Cinco Canciones Con Versos De Juana De Ibarbourou

107 Pages·2015·8.16 MB·English

by  Christina Villaverde

Florida State University Libraries
Electronic Theses, Treatises and Dissertations The Graduate School
2011
Cinco Canciones con Versos de Juana de
Ibarbourou: The Art Song Style of Ernesto
Lecuona
Christina Diane Villaverde
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THE FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC

CINCO CANCIONES CON VERSOS DE JUANA DE IBARBOUROU:

THE ART SONG STYLE OF ERNESTO LECUONA

By
CHRISTINA DIANE VILLAVERDE

A Treatise submitted to the
College of Music
in partial fulfillment of the
requirements for the degree of
Doctor of Music

Degree Awarded:
Fall Semester, 2011
Christina Diane Villaverde defended this treatise on October 21, 2011.

The members of the supervisory committee were:

Stanford Olsen
Professor Directing Treatise

André Thomas
University Representative

Douglas Fisher
Committee Member

Marcía Porter
Committee Member

The Graduate School has verified and approved the above-named committee members, and
certifies that the treatise has been approved in accordance with university requirements.
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I would like to dedicate this treatise to my family, especially to my mother Diane,
departed Grandmother Ramona, my husband Christian, my brother Ryan and my dear friend
Angel.
Mom, you have always been my source of strength, always encouraging me to work
harder and believe in the gift I was given. I could never have completed this degree without you,
now we both are doctors! Abuela, I chose this topic to honor our Cuban heritage, I will always
remember the times sitting next to you at the piano listening to the songs of Lecuona. To my
dear brother Ryan, we have held each other up all these years, encouraging one another to
believe in our music and now look at how far we’ve come! To my dear friend Angel, thank you
for sharing these songs of Lecuona with me. Through your gifts as a pianist and composer you
have taught me to better understand my Cuban heritage through your “Cuba!”
Last, but not least, to my husband Christian, thank you for all the months of “tolerance”
as I toiled through the research and for sharing your passion of Cuban music. You were always
there with excellent editing skills, translation help, Cuban history lessons, shoulder rubs and the
much needed cups of “café con leche.” Thank you for your love and support.

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ACKNOWLEDGMENTS

I would like to express my sincere gratitude to a select group of people who helped bring
this treatise to fruition and have inspired me to preserve the music of Ernesto Lecuona.
I would like to first acknowledge Stanford Olsen for being one of the greatest mentors in
my career and for his willingness to serve as the director of my treatise. Because of his
instruction, encouragement and tough love, I have become the performer and educator that I am
today. Equally, I would like to express my appreciation for Jana and Russell Young who were
the first to introduce me to singing and who have supported me from my early teenage years
showing me the world that lay ahead. They will always be my lifelong teachers.
I would like to thank Douglas Fisher, Marcía Porter and André Thomas for also serving
on my committee and for their collective guidance, encouragement and support throughout my
years at Florida State University. Equally, I would like to thank Jane Clendinning for her
willingness to answer any questions I had concerning interviews I conducted during my research;
to Larry Gerber and Alexander Jiménez for your support and love of Cuban song. To Bianca
Lupsha, Javier Abreu and Edward Rothmel for hours of conversations about the music, years of
friendship, patience and many wonderful shared performances and recitals.
To Fernando Lecuona, thank you for all of your efforts and everything I came to learn
about your Uncle Ernesto. I can never truly express to you how grateful I am for all of the talks,
photos, emails, letters and documents you shared with me. You are the sole reason why this
paper has become a reality. I would also like to thank Mike Mann and Bruce Davis, without
your willingness to help me locate Fernando, this paper might never have been finished.
I would like to thank Evan Hause of Carlin America, Inc. for his kindness and assistance
with my research and for copyright privileges; to Carole Farley for her willingness to assist me
throughout my research process and to Libby Larsen for her support of my career and interest in
my treatise. Special thanks to Dean Gibson, Dean Beckman, Meghan McCaskill, Lauren Smith
Tony Daniels and Dee Beggarly for your years of support and friendship.
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TABLE OF CONTENTS

Compositions Cited………………………………………………………………………… vi
List of Figures……………………………………………………………………………… vii
Abstract…………………………………………………………………………………….. .x

1. ORIGINS OF MUSIC IN CUBA………………………………………………………. 1

2. BIOGRAPHICAL SKETCH OF ERNESTO LECUONA……………………………... 5

3. MUSICAL GENRES IN LECUONA‟S SONGS………………………………………. 19

4. JUANA DE IBARBOUROU…………………………………………………………… 17

5. CINCO CANCIONES CON VERSOS DE JUANA DE IBARBOUROU……………….. 20

CONCLUSION……………………………………………………………………………. 41

APPENDIX A ………………………………………………………………………………42
Lyrics and Translations

APPENDIX B ………………………………………………………………………………46
Phonetic Transcription (IPA)

APPENDIX C ……………………………………………………………………………... 51
Original Manuscript Excerpts

APPENDIX D ……………………………………………………………………………... 68
Transcription of live interview: Fernando Lecuona-nephew of Ernesto Lecuona.

APPENDIX E ……………………………………………………………………………... 86
Releases

BIBLIOGRAPHY…………………………………………………………………………. 92

BIOGRAPHICAL SKETCH OF THE AUTHOR………………………………………… 94

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COMPOSITIONS CITED

The compositions below are that of Ernesto Lecuona and his sister Ernestina Lecuona,
and are the copyright of Edward B. Marks Music Corporation, a subsidiary of Carlin America,
Inc. The mm. cited below are used within the treatise by permission:

I. Songs (Ernesto Lecuona)

1. La comparsa, 1-20
2. Malagueña, 27-32
3. ¿Me odias? (Ernestina Lecuona), 1-19
4. Mi amor fue una flor, 1-5
5. Noche azul, 1-6

II. Piano (arr. by Thomas Tirino)

1. Vals maravilloso, 78-82

The following compositions are the property of the Lecuona Music Co.; the mm. cited below are
used within the treatise with permission from the Lecuona Estate:

III. Art Songs (Ernesto Lecuona)
Cinco canciones con versos de Juana de Ibarbourou
1. Canción del amor triste, 1-15, 20-23, 24-34, 53-70, 71-90
2. Quiero ser hombre, 1-20, 21-41, 48-62
3. Señor jardinero, 1-11, 15-23, 33-36
4. La señora luna, 1-20, 30-34
5. Balada de amor, 1-14, 15-26, 28-41, 45-53

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LIST OF FIGURES

Figure 1 Photo of Lecuona, the Composer at Work c. 1930 3

Figure 2 Photo of Lecuona, album publicity of Lecuona playing his songs, 10
c. 1935

Figure 3 Ernesto Lecuona, “Malagueña,” mm. 27-32 (Example of Spanish 11
Influence)

Figure 4 Example of a cinquillo rhythm 12

Figure 5 Ernesto Lecuona, “Noche Azul,” mm. 1-6 13

Figure 6 Example of “Cuban Habanera” rhythm 13

Figure 7 Ernestina Lecuona, “¿Me odias?” mm. 1-19 14

Figure 8 Ernesto Lecuona, “Mi amor fue una flor,” mm. 1-5 15

Figure 9 Ernesto Lecuona, “La comparsa,” mm. 1-20 16

Figure 10 Photo of the poet, Juana de Ibarbourou, c. 1920 18

Figure 11 “Death toll motive,” m.1 21

Figure 12 “Wind motive,” mm. 6-8 21

Figure 13 Ernesto Lecuona, “Canción del amor triste,” mm. 9-14 23

Figure 14 Ernesto Lecuona, “Canción del amor triste,” mm. 16-19 23

Figure 15 Ernesto Lecuona, “Canción del amor triste,” mm. 20-27 23

Figure 16 “Bird motive” 24

Figure 17 Ernesto Lecuona, “Canción del amor triste,” mm. 28-35 24

Figure 18 Ernesto Lecuona, “Canción del amor triste,” mm. 60-67 25

Figure 19 Ernesto Lecuona, “Canción del amor triste,” mm. 68-75 25

Figure 20 Ernesto Lecuona, “Canción del amor triste,” m. 78 26

Figure 21 Ernesto Lecuona, “Canción del amor triste,” m. 79 26

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Figure 22 Ernesto Lecuona, “Canción del amor triste,” mm. 87-90 27

Figure 23 “Man motive,” mm. 1-3 28

Figure 24 Ernesto Lecuona, “Quiero ser hombre,” mm. 8-14 29

Figure 25 Ernesto Lecuona, “Quiero ser hombre,” mm. 16-22 29

Figure 26 Ernesto Lecuona, “Quiero ser hombre,” mm. 28-38 30

Figure 27 Ernesto Lecuona, “Quiero ser hombre,” m. 39 31

Figure 28 Ernesto Lecuona, “Quiero ser hombre,” mm. 59-62 31

Figure 29 “Child motive” 32

Figure 30 Ernesto Lecuona, “Señor jardinero,” mm. 3-5 32

Figure 31 Ernesto Lecuona, “Señor jardinero,” mm. 8-17 33

Figure 32 “Sigh motive” 34

Figure 33 Ernesto Lecuona, “La señora luna,” mm. 22-23 35

Figure 34 Ernesto Lecuona, “Vals maravilloso,” mm. 78-82 35

Figure 35 Ernesto Lecuona, “La señora luna,” m.9 36

Figure 36 “Wedding motive” 36

Figure 37 Ernesto Lecuona, “La señora luna,” m.18-25 37

Figure 38 Ernesto Lecuona, “La señora luna,” mm. 33-34 38

Figure 39 Ernesto Lecuona, “Balada de amor,” m. 3 39

Figure 40 Ernesto Lecuona, “Balada de amor,” m. 7 39

Figure 41 Ernesto Lecuona, “Balada de amor,” m. 10 40

Figure 42 Ernesto Lecuona, “Balada de amor,” mm. 16-20 41

Figure 43 Ernesto Lecuona, “Balada de amor,” mm. 23-25 41

Figure 44 Ernesto Lecuona, “Balada de amor,” m. 26 42
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Figure 45 “Tear motive” 42

Figure 46 Ernesto Lecuona, “Balada de amor,” mm. 32-40 43

Figure 47 Ernesto Lecuona, “Balada de amor,” mm. 50-53 43

Figure 48 Photo of Fernando Lecuona and Christina Diane Villaverde 94
in his Florida home, June 24th, 2011

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