An analytical study of Concerto for Piano and Orchestra, Op.13, by Costa Rican composer Carolos Enrique Vargas

Transcription

1 Louisiaa State Uiversity LSU Digital Commos LSU Maor Papers Graduate Shool 004 A aalytial study of Coerto for Piao ad Orhestra, Op, y Costa Ria omposer Carolos Erique Vargas Mauel Matarrita Louisiaa State Uiversity ad Agriultural ad Mehaial College Follo this ad additioal orks at: Part of the Musi Commos Reommeded Citatio Matarrita, Mauel, A aalytial study of Coerto for Piao ad Orhestra, Op, y Costa Ria omposer Carolos Erique Vargas (004) LSU Maor Papers This Maor Paper is rought to you for free ad ope aess y the Graduate Shool at LSU Digital Commos t has ee aepted for ilusio i LSU Maor Papers y a authorized graduate shool editor of LSU Digital Commos For more iformatio, please otat gradetd@lsuedu

2 AN ANALYTCAL STUDY OF CONCERTO FOR PANO AND ORCHESTRA, OP, BY COSTA RCAN COMPOSER CARLOS ENRQUE VARGAS A Moograph Sumitted to the Graduate Faulty of the Louisiaa State Uiversity ad Agriultural ad Mehaial College i partial fulfillmet of the requiremets for the degree of Dotor of Musial Arts i The Shool of Musi By Mauel Matarrita B M, Uiversidad de Costa Ria, M M, Uiversity of Ne Orleas, 00 August, 004

3 ii To my father, Trimurti, ad i memory of my mother, Virgiia

4 ACKNOWLEDGMENTS ould like to express my gratitude to all those ho have otriuted to the ompletio of this moograph My siere thaks to the memers of my ommittee, espeially Dr Jeffrey Perry ad Barieau Professor Costae Kox Carroll, for their advie ad professioal orietatio; Aleadro Argüello for his ivaluale help ith the editio of Carlos Erique Vargas Piao Coerto; Roerto Erique Vargas, for the importat iformatio he provided for this researh, ad for authorizig the reprodutio of his father s ompositio; ad my ife Stay Chamli, for her patiee ad uoditioal support iii

5 TABLE OF CONTENTS ACKNOWLEDGMENTS ii LST OF TABLESvi LST OF EXAMPLESvii ABSTRACT ix CHAPTER ONE: MUSCAL COMPOSTON N COSTA RCA: A BREF OVERVEW trodutio The First Half of the Nieteeth-Cetury The Seod Geeratio of Composers The Ne Geeratios CHAPTER TWO: CARLOS ENRQUE VARGAS Biographial Sketh Vargas as a Composer Coerto for Piao ad Orhestra, Op 7 CHAPTER THREE ANALYTCAL ANNOTATONS ON CARLOS ENRQUE VARGAS CONCERTO FOR PANO AND ORCHESTRA Formal Aalysis Movemet : Adagio-Allegro Movemet : Adate Movemet : Allegro Molto Summary CHAPTER FOUR: PERFORMANCE AND PEDAGOGCAL CONSDERATONS OF VARGAS CONCERTO4 BBLOGRAPHY APPENDX A PERFORMANCE EDTON OF CARLOS ENRQUE VARGAS CONCERTO FOR PANO AND ORCHESTRA6 Movemet : Adagio-Allegro 6 Movemet : Adate Movemet : Allegro Molto 4 iv

6 B CATALOG OF CARLOS ENRQUE VARGAS ORGNAL COMPOSTONS C LETTER OF CONSENT VTA 6 v

7 LST OF TABLES Tale - Struture of Vargas Coerto, Movemet Tale - Struture of Vargas Coerto, Movemet Tale - Struture of Vargas Coerto, Movemet 4 Tale 4 - Tehial prolems i Vargas Coerto6 vi

8 LST OF EXAMPLES All musial examples are from Carlos E Vargas Coerto for Piao ad Orhestra Ex - mvt, mm -4 Ex - mvt, mm -4 Ex - mvt, mm -4 Ex 4 - mvt, mm -6 Ex - mvt, mm Ex 6 - mvt, mm 6-6, harmoi sketh Ex 7 - mvt, mm -7 Ex - mvt, mm 6-0 Ex - mvt, mm - Ex 0 - mvt, mm -4 Ex - mvt, mm 47- Ex - mvt, mm Ex - mvt, mm -67 Ex 4 - mvt, mm 0-0 Ex - mvt, mm -4 Ex 6 - mvt, mm -4 Ex 7 - mvt, mm Ex - mvt, mm -46 Ex - mvt, mm Ex 0 - mvt, mm -647 Ex - mvt, mm vii

9 Ex - mvt, mm 6-74 Ex - mvt, mm Ex 4 - mvt, mm 0-4 Ex - mvt, mm - Ex 4 - mvt, Cadeza6 viii

10 ABSTRACT Carlos Erique Vargas Médez (-) as oe of the most ifluetial ad versatile Costa Ria musiias of the last etury His ork ivolved may areas sie he as a aomplished piaist ad orgaist, odutor, omposer, arrager, editor, pedagogue ad musiologist Hoever, Vargas ork as a omposer is perhaps the least researhed ad most egleted of the musi disiplies he emraed This researh ill fous o oe of Vargas most importat ompositios, his Piao Coerto Op, omposed ad premiered i 44 The moograph is divided ito four hapters The first hapter iludes a syopsis of the history of ompositio i Costa Ria, i order to provide historial akgroud ad musial ifluees o the Coerto Chapter To offers iographial iformatio aout Vargas, dra from the most authoritative soures o the suet The third hapter provides a omprehesive aalysis of the formal ad themati strutures of the Coerto, ad Chapter Four deals ith some pedagogial ad performae osideratios of the ompositio Due to the lak of a pulished versio of the piee, a performae editio of the Coerto is preseted i Appedix A This editio as made ith permissio of the omposer s so, Roerto Erique Vargas ix

11 CHAPTER ONE MUSCAL COMPOSTON N COSTA RCA: A BREF OVERVEW trodutio Costa Ria, oe of the smallest outries i Lati Ameria, is situated etee Niaragua ad Paama Columus first sa this portio of Cetral Ameria i 0, o his last trip to the Ne World Spaish settlemet, hoever, did ot egi util the mid 00s 6, Jua Vásquez de Coroado the true oquistador of Costa Ria arrived as goveror Nevertheless, of all the Spaish oloies, Costa Ria, ad Cetral Ameria i geeral, eoyed the least ifluee as a oloy All these outries ere, i the egiig, upopular plaes to settle, maily due to their fe valuale or easily exploited resoures The Spaish ere muh more iterested i developig their ealth i Mexio ad Peru Costa Ria's isolatio from the Spaish oloial eters i Mexio ad the Ades greatly otriuted to the developmet of a autoomous ad idividualisti agraria soiety that lasted for more tha to eturies Durig this exteded period of oloizatio, musi had a modest role i the ulture of the outry, servig mostly as reiforemet i Catholi eremoies Hoever, the ompositio of art musi y ative Costa Ria musiias did ot egi util the ieteeth-etury Whe Mexio reelled agaist Spai i, Costa Ria oied the other Cetral Ameria provies i a mutual delaratio of idepedee Although the ely idepedet Carlos Moge Alfaro Historia de Costa Ria (Sa José: mpreta Treos Hos, 66), Beral Flores La Músia e Costa Ria (Sa José: Editorial Costa Ria, 7), 0-4

12 provies formed a Federatio, this alliae eased to futio i ad Costa Ria formally prolaimed itself a sovereig atio The First Half of the Nieteeth-Cetury Similar to most of the Lati Ameria outries, the developmet of musi i Costa Ria durig the first years of its idepedet life as determied y the to mai soial istitutios: govermet ad hurh Naturally, the professioal level of the first atioal musiias as ot profiiet, ut it fulfilled the eeds of the religious ad military rituals 4 4, the Costa Ria govermet, i a effort to improve the musial level of the iipiet military ads, hired musiia José Martíez to orgaize the first atioal esemles Martíez fouded the first atioal ads i at least three of the Cetral Ameria outries: Guatemala, El Salvador ad Costa Ria 6 The emergee of e ads i the other provies of the Costa Ria geerated a atioal orgaizatio of ads alled the Direió Geeral de Badas This orgaizatio is still i existee Beral Flores summarizes the musial situatio of this period: Durig the first part of the th etury, Costa Ria as orgaized politially ad its geographial ad ultural isolatio made it diffiult to maifest itself to a high degree; a fe foreig musiias ega to teah musi i the territory, to modest Moge, 60 4 María Clara Vargas Prátia Musial e Costa Ria, 4-4 (M A thesis, Uiversidad de Costa Ria, ), 4 id, - 6 There are some disrepaies oerig the iographial data of José Martíez Vargas affirms that he as of Spaish origi (M C Vargas, ), hile Beral Flores maitais that he as from Guatemala ad died i (Staley Staley, ed The Ne Grove Ditioary of Musi ad Musiias 00 S v Costa Ria Art Musi y Beral Flores, v 6, ) O the other had, Daiel Medoza (Musi i ero-ameria to 0: A Historial Survey Oxford: The Sarero Press, 00, ) affirms that Martíez s dates ere a 70-46

13 theaters ere uilt, a system of ads (Direió Geeral de Badas) as orgaized, ad Europea istrumets ere oied ith some istrumets like the marima By 0 the first piaos arrived i Costa Ria 7 These emerget military ads fulfilled several soial futios They ot oly served military duties, ut also partiipated i religious eremoies (suh as solem masses) ad i puli performaes The ads played oerts alled rereos ad retretas, ope to the puli ad usually held i the ity parks: Gradually, these esemles eased to e merely reiforemet for the military ativities, ad assumed a fudametal role i the soial etertaimet of the ivilias The musial ommads, de retraite i Freh, that ere used to alert the army to ease ativities ad, durig the eveigs, to summo the troops ak to the headquarters, eame true oerts outdoors They ere alled retretas, if they took plae durig the eveig, ad rereos if they ere held at some poit i the afteroo Partiularly popular ere the ads performaes o Sudays The misa de tropa (a Catholi mass i hih the ads also played durig the eremoy) as immediately folloed y a rereo i the park The repertoire performed i these oerts usually iluded adaptatios of arias from operettas, zarzuelas (Spaish operettas), Vieese altzes ad marhes Evidetly, musi of light harater for purposes of etertaimet as the preferee The first atioal omposers appeared durig the seod half of the ieteeth-etury, ad ega to rite musi iteded for this type of esemle ad audiee This first group is desried y Flores as the 7 Beral Flores La Vida Musial de Costa Ria e el Siglo XX Die Musikkulture Lateiamerikas im Jahrhudert, ed Roert Güther, 6-7 (Muih: Gustav Bosse Verlag Regesurg, ), 7 M C Vargas, 04 Traslated y author Flores (), 6

14 first rop of omposers, performers ad musiias that may e osidered taleted ut ot igeious 0 From this first geeratio of omposers, Mauel María Gutiérrez ad Rafael Chávez Torres deserve speial attetio Mauel María Gutiérrez (-7), as the diretor of the ad of Heredia, his ative ity, ad assumed the admiistratio of the Direió Geeral de Badas i A omposer of ad musi ad some salo piees, his most importat ahievemet as udoutedly the ompositio of the Costa Ria Natioal Athem i Fored y the irumstaes of the iipiet musial eviromet ad the lak of professioal musiias, omposers suh as Gutiérrez had to e very versatile, as a e iferred from this remark y the omposer i 6: No that am ale to have some free time durig the day, have deided to use those hours to teah guitar, piao, harmoia, flute, violi ad voie do ot promise to ahieve great results, eause my limitatios are ko; ut do offer my est servies, tryig to please all those ho at to e taught y me [ also offer] musi piees, easily arraged for the piao, guitar, et Amog them, polkas, mazurkas, daes, otra-daes, marhes, extrats from the est operas for voie ad piao; musi arraged for a sigle istrumet, for to or more, as ell as for small esemles or military ads Rafael Chávez Torres (-07) sueeded Gutiérrez i the Direió Geeral de Badas Also a omposer of mazurkas, altzes ad salo musi, Chávez is est ko for his fueral marh El Duelo de La Patria ( The Sorro of the Fatherlad ) hih eame quite popular ad as played i may types of eremoies, partiularly at the proessios durig Holy 0 id, 7 Flores (7), 40 Aordig to the soure, Gutiérrez assumed the admiistratio of the Direió Geeral de Badas upo the death of José Martíez i id, 6 Quoted i M C Vargas, Traslated y author 4

15 Week 4 Other Costa Ria omposers of this time ere Pilar Jiméez (-), Gordiao Morales (-7), Carlos Gutiérrez Rodríguez (6-4) ad Roerto Campaadal (- ) The Seod Geeratio of Composers Durig the seod half of the ieteeth-etury, the situatio of the Costa Ria improved greatly due to the fast developig eoomy ased o the produtio of offee The musial eviromet as iflueed y this eoomi prosperity Several evets that ourred durig this period deoted a hage i the ultural metality of the outry Foreig opera ompaies, mostly Europea, started performig frequetly i Sa José Musiias from aroad ere rought to the outry to teah A umer of philharmoi soieties ere estalished, omprised of oth experieed ad amateur musiias By the ed of the etury, to importat musi shools opeed: the Esuela Naioal de Músia i 0 ad the Esuela de Músia Sata Ceilia i 4 Fially, i Otoer 7 Sa José itessed the iauguratio of the Costa Ria Natioal Theater, the most importat ultural veue i the outry, uilt ith the patroage ad sposorship of the afetaleros, the groig offee-elite A e geeratio of loal omposers emerged durig this period They already shoed a steadfast iterest i Europea musi, evidetly iflueed y the flo of iteratioal guest musiias Some of these omposers, suh as Aleadro Moestel, smael Cardoa ad Julio Fosea, also had the opportuity to study aroad ad perfet their ompositioal tehiques 6 4 Flores (), 66 id, 7 6 Flores (7), 6

16 Aleadro Moestel (6-0) studied i the Coservatory of Brussels from 0 to 4; he as maily devoted to the ompositio of religious musi From 4 to 0 he served as maestro de apilla ad orgaist at Sa José Cathedral, ad i 4 he fouded the Esuela de Músia Sata Ceilia 7 0 he moved to Ne York ad orked as a orgaist i several importat hurhes May of his religious ompositios, iludig the atatas The Seve Last Words of Jesus, The Passio of the Christ ad The Resurretio ad Asesio of the Lord ere pulished i the Uited States Like Moestel, Julio Fosea (-0) also studied i Brussels From the musiias of his geeratio, Fosea represets the most importat late Romati omposer i Costa Ria His style as also iflueed y mpressioism, ad his ompositioal output iluded religious piees, hamer musi, piao ad orhestral ompositios, salo piees ad eduatioal sogs 0 He as also the first omposer ho revealed a osious atioalisti iliatio: am a eliever i atioalism, i order for eah outry to have a persoal mark i its ompositioal shool That is hy, here i my homelad, have put all my effort ito olletig ad dissemiatig our popular ad folk musi, to failitate the omposers ith a soure of ispiratio ad grat to their orks a origial atioal flavor Ufortuately, e stumle ith the eakess of our idigeous folklore, ad regardig the popular musi of the outry, the material is ot ompletely origial Three omposers, iludig myself, have udertake the missio of orkig o this musi: Aleadro Moestel ith his Rapsodias Guaaasteas, Julio Mata ith his operetta Toyupá, ad myself i the Fatasía 7 Otto Mayer-Serra Músia y Músios de Latioaméria (Mexio DF: Editorial Atlate, 47), 67 Flores (7), 7 id, 0 id 6

17 Sifóia, i hih adopted the Puto Guaaasteo, the most popular motive of our musi, as the priipal theme ad developed it i the form of a fugue at the ed Amog Fosea s omplete orks more tha 00 ompositios the folloig are his most importat ompositios: Soata for Violi ad Piao; Trio No for Piao, Violi ad Cello; Gra Fatasía Sifóia ad Suite Tropial, oth for orhestra; several piao piees (altzes, mazurkas, otures, etudes) ad a hildre s opera amed Caperuita Earada Julio Mata (-6) as aother importat omposer of this geeratio After studyig i the Uited States from to 6, he retured to his ative outry, ad y 40 as appoited odutor of the military ad of Sa José His most importat ompositios ere the operettas Toyupá ad Rosas de Norgaria, oth ased o atioal suets, ad some orhestral orks suh as Suite Piedras Preiosas ad Suite Astrata Coversely, Costa Ria omposer José Castro Carazo (-) made his areer i the Uited States A ell-ko violiist ad odutor of ads for several years i Sa José, he later moved to Louisiaa His lose friedship ith goveror Huey P Log grated him a positio ith the ad of Louisiaa State Uiversity There, he as famous for ompositios he rote for that esemle suh as Touhdo for LSU ad Darlig of LSU He ever retured to his homelad Military ads ere still i vogue i Costa Ria; hoever, the leadig omposers of this geeratio also started ritig orks for symphoi esemles Although these ere usually Quoted i Mayer-Serra, 4 Traslated y author Miguel Fiher, Martha Furma Shleifer ad Joh M Furma, ed Lati Ameria Classial Composers: A Biographial Ditioary, d ed (Oxford: The Sarero Press, 00), 4- Flores (7), 4 7

18 rather upretetious ompositios, they oetheless led to the estalishmet of the first professioal symphoy, the Orquesta Sifóia de Costa Ria, fouded i 7 uder the diretio of Belgia odutor Jua Loots 4 Ufortuately, this esemle did ot last log Meahile, other omposers ere devoted to ritig popular sogs, mostly for eduatioal purposes Amog those deservig metio are José Joaquí Vargas Calvo (7-6), José Daiel Zúñiga (-) ad Alides Prado (00-4) Vargas Calvo as also Moestel's suessor as the diretor of the Esuela de Músia Sata Ceilia The Ne Geeratios The 40s ere defiitive i the musial developmet of the Costa Ria 40 a e orhestra, still i existee, as fouded: the Orquesta Sifóia Naioal de Costa Ria 4, the Costa Ria govermet fouded the Coservatorio Naioal de Músia (o alled the Esuela de Artes Musiales de la Uiversidad de Costa Ria) ad provided fiaial support for the emerget orhestra A e geeratio of omposers flourished durig this period; the first importat figure of this e group as Carlos Erique Vargas (-), mostly reogized durig his lifetime as a outstadig performer ad pedagogue Vargas omposed the first oerto ad the first symphoy ever omposed i Costa Ria His iographial profile ill e disussed i detail i the folloig hapter Beamí Gutiérrez ( 7), piaist ad omposer, studied i Guatemala, the Uited States ad Argetia Amog his teahers ere Darius Milhaud ad Alerto Giastera 6 His 4 id, 0 M C Vargas, 6 Fiher,

19 most importat orks ilude his Variaioes Coertates for Piao ad Orhestra; Coerto for Clariet ad Orhestra; the operas Mariaela, Las Dos Evas ad El Páaro del Crepúsulo, ad the sei atata Fuego y Somra ased o the life of the Spaish poet Federio Garía Lora 00, Gutiérrez as aarded the Premio Magó, the most importat hoor i Costa Ria ulture Beral Flores ( 7) as ot oly the most avat-garde omposer of his time i Costa Ria, ut is also a avid musi historia ad ethomusiologist He eared his dotoral degree i ompositio from the Eastma Shool of Musi i 64, havig studied ith Berard Rogers, Waye Barlo ad Hoard Haso His orks ilude The Lad of Heart s Desire (opera); to symphoies; Coerto for Piao, Perussio ad Orhestra; a Clariet Coerto; several hamer piees ad Seve Dodeaphoi Toatas for piao 7 Roío Saz (4-) studied i Califoria, ad settled i Mexio i 4, here she as a studet of Carlos Jiméez Maarak, Blas Galido ad Rodolfo Halfter She as also aarded a sholarship to study at the Thaikovsky Coservatory i Moso from 6 to 66 Her orks ilude the allets El Forastero ad Letaía Erótia para la Paz, the suite Hilos for orhestra, ad the reoed Catata de la depedeia for aritoe, horus ad symphoi ad Her ompositios have ee reetly resued ad atalogued y the Uiversity of Costa Ria Similar to Saz, Dolores Castegaro (00-7) settled i Mexio here she developed a suessful areer as a sogriter ad odutor the 0s, she studied i taly at the Coservatorio di Musia Giuseppe Verdi i Mila, ad later at the Aademia Filarmoia di 7 id, 00 id, 07

20 Bologa Other omposers of this geeratio ere Mariao Herera (0-6), Riardo Ulloa Barreehea ( ), ho studied i Spai, ad Jorge Luis Aevedo ( 4), ho has ritte several atatas ispired y the idigeous ultures of Costa Ria The latest geeratio of Costa Ria omposers has ee led y Luis Diego Herra ( ), a disiple of Beamí Gutiérrez Also a odutor, Herra studied ith Leo Barzi ad Pierre Deveraux at the Coservatoire de Strasourg, i Frae His most remarkale ompositios are K0 for solo piao; Symphoy No; Coerto for Marima ad Orhestra, ad his reet Piao Coerto (00) Other Costa Ria omposers, urretly ative i the ultural life of the outry, are Mario Alfaro-Güell, Alle Torres, Carlos Castro, Aleadro Cardoa, Eddie Mora, Carlos Esalate, Otto Castro, Aleadro Argüello ad Viiio Meza id, 7 0

21 CHAPTER TWO CARLOS ENRQUE VARGAS Biographial Sketh Carlos Erique Vargas Médez is regarded as oe of the most ifluetial ad versatile Costa Ria musiias of the last etury His ork ivolved may disiplies sie he as a aomplished piaist ad orgaist, odutor, omposer, arrager, editor, pedagogue ad musiologist Durig his lifetime, he as ideed a pioeer i a outry hose musial ulture as ot highly developed Bor o July, Carlos Erique Vargas as the yougest of eight hildre Raised i a family of musiias that iluded oth parets ad several of his rothers ad sisters, he as the oly hild ho shoed a truly serious iterest i pursuig a musial areer Begiig i his early hildhood, he took piao ad orga lessos from his father, José Joaquí Vargas Calvo, ho as ot oly a reoed musi pedagogue ad omposer ut also a govermet diplomat The latter irumstae required the family to live for several years i Detroit, Mihiga, durig the late 0 s They retured to Costa Ria i At age, Carlos Erique had already eome his father s assistat at the Esuela de Músia Sata Ceilia i Sa José, upo Vargas Calvo s desigatio as the Costa Ria Geeral Cosul to Rome, the Vargas family moved to taly There, Carlos Erique had the privilege of eterig the Coservatorio Sata Ceilia, graduatig i Amog his teahers i taly ere Carlo Zehi (piao), Cesare Doii (harmoy ad ompositio) ad Rev A Satii (orga ad gregoria Aael Campos Catero Carlos Erique Vargas: Vida y Músia (Sa José: Editorial UNED, 00), id, 6 id, 40

22 hat) 4 Upo his retur to Costa Ria i 40, Carlos Erique Vargas as the most qualified ad ell-traied piaist, omposer, odutor ad musi theorist i the outry Some of the most sigifiat ativities of his areer iluded eig Professor of Musi at the Colegio Superior de Señoritas (40-), offiial orgaist of Sa José Cathedral (0-7), fouder ad diretor of the Uiversity of Costa Ria Chorus (), ad offiial odutor of the Costa Ria Natioal Symphoy (6-70) additio, he traveled to Germay i for to moths to partiipate i a series of lasses i order to perfet his koledge i odutig Vargas is osidered oe of this etury's most outstadig musi pedagogues i Costa Ria He is reogized for emphasizig the importae of teahig lassial musi i the musi eduatio programs i seodary shools, espeially at the Colegio Superior de Señoritas He also itituted a importat program of Musi Appreiatio lasses at the Uiversity of Costa Ria Most importatly, util his death i, he as oe of the most reoed private piao teahers i Costa Ria His ido, María Eugeia Dego de Vargas, ommets regardig Vargas laor as a piao istrutor: His laor is orthy of praise, due to his otriutio to the developmet of the areers of a sustatial umer of piaists that urretly ork suessfully i the artisti ad pedagogi eviromet of the outry Several geeratios of atioal musiias, of diverse fields of expertise, a e outed amog his disiples, ot oly i piao, ut also i harmoy ad musial aalysis He taught ostatly util 7, devoted to reate a lot of pedagogial material espeially prepared for his studets He as haraterized for his illigess to give musial advie to ayoe ho required it, ot oly eause of his pedagogial koledge, ut also eause of the extraordiary orgaizatio of his arhives of musiologial iformatio 6 4 Mayer-Serra, 07 Campos, 47 6 Quoted i Campos, Traslated y author

23 Some of Vargas most importat studets still ative i Costa Ria are: Pilar Aguilar, Flora Elizodo, Gertrudis Feterma, Patriia Valverde, Jorge Carmoa ad Federio Molia 4, Valverde ad Carmoa estalished a duo piao that later as amed Dúo Vargas i reogitio of Carlos Erique s exeptioal artistry As a performer, Vargas gave a outstadig umer of solo ad hamer reitals, oth as piaist ad orgaist, as ell as several appearaes as soloist ith the Costa Ria Symphoy These performaes iluded the atioal premiere of several ompositios Amog the most sigifiat orks he performed i Costa Ria ere: Gershi s Rhapsody i Blue (44), Bah s Coerto i F Mior (4, 0), Beethove s Piao Coerto No (47) ad the piao versio of Beethove's Violi Coerto i D, Op 6 (), several of Bah s oerti for more tha oe piao, Bartok s Soata for To Piaos ad Perussio, ad Shostakovih s Coerto No 7 Vargas as also i demad as a aompaist i Cetral Ameria He had the privilege of aompayig importat artists suh as Heryk Szerig, Riardo Odoposoff, va Toth, Rué Gozález ad Daiel Heifetz, amog others Vargas as a Composer Vargas ork as a omposer is perhaps the least researhed ad most egleted of the musial disiplies he emraed Although his ompositios are fe, they are amitious ad outstadig her reet ook Carlos Erique Vargas: Vida y Músia, Aael Campos Catero atalogues his etire ompositioal output t iludes aout thirty mior piao orks, four orhestral ompositios, five horal orks, ad a hadful of arragemets ad orhestratios of orks y other omposers t is iterestig to ote that Vargas most remarkale ompositios 7 id, 4 id, 7 id, 7-47 See Appedix B

24 ere ritte shortly after his retur to Costa Ria i 40 Up to this poit, musial ompositio i the outry had ee maily omprised of ad musi, salo piees, religious orks ad some modest symphoi ompositios; omposers had ot explored maor geres suh as the symphoy or oerto Vargas most sigifiat orks are: Mass i D for Uiso Choir ad Orga (40); Variatios for piao Op (4); Elegy to the Memory of Sergei Rahmaioff (for orhestra, 4); Coerto for Piao ad Orhestra Op (44); Symphoy Op 7 (4) ad the iidetal musi Atígoa (6) 0 This last ompositio, ased o Sopholes tragedy, as origially sored for horus ad orhestra ad it as regarded y the omposer as his most importat ork Vargas style of ompositio, as sho i the orks of this period, reveals defiite ifluees of Post-Romatiism; his laguage is udoutedly ased o Europea models Luis Correa de Azevedo remarks that there are to learly distit tedeies i Lati Ameria art musi of the tetieth-etury, defied maily y the historial akgroud of eah partiular outry Oe of those treds is assoiated ith the searh for ethi elemets ad their iorporatio ithi a more stylized musial frame The other tedey deals ith the assimilatio of Europea otemporary styles of musial ompositio i hih o atioal elemets are iluded Vargas style is learly more idetified ith the latter Although he arraged a sigifiat amout of Costa Ria popular ad folk musi for diverse esemles, his o ompositios do ot iorporate atioal elemets For istae, ith regard to the style of his Symphoy, the omposer himself remarked i 0: 0 id, 74- id, 47 Luis Correa de Azevedo, La Músia de Améria Latia Améria Latia e su Músia, ed sael Aretz (Mexio DF: Siglo Vetiuo Editores, 77), -7 4

25 t is ot a desriptive ork after traditioal models, ut a ork i the moder style, ith may moder rhythmi ad harmoi elemets, ad it a e said that it respods to the otemporary urret of musial ompositio For this is the time e live i, ad elieve e should go aordig to our times, makig a effort to improve ad reate e forms Hoever, ad admit it opely, although today there are suh great omposers as Hidemith, Prokofiev, Milhaud, ad may others, it is more diffiult to equal or etter suh giats as Bah ad Beethove, eterally great omposers Oly future geeratios ill look at the musial paorama of our time ith a more aurate visio Although Vargas himself reveals his familiarity ith otemporary omposers as a result of his years of study i Europe, his orks, evertheless, a e osidered somehat oservative The harmoi laguage of his orks is asially toal ad the formal struture is fairly ovetioal additio, traditioal ompositioal routies suh as soata-form, yli forms, motivi developmet ad variatio a e reogized i orks suh as the Piao Coerto Nevertheless, osiderig the limited aess to avat-garde musi i Costa Ria i the 40s ad 0s, Vargas as ideed a origial omposer The ompositios of Carlos Erique Vargas have log ee egleted, eve though, i 4, he as aarded the Premio Magó 4 Almost oe of the soures of iformatio aout Costa Ria art musi ad omposers have iluded a metio of Vargas otriutio The most respeted study o the suet up to this date, La Músia e Costa Ria, as pulished y Beral Flores i 7 The author does metio Vargas ompositios, ut he does ot examie i depth the relevae of the orks to their historial otext the setio aout Costa Ria art musi i the eylopedia Músia y Músios de Latioaméria y Otto Mayer-Serra (47), the author reogizes Vargas as oe of the Quoted i Roerto Vargas, Carlos Erique Vargas: Sifoía (Orquesta Sifóia Naioal de Costa Ria, Coert of Costa Ria Symphoi Musi, 4 Novemer Auditorio Naioal, Sa José), Program Notes, 6 Traslated y author 4 terestigly, that oasio as the first time that this aard as give to a musiia

26 outstadig omposers of the e geeratio But o the other had, fifty years after that puliatio, there is still o etry i the Ne Grove Ditioary of Musi ad Musiias for Vargas as a omposer, ad ideed, his ame is ot eve metioed i the artile, also ritte y Flores, aout Costa Ria art musi i that eylopedia 6 There is o reord aout him i the dataase of the Ceter for Lati Ameria Musi Studies, sposored y diaa Uiversity Noe of his ompositios have ee atalogued or aquired y the Natioal Arhives of Costa Ria Musi, sposored y the Uiversity of Costa Ria The origial mausripts of his omplete orks remai i the ustody of the omposer s family Fortuately, Vargas has ee reetly added to the 00 editio of Lati Ameria Classial Composers Biographial Ditioary 7 Also, ad most importatly, Aael Campos researh o the life ad orks of Carlos E Vargas as pulished i 00; it is y far the most authoritative study o the omposer Campos fouses o the iographial fats, ad it is a reliale doumet sie the iformatio as aquired from primary soures There are several reasos hy Vargas has ot ee reogized as a omposer First, although his ompositios are sigifiat, they are ot umerous Aordig to Roerto E Vargas, his father gave up ritig musi eause he felt that it as ot fiaially orthhile to emark upo a omposig areer i a small outry suh as Costa Ria, durig the mid-etury ultural situatio t as the more lurative, ad still remais so, to uild a areer as a performer or odutor O the other had, orks suh as the Piao Coerto ad the Symphoy Mayer-Serra, 4 6 Staley Sadie, ed The Ne Grove Ditioary of Musi ad Musiias 00 S v Costa Ria Art Musi y Beral Flores, v 6, - 7 Fiher, 0 Roerto Erique Vargas So of omposer Carlos E Vargas tervieed y author, July 00 Tape reordig 6

27 ere ritte he Vargas as i his middle teties Later i life, he regarded these piees as youg ad ot fully formed ompositios, ad affirmed that he ould ot let musiias have aess to them util after his death Hoever, durig his late years, the omposer revised the musi ad made e opies, iludig a e mausript of the Piao Coerto The omposer as iterested i the redisovery of his orks y e geeratios Folloig his death i, there has ee a resurgee of iterest i his ompositios The Costa Ria Natioal Symphoy performed oth the Symphoy ad the Piao Coerto durig the seaso, ith a favorale reeptio Reetly, other orks y Vargas have ee performed ad reorded His Dos Piezas for piao duet as pulished y the Uiversity of Costa Ria Press These ompositios ere also reorded y the Feterma Piao Duo, alog ith his arragemet for to piaos of Eresto Leuoa s Afro-Cua Daes 0 Hoever, a puliatio ad a ommerial reordig of the Symphoy ad the Piao Coerto are still eeded This moograph aims to stimulate iterest i suh a proet, ad ith that purpose i mid, a performae editio of the Piao Coerto is attahed to this researh as a appedix Coerto for Piao ad Orhestra, Op Carlos Erique Vargas Coerto for Piao ad Orhestra (Coierto para Piao y Orquesta i its origial title), represets a ladmark i the history of Costa Ria art musi sie it is the first ork of its kid ritte y a Costa Ria omposer t is also oe of the first ompositios of this gere omposed i Cetral Ameria The ork as ritte etee Carlos Erique Vargas Dos piezas para piao a uatro maos Músia Costarriese para Cuatro Maos, ed Jorge Carmoa ad Patriia Valverde (Sa José: Editorial Uiversidad de Costa Ria, 00), - 0 Carlos Erique Vargas Dos piezas para piao a uatro maos Dúo Feterma: Juegos Musiales para Cuatro Maos, performed y Gertrudis ad Sara Feterma (Sa José: y the performers, 00)Compat Dis Mayer Serra, 4 Vargas ompositio as proaly preeded y the Coertio for Piao ad Chamer Orhestra y Guatemala omposer Salvador Ley This ork as apparetly ritte i 4, aordig to Niolas Slomisky i Musi of Lati Ameria (Ne York: Thomas Y Croell Compay, 4), 06 Hoever, o other soure (Sadie, Mayer-Serra, ad Fisher, iluded) provide iformatio regardig this ork ad/or its year of ompositio 7

28 Feruary ad April 44 Vargas Coerto as premiered o July of the same year at the Costa Ria Natioal Theater ith the -year-old omposer at the piao He as aompaied y the Costa Ria Symphoy uder odutor Hugo Mariai 4 Although it a e osidered a youthful ork, Vargas s Piao Coerto ertaily pioeered a e shool of ompositio i Costa Ria Costa Ria omposer Mario Alfaro-Güell remarks o the importae of Vargas Coerto i the developmet of Costa Ria art musi: To emark upo the ompositio of geres suh as the symphoy or the piao oerto idiates the level of developmet of the musial eviromet, as ell as the professioal level of the omposer Whe the omposer himself performs as the soloist i his ork, ithout ostales, e olude that he is a artist of true versatility ad profiiey By evaluatig the ork ad situatig it i the otext of his other orks, e fid a artist of outstadig maturity, profudity ad seriousess 6 There are three differet mausripts of the ork, all of them i the ustody of the omposer s family To of the mausripts osists of the adaptatio for to piaos; oe is the origial versio ad the other the orreted form Hoever, very fe hages ere made i the seod versio The third mausript is the full sore, ased o the orreted versio A opus umer is ot provided i ay of the ited doumets O the other had, i her atalog of Vargas ompositios, Aael Campos ites the Piao Coerto as Vargas opus 7 Mayer Serra, 4 4 id Sie the ompositio of his Piao Coerto i 44, three similar orks have ee ritte y Costa Ria omposers: Coerto for Piao, Perussio ad Orhestra y Beral Flores (6), Variaioes oertates for Piao ad Orhestra y Beamí Gutiérrez (6) ad Piao Coerto y Luis Diego Herra (00) 6 Mario Alfaro Güell, Carlos Erique Vargas: Coierto para Piao y Orquesta, (Orquesta Sifóia Naioal de Costa Ria, X Coert, ad 4 Otoer ), Program Notes, - Traslated y author 7 Campos, See Appedix B

29 The ork has ee performed o six differet oasios After its premiere i 44, e performaes ere give o ad 0 Marh 0 (Costa Ria Natioal Theater ad Uiversity of Costa Ria, respetively), ad o Novemer (Costa Ria Natioal Theater) All of these performaes featured the omposer as the soloist The ork as revived more tha forty years later, o ad 4 Otoer (Costa Ria Natioal Theater ad Natioal Auditorium, respetively), ith the author at the piao, aompaied y the Costa Ria Natioal Symphoy oduted y rig Hoffma O the oasio of the performae of the Coerto, musi riti Adrés Sáez rote: The oert iluded the revival of the Piao Coerto, a ork of youth y our ompatriot Carlos Erique Vargas (-), ritte i 44, premiered y the omposer the folloig year [si], ad ot performed sie [si] Vargas Coerto retais the traditioal three-movemet struture ithi a toal harmoi texture, ith graeful melodies i a Neo-Romati style The oppositio etee soloist ad orhestra is learly delieated ad the orhestral treatmet otrasts momets of a ertai frugality ith others of some opulee Hopefully e ill ot have to ait fifty years more to hear aother spledid performae of this piee After, Vargas Piao Coerto remaied virtually uko to Costa Ria musiias ad audiees The performae of the ork as part of a effort y the Costa Ria Natioal Symphoy to revive ot oly Vargas ompositios, ut also other orks y Costa Ria omposers The Coerto as ell reeived y the audiee ad the musiias After hearig the performae i, musiologist ad piaist Erique Cordero ommeted: Although it is a ork from his youth, [Vargas Coerto] is oe of the est piees omposed i the outry regardig musial struture, ad it is the reatio of someoe ith great talet ad solid akgroud; he really ke hat he as doig id, 7 Adres Sáez, Medio siglo de espera La Naió Olie, 6 Otoer ( //oture/6/ul4html) Traslated y author

30 t should e a ompulsory piee i the repertoire of the atioal piaists The ork a e plaed ithi a Neo-Romati urret, i a traditioal laguage ith traes of mpressioism, suh as parallel seveth hords ith atypial resolutios t is a highly piaisti ompositio 0 The Coerto follos the stadard oerto sheme i three movemets: fast-slo-fast The orhestratio is fairly ovetioal, allig for piolo, to flutes, to ooes, to lariets i B, to assoos, four hors, three trumpets, three tromoes, timpai, ad strigs The formal struture ad harmoi laguage of the ompositio is also quite traditioal Noetheless, although Vargas itegratio of log-estalished musial styles ould seem to e o avatgarde for a piee omposed i 44, if oe plaes this partiular ork i the otext of a outry i hih the ompositio of symphoi musi had ee almost aset, it remais remarkale Músia y Músios de Latioaméria, Mayer-Serra offers a formal sketh of the Coerto, proaly provided y Vargas himself : t is ast i three movemets; its iitial theme (Adagio) reappears i the folloig to movemets The slo itrodutio is folloed y a Allegro, ad the the seod theme (Adate traquillo) emerges i the violoellos The adeza leads to the reapitulatio the Coda, the violis preset a e versio of the seod theme, hile the piao aompaies ith arpeggiated figuratios After the seod movemet (Adate), follos a e movemet (Allegro molto), oeived i the form of a passaaglia, omposed of tety-four variatios developed after a theme of eight otes After a short adeza y the piao, melodi fragmets of the to previous movemets are preseted omied ith the passaaglia theme to lose the ompositio 0 Quoted i Campos, 7 Traslated y author Vargas Coerto as omposed ad premiered oly three years efore Mayer-Serra s ook as pulished Most likely, the overall aalysis ould have ee provided y the omposer sie at that time, the ompositio as (ad still remais) upulished Mayer-Serra, 4 Traslated y author 0

31 olusio, the folloig is a oservatio y Roerto E Vargas, i regard to his father s Piao Coerto: t is importat to remark my father s ompositioal skills, sie he rote the Coerto he he as oly 4 His aquaitae ith the istrumets as so refied that he ke perfetly ho to rite a piee that ould e iterestig oth for the piaist ad the audiee, ithout eig very diffiult To some extet, it is a iovative oerto, ad it respods to the fashio of his day Some setios resemle Gershi s style (espeially i the piao part ad the mai themes), ith a lot of hromatiism t is rather short ad ot tedious The last movemet is a passaaglia, a feature that aot e foud i ay other piao oerto Quoted i Campos, 7 Traslated y author

32 CHAPTER THREE ANALYTCAL ANNOTATONS ON CARLOS ENRQUE VARGAS CONCERTO FOR PANO AND ORCHESTRA Formal Aalysis Movemet : Adagio-Allegro The first movemet of Vargas Piao Coerto (Adagio-Allegro) otrasts to asi groups of themes, oe hromati ad the other diatoi Sie the traditioal setios (expositio, developmet ad reapitulatio) are learly reogizale, the movemet seems to follo the soata-form priiple, although ith some modifiatios For istae, the seod theme appears i the toi key i oth the expositio ad the reapitulatio, uusual i a stadard soata-form movemet That harmoi strategy, hoever, makes perfet sese if oe osiders that the first theme, eause of its hromati quality, does ot delieate a speifi key area Therefore, Vargas ases the formal pla more y the use of themati otrast tha y the differetiatio of key areas The piee egis ith a short adeza four measures log, for solo piao, marked Adagio = 4 This rief adeza, hih appears thereafter as a kid of a leitmotiv, is ased o the repetitio of four differet harmoies i the lo register of the istrumet The ope voiig of these hords ad the apparet amiguity of their toal futio make it diffiult to desigate ay speifi key additio, the ass lie moves i itervals of fourths (oth perfet ad For more iformatio o the soata-form priiple, see: Edard T Coe Musi Form ad Musi Performae (Ne York: W W Norto, 6), 76-77

33 augmeted), avoidig ay sese of futioal toality Hoever, E a e reogized as the pith eter, sie it is the first ad the last ass lie pith of this short progressio, ad ultimately, E Maor ill e the toal goal of this movemet ad the etire piee The desedig hromati motive outlied i the top voie of the hords ill also e a importat themati elemet throughout the etire ompositio (Ex ) Ex - Vargas, Coerto, mvt, mm -4 t is iterestig to ote that, iitially, Vargas did ot idiate arlies i this adeza, to give the sese of a free improvisatio the origial mausript he had ritte a quarter-ote rest ith a fermata i etee eah set of hords Hoever, i the orreted editio, he sustituted arlies for the rests, ad added the meters 6/4, /4 ad 4/4 additio, the first versio has the idiatio Cadeza reve at the egiig of this setio, ut the omposer removed it i the orreted mausript The hord progressio featured i this itrodutory passage (or leitmotiv) ill eome extremely importat throughout the ompositio sie it reurs i all three movemets For aalytial purposes, this progressio has ee laeled as leitmotiv Hoever, suh a idiatio does ot appear i ay of Vargas mausripts

34 The orhestra eters i m, marked Allegro = 60, i 4/4 meter The oodids preset themati material derived from the leitmotiv: a desedig hromati motive of three otes that resolve y a leap (Theme A) Also, the iterval of a tritoe (most of the time spelled as a augmeted fourth) is a importat harmoi ad melodi harateristi of this first setio These itervals are also derived from the leitmotiv, sie every hord of that itrodutory passage otais at least oe tritoe Harmoially, the ostat use of tritoes deies ay sese of toality ad reifores the hromatiism of the mai motive For istae, at the etrae of the orhestra, the assoos play a sequee of parallel tritoes aompayig the mai melodi motive i the ooes Coversely, the melodi patter is either otaied ithi a rage of a tritoe or resolved y a leap of a tritoe (Ex ) Ex - Vargas, Coerto, mvt, mm - This same progressio i mm - is preseted oe more y lariets ad oodids, trasposed, ot surprisigly, up a augmeted fourth Util this poit, the asee of a pure maor or mior harmoy has reifored the toal amiguity t is ot util m, he the full orhestra eters, that a maor hord, etered o D, is mometarily heard Hoever, this apparet 4

35 arrival poit is almost immediately eakeed y a e traspositio of the material, oe agai y tritoe, this time movig doard (etered o A), i m 6 mm -0 there is a short ridge ased o the pithes E ad F Hoever, E is atually the temporary toal eter ad F futios as a upper eighor This ridge leads to a etrae of the piao, aompaied this time y the orhestra The meter o alterates etee / ad / The material i this musial statemet (Theme A) is learly ased o the harmoi progressio of the iitial adeza Agai, Vargas emellishes the progressio y addig a upper eighor harmoy to the first hord of the harmoi outlie (similar to mm -0) Also, a importat rhythmi harateristi i this setio is the syopatio of the ass lie i the piao part Here, the left had plays a eighth-ote otave ahead of the right had, hih plays hords o the doeat (Ex ) Ex - Vargas, Coerto, mvt, mm -4

36 This patter, four measures i legth, is agai trasposed up a tritoe m 6, there is a importat arrival poit i hih the orhestra eds the hai of sequees o uiso B This is the most evidet harmoi arrival poit of the ompositio up to this momet Folloig that, the piao presets Theme A tie, eah statemet a tritoe apart, hile the orhestra otiues the pedal ote B (Ex 4) Ex 4 - Vargas, Coerto, mvt, mm - A e presetatio of the opeig adeza for solo piao i its origial hordal dispositio ours i m, ut this time it is trasposed up a perfet fifth B, estalished sie m 6, ats as the pith eter; hoever, it o futios as a domiat Folloig this adeza, there is a ridge (Adate traquillo = 7) hih leads to the seod theme (or Theme B) ad estalishes the toality of E Maor The hage of key sigature i m 7 makes this harmoi trasformatio evidet 6

37 Theme B is of a more lyrial harater ad less motivi tha the themes of group A t is muh more diatoi, ad melodially oeived Beause of its lyrial quality, this setio is rhythmially less ative, ad steadier tha the previous oe Also, the meter remais uhaged, as opposed to the ostat meter shifts of the preedig setio The theme is first preseted y the ellos startig i m 6, ad it is a period of eight measures, omprisig to phrases The iitial measures of that period are shoed i Ex Theme B teds to move primarily i a desedig motio; the soloist aompaies, oth hads a otave apart, ith the same melodi otour featured i the ridge of mm 7-60 This aompaimet is uilt o the to asi motives; the first three otes suggest the ope dispositio of the iitial hord of the leitmotiv ad the hromati motive is derived from the top voie of the same patter Ex -Vargas, Coerto, mvt, mm 60-6 The asi progressio of Theme B is lear i its harmoi futio t a e outlied i the folloig ay: 7

38 Ex 6 -Vargas, Coerto, mvt, mm 6-6, harmoi sketh The piao supports the harmoi struture ith the figuratio desried aove The use of the V harmoy, that takes plae for the first time i this progressio, ill e of great importae throughout the ompositio, sie it is oe of the omposer s favorite adetial routies The theme eds o a imperfet autheti adee i m 6, settig up its restatemet y the soloist i m 6 The piao features the theme i the top voie, ut otiues ith the triplet figuratio The strigs aompay this seod statemet of the theme, presetig fragmets of the hromati motive oth i its origial desedig motio ad i iversio Although, geerally speakig, the texture i this setio is homophoi, the figuratio i the strigs adds a simple outermelody to the theme The theme is preseted y the soloist almost itat, exept that the adee to is avoided at the ed of the period stead, the omposer prologs the pre-domiat harmoy i a rief episode (mm 77-4) The autheti adee ill ot e reahed util m, he the theme is

39 preseted oe more This time, the orhestra presets the harmoi outlie of the theme, rather tha the melodi desig Strigs ad oodids alterate ith rass i a atiphoal suessio of hords, hile the piao plays otaves i asedig motio (Ex 7) Ex 7 -Vargas, Coerto, mvt, mm -7 This losig statemet of Theme B eds i a deeptive adee o V, spelled eharmoially ad trasformed ito a augmeted hord o B i m Folloig this adetial V hord, the logest adeza of the movemet ours, hih atually orrespods to the developmet setio of the soata-form pla As suh, the adeza omies ad develops material from Themes A ad B ad is very sequetial At the egiig of the adeza, E ats as the toal goal, ut i m06 (Adagio) there is a modulatio to D Maor, oviously estalished y the hage of key sigature This toality ill prevail util m 6, here a e presetatio of the iitial leitmotiv egis (mm 6-); the omposer agai hages the key sigature (o

40 aidetals) The leitmotiv is etered o B, ad it features some register trasfers (Ex ) The use of B as the pith eter from this poit o ill prepare the retrasitio to the key of E Ex -Vargas, Coerto, mvt, mm 6- Folloig the olusio of the soloist s adeza, the reapitulatio starts i m 0 he the orhestra resumes Theme A is preseted at its origial pith level, ad it orrespods to mm - of the expositio This time, Theme A is muh more otraputal tha i the origial statemet The theme is stated four times: assoos start i m 0 ad the orhestral texture gradually ireases Although B remais as the pith eter, it o has a lear domiat futio mm 6-, there is a episode that omies motives from Themes A ad B (Giooso = 60) The key of E is oe agai estalished y the hage of key sigature Soloist ad orhestra estalish a dialogue alteratig oth themes Also, the meter repeatedly shifts etee / ad 4/4 Theme A is restated i mm -6, ith the same pith otet featured i the expositio Hoever, there is a importat rhythmi hage The syopatio i the piao part that haraterized the first presetatio of this theme (m oard) is o loger preset 0

41 stead, the ass lie is plaed o the doeats ad the hords o the upeats Also, the meter has haged to 4/4 ad /4 as opposed to the / ad / of the expositio After a sudde pause i m 6, the opeig of the leitmotiv is played y the orhestra, ad the soloist iterrupts ith a adeza-like arpeggiatio This leads to a short ridge i mm 66-7 (very similar to the ridge i mm 47-), hih is a prologatio of the domiat harmoy, preparig the losig material of the movemet Theme B is fially restated i mm 7 i its origial key (E Maor) Aordig to Vargas o aout of the piee, this setio ould orrespod to the oda of the movemet Similar to mm -, it also restates the asi harmoi progressio, rather tha the melodi desig of Theme B The eight-measure period is preseted y the orhestra oly oe, i a almer mood, hile the piao omplemets ith fairly simple arpeggios The meter has haged from the origial statemet i m 6, sie it is o preseted i meter, as opposed to the origial 4/4 a losig gesture, the piao otiues the arpeggiated figuratio i the last eight measures o a pedal ote i the toithe geeral struture of this movemet is outlied i Tale Movemet : Adate The seod movemet of the Coerto (Adate = 0) is ast i three very distit setios Although it follos the soata-form priiple more losely tha the previous movemet, its struture also varies somehat from traditioal soata-form The otrast that the omposer iteded etee this movemet ad the first, hoever, is very lear The diatoi Mayer-Serra, 07 See page

42 Tale - Struture of Vargas Coerto, Movemet mm Evet Pith eter EXPOSTON Cadeza - Leitmotiv (Piao) Theme A (Orhestra) Bridge (Orhestra) Theme A (Piao ad Orh) Theme A (Piao ad Orh) Bridge (Piao ad Orh) Cadeza - Leitmotiv (Piao) Bridge (Piao) Theme B (Piao ad Orh) E E B E Maor DEVELOPMENT 4- Cadeza (Piao) B / D RECAPTULATON Theme A (Orhestra) Episode (Piao ad Orh) Theme A (Piao ad Orh) Bridge (Piao ad Orh) Coda - Theme B (Piao ad Orh) B E / E B E Maor orietatio, strog homophoi texture ad metri regularity of the Adate otrast sharply ith the hromatiism, rhythmi drive ad hagig meters of the first movemet Usually, the melodi lies progress i asedig motio, as opposed to the melodi ehavior of the first movemet Nevertheless, the rather peaeful edig of the first movemet reates a smooth trasitio to the Adate Aout this movemet, Mario Alfaro-Güell ommets: The repose of the seod movemet is aoued toards the ed of the first oe, rigig ak the seriousess of the iitial motive, hih atually ill reappear i

43 the seod movemet i the soloist s adeza This feature gives the piee ot oly otiuity ad oheree, ut also otrast, i a ork that reveals a lever ad effiiet use of the themati material4 The seod movemet is i the key of C Maor, providig a mior-third relatioship ith the toal eter of the first movemet (E) The first theme, very diatoi i ature, is a eightmeasure period i 4/4 meter, movig maily y stepise motio The harmoi progressio of this theme is ovetioal: the first half of the period eds o a half adee i the toi, ad the period fiishes ith a autheti adee, emellished y a otraputal plagal adee t is itrodued y the orhestra i a horal-like texture (mm -) ad the repeated y the soloist (mm -6, ataile) The piao ritig of this first theme is preseted ith a arpeggiated figuratio hile the orhestra aompaies ith a rather simple outerpoit (Ex ) mm -6, the seod statemet of the theme has the idiatio poo rall, to emphasize the harmoi losure of the phrase Ex - Vargas, Coerto, mvt, mm - 4 Alfaro,

44 The orhestra otiues i m 7 (a tempo) ith a simple developmetal episode of the theme The soloist ois agai i m ad a sequetial dialog etee piao ad orhestra is preseted i m 7 (lametoso) Sigifiatly, the motive that the orhestra is featurig is the desedig hromati lie, harateristi of the first movemet (Ex 0) Ex 0 - Vargas, Coerto, mvt, mm - Ulike the previous phrases, mm 7- do ot exhiit a lear harmoi losure ad ed ith a deeptive adee i m (vii ø7 i the key of G Maor) fat, G Maor (util o, the domiat harmoy) ill eome the toi of the ext setio From m 4 o, there is a exteded piao solo (Più mosso-poo aelerado) This adeza is othig other tha a prologatio of the key of D Maor (the domiat of the e key) t egis as a atiphoal to-voie outerpoit ased o a four-ote asedig patter (mm 4-7), leadig to a hai of parallel thirds i the right had, ased o the same motive (mm -4) The sequee the The omposer desigated this setio as solo the first mausript the idiatio Cadeza appears i rakets 4

45 deseds y stepise motio (mm 4-4) Up to this poit, the adeza has arlies ad the 4/4 meter remais ualtered m 46, the omposer presets, for the first time i the movemet, uarred adeza-like ritig, hose legth ould e the approximate equivalet of measures i the preedet meter This free setio is etirely ased o a ith-hord o D, ad eds ith a rilliat asedig D Maor sale i oth hads, passig through four ad half otaves, leadig to the statemet of the e theme The seod theme or Theme B (Cataile = ), i G Maor, although very diatoi ad lyrial i harater, is yet more stately tha the first theme ad it is a parallel period The melody is preseted hordally i the right had, hile the left had aompaies, also ith hords By otrast to the first theme, the melody is itrodued y the piao, ad the restated y the orhestra The first four measures of the theme are preseted i Ex Ex - Vargas, Coerto, mvt, mm 47- After a short melodi lik i mm 6-6 (a asedig G Maor sale i the strigs), the full orhestra presets the seod theme, ad the piao aompaies ith asedig arpeggios ad otaves Oe more, the omposer makes use of the hromati desedig motive of the first movemet, o as a otraputal devie, i the orhestra part (Ex )

46 Ex - Vargas, Coerto, mvt, mm 6-66 Up to o, the piee has fulfilled the harateristis of the expositio setio of a ovetioal soata-form movemet To distitive themes have ee learly stated, oe i the toi ad oe i the domiat A e setio (hih ould orrespod to the developmet) starts i m 77, here the seod statemet of the theme is suddely iterrupted y a domiat seveth hord i third iversio o E The soloist presets this hord tie i arpeggiatio, folloed y a adeza that features the leitmotiv, this time o G6 The presee of the leitmotiv i the seod movemet, ad also later i the fial movemet, ofirms the yli ature of the ompositio The leitmotiv is preseted i traspositio, o usig G as its toal eter, ut ualtered i its itervalli otet (mm 7-) The metri staility of the movemet is also roke y its alteratio of 6/4, /4 ad 4/4 A short Reitativo follos (m ), ased o the fial hord of the leitmotiv (Ex ) this uaompaied passage, the iterval of tritoe is 6 Oe more, the omposer rote adeza reve, i rakets, i the first mausript, ut it does ot appear i the seod versio 6

47 oe more reifored Although G is still the toal eter, it o ats agai as the domiat of the toi key C Maor mmediately after the Reitativo, there is a episode (Aimato =0) that futios as the retrasitio to the reapitulatio Writte for orhestra aloe, this episode is very sequetial; it is ased o a strog pedal toe G, aoued y a timpai roll marked ppp Ex - Vargas, Coerto, mvt, mm -6 mm -04 (Meo mosso = 76) there is a restatemet of the episode mm 7-; hoever, this time the phrase does ot ed o a deeptive adee as had ourred i m stead, there is a asedig motive of three-otes y the orhestra (Leto), imitatig the previous phrase i the piao part This foreshados the atual reapitulatio of the first theme (m 0), i the toi key of C Maor (Tempo = 0) The theme is o preseted y the orhestra i the upper register, hile the piao aompaies ith ell-like desedig otaves (Ex 4) 7

48 Ex 4 - Vargas, Coerto, mvt, mm 0-0 mm - there is aother restatemet of the episode of mm 7-, ut this time it is syopated, oth i the orhestra ad the solo part t is also i a differet key (a perfet fourth do) i order to arrive at the toi key of C Maor mm -, the restatemet of the seod theme ours, o i the toi key (C Maor), thus fulfillig the harmoi requiremet of the soata-form priiple The seod theme is o preseted i a more seree ad refletive mood, Più leto = 7, i hih the soloist estalishes a melodi dialogue ith a solo ello The last four measures of the movemet futio as a short oda, etirely uilt o the C Maor harmoy The piao presets asedig hords i C Maor, marked pp, hile the strigs i divisi support the harmoy ith hords i the higher register

49 The overall form of this seod movemet a e expressed i the folloig tale: Tale - Struture of Vargas Coerto, Movemet mm Evet Key area EXPOSTON - Theme A (Orhestra) C Maor -6 Theme A (Piao ad Orh) 7- Episode (Piao ad Orh) 4-46 Cadeza (Piao) D (pedal poit) 47-6 Theme B (Piao) G Maor 6-6 Lik (Orhestra) 6-77 Theme B (Piao ad Orh) DEVELOPMENT Cadeza - Reitativo (Piao) Episode (Orhestra) Episode (Piao ad Orh) G (pedal poit) C Maor RECAPTULATON Theme A (Piao ad Orh) Episode (Piao ad Orh) Theme B (Piao ad Orh) Coda (Piao ad Orh) C Maor (otiued) Movemet : Allegro Molto The fial movemet of Vargas oerto is strutured i the form of a passaaglia The use of the passaaglia form as a part of a piao oerto is ideed uusual ad origial7 t also reveals Vargas koledge of ad iterest i traditioal meas of ompositio 7 Roerto Vargas affirms that his father preseted his Coerto to the reoed piaist Claudio Arrau durig a visit of the Chilea artist to Costa Ria i the 0 s The piaist did ot sho ay real iterest i the ompositio, ut remarked the fat that it as proaly the first ad oly piao oerto (at least to Arrau s koledge) to ilude a movemet i form of a passaaglia

50 The Norto/Grove Coise Eylopedia of Musi defies passaaglia as: a stadard type of ritorello for a ategory of 7th-etury Spaish, Freh or talia sog Most ritorello-passaaglias used the harmoi progressio -V-V() i either maor or mior, duple or triple to math the sog the seod quarter of the etury the passaaglia ega to e used as the asis for variatios for guitar, voie ad otiuo, keyoard istrumets ad hamer groups The Classial ad Romati periods produed very fe passaaglias (the fiale of Brahms Fourth Symphoy is ofte ited as oe); ut as a set of variatios o a groud ass, ad ofte ith Bah s orga passaaglia as a model, the title has ee used y 0th-etury omposers Sie Vargas as also a orgaist, he as udoutedly familiar ith Bah s orga musi Bah s Orga Passaaglia i C Mior, BWV, as perhaps a strog soure of ispiratio for Vargas' o passaaglia Aother model ould have ee Rahmaioff s Rhapsody o a Theme y Pagaii Op 4, also omposed of tety-four variatios, although o a muh larger sale Several of the rhythmi motives i some of the variatios ertaily resemle Rahmaioff s Rhapsody (for istae, the rhythmi patters i Variatios, V, V ad XV) additio, some harmoi progressios foud i Vargas' Coerto, partiularly the use of V, are also harateristi of Rahmaioff s style Vargas s passaaglia adheres to the asi harmoi progressio of the origial Baroque form (as defied aove), emellished ith otraputal harmoies Also, as the movemet develops, some other distitive harmoies are featured The movemet is i the key E Staley Sadie, ed The Norto/Grove Coise Eylopedia of Musi (Ne York: WW Norto Compay, 4), S v Passaaglia, 600 t is lear that Vargas as familiar ith Rahmaioff s musi, sie he rote a Elegy to his memory oly a year efore the ompositio of the Coerto See Appedix A 40

51 Maor ad i /4 meter (Allegro molto = 0) t is uilt etirely o a ass lie of eight otes (oe per measure) ad tety-four variatios ased o the implied harmoi frameork The theme (mm -) is preseted y the hors ad tromoes i uiso this outlie, all the pithes ut oe the B move i desedig motio: E- D - D- C- A- F- B - E Not surprisigly, the first otes of the theme repliate the desedig hromati motive that has ee a essetial harateristi of the previous movemets (Ex ) Ex - Vargas, Coerto, mvt, mm - The toi key prevails throughout the movemet fat, although the omposer also orks ith modal mixture, there are o sigifiat hages of key areas Due to the ature of the theme, the omposer ased the diversity of this set of variatios o hages of texture, istrumetatio ad rhythmi patters Also, eause of the relative revity of the mai theme, the variatios seem to e oeived i groups, oftetimes i pairs Tale lassifies groups of variatios aordig to their relatioship 4

52 Tale - Struture of Vargas Coerto, Movemet mm Variatios Remarks Theme ad Var - V V - V V - X X X X X XV XV XV Cadeza XX XX XX XXV trodutio (Orhestra) Piao etrae, rhythmially ative Solo Orhestra, strigs sul potiello Triplet figuratio, otrary motio Tempo hage, displaed aets Tempo hage, hordal Tempo hage, otraputal Orhestra, ridge, deeptive adee Leitmotiv Meter hage, themes from Mvt Theme B from Mvt, Coda The first variatio is ritte for oodids, trumpet ad strigs The timpai oi i the last to measures, to reifore the adee of the phrase The theme is outlied y assoos, ellos ad doule asses, hile the remaiig istrumets preset repeated hords featurig the asi harmoi struture: mm E M = [ - V6 - V (of V) - V6 - ii6 - ii7 - V7 - ] The asi harmoi progressio - V- V- that haraterizes the Baroque passaaglia form is learly reogizale The V6 ad V (of V) hords i mm 0- futio as passig hords from to V; the ii6 ad ii7 harmoies i mm -4 are a prologatio of the sudomiat harmoy that lead to the perfet autheti adee i mm -6 4

53 The soloist ois i Var (mm 7-4) ith a sequee ased o a to-measure patter of hords ad a asedig hromati sale The orhestra aompaies ith pizziato strigs ad oodids i repeated patters of sixteeth otes The theme is featured y the assoos ad violas Var (mm -), oodids ad pizziato strigs preset the theme i uiso (ith some rhythmi modifiatios), hile the piao (marked martellato) itrodues a variat of the harmoi progressio: a modal mixture that iludes the V hord, emellished ith hromati eighors The piao s figuratio also presets the desedig three-ote patter (Ex 6) Ex 6 - Vargas, Coerto, mvt, mm - The piao part i Var V (mm -40) is oe agai a sequee of to-measure patters, this time ased o a desedig hromati sale ad a asedig arpeggiatio of a fully dimiished hord Bassoos ad flutes alterate playig asedig hromati sales i mior 4

54 thirds, hile the strigs provide harmoi support The theme is preseted y ooes, lariets, ad seod violis This variatio eds i E mior, ad the agai, the timpai eter i the last to measures to emphasize the harmoi losure of the phrase Var V (mm 4-4) is learly i the mior mode; the orhestra (strigs, lariets ad flutes) alterates ith the piao (marato) ad muted trumpets i the presetatio of the theme, o ased o hords emellished ith loer eighor toes (Ex 7) Ex 7 - Vargas, Coerto, mvt, mm 4-44 Var V ad V (mm 4-6), for the orhestra aloe, are oeived as a pair Var V, the theme is preseted i the high register y flutes ad violis hile the violas, ellos ad asses play a asedig hromati sale, sul potiello Var V is a otraputal iversio of the previous variatio: the theme is preseted y lariets (replaig the flutes), seod violis ad ellos sul tasto i the lo register, hile the first violis ad violas play the asedig hromati sale i the high register, agai sul potiello 44

55 Var V ad X (mm 6-0) are also iteded to e a pair The piao re-eters i Var V ith a triplet figuratio, i hih the last eighth-ote of the triplet group is a rest The same rhythmi patter is featured i the strigs Bassoos ad violis preset a asedig E Maor sale, douled i the top lie of the piao part, hile the theme is preseted i the ello ad ass This variatio eds ith a imperfet autheti adee, givig the feelig of otiuatio ito the folloig variatio, hih is also ased o the asedig hromati sale motive agaist the groud ass lie The piao figuratio has haged from iomplete triplets to sixteeth otes ad the asedig maor sale is featured i the outer voies of the piao part The orhestratio is full (ith the exeptio of flute ad piolo), ad the theme of the passaaglia is preseted y assoos, tromoes, violas, ellos ad asses Var X (mm -) presets the first tempo hage of the movemet ad it is marked Agitato = (hih orrespods to = 6, ompared to the previous = 0) The theme is preseted i the ello part (pizziato) ad the left had of the piao The right had of the piao ad the violis (pizziato) preset a itriate hromati outerpoit, maily i thirds Var X (mm -6), the right had of the piao part has a arpeggiated figuratio that delieates the asi harmoi progressio, hile the left had rosses over to play the theme i the highest register of the istrumet o the third eat of every measure Flutes ad lariets aompay ith arpeggios i otrary motio, ad ooes support ith hords (Ex ) 4

56 Ex - Vargas, Coerto, mvt, mm - Var X (mm 7-04) presets a slight tempo hage, Meo mosso = 44 t is ritte for tutti orhestra ithout the soloist Ulike the previous variatios, this oe egis i C mior, ad that key a e heard as the toi util m 0, he E Maor prevails agai: mm 7 00 C m = [ i V iv (of iv) V iv E M = ii - V / ] The theme, hoever, remais ualtered ad a e foud i the oodid setio, third trumpet ad first violi Var X (mm 0-) presets aother tempo hage, Maestoso = 6 The theme is preseted y the first ad seod violis (i alteratio) ad the flutes Vargas uses a eharmoi spellig i mm 0 ad 07 (D istead of E, ad C istead of D) The piao respods ith hords i the upeats of every measure the first four measures of the variatio, 46

57 the omposer uses the hords of B Maor, D Maor, A Maor ad C Maor, ad i m 0 resumes the toal futio i E Maor, although ith some hages He replaes the [ii6 - ii7 - V7 ] adetial routie of the asi progressio ith [iiø - viiø - V7 ] (Ex ) Ex - Vargas, Coerto, mvt, mm 0-0 Var XV (mm -0) returs to the origial tempo ( = 0) although it is o marked Allegretto ad ot Allegro molto, as i the egiig With this idiatio, it is lear that Vargas iteds a hage of harater, rather tha a hage of tempo, sie this variatio is more melodi tha the previous oes t is a solo for ello ad lariet; the ello plays the theme hile the lariet asers ith a simple sequetial outerpoit (Ex 0) Ex 0 -Vargas, Coerto, mvt, mm -6 47

58 Var XV (mm -) is for solo piao ad assoos The assoos preset the theme of the passaaglia hile the piao moves hromatially i otrary motio i a poitillisti maer The theme a also e reogized i the doeats of the piao figuratio Var XV (mm -6), the piao presets a toata-like figuratio ased o arpeggios The violis aompay ith arpeggios ad the violas ith hords, hile the ellos ad asses preset the theme Var XV (mm 7-44), there is aother tempo hage, =, marked Allegro0 The piao presets asedig maor sales i otaves (i E Maor) hile the orhestra (strigs, assoos ad trumpets) aompay ith syopated arpeggios The theme is ot preseted i its origial form y ay of the istrumets; hoever, the harmoi struture remais itat Var XV (mm 4-) for tutti orhestra ithout the soloist is rather straightforard The theme is learly reogizale i the outer voies The fial gesture of this variatio is ot a autheti ut a deeptive adee o V, a harmoi proedure that the omposer had already used i the first movemet of the Coerto (, m -) This arupt hage of ourse leads to a e adeza for piao solo (mm -) The soloist egis this adeza ith remiisees of Var XV,ad the otiues ith the leitmotiv of the first ad seod movemets (Adagio = 4), this time ith a more exteded sequee at the ed Var XX (mm 6-6), for oodids, is marked Vivae = 60 t is ased o motive A of the first movemet (, m ) ut ith a meter alteratio The theme of the passaaglia is preseted y the assoos (Ex ) 0 t is marked Allegro marato i the first versio, ut oly Allegro i the seod mausript 4

59 Ex - Vargas, Coerto, mvt, mm 60-6 The piao re-eters i Var XX (mm 70-77), marked Giooso = 00 this variatio the first meter hage of the passaaglia ours, shiftig from the origial /4 to / The variatio is ased o motives from the developmet of the first movemet (, m ), also idiated Giooso The theme is preseted y the ellos ad asses, hile the other strig istrumets support the piao s rhythmi figuratio (Ex ) Ex - Vargas, Coerto, mvt, mm

60 Var XX (mm 7-) is simply a fial gesture efore the last three variatios, hih are the ulmiatio of the movemet ad the Coerto The theme is preseted y the rass istrumets i uiso, ad all the pithes of the theme (ith the exeptio of the last E) have ee ompressed ito a sigle measure The piao presets a asedig domiat sale t is folloed y a short pause efore the last statemets of the theme (Ex ) Ex - Vargas, Coerto, mvt, mm 7-7 Var XX ad XX (mm 0-), Moderato = 0, preset a meter hage to 4/4, ad are ased o Theme B of the seod movemet (first measures preseted i Ex 4) order to preset the latter i its origial form, the legth of to variatios is used to orrespod to the parallel period of Theme B (sixtee measures) Therefore, Var XX does ot omplete the autheti adee of the passaaglia s harmoi progressio; istead, this variatio is oeted to the ext oe through a half adee i the toi m 4-, the piao part also suggests t is atually a E Maor sale hih starts ad eds o the pith B t futfills a lear domiat futio 0

61 the motive used i Var XX Var XX ad XX, the melody is i the higher register, hile the theme is preseted i the loer istrumets the meatime, the piao aompaies ith a e outerpoit that also features the desedig hromati four-ote patter Ex 4 - Vargas, Coerto, mvt, mm 0-4 The fial variatio is ased o the superimpositio of the theme of the passaaglia ad a asedig E Maor sale The piao aompaies ith rapid arpeggios featurig the asi harmoi progressio A plagal adee i m 7 (ivø ) provides fial losure to the piee (Ex ) The presee of the pith C i the ivø of the fial adee ertaily provides a fial eho of the V harmoy that has ee very sigifiat i the prior movemets

62 Ex - Vargas, Coerto, mvt, mm - Summary Vargas Coerto for Piao ad Orhestra is a eleti ork that omies moder ad traditioal elemets Although it ould e prolematial to asrie it to a defiite artisti urret, it a e osidered a example of musial Neo-Classiism due to its sigifiat referees to traditioal geres ad forms, i partiular the ilusio of a movemet i the form of a passaaglia The otrast that the omposer iteded etee differet themes ad/or

63 movemets is ell ahieved The distitio ad omiatio of hromati ad diatoi passages, as ell as of rhythmi ad melodi setios, is properly aomplished The piee is ell orhestrated; there are importat passages for the soloist ad for the orhestra, ad oth alterate i aompayig or solo gestures The istrumetatio orrespods to that of a ovetioal Romati piao oerto ad it does ot overshado the soloist s performae The Coerto is also ell proportioed; the struture of the phrases is alays symmetrial The umerial relatio (i terms of umer of measures) amog the three movemets is 6::00 The Coerto is, udoutedly, a yli ompositio t is lear that the omposer uses the same themati material iterhagealy throughout the hole Coerto The fat that Vargas maaged very leverly to iorporate themes from previous movemets ithi the harmoi frameork of the passaaglia, as ell as the presee of the four-ote desedig patter as the egiig gesture of the passaaglia s theme, suggests the possiility that this melodi ad harmoi skeleto as ideed the geesis of all the themes i the Coerto

64 CHAPTER FOUR PERFORMANCE AND PEDAGOGCAL CONSDERATONS OF VARGAS CONCERTO The previous hapter offered a thorough formal aalysis of Vargas Piao Coerto t a e oluded from that study that Vargas ompositio as skillfully ritte, folloig the arhetype of the traditioal Romati piao oerto A fe performae ad pedagogial matters that may e eoutered i the piee ill o e disussed Vargas s Coerto is a very aessile ompositio for the listeer Oe of the most otale harateristis of the piee is that the orhestratio is effetively alaed ith the piao The orhestral ritig is learly miimized he the soloist performs a importat setio or motive Hoever, there are three partiular plaes i the piee that should e arefully maaged They our i mm -0 ad mm - i the first movemet, ad mm -6 i the seod movemet these three istaes, oth the soloist ad the orhestra play i the same register; therefore, the soloist should try to rig the themes to the surfae more learly Of partiular importae is the example i the seod movemet, sie the soloist is presetig the first theme of the movemet aompaied y the strigs t may e effetive to redue the umer of players i the strig setio throughout these eight measures i order to ahieve more larity ad a etter alae Aother advatage of Vargas istrumetatio is that the orhestral parts are ot very omplex Therefore, the piee a e performed y orhestras of average aility Ufortuately, the orhestral parts are ot i prit yet ad they are i ustody of the omposer s family i Costa 4

65 Ria O the other had, the arragemet of the orhestra part for a seod piao, made y the omposer himself, follos the origial sore very losely the performae editio foud i this moograph, a asi guide to the istrumetatio has ee added i the seod piao part The ork is very lear i its overall struture ad is piaistially oeived Although the Coerto is ot extremely demadig i terms of piaisti tehique, it shos the omposer s itimate aquaitae ith the istrumet This Coerto a e suitale for a early-advaed studet, perhaps as a preparatory piee for oe of the maistream Romati oertos Regardig its form, it is a very iterestig piee to study, sie it deals ith uusual ompositioal tehiques, suh as yli form ad variatio The approximate performae time of Vargas Coerto is miutes, hih is of moderate legth ompared to the stadard oertos, ad makes it appropriate for pedagogial purposes the sore, the tempo hages are preisely stated y the omposer ith oth frequet metroome markigs ad traditioal desigatios of tempo O the other had, Vargas does ot offer ay idiatios oerig pedalig or figerig There is oly oe istae, i hih the omposer aotated figerig; this is for a small segmet i the adeza of the seod movemet Example 4 shos this figerig y Vargas, reprodued i his o hadritig Fially, Tale 4 offers a ivetory of the asi tehial prolems or diffiulties foud i the Coerto t is preseted here as a guide for didati purposes

66 Ex 4 - Vargas, Coerto, mvt, Cadeza Tale 4 Tehial prolems i Vargas Coerto Tehial diffiulty Movemet Measures or Evet Otaves 7-, -, 6-4 Cadeza, 0-, - Var XV, XX, XX, XX Chords itial adeza, 7-, - 4, - Cadeza, - Var, V, V, X, X, adeza Fast sales Cadeza Var XX Chromati sales Cadeza 46 Var V Thirds Cadeza Parallel Fourths 7-4 Cadeza 6