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Cinco Canciones Con Versos De Juana DeIbarbourou: Te Art Song Style Of Ernesto

LecuonaChristina Villaverdee Florida State University

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Recommended CitationVillaverde, Christina, "Cinco Canciones Con Versos De Juana De Ibarbourou: e Art Song Style Of Ernesto Lecuona" (2011).Electronic eses, Treatises and Dissertations. Paper 5249.
http://diginole.lib.fsu.edu/?utm_source=diginole.lib.fsu.edu%2Fetd%2F5249&utm_medium=PDF&utm_campaign=PDFCoverPageshttp://diginole.lib.fsu.edu/etd?utm_source=diginole.lib.fsu.edu%2Fetd%2F5249&utm_medium=PDF&utm_campaign=PDFCoverPageshttp://diginole.lib.fsu.edu/tgs?utm_source=diginole.lib.fsu.edu%2Fetd%2F5249&utm_medium=PDF&utm_campaign=PDFCoverPageshttp://diginole.lib.fsu.edu/etd?utm_source=diginole.lib.fsu.edu%2Fetd%2F5249&utm_medium=PDF&utm_campaign=PDFCoverPagesmailto:[email protected]:[email protected]://diginole.lib.fsu.edu/etd?utm_source=diginole.lib.fsu.edu%2Fetd%2F5249&utm_medium=PDF&utm_campaign=PDFCoverPageshttp://diginole.lib.fsu.edu/tgs?utm_source=diginole.lib.fsu.edu%2Fetd%2F5249&utm_medium=PDF&utm_campaign=PDFCoverPageshttp://diginole.lib.fsu.edu/etd?utm_source=diginole.lib.fsu.edu%2Fetd%2F5249&utm_medium=PDF&utm_campaign=PDFCoverPageshttp://diginole.lib.fsu.edu/?utm_source=diginole.lib.fsu.edu%2Fetd%2F5249&utm_medium=PDF&utm_campaign=PDFCoverPages


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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 theCollege of Music

in partial fulfillment of therequirements for the degree of

Doctor of Music

Degree Awarded:Fall Semester, 2011


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Christina Diane Villaverde defended this treatise on October 21, 2011.

The members of the supervisory committee were:

Stanford Olsen

Professor Directing Treatise

Andr Thomas

University Representative

Douglas Fisher

Committee Member

Marca PorterCommittee 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 alwaysremember 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 weve 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 caf 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, Marca Porter and Andr 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 Jimnez 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 viList of Figures viiAbstract.. .x

1. ORIGINS OF MUSIC IN CUBA. 1

2. BIOGRAPHICAL SKETCH OF ERNESTO LECUONA...5

3. MUSICAL GENRES IN LECUONAS SONGS.19

4. JUANA DE IBARBOUROU 17

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

CONCLUSION. 41

APPENDIX A 42Lyrics and Translations

APPENDIX B 46Phonetic Transcription (IPA)

APPENDIX C ... 51Original Manuscript Excerpts

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

APPENDIX E ... 86Releases

BIBLIOGRAPHY. 92

BIOGRAPHICAL SKETCH OF THE AUTHOR94


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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. Malaguea, 27-323. Me odias? (Ernestina Lecuona), 1-194. 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 Ibarbourou1. Cancin del amor triste, 1-15, 20-23, 24-34, 53-70, 71-90

2. Quiero ser hombre, 1-20, 21-41, 48-62

3. Seor jardinero, 1-11, 15-23, 33-36

4.

La seora luna, 1-20, 30-345. 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, Malaguea, mm. 27-32 (Example of Spanish 11Influence)

Figure 4 Example of a cinquillorhythm 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, Cancin del amor triste, mm. 9-14 23



Figure 16 Bird motive 24




Figure 20 Ernesto Lecuona, Cancin del amor triste, m. 78 26

Figure 21 Ernesto Lecuona, Cancin del amor triste, m. 79 26


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Figure 23 Man motive,mm. 1-3 28

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



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


Figure 29 Child motive 32

Figure 30 Ernesto Lecuona, Seor jardinero, mm. 3-5 32

Figure 31 Ernesto Lecuona, Seor jardinero, mm. 8-17 33

Figure 32 Sigh motive 34

Figure 33 Ernesto Lecuona, La seora luna, mm. 22-23 35

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

Figure 35 Ernesto Lecuona, Laseora luna, m.9 36

Figure 36 Wedding motive 36

Figure 37 Ernesto Lecuona, Laseora luna, m.18-25 37

Figure 38 Ernesto Lecuona, Laseora luna, mm. 33-34 38

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

Figure 40 Ernesto Lecuona, Balada deamor, m. 7 39


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




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Figure 45 Tear motive 42



Figure 48 Photo of Fernando Lecuona and Christina Diane Villaverde 94

in his Florida home, June 24th

, 2011


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ABSTRACT

Ernesto Lecuona (1895-1963) is regarded as one of the most important Cuban musicians

of the twentieth century, and one of the most prolific composers within Latin America. His

piano skills were equal to that of Sergei Rachmaninoff (1873-1943), his popularity compared to

George Gershwin (1898-1937) and his compositional output rivaled that of Franz Schubert

(1797-1828). Born in Guanabacoa, a suburb of Havana, Cuba, Lecuona began his piano studies

at an early age, first with his sister Ernestina and then with Dutch born pianist and composer

Hubert de Blanck (1856-1932). He completed his compositional training with Joaqun Nin

(1879-1949) and Maurice Ravel (1875-1937).

Although Lecuona is known to have composed more than 600 works, very little is known

about his art song output. This treatise focuses on his success as a cancin (song) composer,

highlighting the five art songs that comprise his cycle Cinco canciones con versos de Juana de

Ibarbourou (Five Songs with Verses by Juana de Ibarbourou). His creative and successful

setting of Juana de Ibarbourous prose and poetry writings within the cyclealong with musical

characteristics of the German Lied found within the songs, show his abilities as an art song

composer.

In support of these statements, I compared a sampling of Lecuonas works within his

piano, vocal, theatrical and orchestral repertoire and consulted various sources on the composer.

These included primarily the book titled Ernesto Lecuona: the Genius and his Music; the

Dissertation The Life and Music of Ernesto Lecuona as well a live interview with Ernesto

Lecuonas oldest living relative, his nephew Fernando Lecuona.


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CHAPTER 1: ORIGINS OF MUSIC IN CUBA

The music of Cuba, including its instruments, dances, rhythms and themes can best be

described as an amalgamation of European (mostly Spanish) and African influence. Unlike most

other Latin-American countries colonized by the Spanish, Cubas indigenous population was

almost entirely annihilated, and if any remnants of its music was or is reflected in Cubas, it is

impossible to discern.1 As such, the cultural void left behind by the disappearance of Cubas

indigenous people was largely filled by African slaves and the Spaniards who brought them to

Cuba. Eventually these two cultures integrated, and the musical fusion of Spanish melodic

instruments (such as the guitar) and the African drum established the basis for most genres of

Cuban music thereafter.

Some of these genres stylistically border more on the Spanish, some are more African,

and others are blend of both influences. Thezapateo,an Andalusian influenced dance, remains

the typical dance of the peasants and is accompanied by the tiple, (an instrument similar to the

guitar with three double strings) and thegiro(a hollowed-out dried squash). The clave, a form

within the Afro-Cuban tradition, is a composition that is performed by a small choral group

accompanied by rhythmic instruments, such as the drums, rattles and claves.2Within the more

blended group, we have the contradanza, son, bolero, criolla, guaracha andpregn; some of

which will be discussed in further detail in Chapter 3.

Due to the subject of this treatise, it is important to discuss at length another category of

Spanish influence, the Cuban cancin (song), which comprises all compositions written for solo

singing, and excludes those that are purely for dance. The cancin is an advanced stage of

artistic development and does not fall within the scope of popular music. Instead, it closely

resembles the nineteenth century German RomanticLied in its classical sense. The influence of

German composers is seen within the music through the lyrical melodies, rich harmonies, use of

chromaticism, use of motives, expanded harmonic language and the use of poetry for the text.

Some of the early Cuban compositions used the poetry of Heinrich Heine (1797-1856) for thetext.

Cuban composer and concert pianist Jose Manuel (Lico) Jimnez (1851-1917) was the

first of the Cuban composers who is credited with embracing theLied. He completed his

1Emilio Grenet,Popular Cuban Music(Havana: Republic of Cuba, 1929), X.

2Emilio Grenet, XXII.


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musical studies in composition and piano performance at the Leipzig Conservatory (Germany) in

1859. Violinist, pianist, organist and composer Jose Mauri Esteve (1855-1937) composed

chamber music, sacred song, opera and piano compositions. HisLiedcomposition,Rosas y

violetas,uses the poetry of Heinrich Heine in translation for the text. Guillermo Toms (1868-

1933), was an important composer and conductor who was heavily influenced by German

operatic styles, primarily those of Strauss and Wagner.3 These composers adopted the

established European song forms of the late nineteenth century, specifically of the German

romanticLiedcomposers, including Beethoven, Schubert, Schumann, Brahms and Wolf. 4

No particular Cuban composer has been credited as having written solely within theLied

or cancongenre; however Lecuona, having written more than 400 songs for solo voice, was one

of the most successful. Although Lecuona masterfully composed music in various genres, it is

his art songs that were mainly influenced by the artistically elevated 19thcentury Cuban cancin.

Lecuona used the historical base of the German and Cuban composers that preceded him

and infused his own personal style, incorporating many of the local Cuban dance rhythms such

as the bolero and criolla to create his own unique style of canciones. He utilized texts of

important Ibero-American poets such as Jos Mart (1853-1895), Juana de Ibarbourou (1892-

1979), Juan Clemente Zeana (1832-1871), Alvaro Surez, Jos Angel Buesa and occasionally

those of the German poet, Heinrich Heine.

In several instances Lecuona wrote his own poetry for his art songs. His texts reflected

the passion, hate, bitterness, melancholy of the Caribbean and tropical emotions in issues of love,

sensuality, and the vehemence of a history truly lived and embodied in a song. His theme can be

grouped into amatory songs.5

3Nick Strimple, Choral Music in the 20thCentury(New Jersey, USA: Amadeus press, LLC, 2002), 205.

4Ernesto Lecuona, Cancon Cubana. Emelina Lpez, Alberto Joy (Piccolo Tif. 918515420-609559356, 1995.

Compact disc)5Ernesto Lecuona, Cancon Cubana.


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Photo of Lecuona, the Composer at work c. 1930

Figure 1


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CHAPTER 2: BIOGRAPHICAL SKETCH OF ERNESTO LECUONA

On August 6, 1895, Ernesto Lecuona Casado was born in Guanabacoa, Cuba to a Cuban

mother and Spanish father. He was born during a period of extreme political turmoil, as his birth

was in the same year that Cuba was seeking to gain independence from Spain.6

As the seventh

and last child of the Lecuona family, he would only know his father until the age of seven, due to

the fathersuntimely death. Ernesto Lecuona was a child prodigy in piano performance and

composition and went on to become one of Cubas most prolific composers. He was greatly

revered within Latin America as a composer and is still referred to as the Cuban Gershwin.7

Lecuona died while on vacation on November 29, 1963 inSanta Cruz de Tenerife,Canary

Islands,Spain.

Family Background

In order to understand Lecuonas gifts, it is important to discuss the history of his parents.

Ernesto Lecuona Ramos, father of the composer, was born in 1834 in Santa Cruz de Tenerife,

Canary Islands. He was a medical student who later turned to journalism, first as a writer for the

Canary Islands Press and later as the director of the newspaperEl Sol de Nivaria. He immigrated

to Cuba in 1860 with his sister Carmen and settled in the city of Matanzas where Cuban culture

was most prevalent. It was a time of prosperity for this region as here there were three political

jurisdictions from which sixty percent of Cubas sugar was exported, as well as a growing

intellectual movement. Matanzas from then on would be known as The Athens of Matanzas,

Cuba, where Ernesto Lecuona Ramos would thrive almost immediately as he was hired by the

most prestigious Cuban newspaper at the time,La Aurora de Yumur. By the 1870s he would

become director of this and other newspapers in the city.8

It was here in the city of Matanzas where he met a young lady named Elisa de la Caridad

Casado Bernal. They were married at the Church of Versailles on November 7, 1885, she was

6Control of the island was then given to the United States in 1898 pursuant to the Treaty of Parisfollowing the

Spanish-American War, which eventually led to formal Cuban independence in 1902. Cubas fragile democracywould only last until 1952 when former democratically-elected president Fulgencio Batista staged a coup and ruled

for seven years, opening the door to Fidel Castro and the formal control of his totalitarian Communist regime in

1959.7Lawrence A. Johnson, Rediscovering theCuban Gershwin. Sun Sentinel (July 15, 2001).8Rafael A. Lecuona,Ernesto Lecuona: the Genius and his Music(Spain: R.A. Lecuona Enterprises, 2004), 60.
http://en.wikipedia.org/wiki/Santa_Cruz_de_Tenerifehttp://en.wikipedia.org/wiki/Canary_Islandshttp://en.wikipedia.org/wiki/Canary_Islandshttp://en.wikipedia.org/wiki/Spainhttp://en.wikipedia.org/wiki/Spainhttp://en.wikipedia.org/wiki/Canary_Islandshttp://en.wikipedia.org/wiki/Canary_Islandshttp://en.wikipedia.org/wiki/Santa_Cruz_de_Tenerife


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twenty-three and he was fifty-one years old. Ernesto and Elisa had seven children: Luis E.

Lecuona Casado, Jos Lecuona Casado, Elisa Lecuona Casado, Ernestina Lecuona Casado,

Fernando Lecuona Casado, Teodoro Lecuona Casado and Ernesto Lecuona Casado (the subject

of this treatise).

Elisa was a devoted wife, mother and patriot. Even though her husband was a Spaniard,

she never concealed her commitment to the revolution that sought independence from Spain.

She was known to wave the Cuban flag in front of their home when her husbands Spanish

friends came to visit and would secretly contribute to the independence movement financially,

when she was able.9

In 1902 Ernesto Lecuona Ramos decided to return to his homeland at the age of sixty-

seven in an attempt to restore his failing health. Just eight days after arriving, he died of a heart

attack. Even though he passed away when Ernesto was only seven years old, he was able to see

the beginnings of his sons artistic and musical training under the early tutelage of his older

sisters Elisa and Ernestina.10

Appearance and Lifestyle

Jacobson describes Lecuona as having been:

Six feet tall and large framed, the composer carried his stature with dignity and natural grace.His hair, jet black, was always immaculately kept. But by far the most attractive feature of

Lecuona was his large dark eyes. With a melancholy stare they always appeared to transcendthe immediate object in front of him and focus on some distant place no one else could see.

His wonderful smile would brighten his face which, as described by his friends, always carriedan expression that seemed to ask, What smells here?11

His nephew Fernando described Lecuona as a charming man, not concerned with politics

and always very generous with his time and money. He would invest his money in artists who

had promising careers. Whether they made money or not, all expenses were paid by Ernesto.12

Fernando went on to describe his uncle and his idiosyncrasies:

During the week he would only be in his underwear, because he didnt like to be in pantsSincehe was always out in public, he had to dress up and he was upset about having to always wear a

coat and tie, so generally whenever I would take someone to visit him, I would have them wait soI could warn Ernesto that there was company so he could dress up. He would then tell them to

9Gloria Castiel Jacobson, The Life and Music of Ernesto Lecuona (Gainesville, FL: University

of Florida, 1982), 16.10Lecuona, 64.

11Jacobson, 25.

12Fernando Lecuona interview, June 24, 2011.


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come in, but otherwise, he would always be in his underwear. It was baggy underwear. It wouldmake me laugh.13

Lecuona lived an exciting and diverse life; he would travel the world, perform at some of

the most important venues, entertain kings and queens, famous actors, singers and composers

and return home to Cuba to tend to his small zoo, where he raised pigs, deer, poultry, fish and

an assortment of other creatures.14

He loved to collect antiques; he would store the smaller

pieces in his Chinese chest of drawers.

He never learned to speak English, but always had a host of people around him willing to

translate or assist whenever he needed it. He was a relatively quiet man and would keep his

comments to himself, or share them under his breath. He would host grand parties at his ranch,

La Comparsa,in Havana, much like a Cuban Jay Gatsby.15 He was also a heavy smoker, which

would eventually be the cause of his untimely death.

Musical Training

All seven children in the Lecuona family were musically gifted, most especially his sister

Ernestina, who was an accomplished pianist and composer; she gave Lecuona his first piano

lessons. He gave his first public recital at the age of five and enrolled at the age of nine in the

Peyrellade Conservatory. There he continued his piano studies with Antonio Saavedra, a student

of Igancio Cervantes (1847-1905) and Joaqun Nin (1883-1950). By elevenhe had written

Cuba y Amrica, which later entered the repertoire of Cuban military bands. 16

At age fourteen he was accepted into the Cuban National Conservatory where he studied

piano and composition with the Dutch-Cuban pianist and composer Hubert de Blanck (1856-

1932), who eagerly accepted the promising young pianist.17

Lecouna was the most successful

musician in his family and starting working about this time, as a silent film pianist in the Fedora

Theatre in Havana and as a pianist at the Moulin Rouge and Alhambra theaters.

Lecuona graduated from the Conservatory at the age of seventeen with a gold medal for

his graduation performance of Schumanns A Minor Piano Concerto. This was the highest award

given for piano. In 1916, at the age of twenty-one, he traveled to New York City for his

13Fernando Lecuona interview.

14Jacobson, 26.

15Jay Gatsby, thetitular character ofF. Scott Fitzgerald's 1925 novelThe Great Gatsby.

16Jacobson, 17.

17Hubert de Blanck founded the Conservatory in 1885.
http://en.wikipedia.org/wiki/Title_characterhttp://en.wikipedia.org/wiki/Title_characterhttp://en.wikipedia.org/wiki/F._Scott_Fitzgeraldhttp://en.wikipedia.org/wiki/The_Great_Gatsbyhttp://en.wikipedia.org/wiki/The_Great_Gatsbyhttp://en.wikipedia.org/wiki/The_Great_Gatsbyhttp://en.wikipedia.org/wiki/F._Scott_Fitzgeraldhttp://en.wikipedia.org/wiki/Title_character


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American debut, a concert at Aeolian Hall. At this time, he was contracted by RCA Victor to

record his compositions and by Ampico Piano Co. for piano rolls.18

Influences and Friends

During an interview with Fernando Lecuona, I asked who Ernestos influences were.

Below is the response:

FERNANDO LECUONA (FL):

Ernestina was the one who first influenced Ernesto. Then it was Hubert de Blanck, and later itwas Liszt and Tchaikovsky, Rachmaninoff, and Gershwin.

CHRISTINA VILLAVERDE (CV):

But of those, did he know any of them personally?

FL:

Gershwin, yes, and Rachmaninoff and Paderewski, who was number one in the world, and later

became President of Poland. Rachmaninoff and Ernesto were together number two in theworld. The first was Paderewski, and the second were Rachmaninoff and Ernesto, tied. And one

time in the Sala Pleyel of Paris where Chopin and Liszt played together, Iturbi told anotherpianist, whose name I dont recallwe cant play like that, look how he(Lecuona)plays. Wellnever play like that. Thats because Ernesto could reach 14 keys in one hand.

The pianist who Jos Iturbi (1895-1980) was speaking to was Joaqun Nin. The concert

had been organized by Nin on June 2, 1928 in Paris to present Lecuona to a select audience.

Some of the audience members were composers Maurice Ravel (1875-1937), Joaqun Turina

(1882-1949), Alexander Gretchaninoff (1864-1956) and the Ambassador of Cuba to France

and future Cuban presidentCarlos Manuel de Cspedes Quesada (1871-1939). It was said that

at this performance Ravel blurted out the famous words This is more than piano!! And that

Iturbi turned to Nin and whispered That, neither you nor I can play! The performance at Sala

Pleyelwould come a few days later accompanied by Cuban singer Lydia de Rivera.19

Career HighlightsOn October 2, 1928 after taking a month vacation with Nin and Ravel, Lecuona returned

to Cuba to give another triumphant concert, presenting for the first time George Gershwins

18Jacobson, 17.

19Lecuona, 109.


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Rhapsody in Blue.20 This was a special concert under the direction of another prolific and well

known Cuban composer and colleague of Lecuonas, Gonzalo Roig (1890-1970) along with

thirty-six additional professors from the conservatory.21

The Los Angeles Timeswrote in 1933

about this historic event as Gershwin himself had been present for the performance: Lecuona is

a prodigious technician of the pianoModern music is favored by his capacity as a performer,

interpreting GershwinsRhapsody in Blue, as no one could play it as he does22

Ernesto Lecuona wrote more than 600 songs for voice, piano, theatrical pieces, including

Zarzuela, orchestral works, ballet, one trio and an opera. In the 1930s and 1940s he also wrote

a great deal of film music for such companies as MGM, Warner Bros. and 20th

Century Fox. In

1942 onf of his most popular songs, Siempre en mi corazon(Always in my heart), was

nominated for an Oscar for best song, but lost to White Christmas. Hundreds of interpretations of

his songs by such artists as Plcido Domingo, Alfredo Kraus, Xiomara Alfaro, Celia Cruz, Esther

Borja, Sandra Lopez and Toms Tirino helped Lecuona achieve international popularity.

During his career Lecuona performed throughout South America, Central America,

Europe and the United States. Among his many accomplishments was the founding of the

Havana Symphony (with Gonzalo Roig), the Lecuona Cuban Boys Band, and the Orquestra de

La Habana.23

The Final Voyage

Lecuona returned to his fathers homeland of Tenerife, Spain on vacation in 1963. While

there, he suffered a heart attack and dies on November 29, 1963. How ironic that he would die,

the same way and in the same place his father did and only one year older than his father had

been.

Ernesto Lecuona Casado was buried in The Gate of Heaven Cemetery, about twenty-five

miles north of New York City. He wrote in his will that his remains would be kept there until

Cuba was again free and sovereign. His remains are then to be taken back to the land he loved

and forever interred there,24a wish that has yet to be fulfilled.

20Lecouna, 110.

21In 1931Roig composed the Cuban Zarzuela Cecilia Valdsbased on the novel by Cirilio Villaverde (1812-1894).

This work is still performed today and is one of the most widely known Cuban Zarzuelas.22Lecouna, 111.

23Lecuona, 96, 98.

24Jacobson, 20.


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Photo of Lecuona, album publicity with Lecuona playing his songs, c. 1945

Figure 2


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CHAPTER 3: MUSICAL GENRES IN LECUONAS SONGS

As mentioned in the early chapters, the characteristics of the genres within Cuban music

can best be described as a mixture of European (mostly Spanish) and African musical elements.

LecuonasMalaguea(see figure 3)is one of his compositions that highlights the Spanishinfluence within the guitar-like writing in the treble clef.

Copyright 1928 by Edward B. Marks Music CompanyCopyright Renewed

International Copyright SecuredAll Rights Reserved

Used by Permission

Figure 3Ernesto Lecuona, Malaguea, mm. 27-32(Example of Spanish influence)


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Cuban songs can be grouped into several categories, some of which are boleros, criollas, danzas,

canciones,pregones andzarzuelas.25 Lecuona composed within all of these forms. However,

looking at the five art songs of Lecuona discussed in this treatise, only boleros, criollas, and

canciones have relevance.

The Cuban bolero during the time of Lecuona was an adaptation of the Spanish bolero.

Regardless of its origin, the bolero is one of Cubas most characteristic song forms, and reflects

the optimistic quality of the Cuban character.26 Its original 3/4 time was changed to Cubas

popular 2/4 time, which better suited the Afro-Cuban rhythms of the island.27

The Cuban bolero

is a slow-tempo song that typically begins with a brief introduction and typically makes use of

the cinquillo(see figure 4), which is a rhythmic cell:28

Figure 4 Example of a cinquillo rhythm

tresilloor triplet pattern; but more often the use of syncopated rhythms. The bolero is always

lyrical, romantic and often times playful throughout the melody and accompaniment. Lecounas

Noche azul(see figure 5) is an example of a bolerowith its brief two m. introduction, syncopatedrhythms and playful melodic line.

25Jacobson, 33.

26Emilio Grenet, XXXVIII.

27Jacobson, 33.

28The term cell in music refers to a small rhythmic design that can be isolated.


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Figure 5Ernesto Lecuona, Noche azul, mm. 1-6

Criollas(creole song) is a form that shows the influence of both the Spanish melody

and the African rhythm29

; Lecuona is most remembered in his vocal literature for his Afro-Cuban

songs. The rhythm seen below (see figure 6) is called the Cuban Habanera, typically played in

the bass clef.

Figure 6 Example ofCuban Habanera rhythm

One of Lecuonas earliestinfluences of a criolla may have come from his sister Ernestinas

composition titled Me odias?(see figure 7). In this piece you can clearly see a variation of theHabanera rhythm and dense chords30, characteristics that Leucona uses within the five art songs.

29Jacobson, 53.

30Subsequent examples of Lecuonas songs will show the same tendency to use very dense and dramatic cords like

those of his sister. Note in Ernestinas criollahow the accompaniment always lies in a much higher range then thevoice.

Copyright 1929, 1941 by EdwardB. Marks Music Company

Copyright RenewedInternational Copyright Secured All

Rights ReservedUsed by Permission


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Copyright 1929 by Edward B. Marks Music Company.

Used by Permission.

Figure 7 Ernestina Lecuona, Me odias?mm. 1-19

The cancionesgroup comprises a wide variety of songs written for solo singing. The

earliest songs came by way of Spain and were heavily influenced by Italian operahighly

romantic with dramatic aspects. This dramatic writing can be seen in the accompaniment, and

within the broad range of the vocal line. The art songs discussed in the next chapter fall into this


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category. LecuonasMi amor fue una flor(see figure 8)is an example of one of his canciones

that makes use of dramatic writing within the introduction.

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

LecuonasLa Comparsa (Carnival Procession) is an example of a popular cancin (see figure 9)

that was composed before the five art songs. This piece was originally composed for the piano

and is a marriage of two contrasting themes: the lyrical or romantic melody with the underlying

Afro-Cuban rhythm typical in a spontaneous Carnival Procession in pre-Castro Cuba.31

31Interview with Maria Castillo McNab, July 5, 2011.

Copyright 1941 by Edward B. Marks Music Company.Used by Permission.


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Figure 9 Ernesto Lecuona,La Comparsa, mm. 1-20

Copyright 1929, 1930 by Edward B. Marks MusicCompany

Copyright Renewed

International Copyright SecuredAll Rights ReservedUsed by Permission


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CHAPTER 4: JUANA DE IBARBOUROU

Juana de Ibarbourou (1895-1979) was a Uruguayan poet born in the city of Melo. Her

maiden name was Juana Fernndez Morales; at twenty years of age, she married Captain Lucas

Ibarbourou, and took his last name. At the age of twenty-six, she moved to the capital

Montevideo and lived there until her death. Her first poems appeared in newspapers, mainly

inLa Razn, the capitals main publication. Her poems and prose writings were infused with

feminism, modernism, sensory images, Biblical, and mythical references. Ibarbourou differs

from other major femalepoets in Spanish America, as her poems do not disclose those erotic

yearnings, dissatisfactions and contradictions one so readily and commonly discerns in their

piteous cries.32 In 1929 she was proclaimed "Juana de Amrica" in the Legislative Palace of

Uruguay.

When one reads the poetry of Juana de Ibarbourou you read about everything that

concerns her most: love, life, death, herselfis seen and interpreted as part of nature; for nature

is the mirror that reflects her thoughts33 Most of Ibarbourous poetry is written in free verse,

in stanzas that read as musical verses. She is considered one of the most important and

individual voices of twentieth century Latin American poetry.34

Text for the five art songs of Lecuona were taken from two of her collections. With the

exception of the second song which is found in IbarbourousRaz salvaje(wild root), the poetry

is taken from her collection titled Dualismo, (duality). The third and fourth songs of the cycle,

Seor jardinero andLa seora lunaare both from Ibarbourous collection of poems called Las

canciones de Natacha (the songs of Natacha). These songs were published within theDualismo

collection as childrens poetry. She wrote the poetry for Seor jardineroas a gift for her friend

Pedro Henrquez Urea in honor of the birth of his daughter, Natacha.35

32Sidonia Carmen Rosenbaum,Modern Women Poets of Spanish America: The Precursors,

Delmira Agustini, Gabriela Mistral, Alfonsina Storni, Juana de Ibarbourou(New York: Cocce Press,1945), 255.

33Rosenbaum, 239.34Rosenbaum, 239.

35Juana de Ibarbourou, Obras Completas (Madrid: Aguilar, 1960), XLIX


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Photo of the poet, Juana de Ibarbourou, c. 1920

Figure 10


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CHAPTER 5: CINCO CANCIONES CON VERSOS DE JUANA DE IBARBOUROU

Introduction

Cinco canciones con versos de Juana de Ibarbourou were written in 1937. They were

published in Havana with the Lecuona Music Co. and are performed and circulated today only as

rude photocopies of the originals. Because Lecuonas publishing company no longer exists and

the communist party, which took control of Cuba shortly before Lecuonas death, is still in

power, it is impossible to know if the original copies are still in Cuba. The compositions remain

the property of the Lecuona Music Co.; the mm. and figures cited within the treatise are used

with permission from the Lecuona Estate. To date, no extensive research of the five songs has

been conducted nor published before this treatise.

Cincocanciones con versos de Juana Ibarbourouare some of the best examples ofLecuonas canciones compositions. As previously mentioned, songs within this group are

composed in a highly Romantic style with dramatic aspects. Each of these five songs possess

characteristics of the Romantic style, specifically that of German Romanticism with the use of

motives, expressive melodies, complex harmonies and total synthesis of the poetry with the

music. In these songs, the voice is challenged into the highest and lowest parts of the register. It

can be argued that these pieces fall into the same vocal league as operatic arias, but within the

expression of aLied. 36

The canciones sub-genre is complex, as not only is it a category that includes all

compositions written for solo voice with piano accompaniment, but the term itself means song.

In order to distinguish these songs as art songs it is important to place them into the subcategory

of this group and refer to them as canciones lricas(lyrical songs).

In the five art songs, Lecuona highlights some of the specific historical influences on the

Cuban cancin, outside of the Spanish and African already discussed, such as Italian opera and

dance rhythms. The influence of Italian opera is clearly seen in the first song Cancin del amor

triste, with the use of dense and dramatic chords, theatrical writing and a broad range of

dynamics. Lecuona's use of dance rhythms throughout the five songs, such as thebolero and

criollas, will be discussed further. Aspects of the boleroand criolla genres, such as the useof

the slow tempo, 2/4 time signature and rich melodies appear throughout the cycle.

36Ernesto Lecuona, Cancon Cubana, 2.


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Because of the nature of the poetry, the songs are written to embrace the idea of duality,

with the poetry as one theme and the musical accompaniment as the other, existing

simultaneously. The songs are then best understood as being motivic in nature with specific

musical motives, contrasting keys and accompaniment elements that act as a subtext for the

poetry. This same idea of the marriage of two simultaneous themes was mentioned in Chapter 3

with the example of LecuonasLa Comparsa. All musical motives discussed within this treatise

were named based on my interpretation of the poetry. All musical examples seen with the

chapter are reproductions of the originals and used with permission. See Appendix C for the

original manuscript.


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Cancin del amor triste

This Song of Sad Love, the first of the cycle, begins in the ominous key of F Minor and

the low F pedal tone begins the death toll motive on beat 1 (see figure 11), followed by a rolled

F chord on beat 2, firmly establishing the key.

Figure 11 Death Toll Motive,m. 1

The voice of the protagonist, a woman, addresses the wind in an accompanied recitative style in

m. 2, Wind that blows where I cannot go, wont you carry me? It is clear that this is the voice

of a woman, as the poetry later speaks about cutting her braid and of the man she cannot stop

loving. The wind motive(see figure 12), appears immediately in mm. 7-8, on the tail end of

thesubito forte of m. 6. The notes are written in a descending order ending with apoco

ritardandoand a crescendo as if to strongly answer, No. With the introduction of these two

motives and the F Minor key, there is a clear foreshadowing of the inevitable tragic ending.

Figure 12 Wind Motive, mm. 6-8


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The opening dynamic of the song ispiano which, based on the poetry, indicates that the

wind is approaching from a distance to answer the woman. The arrival of the wind propels the

woman into a series of thoughts, the tempo in m. 9 immediately changes topu mosso and a new

sequence begins in the accompaniment continuing through m. 14. The pattern of the sequence

steps down from F, doubling the voice, but filling in between the downbeats with

embellishments (see figure 13).

Figure 13 Ernesto Lecuona,Cancin del amor triste, mm. 9-14

This running sequence of notes ties in perfectly with the poetry as the woman starts to

speak in desperation, If I had your wings, oh, Id fly through the blue sky with you. This is the

only time this sequence is used; and, on the word azul (blue), as the singer sustains the pitch

through m. 18, the wind motive returns, this timepianissimo. The duality of the needs of the

woman and the resistance of the wind is clear; the wind will not carry her (see figure 14).


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Figure 14 Ernesto Lecuona, Cancin del amor triste, mm. 16-19

The death toll motive returns again in m. 19, (see figure 13) and in mm. 20-26 the poetry

becomes even more desperate: Because I am so sad, I would like to fleecarry me, Pampean

wind, oh far from here. The dramatic nature of the piece becomes more evident in these mm. as

the accompaniment doubles the voice with octaves rising to afortissimo(see figure 15).

Figure 15 Ernesto Lecuona, Cancin del amor triste, mm. 20-27


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The Pampean wind refers to thepampas region of South America. This low lying area

experiences bursts of cold polar air from the west in the south of Brazil, Argentina and Uruguay.

Thepampero storms usually mark the end of long periods of high humidity and extreme heat.

Lecuona shows the nature of a storm in the accompaniment, for just as the actualpamperostorm

shows the end of suffering heat, the music at m. 27 modulates to F Major and the wind has a

change of heart,when the music leaves the ominous key (see figure 15).

The accompaniment then pivots to a more light-hearted tone and moves to higher pitches

marked by staccato chords and the gradual rise frompiano toforte. A new motive appears in m.

29, the bird motive, written with short groupings of 32nd

notes (see figure 16).

Figure 16 Bird Motive

The contour of the vocal line reflects the dynamic markings increasing toforteas it ascends and

returning topianoas the line descends (see figure 17) Finally, the wind is carrying her through

the blue sky and the bird motive returns seven more times throughout the section.


Even though the music suggests a tone of happiness, the poetry differs, as the woman tells the

wind all she will do in order for it to carry her:

Lighter Id make myself, more than I am. To make myself lighter, my tears Ive shed, tomake myself lighter, if need be, my dark braid, oh, I shall cut. To make myself lighter, I

will not smile, when you finally carry me far from here.


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After two full pages of music, we still do not know who or what the cause of her sadness

and desperation is. This is finally revealed in the poetry as she speaks again to the wind

beginning in m. 52: The only thing, wind, that cannot be, is that I should stop loving thatman.

It then becomes apparent that the woman is struggling with wanting freedom and not being able

to leave the man that she loves.

Lecuona beautifully shows the duality of these emotions in the musical interlude from

mm. 60-67 (see figure 18). The accompaniment in the bass clef maintains the same pattern and

light-hearted feeling seen earlier in the section with the staccato chords, while the

accompaniment in the treble clef changes to dramatic octaves and dense chords.


The voice interrupts the interlude in mm. 68-70 and joins the melody established earlier

by the octaves (see figure 19).

Figure 19 Ermesto Lecuona, Cancin del amor triste, mm. 68-75


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The text seen in m. 52 is repeated, this time with accent marks and triplefortein the

accompaniment as though she is screaming, The only thing, wind, that cannot be and then

the music suddenly changes in m. 72 (see figure 19) when the dense chords disappear and the

dynamics diminish as she finishes her thought, is that I should stop loving that man.

With the two tenuto markings on beat two and three of m. 78 (see figure 20), the song

modulates back to F Minor and the death toll returns for the last time on m. 79(see figure 21).

Figure 20 Ernesto Lecuona,Cancin del amor triste, m. 78

Figure 21 Ernesto Lecuona,Cancin del amor triste, m. 79

The woman declares, Although my love is heavy, I will take it with me wherever I go; can you

carry me? This is the last line of the poetry and the answer comes with the dramatic ending in

the accompaniment in mm. 87-90 (see figure 22), it is clear that she will never find a way to

escape.


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The final chords are very much like many of Puccinis tragedies, with powerful tripleforte,

extremely dense cords and the final low F pedal tone, which began the piece (see figure 22).

A woman is said to be a complex creature, full of emotion. Lecuona beautifully shows

the struggle and depths of passion within this art song. Clearly he was exposed to and

understood the style of the post-Romantic, verismoera, for if this song was performed without

the other four, it could very well be categorized as an operatic aria.


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Quiero ser hombre

Use of motives and duality of themes are maintained in this second song of the cycle, as

seen within the first three mm. (see figure 23).

Figure 23 Man Motive, mm. 1-3

The major key and light-hearted writing within the 6/8 meter are a contrast to the first songs

ominous minor key and dramatic writing. The use of staccato chords, as they relate to the poetry,

differs between these first two songs. In the first song this characteristic writing was used to

depict the main character of the poetry, as she flew through the sky with the wind. In this

song, these chords possibly represent the womansthoughts on what it would be like to be a

man.

In contrast to the staccato chords, the man motive appears in the bass line (see figure

23). The large leaps of these intervals are possibly showing the large steps a man would take

as he walks and the staccato chords could also indicate the smaller and more feminine steps of a

woman; both written in their appropriate registers, furthering the idea that this song is indeed a

waltz as the couple dances together.

This pattern continues as the woman begins to speak in m.4, If I werea man what

wealth of moonlight, of shadows and silence Id fill myself with! Night after night, alone I

would wander through quiet fields and the edge of the sea! As the waltz continues in the

accompaniment, the vocal line shows the womans thought process with the use ofpoco

ritardando in mm. 8 and 14, and dynamic contrasts throughout the first page (see figure 24).

Although the vocal line changes with the thought process of the woman, the man motive remains

consistent, only changing to suit the harmonic progressions. Lecuona continues with his

description of a woman, just as he did in the first song. Here the woman is again more

complicated and emotional, while the man is simple and practical.


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

The poetry is expressed within the vocal line as the notes follow the womanspattern of

thought. The starting pitches of each new thought begin on G4 and usually return to same pitch

or to the tonic. The range of the melody stays within the staff or just slight above to G5, which is

appropriate for the poetry as, unlike the first song, this poetry does not have extreme range of

emotion, therefore the melody is somewhat contained.

In m.16, as the poetry reads, If I werea man, the strangeness, the madness, a fervent

vagabond Id have to be, the melody starts to change ever so slightly as tenutos, grace notes and

dramatic nuance markings are written within mm. 17-21. Clearly a womans interpretation of

how to actlike a man is starting to appear within the vocal line and suddenly also within the

accompaniment in m.22 (see figure 25).



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The man motive and the staccato chords are replaced by broken chords in the bass and step wise

movement in the treble clef, as the poetry speaks about how as a man, the woman would be a

friend of all the paths and long roads which invite you to go far, and never return! The

dynamics in this section increase tofortissimo with allargando and rallentandomarkings.

As seen in the first song of the cycle, Lecuona favored a dramatic style, and in mm. 28-

38, the simplistic accompaniment disappears as we are catapulted once again into dense chords

and expansive intervals within the piano writing (see figure 26).

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

From the poetry in the mm. that preceded this musical interlude it is clear that this section of the

music is where the woman is experiencing the paths and long roads from where you never


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return. This statement is supported since Lecuona had already established in the first song, with

the same writing style, the deep emotions of a woman. The song is full of humor as the woman

tries to act and think as a man, yet she daydreams within the interlude, as a woman.

The same rhythmic pattern seen within the accompaniment from the first 20 mm. returns

again in m. 39 as the poetry repeats the text that preceded the musical interlude (see figure 27).

Figure 27 Ernesto Lecuona,Quiero ser hombre, m. 39

In m. 52 the melody changes shape and the womans final thoughts are written as a succession of

two m. groupings, the tempo dictated by several ritardando, rallentando andfermata markings

to the end of the song. This writing style helps to further the importance of the last sentence:

When thus I am drawn by desires to wander, what a deep regret to be a woman I feel!

As much as a woman will try to think like a man, she must remain true to the unique

qualities of a woman. Once again Lecuona shows these varied assets within the accompaniment

and vocal line as the writing style indicates how a woman can be dramatic and spontaneous. The

vocal line ends with the final held E-flat of mm. 59-62, sustained above the man motive in the

bass; finally an agreement is reached and both come to rest on the tonic (see figure 28).



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Seor jardinero

The song begins with the child motive in the treble clef. This motive is a grouping of

six notes, comprising beats 1 and 2 of each m., and continues throughout the song, until the final

m. (see figure 29).

Figure 29 Child Motive

The harmonic complexity and chromaticism of the motive increases throughout the song as the

narrator, a child, speaks about Natacha. The vocal line is simple, making use of repeated tones

and staying within the interval of a seventh (see figure 30).

Figure 30 Ernesto Lecuona,Seor jardinero, mm. 3-5

Given that the text is taken from childrens poetry; the limited range was most likely used to

show the developmental limitation of a childsvoice.37 All of these elements together, along

with the text of the poetry, indicate that the voice of the narrator is indeed that of a child.

37Jade Pai Shih-Yu,Discovering Musical Characteristics of Childrens Songs from Various Parts of the World

(B.Sc., Queens University, 2005), ii


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The child asks Mr. Gardener (Seor jardinero) in m.3 for a white and red rose, so that

Natacha will wake the next morning with a red rose to match the color of her cheeks and a white

rose to match the color of her pillow. Natacha could be a young girl and the narrator is a young

boy enamored with her beauty. Or, the reference of the name could be referring to the traditional

Russian dolls that are always painted with white skin and rosy cheeks; In this instance the child

would be a young girl.

This song is relatively short and is most simplistic as compared to the other four songs in

the cycle, yet Lecuona still makes great use of motives and duality of themes. The child

motive functions to express the internal excitement within the childs body as he/she speaks to

the Gardener about the roses that are needed for Natacha. The chromaticism begins in m.15 and

becomes more complex as the motive continues into m. 17 (see figure 31).

Figure 31 Ernesto Lecuona,Seor jardinero, mm. 8-17

The notes move into the higher register of the piano, depicting the heightened excitement of the

child. The vocal line remains simple in contrast to the complicated motive running below the

text.


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A second motive, the sigh motive, appears in m.21 on the text ah (see figure 32).

Figure 32 Sigh Motive

It is charming that the poetess includes the actual sigh of the child in the poetry and that Lecuona

gives it a special place in the music. This motive returns again in m. 33 and the song ends just as

quickly as it began, with the delicate manner of the piano and use of staccato intervals in m. 35.

This song is the only one of the cycle in which Lecuona did not maintain any of the same

dramatic character seen in each of the other four songs. This song shows the energy, love and

innocence of a child within the delicate texture of the accompaniment and simplicity of the vocal

line.


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La seora luna

This fourth song in the cycle is an example of a Cuban bolero, with its brief one m.

introduction, 2/4 time signature, slow tempo and rich melodies within the accompaniment.

Lecuona also incorporates some of the compositional traits of his piano pieces within this song.In mm 22-23, (see figure 33) the piano writing looks very much like m.81 of his Vals

maravilloso(see figure 34).

Figure 33Ernesto Lecuona,La seora luna, mm. 22-23

Copyright 1954 by Edward B. Marks Music CompanyCopyright Renewed

This arrangement copyright 2002 by Edward B Marks Music CompanyAll Right Reserved International Copyright Secured Used by Permission

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

The text of this poem is a lullaby, which recounts the story a young child might have been told

before he/she went to sleep. This is clear within the text as the story ofMadame Moon is

described with fantastical elements. Ibarbourou had only one child, a boy, so this may have been

a poem she wrote for him.


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Madame Moon asked the orange tree for a green dress and a white veil.

Madame Moon wishes to wed a little page boy from the royal house.

Lecuona shows the tenderness of a mother speaking to her child with the staccato and

soft dynamic marking of the opening chords, which also serve to create a dreamy atmosphere

sequence. Lecuona further expresses the text in m.9 on the word blanco (white) with a musical

gesture, perhaps showing wispiness of the veil (see figure 35).

Figure 35 Ernesto Lecuona,La seora luna, m. 9

Heightened excitement about the upcoming wedding is expressed with quick staccato chords that

descend chromatically in mm. 13 and 14 (see figure 36) with the wedding motive on the word

casar (to marry).

Figure 36 Wedding Motive


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As seen in the previous pieces and in these mm., when the accompaniment moves into the upper

range, Lecuona is very careful never to interrupt the vocal line or textmasterful writing for the

voice.

At the bottom of the first page, beginning in m. 18, the poetry is written above the staff as

recitation: Sleep,Natacha, and youll go to the wedding with your hair in a bunand in a dress

with a train. This spoken text may be the voice of the mother that the child recalls within

his/her dream. The accompaniment that runs underneath the spoken dialogue in mm. 18-25

quickly moves with the accelerando marking into the higher and lower range of the piano (see

figure 37).

Figure 37 Ernesto Lecuona,La seora luna, mm. 18-25


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This writing helps to further express the fantasy nature of the poetry and paints a picture of the

wedding. The song ends with a beautiful musical gesture in mm. 33-34, a descending and

ascending arpeggio; perhapsMadame Moon dressed in her wedding gown, or the young child

dreaming of the future (see figure 38).

Figure 38 Ernesto Lecuona,La seora luna, mm. 33-34


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Balada de amor

The poem used for this last song is a celebration of love and, like the first song of the

cycle, the poem is written in the first person and is the voice of a woman. She speaks about

having just seen the man she had always longed for, but could never picture his face. She hadbeen singing a song, and at that moment she turned pale and everything stopped when she saw

him. A voice inside her told her Lift your eyes! The one whom you await is passing by! The

woman follows the man like a sleepwalker trembling and watches him enter his house

without knowing that behind him he dragged asoul. In the last stanza of the poem, the woman

says: I became so saddened that I cried until dawn. Id give him my life, and he doesnt even

know it!

This song is in the key of A-flat major, which is the relative major key of the first song of

the cycle, written in F minor. It is written in 6/8 time and begins with a simple broken chord

accompaniment, very dance-like. The melody of the vocal line is doubled within the treble clef

of piano and accented with grace notes in mm. 3 and 7 (see figure 39 and 40) on the words

esperaba(to wait for) and ese momento(that moment).

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

Figure 40 Ernesto Lecuona,Balada de amor, m. 7


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The dance is interrupted in m. 10 (see figure 41) with a musical gesture on the wordplida

(pale). This is where the woman first sees the man and Lecuona expresses this in the piano with a

fortissimo dynamic and sixteenth notes showing how fast her heart is racing.

Figure 41 Ernesto Lecuona,Balada de amor, m.10

The aspect of duality is seen in mm. 16-20 (see figure 42) as the woman says, I followed

him like a sleepwalker with my hands trembling and my face pale. This quiet thought of the

woman is expressed withfortissimo and accentmarkings with dramatic chords that move quickly

into running sixteenth notes, interrupted by ritardandomarkings. As she follows the man in

silence, Lecuona expresses in the music the overwhelming excitement that she cannot express

out loud.


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

Just as quickly as the man had passed by her early in the poetry, he disappears without

seeing the woman and enters his house. The music for this section, is written to further express

this text with the continuation of the running sixteenth notes, now with api mossomarking and

a two m. crescendo in mm. 23-25 (see figure 43).

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


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Suddenly in m. 26 her increased joy and excitement is expressed again within the music, just as

in m. 16, now beginning with the word alma(soul); the dramatic writing returns, full of accents

and an increased dynamic tofortissimo(see figure 44).

Figure 44 Ernesto Lecuona, Balada de amor, m. 26

The tear motive appears in m. 28 (see figure 45) with a quick thirty-second note

descending pattern that ends with afermata.

Figure 45 Tear Motive

These are not tears of sadness; for in mm. 32-40 (see figure 46), in a Chopinesque style, Lecuona

takes us through a musical journey, as the woman visualizes her life with this man.


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

In m. 45 the vocal line moves into the higher range and the text from the beginning of the poem

is repeated, Lift your eyes! The onewhom you await is passing by! Lecuona echoes her joy in

the final mm. reaffirming the key of the piece with the fortissimomarking, the running sixteenth

note pattern and the final A-flat chord (see figure 47).

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


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CONCLUSION

Ernesto Lecuona (1895-1963) will always be regarded as one of the most important

Cuban musicians, having written more than 600 compositions. He was well respected by his

peers and admired by audiences throughout Latin and South America, Europe and the United

States during his time. His popularity continues today on the concert stage, in recent recordings

and within music education; both his Malaguea and La comparsa are standard repertoire for

classical pianists and have been arranged for marching bands. His success with Afro-Cuban

songs influenced composers within his generation and those to follow. He was revered by many

of his contemporaries for his abilities as a pianist and composer. His popularity was so great,

that he was given the title of The Cuban Gershwin.

His Five Arts Songs on Verses by Juana de Ibarbourou (Cincocanciones con versos de

Juana Ibarbourou) incorporate specific historical influences on the Cuban cancin, such as the

influence of Italian opera and dance rhythms. The songs are composed in theLied tradition of

the great German composers, with their use of motives, expressive melodies, complex harmonies

and successful setting of Juana de Ibarborous poetrywith the music. However, with the added

elements such as the use of the Cuban bolero and criollo rhythmsalong with the rich texture and

dramatic piano accompaniments, these songs are distinctly Cuban canciones.


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APPENDIX A


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Cancin del amor tr iste

Viento que te vas a donde no puedo yo irNo me llevaras? Si tuviera alas como t

Ay, contigo ira por el cielo azul

Porque estoy tan triste que deseara huir.

Llvame oh, pampero, muy lejos de aqu

Harme liviana, mas de lo que soy,

Para pesar menos, he llorado hoyPara pesar menos si preciso es,

Mi trenza sombra Ay, me cortar.

Pare pesar menos, no he de sonreirCuando al fin me lleves muy lejos de aqu

Lo nico, viento, que no puede ser

Es que yo a aquel hombre dej de querer.Aunque pese mucho, es amor ir

Adonde yo vaya, me podrs llevar?

Poet: Juana de Ibarbourou

(fromDualismo, Obras Completas, 1953)

Quiero ser hombre

Si yo fuera hombre, que hartazgo de luna,

De sombra y silencio me haba de dar!

Cmo, noche a noche, slo ambularaPor los campos quietos y por frente al mar!

Si yo fuera hombre, qu extrao, quloco, tenaz vagabundo que haba de ser!

Amigo de todos los largos caminos

Que invitan a ir lejos para no volver!

Cuando as me acosan, ansias andariegas,Qu pena tan honda me da ser mujer!

(fromRaz salvaje, 1922)

Song of Sad Love

Wind that blows where I cannot go,Wont you carry me? If I had your wings,oh, Id fly through the blue sky with you,

because I am so sad I would like to flee.

Carry me, Pampean wind, oh far from here,

lighter Id make myself, more than I am. Tomake myself lighter, my tears Ive shed, tomake myself lighter, if need be,

my dark braid, oh, I shall cut.

To make myself lighter, I will not smile,when you finally carry me far from here,

the only thing, wind, that cannot be,

is that I should stop loving that man.Although my love is heavy, I will take it

with me wherever I go; can you carry me?

To be a man

If I was a man, what a wealth of moonlight,

of shadows and silence Id fill myself with!

Night after night, alone I would wanderthrough quiet fields and the edge of the sea!

If I was a man, the strangeness, the madness,a fervent vagabond Id have to be!A friend of all the paths and long roads

which invite you to go far, and never return!

When thus I am drawn by desires to wander

what a deep regret to be a woman I feel!


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Seor jardinero

Seor jardinero,dme usted a m

un capullo plido

y otro carmes.

Lo pondr en la almohada

donde mi Natachahunde su mejilla

rosadita y blanca, ah!

Y al da siguiente

tendr usted as

dos rositas blancasy dos carmes, Ah!

(fromDualismo, 1953)

La seora luna

La seora Luna

le pidi al naranjoun vestido verde

y un velillo blanco

La seora Luna

se quiere casarcon un pajecito

de la casa real.

Recitado:Durmete, Natacha,e irs a la boda

peinada de moo

y en traje de cola.

La seora Luna

se quiere casarcon un pajecito

de la casa real.

(fromDualismo, 1953)

Mr. Gardener

Mr. Gardener,please give me

a pale rosebud

and another one crimson.

So I might place them

on the pillow wheremy Natacha sinks her cheek,

white and pink, oh!

So she may rise the next daywith two white roses

and two crimson, oh!

Madame Moon

Madame moonasked the orange tree

for a green dress

and a white veil

Madame moon

wishes to weda little page boyfrom the royal house.

Spoken:Sleep,Natacha,and youll go to the weddingwith your hair in a bunand in a dress with a train.

Madame moon

wishes to weda little page boy

from the royal house.


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Balada de amor

Aquel que esperabaSin saber su cara,

Pas hoy a mi ladoY llevse mi alma.

La trova que en ese

Momento cantaba,Se quebr en mis labios

Y tornme plida.

Alguien me lo dijo

Sin voz ni palabra:Levanta los ojos

Que pasa el que aguardas!

Me puse a seguirlo

Como una sonmbula

Con las manos trmulasY la cara plida.

Mas l, sin mirarme,Se adentr a su casa

Sin saber que a rastros

Se llevaba un alma.

Me volv tan triste

Que llor hasta el alba.

Le dara mi vidaY l no sabe nada!

(fromDualismo, Obras Completas, 1953)

Song of Love

He who I longed for,

without knowing his face,

passed by me todayand stole my heart.

The tune that I was singingat that moment

broke on my lips

and I turned pale.

Someone told me

without a voice or word

Lift your eyes!The one whom you await is passing by!

I followed himlike a sleepwalker

with my hands trembling

and my face pale.

Yet he, without seeing me,

entered his house

without knowing that behind himhe dragged a soul.

I became so saddened

that I cried until dawn.Id give him my life,and he doesnt even know it!


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APPENDIX B


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CANCIN DEL AMOR TRISTE

bjn to k t bas a don no pwo yo ir

Viento que te vas a donde no puedo yo ir

no m aras si tu bj ralas ko mo tuNo me llevar S

Ai, kon ti goi ri a por l sjloa sul

A

Por k stoi tan tris t k dsa ra uirP .

e a mo pam pr o mui lxos da kiL

a re m li vja na mas d lo k soi

Harme liviana, mas de lo que soy,

pa ra psar mnos o ra o oiPara pesar menos, he l pa ra psar mnos si prsi so sPara pesar menos si preciso es,

mi trn sa som bri a ai m kor ta re

Mi trenza sombra Ay, me cortar!

pa ra psar mnos no d son rirP

kwan al fin m s mui lxos da kiC

Lo u ni ko vjn to k no pw serLo nico, viento, que no puede ser

s k joa kl om br dxe d krrE .

aun k ps mu o esa mor i raA

a on e jo bai ja m po ras arAdonde yo vaya, me podrs llevar?


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QUIERO SER HOMBRE

si jo fwra om r kar tas go d lu na

S ,

d som brai si ln sio ma i a d dar

!co mo no a no so loam u la ria

C

por los cam pos kjtos i por frn tal mar

P !

si jo fwra om re keks tra o ke lo ko

S , qu loco,

te nas ba a un o ka i a d sr

Tenaz !

a mi go d to os los lar os ka mi nosAmigo de todos los largos caminos

Kin vi tan air lxos pa ra no bol rQ !

Kwan da si ma ko san an sjas an dar jgas

C , ansias andariegas,

ke pna tan on a m da sr mu xrQu pena tan honda me da ser mujer!


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SEOR JARDINERO

Sor xar di nro de mu std a mi

Seor jardinero, dme usted a m

un ka pu o pa li o i o tro kar msiun capullo plido y otro carmes.

los pon ren lal mwa aL en la almohada

don mi na ta a un su mxi a

donde mi Natacha hunde su mejilla

o sa i tai bla ka a , ah!

ial di a si jn t tn rau std a si

dos o si tas bla kas i dos kar msi ados rositas blancas y dos carmes, Ah!

LA SEORA LUNA

la so ra lu na l pi joal na ra xoL L

un bsti o br iun bli o bla ko

la so ra lu na s kjr ka sarLa seora Luna se quiere casar

con un pa xsi to d la ka sa alcon un pajecito de la casa real.

dwr mt na ta a i ras a la bo a N

Pei na a d moo i n tra xe d ko lapeinada de moo y en .

la so ra lu na s kjr ka sarLa seora Luna se quiere casar

con un pa xsi to d la ka sa alcon un pajecito de la casa real.


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BALADA DE AMOR

a kl ks pra a sin sa r su ka ra

A ,

pa soi a mi la oi o se mi al maP y llevose mi alma.

la tro a kn s mo mn to kan ta aL ,

s k ron mis la jos i tor nm pa li a

S torneme plida.

al jn m lo di xo sin bos ni pa la raAlguien me lo dijo sin voz ni palabra:

lan ta los o xos k pa sl ka war das

L !m pu sa se wir lo ko mu na so nam u la

M

kon las ma nos tre mu las i la ka ra pa li aCon las manos trmulas y la cara plida.

mas el sin mi rar m sa n troa su ka saM

sin sa r ka as tros s a un al ma

S .

m bol i tan tri st k o ra sta l al aM .

l da ria mi bi a iel no sa na daL !

a kl ks pra a sin sa r su ka ra

A ,

pa soi a mi la oi o se mi al ma

P .

al jn m lo di xo sin bos ni pa la raAlguien me lo dijo sin voz ni palabra:

lan ta los o xos k pa sl ka war dasL !


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APPENDIX C


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APPENDIX D


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FERNANDO LECUONA INTERVIEW

The following is an English transcription of the interview held with Fernando Lecuona in

his Florida home on June 24th

, 2011 and provides insight into the life of Ernesto Lecuona.

Fernando Lecuona, (b. Havana, Cuba 1926) is a professor, musician, Olympic gymnast,professional golfer and scholar. He holds a B.S. degree in Business Administration and M.A. in

International Affairs from Florida State University. He is the nephew of the great Cuban

composer Ernesto Lecuona. Mr. Lecuona is also a pianist and has recorded more than 150 of his

own songs to date and seven albums. His 1950 composition,El lucero y yowas a major success

in Cuba and a favorite today.

The Interview

Fernando Lecuona (FL):

I used to go to Ernestos farm. My sister and I would go every Saturday to Ernestos farm. Itwasnt a working farm, but more for recreation. Many artists would go from Cuba and fromabroad. Kings, princes, presidents, ambassadors, and artists would visit the farm. In those days,

Mojica, (inaudible), Carlos Gardel, were famous. As for Americans, Jeanette McDonald, Nelson

Eddy

Christina Villaverde (CV):

But all those would visit the farm?

FL:

Yes. The farm was half an hour away from Havana. Everyone would go to my house, because I

lived in Havana to see where Ernesto was to see where he lived. Because I needed to take himhome. ComposersI dont remember all their names, but they are listed there in the book.Iturbiever hear of composer Jose Iturbi? Gershwin

CV:

He went to Ernestos house?

FL:Yes. Ravel.

CV:

Maurice Ravel.


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FL:

Of Bolero, the composer. And the most humble folks would also visit the House to look formoney, or to see if there was work available. Ernesto would give work to all his choralmembers. When it was not the era of the zarzuelas or operettas, nobody had work, so Ernesto

would offer them the opportunity to work at the farm. Bola de Nieves mother was the cook at

the farm. Every day she would cook. Bola de Nieve was there, dancers, choral members,showgirls. Some would dust the Chinese parts, others the South-American parts, becauseErnesto had collections from all over. There were these two large cobijas. Know what is acobija?

CV:

No.

FL:They are these large, open huts without walls.

CV:Outside?

FL:Yes. They were about a block away from the house. Thats where people would play baccarat,canasta, Parcheesi, pokereverythingwhile Ernesto stayed inside the house. Hed send themout so he could be alone. During the week he would only be in his underwear, because he didntlike to be in pants, because since he was always out in public, he had to dress up and he wasupset of having to always wear coat and tie, so generally whenever I would take someone to visit

him, I would have them wait so I could warn Ernesto that there was company so he could dress

up. He would then tell them to come in, but otherwise, he would always be in his underwear. It

was a large underwear. It would make me laugh.

He did not play the piano.

CV:

Who?

Ernesto, because he was tired of playing the piano. Outside the house, yes, but not in the house,

even though there was a piano. Everyone played there. And since I would only play with one

finger, there was a bad pianist named Kinka, so Ernesto would tell me, Kinka, get off thepiano.

CV:

Thats the nickname he gave you?

FL

Yes. He would call me either Kinka or Feyayi. Or Feyayito, or Fernando. He was the onlyone who would call me Feyayo. And the first time I saw him was when I was three years.That was eighty-two years ago, when he came from South America with a group of Artists.


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Because, thats what he did. His money, he would invest it in artists so he could travel. Thefood, the lodging, everything was paid for by Ernesto. Whether they made money or not, it was

Ernestos expenses. Then they would go talk about everything they saw, whether in Argentina,Buenos Aires, Paris.

I lived with him three times in different places. One was a block from 5

th

Avenue in New Yorkin 10 E 60th Street.

CV:

In what year?

FL:

That was in 43. Then, he bought a house in Jackson Heights and got me a job with Edward BMarks, his publicist, music publisher.

CV:Yes, Marks Music Corporation.

FL:

Yes, I was there working with him for two years.

CV:

You were there working with him?

FL:

Yes. Also, there was another place in New York, but I dont recall right now, because two yearsago they operated on my brain, and I forget a few things.

When we lived above the Copacabana in 10 East 60th Street, the nightclub was downstairs, so at

night Id go down to the club to see all the stars sing and dance. Meanwhile he would stayplaying canasta in his underwear.

And when we lived in Jackson Heights, they called him from Hollywood, and he didnt speakEnglish, so see what they want, Fernandito, he said, and I got on the telephone, and it wasWarner Brothers who wanted to talk about the song Siempre en mi Corazon. So Ernesto woulddictate it to me, and I would dictate it to them: b-flat, C-major, E, whatever.

CV:

So you were telling them the music on the phone, this ispart B, this is part F, like that?

FL:

Yes, everything over the telephone.


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CV:

So you said that Ernesto didnt speak a word of English?

FL:

No. But he had many people around him who would explain, especially his lawyer, who was the

executor of Ernestos will, who has died. John Sperry. And when [Ernesto] died, he split hisestate among twenty-fourpeople, some of whom had never even been to h

cinco canciones con versos de juana de ibarbourou_ the art song s

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