems called Las canciones de Natacha (the songs of Natacha). Delmira Agustini. life.”32 In 1929 she was proclaimed "Juana de América" in the Legislative Palace of Uruguay. When one reads the poetry of Juana de Ibarbourou “you read about everything that concerns her most: love. at twenty years of age. 1960). 239. Her poems and prose writings were infused with feminism. and took his last name. The third and fourth songs of the cycle. 35 Juana de Ibarbourou. mainly in La Razón. and mythical references. she moved to the capital Montevideo and lived there until her death. Biblical. Obras Completas (Madrid: Aguilar. “as her poems do not disclose those erotic yearnings. herself…is seen and interpreted as part of nature. These songs were published within the Dualismo collection as children‟s poetry. the capital‟s main publication.CHAPTER 4: JUANA DE IBARBOUROU Juana de Ibarbourou (1895-1979) was a Uruguayan poet born in the city of Melo.35 32 Sidonia Carmen Rosenbaum. the poetry is taken from her collection titled Dualismo. At the age of twenty-six. 33 Rosenbaum. Juana de Ibarbourou (New York: Cocce Press. (duality). 34 Rosenbaum. Her maiden name was Juana Fernández Morales. She wrote the poetry for Señor jardinero as a gift for her friend Pedro Henríquez Ureña in honor of the birth of his daughter. Alfonsina Storni. XLIX 17 . With the exception of the second song which is found in Ibarbourou‟s Raíz salvaje (wild root).34 Text for the five art songs of Lecuona were taken from two of her collections. 1945). death. Her first poems appeared in newspapers. modernism. She is considered one of the most important and individual voices of twentieth century Latin American poetry. Modern Women Poets of Spanish America: The Precursors. Ibarbourou differs from other major female poets in Spanish America. Gabriela Mistral. 255. Juana de Ibarbourou.Photo of the poet. c. 1920 Figure 10 18 . such as the bolero and criollas. which took control of Cuba shortly before Lecuona‟s death. and figures cited within the treatise are used with permission from the Lecuona Estate.CHAPTER 5: CINCO CANCIONES CON VERSOS DE JUANA DE IBARBOUROU Introduction Cinco canciones con versos de Juana de Ibarbourou were written in 1937. but the term itself means “song. but within the expression of a Lied. It can be argued that these pieces fall into the same “vocal league as operatic arias. 2/4 time signature and rich melodies appear throughout the cycle.. such as the use of the slow tempo. will be discussed further. it is impossible to know if the original copies are still in Cuba. Because Lecuona‟s publishing company no longer exists and the communist party. outside of the Spanish and African already discussed. Aspects of the bolero and criolla genres. In the five art songs. specifically that of German Romanticism with the use of motives. Cinco canciones con versos de Juana Ibarbourou are some of the best examples of Lecuona‟s canciones compositions. is still in power. In these songs. 36 Ernesto Lecuona. the voice is challenged into the highest and lowest parts of the register. no extensive research of the five songs has been conducted nor published before this treatise.” 36 The canciones sub-genre is complex. such as Italian opera and dance rhythms. and are performed and circulated today only as rude photocopies of the originals. the mm. theatrical writing and a broad range of dynamics. expressive melodies. with the use of dense and dramatic chords. 2. Each of these five songs possess characteristics of the Romantic style. complex harmonies and total synthesis of the poetry with the music. as not only is it a category that includes all compositions written for solo voice with piano accompaniment. To date. Lecuona's use of dance rhythms throughout the five songs. The influence of Italian opera is clearly seen in the first song Canción del amor triste. 19 .” In order to distinguish these songs as art songs it is important to place them into the subcategory of this group and refer to them as canciones líricas (lyrical songs). They were published in Havana with the Lecuona Music Co. As previously mentioned. Lecuona highlights some of the specific historical influences on the Cuban canción. Cancíon Cubana. songs within this group are composed in a highly Romantic style with dramatic aspects. The compositions remain the property of the Lecuona Music Co. existing simultaneously. See Appendix C for the original manuscript. the songs are written to embrace the idea of duality. This same idea of the marriage of two simultaneous themes was mentioned in Chapter 3 with the example of Lecuona‟s La Comparsa. 20 . contrasting keys and accompaniment elements that act as a subtext for the poetry. All musical examples seen with the chapter are reproductions of the originals and used with permission. with the poetry as one theme and the musical accompaniment as the other.Because of the nature of the poetry. All musical motives discussed within this treatise were named based on my interpretation of the poetry. The songs are then best understood as being motivic in nature with specific musical motives. “Wind that blows where I cannot go. won‟t you carry me?” It is clear that this is the voice of a woman. as the poetry later speaks about cutting her braid and of the man she cannot stop loving. 7-8. The “wind motive” (see figure 12).” the first of the cycle. followed by a rolled F chord on beat 2. 1 The voice of the protagonist. 2. 6-8 21 . begins in the ominous key of F Minor and the low F pedal tone begins the “death toll motive” on beat 1 (see figure 11).” m.Canción del amor triste This “Song of Sad Love.” With the introduction of these two motives and the F Minor key. The notes are written in a descending order ending with a poco ritardando and a crescendo as if to strongly answer. firmly establishing the key.” mm. Figure 12 “Wind Motive. 6. Figure 11 “Death Toll Motive. appears immediately in mm. “No. a woman. addresses the wind in an accompanied recitative style in m. on the tail end of the subito forte of m. there is a clear foreshadowing of the inevitable tragic ending. as the singer sustains the pitch through m. the tempo in m. The pattern of the sequence steps down from F. 9 immediately changes to píu mosso and a new sequence begins in the accompaniment continuing through m. indicates that the wind is approaching from a distance to answer the woman. I‟d fly through the blue sky with you. this time pianissimo. based on the poetry. but filling in between the downbeats with embellishments (see figure 13). on the word azul (blue). Figure 13 Ernesto Lecuona. 18. oh. the “wind motive” returns. The arrival of the wind propels the woman into a series of thoughts.” This is the only time this sequence is used. the wind will not carry her (see figure 14). “If I had your wings. The duality of the needs of the woman and the resistance of the wind is clear. 14.The opening dynamic of the song is piano which. 9-14 This running sequence of notes ties in perfectly with the poetry as the woman starts to speak in desperation. doubling the voice.” mm. and.“Canción del amor triste. 22 . “Canción del amor triste. “Canción del amor triste. 19.” mm. (see figure 13) and in mm. as the accompaniment doubles the voice with octaves rising to a fortissimo (see figure 15). oh far from here.Figure 14 Ernesto Lecuona. I would like to flee…carry me. Pampean wind. 20-27 23 . 16-19 The “death toll motive” returns again in m.” mm. Figure 15 Ernesto Lecuona.” The dramatic nature of the piece becomes more evident in these mm. 20-26 the poetry becomes even more desperate: “Because I am so sad. 24 . 28-35 Even though the music suggests a tone of happiness.The Pampean wind refers to the pampas region of South America. when the music leaves the ominous key (see figure 15).” mm. the wind is carrying her through the “blue sky” and the “bird motive” returns seven more times throughout the section. A new motive appears in m. the music at m. my dark braid. I will not smile. 27 modulates to F Major and the wind has a change of heart. The accompaniment then pivots to a more light-hearted tone and moves to higher pitches marked by staccato chords and the gradual rise from piano to forte. To make myself lighter. the “bird motive. 29. This low lying area experiences bursts of cold polar air from the west in the south of Brazil. my tears I‟ve shed.” written with short groupings of 32nd notes (see figure 16). for just as the actual pampero storm shows the end of suffering heat. more than I am. I shall cut. Figure 17 Ernesto Lecuona. to make myself lighter. when you finally carry me far from here. oh. if need be. Figure 16 “Bird Motive” The contour of the vocal line reflects the dynamic markings increasing to forte as it ascends and returning to piano as the line descends (see figure 17) Finally. Lecuona shows the nature of a storm in the accompaniment. Argentina and Uruguay. The pampero storms usually mark the end of long periods of high humidity and extreme heat. as the woman tells the wind all she will do in order for it to carry her: Lighter I‟d make myself. the poetry differs. To make myself lighter. “Canción del amor triste. 68-70 and joins the melody established earlier by the octaves (see figure 19).” It then becomes apparent that the woman is struggling with wanting freedom and not being able to leave the man that she loves. “Canción del amor triste. This is finally revealed in the poetry as she speaks again to the wind beginning in m. we still do not know who or what the cause of her sadness and desperation is. Figure 18 Ernesto Lecuona. is that I should stop loving that man. 68-75 25 . while the accompaniment in the treble clef changes to dramatic octaves and dense chords. The accompaniment in the bass clef maintains the same pattern and light-hearted feeling seen earlier in the section with the staccato chords.” mm.” mm. that cannot be. 60-67 (see figure 18). 60-67 The voice interrupts the interlude in mm. 52: “The only thing. Figure 19 Ermesto Lecuona. wind.After two full pages of music. “Canción del amor triste. Lecuona beautifully shows the duality of these emotions in the musical interlude from mm. this time with accent marks and triple forte in the accompaniment as though she is screaming. 78 Figure 21 Ernesto Lecuona. 87-90 (see figure 22).” m. can you carry me?” This is the last line of the poetry and the answer comes with the dramatic ending in the accompaniment in mm.The text seen in m. wind. “…is that I should stop loving that man. it is clear that she will never find a way to escape. “The only thing. 79 (see figure 21). I will take it with me wherever I go. “Although my love is heavy. 26 . 78 (see figure 20). 52 is repeated.” m.” With the two tenuto markings on beat two and three of m. “Canción del amor triste. that cannot be…” and then the music suddenly changes in m. the song modulates back to F Minor and the “death toll” returns for the last time on m. 72 (see figure 19) when the dense chords disappear and the dynamics diminish as she finishes her thought. “Canción del amor triste. 79 The woman declares. Figure 20 Ernesto Lecuona. “Canción del amor triste. 87-90 The final chords are very much like many of Puccini‟s tragedies. full of emotion.” mm. 27 . for if this song was performed without the other four. extremely “dense cords and the final low F pedal tone. it could very well be categorized as an operatic aria. A woman is said to be a complex creature.Figure 22 Ernesto Lecuona. Lecuona beautifully shows the struggle and depths of passion within this art song. verismo era. with powerful triple forte. Clearly he was exposed to and understood the style of the post-Romantic. which began the piece (see figure 22). ” mm. Lecuona continues with his description of a woman. while the man is simple and practical. Figure 23 “Man Motive.” This pattern continues as the woman begins to speak in m.” In this song. The large leaps of these intervals are possibly showing the “large steps” a man would take as he walks and the staccato chords could also indicate the smaller and more feminine steps of a woman.” In contrast to the staccato chords. Here the woman is again more complicated and emotional.4. and dynamic contrasts throughout the first page (see figure 24). only changing to suit the harmonic progressions. 28 . just as he did in the first song. the “man motive” appears in the bass line (see figure 23). these chords possibly represent the woman‟s thoughts on “what it would be like to be a man. (see figure 23). the vocal line shows the woman‟s thought process with the use of poco ritardando in mm. The use of staccato chords. both written in their appropriate registers. alone I would wander through quiet fields and the edge of the sea!” As the waltz continues in the accompaniment. of shadows and silence I‟d fill myself with! Night after night. the man motive remains consistent. In the first song this characteristic writing was used to depict the main character of the poetry. Although the vocal line changes with the thought process of the woman. as they relate to the poetry. “If I were a man what wealth of moonlight. 1-3 The major key and light-hearted writing within the 6/8 meter are a contrast to the first songs ominous minor key and dramatic writing. 8 and 14. as she “flew through the sky with the wind.Quiero ser hombre Use of motives and duality of themes are maintained in this second song of the cycle. as seen within the first three mm. furthering the idea that this song is indeed a waltz as the couple “dances together. differs between these first two song‟s. ” mm. “Quiero ser hombre. unlike the first song.22 (see figure 25). “Quiero ser hombre. “If I were a man.” mm. therefore the melody is somewhat contained. grace notes and dramatic nuance markings are written within mm.” the melody starts to change ever so slightly as tenutos. as the poetry reads. The range of the melody stays within the staff or just slight above to G5. the strangeness. In m. Figure 25 Ernesto Lecuona. a fervent vagabond I‟d have to be.16. Clearly a woman‟s interpretation of how to act like a man is starting to appear within the vocal line and suddenly also within the accompaniment in m. which is appropriate for the poetry as.Figure 24 Ernesto Lecuona. the madness. 16-22 29 . 17-21. 8-14 The poetry is expressed within the vocal line as the notes follow the woman‟s pattern of thought. The starting pitches of each new thought begin on G4 and usually return to same pitch or to the tonic. this poetry does not have extreme range of emotion. as the poetry speaks about how as a man.The man motive and the staccato chords are replaced by broken chords in the bass and step wise movement in the treble clef. Lecuona favored a dramatic style. that preceded this musical interlude it is clear that this section of the music is where the woman is experiencing the “paths and long roads” from where you “never 30 . 28-38 From the poetry in the mm. As seen in the first song of the cycle. and in mm. Figure 26 Ernesto Lecuona.” mm. and never return!” The dynamics in this section increase to fortissimo with allargando and rallentando markings. “Quiero ser hombre. 2838. the simplistic accompaniment disappears as we are catapulted once again into dense chords and expansive intervals within the piano writing (see figure 26). the woman would be “a friend of all the paths and long roads which invite you to go far. yet she “daydreams” within the interlude. as a woman. The vocal line ends with the final held E-flat of mm. The same rhythmic pattern seen within the accompaniment from the first 20 mm. 39 as the poetry repeats the text that preceded the musical interlude (see figure 27). rallentando and fermata markings to the end of the song.” m. “Quiero ser hombre. the deep emotions of a woman. 59-62. she must remain true to the unique qualities of a woman. 52 the melody changes shape and the woman‟s final thoughts are written as a succession of two m. with the same writing style. groupings. Once again Lecuona shows these varied assets within the accompaniment and vocal line as the writing style indicates how a woman can be dramatic and spontaneous. “Quiero ser hombre. 59-62 31 . Figure 27 Ernesto Lecuona. returns again in m. 39 In m. This writing style helps to further the importance of the last sentence: “When thus I am drawn by desires to wander.return. Figure 28 Ernesto Lecuona. sustained above the “man motive” in the bass.” This statement is supported since Lecuona had already established in the first song. the tempo dictated by several ritardando.” mm. The song is full of humor as the woman tries to “act” and “think” as a man. what a deep regret to be a woman I feel!” As much as a woman will try to “think” like a man. finally an agreement is reached and both come to rest on the tonic (see figure 28). and continues throughout the song. This motive is a grouping of six notes. indicate that the voice of the narrator is indeed that of a child. the limited range was most likely used to show the developmental limitation of a child‟s voice. 37 Jade Pai Shih-Yu. (see figure 29). Figure 29 “Child Motive” The harmonic complexity and chromaticism of the motive increases throughout the song as the narrator. a child. Discovering Musical Characteristics of Children’s Songs from Various Parts of the World (B.. speaks about Natacha. along with the text of the poetry. comprising beats 1 and 2 of each m. The vocal line is simple. Queen‟s University. 3-5 Given that the text is taken from children‟s poetry.Señor jardinero The song begins with the “child motive” in the treble clef. 2005).. until the final m. Figure 30 Ernesto Lecuona.Sc. “Señor jardinero. making use of repeated tones and staying within the interval of a seventh (see figure 30) .” mm. ii 32 . 37 All of these elements together. Gardener” (Señor jardinero) in m. The chromaticism begins in m. This song is relatively short and is most simplistic as compared to the other four songs in the cycle. The vocal line remains simple in contrast to the complicated motive running below the text.” mm. Or. 8-17 The notes move into the higher register of the piano. yet Lecuona still makes great use of motives and duality of themes. The “child motive” functions to express the internal excitement within the child‟s body as he/she speaks to the Gardener about the roses that are needed for Natacha. “Señor jardinero. depicting the heightened excitement of the child.15 and becomes more complex as the motive continues into m. Natacha could be a young girl and the narrator is a young boy enamored with her beauty. so that Natacha will wake the next morning with a red rose to match the color of her cheeks and a white rose to match the color of her pillow. In this instance the child would be a young girl.3 for a white and red rose.The child asks “Mr. 17 (see figure 31). 33 . the reference of the name could be referring to the traditional Russian dolls that are always painted with white skin and rosy cheeks. Figure 31 Ernesto Lecuona. appears in m. 33 and the song ends just as quickly as it began.21 on the text “ah” (see figure 32). love and innocence of a child within the delicate texture of the accompaniment and simplicity of the vocal line. This song is the only one of the cycle in which Lecuona did not maintain any of the same dramatic character seen in each of the other four songs. the “sigh motive”. 34 . Figure 32 “Sigh Motive” It is charming that the poetess includes the actual sigh of the child in the poetry and that Lecuona gives it a special place in the music. 35. This song shows the energy. with the delicate manner of the piano and use of staccato intervals in m.A second motive. This motive returns again in m. This is clear within the text as the story of Madame Moon is described with fantastical elements. 2/4 time signature. with its brief one m. “La señora luna. (see figure 33) the piano writing looks very much like m. so this may have been a poem she wrote for him. which recounts the story a young child might have been told before he/she went to sleep. 78-82 The text of this poem is a lullaby. 22-23 Copyright © 1954 by Edward B. 35 . introduction. Ibarbourou had only one child.La señora luna This fourth song in the cycle is an example of a Cuban bolero. slow tempo and rich melodies within the accompaniment. “Vals maravilloso. a boy. In mm 22-23. Marks Music Company Copyright Renewed This arrangement copyright © 2002 by Edward B Marks Music Company All Right Reserved International Copyright Secured Used by Permission Figure 34 Ernesto Lecuona.” mm.” mm. Figure 33 Ernesto Lecuona. Lecuona also incorporates some of the compositional traits of his piano pieces within this song.81 of his Vals maravilloso (see figure 34). Madame Moon wishes to wed a little page boy from the royal house. 9 Heightened excitement about the upcoming wedding is expressed with quick staccato chords that descend chromatically in mm. Lecuona shows the tenderness of a mother speaking to her child with the staccato and soft dynamic marking of the opening chords.” m. 13 and 14 (see figure 36) with the “wedding motive” on the word casar (to marry). perhaps showing “wispiness” of the veil (see figure 35). “La señora luna. Lecuona further expresses the text in m.9 on the word blanco (white) with a musical gesture. Figure 35 Ernesto Lecuona.Madame Moon asked the orange tree for a green dress and a white veil. Figure 36 “Wedding Motive” 36 . which also serve to create a “dreamy atmosphere” sequence. . 18-25 37 . The accompaniment that runs underneath the spoken dialogue in mm.” mm.” This spoken text may be the voice of the mother that the child recalls within his/her dream. At the bottom of the first page. when the accompaniment moves into the upper range. beginning in m. Natacha. 18-25 quickly moves with the accelerando marking into the higher and lower range of the piano (see figure 37). the poetry is written above the staff as recitation: “Sleep.As seen in the previous pieces and in these mm. Figure 37 Ernesto Lecuona. and you‟ll go to the wedding with your hair in a bun and in a dress with a train. 18. Lecuona is very careful never to interrupt the vocal line or text—masterful writing for the voice. “La señora luna. This writing helps to further express the fantasy nature of the poetry and paints a picture of the “wedding.” mm. 33-34. perhaps Madame Moon dressed in her wedding gown.” The song ends with a beautiful musical gesture in mm. 33-34 38 . a descending and ascending arpeggio. Figure 38 Ernesto Lecuona. or the young child dreaming of the future (see figure 38). “La señora luna. and at that moment she turned pale and everything stopped” when she saw him. like the first song of the cycle.Balada de amor The poem used for this last song is a celebration of love and. 3 Figure 40 Ernesto Lecuona. the poem is written in the first person and is the voice of a woman. which is the relative major key of the first song of the cycle. It is written in 6/8 time and begins with a simple broken chord accompaniment. written in F minor. and he doesn‟t even know it!” This song is in the key of A-flat major. “Balada de amor.” In the last stanza of the poem.” m. I‟d give him my life. The melody of the vocal line is doubled within the treble clef of piano and accented with grace notes in mm. She had been “singing a song. the woman says: “I became so saddened that I cried until dawn. 3 and 7 (see figure 39 and 40) on the words esperaba (to wait for) and ese momento (that moment). She speaks about having just seen the man she had always longed for. very dance-like. A voice inside her told her “Lift your eyes! The one whom you await is passing by!” The woman follows the man “like a sleepwalker” trembling and watches him enter his house “without knowing that behind him he dragged a soul. 7 39 .” m. Figure 39 Ernesto Lecuona. but could never picture his face. “Balada de amor. “Balada de amor. This is where the woman first sees the man and Lecuona expresses this in the piano with a fortissimo dynamic and sixteenth notes showing how fast her heart is racing.” This quiet thought of the woman is expressed with fortissimo and accent markings with dramatic chords that move quickly into running sixteenth notes.The dance is interrupted in m. 40 . As she follows the man in silence. Lecuona expresses in the music the overwhelming excitement that she cannot express out loud. “I followed him like a sleepwalker with my hands trembling and my face pale. interrupted by ritardando markings. Figure 41 Ernesto Lecuona. 16-20 (see figure 42) as the woman says. 10 (see figure 41) with a musical gesture on the word pálida (pale).10 The aspect of duality is seen in mm.” m. 16-20 Just as quickly as the man had passed by her early in the poetry. Figure 43 Ernesto Lecuona. “Balada de amor.Figure 42 Ernesto Lecuona. now with a più mosso marking and a two m. 23-25 (see figure 43).” mm. 23-25 41 .” The music for this section. “Balada de amor. he disappears “without seeing the woman and enters his house.” mm. crescendo in mm. is written to further express this text with the continuation of the running sixteenth notes. Suddenly in m. 26 her increased joy and excitement is expressed again within the music, just as in m. 16, now beginning with the word alma (soul); the dramatic writing returns, full of accents and an increased dynamic to fortissimo (see figure 44). Figure 44 Ernesto Lecuona, “Balada de amor,” m. 26 The “tear motive” appears in m. 28 (see figure 45) with a quick thirty-second note descending pattern that ends with a fermata. Figure 45 “Tear Motive” These are not tears of sadness; for in mm. 32-40 (see figure 46), in a Chopinesque style, Lecuona takes us through a musical journey, as the woman “visualizes her life with this man.” 42 Figure 46 Ernesto Lecuona, “Balada de amor,” mm. 32-40 In m. 45 the vocal line moves into the higher range and the text from the beginning of the poem is repeated, “Lift your eyes! The one whom you await is passing by!” Lecuona echoes her joy in the final mm. reaffirming the key of the piece with the fortissimo marking, the running sixteenth note pattern and the final A-flat chord (see figure 47). Figure 47 Ernesto Lecuona, “Balada de amor,” mm. 50-53 43 CONCLUSION Ernesto Lecuona (1895-1963) will always be regarded as one of the most important Cuban musicians, having written more than 600 compositions. He was well respected by his peers and admired by audiences throughout Latin and South America, Europe and the United States during his time. His popularity continues today on the concert stage, in recent recordings and within music education; both his Malagueña and La comparsa are standard repertoire for classical pianists and have been arranged for marching bands. His success with Afro-Cuban songs influenced composers within his generation and those to follow. He was revered by many of his contemporaries for his abilities as a pianist and composer. His popularity was so great, that he was given the title of “The Cuban Gershwin.” His Five Arts Songs on Verses by Juana de Ibarbourou (Cinco canciones con versos de Juana Ibarbourou) incorporate specific historical influences on the Cuban canción, such as the influence of Italian opera and dance rhythms. The songs are composed in the Lied tradition of the great German composers, with their use of motives, expressive melodies, complex harmonies and successful setting of Juana de Ibarborou‟s poetry with the music. However, with the added elements such as the use of the Cuban bolero and criollo rhythms along with the rich texture and dramatic piano accompaniments, these songs are distinctly Cuban canciones. 44 APPENDIX A 45 . Mi trenza sombría Ay. because I am so sad I would like to flee. qué loco. that cannot be. the strangeness. 1922) 46 . a fervent vagabond I‟d have to be! A friend of all the paths and long roads which invite you to go far. lighter I‟d make myself. ansias andariegas. oh. ¡qué extraño. Carry me. muy lejos de aquí Haréme liviana. my dark braid. Llévame oh. sólo ambularía Por los campos quietos y por frente al mar! If I was a man. ¡Qué pena tan honda me da ser mujer! When thus I am drawn by desires to wander what a deep regret to be a woman I feel! (from Raíz salvaje. to make myself lighter. Pare pesar menos. I will not smile. I shall cut. noche a noche. que no puede ser Es que yo a aquel hombre dejé de querer. tenaz vagabundo que había de ser! ¡Amigo de todos los largos caminos Que invitan a ir lejos para no volver! If I was a man. me podrás llevar? To make myself lighter. more than I am. oh far from here. when you finally carry me far from here. Although my love is heavy. 1953) Quiero ser hombre To be a man Si yo fuera hombre. me cortaré. the madness. what a wealth of moonlight. is that I should stop loving that man. contigo iría por el cielo azul Porque estoy tan triste que deseara huir. of shadows and silence I‟d fill myself with! Night after night. Pampean wind. mas de lo que soy. oh. no he de sonreir Cuando al fin me lleves muy lejos de aquí Lo único. the only thing. Obras Completas. De sombra y silencio me había de dar! ¡Cómo. Aunque pese mucho. To make myself lighter. my tears I‟ve shed. viento. Won‟t you carry me? If I had your wings. Para pesar menos.Canción del amor triste Song of Sad Love Viento que te vas a donde no puedo yo ir No me llevaras? Si tuviera alas como tú Ay. wind. Wind that blows where I cannot go. I‟d fly through the blue sky with you. can you carry me? Poet: Juana de Ibarbourou (from Dualismo. ¡que hartazgo de luna. and never return! Cuando así me acosan. es amor irá Adonde yo vaya. if need be. I will take it with me wherever I go. pampero. alone I would wander through quiet fields and the edge of the sea! Si yo fuera hombre. he llorado hoy Para pesar menos si preciso es. Ah! So she may rise the next day with two white roses and two crimson. Natacha. e irás a la boda peinada de moño y en traje de cola. Mr. Madame moon wishes to wed a little page boy from the royal house. oh! (from Dualismo. and you‟ll go to the wedding with your hair in a bun and in a dress with a train. Lo pondré en la almohada donde mi Natacha hunde su mejilla rosadita y blanca.Señor jardinero Mr. please give me a pale rosebud and another one crimson. 1953) La señora luna Madame Moon La señora Luna le pidió al naranjo un vestido verde y un velillo blanco Madame moon asked the orange tree for a green dress and a white veil La señora Luna se quiere casar con un pajecito de la casa real.” La señora Luna se quiere casar con un pajecito de la casa real. Gardener Señor jardinero. Recitado: “Duérmete. white and pink. déme usted a mí un capullo pálido y otro carmesí.” Spoken: “Sleep. Natacha. Gardener. Madame moon wishes to wed a little page boy from the royal house. 1953) 47 . oh! Y al día siguiente tendrá usted así dos rositas blancas y dos carmesí. (from Dualismo. ah! So I might place them on the pillow where my Natacha sinks her cheek. La trova que en ese Momento cantaba. Yet he. 1953) 48 . passed by me today and stole my heart. The tune that I was singing at that moment broke on my lips and I turned pale. ¡Le daría mi vida Y él no sabe nada! I became so saddened that I cried until dawn. Pasó hoy a mi lado Y llevóse mi alma. Obras Completas. Se adentró a su casa Sin saber que a rastros Se llevaba un alma. Se quebró en mis labios Y tornéme pálida. Me volví tan triste Que lloré hasta el alba. I‟d give him my life. entered his house without knowing that behind him he dragged a soul.Balada de amor Song of Love Aquel que esperaba Sin saber su cara. I followed him like a sleepwalker with my hands trembling and my face pale. Mas él. without seeing me. Alguien me lo dijo Sin voz ni palabra: ¡Levanta los ojos Que pasa el que aguardas! Someone told me without a voice or word “Lift your eyes! The one whom you await is passing by!” Me puse a seguirlo Como una sonámbula Con las manos trémulas Y la cara pálida. and he doesn‟t even know it! (from Dualismo. without knowing his face. He who I longed for. sin mirarme. APPENDIX B 49 . ˈpa ra ˈpɛ sar ˈmɛ nos ɛ ʎo ˈra ðo oi Para pesar menos. mas de lo que soy.CANCIÓN DEL AMOR TRISTE ˈbjɛn to kɛ tɛ bas a ˈdon ðɛ no ˈpwɛ ðo yo ir Viento que te vas a donde no puedo yo ir no mɛ ʎɛ βaˈras No me llevará Ai. A si S tu ˈbjɛ ˈralas ˈko mo ˈtu kon ˈti goi ˈri a por ɛl ˈsjɛ loa ˈsul Por kɛ ˈstoi P tan ˈtris tɛ kɛ ˈʎe βa mɛo L pam ˈpɛr o mui dɛ ˈsɛa ra ˈuir . que no puede ser ɛs E kɛ joa ˈkɛl ˈom brɛ dɛ ˈxe dɛ kɛ ˈrɛr ˈaun kɛ ˈpɛ sɛ ˈmu ʧo A . mi ˈtrɛn sa som ˈbri a ai mɛ kor ta ˈre Mi trenza sombría Ay. viento. ˈlɛ xos dɛa ˈki a ˈre mɛ li ˈvja na mas dɛ lo kɛ soi Haréme liviana. he l ˈpa ra ˈpɛ sar ˈmɛ nos si prɛ ˈsi so ɛs Para pesar menos si preciso es. me cortaré! ˈpa ra ˈpɛ sar ˈmɛ nos noɛ P ˈkwan ðɔal C dɛ son rɛ ˈir fin mɛ ˈʎɛ βɛs mui ˈlɛ xos dɛa ˈki Lo ˈu ni ko ˈvjɛn to kɛ no ˈpwɛ ðɛ ser Lo único. me podrás llevar? 50 . esa ˈmor i ˈra a ˈðon ðe jo ˈbai ja mɛ po ˈðras ʎɛ ˈβar Adonde yo vaya. ansias andariegas. te ˈnas ba ɣa ˈβun ðo Tenaz kɛa ˈβi a dɛ sɛr ! a ˈmi go dɛ ˈto ðos los ˈlar ɣos ka ˈmi nos ¡Amigo de todos los largos caminos Kɛin ˈvi tan Q air ˈlɛ xos pa ˈra no bol ˈβɛr ! Kwan dɔa ˈsi mɛa ˈko san ˈan sjas an dar ˈjɛ gas C .QUIERO SER HOMBRE si jo S dɛ ˈfwɛ ra ˈom βrɛ ˈsom brai kɛar ˈtas go si ˈlɛn sio dɛ ˈlu na . qué loco. mɛa ˈβi a dɛ dar ! ˈco mo C ˈno ʧɛa ˈno ʧɛ ˈso loam βu la ˈria por los ˈcam pos ˈkjɛ tos i por ˈfrɛn tɛal mar P ! si jo ˈfwɛ ra ˈom βre S ˈkeks ˈtra ɲo ˈke ˈlo ko . ˈke ˈpɛ na tan ˈon ða mɛ da sɛr mu ˈxɛr ¡Qué pena tan honda me da ser mujer! 51 . ah! ial ˈdi a si ˈɣjɛn tɛ tɛn ˈðrau ˈstɛd a ˈsi dos ȓo ˈsi tas ˈblaƞ kas i dos kar mɛ ˈsi a dos rositas blancas y dos carmesí. déme usted a mí un ka ˈpu ʎo ˈpa li ðo i ˈo tro kar mɛ ˈsi un capullo pálido y otro carmesí. ˈdwɛr mɛ tɛ “ na ˈta ʧa N ɛ i ˈras a la ˈbo ða Pei ˈna ða dɛ ˈmo ɲo i ɛn ˈtra xe dɛ ˈko la peinada de moño y en . Ah! LA SEÑORA LUNA la L sɛˈɲo ra ˈlu na lɛ pi ˈðjoal na ˈraƞ xo L un bɛ ˈsti ðo ˈbɛr ðɛ iun bɛ ˈli ʎo ˈblaƞ ko la sɛˈɲo ra ˈlu na sɛ ˈkjɛ rɛ ka ˈsar La señora Luna se quiere casar con un pa xɛ ˈsi to dɛ la ˈka sa ȓɛ ˈal con un pajecito de la casa real.” la sɛˈɲo ra ˈlu na sɛ ˈkjɛ rɛ ka ˈsar La señora Luna se quiere casar con un pa xɛ ˈsi to dɛ la ˈka sa ȓɛ ˈal con un pajecito de la casa real.SEÑOR JARDINERO Sɛ ˈɲor xar di ˈnɛ ro ˈde mɛu ˈstɛd a mi Señor jardinero. los pon ˈðren lal ˈmwa ða L en la almohada ˈdon ðɛ mi na ˈta ʧa ˈun ðɛ su mɛ ˈxi ʎa donde mi Natacha hunde su mejilla ˈȓo sa ði tai ˈblaƞ ka a . 52 . kɛ ˈβroɛn ˈɛsɛ mo ˈmɛn to kan ˈta βa . mas ˈel sin mi ˈrar mɛ M sin sa ˈβɛr S kɛa sɛa ðɛn ˈtroa su ˈka sa ˈȓas tros sɛ ʎɛ ˈβa βun ˈal ma . ˈal ɣjɛn mɛ lo ˈdi xo sin bos ni pa ˈla βra Alguien me lo dijo sin voz ni palabra: lɛ ˈβan ta los ˈo xos kɛ L ˈpa sɛl kɛa ˈɣwar das mɛ ˈpu sɛa se ˈɣwir lo M ko ˈmu na ! so ˈnam βu la kon las ˈma nos ˈtre mu las i la ˈka ra ˈpa li ða Con las manos trémulas y la cara pálida. pɛˈra βa sin sa ˈβɛr su ˈka ra . mɛ bol ˈβi tan ˈtri stɛ kɛ M ʎo ˈrɛa sta lɛ da ˈria mi ˈbi ða L no ˈsa βɛ ˈna da ! a ˈkɛl A pa ˈsoi P ˈiel ɛl ˈal βa . la ˈtro βa kɛn L sɛ S sin sa ˈβɛr su ˈka ra . kɛs ˈal ɣjɛn mɛ lo ˈdi xo sin bos ni pa ˈla βra Alguien me lo dijo sin voz ni palabra: lɛ ˈβan ta los ˈo xos kɛ L ˈpa sɛl kɛa ˈɣwar das ! 53 . a mi ˈla ðoi ʎɛ ˈβo se mi ˈal ma .BALADA DE AMOR a ˈkɛl A kɛs pa ˈsoi P pɛˈra βa a mi ˈla ðoi ʎɛ ˈβo se mi ˈal ma y llevose mi alma. mis ˈla βjos i tor ˈnɛ mɛ ˈpa li ða torneme pálida. APPENDIX C 54 . 55 . 56 57 58 59 . 60 . 61 . 62 . 63 . 64 . 65 . 66 . 67 . 68 . 69 . 70 . APPENDIX D 71 . were famous. and artists would visit the farm. degree in Business Administration and M. The farm was half an hour away from Havana. The Interview Fernando Lecuona (FL): I used to go to Ernesto‟s farm. ambassadors. El lucero y yo was a major success in Cuba and a favorite today. professional golfer and scholar. As for Americans. Iturbi—ever hear of composer Jose Iturbi? Gershwin… CV: He went to Ernesto‟s house? FL: Yes.FERNANDO LECUONA INTERVIEW The following is an English transcription of the interview held with Fernando Lecuona in his Florida home on June 24th. Jeanette McDonald. Lecuona is also a pianist and has recorded more than 150 of his own songs to date and seven albums. Everyone would go to my house. CV: Maurice Ravel. presidents. but they are listed there in the book. 2011 and provides insight into the life of Ernesto Lecuona. Fernando Lecuona. Because I needed to take him home. musician. because I lived in Havana to see where Ernesto was… to see where he lived. Kings. Mr. Cuba 1926) is a professor. His 1950 composition. in International Affairs from Florida State University. My sister and I would go every Saturday to Ernesto‟s farm. Composers—I don‟t remember all their names.S. He is the nephew of the great Cuban composer Ernesto Lecuona. Carlos Gardel. Havana.A. princes. (inaudible). It wasn‟t a working farm. Many artists would go from Cuba and from abroad. but more for recreation. 72 . Olympic gymnast. Mojica. (b. In those days. Nelson Eddy… Christina Villaverde (CV): But all those would visit the farm? FL: Yes. He holds a B. Ravel. he had to dress up and he was upset of having to always wear coat and tie. poker—everything—while Ernesto stayed inside the house. Parcheesi. He would call me either “Kinka” or “Feyayi. “Kinka. when he came from South America with a group of Artists. I would have them wait so I could warn Ernesto that there was company so he could dress up. choral members. Ernesto would give work to all his choral members. showgirls. yes. Bola de Nieve‟s mother was the cook at the farm. He would then tell them to come in. FL: They are these large. He did not play the piano. Outside the house. Bola de Nieve was there. Some would dust the Chinese parts. dancers.FL: Of “Bolero. others the South-American parts.” And the first time I saw him was when I was three years. That was eighty-two years ago. nobody had work. but otherwise. because since he was always out in public. there was a bad pianist named “Kinka. 73 . canasta. CV: Who? Ernesto. or to see if there was work available. And since I would only play with one finger. Everyone played there. open huts without walls. It was a large underwear. He was the only one who would call me “Feyayo. even though there was a piano. get off the piano. It would make me laugh. so Ernesto would offer them the opportunity to work at the farm. When it was not the era of the zarzuelas or operettas. because he was tired of playing the piano. so generally whenever I would take someone to visit him. Every day she would cook.” or Fernando. And the most humble folks would also visit the House to look for money. They were about a block away from the house. because he didn‟t like to be in pants. he would always be in his underwear.” CV: That‟s the nickname he gave you? FL Yes. CV: Outside? FL: Yes.” the composer.” Or “Feyayito. That‟s where people would play baccarat. because Ernesto had collections from all over.” Know what is a “cobija?” CV: No. There were these two large “cobijas. He‟d send them out so he could be alone. but not in the house.” so Ernesto would tell me. During the week he would only be in his underwear. Marks Music Corporation. whatever. Then they would go talk about everything they saw. music publisher. everything was paid for by Ernesto. CV: You were there working with him? FL: Yes. CV: Yes. Also. E. and he didn‟t speak English. whether in Argentina. it was Ernesto‟s expenses. “this is part B. but I don‟t recall right now. 74 . everything over the telephone.” So Ernesto would dictate it to me. C-major. because two years ago they operated on my brain. his publicist. One was a block from 5th Avenue in New York in 10 E 60th Street. Paris. and I forget a few things. this is part F. I was there working with him for two years. And when we lived in Jackson Heights. CV: In what year? FL: That was in ‟43. he bought a house in Jackson Heights and got me a job with Edward B Marks. The food. Whether they made money or not. His money. he would invest it in artists so he could travel. the nightclub was downstairs. that‟s what he did. Then. there was another place in New York. and I would dictate it to them: “b-flat. Meanwhile he would stay playing canasta in his underwear.Because. so at night I‟d go down to the club to see all the stars sing and dance.” he said. Buenos Aires.” CV: So you were telling them the music on the phone. and it was Warner Brothers who wanted to talk about the song “Siempre en mi Corazon. the lodging. I lived with him three times in different places. FL: Yes. When we lived above the Copacabana in 10 East 60th Street. Fernandito. and I got on the telephone. they called him from Hollywood. like that?” FL: Yes. so “see what they want. But today. Had it been up to Ernesto. My mother went with my aunt Ernestina. and Blanco. but since Sperry didn‟t know my mother or father—though he knew me—that‟s why. Do you know Infanta and Carlos III? CV: No. For example. Ernestina was the caretaker of the house. “How could they have given money to this person?” It was through Sperry. FL: It was in the upper floors. some of whom had never even been to his house. I haven‟t been. Ernesto‟s older sister. my mother didn‟t get anything. CV: This was the second son of Ernestina? 75 . but he died. and it was because of Sperry. who was the executor of Ernesto‟s will. so they wouldn‟t get angry. has been a genius on the guitar. even though she was always with him. He inherited it from his father Juanito who was a great guitarist. Lisita. CV: Ernestina was Ernesto‟s sister? FL: Yes. But he had many people around him who would explain. and for over forty years now. The best guitar player in the world—Juanito Brouwer—better than the Spaniards. CV: Of the house in Havana? FL: Yes. on Infanta Street. John Sperry. he split his estate among twenty-four people. CV: She was the one who took care of the whole house? FL: She was like the matron. she probably would have received a lot.CV: So you said that Ernesto didn‟t speak a word of English? FL: No. who has died. Ernestina was married with four children: Juanito. Juanito‟s son. Julieta. especially his lawyer. And when [Ernesto] died. well. Then it was Hubert DeBlanck. Know what that is? And very nimble. whose name I don‟t recall but it‟s in the book. Ernesto was born in 1895.FL: Yes.” CV: She was the first music teacher… FL: Ernestina was the one who first influenced Ernesto. She lived off her husband who was a journalist—Arturo Ramirez. He was born. All that I think my brother includes in the book there. Julieta was the sister of Juanito. fourteen keys? FL: I reach ten keys. and Rachmaninoff and Ernesto were together number two in the world. and was very nimble. He was talented from birth. and later became President of Poland. they came from the Canary Islands in 1834. He didn‟t need to practice. Look how he plays. yes. tied. CV: But of those. but she didn‟t work. the second one.. I believe. and Rachmaninoff and Paderewski. CV: In Guanabacoa. 76 . CV: So was this his parents? FL: His great-grandparents. did he know any of them personally? FL: Gershwin. from end to end. We‟ll never play like that. The first was Paderewski. Iturbi told another pianist. I was going to say something… Ernestina was the one who composed “Sierra sierra los ojos.. And one time in the Salle Pleyel of Paris where Chopin and Liszt played together.” “Y ahora que eres mia. and the second were Rachmaninoff and Ernesto. Rachmaninoff. “we can‟t play like that. who was number one in the world. He started playing at five years of age. CV: But his hand was that large.But he reached four more than I. and Gershwin. and he died at sixtythree.” That‟s because Ernesto could reach fourteen keys in one hand. and later it was Liszt and Tchaikovsky. from Prio Socarras. Esther Borja sang a song against Batista and in favor of Castro. because under Castro it was all “Viva Castro. CV: Savior? Because Castro was “the savior?” FL: Yes. was that Batista was surrounded by tanks and people with machine guns. they moved to Havana. But what happened. ambassadors. So they all left to Guanabacoa. CV: He left because he didn‟t have the liberty to come and go from the house? FL: Yes. famous artists from all over the world.FL: In Guanabacoa. and those who left had to stop and say where they were going. CV: And the friends who couldn‟t come visit. and Ernesto didn‟t like that. Not for politics. He would have to ask Castro to organize artistic events. princes. because Ernesto hated politics. and those who came in would have to stop and say where they were going. and they were told Guanabacoa. He didn‟t like that Esther Borja would celebrate Castro‟s arrival in a show that Ernesto put together. Like I said before. FL: From both. And I read something about Ernesto being political somewhere. and later Castro. He didn‟t allow anyone to speak politics. Viva Castro. And Batista built his house on the same road about half a mile away. 77 . presidents. welcome the savior!” or something like that. That‟s one of the reasons he left. He was totally apolitical. Because when they arrived to Matanzas. but Ernesto was not political. from Batista. would visit Havana to visit him. and he was told no. CV: Close to Lecuona. to Ernesto? FL: Close to Ernesto Lecuona. CV: What song was it? Was it a song about Castro or was it a song for Castro? FL: For instance. they asked where the Cuban culture was.” but they forgot about the arts and culture. “Down with the dictatorship. and Ernesto didn‟t like that. Later. I have a picture of Ernesto there. Ernesto lived there in front of us. And also… I forget some things… When he lived in Ybor City… When I mentioned Siboney. CV: You were born during a hurricane? 78 . first he went to Tampa. In Tampa he went to a nightclub that was a cabaret. CV: That‟s in Ybor City. My mother stuck me in a drawer. CV: So that was Ernesto‟s nightclub? FL: It belonged to the violinist who married a rich lady. a casino. and I had two girls of 5 and 7 years of age. no? FL: Ybor City. I was born in 1926 during a hurricane in 1926. so she named it Gonzmart. yes. I was telling your husband that we lived in a part of Tallahassee (Florida) that was reserved only for married couples with children. CV: Of the same name? FL: Was named Gonzalez-Martinez. and he built the nightclub so he could play the violin. and it took up an entire block that was owned by a lady who was married to a violinist named Ernesto.CV: So what happened after that with Ernesto? FL: A short time later he left Havana and came to the United States. But we were married at that moment. and then he went to Tallahassee. CV: So that was the first city he lived in after he left Havana? FL: No. He came to live across the street from us. So the first dining room of the nightclub was named Siboney. because there were other areas that were for singles. He didn‟t care how many came. FL: Yes. orchestra. which is where he would go almost every day when he worked about three blocks from me at the Teatro La Comedia or the Teatro Marti or when he worked 12 blocks away at the Teatro Nacional. FL: Extremely generous! He was a very private person. He didn‟t like to speak much. because with him. but not just zarzuela.” “give him 2 pesos. eat or sleep. So he would come and go to have lunch. Ernesto started with classical. the vaudevilles. but the main influence was the theatre. and he would just sit and rock in the chair. “what did he say?” But words would not generally come out of his mouth on his own accord. nor…. his favorite was the theatre. then he started inserting to the African songs some classical.” “La Danza de los Ñáñigos. the theatrical comedies. such as “Lucumi…” “La Danza Lucumí. Everyone would always talk. CV: So ballet.” “Pepito give him 20 pesos. and the operettas and works such as “Rosa la China. 79 .” “La Comparsa.” “give the kids…” CV: So he was very generous. but rather instruct his secretary to give it: “Pepito. and a Spanish part. though he wouldn‟t give it. give him 10 pesos. And the other part that he wrote is Spain—Andalucia. in those days there was no television. That was way before you were born. African part. Since he was small. FL: I lived on Prado. he liked to compose melodies for the singers and dancers of the zarzuelas. the steps…the gypsy steps.FL: Yes. but also movies? FL: No.” CV: (singing “La Comparsa” melody) FL: Not the melody. sometimes it was for money. everyone from the theatre would come. and occasionally he would agree with something or ask.” “Maria la O…” CV: So of those. CV: But of the people who were living in Cuba…the Africans living in Cuba. but the rhythm is African. everything. And my mother told me once that the song “Siboney” was written because of me in 1926. So he has a classical part. coughed. and each one would come in his car with chauffeurs. and I was there as always. raised one hand high. So he came down greeting everyone.”… CV: Ok. He would just play more and more. CV: That was hers? FL: Yes. Bola de Nieve‟s mother. and the room became absolutely silent.” yes. At any given time. He pulled the piano bench. and it had to be large because there were always many people there. from everything it comes into my mind. but what I least imagined. and played. So all those people saw Ernesto come out of the room—with pants on. “Me Odias. and he wouldn‟t stand up. But it wasn‟t a working farm. slowly making his way toward the piano. and he began to play.” which was the name of the farm. “from the Palm Trees I reap „Siboney. Marks Corporation written to Josefina LeCerff? 80 . so he came out again and played “La Comparsa. but rather a recreational farm. He played for two hours without stopping. and Bola de Nieve were both there. not in the afternoon. “why do you live on the farm and not Havana? Do you grow corn or something?” Ernesto would reply. there were at least 30 people there. because at night he would wear them. No one spoke. the inspiration. of course. And one day we were there at “La Comparsa. is that Ernesto would come with so many people that were there to celebrate a Noche Buena (Christmas Eve). I‟m looking at some music here from Ernestina. When he left and said his goodbyes.‟ and from that I reap „Karabalí‟.‟ and from the corn I reap „La Comparsa. CV: And here a letter from Edward B. A journalist once asked.Everything was more “mind to hands” without speaking. everyone would clap.” CV: The inspiration? FL: Yes. and played. And he played. CV: Ernesto was like “The Great Gatsby”? FL: Yes. who was the cook. “Me Odias?” FL: Yes. everyone screamed for an encore. or anything. Some are well-spoken. Everytime he would finish a song. and I have pictures of them as well. I see Ernesto. 81 .” That‟s why I wanted to speak to them to see if they could publish these songs by Ernesto in the United States. FL: Because how I used to say. we don‟t have them. but when he wanted to say something important. smooth music that can be sung with or without drums.” CV: I know he didn‟t speak too much. I think. so that the person wouldn‟t hear him. because these are from Havana. I lived with them for a week up there. Ernesto is not dedicated to only one part of the music. and they said “no. how do you say. He wrote another song to her called. and the African part. whose name was Inés.FL: My mother. boleros. I‟ve spoken with this company. FL: The father and the son of Marks. “Vete pa’yá. FL: You‟ve spoken with them? CV: Yes. CV: Your mother. CV: I like this song by Ernestina that says it is “Criolla” FL: Which one is that one? (singing) “Me odias. He liked concerts. sin embargo te quiero…” CV: But do you know that if I see this (pointing at the music).” “Doña Inés” was written for Bola de Nieve‟s mother. waltzes. with or without violins.” “Doña Inés. but discreetly.” “Danza de los Ñáñigos. ok. and I lived with them another week in Havana when I was married with my first wife. It‟s the same style. he would mock some. was he a jokester? FL: Yes. Last week to ask them if they know about these five songs. It says we are giving a contract to publish…yes. “Danza Lucumí. Ernesto invited my father to go as well. we lived together in another place in New York. Anything we wanted. we‟ll send someone that way.CV: What is your best memory. the son of Ernestina. FL: 57th Street was three blocks away. one block from Central Park—60 East… CV: Broadway? FL: No. and who was one of the first who wrote the lyrics to his music. of being with Ernesto. he gave us. So he dedicated himself to us until he left to New York. so Ernesto was like your father. my mother was invited by Ernestina to Pinar del Rio to go to these lakes where people bathe for therapeutic reasons. the nursing. who‟s going to cook for my children. That‟s when he took care of us. CV: Fifth Avenue. He felt as if the death of his brother. 60th and Fifth Avenue. just come along. and he paid all that. the specialists. because I know your father died young. right? FL: Yes. so when the car flipped.” And it was a day of torrential rain in Pinar del Rio. made the car hydroplane into the side of a small mountain. who‟s going to take care of them?” Because we were young then. “Don‟t worry about them. not Broadway. was his fault. your favorite memory. He suffered a brain injury and died after six days. “don‟t worry. who wrote books and poetry. But besides that. and my father was like this (leaning forward) speaking to Ernesto and Pepito driving. He told Pepito that anything we wanted he should give us. “no. Ernesto blamed himself and became very saddened for a long time. and after about a week. and after he left to New York he took me in for a time in Jackson Heights and—what was the name of the other place.” So we spent a week there. and even the cemetery. although right now I don‟t remember the name of the place. It was off 5th Avenue. that was close to. but we didn‟t want too much. and among those were my cousin Juanito. because they had to open his brain and do many things. CV: In what year would that have been? 82 . and Pepito Borrueso. his secretary. the two who were here (signaling behind) hit him and he hit his head. who was a specialist in brain surgery. so Ernestina would say. that I don‟t recall. He was also the one who assumed to expenses of the six surgeons who operated on my father‟s brain. and seeing that my mother was over there and who was going to take care of the children. right. CV: After New York? With Ernesto? FL: No. FL: Two years later I went to the Olympics in London.” in case he needed me to relay a message to someone or bring him a sandwich or something. that I know of. CV: Laundry? …London! Oh ok. “Feyayito. FL: London. CV: Pan-American Games. He always told me. I would say. Did Ernesto ever see you do gymnastics? FL: No. ‟48.FL: That was in ‟46. and Central American. which I can show you on the internet later. I‟ve seen a picture of you. 83 . I didn‟t understand. FL: Yes. “no. CV: In ‟46. he didn‟t care much for sports. don‟t know how you had so much strength holding on to the bar. that was in 1948. CV: What? FL: I went to the Olympics in London. are you going to the gym tomorrow?” Even if I was planning to. on the team representing Cuba in gymnastics. CV: Yes. which my brother doesn‟t mention in the book. But before that I had been to Buenos Aires for the Olympics in Buenos Aires. “ok. and Prado and Colon three blocks away there were bordellos.” because I was old for that. which is why it struck me as odd that my brother would write that book because he would almost never be with Ernesto. and there they would be in a table 6 or 7 of the kids singing… CV: And there Rafael would be… FL: Yes. CV: And Thomasville? FL: All those little towns near Tallahassee. CV: He was the playboy. CV: Yes. I was with them for seven years. while I was twenty-six or twenty-seven. University of Florida. I saw her born. and then I left to train in Key West in May until September. he was the main one. In the exhibitions I did what I wanted and had more fun doing it.When he arrived in Havana. they gave my brother a scholarship to attend Florida State. “I don‟t know. FL: So what I did was compete and mainly exhibition tournaments. fine. with the youth who said lots of bad words and played rumba. We lived on Prado. he always depended on me.” and I left. which wasn‟t as rigorous as the competitions. A few years before it was only for women. They would go to the restaurant next to my house at night to eat something. I would go around Tallahassee and Georgia—Augusta—I forget the names. CV: And you also went to Silver Springs. FL: In those days I would fly to Madrid or Argentina with Cubana de Aviacion. 84 . I would go do the exhibition tournaments. But I said. near Ocala? I‟ve seen pictures of that. and I said. There was a little placed called Havana. He was more interested in being in his element. So they asked me if I wanted to go as well. Then when the Americans came to Havana to compete against Cuba. Those on the team were seventeen or eighteen years old. the girl‟s school and the other was in Gainesville. That was when my first daughter was being born. when Los Chavales de Espana and the Casino Sevilla was at Tropicana. now they‟re all over.FL: And every winter we would visit Ringling Brothers in Sarasota. “Uncle. but I think they started there. since I went to Spain in my trips. “Why don‟t you have”—I forgot her name.” And he played it. “It‟s my song. “Let me see.” CV: That was your song? FL: My song.” “Yours?” he repLied. in a surprised tone. but he (Ernesto) didn‟t teach you to play piano. Ernesto sat at the piano on television. as well. the next time like two years later. was it? CV: Well. FL: In those days we went to Sarasota every year for six days. can you play this song?” “What is this. they would give me something to give to the family. we were just chatting about this and that… I also had a question about… I know we were talking about gymnastics. like “I write like this because…” FL: One time. “Feyayito.” he asked.. The song‟s title was “Talvez Mañana. In Sarasota. and she came and sang the song to me. elegant mulatta soprano. I went and said. I was trembling! CV: What did he say about your music? That it was good? FL: That it was good. a talented.” Later. 85 . Don‟t know why I mentioned. CV: No. He then asked. or did he ever talk to you about his music. He worked in a piano shop as a piano salesman. in the winter. It was recorded on LP 48. But they sang in Cuba but also took them to Spain. But I said. and then one of those times that I brought something I was in the airplane looking at the sky while everyone was sleeping. FL: What other song do you have? What other question do you have? CV: Let‟s take another break to change the tape. it looks good. FL: In High School. and he said ok. I‟ve forgotten. and would play and play and 86 . they were drum majors in High School. because we would have to go from Havana. who was the singer. Twelve. And now it can be done in eight hours. to one of the small records. that I had a song thinking about the airplane titled “Lucero” (shining star). then from Brazil cross the Atlantic to Africa. in different years. incredible. because back then the flight would take 36 hours. twelve. I haven‟t heard from them since. CV: 36 hours from Cuba to Europe? To Spain? FL: Yes. he went and found a woman who would visit the pianos. and then from Africa fly up to Spain. CV: It sounds fine. and from there I recorded it to a CD. FL: When we got there quick. what did they want? FL: Little things. yes. while we lived in Tallahassee.CV: Like. Can you sing it for me? I did. I‟m going to show the orchestra so I can sing it. after my sister left him. I‟ll bring it. But those concerts of “Lucero” were in Spain or Cuba? FL: Cuba. it would be in twenty-four. And Paulinito. and twelve. here I am to see if we can push them again. CV: Well. CV: Wow. to Brazil. So then I told Miguel Bodega. That‟s why it doesn‟t sound so great. he came to live with me in my house for a year. others without. And for giving him a house and food because he had no money. and they would say. So. CV: In Tallahassee… FL: No. he would play the piano. ok. Paul lived in Tampa? After he lived… LINDA LECUONA: Paulito or Paul? FL: Paul. There are high notes and like that… I was talking about my cousin… so he was living with me two. you will hear a bunch of things. Then he left to Tampa. I would play it with one finger. who rented her voice in the newspaper for “if you want me to sing and record your song. but I did. no one year with me. I believe. Then I took them to a radio station so they could put them on CD. others by a lady. others by a small group. sometimes would whistle it.play the pianos. Anytime a merchant came. She didn‟t like them. my brother-in-law…. sometimes would sing it. (Asking his wife) Paulito lived… Linda. 87 . others on piano. what kind of piano is that?” And that‟s how he sold pianos. with five fingers. CV: Since what year have you lived here? FL: Since ‟69. six fingers. FL: Then when he got tired of that. I wrote a woman who sang.my cousin. others by an orchestra. he recorded many of. And this must have been in ‟70. others with good arrangements. and that way we began little-by-little recording them on small records. like forty-five of my songs. for $50…” so I got her and she sang two of my songs. here. “oh how nice. you‟ll hear some by one person. LL: Your nephew? FL: No. CV: Ah. So when you hear the CDs. died. of the Club Gallistico de La Habana. died. He died there young. was also a great pianist. died.LL: Oh. Teodoro. it‟s been a long time… 88 . CV: Yes. they‟ve all died. who was a great pianist. Elisa. Pepe. the boss. FL: And another question was. how many are still alive? Ernesto…um. the president of National City Bank of Havana. the one that played piano? Tampa. Paul‟s mother. Ernestina. who liked cock fighting. Yeah he died in Tampa. Who else? Well. Luis was the oldest--he died. she died. who followed Elisa. He moved to Tampa. APPENDIX E 89 . 90 . 91 . 92 . 93 . Figure 48 94 . June 24th. 2011.Fernando Lecuona and Christina Diane Villaverde in his Florida home. 2004. “Rediscovering the „Cuban Gershwin. Popular Cuban Music. 1998. Obras Completas. Journal Articles/Newspaper Articles: Draayer.A. Cairo. Grenet. Sidonia Carmen. 1837-1959. Rafael A. Carpentier. 1945. USA: Amadeus Press. Diego. New York: Cocce Press. Minneapolis: University of Minnesota Press. Jesús Gómez. Havana: Republic of Cuba. Patricia. Marting. 2002. 2004. Nick. Lecuona. Oscar and Alejandro García. Rosenbaum. Robert Caldwell. Zanetti. New Jersey.F. Lecuona Enterprises. Modern women poets of Spanish America: the precursors. 1990. 1929. Economia y colonia: la economía cubana y la relación con España. no. Suzanne Rhodes. La Habana: Letras Cubanas. Lawrence A. Sugar & Railroads: A Cuban History. 1954. Tracy Gavialanes and Sheila Allen.. 2005. 95 . 1990.” Journal of Singing 67. 2005.BIBLIOGRAPHY Books: Caicedo. Cuban and It’s Music. Alfonsina Storni. Presencia y poemas de Juana de Ibarborou.5 (May/June 2011): 523-535. Ned. Woman Writers of Spanish America: An Annotated Bio-Bibliographical Guide. 2001). Sublette. New York: Greenwood Press. Diane E. Dallas: Pst…Inc. Mexico: D. 17651902. Choral Music in the 20th Century. Strimple. Music in Cuba. Madrid: Aguilar. Emilio. Juana.. Wall. Chapel Hill: North Carolina Press. Alejo. Juana de Ibarbourou. 1960.‟” Sun Sentinel (July 15. “Seductively Spanish: Programming ideas for Spanish Song Repertoire. De Ibarbourou. Gabriela Mistral. Cordoba. Barcelona: Tritó. Spain: R. German and Spanish pronunciation. Johnson. Latin. 2001. The Latin American Art Song: A Critical Anthology and Interpretive Guide for Singers. Italian. Chicago: Chicago Review Press. Delmira Agustini. LLC. Diction for Singers: A Concise Reference for English. Ernesto Lecuona: the Genius and his Music. Joan. Florida Interview. Ernesto. Jade Pai. 2005 Piano/Vocal Collections: Domingo. Dancing. Esther Borja. Gainesville. Maria. Recordings: Lecuona. Ernesto Lecuona‟s nephew. Ernesto. 1995. Compact disc. Gloria Castiel. Alfredo Kraus.lecuona. Chivalry and Song. Lecuona. Milwaukee. Cuban poet. 1997. 918515420609559356. FL: University of Florida. Shih-Yu. Milwaukee. 96 . Florida Interview. Lecuona. WI: Hal Leonard Corporation. Cuba. Bola de Nieve among others. Dissertations: Jacobson. Piccolo Tif. Lecuona: Ernesto and Ernestina. WI: Hal Leonard Corporation. digitally re-mastered.com/#Biography (accessed October 13. “The Music of the Spains: The Lands of Melody. Fernando.Sc. Alberto Joya. Valses de Concierto (Concert Waltzes) for piano. Compact disc. Plácido. Emelina López. Thomas Y.Tatum. Always in My Heart. 2002. 2005. Interview: Castillo McNab. “The Composer of Malagueña.” The Etude (May 1935): 265-266. Montilla Records CDL-13074. 2011. Discovering Musical Characteristics of Children’s Songs from Various Parts of the World. B. Clélia Iruzun. 2011). Cancíon Cubana. 1982. Queen‟s University. Gaiety. June 24 2011. The Life and Music of Ernesto Lecuona. July 5. Siempre en mi Corazón: The Songs of Ernesto Lecuona. Internet/World Wide Website: Ernesto Lecuona. Miami. 1997. Tirino.. Su Música y sus Intérpretes. born in Lecouna‟s hometown of Guanabacoa.” http://www. Terrell Louise. Lorelt LNT119. Ivan Törzs and Timothy Myers. Donna Elvira in Don Giovanni. 97 . and has performed under the direction of Maestros Stewart Robertson. She holds a Bachelor‟s Degree in Vocal Performance from the University of Miami. is a native of Miami. Ms. Illinois. Asheville Lyric Opera and Opera Nova (San Jose.BIOGRAPHICAL SKETCH OF THE AUTHOR Lyric soprano Christina Diane Villaverde. under direct tutelage of the composer himself. Villaverde is currently Assistant Professor of Music at Samford University in Birmingham. Ms. Villaverde specializes in Spanish repertoire and performed throughout Costa Rica in 2011 as a guest soloist after being awarded the Costa Rican Intercultural Recital Tour by Florida State University and Centro Cultural of Costa Rica. A sought-after recitalist. Other prominent companies include Lyric Opera of Chicago. Female Chorus in The Rape of Lucretia. Villaverde made her professional debut as Rosalinda in Die Fledermaus with Light Opera Works in Evanston. renowned stage directors Bernard Uzan and Tito Capobianco. She has dazzled audiences with her full rich tone and vivacious stage portrayals. She won recognition for her moving interpretation of the title character in Carlisle Floyd‟s Susannah for the 50th Anniversary Performance of its debut with the Florida State Opera. Vitellia in La Clemenza di Tito. Other major roles include Nedda in I Pagliacci. Ms. Romilda in Xerxes and Cleopatra in Giulio Cesare. AL. Villaverde has worked with acclaimed soprano Diana Soviero. Florida of both Cuban and Irish heritage. Ms. During her career. a Master‟s Degree and Doctorate Degree in Vocal Performance and Vocal Pedagogy from the Florida State University College of Music where she studied with renowned tenor and eminent scholar Stanford Olsen. Musetta in La bohème. Costa Rica).