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THE TRADITIONAL BAMBUCO IN NINETEENTH AND TWENTIETH-CENTURY

COLOMBIAN COMPOSITION

THESIS

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Aileen Martina, B.M.

Denton, Texas

August, 1993

Martina, Aileen, The Traditional Bambuco in Nineteenth

and Twentieth-Century Colombian Composition. Master

of Music (Musicology), August, 1993, 140 pp, bibliography,

96 titles.

Disputes concerning the origin of the term bambuco

persist among scholars in Colombia, as well as controversies

regarding the process of notating the traditional bambuco

(3/4 or 6/8), when it penetrates the written tradition of

popular music. Composers writing popular and salon bambucos

increasingly perceived the advantage of notating it in 6/8.

This study investigates the traditional bambuco and its

assimilation into nineteenth and twentieth-century

cultivated tradition, with emphasis on piano pieces by

representative Colombian composers of art music. I include

specific analyses of Cuatro preguntas (ca. 1890) by Pedro

Morales Pino (1863-1926), Chirimia y bambuco (1930) by

Antonio Maria Valencia (1902-1952), Bambuco en si menor by

Adolf o Mejia (1905-1970), El bambuco by Manuel Maria Prraga

(c. 1826-1895), and Trozos Nos. 6 and 158 (1927-1970) by

Guillermo Uribe Holguin (1880-1971).

TABLE OF CONTENTS

Chapter Page

I. THE EMERGENCE OF MUSICAL NATIVISM IN NINETEENTH-CENTURY COLOMBIA................................ 1

II. THE TRADITIONAL BAMBUCO.

Definition........................................ 19Theories on the Origin of the term................22Early performers of sung bambucos.................25The texts.......................................... 29Twentieth-century vocal performers of traditionalbambucos............................................ 31Rhythmic renditions............................... 33Relationship between the bambuco and othertraditional genres..................................50

III. REPRESENTATIVE NINETEENTH AND TWENTIETH-CENTURYCOMPOSERS OF BAMBUCOS............................ 53

Manuel Maria Parraga (c.1826-1895)...............53Guillermo Uribe Holguin (1880-1971)..............58Antonio Maria Valencia (1902-1952)...............67Adolfo Mejia (1905-1970)..........................75

IV. CONCLUSIONS....................................... 79

APPENDIX

Appendix A. List of works:Manuel Maria Parraga..........................81El bambuco by Parraga........................83Guillermo Uribe Holguin...................... 93Antonio Maria Valencia......................103

Appendix BBAMBUCO (1872), text by Rafael Pombo....... 105EL BAMBUCO (1857), text by Rafael Pombo.... 111LA BANDOLA (1853), text by Juan Francisco

Ortiz...................116

Appendix C. Interviews:Leon Cardona--................................ 118

iii

Luis Uribe Bueno .... ... .. ........ .... ........126Mario G6rmez Vignes...........................131

BIBLIOGRAPHY..............................................134

iv

CHAPTER ONE

THE EMERGENCE OF MUSICAL NATIVISM

IN NINETEENTH-CENTURY COLOMBIA

Historical Background

By the second half of the eighteenth century, the

Iberian colonies in the New World were politically divided

into five viceroyalties, each of which was subdivided into

audiencias. The five viceroyalties were New Spain, New

Granada, Peru, La Plata and Brazil. Nueva Granada comprised

present-day Venezuela, Colombia, Panama, and Ecuador. Some

of the major centers of urban culture were the cities of

Santa Marta (founded in 1525); Cartagena de Indias (1533), a

city where many musicians settled during the colonial

period; Cali (1536); Popaydn (1537); and Santafe de Bogota

(1538), which became the capital of the Nuevo Reino de

Granada.'

In 1810, the viceroy of Nueva Granada was removed and

the first- congress was established. Previous discontent

among creoles led to what was called the revolt of the

Comuneros (1781). At the end of the eighteenth century,

'Testimony of the rich cultural life of Santaf6 deBogotd during the colonial period is the music archive ofthe Bogota Cathedral, as documented by Robert Stevenson inRenaissance and Baroque Musical Sources in the Americas(Washington, D.C.: Organization of American States, 1970),3-28.

1

2

scholars such as Antonio Narino (1764-1823) and Camilo

Torres (1766-1816) brought to the colonies of Nueva Granada

liberal ideas from Europe that stimulated the movement

towards independence. Antonio Narino imported books on

science and philosophy. In 1794 he translated and printed,

for the first time in the New World, the French Declaration

of the Rights of Man and the Citizen for secret circulation.

For the sciences, the famous Expedicibn Botanica (1783) was

one of the greatest contributions to human knowledge.2 The

Expedicidn was commissioned by the Spanish Crown to study

plant life in northern South America, record observations on

astronomy and geography, and draw maps of the regions.

studied. Led for twenty years by the Spanish scientist Jose

Celestino Mutis (1732-1808), the Expedicidn Botanica became

a focus of scientific and liberal learning.

Although independence was declared in 1810, wars of

independence continued until 1824. In 1819, the Venezuelan

Sim6n Bolivar (1783-1830) and the Colombian Francisco .de

Paula Santander (1792-1840) arrived in Nueva Granada with an

army. During the wars of independence, and even during the

revolt of the Comuneros, waltzes, contradanzas, bambucos,

minus, and other traditional dances were played at battles

and festivities. At the battles of Boyac6 (1819), which

sealed Colombia's independence, and Ayacucho (1824), several

2Thomas Blossom, Narino, Hero of Colombian Independence(Tucson, Arizona: The University of Arizona Press, 1967), 1.

3

bands, such as the Vencedor or Voltigero (previously called

Numancia), played bambucos, contradanzas, and other popular

dances (see Example 1) .3

Example 1. La libertadora, contradanza (August 1819).Dedicated to Simon Bolivar

OONTRADANZA.

F4 t

Iol. *.pAX- I 2- JI J -aP

(LtL.3~rI F f::

3Jose Ignacio Perdomo Escobar, Historia de la musica enColombia, 5th edition (Bogota: Plaza & Janes, EditoresColombia Ltda., 1980), 64.

4

Also dedicated to Sim6n Bolivar, the contradanza La

vencedora was performed after the victory of August 7th,

1819 (Example 2). In 1829, when the Granaderos army left

for Venezuela, a contradanza by Torcuato Ortega was played

and many bambucos were inspired by the civil wars of the

time.

Example 2. La vencedora, one of the contradanzas playedafter the victory of Boyac .4

3ONTRAOANZA.~ dE*0-i

!~La a

F MR

-i I t..* I F

4La vencedora was arranged for band by Jose RozoContreras. See Andres Martinez Montoya, "Resefa hist6ricade la mdsica en Colombia, desde la 6poca colonial hasta lafundaci6n de la Academia Nacional de Mdsica," Anuario de laAcademia Colombiana de Bellas Artes, I (Bogota, 1932), 65.

l

T T I

( pl

IS t I P-

9141 k-mom

.1 S

F

I

5

In 1828, the government split into two political

parties, the centralists and the federalists. The former

party, headed by Bolivar and Narino, believed in the

unification of the area under a strong central government.

The Federalists, led by Santander, held instead that the

only solution was a separate Colombia under a democratic

government along flexible federal lines. Though Bolivar

realized his ambition, he also witnessed the disintegration

of his Gran Colombia before his death in 1830, when Gran

Colombia became the Republic of Nueva Granada comprising the

provinces of Boyacd, Cauca, Cundinamarca, Magdalena, and

Panama.

Traditional Music in the Nineteenth Century

The traditional musics of Latin America originated

mainly fromthree cultural streams: the aboriginal

Amerindian, the African American, and the Iberian American.

Before the conquest, these cultural streams were part of

separate and geographically distant cultures, had developed

within different social environments, thereby revealing

different degrees of similarity and complexity with respect

to pitch, rhythm, timbre, form and function of music in

society.6 By the beginning of the nineteenth century,

sW. O. Galbraith, Colombia: a General Survey (NewYork: Oxford University Press, 1966), 11-12.

6Charles Seeger, Studies in Musicology 1935-1975(Berkeley and Los Angeles: University of California Press,1977), 184-185, quoted in Malena Kuss, Latin American

6

which marks the emergence of independent nations, these

traditions had undergone centuries of mutual interaction and

change, retaining residual strands of what once were self-

contained musical systems. Thereafter styles became

diversified when composers begun to incorporate elements

from their various traditional repertories into salon

pieces, chamber works and patriotic songs. 7

Several demographic streams from different regions of

Spain brought their songs, dances, and instruments to the

New World. Castilian music was one of the major influences

in the Nuevo Reino de Granada. Many Spanish cancioneros

were brought to the colonies during the sixteenth and

seventeenth centuries. Texts to these songs included

political, picaresque, religious, love, and pastoral

content. Many salon dances characteristic of the time

eventually reached all social classes. The ballo, a

sixteenth and seventeenth-century dance, became the

counterpart of today's bale del tres, found in the regions

of Cundinamarca and Boyacd. The danza de la trenza, cintas,

cordon or clizneja reflects the influence of the Spanish

danza de los palillos. In the seventeenth century, the

Spanish pavana (also called danza del pavo real because of

its aristocratic style), and the gallarda were popular in

the cities of Santaf6 de Bogota, Tunja, Popaydn, Pamplona,

Music: A Short History (unpublished, 1980), 1.

7Kuss, op. cit., 34.

7

and Momp6s. The Colombian bale del cuatro resembles the

gallarda.8

During the period between the mid-seventeenth and mid-

eighteenth century, also known as the dpoca del minud,

European dances such as the minu, paspid, rigoddn, gavota,

courante and branle were in vogue in the territories of

Tunja, Santaf6, Popaydn, and Socorro. Among eighteenth-

century dances still in use are the torbellino (in

Cundinamarca and Boyaci), and the jota (in Choc6) . The

Spanish ancestry of Colombian folk music surfaces, among

many other elements, in the hemiola (alternation of 6/8 and

3/4 meters), so frequent in the pasillo and the bambuco.'

Spanish influence also surfaces in the chordophones of

traditional use. Instruments such as the guitar, bandola,

requinto and tiple are among the chordophones of Spanish

ancestry. The bandola is a derivation of the Spanish

bandurria, a type of flat-backed lute. The modern bandola

of Colombia and Venezuela generally has a teardrop shaped

concave back and has six courses tuned f#-b-e'a'-d"-g"; and

8Javier Ocampo Lopez, Mdsica Y folklor de Colombia(Bogota: Editores Janes & Janes, Editores-Colombia, Ltda.,1976), 21-27.

SOcampo Lopez, op. cit., 28-31.

"Gerard Behague, Music in Latin America: AnIntroduction (Englewood Cliffs, New Jersey: Prentice-Hall,1979), 161.

8

it is played with a plectrum (Figure 1) ." The requinto

is a small guitar used in Spain, Colombia, Ecuador and

Mexico. The Colombian requinto has four courses of strings,

tuned d-g-b-e' and is played with a plectrum (Figure 2) .2

Figure 1. Bandol a.

0

"0

S0

* 0

* "

O 0

0

"William Gradante, "Bandola, " The New GroveDictionary of Music and Musicians, 20 vols., ed. StanleySadie (London: Macmillan, 1980), vol. 2, 107.

'2"Requinto, " The New Grove Dictionary of MusicalInstruments, 3 vols., ed. Stanley Sadie (London:Macmillan, 1984), vol. 3, 240.

9

Figure 2. Requinto 13

(1910)

(1965)

"Guillermo Abadia Morales, "El requinto," Lacomplexion torbellino - quabina (Bogota: Centro Colombo-Americano, 1983), 5.

10

The tiple is a small guitar, common in Spain, Colombia,

Guatemala, Puerto Rico, and Venezuela. The Colombian tiple

is slightly smaller than the guitar, with four courses of

triple metal strings tuned to the same pitches as the four

upper strings of the guitar, but with the middle string of

the three lowest courses tuned an octave lower." The

early Colombian tiple had four single gut strings and

evolved to a twelve-string instrument from 1847 to about

1910 (Figure 3).

Figure 3. The tiple.

14john M. Schechter, "Tiple," The New Grove Dictionaryof Musical Instruments, 3 vols., ed. Stanley Sadie(London: Macmillan, 1984), vol. 3, 599-600.

11

Colombian traditional vocal music is generally sung in

paired voices called "a primo y ddo," also common in

traditional songs of the Canary Islands and other regions of

Spain. Besides dances and instruments, costumes used for

traditional dances in different regions of Colombia are of

Spanish origin.

Stimulated by the English country dance, the

contradanza or the eighteenth-century French contredanse was

found in the Nuevo Reino de Granada in the nineteenth

century. A contradanza was written in duple (simple or

compound) meter (2/4 or 6/8) and its choreography divided

into two parts of eight measures each. With the

repetition, it comprised thirty-two measures. Contradanzas

are found today in the San Andres and Providencia Islands

under the name of cuadrillas. The Colombian media cafa, a

contradanza, is also found in Paraguay, Chile and

Argentina."5

The Colombian waltz, vals colombiano or capuchinada

(the possible ancestor of the pasillo lento), became one of

the most popular dances of the nineteenth century. The

modern pasillo survives in the folk tradition in two forms:

the pasillo lento, known for its nostalgic texts and

melancholy melodies, and the faster instrumental pasillo

fiestero in rondo form, where each section presents

contrasting tonal areas. The pasillo is characterized by

"5Ocampo L6pez, op. cit., 31-33.

12

syncopated melodies with horizontal and vertical

polyrhythmic effects created between the 3/4 and 6/8

alternation in the guitar and tiple accompaniment, and the

melodies carried by the bandola."6 The pasillo fiestero

resembles the Venezuelan waltz, the sanjuanito from Ecuador,

and the valsecito from Costa Rica.17

Art music composers in Colombia favored settings of the

traditional banbuco, the torbellino, the bunde, the guabina,

the galerdn, and the pasillo. The bambuco, the national

dance of Colombia, was first a serenading song for solo

voice. The melody of the modern bambuco is sung in parallel

thirds, with tiple, guitar, and bandola accompaniment. The

bambuco is a pursuit dance characterized by delicate toe-

dancing by both male and female waving handkerchiefs. The

melancholy song-texts, mainly sonnets, often display

descending melodies and modulations through minor keys.'8

Both the torbellino and galeron are among dances which

date back to the sixteenth century. The torbellino, whose

origin is as controversial as the origin of the term

bambuco, is found in Boyacd, Cundinamarca and Santander.

According to Guillermo Abadia Morales, its rhythm is similar

"William Gradante, "Pasillo," The New GroveDictionary of Music and Musicians, 20 vols., ed. StanleySadie (London: Macmillan, 1980), vol. 14, 261.

'7Ocampo Lopez, op. cit., 88.

18Gradante, "Bambuco," The New Grove Dictionary ofMusic and Musicians, 20 vols., ed. Stanley Sadie (London:Macmillan, 1980), vol. 2, 103.

13

to that of the traveling songs of the indios motilones of

Perijd and the historian Enrique Otero D'Costa also supports

Amerindian roots, adducing a resemblance to the melancholy

songs of the Indians of Cundinamarca and Santander.

Instead, Daniel Zamudio and others claim a Spanish origin on

the basis that the ancestry of the torbellino is the

galeron, one of the Spanish dances that were in vogue during

colonial times also called corrido and torbellino

llanero.19 Texts include traditional ddcimas of

historical, amorous or religious content. The galern, a

representative tap dance of Cundinamarca, Boyacd, and

Santander, is accompanied by the tiple and displays the

following rhythm:

Example 3.

Some of the instruments most commonly used in association

with the torbellino are the tiple, requinto, chucho (Figure

4), maracas or quijadas (idiophones from Colombia, Perd and

Ecuador), and capadores (chifflos), castrapuercas, or

capapuercas, a panpipe of ten tubes in two rows of five. In

"9Ocampo L6pez, op. cit., 79-82.

14

the nineteenth century, capadores were described as having

fifteen to twenty pipes (Figure 5) .20 The chucho or

alfandoque, a rattle of Ecuador and Colombia, is made of

bamboo or sugar cane with four tubes (six centimeters in

diameter and twenty to twenty-five centimeters in length),

into which are placed dry seeds, nails, and stones. Small

diametric sticks of cane keep the seeds in place and

increase the vibrations. In some regions of western

Colombia an instrument called an 'alfandoki' was known

perhaps as early as 1789.21

Figure 4. Chucho.2 2

1,

20John M. Schechter, "Castrapuercas," The New GroveDictionary of Musical Instruments, 3. vols., ed. StanleySadie (London: Macmillan. 1984), vol. 1, 316.

21Schechter, "Alfandoque, " The New Grove Dictionary ofMusical Instruments, 3 vols., ed. Stanley Sadie (London:Macmillan, 1984), vol. 1, 44.

22Abadia Morales, "El chucho," La complexiontorbellino, 11.

15

Figure 5. Capador.23

I'I

The bunde originated at the end of the colonial period.

In the Pacific area, it is used for funeral rites and to

honor saints. In Tolima, its rhythms and melodies reveal

the influence of guabinas and bambucos. Since the

eighteenth century, the guabina was a dance cultivated in

the regions of Santander, Boyacs, Tolima, Huila and

Antioquia. Today Jacinto Jaramillo's choreography has been

favored by most folk dance groups.

A guabina is usually performed by the tiple, requinto,

bandola with accompaniment of either the chucho or the

23Abadia Morales, "El capador," La complexiontorbellino., 8.

16

guacho (a tubular gourd or pumpkin of the Colombian Atlantic

Coast filled with dry seeds from Achira, or with corn

grains). The guacho is hollowed and covered with a

handkerchief.24 One guacho is held in each hand and they

are usually played while standing rather than sitting. With

music of relatively slow tempo the two guachos are shaken up

and down simultaneously, just above the waist level, while

in a faster tempo they are shaken up and down alternatively

in the same position.25

Among less popular dances of the nineteenth century are

the ondd and the aguacerito. According to Jose Caicedo

Rojas, the ondd was a dance which originated in Peru and

made its way to the Colombian regions of Tolima and

Cundinamarca at the beginning of the nineteenth century.26

The aguacerito was an eighteenth-century dance found in

Antioquia and Cundinamarca. The term probably originated

from the text in which the word aguacerito appears

accompanying the dance.27

Many of the dances mentioned above are found in the

24Ocampo L6pez, op. cit., 85-88.

25George List, Music and Poetry in a Colombian Village,A Tri-Cultural Heritage (Bloomington: Indiana UniversityPress, 1983), 25.

26Harry C. Davidson, "Ondd," Diccionario folkl6rico deColombia, :mnsica, instrumentos y danzas, 3 vols. (Bogota:Publicacion del Banco de la Repdblica, Departamento deTalleres Grdficos, 1970), II, 363-364.

27Davidson, op. cit., "Aguacerito," I, 20-21.

17

Musica de guitarra de mi Santa Dona Carmen Cayzedo, a

manuscript which included twenty-three short compositions;

among them eleven waltzes, four contradanzas, two

pasodobles, one English dance and one ondd. According to

the owner of the manuscript, Guillermo Hernandez de Alba,

the collection belonged to Maria del Carmen Cayzedo y Jurado

from Santaf4 de Bogota (1818-1874) .28

Just as scholars such as Antonio Nariflo and Camilo

Torres at the end of the eighteenth century brought to the

colonies liberal ideas from Europe, many composers such as

Juan Antonio de Velasco (d.1859), Nicolas Quevedo Rachadell

(b. Caracas, 1803; d. Bogota, 1874), and Enrique Price

(1819-1863) became interested in European art music after

the period of independence. It was during this period that

Enrique Price, a composer of many solo songs, overtures, and

such piano pieces as the Vals al estilo del pal's (1843, a

stylized pasillo), founded the Sociedad Filarm6nica de

Bogota (November 11, 1846 to 1857) and the School of Music

of the Sociedad Filarm6nica with the help of Jose Caicedo y

Rojas, Nicolas Quevedo Rachadell and others. 29 The school

was the predecessor of the Academia Nacional de Mdsica

founded in 1875 by Price's son Jorge W. Price (1853-

1953) .3 The Sociedad was the model for many other

28Pardo Tovar, op. cit., 109.

29Pardo Tovar, op cit., 103-104.

30Perdomo Escobar, op. cit., 64.

18

institutions such as the Sociedad Lirica founded in 1848 by

Joaquin Guarin (1825-1854); the Sociedad Filarmdnica de

Santa Cecilia; and the Union Musical founded in 1858 by

Manuel Maria Parraga (c. 1826-1895), the first composer who

attempted a stylization of the bambuco.

Like Parraga, many nineteenth and twentieth-century

composers were incorporating elements from the bambuco and

other traditional genres into salon pieces and chamber

works .31

"Among composers not mentioned in this study whoincorporated elements from traditional music are AndresMartinez Montoya (1869-1933), Santos Cifuentes (1870-1932),Jesus Bermudez Silva (1884-1869), and Jose Rozo Contreras(1894-1976).

CHAPTER TWO

THE TRADITIONAL BAMBUCO

Definition

The bambuco was transmitted orally until Manuel Maria

Pdrraga (ca.1826-1895) stylized it. In the nineteenth

century, the bambuco was popular as a solo song which later

became a duo in parallel thirds, a characteristic of today's

bambuco. During the nineteenth century, it was performed at

concerts, serenades, and battles.

For love serenades, a singer accompanied by a tiple or

guitar was suitable, and for serenades the estudiantina

ensemble (a group of bandolas, tiples, guitars and

percussion most representative in the performance of folk

bambucos) was more appropriate. Sometimes the bandolas were

supported by another melodic instrument or lute. Although

the percussion is restricted to the "chucho" or "guache"

and occasionally to the tambourines and "cucharas" (wooden

spoons), 2 in the bambuco sanjuanero,3 3 the percussion is

32Abadia Morales, op. cit., 155.

33The bambuco sanjuanero combines steps from thebambuco and variants of the "vasiao" in the joropo llanero.The word joropo comes from the Arabic xarop which meanssyrup. The joropo llanero is the most representative danceof the Llanos or plains of Colombia and in Venezuela. Itreveals Andalusian influence, and is performed with harp,cuatro -a- four-string instrument from the guitar family -and maracas. See Abadia Morales, Compendio general defolklore colombiano, 4th ed. (Bogota: Biblioteca Banco

19

20

supported by tambora or bombo. 34

Due to its rhythmic complexity, the process of notating

the bambuco has created heated controversies. A bambuco is

composed of two parts, and although it is generally sung,

instrumental settings are not uncommon. Traditionally, it

starts with a short introduction played by the tiple

(Example 4):

Example 4. Introduction of a bambuco with tiple

The melody's rhythmic pattern consists of a

ternary-binary combination in a measure of five eighth-

notes. The change of 5/8 to 6/8 meter at cadences makes the

Popular, 1983), 298.

34A membranophone used in different regions of Colombiaexcept the Llanos.

21

accompaniment more important, since rhythmic patterns of the

melody and the harmony meet at cadential points. While the

melody is binary, the accompaniment is ternary.

A bambuco melody consists of an A section in a major

mode, and a B section usually in the relative minor . In

vocal bambucos, the melodic range seldom exceeds an octave

(Example 5). 3

Example 5. Campesina santandereana by Jose A. Morales (1914-1978)

1no m rV no .ret m: J s r me si

3 = 1 S

C55 14 asao' prolo j, f /ed s; o5" ,.i. if . rMaio IC

No.aM"i sdoi't a w R 1'.'"S-**aIt

r I

can .i I e/ mcon.04 t ivseno a/ i.lr ..e4.

a,* y is no dus r, no si s a s

ofem onajOti oem a, 4

14 Asmi J: o. h"-.# L 'ep.- --.. :.

"sDaniel Zamudio, "El folklore musical en Colombia,"Revista de las Indias 14 (Bogota: 1950), 17-20.

22

Theories on the origin of the term barmbuco.

Four theories have been set forth regarding the origin

of the term. The first theory is based on its use in the

famous romantic novel Maria (1867) by the Colombian Jorge

Isaacs (1837-1895)3 who assumed it to be native of a small

region of Bambuck, West Africa." This theory was refuted

by Jorge Afiez38 and Daniel Zamudio3" among others, 4 on

the basis that this African region has no tradition of

36 "Siendo el 'bambuco' una mdsica que en nada seasemeja a la de los aborigenes americanos, ni a los airesespafoles, no hay ligereza en asegurar que fue traida deAfrica por los primeros esclavos que los conquistadoresimportaron al Cauca, tanto mas que el nombre que hoy tieneparece no ser otro que el de Bambuck, levemente alterado.""Since the bambuco is music that bears no similarity to thatof the aborigines, or Iberian American music, one canspeculate that it was brought to Cauca when theconquistadores brought the first slaves from Africa. Theorigin of the name bambuco might be traced to the termBambuck, slightly altered." See Jorge Isaacs, Maria (1867),(Bogota: Coleccion Popular del Instituto Colombiano deCultura, 1938), 181.

37Among those who followed Isaacs' theory were JoseMaria Vergara y Vergara, Rufino Cuervo, Juan CrisostomoOsorio, Luciano Rivera Garrido, Tomas Carrasquilla,Guillermo Uribe Holguin, Antonio Jose Restrepo, Pedro M.Ibanez, Enrique Naranjo Martinez, Antonio Maria Pefialosa andothers. See Harry C. Davidson, "Bambuco," Diccionariofolkl6rico de Colombia, musica, instrumentos y danzas, 3vols. (Bogota: Publicacion del Banco de la Repdblica,Departamento de Talleres Grdficos, 1970), I, 182-183.

38Jorge Afez, Canciones Y recuerdos (Bogota: EdicionesMundial, 1952), 40.

3 9Zamudio, op. cit., 14.

40Among those who refused Isaacs' theory were EnriqueOtero D'Costa, "Apuntes sobre demosofia colombiana,II -Cantares," Santaf6 de Bogota 51 (Bogota, 1927); Lubin E.Mazuera M., Jose Ignacio Perdomo Escobar, and Harry C.Davidson.

23

singing, music, or dance that can be related to the bambuco,

as there is between the bunde from the Pacific region of

Colombia and the so-called wunde from Sierra Leone in West

Africa, as was shown by Monghueri and in compilations by the

Comisi6n Colombo-Britinica (1961-1962). On the other hand,

what is called bambuco in the Pacific area of Colombia is

not the well-known bambuco, but the currulao,41 a typically

African American type. 42

The second theory proposes that there existed an Indian

tribe called bambas in the Pacific and that tunes from this

indigenous group would take the name of bambucos. According

to Sergio Elias Ortiz, there are seven proper words for

places and two proper names in the so-called lengua

quillacinga that end with uco. There are also words for

places with the root bamba, and it was said at one point

that the use of bambas (a succession of four-line verses on

a single theme or coplas) in singing might have led to the

name bambucos for those songs.43

The third theory proposes that the name bambuco was

41The most representative dance of the Pacific regionof Colombia. It became popular at the end of the colonialperiod and was known to be danced by African Americans.However, Luis Uribe Bueno claims that the origin of thebambuco could be the Pacific region. He justifies thistheory by saying that by leaving the percussion instruments(guasas, marimbas, cununos and tambores), used in the jota,juga and especially the currulao, and by adding a tiple, onewill get a bambuco.

42Abadia Morales, op. cit.,154.

43Abadifa Morales, op. cit., 155.

24

given by the Spaniards to the native Indian "tremulous

movement" that accompanied the bambuco as a song and dance.

The Greek root bamb found in the verb barbalizoo indicates

sinuous movements, and it is similar to the Latin bambalio

which is a designation for the stutterer.44

The fourth theory, proposed in 1970 by Guillermo Abadia

Morales, refers to the use of the musical instrument made of

bamboo tubes called caringano.45 The carangano, a ground

harp played by African Americans of the Atlantic coastal

region of Colombia, is probably of African origin.

Resonance- is produced by a box on which the player sits or

by a piece of tin. A length of string is knotted, pulled

through a hole in the top of the box or the tin, and

attached to a bent fence-pole, a branch attached to a pillar

of a house (any arrangement that would produce tension in

the string). The player stops the string with the thumb and

finger of the left hand and vibrates the part below with a

wooden plectrum.4" Today, the carngano is found only in

"Among those who believed that the origin of the termbambuco is Ibero-American are Jose Caicedo Rojas, JorgeBrisson, Jos6 M. Cordovez Moure, Gustavo Santos, Juan deDios Arias, and others. See Davidson, op. cit., 208-211.

4sBark from the bamboo is taken horizontally, andwithout unfastening it, the extremes are lifted with twosmall wooden bridges. The sound goes through the hollowbamboo, which acts as the resonance box. The string is hitwith a stick or rubbed with a cattle bladder filled withcorn grains or seeds.

4bGeorge List, "Caringano," The New Dictionary ofMusical Instruments, 3 vols., ed. Stanley Sadie (London:Macmillan, 1984), vol. 1, 307.

25

Venezuela and in Huila where it accompanies the cucamba (a

typical dance of the region of Momp6s, mainly performed on

Corpus Christi) and in a musical ensemble that is used in

the performance of rajalefas (a song improvised by field

workers during their labor in the farms of Huila). The

coplas rajalefas are generally picaresque and have double

meanings. African Americans, or chombos from the English

Antilles, brought those caringanos or bamboo tubes which

they called bambucos to the Atlantic region of Colombia and

Venezuela. Through derivation, all melodies performed on

these instruments would be called baznbuco music. This does

not mean that they correspond to the Colombian bambucos with

tunes from the Andean region. 47

Early performers of sung barnbucos.

Between 1885 to 1890 traditional music captured the

interest of the Colombian people. It is relevant to know

that an ensemble or estudiantina named Lira Colombiana was

organized by Pedro Morales Pino (1863-1926), who was an

important figure in the development of musical nativism in

Colombia. He studied composition and harmony with Julio

Quevedo Arvelo at the Academia Nacional de Mdsica. After

completing his studies, he devoted himself to the

traditional music of Colombia compiling different rhythms

and melodies which he classified, structured and notated.

4 7Abadia Morales, op . cit., 155.

26

He improved the bandola by adding an f-sharp to its five

strings (G, D, A, E, B) .48 The Lira Morales Pino formed in

1807 lasted more than did other ensembles. 49 In 1890,

Morales Pino had already begun to compile, among others,

bambucos, pasillos, waltzes and other dances that had become

popular in Colombia. He notated the melodies, harmonized

and arranged many of these pieces. Furthermore, Edison's

invention of the phonograph in 1876 contributed a great deal

to the popularity of the bambuco. At the end of 1898, due

to a civil war in Colombia, Morales decided to leave the

country with the Lira Colombiana, and went to New York;

however, the group disintegrated in 1903. Morales formed

another Lira, and in 1910 they made several recordings with

Columbia Studios of bambucos, pasillos, danzas and waltzes.

Among the pieces recorded was what officially became the

national anthem of Colombia in 1920 (music by Orestes

Sindici) ." In 1912 when Morales Pino returned to Bogota,

48Afiez, op. cit., 54-56.

49At the end of 1898, due to a civil war in Colombia,Morales Pino decided to leave the country with a LiraColombiana integrated by -besides himself- Gregorio Silva,Carlos Wordsworthy, Blas Forero, Isaias Rodriguez, Jos6Vicente Martinez, Silvestre Cepeda, Julio Valencia andCarlos Escamilla (El Ciego), and Ricardo Acevedo Bernal asrepresentative. See Hernan Restrepo Duque, A mi cntenme unbambuco (Medellin: Autores Antioqueos, 1986), 190.

5 The Lira was formed by Pedro Morales Pino, GregorioSilva, Carlos Wordsworthy, Blas Forero, Isaias Rodriguez,Jos6 Vicente Martinez, Silvestre Cepeda, Julio Valencia andCarlos Escamilla (El Ciego). Only Morales Pino, Silva,Worsworthy, Forero, Julio Valencia and Carlos Escamilla wentto New York. Members of the Lira who performed in the

27

he formed another Lira 5 which was a major success in

Bogota and inspired the formation of other groups such as

Humberto Correal's Arpa Nacional, Escobar and Willis' duo

(1915), and Jorge Afez and Victor J. Rosales, who toured

several countries in 1917. Later, Ignacio Afanador joined

Escobar and Wills in what they called the Trio

Colombiano.52 Interest in the country's native music

declined after Pino's departure to Guatemala due to his

wife's death. He then returned to Colombia in 1921 and

formed another lira. In 1923, after touring in different

countries of South America, Morales Pino formed what was

called the Cuarteto Lira Colombiana.53 Vocal and

instrumental bambucos, pasillos and other traditional genres

by Morales and Emilio Murillo (who studied with Morales

Pino), are incorporated into the repertoire of most

contemporary performers of Colombian traditional music. The

Columbia recordings in 1910 were Fernando C6rdoba, NicolasTorres, Daniel Restrepo, Jose Maria Garc6s, Leonel Calle,and Enrique Gutierrez (Cabecitas). See Restrepo Duque, op.cit., 190, 197.

"This Lira was integrated by Jorge Afez, Jose MariaForero, Carlos Escamilla, Andres Avelino Montafiez, ManuelSalazar, Luis A. Calvo, Ignacio Afanador, Blas Forero, JosaMaria Pinto and Cerbele6n Romero. See Restrepo Duque, op.cit., 210.

52Restrepo Duque, op. cit., 211.

53The. 1921 Lira was integrated by Chaques, AlbertoContreras, Bernal, Arist6bulo Ortiz, Chipilo Forero, Salom6nMartinez, Andres Avelino montafez, Gustavo Romero andAlberto Escobar and Alejandro Wills as vocalists and the1923 Cuarteto Lira Colombiano by Ruiz, Romero and Salazar.See Restrepo Duque, op. cit., 217.

28

estudiantinas were a model for many Colombians, such as the

Uribe brothers (Luis, Daniel and Samuel from Envigado,

Antioquia), and the "Estudiantina Murillo" founded by Emilio

Murillo.

In 1898, another important figure in the history of the

bambuco joined a duo with German Benitez. Pedro Leon

Veldzquez, known as "El Pel6n Santamarta" (b. Medellin,

1867-ca.1945), composed several bambucos with Benitez and

Roberto Mesa. Among the bambucos they composed are Pasas

por el abismo (on a theme by Roberto Mesa), Ti tienes un

alma, and SUplicas. There were a total of forty recordings

of Pelon y Marin by Columbia. The last two bambucos were

recorded by the Argentines Magaldi and Noda, and others were

recorded in Mexico and Buenos Aires. El Pel6n Santamarta

exercised a significant influence in Yucatan, Mexico. At

the beginning of 1907, the duo Pelon and Marin performed in

Panama, Cuba, and Maxico. Pel6n also brought traditional

music of Mexico which was incorporated into the Colombian

repertoire.54 Another figure is Jorge Molina Cano (b.

Medellin, 1889) whose music became very popular in the 1920s

after performing bambucos in the United States with Agustin

Nieto. Among his best known songs are Las acacias and Dolor

sin nombre. 5 5

A trio integrated by Francisco, Gonzalo and Hctor

54Restrepo Duque, op. cit., 88-89.

55Restrepo Duque, op. cit., 193.

29

Hernandez formed what was called Arpa del Ruiz in 1921.

They toured Central America, Santo Domingo, Haiti, Cuba,

Mexico, New York, Europe, Chile, Argentina and Brazil. They

also made several recordings for Victor and provided the

music for several Mexican movies such as La Liga de las

canciones and La viuda alegre, as well as recordings in La

Habana. A group formed by Jorge Afiez (b. Bogota, 1892-1952)

and the Panamanian Alcides Briceio, The South American

Trobadours, began a successful career performing and making

recordings of the newest music of Colombia as well as

pasillos from Ecuador from 1924 to 1933, and Mexican

corridos towards the end of 1 9 2 5 .56

The Texts.

The texts for older bambucos were of high literary

quality, usually selected from works by noted poets. 57 In

1851 appears the first poem on the bambuco by the noted

Colombian poet Rafael Pombo (b. Bogota 1833-1912)58


sAmong the poets whose poems were selected forbambucos are Juan Ram6n Jimenez (1881-1958), Rafael Pombo(1833-1912), Antonio Machado (1875-1939), Salvador DiazMir6n (1853-1928), Manuel Gutierrez Njera (1859-1895), Juande Dios Peza (1852-1910), Ruben Dario (1867-1916), JoseEustasio Rivera (1889-1928), Leopoldo Lugones (1874-1938)and others. See Abadia Morales, op. cit., 156.

58Pombo, also a music critic, was the librettist for twooperas produced in Bogota in the nineteenth century with musicby Jos6 Maria Ponce de Leon (1846-1882), Ester and Florinda.Ester was premiered on July 2, 1874, and Florinda waspremiered May 13, 1880, at the home of its composer.President Rafael Nuez attended this event. In the same year,November 22, the opera was performed in Bogota with Emilia

30

under the title Desengafame, other poems by Pornbo on the

bambuco include El barbuco (1872), Me voy (1851), El dl timo

instance (1854), Bambucos nacionales (1874), and Bambucos

patridticos (1870), from which the Italian Orestes Sindici

(1837-1904) composed the music for the national anthem of

Colombia (1887) (for example 6) .

Example 6. Himno Nacional de

.4p 404P.0 PO

* ~ . t kmj~.62

""'r ab ....... 3...

Colombia (Text by Rafael Porabo)

. t' : T!3 j " p "+r .ter . ++ - 5*j

W= T!

Benic as Florinda, Comoletti as Julian and Epifanio Garay asRuben. This opera is based on the legend of la Cava and DonRodrigo. See Restrepo Duque, op. cit ., 109. Ponce de Leonstudied in Paris with Gounod and Thomas at the ParisConservatory (1867-1871). Many of his works were based onColombian dances such as bambucos, pasillos, and torbellinos.Among the works that show nativistic influence are hisSinfonia sobre temas colombianos (1881), Mi triste suerte andLa copa de champana. Other compositions include Salve; Misade Requiem (1880), the cantata La voz hurnana, Misa de Gloria,zarzuelas and several motets.

"Davidson, op. cit ., 314.

31

The most famous version of El bambuco was published in

New York in 1872 (see Appendix B). However, a less-known

version of the same poem appeared in the Colombian newspaper

El Tiempo, on February 24 of 1857 (see Appendix B) .6 In

1853 the poet Juan Francisco Ortiz wrote La bandola, a poem

that pays homage to the bambuco, which was published in El

Pasatiempo of Bogota (see Appendix B). Among the most

important letristas bambuqueros were Victor Martinez Rivas

and Carlos Villafaie. 6 "

Twentieth-Century Vocal Performers of Traditional Bambucos.

The bambuco continues to live among the people of

Colombia. There are many ensembles, " competitions and

festivals of bambucos. 63 In 1960 a festival called

Festival del Bambuco in the city of Neiva took place and

0Pombo's output includes love poems such as Noches dediciembre, mystic sonnets such as De noche and blasphemouspoems such as Hora de tinieblas. In his decimas La vida essuefo, Pombo's style resembles that of Calder6n de la Barca.See Andres Holguin, "Literatura y pensamiento. 1886-1930,"Nueva Historia de Colombia 6 (Bogota: Editorial Planeta,1989), 15-17.

61Among the Latin Americans whose poetry was selectedfor bambucos are Carlos Saenz Echeverria, Climaco SotoBorda, Diego Uribe from Bogota and Libardo Parra Toro, PabloRestrepo Lopez, Roberto Munoz Londono and Augusto DuqueBernal from Antioquia. See Restrepo Duque, op. cit., 251.

"Noted vocal duos were those of Obdulio and Julian,Camilo Garcia and Ram6n Carrasquilla (the famous Dueto deantaio), and Pel6n and Marin.

b3Among today's singers of bambucos are Luis CarlosGarcia, Carlos Julio Ramirez, Proto Ramirez, Ernesto SalcedoOspina, and Luis Duefas.

32

still continues under the name of Jorge Villamil Cordovds.

Other festivals are Ginebra in Valle del Cauca and the

Festival Mono Nunez. Although bambucos are from the

interior of Colombia, vocal performers of bambucos there are

also important figures from the coastal region."

One of the most important figures associated with the

bambuco in the twentieth century is Oriol Rangel (1916-1977)

who was born in Pamplona (Norte de Santander). Oriol Rangel

was a well-known performer and composer of Colombian

traditional music. In 1935, he founded the Orquesta Palace,

and formed the group Los trees mosqueteros de la Radio whose

other members-besides himself- were Antonio Duefias and

Gabriel Uribe. GS

Other twentieth-century composers of traditional

bambucos are Rodrigo Alvarez and his brother Leonardo, who

used texts by the Colombian poets Leon de Greiff (1895-

1976); Porfirio Barba Jacob (1883-1942), and the Peruvian

4Sarita Herrera, Zoilita Suarez, Alejandro Jiraldo, LuisCarlos Mayer, Ladislao Oroz and Federico Jimeno among others,are noted vocalists of the bambuco. See Federico MontoyaMejia, "El bambuco: un aire criollo con influencia hispana,"El colombiano, dominical (Sunday, January 13, 1991), 8-9.

SsWith Jos6 Ignacio Perdomo Escobar and others, he alsocontributed to the investigation of Bogota's CathedralArchive. Among the bambucos that are preserved at the Fondo"Oriol Rangel " of the Instituto Colombiano de Cultura (Centrode Documentaci 6n Musical), are Adita, Bambuco, Belchi t e,Cafetal de mis amores, La cantaleta, No llores, Los ojos de mimorena, and Presentimiento. See Octavio Marulanda Morales,"Homenaje a Oriol Rangel, 1919-1977)," Lecturas de MdisicaColombiana 1 (Bogota: Instituto de Cultura y Turismo), 87-103.

33

Cesar Vallejo (1892-1938), all nephews of the noted

Colombian novelist Efe G6mez. Other important figures from

Antioquia in the mid-century include Luis Uribe Bueno (b.

1916, see interviews July 30 and August 14, 1992), Leon

Cardona (b. 1927, see interviews July 27 and August 14,

1992), Camilo Garcia, Jos6 A. Morales (1914-1978), who

became the most important composer of bambucos in the 1950s,

and Jorge Villamil." Among the performers who

incorporated their works into their repertoires are the trio

"Los Hermanos Hernandez," the duos "Garz6n y Collazos,"

"Silva y Villaba, " "Obdulio y Julian, " "Espinosa y Bedoya, "

the organist Jaime Llano Gonzalez, the guitarist Gentil

Montana, and the tiplista David Puerta.

Rhythmic renditions

Rhythmic renditions are as controversial as the

theories on the origin of the term bambuco. The rhythmic

complexity of the bambuco, when transferred from the oral to

the written tradition, led to different metric

interpretations. Some scholars have favored the simple

triple meter (3/4), Santos Cifuentes suggested a 5/8 meter,

and others have suggested a 3/4 - 6/8 meter or 5/8, 6/8 and

even 7/8.67 Guillermo Uribe Holguin, Lubin E. Mazuera M.,

"Restrepo Duque, op. cit., 253.

67The triple simple meter (3/4) has been favored byJuan C. Osorio, Jorge Afiez, Emirto de Lima, and NarcisoGaray (San Ciro). Instead, Antonio Maria Pefialoza, LuisL6pez de Mesa, Gabriel Escobar Casas, Andres Pardo Tovar,

34

and Luis Antonio Escobar feel that a combination of binary

and ternary meter is necessary.) Daniel Zamudio suggested

a 5/8 - 6/8 combination by saying that the melodic rhythm of

the bambuco is a ternary-binary combination in a measure of

five beats (eighth notes). His theory was later accepted

by Andres Pardo Tovar, one of Colombia's most noted

historians.1

The popular music composer Luis Uribe Bueno (see

interview) suggests that, in order to understand the

controversies over how the bambuco should be notated, it is

essential to go back to the first attempts to capture

bambucos in musical notation. Uribe Bueno claims that those

composers who first tried to stylized the bambuco did it in

a superficial manner and did not notice the natural accents

that fit into a duple compound meter (6/8). These composers

were already familiar with the simple triple meter (3/4)

used in the pasillo, guabina, torbelilino, galer6n, bunde,

and joropo and did not realize that the bambuco followed a

different accentuation. The choice of a simple triple meter

(3/4) (which Uribe Bueno rejects), would cause debates among

composers, performers and critics in Colombia. In colombia,

Bambucos are performed even when written in simple triple

Eugenio Teldsforo D'Alemin, and Gabriel Escobar Casas havefavored the metric rendition in duple compound (6/8).

68Davidson, op. cit., 88-89.

"Davidson, op. cit., 90.

35

meter (3/4) because these performers are not actually

following the scores but they already know how it is

supposed to sound, and what they project is the oral

tradition with which they are familiarized. The problem

arises when others attempt to play them following only the

notation, unaware of traditional performance practice.

Interviews with Luis Uribe Bueno, July 30

and August 14, 1992

Uribe Bueno: A bambuco shouldalways be written in a duplecompound meter (6/8). Since 1800,all bamrbucos were conceived in 6/8.What happened then? Morales Pinowrote his barnbuco Cuatro preguntasin 3/4 and that is what caused allthis confusion.

Q-Are you saying that bainbucos wereperformed in 6/8 before Cuatropreguntas?

Uribe Bueno: Of course, even theGuaneia (see example 7) from theindependence period was performedin 6/8. Historians say that theGuaneia was the first bambuco everperformed.

36

Example 7. Guanefla

- y - -que e qe n

Al-1 -:(Tioepo do ambuco) _ O__

Guay quo__ _ ] -11E _SE

- /2 __4

V, P.

me - U= - 10 l - a I

Uribe Bueno: If. someone gives me a goodreason for the 3/4 notation, I wouldaccept it, but this way we are justdestroying the bambuco. That is why abambuco cannot reach other countries.The strumming in a 3/4 bambuco sounds .G

(tg t t) . In 6/8 the strummingsounds the same way but shifted (one canomit the first eight note).

Q-Would the fact that a guabina, pasilloand waltz were written in 3/4 influencecomposers to write the bambuco in atriple simple meter?

Uribe Bueno: Yes, there was a lack ofresearch and everybody assumed that allColombian popular music had to bewritten in 3/4.

Q-Do you agree with Elkin Parez when hesays that a waltz, pasillo or guabinacan be transformed into a bambuco bydisplacing the melody one half beat?

Uribe Bueno: Yes, all of them can have

d u 1 uu__u4Ei

i

37

the same melody but different strumming.

Q-Does the end of a bambuco have aspecial characteristic?

Uribe Bueno: A el is more common when abambuco is performed by a band.The currulao from the Pacific region isan authentic bambuco. If you leave thepercussion instruments such as the guasd(see figure 6), the conunos (see figure7) and the marimbas out, and add a tipleinstead, one will get a bambuco. Acurrulao is originally written in 6/8,and even people from the Pacific callthe currulao, a bambuco viejo (oldbambuco). If indeed a bambuco viejo didexist, it is very posible that it cameto the Andean region from the Pacific.

Figure 6. Guas&70

70Abadia Morales, Instrumentos Musicales, Folklore Colombiano

(Bogota: Talleres Graficos Banco Popular Bogota, 1991), 132.

38

Figure 7. Conunco7

i r

E / '1l

CI n mach

~tft

COflIflM( iItrzg r

7Abadia Morales, op. cit., 77.

39

There are four different possibilitiesfor the bass of an instrumental bambuco(see example 8).

Example 8. Different bass lines for an instrumental bambuco(from the interview).

3. v

'I ill 7J71J-1- 6'11.7 4U~LNz *, 6 *114-1 A,& grog--

40

Interviews with Leon Cardona, July 27

and August 14, 1992

Leon Cardona: Many have said that it wasMorales Pino the first who notated abambuco in 3/4. It must have been amistake since it moves the harmonicresolution to the second half of themeasure instead of the first beat.

Q-What meter do you use for bambucos?

Leon Cardona: I prefer 6/8 currently. Itis easier to read. It is more difficultto perform a bambuco written in 3/4although many groups play them, it isbecause they know the music and theyknow how it is supposed to sound.

Q-Do you agree with Elkin Prez who saysthat the waltz, pasillo or guabinamelody can be transformed into a bambucoby displacing the melody one half beat?

Le6n Cardona: The only differencebetween a bambuco and a pasillo is wherethe voice enters but the tipleaccompaniment is the same in both. AsUribe Bueno suggests, it is veryposible that - since the waltz, pasilloand guabina were written in 3/4 -composers assumed that the bambucoshared the same metric notation.A bambuco phrase has different possible

endings (see examples 9-12).

Example 9. Endings of a bambuco phrase in 3/4 and 6/8

6' - c G* C

r r

Example 10. Variants in 3/4 and 6/8

61 IdI?

0 MM

Gov

w%"

7-- AM 1 I

1 -4

Example 11. More stylized figures in 3/4 and 6/8

h t e A

Example 12. Endings f or the previous example.

41

.As i C

EG' C

]PP-71M Aw

42

A simple triple meter (3/4) rendition produces a lack

of balance between the rhythm, harmony and melody which

prevents good phrasing and expression. Moreover, a triple

simple meter (3/4) shifts the natural accents of the words,

adds an extra beat to the measure, and moves the harmonic

resolution to the second half of the measure instead of the

first beat, which brings the dominant and tonic

simultaneously.

This study supports Uribe Bueno's duple compound (6/8)

rendition, in which the extra beat disappears and the

composite rhythm of the music coincides with the prosody of

the texts. Furthermore, the bambuco is danced in two steps

per measure and not in three (like the waltz or the

pasillo), an element that also supports the 6/8 rendition72

One of the most popular traditional bambucos in the

history of the genre is Francisco Cristancho's Bochica. It

would be safe to say that all estudiantinas (ensembles)

include Bochica in their repertoire, and many arrangements

for different instruments have been made of this bambuco.

Examples 13-16 shows the triple simple (3/4) and duple

compound .(6/8) renditions of Bochica.

72Luis Uribe Bueno, "Bambuco en 3/4," Restrepo Duque,op. cit., 63-83.

43

Example 13. Bochica by Francisco Cristancho in 3/4

I __ 1 1 i t

Al f + lit A7

Lre0f A W1 a

-t-zz D n Av Wn

Example 14. Bochi ca, tiple accompaniment in 3/4.

h jh p

Example 15. Bochica in 6/8

A7 A7 r"ma AV r ll L I 11 1

A-Y p p

G vimww

44

Example 16. Bochica, tiple accompaniment in 6/8.

A simple triple meter (3/4) accompaniment juxtaposes

harmonic functions in the same measure, and brings the

harmonic resolution at the second beat of the measure, while

the duple compound meter (6/8) notation, maintains one chord

per measure. It also allows for each chord to fall on the

first beat of each measure, balancing melody, harmony and

rhythm.

In his article on the "Contribuci6n a la escritura del

bambuco colombiano," Mario G6mez Vignes shows his preference

for the use of duple compound meter (6/8) for Cristancho's

Bochica (Examples 17 and 18), and also gives Daniel

Zamudio's solution of 1944 (Example 19).

Example 17. Bochica in 3/4

Example 18. Bochi ca. Gomez Vignes' suggestednotation.

0 (4 3C 04 0

Example 19. Bochica. Daniel Zamudio's suggested notation.

"tA.2 t ' T

m AP

45

s .r

19 0 is a

I- **A (,,**I . f 0 - %* 3 (9 - - t* * * (Aob) _0 %- * of 1. 12, - g t : t LI*

Y I

V r/ 3

t ,

46

Francisco Cristancho (b. Boyaca 1905-d. 1977) was a

very important Colombian composer of popular music. In 1929,

he became a member of Morales Pino's estudiantina, a group

which performed in Spain, Central Europe, and Amsterdam. In

1937 he returned to Colombia. In Bogota, Critancho formed

two orchestras: the "Universal" and "Sud-America;" he became

the director of what he named the "Francisco Cristancho"

group and became a member of the Orquesta Sinf6nica

Nacional. In 1947, Cristancho went to Caracas, Trinidad,

Belan del Para and San Luis de Maran6n (Brazil) and in 1952

he again returned to Colombia. In 1957 he went to Boyaca to

conduct the "Banda Departamental de Tunja" for nine

years. 73 His influence persisted even after his death.

There is the "Francisco Cristancho Camargo" music academy in

Bogota directed by his son Mauricio Cristancho, the

"Camerata Cristancho" formed by teachers and students from

the academy, and the "Cristancho" foundation which sponsors

scholarships and concerts. A "Centro Cultural Cristancho"

was also established in Boyacd.74

Pedro Morales Pino is not only well-known for his liras

73Octavio Marulanda Morales, "Francisco CristanchoCamargo, un cldsico criollo," Lecturas de mdsica colombiana(Bogota: Imprenta Distrital, 1989), 339-355.

74Among Cristancho's bambucos are Ay, ay mi palomita,

Bachue, Bacats, Bajo el cielo sobre el Llano, Bochica, Cercadel rio, Charuto, Dende que jue con otro, El preciso,Guatavita, Miniatura, Pa que me mird, Ta' juert6n, Tan matandoun perro (bambuco fiestero), Tequendama, Retonos, Jos6

Morales, Mi chatica, Ay l'entran, and cucarrdn. See MarulandaMorales, op. cit., 350.

47

colombianas, but also for being the first to notate a

bambuco. This bambuco, Cuatro preguntas (text by Eduardo

L6pez) exemplifies the viability of the duple compound meter

(6/8) notation. This bambuco was the model for many

composers75 and was originally written without text until

the poet set his verses to the music. The structure of this

bambuco consists of an introduction and two octosyllablic

stanzas each of which contains a question ("pregunta").

The first stanza is a quintilla, which is repeated, and the

second a redondilla, also repeated, resulting in an AABB

form.76

a Niegas con e1 lo cue hiciste

b y mis sospechas te asombran

a I) 1st quintilla Pero si no lo quisisteb por que te pones tan triste

a cuando en tu casa lo nombran?

a Dices que no son cosas mias

b y que me estoy engatanclo

a II) 1st redondilla mas por cu le sonre as

b cuanclo te estaa mirando?

Examples 20-21 show the difference between the triple simple

meter (3/4) and the duple compound meter (6/8) notations:

75Cuatro preguntas was a model for Luis A. Calvo,Alberto Urdaneta, Alberto Castilla, Emilio Murillo andothers.

76G6mez Vignes, op. cit., 42.

48

Example 20. Cuatro preguntas in 3/4. "

V- I

s. 11.s vi!.. zp ~:i

plow J40" 'M

&low

AMOiV ,rs ' + ;litnrri !'I# $1 'T ' 4Ij. q

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a. j ff

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-~ A Ap-A. pI

49

Example 21. Cuatro preguntas in 6/8

LAAneWc CIArRO PRECU W'AS1P ,%r/es Aa.

boo I wig>K1 '

4.+

66

C-3 .- "

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50

This bambuco is in the key of E minor and both the

introduction and section A start in the tonic. The first

three bars of section A emphasize the pitch B in the voice,

while the second three bars move up a third to pitch D,

harmonized in G (the relative major key). While the first

three measures of the introduction are developed in the

first six measures of the A section, measures 9-12 of the

introduction are developed in measures 13-18 of the same

section. The fermata in section A ends on a dominant

preparation. The first four measures of the B section

modulate to G major. Section B starts in A minor,

modulating to G.

Relationship Between the Bam.buco and

Other Traditional Forms

According to Professor Elkin Perez, a waltz, pasillo or

guabina melody can be transformed into a bambuco by

displacing the melody one half beat, keeping the ictus on

the same pitch (Example 22) .78

7 8Perez, op. cit., 6-8.

51

Example 22.

Ictus

Waltz

Bambuco

!ctua

Pasillo

Bambu CO

Guabina

pFO

NOW*p ~w. 1 E 0 T

Bambuco

.;

69 '(4

v i " ;

{14.1 An

k *hem

IF a, OL di Hn

1 1-2 M MEN- r- AP AP a

fowl

I" tus

mr AD rmX" low

Ictus

Ictus9

52

Following are representative accompaniment patterns by the

tiple in a waltz, pasillo and bambuco (Example 23) .79

Notice the direction of the strumming pattern.

Example 23.

Waltz

Pasillo

Pasi11o

Bambuco

79PErez, op. cit., 10-12.

Ak I do I d& -T---dd A I I

A_-*T F

I '"A djdK

-M -nr I do%ff dIA I qfFda I An

.r

CHAPTER III

REPRESENTATIVE NINETEENTH AND

TWENTIETH-CENTURY COMPOSERS OF BAMBUCOS

Manuel Maria Parraga (ca. 1826-1895)

One of the most popular composers of nineteenth-century

salon bambucos was Manuel Maria Parraga (born in Venezuela).

Many of his works were published by Breitkopf und Hrtel in

Leipzig, among which the most famous was El Bambuco - Aires

nacionales neogranadinos, opus 14, which consists of twelve

pages of stylized variations on a theme taken from a work

for piano (four-hands) by Boada y Rueda (Example 24) .80

Parraga's Bambuco in G-sharp minor/Major (or Ab

minor/Major, see Appendix A for Pirraga's Bambuco) consists

of four sections with an introduction. The virtuosic

eleven-measure introduction in mostly dominant harmony

prepares section A in the tonic. The whole section consists

of a series of dominant-seventh chords that resolve in the

tonic except in measures 41-47, which modulates to its

relative .(B) major (see appendix A for Parraga's complete

works).

The B section is in the parallel major key, notated as

80Mario G6mez Vignes, "Contribuci6n a la escritura delbambuco colombiano," Revista Quirama (January, 1981), 33.

53

54

Ab. The first measure uses the opening idea of the

introduction with octaves on both hands, and, like the

introduction to the A section, starts on the dominant.

Again, this section presents a series of V7-I progressions

(measures 119-138) and at measure 139 - as in section A - a

change of harmony, progressing to vi. Notice the same

harmonic motion from measures 146-154, where a V7-vi

progression takes place. At measure 155 the section closes

with the same motif of the introduction and beginning of

section B. The section closes with a V-I-V7/V-V7-I-V7/V-V1

progression.

Section A' is a variation of section A (mm. 164) and

returns to the key of G-sharp minor (parallel minor). The

section ends in the tonic, without harmonic changes. The

last section (B', mm. 199) returns to Ab Major, varying

section B. The last 12 measures of this bambuco are an

extension of the opening motif of the piece, ending in a

virtuosic manner.

55

Example 24. Theme and Variations by Boada y Rueda.

sr -

-;- 7o

e *0047 X U A " "" "/v " "" er ' t ! r

f-"11/ - -"w~ M rl ri rI

.rw~r". - ~f .+... ' .' wr. R" J .I "" 11 + . "4

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- *

" -""Al li"" M "!M" rt"g 1!!!' ~w.!"l r !Y O"!!~lf ~l"!~

-+ - *"

56

A4 +-

- *l

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-I v -

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(,

57

Guillermo Uribe Holguin (1880-1971)

The most influential composer of his generation,

Guillermo Uribe Holguin (1880-1971) began his studies at the

Academia Nacional de Mdsica with Ricardo Figueroa and Santos

Cifuentes, and took private lessons with Augusto Azzali. In

1903 he moved to New York and lived there for two years,

continuing on to Paris in 1907 where he studied violin under

Armand Parent and composition with Vincent D'Indy. At his

return to Bogota in 1910, he became director of the Academia

Nacional de Musica and founded the Revista del

Conservatorio.8 ' In 1920 he founded the Sociedad de

Conciertos Sinf6nicos del Conservatorio.82 In 1941, Uribe

Holguin published his autobiography, Vida de un musico

cl olTmbiano. 83 Uribe Holguin also founded the Banda

Nacional de MUsica and the Orquesta Sinf6nica Nacional ,

today the Orquesta Sinf6nica de Colombia.8 4

It was not until 1924 that the composer began to

incorporate traditional elements of Colombian extraction

into his musical language. In 1924, he composed his

Symphony Opus 15, No. 2, Sinfonia del terrufio, in which he

81Eliana Duque, Guillermo Uribe Holguin y sus 300trozos en el sentimiento popular (Bogota: Ediciones delCentenario de Guillermo Uribe Holguin, 1980), 17.


"3Guillermo Uribe Holguin, Vida de un mdsico colombiano(Bogota: Editorial Voluntad, 1941).

84Afiez, op. cit., 300.

58

uses Colombian melodies and rhythms. Many of his songs were

inspired by texts of Colombian poets such as his Nocturno

based on a poem by the Colombian Jose Asuncion Silva (1865-

1896). His lyric tragedy Furatena and his two symphonic

poems Bochica and Ceremonia indigena are based on indigenous

mythology. Uribe Holguin used dance rhythms in the Tres

ballets criollos, in the Tres danzas Op 21: Joropo, Pasillo

y Bambuco, and in the 300 trozos en el sentimiento popular

(1927-1939) for piano. 8 5

Uribe Holguin's 300 Trozos en el sentimiento popular

(1927-1939)

One of the largest collections for piano ever conceived by a

single composer is Uribe Holguin's 300 Trozos en el

sentimiento popular written between 1927 and 1939. These

trozos are character pieces for piano in the European

nineteenth-century tradition.

In the introduction to Guillermo Uribe Holguin y sus

300 trozos en el sentimiento popular, the Colombian

musicologist Eliana Duque mentions some of the pianists

that disseminated the Trozos. Among those pianists are Luis

Bacalov, Olav Roots, Marcel Stambach, Elvira Restrepo de

Durana, Elisa Mendoza, Mireya Arboleda de Cruz, and Beatriz

Acosta. Duque also listed some recordings of the Trozos on

"sDuque, op. cit., 65.

59

magnetic tape, 8 b first made by Pilar Leiva (Trozos 1-45) in

1976, and then by Mercedes Cortes including Trozo No.

300.87 The first 20 Trozos were originally written as a

collection of 20 Bambucos para piano (1927-1928) which Uribe

Holguin included in the 100 aires populares. These Aires

populares became part of the 250 Trozos -en el sentimiento

popular, and, eventually, of the 300 Trozos. As Duque

indicates, the only differences between the 20 Bambucos and

the first 20 Trozos are some changes in tempo and

dynamics.88 (See appendix A

for Uribe Holguin's complete works).

Trozos Nos. 6 and 158

Although written seven years before Trozo No. 158,

Trozo No. 6 (1927) is harmonically richer. Trozo No. 6 is

in the key of A major. The first motive in measure 1 and its

anacrusis integrate the piece. It is presented in A major

and at measure 5 it appears in the dominant key (E). The

chromatic note F-natural in measure 11 reappears as E-sharp

in measure 24, functioning as leading tone to F-sharp minor

later. At measure 12 the motive appears in the tonic, A

"A thin plastic ribbon coated with a suspension offerromagnetic iron oxide particles, used as a storage mediumfor magnetic recording. See Noah Webster, "Magnetic Tape,"Webster's New Universal Unabridged Dictionary, 2nd. ed. (NewYork: Simon & Schuster, 1983), 1084.

87Duque, op. cit., 6.

88Duque, op. cit., 32.

60

major. At this point, the trozo is moving to the relative

minor. Measure 22 presents the motive in A major and at

measure 26 it modulates to G-sharp minor. At measure 30-31,

the A-natural and the E-sharp indicate that the piece is

going to modulate to F-sharp minor. At measure 36 the

unifying motif appears in the dominant key (E major).

Measure 45 modulates to A minor (chromatic notes G, F, and

C-natural). In measure 59 the motif appears as in measure

1, in the tonic (A major).

The harmonic outline of trozo No. 6 can be summarized

as follows: it starts in A major and moves to F-sharp minor,

interrupted by G-sharp minor. F-sharp minor turns into A

minor, hints at C major, then fluctuates between A minor and

A major toward the end of the piece. Another feature of

this piece is the use of additional tones in the second and

seventh chords in third inversion (Example 25).

Example 25. Trozo No. 6 by Guillermo Uribe Holguin (1927)

a & t w IL-IF m FWOld t-F -

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63

Trozo 158

Trozo 158 is in the key of F major and consists of

three section. The harmonic progressions are simpler in

this trozo than in trozo No. 6. Except for a few instances,

most of the appoggiaturas are followed by a dominant chord.

There is also the use of dominant ninth chords as well as

secondary chords and many dynamic changes. A contrasting B

section starts at measure 28 in B-flat minor and ends in the

same key. Section C returns to F major at measure 46.

After the fermata at measure 58 the A section comes back in

the tonic (Example 26) .

Example 26. Trozo No. 158 by Guillermo Uribe Holguin (1934)

oil I JA

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all*

F. pi

IMIA l-9

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64

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67

Antonio Maria Valencia (1902-1952)

After studying piano with Honorio Alarcon, Antonio

Maria Valencia entered the Paris Schola Cantorum in 1923,

where he studied composition with Vincent D'Indy, piano with

Paul Braud, counterpoint with Paul Le Flem, harmony and

conducting with Louis de Saint-Riquier, chamber music with

Gabriel Pierne, and orchestration with Manuel de Falla. In

1932 he wrote his Breves apuntes sobre la educacidn en

Colombia and, in 1933, he founded the Conservatorio de Cali.

Valencia's trio Emociones caucanas (1938) for violin, piano,

and cello; his Sonatina boyacense (1935); the Coplas

populares colombianas (1935); and his five Canciones

indigenas for mixed chorus (1935) are considered the

strongest expressions of his nativistic style. Valencia

also wrote several sonatas for violin and piano, vocal works

such as his Misa de Requiem, and orchestral works.

In his Chirimia y bambuco sotarefo (1930, dedicated to

Josa Rozo Contreras), Valencia defined the basic rhythm of

the bambuco as a combination of binary and ternary divisions

but duple compound meter (6/8) prevails with an occasional

change from 5/8 to 6/8 at cadences.90 The melody of the

bambuco was originally by Francisco Diago (1867-1945) under

the title El sotareo (see example 27).

9Behague, op. cit., 162-163.

90B6hague, Ibid.

68

Example 27. El sotarefio by Francisco Diago

I AM.

w --1 w AM ~

fm !1-40 10

'S 44

69

;f F I.

.1 "w

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70

In his bambuco, Valencia used changes of meter repeatedly

which indicates that the composer might have noticed a

problem with the 3/4 notation and tried to provide a

solution. Although the melody of this bambuco remains like

the original, the complexity and richness of its harmony and

rhythm make this work a good example of how a composer can

incorporate elements from a traditional dance into an art

music composition (see Example 28). It is interesting to

mention that Diago did not like Valencia's version of his

bambuco, as he told the composer in a recital (1930), when

the composer performed the piece." In 1942, Valencia

transcribed his Chirimia y bambuco for orchestra.

"Francisco Diago told Valencia: "Antonio Maria, te tiraste mibambuco."

71

Example 28. Bambuco from Chirimia y bambuco by Antonio MariaValencia (1930).

S- m a-

.I t1 -

bion mcafcado t rir-io -

________m______

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72

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75

Adolfo Mejia (1905-1970)

Adolfo Mejia (1905-1970) initiated his studies with

Juan de Sanctis in Cartagena and continued at the

Conservatorio Nacional de Mdsica in Bogota with Gustavo

Escobar Larrazibal, Jesus Bermudez Silva, and Andres Pardo

Tovar. In 1930, Mejia went to New York where he formed the

group Trio Albeniz with the Argentine Terig Tucci and the

Spaniard Antonio Frances. In 1938, he continued his studies

in Paris with Henry Koechlin in Ville-Sur Mer. Mejia

stylized popular Colombian rhythms, such as the bambuco,

torbellino, and cumbia.92 Among works that show nativistic

influence are Bambuco en si menor; El burrito; Preludio and

Pincho for piano; Pequefia suite for orchestra (1938),

awarded the Premio Ezequiel Bernal; Concierto para piano

sobre ritmos colombianos; and Pincho." One of the most

famous works by Mejia is his Bambuco en si menor which, like

a traditional bambuco, consists of two parts (one in a minor

key, and the other in a major key). Section A is in the key

of B minor and in section B, it moves to its relative Major

(D). This bambuco has become one of the most well-known art

music pieces based on a popular dance. It conveys both the

melancholic and joyful mood of a typical bambuco and

retains its structural and harmonic simplicity (Example


"Afez, op. cit., 301.

76

29) .

Example 29. Babuco en si menor by Adolfo Mejia ( 1905-1970)

CENI ;VCOLOMOIO o amL uC em Ysineno rD3ZU&L.a+TAVIflNMuSICAt Q L*~ i U (120 L. . o k .'

4--

Y r~ ' _ _ _,-fr-.

OW

9 4 ther art music composers who wrote bambucos includeAndr6s Martinez Montoya (1869-1933), Santos Cifuentes (1870-1932), Jesds Bermddez Silva (1884-1969), and Jos6 RozoContreras (1894-1976) among others.

T s-1>T' i7 7n

41 M.

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77

T I,

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r-vo ftmk.._

CHAPTER IV

CONCLUSIONS

During the period of Colombian Independence, liberal

ideas from Europe influenced many scholars in what was

then Nueva Granada. During this period (early nineteenth

century), waltzes, contradanzas, bambucos, minutes and

other popular dances of the time were played at battles

and festivities. After Nueva Granada won its independence

(1810), composers such as Antonio de Velasco (d. 1859),

and Enrique Price (1819-1863) were writing works that

included elements from the Colombian popular repertoire.

Nineteenth-century character pieces for piano such as

Chopin's mazurkas and polonaises that incorporated

elements from Polish music, or Liszt's use of Hungarian

themes had an influence on many Colombian composers such

as Jos6 Maria Ponce de Leon. Among the most popular

Colombian dances of the nineteenth and twentieth centuries

are the Colombian waltz, the pasillo lento, the pasillo

fiestero, the torbellino, the bunde, the guabina, the

galer6n, and the bambuco. Like Antonio de Velasco,

Enrique Price, Jos6 Maria Ponce de Le6n, Manuel Maria

Parraga, Guillermo Uribe Holguin, Antonio Maria Valencia,

and Adolfo Mejia, many nineteenth and twentieth-century

composers were, and still are incorporating elements

79

80

from the bambuco and other popular genres into salon pieces

and chamber works.

Disputes concerning the origin of the term bambuco

persist among scholars in Colombia, as well as controversies

regarding the process of notating the traditional bambuco

(3/4 or 6/8), when it penetrated the written tradition of

popular music. Composers writing popular and salon bambucos

increasingly perceived the advantage of notating it in 6/8.

Luis Uribe Bueno, the famous composer of bambucos and other

popular genres, continues to speak for the use of 6/8,

indicating the lack of balance between rhythm, harmony, and

melody that a barbuco written in a triple simple meter (3/4)

can create.

The traditional and popular bambuco, as stated in

chapter two, continues to live among the poeple in Colombia.

The Jorge Villarnil Cordoves festival in Neiva, the Ginebra

festival in Valle del Cauca and the Festival Mono Ndifez are

among the festivals and competitions that have helped

maintain the enthusiasm among younger composers to continue

writing Colombian popular music.

A P P E N D I X A

LIST OF WORKS

Manuel Maria Pirraga: works published in Leipzig

Piano

La sultana (nocturno de concierto)

El tiple (torbellino, Op. 2).

Le Ruiseau (valse brillante, Op. 3).

Fantasia brillante.

Le Depart (nocturno sentimental).

Sofia (polka brillante).

Minerva (valse)

La novia (polka mazurca).

Edda (polka).

Virginia (polka).

Matilde (polka).

La solitude.

Ines (polka mazurca).

El bambuco.

Los candidatos, dedicated to Manuel Murillo Toro,Mariano Ospina and General TomasCipriano de Mosquera.

Divulgaci6n.

Onda fugaz.

Intimo (pasillo).

81

82

Una vez (pasillo).

Reflelos (pasillo).

Confidencias (pasillo).

Mar y cielo (waltz).

Voces de la selva (waltz) .

Los lunares (waltz).

Works for orchestra:

Fantasia sobre dos temas nacionales.

Suite patria.Brisas de los Andes (intermezzo).

83

El barnbuco by Manuel Maria Parraga

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92

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93

Guillermo Uribe HolguinList of Works"5

Theater

C)p. 76, Furatena (Libretto by Uribe Holguin)

Symphonic works

Op. 11, Symphony No. 1 in F minor

1924 Op. 15, Symphony No. 2, del terrufo(Awarded first place in a nationalcontest)

Op. 21, Tres Danzas:1. Joropo2. Pasillo3. Bambuco

Op. 26, Dos marches:1. Fdnebre2. Festiva

Op. 29, Serenata

Op. 33, Cantares

Op. 34, Carnavalesca

Op. 40, No. 1, Balo su ventana

Improvisaci6n

Op. 43, Suite tipica:1. Vieja historia2. Jaleo sabanero3. Voces de fuera4. En marcha

Op. 73, Bochica, Symphonic poem

Op. 78, Tres ballets criollos

C)p. 83, Sinfonietta campesina for smallorchestra and piano

Op. 88, Ceremonia indIgena

95Patronato Colombiano de Artes y Ciencias. A Completecatalogue of Uribe Holguin's Works.

94

1. Hirnno a Zud2. Danza ritual

Op. 91, Symphony No. 3Sostenuto - Allegro con motoAllegretto giocosoAndante tranquilloAllegro con brio

Op. 97, Coreolano, symphonic poem

Op. 98, Symphony No. 4Molto AllegroAllegrettoAdagioAllegro moderato

Op. 100,

Op.. 101,

Op. 102,

Op.. 103,

Symphony No. 5Allegro animatoVivo giocosoAndante cantabileAllegro brioso

Symphony No. 6.Andante sostenuto - Allegro appassionatoAllegretto graziosoAndante espressivoAllegro animato

Symphony No. 7Allegro comodoVivace assaiAdagioAllegro animato

Symphony No. 8Andante quasi adagio - Allegro assaiMolto allegroAndante sostenutoAllegro animato

Op. 104, String Concerto

Op. 108, Conquistadores, symphonic poem

Op. 110, Symphony No. 9Allegro moderatoMolto vivaceAndante espressivoAllegro animato

Op. 112, Symphony No. 10

95

Allegro moderatoVivo ed animatoAndante quasi adagioAllegro mosso

Op. 115, Tres bocetos sinf6nicos

Op. 117, Symphony No. 11Allegro con brioAllegro assaiTranquillo quasi adagioEnergico e con moto

Symphonic Works with Soloist

Op. 18, Marcha triunfal for tenor andorchestra (Text by Ruben Dario)

Op. 23, Two songs for soprano and orchestra1. Pregunta a las estrellas2. Llegaron en tardes serenas de estio(Text by Adolfo Becquer)

Op. 27, No. 1, Primer nocturno for tenorand orchestra (Text by Asunci6n Silva)

Op. 37, Villanesca for piano and orchestra

Op. 42, Himno for tenor, chorus and orchestra(Text by Guillermo Valencia)

Op. 61, Concierto a la manera antiqua for pianoand orchestra

Op. 64, Violin Concerto No. 1Op. 79, Violin Concerto No. 2

Op.. 99, Clavichord Concerto

Op. 106, Homenaje a Bolivar for voice soloist,Chorus and orchestra

Op. 109, Viola Concerto

Chamber music

Op. 7, Sonata for violin and piano No. 1"

Op. 8, Quartet for piano, violin, viola

"Published in Paris: Bowens van der Boijenet Cie., 1910.

96

and cello No. 1

Op. 12, String Quartet No. 1

Op. 13, Suite for violin and piano No. 11. Preludio2. Valse3. Rigaudon4. Siciliano5. Tarantella

Op. 16, Sonata for violin and piano No. 2


Op. 24, Sonata for viola and piano


Op. 30, Dos trozos para violoncelo y piano1. Pagina de album2. Scherzo

Op. 31, Quintet for piano, two violins, violaand cello


Op. 40, Canto her6ico No. 2 for cello and piano


Op. 60, Suite for violin and piano No. 21. Preludio2. Fuguetta3. Danza

Op. 62, Sonata for cello and piano


Op. 66, Quintet for piano, two violins,viola and cello No. 2

Op. 74, Trio for piano, violin and cello




97

Op. 89, Divertimento for flute, harp, hornand string quartet




Op. 94, Suite for flute, horn, harpviolin and cello

Op. 95, Trio for violin, viola and cello

Op. 96, Pequena suite for flute, violinand viola

Op. 105, Trio for violin, viola and cello

Op. 111, Trio for piano, violin and cello No. 2

Op. 113, Toccata for flute, clarinet, bassoon,two horns and piano

Op. 114, String Quartet No. 9Op. 116, String Quartet No. 10

Secualar Choral Works

Op. 72, Dos canciones for mixed chorus a capella1. Canci6n de paz2. Dia de la siembra(Text by Vicente Medina)

Op. 107, El renacualo y revista for mixed chorus(Text by Rafael Pombo)

Sacred Choral Works

Op. 2, No. 1, Ave verum for two female voicesand organ

No. 2, Ancien Noel for two female voicesand organ

Op. 5, Victimae Paschali for soprano, chorus andorchestra

Op. 14, No. 1, Te Deum for tenor, chorus andorchestra

No. 2, Tantum Ergo for chorus and orchestra

Op. 17, Requiem for soloists, chorus andorchestra.

98

Op. 65, Improperia for baritone, chorus andorchestra.

Qp. 82, Misa for a capella chorus of children and men.

Incidental Music

Op. 77, Prometeo

Op. 84, Anarkos (Text by Guillermo Valencia)

Piano Works' 7

Op. 3, Seis trozos (six trozos)1. Chanson2. De retour3. Nuit4. Caprice5. Maladie6. Scherzo

Op. 6, Suite Paroles Cachees Lost

1915 Op. 10, Preludio "A mi Lucia" Bogota: PatronatoColombiano de Artes y Ciencias, 1978.

Op. 11, Nocturno

Op. 20, No. 1, Preludio No. 2 in D majorNo. 2, Preludio No. 3 in E major

1927 Op. 22, 300 Trozos en el sentimiento popularNos. 1-6 (also "20 Bambucos")

1928 Op. 28, Impresiones (Dedicated to ArmandoPalacios)

1. Fatalidad2. Frivolidad3. Meditacion4. Pequefla anecdota5. Festejos6. Crepuscular7. Retozos8. Cavilaciones9. Resolucion

97All of his Trozos were published by the Patronato Colombianode Artes y Ciencias (Bogota, 1992)

99

1936 Impresiones (revised)1. Fatalidad2. Mariposa3. Meditaci6n4. Pequea anecdota5. Festejos6. Crepuscular7. Retozos8. Resoluci6n

1928 Op. 32, 300 Trozos en el sentimiento popularNos. 7-27 (also "20 Bambucos")

1929 Op. 35, 300 Trozos en elNos. 28-55

1930 Op. 38, 300 Trozos en elNos. 56-100 (also "Aires

1932 Op. 41,Nos. 10

Op. 46,

1935 Op. 47,

1933 Op. 48,

19331933

1933 Op.

sentimiento popular

sentimiento popularpopulares")

300 Trozos en el sentimiento popular1-109

No. 1, Bailarinas (Dedicated toMarcel Stambach)

300 Trozos en el sentimiento popularNos. 110-146

No.No.No.No.

49, No.No.No.

1934 Op. 50, 300Nos. 147-16

1,2,3,4,

1,2,3,

Preludio in E majorLeccionPreludioMovido

Preludio in G major New York: New MusicPreludio in D minorPreludio in B major

Trozos en el sentimiento nonular

Op. 51, No. 1, Dia de difuntos

1935 Op. 52, 300Nos. 166-183

Trozos en el sentimiento popular

1936 Op. 53, No. 1, Preludio in C major1937 No. 2, Preludio in D major

Op. 54, Suite1. Scherzino2. Romintica3. Brisas y vientos

fl r ll r \ 1/I

0

- .. r - rr ". .rr. a r r .a. v a a %.o ~/ \..f %-4 A. Sd4 +LIr 1 111 1 1 lll irq llwV

100

4. Marquesitos5. Toccata6. Burgueses7. Por los montes

1936 Op. 55, 300 Trozos en el sentimiento popularNos. 184-209

1936 Op. 56, No. 1, Preludio in D minor New York: New Music1933 No. 2, Preludio in C major

No. 3, Preludio in D-flat major1938 No. 4, Preludio

1937 Op. 57, Sonatina (revised 1955)


1938 Op. 67, No. 1, Doce variaciones sobre un temaa la clAsica

No. 2, Prelude in F majorNo. 3, Prelude .in E major



1938 Op. 71, 300 Trozos en el sentimiento popularto Nos. 276-300

1939

1947 Op. 81, No. 1, Pasillo "Montafis"1947 No. 2, Bambuco "Rondino"

No. 3, Bambuco1947 No. 4, Fantasia folkl6rica for two pianos

Op 85, No. 2, Pasillo v Bambuco

Works for Voice and Piano

Op. 1, Six songs1. Romance (Victor Hugo)2. Chanson d'automne (Paul Verlaine)3. Never more (Paul Verlaine)4. Romance (Charles Baudelaire)5. A une (Alfredo de Bengochea)6. In my love's voice (F. H. Martens)

101

Op. 4, Six songs1. Jeunesse (Condesa de Noulles)2. La lettre (Henri Barbusse)3. Cette fille (Ballades au hameau) (P. Fort)4. Menuet (Fernand Gregh)5. Le silence de l'eau (Fernand Gregh)6. Je parerais trees bras... (G. Kahn)

Op. 9, Two songs1. Il passa (Helene Vacaresco)2. Odelette (Henri de Regnier)

Op. 27, No. 2, Segundo nocturno for tenor and piano(Jos6 Asuncion Silva)

Op. 36, Six songs (Vicente Medina)1. Arrullo2. La cantinela del-pastorcito3. La cantinela del segador4. Qu6 dirdn5. Toico6. Cansera

Op. 44, Las garzas (Emilio Oribe) Boletin Latino-americano de mdsica, suplemento, Vol. IV,No. 4, (Oct. 1967)

1933 Op. 45, Quince canciones (text by Rafael Pombo)1. Arrullo2. El nifo y la mariposa3. La pobre viejecita4. Las flores5. Juan Matachin6. Juan Chunguero7. El gato bandido8. Sim6n el bobito9. Tu beso

10. Al despedirme11. Te quiero12. Pesadilla13. Cuando yo duerma14. Bambuco15. El coche

Op. 46, No. 2, 16 rimas (Le6n de Greiff)

Op. 69, Four songs1. El piclaflor (Rafael Machado)2. Tristeza (J. M. Mejla)3. Coplas antioquefias (v. A. Montoya)4. Dos Canciones (Julio Florez)

102

Op. 80, Hay un instante en el crepdsculo9 son a poem by Guillermo Valencia (Awarded firstprize by the Radiodifusora Nacional de Colombiain 1947).

Op. 81, No. 3, Canci~n del Bcga (Candelario Obeso)

Op. 85, No. 1, Amor de ti (Jaime Tello)

Guitar Works

Op. 80, Pequea suite

9 8Revista de las Indias, Vol, 32 No. 100 (1947).

103

Antonio Maria Valencia: List of works.)

1919 Canci6n de mayo for tenor, baritone and piano (Text byRicardo Nieto).

Desolaci6n, danza for voice and piano (Text by AndresVillarraga).

1921 Arrurrd for voice and piano (Text by Jos6 EustasioRivera).

1924 0 vos omnes, motet (Paris, April 22), dedicated toLouis de Saint-Requier.

1925 Ai--je fait un rave? (Paris, January 3).Est-il-mort?, on a poem by Francis Carco (Paris,September 4).

1926 Duo en forma de sonata, for piano and violin (April14), dedicated to Jean Collon.

1927 Ritmos y cantos suramericanos Nos. 5 and 8 (Januaryand March).

1930 BerceuseChirimia y bambuco (Popaydn, January 20).

1931 Tres dias hace cque Nina, on a poem by Otto de Greiff,(September 16) .Iremos a los astros, on a poem by Otto de Greiff,(September 21).

1932 La luna sobre el aqua de los lagos, on a poem by Ottode Greiff, (August 11).Tarde maravillosa, on a poem by Otto de Greiff,(October 14).

1933 Ave Maria: sopranos, altos and tenors (March 20).Domine, salvam fac republican, mixed choir, and organ(June 21).Bambuco del tiempo del ruido, on a popular theme fromthe Colonial period (Cali).

1934 Invocaci6n a Santa Luisa de Marillac, mixed choir acapella, with piano interludes, (November 23).Coplas populares colombianas, a capella.

1935 Canciones indigenas para coro a cuatro voces mixtas:

"Pardo Tovar, op. cit., 260-271. A complete catalogueof Valencia's works appears in Mario Gomez Vignes' Imagen yobra de Antonio Maria Valencia published in 1991.

104

I. Hudcuno (Perd').II. Mawari (Perud).III. Kunanti-tutava (Peril).IV. Soy peregrino (Cuenca, Ecuador).V. Pastoral (Bolivia).Sonatina Boyasense (Cali).Eclocga incdica: flute, oboe, clarinett, bassoon (Cali,November 4).Canci6n de cuna: violin and piano (Buga, November 20).Emociones caucanas: piano, violin, cello.Amanecer en la sierraPasilloInterrogante (Lento expresivo).Final

1936 Madrigal ingenuo (Cali, August 5), dedicated toGracielaArango Restrepo.

1937 Credo dramatico for mixed voices and organ.Misa breve de Santa Cecilia: four voces a capella.Canci6n del boga ausente for a vocal quartet, mixedchoir a capella and maracas, (Bogota, March 20).

1941 Instrumentation's of Debussy's Petite suite (Cali,June 16).Arrangaments for choirs, organ and orchestra of C6sarFranck's Misa solemne.Reorchestration of Faur6's Requiem.Orchestration of Ismael Posada's Scherzo Torbellino.

1942 Chirimia y bambuco sotareio for orchestra, dedicatedto his friend Jose Rozo Contreras.

1943 Misa de requiem, a capella (June 14 and July 9).

1945 Alba fresca, dedicated to his friend Rosalia Cruz andNicolas Buenaventura.

1946 Himno eucaristico, choir, organ and orchestra.

A P P E N D I X

BAMBUCO (1872), text by Rafael Pombo

IPara conjugar el tedioQue en contagiosa locuraDios me depare un bambuco,Y al punto, santo remedio.

Buena orquesta de bandolaY una banda de morenas,De aquellas que son tan buenasQue casi basta una sola.

;Y aqui los granadinos!;Venga el cometa dragon!Veremos el encontr6nSin darsenos tres casinos.

;Lejos Verdi, Auber, Mozart!Son vuestros aires muy bellos,Mas no doy por todos ellosEl aire de mi lugar.

";Mal gusto!" direis tiranos;mAs yo en, mi gusto porfio,Que, bueno o malo, es el mioY el de todos mis paisanos.

Y bien se ve que no miente,Pues, hijo de padre tal,Es como el triste y jovial,.Quejumbroso, inconsecuente.

Nadie lo hizo, porque n6sDisfrutamos del derechoDe recibirlo ya hechoTodo de manos de Dios.

Vino y pan, tienda y colch6n,El arbol sabe ofrecernos;ZPor que no ha de comprendernosEl viento nuestra cancion?

Justo que nadie se alabede inventor de aquel cantar

105

B

106

Que es de todos, a la parQue el cielo, el viento y el ave.

Del Carchi hasta PanamaNuestros nifios adivinan,Nuestros pdjaros lo trinan,Y en nuestras brisas estd.

Es el lamento que lanzaEl Genio de estas regionesPor tantas generacionesQue vio morir sin venganza.

Una melodia incierta,Intima, desgarradora,Compafera del que llora,Y que al dolor nos despierta;

Ningdn autor lo escribi6,Mas cuando alguien lo esta oyendo,El coraz6n va diciendo:

0 una risa de placerQue arrebata, que impacienta,Con eldctrico poder;

De indianas y de espafiolasLas perfecciones lucian,Lindas, ;Ay! que parecianEnamorarse ellas solas.Bajo una gran cabelleraUn blanco.busto imperial,Cuanto eldstica y ligera.

Rica tez, mvrbido pecho,Nada de afeite o faltia,Que el arte no enmendariaLo que hizo Dios tan bien hecho

Contra el talle de jazminUn brazo de jarra elegante,Caido el otro adelanteSofaldaba el faldellin;

Y era de verse el candorDe esos rostros de angel, cuandoIba en los pies retozandoUn demonic tentador.

;Y que pies! ni el mamelucoSultan mejores los vio;El diablo los invent

107

Para bailar el Bambuco.

Se alternaban pulcramenteHincando rapida huella,Y ondulaba toda ellaLa fascinante serpiente.

Al comps del tamborilCon la bandola armoniosa,a la venia respetuosaDel desafiador gentil,

Una por una saliaHacia su galdn derecha,Y el, la boca almibar hecha,Aguardarla parecia;

Mes con sandunga imanada,Ella, escapando del pillo,Como el boa al pajarilloLo atraia en retirada.

;La eterna historia de amor!;Ley que nature instituye!La mujer siguiendo al que huyeY huyendo al perseguidor.

Ya evitaban su mitad,Ya lo buscaban festivas;Provocadoras y esquivasComo la felicidad.

La una pareja cantando,La ora vivaz respondiendo,Las coplas que iban diciendoIba el amor ensenando.

Poesia humilde era aquella,Pero, en su espontaneidad,Bella como la verdadY a veces triste como ella.

Dos voces eran bastantesPara hacerla bien sentida:Amor, cielo de la vida,Celos, infierno de amantes.

Y cual la.danza de sus giros,La mdsica en sus manejosIba burlando en sus dejos0 acompanando en supiros.

108

Alli el poder peregrinoDel Bambuco percebi;Jamas, desde que naci

Una por una saliaHacia su galan derecha,Y 61, la boca almibar hecha,Aguardarla parecia;

Mis con sandunga imanada,Ella, escapando del pillo,Como el boa al pajarilloLo atraia en retirada.

;La eterna historia de amor!;Ley que natura instituye!La mujer siguiendo al que huyeY huyendo al perseguidor.

Ya evitaban su mitad,Ya lo buscaban festivas;Provocadoras y esquivasComo la felicidad.

La una pareja cantando,La ora vivaz respondiendo,Las coplas que iban diciendoIba el amor ensefdando.

Poesia humilde era aquella,Pero, en su espontaneidad,Bella como la verdadY a veces triste como ella.

Dos voces eran bastantesPara hacerla bien sentida:Amor, cielo de la vida,Celos, infierno de amantes.

Y cual la danza de sus giros,La mdnsica en sus manejosIba burlando en sus dejos0 acompafiando en supiros.

Alli el poder peregrinoDel Bambuco percebi;Jamas, desde que naci

Un retozo tan simpaticoDe este vivir tan malucoNo consiente ceja duraNi melindre aristocratico.

109

Nuestros rdsticos con elCantan al recien nacido,Y el les sirve de gemidoDe una tumba en el dintel.

Para bien o funeralDel que nace o del que muere;Ya solemne miserere,Ya cintico bananal.

Hay en al mas poesia,Riqueza, verdad, ternura,Que en mucha docta oberturaY mistica sinfonfa;

Y asi resp6ndele fielEl coraz6n donde llega:Con 6l el alegre juegaY el triste llora con 6l.

Mdgico el mdas obediente,Camale6n musical,siempre el mismo original,pero siempre diferente.

Su ritmo vago y traidorDesespera a los maestros,Pero aca nacemos diestrosY con patente de autor.

Tesoro de pobres es,Y ;ay! que nadie se lo quitaMientras su voz Io repitaY lo ejecuten sus pies.

Y si ordenase un tiranoLa abolici6n del Bambuco,Pronto viera cuAn caducoEs todo poder human.

II

Es un salon de pulmares,Que vagando descubri,Su hechicera danza viAl comps de sus cantares.

Era una noche de aquellasNoches de la patria miaQue bien pudieran ser dia

110

Donde no hay noches como ellas.

El terciopelo mejorAl cielo no igualaba,Ni estrella alguna faltabaA esa gran cita de amor.

&apangas que por modeloLas quisiera un escultor,Giraban al resplandorDe las lTmparas de cielo

Me sent mas granadino;

IIITambian el Bambuco fueMdsica de la victoria,Y aunque lo olvide la historiaYo se lo recordar6:

El a C6rdoba marcSu "paso de vencedores",Y el de los libertadoresLa hazafa solemniz6.

;Campo inmortal! ;sol bendito!Cuando haya sonado alli,Cual la voz del SinaiResonard en lo infinito;

Y nuestro aire nacionalIris fue alli de vencidos,Parabien de redimidos,De despotas funeral.

Le debe~mos en concienciaGratitud, y mientras 61Exista, guardard fielNuestra patria independencia.

Yo, para ser benemeritoDesde el solio hasta el conuco,No ambicionara otro m6ritoQue haber compuesto el Bambuco.

Bogota, 1857.

111

EL BAMBUCO by Rafael Pombo (El Tiempno,

February 24, 1857)100

"Pues qua nos piensa dejar,Hazme el favor de tomar

Mi encomienda;Como no es mas que un papel,De versos!... no sera el

Gran molienda.Que si un papel en verdadTiene poca gravedad

Especifica,Menos que aire lo han de hacerVersos que no suelen serSino una nada magnifica.Encomienda tan ruinLa ha de volver tu violin

Otra cosa,Que es tu arco en ese laudVaritud de una virtud

Milagrosa.

Es el caso:Que a un hombre de nuestra tierra,Norte i sur, este i ocaso,

Te' suplico,Que, pues te vas a volverBaquiano de... Inglaterra

Bien prontico:

Nos hagas ally inmortalDesde el ingles al kalmukoNuestro blas6n nacional,Valiente i originalincomparable Bambuco.

I no es masCuanto tengo que decirte;En fe de lo cual sabresQue si a comulgarte vasEl Sartal que he de afadirte.


112

Ni con las mismas famosasTenazas de NicodemosMe sacards otras cosas

de SUSTANCIAQue aquella de que tenemos

Ya constancia:

Que nos hagas inmortalDesde que el ingles al kalmukoNuestro blason nacional,Valiente y original,incomparable BAMBUCO.

I quisiera preguntarte,Que mias dulce comisi6n

Podre darte?El violin.de un granadinoQue va en peregrinaci6n.

(Opino)

No ha de llevar ma's destinoNi ha de cumplir mans mision.

Que hacernos ally inmortalDesde el ingles al kalmuconuestro blas6n nacional,Valiente i originalincomparable BAMBUCO.

-Que hard la reina Victoria,I la emperatriz que hardSi te oyen tocar BAMBUCO?-Sin remedio les dardDelicioso tucutuco-El mismo Papa... quiza...Se espone a bailar BAMBUCO.I como se han de bafuarEn agua de mejorana,

Lamartine,I todito aquel cuchuco

de poetasOyendo a una calentanaCantar al son de BAMBUCO

sus cuartetas

113

Con salsita de violinAlfandoque i panderetas.

;Pobre la opera!;Le tengo l6stima!

Porque es la pura verdQue, del sueco al mameluco,Con el violin que les va,A nadie perdonarla epidemia del BAMBUCO.

;Ah! ;Si es tan lindo! ;si encierraLa medida del deseo!De una bandola al punteo...;Vengase encima la tierra!;Lejos Verdi, Liszt, Mozart...!Son vuestras notas mui bellas,Mucho me entusiasman ellas,;Mas ai! no os he de olvidar.

Pues tenemos cierto sonQue, si vosotros lo oyerais,Enternecidos supieraisQue es mdsico el coraz6n.El lo invent por aci;Nuestros nifos lo adivinan,Nuestros pijaros lo trinan,I en nuestras brisas estd.

Es el lamento que lanzaEl Jenio de estas regionesPor tantas jeneracionesque vio morir sin venganza.

Una melodia incierta,Intima, desgarradora,Compafera del que llora,I que al dolor nos despierta.

0 una risa del placerInstadora, turbulenta,Que arrebata, que impacientaCon el el6ctrico poder.

Un retozo musicalDe tan divina locuraQue no aguanta ceja duraNi humor de pecao mortal.

Nuestros rdsticos con 6lCantan al recien nacido,I 6l les sirve de jemidoDe una tumba en el dintel.

Parabien o funeralDel que nace o del que muereYa elocuente miserere,Ya cantico bacanal.

114

Enamora a su favorNuestro inocente labriegoMas pronto que el palaciegoCon su perfido esplendor.

Y hai en 61 m's poesia,Verdad, ternura, elocuencia,Que en cuanto escribe la cienciaI a grande orquesta se avia.

Siempre le responde fielEl corazon donde llega:Con el el alegre juegaI el triste flora con el.

Tesoro de pobres es,I ai, que nadie se lo quitaMientras su voz lo repitaI los ejecuten sus pies !

Bajo un dosel de palmaresI en noche... de estas de aqui,Su gachona danza viAl comps de sus cantares.

Napangas de ojo modeloI garbo fascinadorJiraban al resplandorDe hogueras i astros del cielo

Ya huian de su mitad,Ya le buscaban festivas:Provocadoras i esquivasComo la felizidad.

La una pareja cantando,La otra sagaz respondiendo.Las coplas que iban diciendoIba el amor ensefando.

No eran versos de meses;Pero, en su espontaneidad,Bellos como la verdad,Como ella tristes a vezes.O cual la danza en sus jiros,La mdsica en sus manejosIba burlando en sus ojoso acompanando en suspiros.

I esta intima melodiaNoble - escena - danza - canto -Se hermanaron tanto, tantoAl fondo del alma mia.

Que nunca mi coraz6nGust6 con mras embelesoEl dolor hasta el escesoSin la desesperaci6n.

Eso era el BAMBUCO; i quinNo lo ha sentido i lloradoComo un jemido escapado

115

Del naufrajio del Eden!

Por eso tanto lo amamosLos que a sus ecos nacimosQue, Julio, te repetimosLo mismo con que. empezamos;

Haznos por all inmortalDesde el ingles al kalmukoNuestro blas6n nacionalValiente i originalincomparable BAMBUCO.

Yo tus "Noches de diciembre"Escuche

Con deleite peregrino;I al ver que tu estro divino(Contra el prurito vulgar)No tiene a mal el sentarPlaza de buen granadino;

A mi modo resolveTributarte un homenaje,I mis 6rdenes de viajeEl comunicarte as{.

Si cuando vuelvas yo soi....(La Federaci6n mediante)

Congresista,Te prometo desde hoiUn decretito flamanteQue honre al palis i al artista.I si, por esa costumbre

Que tenemosDe enfermarnos i morir,Nos dieses tal pesadumbre,

Te ofrecemosEn tu lpida inscribir:

JULIO QUEVEDO - InmortalPor su carrera triunfalDesde el ingles al kalmuko,Con el pend6n nacional,El valiente i sin rivalIncomparable BAMBUCO".

116

LA BANDOLA (1853), text by Juan Francisco Ortiz'

"Un tesoro de armonia Lubeck y Coenen trajeron.. . . . . ...................................Cuando a sus conciertos fui,Al oir su diapason,;Ah! sent en el coraz6nque suspiraba por ti.Por ti mi dulce bandola,mi perdurable embeleso,porque pensaba en ti solaal oirlos, lo confieso.Pues a la verdad es lindoCabe un ritmo americanoofr que juega el aire vanocon el alto tamarindo.Que alterna con las querellasde bandola bien pulsadaen una noche calladatoda cubierta de estrellas.;Ah!que tus dejos suavesi esas tus fugas veloces (sic)i ese concierto de vocescomo el coro de las ayes

Conozco que me trabucocuando elojiarte pretendoporque creo que estoy oyendoel quejumbroso bambuco.;El Bambuco! que ni un muertopuede oirlo indiferenteel bambuco americano,el que por Neiva se entonai ese bambuco caucanoque entre bambucos blasona.El que se canta en las plazas,en los bosques, en los riosi de viejo tiene trazasy de joven tiene brios.El que se canta en las rejasde romanticas beldadesy por campos y ciudadesva derramando sus quejas.Pero bambuco y bandolason cosas que juntas van,el, sin ella, no da bola,y ambas en el alma dan.La perturban, la enternecen,

1 0 Restrepo Duque, op. cit., 114.

117

la calman o la apasionan,i mil delicias le ofrecen,por lo mismo, si la orquestacalla, si la pulsan solasabe encantar una fiestaJeronimo, la bandola.

A P P E N D I X C

Interview with Le6n Cardona, July 27 and August 14, 1992Medellin, Colombia

P-ZQu6 opina usted acerca de las innovaciones suyas en elbambuco?

Le6n Cardona-En general, la mdsica folkl6rica estAconstruida arm6nicamente sobre t6nica y dominante; despusha habido pequefas variantes - va a la cuarta, a surelativa, a la subdominante -. 0 sea, una de misinnovaciones es que empec6 a salirme de ese molde arm6nicotan estrecho. Al tener un camino arm6nico ma's amplio y msvariado, se pueden hacer melodias ms ricas. Porque si unose encierra en t6nica y dominante, las notas para la melodiason menos. Es como un idioma, si se tiene un lexico ma'srico, se habla mejor. Desde muy joven escuche musica delBrasil y el jazz y ahi encuentra uno mucha riqueza y vi quepodia incorporar algo de esto en la mdsica colombiana.

P-Es aceptado en Colombia que usted es el innovador armonicodel bambuco, Zcierto?

Le6n Cardona-Yo empec6 con esa inquietud hace como treinta otreinta y.cinco anos, tal vez fui el primero. El mismoFrancisco Cristancho fue ya un innovador, sobre todo en laparte ritmica: la estructura de "Bochica", o "Bachue", o de"Pa qu4 me miro" ya tiene algo novedoso, no elemental.Adolfo Mejia tambi6n hizo cosas interesantes, pues tra.bajocon esos elements folkl6ricos pero aportandole ya tecnica ygusto. Luis Uribe Bueno hizo una escuela con un estilo algocomplicado que requiere virtuosismo. Uribe Bueno se radic6en Medellin hace muchos afios y vino como bajista de laorquesta de Lucho Bermddez al Club Medellin yluego pasaron al Club Campestre lo cual suma unos veinteanos que trabaj6 con la orquesta de Lucho Bermndez. LuisUribe Bueno particip6 en concursos donde gan6 con el"Cucarr6n" (obra orquestal).

Mi bambuco Gloria Beatriz (para piano) lo compuse cuando mihija cumpli6 1 afo. Lo compuse originalmente en 3/4. Loescribi en 6/8 cuando Jorge Camargo, Luis Uribe, AntonioMaria Penaloza empezaron con la discusi6n del 6/8, y suenanigual.

P-ZEvolucion6 usted adn mds arm6nicamente en los dltimosveinte anos?

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Le6n Cardona-Lo que pasa es que hay mucha mdsica mia que noesti escrita para piano.Pero si hay cambios en estructura.La primera parte de Gloria Beatriz estA en forma muytradicional arm6nicamente. En la segunda parte haycambios en la forma estructural ritmica de la melodia. Laarmonia sigue siendo muy tradicional, pero va aumentando. Enla tercera parte ya hay algo nuevo en la armonia y en formaritmica melddica. Esto es ya una secuencia armonica muydistinta que habia sido usada. Va de menos a mis. Tengootras cosas que son mas atrevidas.

Se dice que el primero que puso en el papel esta mdsica fuePedro Morales Pino y lo escribi6 en 3/4 y en una forma queaunque uno ya lo ve muy familiar, tuvo que haber sido unerror de escritura porque eso queda atravesado en mitad decomps (van cambiando los ciclos arm6nicos). En periodos dedos compares, si esti en t6nica va a ir a dominante o adonde vaya ahi en mitad de comps, cuando lo l6gico seriaque cayera en el primer tiempo. Ha habido quienes defiendenuna cosa y otra: escribirlo en 6/8 para que no suceda eso,ya que cae una corchea despues de la primera delcomps.

P-&Usted en que escribe los bambucos?

Le6n Cardona-Me gusta mucho dltimamente escribirlos en 6/8.

P-ZY le da resultado?

Leon Cardona-Si, si, lo leen con ma's facilidad. El buenlector. El mal lector a veces dice que el prefiere el 3/4,pero creo que es porque toca mas de oido. Luis Uribe Buenohace tiempo este escribiendo asi. Hay unos tradicionalistastremendos que no admiten esto como Cristancho hijo, JaimeLlano Gonzalez o Jorge Camargo Spolidore.

P- Y esa discusion del 3/4-6/8 qued6 en algo fijo?

Le6n Cardona-No, y unos escriben solo en 3/4. Otrosespecialmente los nuevos escriben en 6/8. Yo escribo comosea, pues a mi me da lo mismo leer o escribir en ambasformal. Tengo composiciones escritas de ambas maneras.

El bambuco en 3/4 es mas complicado y lo tocan los de aquiporque ellos oyen el sonido y lo tocan porque nacieronoyendo bambucos. Pero el que no conozca bambuco aqui se sacaun ojo.

P-Si se quiere universalizar el bambuco conviene laescritura de 6/8, no cree usted?

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Le6n Cardona-Si, tanto Uribe Bueno como yo estamos deacuerdo con eso. Yo escribo bambucos instrumentales, perotambien escribo canciones no con letra mia.

P- Y la letra c6mo viene a encajar?

Leon Cardona-Yo siempre he musicalizado letras.

P-ZDe manera que caiga el acento de la mnsica de acuerdo conel de la letra?

Leon Cardona-Si, la mayoria de las letras para bambucofueron del gran poeta Luis Carlos Gonzalez. El hacia todoslos bambucos con un ritmo siempre igual que las palabrastuvieran estos acentos:

"Ally en la montafayo me fui cayendo"

Que al leerla sonaba asi, entonces lo que pasaba es que s6locon ese ritmo se podia hacer un bambuco y entonces todosquedaban iguales. Yo siempre he musicalizado letra de unpoeta que se llama Oscar Hernandez. La letra de 41 no tienesiempre ese ritmo, es mas poesia en prosa que en verso, asique tom6 el desaffo de organizar eso y me salieron cosas muyinteresantes.

P-ZNo es nota por silaba?

Leon Cardona-Eso es lo que creia la gente y por eso todos lohacian igual.

P-JUsted usa todo el texto de la poesia cuando compone?

Leon Cardona-Si, uso todo el texto. De pronto cuando esnecesario para completar un periodo musical repito.alguno delos versos, lo cual es muy usual. Es un trabajo largo decorregir y buscar, no como aquellos que escribian diezbambucos diarios.

P-Veo que siempre se escribe un silencio de corchea al finalde frase de un bambuco.

Le6n Cardona-No.

P-Pero se.canta asi.

Leon Cardona-Mis que todo se usa esto en bambucosinstrumentales porque le da ma's fuerza y mAs gracia. Cuandousted esta diciendo una palabra, claro que no la corta,aunque sea siendo de corchea.

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P-Pero mientras uno canta ligado, el instrumentista hace elsilencio de corchea.

Le6n Cardona-Esto seria un convencionalismo, ,no?En realidad es a gusto de quien este dirigiendo. Es cuentidnde estilo y de gusto. Al escribir el bambuco en 6/8 algunosalegan que se pierden muchos de los acentos, o cierto sabor.No se, tal vez como uno este tan en el bambuco y lo sientecoma es, lo hace de todas maneras. Mi argumento es que unacosa bien escrita y bien leida debe sonar bien.

P-,Hay alguna forma de poner el acompaamiento en 3/4 y lamelodia en 6/8?

Le6n Cardona-Me parece muy complicado por lo que estdesplazado. Hay algunos bambucos que adolecen de un defecto.El cambio del ritmo, de tonica a dominante o de un acorde aotro, siempre esti a 3/4 y cambia despues de un tiempo ymedio.

Hay algunos que han hecho bambucos con ese cambio ah{, perode vez en cuando lo hacen en primer tiempo y eso est malporque rope su caracteristica.

Respecto al bambuco en 3/4 se han hecho experimentos deescribir 3/4 corriendo un tiempo para parecerse al 6/8 yqueda parecido a un vals. Y el bajo en tercero y primero, losienten muy l6gicamente en segundo y tercero y piensan en unvals, un vals que lo este contestando el bajo.

P-EEl primer tiempo queda en silencio como en 6/8?

Leon Cardona-Es pasar un 6/8 a 3/4

P-LEn ese caso se podria poner 3/4 en el acompanamiento y6/8 en la melodia?

Leon Cardona-SI, correcto. Poner los acentos a tiempo da misclaridad al que los este leyendo. Y es ese el desplazamientoque se hace al escribir el bambuco en 6/8. Ivan Uribe,pianista, dice que esa es la mejor manera de escribirlo (a3/4 desplazado).

P-De acuerdo con Elkin Perez si se desplaza la melodia de unvals, guabina o pasillo medio tiempo, la melodia seconvierte en un bambuco, Zes cierto?

Leon Cardona-Es que no hay diferencia del pasillo y delbambuco visto en el acompanamiento (tiple). La diferenciaviene en qua punto del comps entra la voz. Ese ejemplo selo he ofdo a Luis Uribe Bueno.

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P-El pasillo, el vals y el bunde son 3/4, ZY el bambuco?Leon Cardona-Por eso digo que el bambuco es un 3/4atravesado. Por eso quedan las dudas que Morales Pino aldecir c6mo se escribe el bambuco y lo escribi6 corrido.

P-En los pasillos (escritos en 3/4) tambien hay eso queparte en dos el comps, la hemiola.

Le6n Cardona-Es posible, y como dice Uribe Buena, como esasdanzas se escribian en 3/4 creyeron que tambi6n el bambucotenia que ser en 3/4, pero esto no deja de ser una teoria,esto nadie lo puede asegurar. Pero de todas maneras muyinteresante. Yo creo que esta escritura que estamos viendodel bambuco no se va a acabar nunca aunque queden las otrasexperiencias, y eso me parece a mi muy bien. Todo tiene queir ampliandose, modificandose, y enriqueciendose, sinnecesidad de que una cosa acabe con otra. Mi opinion es muyuniversal, muy libre. Lo del bambuco y el pasillo es algomuy interesante para saber, pero en el fondo el pasillo y elbambuco son muy distintos.

P-ZPor que despues de los calderones siempre empieza la vozunas dos o tres corcheas antes que el acompanamiento?

Leon Cardona-El bambuco tiene su forma clasica, tradicional,o tipica. Por ejemplo, el bambuco nunca debe empezar con elacompanamiento. Siempre hay un antecompas que lleva elritmo:

.'7I 4 7 e I .i. Despues de los calderones es como elprincipio, donde hay el antecompas.

P-ZFue el bambuco escrito siempre en tres partes (ABA?)

Leon Cardona-Si, el bambuco empez6 lo mds elemental possibley ha ido cambiando. Yo empec6 a romper esas formas y amuchos jdvenes les gust6 y ahora estin trabajando con esosmismos criterios con que trabajo yo. He escritoprincipalmente para el cuarteto tipico clasico que son dosbandolas, tiple y guitarra. Bien sea como grupo instrumentalo como grupo acompafante a una voz, pero tengo algunas obraspara piano que podrian servir para su ejemplo.

P- Conoci6 usted la orquesta del americano Emile Coleman quetocaba bambucos?

Le6n Cardona-Tocaba en la Argentina.

P- Qu4 tal lo hacia?

Leon Cardona-Al estilo de ese moment. Lo hacia bien. Masque todo el fiestero. Cuando comenz6 a popularizarse el

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bambuco en Medellin se cantaba una sola voz a capella.Empezaba el hombre, y despues entraba el tiple. A esos seles llamaban mdsicos bohemios de bar. Entonces todo vaevolucionando, se fueron involucrando mas instrumentos quefueron enriqueciendo y dandole mayor interns t cnico yacademico.

P- O sea que el uso del tiple, bandola y guitarra no vinodesde el comienzo?

Leon Cardona-No, eso vino con Morales Pino. Ya habiabandolas, claro, pero con cuatro cuerdas como la mandolina.Entonces alguien aqui (no se ahora quin) le agreg6 unacuerda y luego Morales Pino le agreg6 otra mas y es la quetiene hoy seis. El popularize eso que lo hacia muy bien ysus grupos brillaron.

P-ZPor qu6 Pedro Morales Pino escribia los bambucosinstrumentales para piano?

Leon Cardona-No se, quizds alguien mas los escribi6. Elsiempre form sus grupos a base de bandolas, tiples yguitarras. Agregaba tambien violin y flauta. MiguelBocanegra era un violinista que despues lo fue con TerigTucci en Nueva York.

P-Dicen que en Medellin se popularize el bambuco acerca de1850, Zes cierto?

Le6n Cardona-Hernin Restrepo Duque habla mucho en relaci6ncon la discografia, (siglo veinte) con la industriadisquera, asi que en relaci6n con eso si. Y tal vez un pocomas atris ya empez6 a florecer. Primero los discos novenian sino importados y por lo tanto era muy escaso quehubiera mdsica colombiana, aunque si se hizo en Nueva York.Aqui habia un representante de RCA Victor que era delos Bedout y el tenia su almacen de discos e importabadiscos y entonces mediante un convenio que hizo con la RCAcuando ya tenia en que grabar, grababa con los musicos enColombia, enviaba esa cinta a Nueva York y de ally lemandaban el disco. Asi hicieron las primeras grabaciones.El duo Pel6n y Marin estuvo en Mexico, era un dueto muyfamoso, de esos que digo yo muy primitivo. Comunicabanmucho, tenian mucha expresividad y cantaban canciones muybonitas. Hay muchas historias, pero yo no creo mucho enellas, como que el bambuco fue de aqui y que ally no habianada de eso. Alld si hay algo que es parecido al bambucocolombiano. Dicen que es igual, pero no es igual. El bambucoyucateco es muy romintico.

P-aQua tal es el msico Antonio Serbera como compositor?

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Leon Cardona-El es coma un Carlos Vieco, escribe melodiasmuy bonitas muy romantico y de much gusto melodico y es unritmo muy parecido al bambuco, pero en ningdn caso es elbambuco. Hay gente que dice que no hay diferencia, pero sihay diferencia.

P-Los yucatecos dicen que ellos se quedaron con el bambucode entonces y que el ve ahora el bambuco colombiano que haevolucionado.

Le6n Cardona-Si, se queria referir a los cambios que aquihemos introducido en nuestro bambuco de siempre, no creo quelo que ellos hagan alli sea exactamente lo que antes sehacia.P-En un programa de television en Mexico con el Dr. AlbertoUpegui se tocaron los bambucos que ellos hacian ally y enrealidad no es el bambuco colombiano.

Le6n Cardona-Es parecido, pero no igual. En los finales defrase es que nos dams cuenta que no es igual al bambuconuestro. En la mitad de los ciclos es exactamente igual.Donde remata la frase es donde ya es distinto. Yo opino, noporque tenga estudios, sino por l6gica que el bambuco queally tocan no es el de aqui. Hay casos de gente ally quese ha robado un bambuco de aqui y dicen que es suyo.

"Bambuco sin este final es como un entierro sin muerto"Es un problema para todo el mundo c6mo empezar un bambuco,asi que es mas facil empezar con el final. Este es unsistema prdctico que yo se lo aconsejo a cualquiera.

El primer ejemplo es el mas tipico o caracteristico de estaregion de Antioquia, o la Gran Antioquia (Caldas, Medellin,etc.). En otras regiones se encuentran variantes para estefinal.

En el bambuco mas melodico hay figuras mis estilizadasbasadas en corcheas y suena mas elegante.

P-En bogota encontre mnsica de Uribe Holguin a la que eltitul6 como bambuco. A simple vista c6mo puede unojustificar que su Cuarteto No. 5, Op. 87 sea un bambuco?

Le6n Cardona-En el Cuarteto, el comienzo es del bambuco ; #~'. Lo que pasa es que si estuviera de a 3 y no de a 6. Ello quiso hacer asi.

'EtJ". 1 J, UPJ fue la costumbre hacer en el bambuco. Estoya es una cosa estilizada, pero no deja de ser un bambuco.Segtn lo que se ponga en el ler tiempo seria pasillo obambuco. En pasillo haria: J J 21J ..) (entra en el ler

tiempo, ya en el bambuco no se usa eso); elbambuco haria:

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$ . Estas obras estin mis academicas, mdsbasadas en estudios acad6rnicos y no folkl6ricos. Ousted no vaa encontrar un retrato exacto del bambuco. Pero si tieneinfluencia.En el bambuco hay el , , J., pero pierde el acento tipicodel bambuco. Estas son cosas sin querer demeritar, pero 61nunca trabaj6 el bambuco desde su raiz, en su formaprimitiva.P-ZC6mo compara a Antonio Maria Valencia con Uribe Holguin?

Le6n Cardona-Antonio Maria Valencia es mis conocedor. Elantes de sus estudios academicos, habia trabajado conbarmbucos. Entonces sabia c6rno tomar elementos del barnbuco.El Chirimia y barnbuco de Antonio Maria Valencia esexperimental (quizis para facilitar la lectura), notradicional. El entra a tiempo. Esta escritura no es laclasica, pero este correcta. Como el lo escribi6 para piano,y no una canci6n, 61 puede darse estas libertades.

P-En el bambuco titulado Rondino Op. 81 No.2 Uribe Holguinusa el ritmoj .J , = gJ. J2. . Z.Es este tipico del bambuco?

Leon Cardona-Ahi hay una combinaci6n de los finales que lepuse. El este utilizando (no se encuentra ficil) uno de losfinales y con otra terminaci6n diferente, la diferencia esteen la escritura (corrida).

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Interview with Luis Uribe Bueno, July 30 and August 14, 1992Medellin, Colombia

Si se pone un tiempo de ma's al bambuco, sale desplazado yesto es mortal. El bambuco de hecho, todo tipo de bambuco,sale a 6/8. Todos los bambucos que hay en el pais desde 1800fueron concebidos en 6/8. Que pas6, o cuil fue el fen6meno?Morales Pino dijo: esto es asi, y escribi6 Cuatro preguntasen 3/4 y ahi vino el desorden.

P-O, sea que antes se ejecutaban en 6/8?

Uribe Bueno-Claro, inclusive la Guanefa de la epoca delLibertador suena a dos. A las mujeres que acompafaban a lossoldados les llamaban Guanefas. Sim6n Bolivar orden6 tocarese bambuco al dar la orden de avanzar. Ese bambuco es a6/8. Se dice que la Guanefa es el primer bambuco que se toc6en el mundo, porque fue compuesta durante la Guerra de laIndependencia. La Guanefa va en 6/8. En el departamentode Narifio, que queda.cerca al Ecuador, bailan diferente elbambuco, como el Sanjuanito), pero como se le meti6 untiempo de mis, el comps se quebr6. Se quebr6 la mitad delcomps en dominante, y la otra mitad en t6nica y eso no debeser asi. Debe ser la t6nica en el primer tiempo. Pero estddividido en una forma tan absurda ocasionado precisamentepor el tiempo de mas que se le meti6.

En Bogota se hizo el seminario famoso que patrocin6Florencia Pierret (Santo Domingo), donde Uribe Bueno lesdijo: "Ustedes quedense con 3/4" "Yo desde que me convencidel error, no volvi a escribir en 3/4, lo abanadone deltodo". Nos reunimos con los directores de banda, consciencesellos del problema que teniamos (28 directores de banda enAntioquia). Habl6 con el director cultural (Justo Prez) yle dije que teniamos un problema y es que casi todos losbambucos estan escritos en 3/4, entonces habia quetranscribir 30 arreglos para banda. Todos los bambucos en3/4 estan mal escritos. Si a mi me dicen que se debeescribir en 3/4 con una buena raz6n, yo aceptaria, pero deesta manera nos estamos dafando el bambuco. Es por eso queel bambuco no puede salir fuera del pais, porque su notaci6nestd desplazada.

P-Z.Es Palo negro un bambuco?.

Uribe Bueno-Es un pasillo y le dieron el nombre de bambuco.El rasgueo del bambuco en 3/4 suena . J.1. JI(todo el mundolo acompaa asi y a todo mundo se le qued6 eso en la cabeza)y en 6/8 suena igual pero marcando una respiraci6n decorchea, o sea corridor. En el primer tiempo se rasga o no serasga. El bajo marcado en 3/4 s6lo se desplaza peor.Rozo Contreras es reponsable de muchas cosas. Cuando 4l

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lleg6 de Viena, graduado y con una hoja de vida linda,graduado en direcci6n de banda para conformar, por orden delgobierno, la banda polif6nica nacional, tambien escribi6 en3/4. Le dijimos que eso estaba mal escrito (hace como 40aios), pero luego quiso ofr su explicacicn porque vio quehabia algo mal. Atreverse a criticar a Morales Pino era unhecho grande, y desde ahi empez6 la controversial, pues no sele puede faltar al respeto a una persona que ha hecho unalabor tan grande. Empezando por el detalle de investigaci6n,le afadi6 una cuerda a la bandola (3 octavas). Pero 61pens6 que no se iba a hablar en contra de Morales Pino, sino a favor del bambuco.Yo hice parte del quintet de Luis A. Calvo, ;Semejantequintet! Con msica recien desempacada con puuo y letra de.el.

P-O, sea que es despues de Morales Pino que los bambucos seempiezan a interpretar de otra manera.

Uribe Bueno-Si porque vemos que desde la Guaneila viene malescrito eso.No habia en ese entonces alguien con la capacidad de decirque eso estaba mal escrito.

P-jSeria quizes porque la guabina, pasillo y vals estabanescritos en 3/4?

Uribe Bueno-Por eso, todo mundo decia, ;ah! esta es msicacolombiana, toquemoslo en 3/4, entonces falt6 investigaci6n.

P-En un escrito de Elkin P6rez el dice que desplazando lamelodia del pasillo, guabina y vals medio tiempo se podriaconvertir en un bambuco. ,Eso es cierto?

Uribe Bueno-Si, es que ambas pueden tener la misma melodia,pero distinto acompauamiento.

P-El final de un bambuco tiene alguna caracteristica.

Uribe Bueno-Se puede decir que es caprichoso. El finalJIJkse usa mas en banda. El figuraje del bambuco en 3/4 es elmismo del pasillo, pero tambi6n es de vals en tiempo mdslento de vals.La musica colombiana tiene una gama bellisima, no solamenteen musica de la zona Andina, si no en cumbia, la belleza delPacifico con el famoso currulao que es un bambuco legitimo(El famoso currulao Buena Aventura). La ventaja del 6/8 esque usted puede jugar mel6dica y ritmicamente, en 3/4 tieneque ir ajustado ahi.Fijate como en el currulao entra una cantidad de bambucos.Si se le quita los guasas, la hembra y el macho, se le quitalos conunos (los tambores grandes), la marimba que son los

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instruments que le dan el sabor de currulao y si se le metetiple, esto queda un bambuco. Originalmente un currulao estAescrito en 6/8. Al currulao le dicen en el Pacifico bambucoviejo (porque lo sienten asi). Si existia el bambuco viejoes muy factible que haya traspasado de all6 a la zonaAndina.

P-De esa teoria no se habla, cierto?

Uribe Bueno-No se habla porque precisamente hay queinvestigar mucho eso. No se puede no ms decir asi no mis.

P-Brisas del pamplonita est6 escrito en 3/4 pero empieza enel primer tiempo, .verdad?

Uribe Bueno-Si. No hay que desplazar, s6lo cambiar a 6/8. Encambio en cuatro preguntas hay que desplazar.

Le6n Cardona es un gran mdsico, y no puedo entender por quetodavia escribe en 3/4, aunque le suena a bambuco porque unolo siente.Cristancho escribia todo en 3/4.No se c6mo se atreven a decir que la guabina y el torbellinoson iguales. Eso no puede ser. La melodia de la guabina essolamente para el ritmo que se usa para la guabina. Eltorbellino es diferente porque se caracteriza por la entradade t6nica, subdominante y dominante. La melodia es libre yno ajustado al metro, es de libre interpretaci6n.Hay que evolucionar. El bambuco 6/8 es el que mds se estusando ahora. La Secretaria de Educaci6n (de Antioquia) nose ha dado cuenta de algo, desde 1984 hasta 1991 losprogramas-mios fueron hechos con base en improvisaciones.Pasillo lento: el ritmo dos para abajo y uno para arriba, ycantidad de melodias improvisadas para este ritmo lento. Lomismo para el pasillo fiestero.La gracia del 6/8 es que tiene que sonar igualito al 3/4melddicamente igual que el ritmo. El error este en laescritura, porque al meter un tiempo demds se alargo elmetro, y no deberia ser, siendo que se siente a dos.Hay un bajo mel6dico que usa bajos combinados y sucaracteristica, para sacarle mejor sonido a las bandas, alsonido de las tubas. A las bandas hay que purificarlas.En 6/8 hay posibilidades bellisimas para instrumentaci6n.

P- Por qua Morales Pino escribia los bambucos instrumentalespara piano?

Uribe Bueno-Morales Pino tocaba muy bien el organo. Por otrolado la exigencia que le hacian todos los directores era deentregarles "piano conductor." Eso era apenas como unesqueleto entonces.

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P- Conoce usted Chirimia y bambuco de Antonio MariaValencia?

Uribe Bueno-La melodia dice que es 6/8.La mdsica colombiana hay que levantarla, mejorando el

esquema viejo. Lo de antes tiene su valor y es la base, perola t6cnica y todo hay que mejorarlo. Los grupos de hoy en

dia han cojido los instrumentos como de concierto (tiple,bandola...). El tr6molo se debe oir como el arco en elviolin, no semicorcheas. Debe ser tan rdpido y fino, pero es

falta de tecnica. Hoy en dia la gente se ha preocupado. Leon

Cardona ha hecho un trabajo fura de lo comnn en el aspectoarmonico fuera de lo comdn.

P- Que me puede decir usted acerca de los bambucos de UribeHolguin?

Uribe Bueno-Uribe Holguin se adhiri6 a ese bambuco malescrito en 3/4, y si se hubiera dado cuenta de ese errorhubiera hecho una gran labor. El lo trabaj6 sobre unproblema que habia. Ni asomo de acentuaci6n porque haymuchas sincopas. La sincopa en el 3/4 no es como la del 6/8

que la dltima corchea del compas ligada a la primera del

siguiente. Esto trata de ser bambuco o torbellino, menos laacentuaci6n del bambuco.

P-En los compases 3-4 del Rondino (bambuco) Op.81 No.2 deUribe Holguin la figura JE] J no podria ser la terminaci6ntipica de un bambuco?

Uribe Bueno-Esa terminaci6n no existe en el bambuco. En 6/8estaria mejor si hiciera )'Ij ,.

Cuando en Mexico dicen que el bambuco yucateco es de ellos,ellos saben que estin mintiendo, porque ellos estan robandoun bambuco que es colombiano. Pel6n Santamarta dej6 todoslos bambucos en Yucatan, y lo cogieron ellos y dijeron quees mexicano. Tienen el ritmo del Huapango y es puro bambuco.El bambuco yucateco es exacto al colombiano, el yucatecomezcla elJII' del bajo. Ellos lo escriben en 6/8. Igual queel cubano. Pero el colombiano lo sigue escribiendo en 3/4.Con los que bailan hay el mismo problema porque ellos losienten en dos.El bambuco sanjuanero es a dos, y el baile es correcto.El legitimo bambuco, como el que tocan los tiplistas, elsantandereano y el antioqueio.Se le oye sabroso al que toca el tiple en el conjunto Loshermanos Martinez. Yo pienso que el tiple se debe rasgar unpoquito mss fuerte el de para abajo que el de para arriba.Hay muchos conjuntos que lo hacen mal, pero en 6/8 no habriatantos problemas con el desfase. Como hay un tiempo de mss,la melodia va en contraposici6n al acorde.

130

P-Yo pense que los mdsicos lo hacian bien aunque seescribiera a 3/4.

Uribe Bueno-No todos saben escuchar el error. La OrquestaSinf6nica de Antioquia te toca lo que estd en el papel. Hafaltado mucha conciencia en eso.

La salvaci6n es el tiple. No hay otro instrumento que le deel ritmo ni la soluci6n del tiple.

P-Los que escriben en 3/4, adn viendo ese acento que vendriaa ser en el segundo tiempo, no recapacitan?

Uribe Bueno-Esa es una buena pregunta.

P-,Un bambuco escrito para piano pierde mucho de su estilo?

Uribe Bueno-Si, pues es de corbata, en cambio el tiple es detodos. Ahora la bandola y el tiple han tornado una categoriadiferente, mas solista.

P-El Cuarteto Op.87 No.5 de Uribe Holguin tiene elementosdel bambuco?

Uribe Bueno-Las cosas que hacia el las hacia bien, pero esefiguraje que usaba el no se usa hoy. Hay cosas que sequedaron para esa epoca. Eso es complicar ma's la escritura.El " JLJes del barbuco, si se le puede llamarbanbuco.

El Barbuco sotarefo esta mal escrito. Entr6 bien, pero lodividi6 en trees. Empieza con antecompis, quiere decir que losinti6 en dos, pero no supo distribuirlo entonces sigui6 con3/4.Se ve que Antonio Maria Valencia queria poner ditintosacentos, pero no resuelve el problera.Se nota que lo que falta es una conciencia de c6mo se debeescribir.

131

Interview with Mario G6mez Vignes, August 6, 1992Cali, Colombia

P-Uribe Holguin no us6 en si las caracteristicas delbambuco, en cambio Valencia si?

G6mez Vignes-Hay dos vertientes por las cuales hemos de ver.Valencia se cri6 en un hogar en el cual habia un papa quehabia sido de la Lira Colombiana de Morales Pino. Entoncesel papa tocaba bambucos y la mama tocaba piano y tocabanbambucos, pasillos, etc. y de ahi 61 sac6 el bambuco tiempodel ruido. Valencia creci6 con la mdsica tradicional. Cuando61 entr6 a estudiar con Honore Alarc6n (pianista), otroscompositores vinieron a engrosar ese panorama,principalmente Cesar Franck. En esa 6poca todos losimportantes estaban alli en Paris. "Los Seis" estaban enplena producci6n, Stravinsky, en Berlin estaba Schoenberg,habia una vida musical muy agitada, los Ballets Rusos. Sinembargo eso no se refleja mucho en la correspondencia deValencia.

P-ZCon quien tenia Valencia correspondencia en Colombia?

G6mez Vignes-Con la madre y el padre. El cuenta todo lo quele pasa. Que fue a ver, 6pera, concierto. El ally lleg6 aconocer lo que todo buen musico debe conocer, pero mds allno. 0, sea, lo que era moderno, lo contemporaneo no.Un reportero le pregunt6 que opina de Schoenberg y dijo:"Ese es un loco." Sin embargo D'Indy decia que su escuelaera una escuela moderna, porque el decia que la msica noera una profesi6n y que para formar virtuosos estaba elconservatorio, donde hay concursos. Alli es cuando Valenciaconoce Wagner, el habla de los discos. No le llama laatenci6n Stravinsky.En correspondencia con Uribe Holguin en Colombia. UribeHolguin le dice: estoy trastornado por la locura deStravinsky, que ha embriagado la orquesta. Uribe Holguinmaravillado con la mdsica de Stravisnky. Asi que Valencia ledice que mas bien es un buen orquestador, pero que comocompositor tiene sus dudas. A Bart6k nunca lo nombra, ni aSchoenberg. 0 sea, que todo lo que se estd hacienda en esemoment no lo disfrut6. Y tambi6n ignore much de lo quehabia allay.El tenia un proposito que expresa en sus cartas: "voy a ir aParis a estudiar no m's ".Cuando 61 habla de la composici6n, habla del curso. Lo queno le caia muy bien al papa, que estaba esperando que suhijo se hiciera famoso y ganara plata.Ese bagaje tecnico de composici6n, armonia y contrapunto, senota en sus composiciones. Lo que hizo con sus dosbambucos. . .se nota que es una persona que de verdad estudi6a fondo. La heterometria que el usa en su bambuco (de

132

Chirimia y bambuco) .

P-Lo hace tambi6n en la orquestaci6n de este mismo?

G6mez Vignes-No, la orquestaci6n es mucho ma's largo ydesarrollada. Tiene un preludio que es la Chirimia que es laprocesi6n como en la pieza para piano. Pero entonces 6levit6 ese cambio permanente de comps. 0 sea que la pieza semantiene en 3/8.

P- Qua influencia de Faur6 existe en Valencia y UribeHolguin?.

G6mez Vignes-Si hay relaci6n en Valencia con Faur6. No entoda su obra. En ese sentido este un poquito atrasado consus contemporineos. El tiene una gran facilidad de moverseen diferentes direcciones. El Chirimia y bambuco es de la6poca de las canciones.Su epoca de nifo fue muy feliz, entonces hubiera deseadoquedarse alli.

P- Era mas autentico el nacionalismo de Valencia que el deUribe Holguin?

G6mez Vignes-Era el signo de los tiempos. El nacionalistacientifico fue muy criticado. Uribe Holguin no lo bebi6 enla cuna. El nacionalismo de Uribe Holguin era ms cientificoque una vivencia.Uribe Holguin pensaba que nuestra mnsica era toda influenciaespafola y no algo aut6ntico.

P-,Podria- describir la relaci6n entre Rozo Contreras yValencia?

G6mez Vignes-Amistad.Por los anos 40 habia un grupo de j6venes estudiantes en laUniversidad Nacional que cuestionaron a Rozo Contrera queacababa de llegar de Viena la escritura del bambuco. Peroeste grupo fue muy mal visto ally en Bogota, dice Luis UribeBueno, por el atrevimiento. Pero Rozo Contreras luego se diocuenta del problema.

P-LA Valencia no le inquiet,6 el problema de la escritura delbambuco?

Gomez Vignes-El si habla de la discrepancies, pero el nuncapolemiz6 en realidad. Parece que a 61 poco le interesaba quea 61 lo clasificaran como nacionalista. De todas maneras hayalgo expreso en una de sus cartas que dice: yo voy a ser elque va a hacer la gran obra. La polemnica de Valencia fuepoca. En Bogota era donde Valencia podia desarrollar mejorsu actividad, entonces personas influyeron en envenenar a

133

Valencia contra Uribe Holguin y vice-versa. Y ellos juntospudieron haber hecho una gran labor. Valencia no fundel conservatorio de Cali, se lo fundaron para que se pudierair para Cali porque en Bogota no tenia nada. A 6l lecerraron las puertas, renunci6 pero presionado. Valenciatenia 30 anos en ese tiempo, y se dej6 meter en ese juego deintrigas y sali6 perdiendo. Cuando tenfa dificultades sederrotaba completamente.Hay unos lapsos de silencio en la correspondencia deValencia muy raros. Cuando llego a Paris 6l iba con lailusi6n de estudiar con Cortot, pero cuando conoce a PaulBraud, entonces la amistad fue mucha. Si asisti6 a un cursomuy largo que dio Cortot en Paris.

Las obras de Valencia que pueden interpretarse son 68. Sonlas que he podido catalogar. Cuando volvi6 de Paris elcatalogo de su obra no habia crecido mucho si no con lostrabajos academicos. En sus carts expresa que "en mi Duo enforma de sonata hay algo del paisaje de mi Valle encantado."

G6mez Vignes-Ritmo y cantos suramericanos son originales yson danza. Su estilo varia mucho. Puede ser muy colombiano,pero las Misas, por ejemplo, que eran muy modernas para laepoca de el, pero no tiene nada de nacionalista. Modernopara lo que era 61, no la 6poca. Cuando el llega a Colombia,entonces ya no se sabe mucho porque no hay esa fuentedirecta que eran las carts a sus padres.

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