A GUIDE TO THE SONGS OF CARLOS LÓPEZ BUCHARDO (1881-1948) ARGENTINA

A GUIDE TO THE SONGS OF CARLOS LÓPEZ BUCHARDO (1881-1948) ARGENTINA by Allison L. Weiss B.M., University of Puget Sound, 2000

A THESIS submitted to the faculty of the Graduate School of The University of Portland in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Performing and Fine Arts April 6, 2005

_____________________________________ Michael Connolly, D.M.A., Chair Graduate Program Director/Music _____________________________________ Roger O. Doyle, D.M.A. Professor _____________________________________ Judith Sagun, M.M. Adjunct Instructor _____________________________________ Rev. Claude Pomerleau, C.S.C., Ph.D. Professor

ACKNOWLEDGMENTS

My first thoughts of gratitude are directed toward Dr. Michael Connolly for his help in editing this document and the other members of my thesis committee, Dr. Roger O. Doyle, Judith Sagun, and Rev. Claude Pomerleau, for their suggestions. A special thanks to Trudie Booth and Jon Mauser for their help with the French translations and to all the professors, staff, and students at the University of Portland for their empathy and support during the entirety of my Master’s program. I wish to recognize the dozens of friends and scholars in Argentina who have cheered me along and inspired me to study their music. Only a few can be listed here: Beatríz Fitte de Fox (granddaughter of the composer), Lucio Bruno-Videla and his family, Juan María Veniard, Estela Telerman, Ana María Locatelli de Pérgamo, Silvina Luz Mansilla, Melanie Plesch, Claudia Delavega, Susana Montes de Oca, Ana María Portillo, Ana María Mondolo, Bernardo Illari, Zulema Castello de Lasala, León Benaros, Silas Bassa, Diego Orellana, Ricardo Catena, Leandro Donozo, Víctor Torres, Gerardo Delgado, Fabián Piscitelli, Waldemar Axel Roldán, Edgardo Pagliera, Diego Manuel Rodriguez, Julio Carola, and Miguel Hernandez. Without the auspices of the Fulbright Commission in Argentina in 2001, I might never have begun the study of Argentine composers. I remember with fondness the support and encouragement of Laura Moraña, Graciela Abarca, and Norma Gonzalez. I thank all the members and supporters of the Latin American Art Song Alliance, especially members of the Advisory Board. They may never fully appreciate what their words of encouragement and good energy have meant to me during recent years. I owe special thanks to Dr. Geoffrey Block, Dr. Thomas Goleeke, Dr. Keith Ward, and many other professors and students at The University of Puget Sound who helped me ii

to create opportunities for my growth as a musician and scholar. I wish to express my deep love and appreciation for my parents, my siblings, and extended family members—a better team of cheerleaders was never to be found. I gratefully acknowledge the work of scholars and performers, past and present, whose exploration of the music of the Americas has stimulated my own. I also recognize every effort that Ricordi Americana S.A.E.C. (Buenos Aires, Argentina) has made to disseminate the works of Argentine composers. And lastly, I remember with special regard a man who gave selflessly of himself for the music and for my growth as a musician—teacher, mentor, and friend—the late Eugene Hardin and his ever faithful companion, Elaine, to whom this volume is lovingly dedicated. A.L.W.

iii

ABSTRACT

Spanning nearly six decades, the life of Carlos López Buchardo (12 October 1881 – 21 April 1948) coincided almost perfectly with the rise and decline of Argentine musical nationalism. Composer of piano, vocal, and orchestral works, his innovation of an uniquely-Argentine musical idiom was most clearly demonstrated in the genre of song. His entire output of songs for voice and piano is catalogued with information about their text, dates of composition, publishers, vocal ranges, and performance history. Where possible, each catalog entry includes a literal translation. Of the 62 songs attributed to López Buchardo, 45 are discussed in greater detail in chapters that address the following: the songs in French and Italian, the songs with folk music origins, the songs based on poems of love and betrayal, the songs written for and about children, and the songs reflective of his civic and administrative duties. One chapter is devoted to the lost songs and other vocal works and the final chapter addresses aspects of Lopez Buchardo’s musical style.

iv

TABLE OF CONTENTS

Introduction …………………………………………………………………………………………vi Survey of Literature ………………………………………………………………………………viii Table of Examples ………………………………………………………………………………….xi Table of Figures……………………………………………………………………………………xiv Table of Illustrations ………………………………………………………………………………xv Chapter 1: Catalog of Songs by Carlos López Buchardo (1881-1948) ………………………….1 Chapter 2: The Songs in French and Italian ……………………………………………………..86 Chapter 3: The Songs of Folk Origin ……………………………………………………………115 Chapter 4: The Songs of Love and Betrayal ……………………………………………………145 Chapter 5: The Songs for Singing to Children …………………………………………………162 Chapter 6: The Songs of Civic Duty …………………………………………………………….175 Chapter 7: The Lost Songs and Other Vocal Works …………………………………………..178 Chapter 8: Carlos López Buchardo’s Musical Style …………………………………………..184 Endnotes …………………………………………………………………………..……………….191 Works Cited …………………………………………………………………………..………….194 Appendix A: Correspondence with Zulema Castello de Lasala …………………………….203 Appendix B: Letter of Permission ……………………………………………………………....209 Appendix C: Discography of Songs by Carlos López Buchardo …………………………….210 Appendix D: Recital Program……………………………………………………………………212 Appendix E: Index to Songs and their Locations………………………………………………215 Appendix F: Resources for the Study of Argentine Art Song ………………………………218 Appendix G: Index to Songs in Alphabetical Order …………………………………………220

v

INTRODUCTION

The varying seasons in Carlos López Buchardo’s career paralleled those of many Argentine composers at the turn of the twentieth century: first, his early musical development in Argentina followed by specialized training in Europe (principally Paris), second, the discovery of musical “raw material” in Argentine folk music, third, involvement in the organization and administration of Argentine musical institutions, and fourth, infrequent yet glorious peaks of inspiration when symbols of Argentine folk culture, as seen through the lens of his elite social class, were expertly synthesized into works of sadness, joy, love, and heartbreak. In the case of López Buchardo, it was the texts of his songs and how they were blended with folk music rhythms that signified to his audiences the essential nature of Argentina’s identity and were thus applauded as major contributions to Argentine nationalist music. Of the 62 songs known to have been composed by him, about one-third could be considered examples of Argentine musical nationalism. The remaining two-thirds are variously devoted to French texts, children’s poems, religious themes, and anthems designed for civic purposes. This study is intended to help the reader gain an overall picture of López Buchardo’s personality, musical style, and his selection and treatment of poetic texts. It explores characteristics of the text and music that could resonate with a non-Argentine listener and music appreciator today, characteristics that might account for its appeal within and without Argentina’s intricate net of social, cultural, and musical meanings. The broad-stroke categorization and analyses of songs will provide a useful starting place for scholars and performers who wish to delve deeper into López Buchardo’s musical messages. vi

For enhanced understanding, readers are encouraged to refer first to the catalog entry of any given song in Chapter One before reading the commentary surrounding it in subsequent chapters. Song indexes are provided at the beginning of Chapter One and in Appendix G to facilitate cross-referencing. Those wishing to research the topic of Argentine art song in greater detail will find useful the Survey of Literature as well as Appendices C, D, E, and F. They may also find interesting the interview with Argentine soprano Zulema Castello de Lasala in Appendix A. All English translations of the citations included in Chapters Two through Eight are my own. Spanish readers may find the original texts listed in the endnotes.

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SURVEY OF LITERATURE Only two books dedicated to the life and music of Carlos López Buchardo have been published. Alfredo Andrés’ Carlos López Buchardo: Músico Argentino (1958) attempts to contextualize the composer’s output relative to European musical influences while Abraham Jurafsky’s Carlos López Buchardo (1966) describes the principal musical characteristics of his major works. Both works include some biographical data and analyze of a few of López Buchardo’s songs, but neither reaches any firm conclusions about his musical style or song forms. Susana Montes de Oca has compiled by far the most comprehensive listing of recital programs, manuscripts, and printed references to the composer in her dissertation, “Carlos Félix López Buchardo: Aproximación a su labor musical” (2000). Her catalog of López Buchardo’s entire opus was a critical starting point for the song catalog compiled in this document. Montes de Oca profiles a few of the poets, singers, and institutions with whom López Buchardo collaborated and analyzes some of his musical comedies. She also begins to draw conclusions about the composer’s development and alludes to a cause and effect relationship between some of his works. Thanks to Montes de Oca’s direct access to family archives more than a decade ago (before the materials were willed to descendents) and her collection of periodical references to the composer, it is likely that her dissertation is the most complete collection of raw data about the López Buchardo’s life and musical activity ever compiled. Ana María Portillo and Irma Agustina Romero collected scores and information about the composer for a seminar paper at the Universidad Nacional de San Juan entitled “Carlos López Buchardo y los dos ciclos de Canciones argentines al estilo popular” (1995). This document’s most valuable assets are the transcribed interviews they conducted with musicians who either knew the composer or knew of him. The other large segment of their viii

work is focused on Buchardo’s two best-known portfolios, Seis canciones al estilo popular (G. Ricordi & Co., 1925) and Cinco canciones al estilo popular (Ricordi Americana, 1936). When possible, they have duplicated word-for-word the poems from their original sources, a helpful reference for the layout and translation of the poems in this document. They also include meter and rhyme schemes for each of the eleven poems and add their interpretive thoughts about the songs’ subject matters. Scholars Pola Suarez Urtubey and Carmen García Muñoz were the first musicologists to catalog the works of Carlos López Buchardo. Suarez Urtubey’s listing in La creación musical (1986) and García Muñoz’s article in the Diccionario de la Música Española e Hispanoamericana (1999-2002) are still the only catalogs in print. Deborah Schwartz-Kates’ monumental dissertation, “The Gauchesco Tradition as a Source of National Identity in Argentine Art Music (ca. 1890-1955)” (1997) contains more than fifty pages of text devoted solely to Carlos López Buchardo and three of his bestknown nationalist pieces: Escenas argentinas, the Canción del carretero, and Bailecito. Her study as a whole is a critical starting place for any serious study of Argentine national music. For a brief introduction to the art song in Argentina, readers may consult the jacket notes written by Carmen García Muñoz for the compact disc recording, Música vocal de cámara argentina (1993). They might also read the last three chapters of the dissertation written by Jorge Oscar Pickenhayn entitled “El nacionalismo musical europeo y su influencia sobre la canción de cámara argentina” (1943). There are no sources that thoroughly outline the development of art song in Argentina. There are, however, publications and articles that touch on this topic in the context of Argentina’s larger musical history (see Arizaga, Enciclopedia de la música argentina, 1971; Arizaga and Camps, Historia de la música en la argentina, 1990; García ix

Acevedo, La música argentina contemporanea, 1963; García Acevedo, La música argentina durante el período de la organización nacional, 1961; García Morillo, Estudios sobre música argentina, 1984; Gesualdo, Breve historia de la música en la argentina, 1998; Gesualdo, Historia de la música en la argentina, 1961; Plesch, “El rancho abandonado”, 1992; Plesch, “La música en la construcción de la intentidad”, 1996; Plesch, “También mi rancho se llueve”, 1998; Schiuma, Música y músicos argentinos, 1943; Veniard, Aproximación a la música académica argentina, 2000; Veniard, La música nacional argentina, 1986; Veniard, “La teoría histórica de las generaciones”, 1998). Finally, readers may be interested in comparing the present study with others that have focused on Argentine song composers. They may find helpful Juan Francisco Giacobbe’s book on Julián Aguirre (1945), Jonathan Kulp’s dissertation, “Carlos Guastavino: A Study of His Songs and Musical Aesthetics” (2001), Roxane M. LaCombe’s study, “Carlos Guastavino’s Song Cycles Las Nubes and Cuatro Sonets de Quevedo” (2000), and Deborah Wagner’s paper, “Carlos Guastavino: An Annotated Bibliography of his Solo Vocal Works” (1997). The sheet music consulted for this study was obtained from various libraries, collections, and publishers as outlined in Appendix E.

x

TABLE OF EXAMPLES

Example 1. Silence, measures 1-5 …………………………………………………………………93 Example 2. Silence, measures 12-15 ………………………………………………………………94 Example 3. Silence, measure 11……………………………………………………………………94 Example 4. Les roses de Noël, measures 19-27…………………………………………………….96 Example 5. Les roses de Noël, measures 1-6 ………………………………………………………97 Example 6. Les roses de Noël, measures 8-10 …………………………………………………….98 Example 7. Lassitude, measures 17-20…………………………………………………………….99 Example 8. Lassitude, measures 23-32 …………………………………………………………..100 Example 9. Une fleur, measures 73-75 …………………………………………………………..102 Example 10. Une fleur, measures 42-45 …………………………………………………………102 Example 11. Reflets, measures 1-9 ……………………………………………………………….103 Example 12. Petite Ynga, measures 30-32 ………………………………………………………104 Example 13. Petite Ynga, measures 3-6 …………………………………………………………105 Example 14. A toute âme que pleure, measures 26-29 …………………………………………..106 Example 15. A toute âme que pleure, measures 4-6 ……………………………………………106 Example 16. A toute âme que pleure, measures 16-24 …………………………………………107 Example 17. Ave Maria, measures 32-37 ………………………………………………………109 Example 18. Ave Maria, measures 47-55 ……………………………………………………….110 Example 19a. Scordarmi di te, measures 51-66 ………………………………………………….111 Example 19b. Scordarmi di te, measures 36-42 ………………………………………………….114 Example 20. Vidalita, measures 1-9 ……………………………………………………………..117 Example 21. Los puñalitos, measures 17-22 ……………………………………………………..119 Example 22. Desdichas de mi pasión, measures 1-13 ……………………………………………121 xi

Example 23. Vidala, measures 1-6.

……………………………………………………………122

Example 24. Gustavo Caraballo’s poem, Canción del carretero ………………………………..125 Example 25. Canción del carretero, measures 2-10………………………………………………129 Example 26. Jujeña, measures 113-125 ………………………………………………………….136 Example 27. Prendeditos de la mano, measures 60-62. …………………………………………138 Example 28. Si lo hallas, measures 1-9 ………………………………………………………….139 Example 29. Oye mi llanto, measures 1-9.……………………………………………………….142 Example 30. Malhaya la suerte mía, measures 22-27 ……………………………………………144 Example 31. Si para un fino amante, measures 21-39 …………………………………………149 Example 32. Text and translation of the traditional folk song Au clair de la lune …………..150 Example 33. La canción desolada, measures 38-45 ………………………………………………152 Example 34. Querendona, measures 1-9 …………………………………………………………154 Example 35. Copla criolla, measures 49-57………………………………………………………156 Example 36. Lamento (Mírala como ha venido), measures 23-31 ……………………………….157 Example 37. Canta tu canto, ruiseñor y vuela, measures 5-20 ………………………………….159 Example 38. Canción de ausencia, measures 57-68………………………………………………161 Example 39. Hormiguita, measures 18-34 ……………………………………………………….166 Example 40. Este pajarito, measures 8-10 ……………………………………………………….167 Example 41. Este pajarito, measures 5-7…………………………………………………………167 Example 42. Este pajarito, measures 21-24………………………………………………………168 Example 43. La casita del hornero, measures 14-17 ……………………………………………..169 Example 44. El patio, measures 1-15 …………………………………………………………….170 Example 45. El canario, measures 10-13…………………………………………………………171 Example 46. El arco iris, measures 17-25 ………………………………………………………..172 Example 47. Canción de Perico, measures 14-21 ……………………………………………….173 xii

Example 48. Canción del niño pequeñito, measures 19-26 ………………………………………174 Example 49. ¡Pobres jazmines criollos!, measures 1-4 …………………………………………..182

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TABLE OF FIGURES

Figure 1. Partial list of López Buchardo songs performed in public …………………………91 Figure 2. Formal and harmonic structure in Scordarme di te..!!?? …………………………..113 Figure 3. Form and phrase structure in Canción del carretero ………………………………127

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TABLE OF ILLUSTRATIONS

Illustration 1. Plaque dedicated to Carlos López Buchardo…………………………………..189 Illustration 2. Plaque celebrating the centenary of Carlos López Buchardo’s birth ……….189 Illustration 3. Photograph of Carlos López Buchardo ………………………………………...190

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Weiss 1 CHAPTER 1 Catalog of Songs by Carlos López Buchardo (1881-1948)

The following is a catalog of the 62 songs of Carlos López Buchardo (12 October 1881 – 21 April 1948) arranged in mostly chronological order according to their date of composition. The few exceptions to this rule include songs that were grouped into collections for publication, which have been left in their printed order, or songs whose dates of composition are still unknown, which are left in their approximate order of composition. Each entry indicates the name of the song’s collection, if applicable; the source of the song’s text; the language of the text; the year composed; the year published and by whom; the dedicatee, if any; the initial tempo marking, the key signature; the vocal range from lowest to highest note (indicated by a letter representing the note and a number representing the octave on the piano, i.e., C4 = middle C on the piano keyboard); the estimated duration of the performed piece; the translation of the title and song text; the piece’s performance history (i.e. known instances of public performance in Argentina during the composer’s lifetime); and notes, if applicable. An attempt has been made to translate word-for-word the original song texts into English. The reader may find this complicated at times, though a basic knowledge of indirect and direct verb conjugations in Romance languages will allow most performers to create their own poetic translations that make grammatical sense. For example, in Jujeña (Entry 31), the last sentence in Spanish is ¡Canto por que te quiero vidita, por eso canto! which translated literally would be, “I sing because you I love my sweetheart, for that I sing!” A performer might poetically translate this phrase as, “I sing because I love you, my sweetheart, for this reason I sing!” Performers are encouraged to create their own poetic translations from these basic literal translations for their private or academic use. Further

Weiss 2 research must be done on the copyrights of the poems if performers desire to use them for any commercial purpose. When complicated grammatical structures, loose poetic phrasing, or idiomatic words have made the literal translations difficult to decipher, a poetic paraphrase of the poem’s text has sometimes been included within its corresponding chapter. Of course, no translation will ever substitute for a thorough knowledge of the language or the hidden meanings and dialects represented in these poems. Serious performers will enjoy a further study of the Argentine Spanish language and poetry to inform their interpretation of the songs. Susana Montes de Oca is credited for supplying the majority of the songs’ dates of composition, some of which could be verified on copies of the manuscripts and others of which were deduced from the dates of their debut performances or information taken from periodicals of the time (Montes de Oca 302-320). With Ms. Montes de Oca’s gracious permission, the dates and performance history information that she first researched in her thesis are included, while still assuming full responsibility for any errors or misinformation that may exist due to my inability to verify each detail. Not surprisingly, this catalog is far from complete. Seventeen of the songs were not located in published or manuscript form. They are included, nonetheless, as a reminder of the many gaps that still need filling in Argentine musical history. For the reader’s convenience, an brief index of the 62 songs, their titles, dates of composition, language of text, and their corresponding pages in this volume is provided prior to the catalog’s first entry.

Weiss 3 INDEX OF SONGS BY CARLOS LÓPEZ BUCHARDO (1881-1948) Entry Song Title

Composed

Language

Pages

1

Ave Maria

ca. 1896

Italian

5, 108

2

Silence

before 1899

French

6, 93

3

Les Roses de Noel

before 1899

French

7, 95

4

Extase

before 1899

French

8, 87

5

Sé…

before 1899

unknown

9

6

Vorrei

ca. 1903

Italian

10

7

La Mort des Oiseaux

ca. 1903

French

11, 87

8

Scordarmi di te..!!??

unknown

Italian

12, 110

9

Le voyage

unknown

French

13, 87

10

Salve Oh, Reina Gloriosa

8 October 1911

Spanish

14, 88

11

Feuillage du cœur

1915

French

15, 89

12

Le Paravent

1915

French

16, 89

13

Lassitude

September 1915

French

17, 98

14

Era una rosa

30 October 1915

Spanish

18, 148

15

Une fleur

19 December 1915

French

19, 101

16

Reflets

11 Enero 1916

French

21, 102

17

Si para un fino amante

21 April 1916

Spanish

22, 148

18

Petit Ynga

20 February 1917

French

23, 103

19

Nocturno

15 March 1917

Spanish

24, 150

20

A toute âme qui pleure…

1 January 1918

French

25, 105

21

Hormiguita

1919

Spanish

26, 165

22

Para flor de durazno

1921

Spanish

28, 180

23

Le para vent

ca. 1924

French

29

24

Tránsito

1924

Spanish

30, 180

25

La canción desolada

ca. 1924

Spanish

31, 150

26

Vidalita

1921

Spanish

32, 116

27

Los puñalitos

1921

Spanish

34, 118

28

Desdichas de mi pasión…

ca. 1924

Spanish

36, 120

29

Vidala

ca. 1924

Spanish

38, 122

30

Canción del carretero

ca. 1924

Spanish

40, 123

Weiss 4 INDEX OF SONGS BY CARLOS LÓPEZ BUCHARDO (1881-1948) (cont.) Entry Song Title

Composed

Language

Pages

31

Jujeña

ca. 1924

Spanish

42, 135

32

Himno de la UNLP

1927

Spanish

44, 176

33

Pampeana

1927

Spanish

46, 152

34

Prendeditos de la mano

1931

Spanish

48, 137

35

Si lo hallas

1931

Spanish

49, 138

36

Frescas sombras de sauces

1931

Spanish

50, 140

37

Oye mi llanto

1931

Spanish

52, 140

38

Malhaya la suerte mia

1931

Spanish

53, 142

39

Pobres jazmines criollos

1933

Spanish

55, 181

40

Vals

before 1933

Spanish

57, 180

41

Himno de la Cruz Roja Argentina

1935-36

Spanish

58, 177

42

La Doble Cruz

1935-36

Spanish

60, 177

43

Una rosa para mi rosa

1936

Spanish

62, 180

44

Este pajarito

1937

Spanish

63, 167

45

La casita del hornero

1937

Spanish

64, 168

46

El jardín de mi Escuela

1937

Spanish

65, 169

47

Mi señorita

1937

Spanish

66, 169

48

El patio

1937

Spanish

67, 169

49

El canario

1937

Spanish

69, 171

50

El arco iris

1937

Spanish

70, 171

51

Querendona

1938

Spanish

72, 153

52

Copla criolla

1938

Spanish

74, 155

53

Porteñita

unknown

Spanish

75, 182

54

Lamento (Mírala como ha venido)

1938

Spanish

77, 156

55

Canta tu canto, ruiseñor y vuela…

1940

Spanish

78,158

56

Canción de Perico

1940

Spanish

79, 172

57

Canción del niño pequeñito

1940

Spanish

80, 173

58

Canción de ausencia

1942

Spanish

81, 159

59

Caminito de flores

1942

Spanish

83, 180

60

Canción del estudiante

unknown

Spanish

84, 180

61

Los camperos

unknown

Spanish

85, 181

62

Canción del trabajo

1948

Spanish

86, 176

Weiss 5 1. Ave Maria Text: Language: Composed: Published: Publisher:

Traditional Catholic text Italian ca. 1896 unknown unknown

Dedication: Tempo: Key: Vocal Range: Duration:

none Andante religioso (Moderately slow and reverent) Eb Major Eb4 - G5 2:40

Title:

Hail Mary

Ave Maria, piena di grazie, il Signor è teco, tu sei benedetta fra le donne e benedetto è il frutto del ventre tuo, Gesù. Tu sei benedetta fra le donne e benedetto è il frutto del ventre tuo, Gesù.

1 2 3 4 3 4

Hail Mary, full of grace, the Lord is with thee, thou art blessed among women and blessed is the fruit of thy womb, Jesus. Thou art blessed among women and blessed is the fruit of thy womb, Jesus.

Ave Maria, Santa Maria, prega per noi peccatori, peccatori, adesso e nell'ora della nostra morte. Ave Maria, prega per noi e nell'ora della nostra morte.

5 6 7 5 6 7

Hail Mary, Holy Mary, pray for us sinners, sinners, now and in the hour of our death. Hail Mary, pray for us and in the hour of our death.

Amen. Ave Maria. Amen.

8 Amen. 1 Hail Mary. 8 Amen.

Performance History: unknown Notes: First piece known to be written by composer. The author of the translation from Latin to Italian is unknown. This song was professionally engraved and printed, but no publisher was listed on the sheet music. This printing of this song and other early editions may have been paid for by the López Buchardo family.

Weiss 6 2. Silence (Romance pour chant et piano) Text: Language: Composed: Published: Publisher:

Paul Bourget (1852-1935) France French before 1899 unknown Breyer Hermanos


Henriette Van Marke De Lumen Lento (Slow) B Major B4 – F#5 1:45

Title:

Silence (Romance for voice and piano)

Silence ineffable de l'heure où le cœur aimant sur un cœur se laisse en aller et s'endort sur un cœur aimant qu'il adore.

1 2 3 4

Silence unutterable of the hour when the heart loving on a heart lets itself go and falls asleep on a heart loving that it adores.

Musique tendre des paroles comme un sanglot de rossignol si tendre qu'on voudrait mourir sur la bouche qui les soupire.

5 6 7 8

Music tender of words like a sob of nightingale so tender that one would like to die on the mouth that them sighs.

L'ivresse ardente de la vie fait defaillir l'amant ravi, et l'on n'entend battre qu'un cœur musique et silence de l'heure.

9 The exhilaration ardent of life makes faint 10 the delighted lover, and one only hears the pulse 11 of a heart musical 12 and silence of the hour.

Performance History: Performed in Buenos Aires at the Asociación Wagneriana (Montes de Oca 312). Notes: Op. 1 is listed on cover. Susana Montes de Oca lists the year of composition as “before 1899”, but the source of this date is unclear (312).The year of publication may have been 1903 (Jurafsky 55).

Weiss 7 3. Les Roses de Noël (Mèlodie pour chant et piano) Text: Language: Composed: Published: Publisher:

Edmond Arnould (1811-1861) France French before 1899 1924 G. Ricordi & Co.


none Moderato (Moderate) Eb Major Eb4 - G5 1:20

Title:

The Roses of Christmas (Song for voice and piano)

En Décembre à travers la brume elles s'ouvrent, les tristes fleurs, semblables à des yeux en pleurs, que nul vivant dèsir n'allume.

1 2 3 4

In December through the fog they open, the sad flowers, resembling eyes in tears, that no living desire illuminates.

Point de soleil qui les parfume, qui les dore de ses couleurs; mais du moins aux mornes douleurs leur pâleur est sans amertume…

5 6 7 8

No sun that them perfumes, that them gilds with its colors; but at least to gloomy pains their pallor is without bitterness…

Puisque le jeune et beau printemps reserve ses dons éclatants aux âmes fraîchement écloses; pour ceux qui souffrent, ô doux ciel, faites toujours fleurir les roses, faites toujours fleurir les roses, les pâles roses de Noël.

9 10 11 12 13

Since the young and beautiful spring reserves its gifts bright to souls freshly bloomed; for those who suffer, oh sweet sky, make always blossom the roses, make always blossom the roses, 14 the pale roses of Christmas.

Performance History: Performed in Buenos Aires at the Asociación Wagneriana on 12 May 1919 (Montes de Oca 312). Notes: Susana Montes de Oca lists the year of composition as “before 1899”, but the source of this date is unclear (312).The year of publication may have been 1903 (Jurafsky 55).

Weiss 8 4. Extase Text: Language: Composed: Published: Publisher:

Maurice Maeterlinck (1862-1949) Belgium French before 1899 unknown unknown


unknown unknown unknown unknown unknown

Title:

Extasy

Performance History: Performed in Buenos Aires at the Asociación Wagneriana (Montes de Oca 312). Notes: Susana Montes de Oca lists the year of composition as “before 1899”, but the source of this date is unclear (312).

Weiss 9 5. Sé… Text: Language: Composed: Published: Publisher:

unknown unknown before 1899 unknown unknown



Performance History: Performed in Buenos Aires by soprano Palomea Krucenisky with Rafael Gousates [sic] at the piano on 19 December 1923. Performed in Buenos Aires by soprano Antonieta Silveyra de Lenhardson with Carlos López Buchardo at the piano on 14 November 1924 (Montes de Oca 312, 328). Notes: Susana Montes de Oca lists the year of composition as “before 1899” and the original text as French, but the source of this information is unclear (312). The title is listed variously as “Sé…” (Montes de Oca 312), “Sé” (Montes de Oca 257), and “Se” (Jurafsky 55, Montes de Oca 328), making it hard to verify the language of the song’s text. This song may have been in unpublished manuscript form only.

Weiss 10 6. Vorrei Text: Language: Composed: Published: Publisher:

Pietro Barqui Italian ca. 1903 unknown unknown



Title:

I would like

Performance History: unknown Notes: Susana Montes de Oca lists the year of composition as “around 1903”, but the source of this date is unclear (312). Jurafsky lists the year of publication as 1903 (55). This song may have been published by Breyer Hermanos as Op. 2 (see the notes for Entry 8). It was listed by Carmen García Muñoz as having been engraved and printed (1006).

Weiss 11 7. La Mort des Oiseaux Text: Language: Composed: Published: Publisher:

Francoise Coppé (1842-1908) France French ca. 1903 unknown unknown



Title:

The death of birds

Performance History: unknown Notes: Montes de Oca lists the year of composition as “around 1903”, but the source for this date is unclear (312). This song may have been published by Breyer Hermanos as Op. 3 (see the notes for Entry 8). It was listed by Carmen García Muñoz as having been engraved and printed (1006).

Weiss 12 8. Scordarmi di te..!!?? (Romanza per canto e pianoforte) Text: Language: Composed: Published: Publisher:

unknown Italian unknown unknown unknown


Carlos Berro Madero Lento (Slow) E Major F#4 - G5 2:45

Title:

Forget you..!!?? (Romance for voice and piano)

Ridono i fiori allo spuntare il sol; godon gli augelli all'annunziarsi il dì; solo il mio core veste eterno duol, ogni speranza per me sempre svanì, per me sempre svanì.

1 Laugh the flowers upon rising the sun; 2 delight the angels at the announcement of the day; 3 Solitary my heart is clothed with eternal pain, 4 every hope for me forever vanished, 4 for me forever vanished.

Esule e solo, o Madre, mi lasciasti in questa falsa vita d'amor; tutt'ho perduto già, nei dì nefasti, speme, illusioni, odio e dolor.

5 Exiled and alone, oh Mother, me you left 6 in this false life of love; 7 all I have lost already, in the day of misfortune, 8 hope, dreams, hate and pain.

Scordai ricchezze, i sogni giovanil, la vita, la natura, amore e gioventù; tu sol ne guida i passi miei febril; la santa immagin tua non scorderò mai più, non scorderò mai più!

9 I forgot riches, the dreams youthful, 10 life, nature, love and youth; 11 your sun them guides the footsteps mine feverish; 12 the holy image your not will I forget forever more, 12 not will I forget forever more,

Scordarme di te..!!??

13 Forget you..!!??

Performance History: unknown Notes: Scordarmi di te..!!?? has no verifyable date of composition, but was most likely composed sometime during López Buchardo’s twenties. Op. 4 is listed on the cover, suggesting that the two songs known to have been printed between Op. 1 and Op. 4 (Vorrei and La Mort des Oiseaux) may have been published by Breyer Hermanos as well. Gurina y Cia. might also have been a third-party publisher or printer of López Buchardo’s early songs.

Weiss 13 9. Le voyage (Romance) Text: Language: Composed: Published: Publisher:

unknown French unknown 1903 Bibelot



Title:

The Voyage (Romance)

Performance History: unknown Notes: Published in the Magazine Bibelot, Buenos Aires, Año I, No. 16 (30 December 1903) and text attributed to a said “Florian”, according to Montes de Oca (312). This score has yet to be located.

Weiss 14 10. Salve Oh, Reina Gloriosa Text: Language: Composed: Published: Publisher:

unknown Spanish 8 October 1911 unknown unknown



Title:

Save Us, Oh Glorious Queen

Performance History: unknown Notes: According to Montes de Oca, this song was listed in a working catalog belonging to Carmen García Muñoz (313). The text may have been the Latin Salve Regina translated into Spanish, though no manuscript has been found to verify this.

Weiss 15 11. Feuillage du cœur Text: Language: Composed: Published: Publisher:

Maurice Maeterlinck (1862-1949) Belgium French 1915 unknown unknown



Title:

Foliage of the heart

Performance History: Performed in Buenos Aires at the Museo Nacional de Bellas Artes by Paula Ripert Mancilley with Carlos López Buchardo at the piano on 26 November 1915 (Montes de Oca 313). Performed in Buenos Aires by soprano Antonieta Silveyra de Lenhardson with Carlos López Buchardo at the piano on 14 November 1924 (Montes de Oca 328). Notes: This song may have been in unpublished manuscript form only.

Weiss 16 12. Le paravent Text: Language: Composed: Published: Publisher:

Enrique Prins (1876-1943) Uruguay French 1915 unknown unknown



Title:

The folding screen (i.e. as in a decorative Chinese folding screen)

Performance History: Performed in Buenos Aires at the Museo Nacional de Bellas Artes by Paula Riper Mancilley with Carlos López Buchardo at the piano on 26 November 1915 (Montes de Oca 64). Performed in Buenos Aires by soprano Brigida Frías de López Buchardo with Carlos López Buchardo at the piano on 14 November 1924 (Montes de Oca 328-329). Notes: See Entry 23 for information on another song of almost the same title with text by a different poet. This song may have been in unpublished manuscript form only.

Weiss 17 13. Lassitude Text: Language: Composed: Published:

Maurice Maeterlinck (1862-1949) Belgium French September 1915 unpublished manuscript


none Calme (Calm) F Major C4 - F5 2:25

Title:

Lassitude

Ils ne savent plus où se poser ces baisers, ces lèvres sur des yeux avengles et glacés; désormais endormis en leur songe superbe, désormais endormis en leur songe superbe, ils regardent rêveurs comme des chiens dans l'herbe, la foule des brebis grises à l'horizon, brouter le clair de lune épars sur le gazon, aux caresses du ciel vague comme leur vie; indifférents et sans une flamme d'envie, pour ces roses de joie écloses sous leurs pas; et ce, long, calme vert qu'ils ne comprennent pas.

1 They don’t know anymore where to place those kisses, 2 these lips on eyes blind and icy; 3 from now on set to sleep in their dream superb, 3 from now on set to sleep in their dream superb, 4 they watch dreamily like dogs in the grass, 5 the flock of sheep gray on the horizon, 6 to graze the light of moon scattered on the lawn, 7 to the caresses of the sky vague like their life; 8 indifferent and without a flame of desire, 9 for those roses of joy blooming under their steps; 10 and that, long, calm green that they understand not.

Performance History: Performed in Buenos Aires at the Museo Nacional de Bellas Artes by Paula Riper Mancilley with Carlos López Buchardo at the piano on 26 November 1915 (Montes de Oca 313). Performed in Buenos Aires by soprano Enriqueta Basavilbaso de Catelín with Carlos López Buchardo at the piano on 14 November 1924 (Montes de Oca 312, 328). Notes: This manuscript was located by Montes de Oca in the Carlos Fitte family archives and at the Asociación Wagneriana (313).

Weiss 18 14. Era una rosa Text: Language: Composed: Published:

Abid Amid Spanish (translated from an Arabian text) 30 October 1915 unpublished manuscript


none Tranquilo (Tranquil) E Major C#4 - D#5 1:05

Title:

There Was a Rose

Era una rosa bicolor, pálida y carmín a la vez; eran dos mejillas de enamorados, la una rosada y encendida de pudor, y la otra pálida de amor.

1 2 3 4 5

There was a rose two-colored, pale and carmine at the same time; they were two cheeks of lovers, the one pink and aflame with blush, and the other pale with love.

Performance History: Performed in Buenos Aires at the Sociedad Nacional de Música by Hina Spani with Carlos López Buchardo at the piano on 25 November 1916 (Montes de Oca 313). Notes: This manuscript was located by Montes de Oca in the Carlos Fitte family archives and at the Asociación Wagneriana (313).

Weiss 19 15. Une fleur Text: Language: Composed: Published:

André Rivoire (b. 1872) Austria French (Alsacian dialect) 19 December 1915 unpublished manuscript


none Doucement (Sweetly) Bb Major G4 - G5 2:20

Title:

A Flower

Cette fleur que ses mains, que sa lèvre à touchée. Et qu'elle a faite sienne entre toutes les fleurs, Aujourd'hui sans parfum, sans forme et sans couleurs, en un livre d'amour repose dessechée.

1 This flower that her hands that her lips touched. 2 And that she has made hers between all the flowers, 3 today without scent, without shape and without colors, 4 in a book of love rests dry.

Elle même l'ignore, elle n'a jamais su en l'oubliant, distraite, après l'avoir cueillie, que je conserverais la chère fleur vieillie, et c'est un souvenir que je n'ai point reçu.

5 She herself it does not know, she has never known, it forgetting, 6 distracted, after it having picked, 7 that I would keep the cherished flower aged, 8 and it’s a memory that I have not received.

Je me suis caché d'elle, et je crains le mystère entre nous d'un reproche ou même d'un pardon; en laissant près de moi la fleur à l'abandon, peut-être sa pitié fut-elle involontaire.

9 I myself hid from her, and I feared the mystery 10 between us a reproach or even of a forgiveness; 11 by letting close to me the flower to its abandonment, 12 perhaps her pity was involuntary.

Je ne sais rien de plus, mais je songe parfois qu'aux soirs de solitude, en ses rêves de femme, un peu de moi peut-être, a fleuri dans son âme comme cette fleur vaine a passé dans ses doigts.

13 I know nothing more, but I think sometimes 14 of the nights of solitude, in her dreams of woman, 15 a bit of me perhaps, has blossomed in her soul 16 like that flower vain has passed through her fingers.

Weiss 20 Performance History: Performed in Buenos Aires at the Sociedad Nacional de Música by Hina Spani with Carlos López Buchardo at the piano on 25 November 1916 (Montes de Oca 313). Notes: This manuscript was located by Montes de Oca in the Carlos Fitte family archives and at the Asociación Wagneriana (313).

Weiss 21 16. Reflets Text: Language: Composed: Published:

Maurice Maeterlinck (1862-1949) Belgium French 11 January 1916 unpublished manuscript


none Animé (Animated) F Major D4 - G5 1:05

Title:

Reflections

Sous l'eau du songe qui s’élève, mon âme a peur, mon âme a peur! Et la lune luit dans mon cœur, plongé dans les sources du rêve.

1 2 3 4

Under the water of the dream that rises my soul fears, my soul has fear! And the moon glows in my heart, plunged into the sources of the dream.

Sous l'ennui morne des roseaux seuls les reflets profonds des choses, des lys, des palmes et des roses, pleurent encore au fond des eaux.

5 6 7 8

Under the boredom dreary of reeds only the reflections deep of things, of lilies, of palms, and of roses, are crying still in the depth of the waters.

Les fleurs s'effeuillent une à une sur le reflet du firmament, pour descendre éternellement dans l'eau du songe et dans la lune.

9 10 11 12

The flowers shed their leaves one by one on the reflection of the firmament, to descend eternally in the water of the dream and in the moon.


Weiss 22 17. Si para un fino amante Text: Language: Composed: Published:

Leopoldo Lugones (1874-1938) Argentina Spanish 21 April 1916 unpublished manuscript


none Lento (Slow) Db Major C4 - F5 1:50

Title:

If For A Refined Lover

Si para un fino amante, nada es tropiezo, en todo lo que toques yo seré un beso.

1 2 3 4

If for a refined lover, nothing is blunder, in everything that you touch I will be a kiss.

En todas las estrellas seré mirada, que tu rigor es noche que no se acaba.

5 6 7 8

In all the stars I will be a glance, since your strictness is night that never ends.

Lima para tus rejas serán mis celos, y mi sangre la marca de tu pañuelo.

9 10 11 12

File for your plough will be my jealousy, and my blood the mark of your handkerchief.


Weiss 23 18. Petit Ynga (Chanson) Text: Language: Composed: Published: Publisher:

Gustave Fröding, (1860-1911) Sweden French 20 February 1917 1949 Ricordi Americana


none Pas trés lent (Not too slow) A Major E4 - A6 2:20

Title:

Little Inga (Song)

Chante-moi ta chanson petite Ynga, ma mie, je suis si solitaire au chemin de la vie, et mon âme est si seule en sa mélancolie!

1 Sing me your song little, little Inga, my sweetheart, 2 I am so solitary on the road of life, 3 and my soul is so alone in its melancholy!

Chante-moi ta chanson; chante-moi ton doux air, Qui sonne si gaiement dans mon palais désert!

4 Sing me your song; sing me your sweet tune, 5 That rings so gayly in my palace deserted!

La chanson vive et tendre et qui vole sur l'eau Et qui court à travers le chaume: Et je te donnerai tout l'or de mon chateau, Et la moitié de mon royaume, L'or et l'argent de mon chateau, c'est ma tendresse, L'or et l'argènt c'est la moitié de ma tristesse, c'est ma tendresse, C'est la moitié de ma tristesse.

6 The song alive and tender and that flies over the water 7 And that runs across the thatch: 8 And I to you will give all the gold in my castle, 9 And the half of my kingdom, 10 The gold and silver of my castle, that’s my tenderness, 11 The gold and silver that’s the half of my sadness, that’s my tenderness, 12 That’s the half of my sadness.

As tu peur de la tristesse, petite Ynga, ma mie?

13 Have you fear of sadness, little Inga, my sweetheart?

Performance History: Performed in Buenos Aires by soprano Enriqueta Basavilbaso de Catelín with Carlos López Buchardo at the piano on 14 November 1924 (Montes de Oca 312, 328).

Weiss 24 19. Nocturno Text: Language: Composed: Published:

Leopoldo Lugones (1874-1938) Argentina Spanish 15 March 1917 unpublished manuscript


Brígida Frías Serenamente (Serenely) E Major D4 - F#5 1:30

Title:

Nocturne

Grave fué nuestro amor; y más callada aquella noche frescamente umbría, Polvorosa de estrellas se ponía Cual la profundidad de una cascada.

1 Solemn was our love; 2 and more quiet that night freshly shady, 3 dotted of stars it became 4 which the depth of a waterfall.

Con la íntima dulzura del suceso que abandonó a mis labios tus sonrojos, delirados de sombra vi tus ojos en la embebida asiduidad del beso.

5 6 7 8

Y lo que en ellos se asomó a mi vida, fué tu alma, hermana de mi desventura. Avecilla poética y oscura que aleteaba en tus párpados rendida.

With the intimate sweetness of the event that left to my lips your blushes, delirious in shadows I saw your eyes in the engrossed assiduity of the kiss.

9 And what in them began to show itself to my life, 10 was your soul, twin of my misfortune. 11 Little bird poetic and dark 12 that flapped in your eyelids exhausted.

Performance History: Performed in Buenos Aires by soprano Brígida Frías de López Buchardo with Carlos López Buchardo at the piano on 14 November 1924 (Montes de Oca 312, 328). Notes: This manuscript was located by Montes de Oca in the Carlos Fitte family archives (313).

Weiss 25 20. A toute âme qui pleure… (Cántico a la Virgen) Text: Language: Composed: Published:

Maurice Maeterlinck (1862-1949) Belgium French 1 January 1918 unpublished manuscript


Enriqueta B. de Catelín Mouvement Modéré (Moderate movement) D Major E4 - A5 1:35

Title:

To every soul who cries… (Canticle to the Virgin)

A toute âme qui pleure, a tout péché qui passe, j'ouvre au sein des étoiles mes mains pleines de grâces.

1 2 3 4

To every soul who cries, to every sin which passes, I open in the midst of the stars my hands full of grace.

Il n'est péché qui vive quand l'amour a parlé; il n'est âme qui meure quand l'amour a pleuré.

5 6 7 8

It is not sin that lives when love has spoken; it is not a soul who dies when love has cried.

Et si l'amour s'egare aux sentiers d'ici bas, les larmes me retrouvent et ne s'egarent pas.

9 10 11 12

And if love loses its way on the paths of here below, the tears me find again and are not lost.

Performance History: Debuted in Buenos Aires by soprano Enriqueta Basavilbaso de Catelín with Carlos López Buchardo at the piano on 14 November 1924 (Montes de Oca 312, 328). Notes: This manuscript was located by Montes de Oca at the Asociación Wagneriana (313). A copyist’s version of the manuscript was also located in the personal library of Zulema Castello de Lasala without the subtitle Cantico a la Virgen.

Weiss 26 21. Hormiguita (Canción infantil) Text: Language: Composed: Published: Publisher:

Enrique Amorim (1900-1960) Uruguay Spanish 1919 1925 G. Ricordi & Co.


Dr. Benito Nazar Anchorena Moderadamente animado (Moderately animated) A Major D4 - F#5 1:40

Title:

Little Ant (Children’s Song)

Eran dos hormiguitas pequeñitas y negras. Eran dos hormiguitas pequeñitas y negras.

1 They were two little ants small and black. 1 They were two little ants small and black.

Trepándose en las hojas andaban presurosas. El césped era una hermosa selva umbría. Por un camino largo un dulce caminito, dentro la virgen selva pasan por esta vida…

2 Climbing among the leaves they walked hurridly. 3 The lawn was a beautiful forest shady. 4 On a path long a sweet little path, 5 in the virgin forest they pass through this life…

Por el camino ván, yo no sé lo que dicen, sólo sé que ellas andan con sus cargas, felices. Quieres ser hormiguita para andar por la vida sin que nadie nos vea sin que nadie nos oiga?

6 On the path they go, I don’t know what they say, 7 only I know that they walk with their loads, happy. 8 Want to be a little ant to walk through life 9 without anyone us seeing without anyone us hearing?

Tomados de las manos pequeñitos y humildes vámonos silenciosos por la vida, felices: como dos hormiquitas pequeñitas y negras… como dos hormiquitas pequeñitas y negras…

10 Grasped by the hands small and humble 11 let’s go quietly through life, happy: 12 like two little ants small and back… 12 like two little ants small and back…

Weiss 27

Performance History: Performed in Buenos Aires by soprano Brígida Frías de López Buchardo with Carlos López Buchardo at the piano on 14 November 1924 (Montes de Oca 328). Performed in Buenos Aires at the Escuela Superior de Bellas Artes (Concert No. 12, year unknown) by an unknown singer with Carlos López Buchardo at the piano (Montes de Oca 319). Notes: This was a joint publication with the Universidad Nacional de La Plata (La Plata, Argentina).

Weiss 28 22. Para flor de durazno Text: Language: Composed: Published: Publisher:

Martinez Zuviria alias Hugo Wwast (1883-1962) Argentina Spanish 1921 unknown unknown



Title:

For peach blossom

Performance History: Debut performance occurred on 20 April 1929 (Montes de Oca 313) Notes: According to Lucio Bruno-Videla, Flor de Durazno (Peach Blossom) was a play by Hugo Wwast [sic] that was adapted to silent film by Carlos Gardel. There are also two Argentine operas based on this work. Perhaps this song was intended for yet another adaptation, hence the title, for “Peach Blossom” (Bruno-Videla, Lucio. E-mail Interview. 2 March 2005.)

Weiss 29 23. Le para vent Text: Language: Composed: Published: Publisher:

Paul Henry (1851-1911) French ca. 1924 none (manuscript) unknown



Title:

The folding screen (i.e. as in a decorative Chinese folding screen)

Performance History: unknown Notes: This song was listed in the working catalog of Carmen García Muñoz with the following detail: Sobre la base de su intricado estilo cromático (above the base of his intricate chromatic style) (Montes de Oca 314). There is no easy way to verify that this piece is different than the one listed in Entry 12 except that it is listed with a different poet. It would seem unusual for López Buchardo to wrtie another French song at this point in his career, just before the publication of his first nationalist songs, but this entry is left until further proof merits its deletion. Paul Henry may have been a French author.

Weiss 30 24. Tránsito Text: Language: Composed: Published: Publisher:

Rabindranath Tagore (1861-1941) India Spanish (translated from a Bengali text) 1924 unknown unknown



Title:

Passing

Performance History: unknown Notes: The author of the translation from Tagore’s original Bengali text to Spanish is unknown.

Weiss 31 25. La canción desolada Text: Language: Composed: Published: Publisher:

Margarita Abella Caprile (1919 - ?) Argentina French, Spanish ca. 1924 1925 G. Ricordi & Co.


Señora Antonieta Silveyra de Lenhardtson Con abandono (With abandon) Eb Major Eb4 - Eb5 2:05

Title:

The Desolate Song

"Au clair de la Lune" Pierrot duérmese, Va glosando el eco, el motivo aquel.

1 2 3 4

“In the light of the moon” Pierrot falls asleep, Goes explaining the echo, the motive familiar.

"Ma chandelle est morte." ¿Dónde encontraré? Luz que a lo apagado dé llama otra vez?

5 6 7 8

“My candle is dead.” Where will I find? Light that to the snuffed out gives flame again once?

"Ouvre-moi la porte." ¿Dónde llamaré? Me han dejado a oscuras nada puedo ver.

9 10 11 12

“Open the door for me.” ¿Where will I call? Me they have left in the dark nothing can I see.

Se han de repetirme el helado y cruel: "Va chez la voisine" Señor ¿Para qué?

13 14 15 16

They will repeat to me the cold and cruel: “Go to the neighbor’s house” Lord, ¿What for?

Performance History: Performed in Buenos Aires by soprano Brígida Frías de López Buchardo with Carlos López Buchardo at the piano on 14 November 1924 (Montes de Oca 312, 328). Notes: This was a joint publication with the Universidad Nacional de La Plata (La Plata, Argentina).

Weiss 32 26. Vidalita (Canción al estilo popular) Collection: Text: Language: Composed: Published: Publisher:

Seis canciones al estilo popular (Six Songs in a Popular Style) Leopoldo Lugones (1874-1938) Argentina Spanish 1921 1925 G. Ricordi & Co.


Maria Barrientos Moderado (Moderate) Eb Major Eb4 - G5 2:20

Title:

Vidalita (Song in a Popular Style)

Bien haya ese sabio, Vidalita, que tenga el poder, de aliviarme el alma, Vidalita, del mal del querer.

1 Very well may have that wise man Vidalita, 2 may have the power, 3 of relieving my soul, Vidalita, 4 of the sickness of loving.

En vano los traen, Vidalita, para mi salud, y ellos me recetan, Vidalita, hierbas de virtud.

5 In vain them they bring, Vidalita, 6 for my health, 7 And them me they prescribe, Vidalita, 8 Herbs of virtue.

Pero es que no saben, Vidalita, y este es mi pesar, que no bien te miro, Vidalita, no quiero sanar. Que no bien te miro, Vidalita, no quiero sanar.

9 But it’s that they don’t know, Vidalita, 10 and this is my grief, 11 that not well I see you, Vidalita, 12 I don’t want to heal. 11 That not well I see you, Vidalita, 12 I don’t want to heal.

Como flor picada, Vidalita, por el picaflor, llora miel la herida, Vidalita, que hiciste a mi amor.

13 Like the flower picked at, Vidalita, 14 by the hummingbird, 15 cries honey the wound, Vidalita, 16 what you did to my love.

Weiss 33

Porque no hay regalo, Vidalita, Mejor para mi, que el de ese piquito, Vidalita, que me hiere así.

18 Because there is no gift, Vidalita, 18 Better for me, 19 Then the one of that picking bird, Vidalita, 20 that wounds me like that.

Performance History: Debuted by Maria Barrientos during a recital organized by the Asociación Wagneriana. She was accompanied by Carlos López Buchardo. Notes: In 1925, López Buchardo was awarded the Premio Municipal de Música for the collection in which this song appears, the highest honor given to a work of music by the city of Buenos Aires. A version of this song for piano, drums, strings, and timpani exists at the Sociedad Argentina de Autores y Compositores de Música (SADAIC) (See Appendix F for contact information). No author or arranger is indicated on score, however (Montes de Oca 315). Three of the six songs in this collection, Vidalita, Vidala, and Canción del carretero, were bundled by G. Ricordi & Co. in an Italian edition entitled Tre Canzoni Argentine (1924). The entire collection was republished in 1941 by Ricordi Americana. For a discussion on the meaning and use of the words vidala and vidalita, see page 119.

Weiss 34 27. Los puñalitos (Copla) Collection: Text: Language: Composed: Published: Publisher:

Seis canciones al estilo popular (Six Songs in a Popular Style) Leopoldo Lugones, (1874-1938) Argentina Spanish 1921 1925 G. Ricordi & Co.


Gastón O. Talamon Moderado (Moderate) E Major E4 - G#5 1:55

Title:

The little darts (Couplet)

Al hilo de estas coplas, en frágil sarta, cada sílaba es perla que te adoceno, para que así en mensaje de amor, la carta les dé sus blancas alas hasta tu seno.

1 In the interest of these couplets, in fragile string, 2 every syllable is pearl that for you I make plain, 3 so that thus in message of love, the letter 4 might give them white wings to your bosom,

Que estos versos te infundan principios sabios de la blanda doctrina de los amantes. Y que te rimen besos sus consonantes Como labios de fuego sobre tus labios.

5 That these verses in you might infuse principles wise 6 of the soft doctrine of lovers. 7 And that for you they might rhyme like kisses their consonants 8 like lips of fire on your lips.

Besos que son por crueles más exquisitos, aunque así nos trastornan cordura y calma, con su reñido choque de puñalitos, de puñalitos de oro que van al alma.

9 Kisses that are for their cruelness more exquisite, 10 even though they upset our good sense and calm, 11 with the biting impact of little darts, 12 of golden little darts that go to the soul.

Weiss 35 Performance History: Debuted by Maria Barrientos during a recital of hers organized by the Asociación Wagneriana. She was accompanied by Carlos López Buchardo (Montes de Oca 256, 315). Notes: In 1925, López Buchardo was awarded the Premio Municipal de Música for the collection in which this song appears, the highest honor given to a work of music by the city of Buenos Aires. Three of the six songs in this collection, Vidalita, Vidala, and Canción del carretero, were bundled by G. Ricordi & Co. in an Italian edition entitled Tre Canzoni Argentine (1924). The entire collection was republished in 1941 by Ricordi Americana (Montes de Oca 315).

Weiss 36 28. Desdichas de mi pasión… (Tonada) Collection: Text: Language: Composed: Published: Publisher:

Seis canciones al estilo popular (Six Songs in a Popular Style) Leopoldo Lugones, (1874-1938) Argentina Spanish ca. 1924 1925 G. Ricordi & Co.


Luis V. Ochoa Animado (Animated) Bb Major D4 - G#5 2:35

Title: My passion’s misfortune… (Tonada) Desdichas de mi pasión 1 Misfortunes of my passion no tienen cuando acabar, 2 no has limits. menos profundo es el mar 3 Less deep is the ocean y en él no hay disminución. 4 and in the ocean there is no end. Marchitas flores 5 Wilted flowers son mis amores. 6 are my lovers, Y en la cadena 7 And in the chain de tus rigores, 8 of your harshness, llora cautivo 9 cries captive mi [fiel] corazón. 10 my [faithful] heart. Así como no es razón querer reducir el mar, no tienen cuando acabar desdichas de mi pasión. Marchitas flores son mis amores. Y en la cadena de tus rigores, llora cautivo mi [fiel] corazon.

11 12 13 14 15 16 17 18 19 20

Just like it isn’t reasonable to want to reduce the ocean, There are no limits to the bad luck of my passion. Wilted flowers are my lovers. And in the chain of your harshness, cries captive my [faithful] heart.

Y abriga vana ilusión el que quiero comparar, con la pequeñez del mar lo inmenso de mi pasión. Marchitas flores son mis amores. Y en la cadena de tus rigores.

21 22 23 24 25 26 27 28

And covers vain illusion my comparison, with the tinyness of the ocean the immensity of my passion. Wilted flowers are my lovers. And in the chain of your harshness,

Weiss 37 Llora cautivo mi [fiel] corazón.

29 cries captive 30 my [faithful] heart.

Performance History: unknown Notes: In 1925, López Buchardo was awarded the Premio Municipal de Música for the collection in which this song appears, the highest honor given to a work of music by the city of Buenos Aires. The entire collection was republished in 1941 by Ricordi Americana (Montes de Oca 315).

Weiss 38 29. Vidala Collection: Text: Language: Composed: Published: Publisher:

Seis canciones al estilo popular (Six Songs in a Popular Style) Gustavo Caraballo (1885-1939) Argentina Spanish ca. 1924 1925 G. Ricordi & Co.


Entrique T. Susini Placidamente (Placidly) F# Major D4 - E5 2:55

Title: Vidala Llueve sobre el campo, Vidalita, llueve en la ciudad; también en mi alma, Vidalita, lloviznando está,

1 It’s raining in the country, Vidalita, 2 it’s raining in the city; 3 also in my soul, Vidalita, 4 drizzling it is.

En la sombra virgen, Vidalita, se van las estrellas, porque tus pupilas, Vidalita, son mas claras que ellas.

5 In the shadow fresh, Vidalita, 6 leave the stars, 7 because your pupils, Vidalita, 8 sparkle more than they.

Aires de mi tierra, Vidalita, ¡donde está la calma! Diles que me muero, Vidalita, léjos de su alma.

9 Air of my land, Vidalita, 10 where there is peace! 11 Tell them that I’m dying, Vidalita, 12 far from her soul.

Sobre las cuchillas, Vidalita, se queja el pampero, como el eco triste, Vidalita, de mi amor viajero.

13 Above the ridges, Vidalita, 14 curses the man of the country, 15 like the sad echo, Vidalita, 16 of my love wandering.

La guitarra mia duerme abandonada,

17 The guitar mine 18 sleeps abandoned,

Weiss 39 como la armonia de una noche helada.

19 like the harmony 20 of a cold night.

Performance History: unknown Notes: In 1925, López Buchardo was awarded the Premio Municipal de Música for the collection in which this song appears, the highest honor given to a work of music by the city of Buenos Aires. There are a variety of instrumental and choral arrangements of this piece in Ricordi Americana's catalog (Montes de Oca 315). The entire collection was republished in 1941 by Ricordi Americana. For a discussion on the meaning and use of the words vidala and vidalita, see page 119.

Weiss 40 30. Canción del carretero Collection: Text: Language: Composed: Published: Publisher:

Seis canciones al estilo popular (Six Songs in a Popular Style) Gustavo Caraballo, (1885-1939) Argentina Spanish ca. 1924 1925 G. Ricordi & Co.


Señora Sarah Sagasta de Sagarna Lento (Slow) c minor Eb4 - G5 3:30

Title:

Song of the Cart Driver

En las cuchillas se pone el sol; las golondrinas han vuelto ya, y por la senda del campo verde un carretero cantando va:

1 2 3 4

On the ridges sets the sun; the swallows have returned already, and along the path of the country green, a cart driver singing goes:

“Alma de mi alma, ¡como lloré! bajo este cielo lleno de sol, cuando agitastes en la tranquera tu pañuelito diciendo adiós.

5 6 7 8

“Soul of my soul, how I cried! beneath this sky full of sun, when you waved at the farm gate your handkerchief saying goodbye.

¡Ay, paisanita! Vuelve a mi amor. Sin ti, mi vida no puede estar. Las madreselvas se han marchitado y las calandrias no cantan ya.

9 10 11 12

“Ah, sweetheart! Return to my love. Without you, my life cannot exist. The honeysuckle has withered and the larks no longer sing.

¡Ay, paisanita! Vuelve a mi amor. Hecha tapera la casa está, y entre los sauces llora el remanso porque tus labios no cantan más.”

13 14 15 16

“Ah, sweetheart! Return to my love. Made a mess the house is, and amongst the willows weeps the pool because your lips no sing more.”

En las cuchillas se ha puesto el sol mientras la tarde muriendo está; y así cantando va el carretero las desventuras de su cantar.

17 18 19 20

On the ridges has set the sun while the evening dying is; and so singing goes the cart driver the woes of his song.

Performance History: Recordings. Notes: In 1925, Carlos López Buchardo was awarded the "Premio Municipal de Música" for the collection in which this song appears, the highest honor given to a work of music by the city of Buenos Aires. Three of the six songs in this collection, Vidalita, Vidala, and Canción

Weiss 41 del carretero, were bundled by G. Ricordi & Co. in an Italian edition entitled Tre Canzoni Argentine (1924). Canción del carretero was published several times as its own folio, first in 1927 by G. Ricordi & Co. (Buenos Aires) and then by the same company with a different name (Ricordi Americana) in following years. There are a variety of instrumental and choral arrangements available in Ricordi Americana's catalog (see Montes de Oca 315-16 for details). There also exists an arrangement for voice, harp, and string quartet by Bruno Bandini (first performed 30 September 1936) located in the Ricordi Archive. The entire collection was republished in 1941 by Ricordi Americana.

Weiss 42 31. Jujeña Collection: Text: Language: Composed: Published: Publisher:

Seis canciones al estilo popular (Six Songs in a Popular Style) Victoriano Montes (1855-1917) Uruguay Spanish ca. 1924 1925 G. Ricordi & Co.


In memory of Julián Aguirre Alegremente (Cheerily) Db Major Db4 - F#5 3:15

Title:

Girl of Jujuy

Frescor de chirimoyos, Vidita, Flor de Abertuya; Perfume de Amancay, Vidita, y de Puya puya. Brisas serranas, brisas serranas, que perfuman los cantos, Vidita, de tus mañanas. Trinar de charchaleros, Vidita, y reinas moras; Todo dice la gracia, Vidita, con que te doras. Tardes serenas, tardes serenas, con tersura de lechos, Vidita, y de azucenas.

1 Crispness of the custard apple tree, Vidita, 2 Flower of Abertuya; 3 Perfume of Amancay, Vidita, 4 and of Puya Puya. 5 Breezes mountain, 6 breezes mountain, 7 that perfume the rincons, Vidita, 8 of your mornings. 9 Warbeling of Charchaleros, Vidita, 10 and Moorish Queens 11 All of nature says thank you, Vidita, 12 for how you gild yourself. 13 Evenings mountain, 14 evenings mountain, 15 With smoothness of riverbeds, Vidita, 16 And of white lilies.

Weiss 43

Del misterio de piedra, Vidita, de tus quebradas, llegan lamentaciones, Vidita, hondas, calladas. Llora la Quena, llora la Quena, su leyendo infinita, Vidita, de amor y pena.

17 Of the mysterious stone, Vidita, 18 of your canyons, 19 arrive mournings, Vidita, 20 deep, silent. 21 Cries the Quena, 22 cries the Quena, 23 her legend infinite, Vidita, 24 of love and pain.

Oro tienen tus campos, Vidita, oro y aromas, si se duerme la tarde, Vidita, sobre tus lomas; Flor de Agapanto, flor de Agapanto. ¡Canto por que te quiero, Vidita, por eso canto!

25 Gold possesses your fields, Vidita, 26 gold and aromas, 27 if falls asleep the afternoon, Vidita, 28 on your hills; 29 Flower of Agapanto, 30 flower of Agapanto, 31 I sing because you I love, Vidita, 32 for that I sing!

Performance History: unknown Notes: In 1925, López Buchardo was awarded the Premio Municipal de Música for the collection in which this song appears, the highest honor given to a work of music by the city of Buenos Aires. The Bailecito heard in the introduction to this piece can also be found in arrangements for piano and guitar in Ricordi Americana's catalog (Montes de Oca 315). The entire collection was republished in 1941 by Ricordi Americana. According a website on Tango lyricists, the poetry to this song was erroneously attributed to a certain González López in Ricordi’s publication. The true author was Uruguayan poet Victoriano Montes (http://www.todotango.com/spanish/gardel/autores/autor.asp?idc=536). Charchalero (9) is the Argentine Spanish name for a kind of bird for which no suitable English translation has been found. The same is true of the plant names Abertuya (2), Amancay (3), Puya Puya (4), and Agapanto (29).

Weiss 44 32. Himno de la Universidad Nacional de La Plata Text: Language: Composed: Published: Publisher:

Arturo Capdevila (1889-1967) Argentina Spanish 1927 1930 Ricordi Americana


Dr. Benito Nazar Anchorena Maestoso (Majestic) B Major B4 - E5 2:20

Title:

Hymn of the National University of La Plata

Si suena un claro canto en la noche, de ronda vamos, somos canción. ¡Gastar viente años es un derroche que nunca tuvo comparación!

1 2 3 4

If sounds a clear song in the night, in a round we go, we are song. To spend twenty years is a waste that never had equal!

Mas si en la noche de una honda calma, vibra un silencio de eternidad, es que meditan con toda el alma los estudiantes de la ciudad.

5 6 7 8

But if en the night from a deep calm, vibrates a silence of eternity, its because they meditate with all their soul the students in the city.

¡Alta la mente! ¡Nobles los labios! ¡Y para todos el corazón!

27 Enriched the mind! Noble the lips! 28 And for all the heart!

Hace a la vida cabal regalo el que ama ideales con mucho amor ya nos dijeron que el mundo es malo... ¡Por obra nuestra será mejor!

9 10 11 12

Makes to life the ultimate gift he that loves ideals with much love already us they told that the world is bad… By work our it will be better!

En la más joven urbe argentina nuestra Alma Mater buscó su honor. Ved esta gloria tan peregrina: la hoja es tan nueva como la flor.

13 14 15 16

In the youngest city Argentine our soul mother sought her honor. See this glory so strange: The leaf is as new as the blossom.

Hogar dichoso de casa nueva nos ilumina, nos da calor; pues como viva llama se eleva en ella el nombre del Fundador.

17 18 19 20

Home blessed of house new us illuminates, us gives heat; because like living flames rise in the name of the Founder.

Weiss 45

Aquel anciano de gran linaje, casi un hermano del buen Kabir, cuyos ensueños, hechos celaje, se iban al cielo del porvenir.

21 22 23 24

That elder of great lineage, almost a brother to the good Kabir, whose fantasies, made heavenly, were going to the sky from the future.

[Abiertos fueron los libros sabios. Bien recogida fue la lección.] ¡Alta la mente! ¡Nobles los labios! ¡Y para todos el corazón!

25 26 27 28

[Open were the books wise. Well remembered was the lesson.] Enriched the mind! Noble the lips! And for all the heart!

Performance History: Debuted in the Teatro Argentina (La Plata, Argentina) on 23 October 1927. Notes: Other arrangements of this piece were made by the composer (Montes de Oca, 316). The bracketed text (25-26) was omitted in López Buchardo’s musical setting.

Weiss 46 33. Pampeana Text: Language: Composed: Published: Publisher:

Gustavo Caraballo (1885-1939) Argentina Spanish 1927 1949 Ricordi Americana


none none Eb Major C4 - Bb5 1:45

Title:

Girl of the Pampa

Cuando la pampa duerme y la noche llega la brisa es doliente el cielo se ornamenta con el milagro de ignotas estrellas, y mientras vibra el eco de las praderas un sauce triste cuenta a las mudas selvas con voz doliente fugaz leyenda. Y repite aquel eco de amor y pena la voz del pampero, la voz de los llanos, la voz de las breñas.

1 When the countryside sleeps and the night arrives 2 the breeze is painful the heaven is decorated 3 with the miracle of ignorant stars, 4 and while vibrates the echo of the praries 5 a willow sad tells to the mute wilderness 6 with voice painful fleeting legend. 7 And repeats that echo of love and pain 8 the voice of the country man, the voice of the plains, 9 the voice of the scrub forest.

Surge entónces ténue la sombra larga de un corazón. Y amante rima la voz de los campos su amor y pena con la amargura de la canción.

10 Surges then tentative the shadow long of a heart. 11 And loving rhyme the voice of the country 12 her love and pain with the bitterness of the song.

Así por fin la queja contó a las pampas, su triste leyenda:

13 So at last the complaint was told to the countryside, her sad legend:

Weiss 47

Yo fuí la mas linda, yo fuí la campera de negras pupilas y rústicas trenzas que en noches de luna besó a los poetas. Yo fuí la que un día murió de tristeza, yo fui la vida la que entona sus quejas que entona sus rimas de pena y de amor y hoy cantan las ondas y hoy lloran las selvas; yo fuí la que un día murió de dolor, y hoy cantan las ondas y hoy lloran las selvas; yo fui la campera que amó el payador!

14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33

I was the most beautiful, I was the countrygirl of black eyes and rustic braids que en nights of moon kissed the poets. I was the girl who, one day, died of sadness, I was the life lived that sounded her complaints that sounded her rhymes of pain and of love and today sing the waves and today sob the forests; I was the girl who, one day, died of pain and today sing the waves and today sob the forest; I was the countrygirl that loved the folk singer.

Performance History: Debuted by Enriqueta Basavilbaso during a recital at the Asociación Wagneriana on 15 November 1927. She was accompanied by Carlos López Buchardo. Notes: This song was included in the unfinished vocal work Santos Vega, according to Mario García Acevedo (Montes de Oca 316). An orchestration of this song by López Buchardo for flute, oboe, clarinets, horn, harp, and strings was located in the Asociación Wagneriana (Montes de Oca 316).

Weiss 48 34. Prendeditos de la mano Collection: Text: Language: Composed: Published: Publisher:

Cinco canciones al estilo popular (Five Songs in a Popular Style) Miguel Andrés Camino (1877-1944) Argentina Spanish 1931 1936 G. Ricordi & Co.


Señora Esther Llavallol de Roca Allegro (Lively) Db Major Db4 - F5 1:55

Title:

Grasped by the Hand

Vienen bajando el faldeo Felicinda y su Ciriaco. Vienen los dos en silencio, prendiditos de la mano.

1 2 3 4

They come down the slope Felicinda and her Ciriaco. They come the two in silence, grasped by the hand.

¿Qué pudo haber ese día entre los enamorados, que vienen tan en silencio prendiditos de la mano?

5 6 7 8

What could have happened that day between the two sweethearts, that come so silently, grasped by the hand?

Felicinda, dame un beso, fue el pedido de Ciriaco… Y besáronse en silencio, prendiditos de la mano.

9 10 11 12

Felicinda, give me a kiss, was the request of Ciriaco… Y they kissed, in silence, grasped by the hand.

(Y) así que un beso se dieron tan confusos se quedaron que, mirándose a los ojos se volvieron en silencio, prendiditos de la mano.

13 14 15 16 17

(And) so a kiss they gave eachother so confused they were left, that, looking into eachother’s eyes they returned in silence, grasped at the hand.

Performance History: Debuted by soprano Ninon Vallin during a recital at the Sociedad Nacional de Música (Concert 108) on 7 November 1931. She was accompanied by Carlos López Buchardo (Montes de Oca 316). Notes: Carlos López Buchardo was awarded the "Premio Municipal de Música" for the collection in which this song appears, the highest honor given to a work of music by the city of Buenos Aires. An orchestration of this song by López Buchardo was located in the Asociación Wagneriana (Montes de Oca 316).

Weiss 49 35. Si lo hallas (Zamba) Collection: Text: Language: Composed: Published: Publisher:



none Melancólicamente (Melancholically) Db Major Db4 - E b5 2:05

Title:

If You Find Him

Agüita que vas p'abajo llevada por la corriente, detrás de ti yo me iría en busca del bien ausente.

1 2 3 4

Si lo hallas en tu camino, no le causes ningún daño; por mí, bésalo mil veces, en mi, bésalo mil veces, en las manos si te toca y si te bebe en los labios.

5 6 7 8 9 10

Dear little water that goes downstream carried by the current, behind you I would go in search of the absent one. If you find him in your path, don’t to him cause any pain; for me, kiss him a thousand times, in me, kiss him a thousand times, in his hands if you he touches and if you he drinks with his lips.

Performance History: Debuted by Magdalena Bengolea de S. Elía during a recital at the Sociedad Nacional de Música (Concert 111) on 29 November 1931. She was accompanied by Carlos López Buchardo (Montes de Oca 316). Notes: Carlos López Buchardo was awarded the "Premio Municipal de Música" for the collection in which this song appears, the highest honor given to a work of music by the city of Buenos Aires.

Weiss 50 36. Frescas sombras de sauces (Milonga) Collection: Text: Language: Composed: Published: Publisher:

Cinco canciones al estilo popular (Five Songs in a Popular Style) anonymous Spanish 1931 1936 G. Ricordi & Co.


Cayetano Troiani Moderado (Moderate) F Major E4 - A5 2:45

Title:

Fresh shade of the willowtrees

Frescas sombras de sauces me brindan tus miradas, airecito 'e la sierra son tus palabras.

1 2 3 4

Fresh shade of the willowtrees to me gift your glances. Soft breeze in the mountain are your words.

Verdor de los naranjos, mi vida! Son tus promesas; Que cuartiando esperanzas a mi alma llegan.

5 Pungence of the oranges, my sweetheart! 6 Are your promises; 7 That making room for hopes 8 to my soul arrive.

Frescor de chirimoyos tienen tus labios Cada vez que los veo, mi vida! me tienta el diablo Cada vez que los veo, mi vida! me tienta el diablo.

9 Coolness of the custard apple tree 10 has your lips 11 Every time that them I see, my sweetheart! 12 me tempts the devil 13 Every time that them I see, my sweetheart! 14 me tempts the devil

A la par que oloroso tu amor es áspero como el cedrón que cura males y daños. Y como agua que baña, mi vida! campos resecos, y al riego de tus ternuras, mi vida!

15 16 17 18 19

At the same time fragrant your love is rough like the cedar bark that heals sicknesses and wounds. And like water that bathes, my sweetheart! 20 land arid. 21 And at the watering of your gentle caresses, my sweetheart!

Weiss 51 florecen besos.

22 blossom kisses.

Performance History: Debuted by Magdalena Bengolea de S. Elía during a recital at the Sociedad Nacional de Música (Concert 111) on 29 November 1931. She was accompanied by Carlos López Buchardo (Montes de Oca 316). Notes: Carlos López Buchardo was awarded the "Premio Municipal de Música" for the collection in which this song appears, the highest honor given to a work of music by the city of Buenos Aires. An orchestration of this song by López Buchardo for flute, oboe, clarinet, horn, harp, and strings was located in the Asociación Wagneriana (Montes de Oca 316).

Weiss 52 37. Oye mi llanto (Huaynu) Collection: Text: Language: Composed: Published: Publisher:



Miguel Mastrogianni Grave (Solemn) c# minor C#4 - E5 3:40

Title:

Hear my cry

Ya que tu amor me desprecia oye lo que por tí lloro, lo que por ti voy cantando: ya que por ti sufro, ya que por ti canto, despierta y oye mi llanto.

1 2 3 4 5 6

Since your love me spurns listen what for you I cry, what for you I go singing: since for you I suffer, since for you I sing, awake and hear my cry.

¿Por qué no vienes, mi cielo, cuando mi amor te suplica que acudas a mi llamado? Si por tu desprecio mi canción es llanto, no rías, cuando yo canto.

7 8 9 10 11 12

Why do you not come, my heaven, when my love you entreats to come back to my call? If at your disdain my song is weeping, don’t laugh, when I sing.

Ya que tu amor es un sueño, ha de llegar a tu oído lo que por ti estoy cantando; si porque te quiero lloro lo que canto, despierta y oye mi llanto.

13 14 15 16 17 18

Since your love is a dream, it will arrive at your ear what for you I am singing: If because you I love I cry what I sing, awake and hear my cry.

Performance History: Debuted by Ninon Vallin during a recital at the Sociedad Nacional de Música (Concert 108) on 7 November 1931. She was accompanied by Carlos López Buchardo (Montes de Oca 316). Notes: Carlos López Buchardo was awarded the "Premio Municipal de Música" for the collection in which this song appears, the highest honor given to a work of music by the city of Buenos Aires. An orchestration of this song by López Buchardo was located in the Asociación Wagneriana (Montes de Oca 117).

Weiss 53 38. Malyaha la suerte mia! (Chacarera) Collection: Text: Language: Composed: Published: Publisher:



C. Grassi Díaz Movido (Moving) F Major C4 - A5 2:25

Title:

Damn my luck!

Cuando iba a ver a Rosario lo hacía tranquito a tranco; cuando iba a ver a Rosario lo hacía traquito a tranco; y al llegar a la traquera ella me estaba esperando y al llegar a la tranquera ella me estaba esperando.

1 2 1 2 3 4 3 4

When I was going to see Rosario I did it track by track; when I was going to see Rosario I did it track by track; and when I arrived at the gate she was waiting for me and when I arrived at the gate she was waiting for me.

Y cuando adrede, a verla no iba, allí se estaba clavada hasta que apuntaba el día; y cuando adrede, a verla no iba, allí se estaba clavada hasta que apuntaba el día.

5 6 7 8 5 6 7 8

And when on purpose, to see her I couldn’t leave, there she clung to me, until daybreak; And when on purpose, to see her I couldn’t leave, there she clung to me, until daybreak.

Contigo tengo'e comerme un ciento y medio'e duraznos. Contigo tengo'e comer un ciento y medio'e duraznos, pa largarte los carozos contra la puerta del rancho, pa largarte los carozos contra la puerta del rancho.

9 10 9 10 11 12 11 12

With you I have to eat one hundred and fifty peaches. With you I have to each one hundred and fifty peaches. To spit out for you the pits against the door of the ranch, To spit out for you the pits against the door of the ranch.

Weiss 54

Y aura me toca, Por tus mentiras, hacer lo que la Rosario esperarte noche y día; Y aura me toca, por tus mentiras, hacerlo que la Rosario esperarte noche y día.

13 14 15 16 13 14 15 16

And now it’s my turn, Because of your lies, to do the same as in Rosario wait for you night and day; And now it’s my turn, Because of your lies, to do the same as in Rosario wait for you night and day.

¡Malhaya la suerte mía!

17 Damn my luck!

Performance History: Debuted by Ninon Vallin during a recital at the Sociedad Nacional de Música (Concert 108) on 7 November 1931. She was accompanied by Carlos López Buchardo (Montes de Oca 316). Notes: Carlos López Buchardo was awarded the "Premio Municipal de Música" for the collection in which this song appears, the highest honor given to a work of music by the city of Buenos Aires. An orchestrated version of this song by López Buchardo was located in the Asociación Wagneriana (Montes de Oca 117).

Weiss 55 39. Pobres jazmines criollos Text: Language: Composed: Published: Publisher:

Enrique García Velloso (1880-1938) Argentina Agustín Remón (unknown) Argentina Spanish 1933 1949 Ricordi Americana


none Moderato (Moderate) E Major D#4 - F#5 1:35

Title:

Poor

¡Pobres jazmines criollos! ¡Qué triste es vuestra misión!

1 Poor jasmine flowers creole! 2 How sad is your mission!

Mensajeros amorosos me hablasteis de una pasión, y quizás seais verdugos del mismo que os arrancó.

3 4 5 6



¡Lindos jazmines criollos de blancura sin igual! Si nacisteis bajo el cielo de nuestra tierra natal, ¡Lindos jazmines criollos de blancura sin igual! Cumplid el bello destino de heraldos de libertad.

7 8 9 10

Messengers of love To me you spoke of a passion, and perhaps you have been executed by the same that you pulled.

Beautiful jasmine flowers creole of whiteness without equal! If you were born under the heaven of our land of birth,

7 Beautiful jasmine flowers creole 8 of whiteness without equal! 11 Fulfill the beautiful destiny 12 of heralds of liberty.



Mensajeros amorosos me hablasteis de una pasión, y quizas seais verdugos del mismo que os arrancó.

3 4 5 6

Messengers of love To me you spoke of a passion, and perhaps you have been executed by the same that you pulled.

Weiss 56

¡Pobres jazmines criollos! ¡Que triste es vuestra misión!


Performance History: unknown Notes: Originally composed for Act. II, No. 11 of his musical comedy, La Perichona. The original version for voice and orchestra was located in the family archive (Montes de Oca 317).

Weiss 57 40. Vals Text: Language: Composed: Published:

unknown Spanish before 1933 unpublished manuscript



Title:

Waltz

Performance History: Was performed in various recitals by Brigidita and Carlos López Buchardo (Montes de Oca 317). Notes: Montes de Oca believes that this manuscript originally belonged to the musical comedy, La Perichona, though it might also have belonged to Amalia (317).

Weiss 58 41. Himno de la Cruz Roja Argentina Text: Language: Composed: Published: Publisher:

Julio F. Picarel Spanish 1935-36 1936 G. Ricordi & Co.


none Majestuoso (Majestic) Bb Major C4 - F5 1:50

Title:

Hymn of the Argentine Red Cross

Símbolo de paz y amor mi bandera es toda luz: alma blanca abierta al mundo y un corazón hecho Cruz!

1 2 3 4

Symbol of peace and love my flag is all light: soul white open to the world and a heart made Cross!

¡Soy la Cruz Roja, y soy la Caridad! ¡Soy la Esperanza! ¡Soy la Humanidad!

5 6 7 8

I am the Red Cross, and I am Charity! I am Hope! I am Humanity!

Soy cual ángel custodio que abre sus alas sobre el dolor fraterno, bálsamo en flor, crisol en que armonizan todas las razas, antorcha en las tinieblas; canto de amor.

9 I am that gaurdian angel that opens his wings over pain brotherly, 10 balm of flower, 11 melting pot in which harmonize all the races, 12 torch in the darkness; 13 song of love.

Soy del que sufre consuelo y salud: ¡faro y estrella! ¡la Cruz del Sud!

14 15 16 17

I am for those that suffer comfort and health: lighthouse and star! the Southern Cross!

Símbolo de paz y amor mi bandera es toda luz: alma blanca abierta al mundo y un corazón hecho Cruz!

18 19 20 21

Symbol of peace and love my flag is all light: soul white open to the world and a heart made Cross!

Performance History: unknown Notes: An orchestrated version of this song for timpani, brums, bass drum, harp, and strings was located in the Carlos Fitte family archive. There also exists an orchestrated

Weiss 59 version by Andrés Lino Barrientos, as indicated on a RCA Victor recording (Montes de Oca 317).

Weiss 60 42. La Doble Cruz (Himno de la cruzada contra la tuberculosis) Text: Language: Composed: Published: Publisher:

Julio F. Picarel Spanish 1935-36 1936 G. Ricordi & Co.


none Tiempo moderado, de marcha (Moderate tempo of a march) F Major C4 - D5 2:10

Title:

The Double Cross (Hymn of the Crusaders Against Tuberculosis)

Soy la vida y la esperanza, la ciencia, el amor, la luz; ¡Arriba los corazones… y paso a la Doble Cruz!

1 2 3 4

I am life and hope, science, love, light, Lift up your hearts… and march to the Double Cross!

Como el árbol que al sol reflorece, como el ser que a la madre se abraza, la energía triunfal de la raza se retempla al calor de mi acción.

5 6 7 8

Like the tree that in the sun re-blossoms, like the being that to the mother clings, the energy triumphant of the race is rekindled at the warmth of my deed.

Voy subiendo la cuesta espinosa y sembrando de vida el camino, ¡voy en brazos del pueblo argentino confortado en su gran corazón!

9 10 11 12

I go climbing the hill thorny and sowing life in my path, I go in arms of the argentine people taking comfort in her great heart!

Soy la vida y la esperanza, la ciencia, el amor, la luz; ¡Arriba los corazones... y paso a la Doble Cruz!

13 14 15 16

I am life and hope, science, love, light, Lift up your hearts… and march to the Double Cross!

Con mi signo de Doble Cruz roja el amor por el débil enciendo y el vigor de la patria defiendo en la humana cruzada tenáz.

17 18 19 20

With my sign of the Double Cross red my love for the weak flaming and the vigor of the nation defending in the humane crusade unflagging.

Con los brazos abiertos me inclino y al hermano que auxilio demanda, le repito "¡Levantate y anda!" ¡Soy la Fé, la Salud y la Paz!

21 22 23 24

With my arms open I lean to the brother that help requires, to him I repeat “Rise up and walk!” I am Faith, Health, and Peace!

Soy la vida y la esperanza,

25 I am life and hope,

Weiss 61 la ciencia, el amor, la luz; ¡Arriba los corazones... y paso a la Doble Cruz! Performance History: unknown Notes:

26 science, love, light, 27 Lift up your hearts… 28 and march to the Double Cross!

Weiss 62 43. Una rosa para mi rosa Text: Language: Composed: Published: Publisher:

Vicente Medina (1866-1937) unknown Spanish 1936 unknown unknown



Title:

A Rose for my Rose

Performance History: The debut of this song is mentioned in the magazine Noticias Gráficas on 5 March 1936. Notes: This song may have been in unpublished manuscript form only.

Weiss 63 44. Este pajarito Collection: Text: Language: Composed: Published: Publisher:

Siete canciones infantiles (Seven Children’s Songs) Ida Réboli, (d. 1970) Argentina Spanish 1937 1938 Ricordi Americana


Dr. Antonio Sagarna Moderado (Moderate) F Major D4 - F5 1:05

Title:

This Little Bird

Este pajarito, vino a la ventana y le trajo al nene un saco de lana.

1 2 3 4

This little bird, came to the window and brought to the little boy a sack of wool.

Este pajarito, vino hasta la mesa y le trajo al nene guindos y cerezas.

5 6 7 8

This little bird, came to the table and brought to the little boy purple and red cherries.

Este pajarito, vino hasta el jardín y le trajo al nene flores de jazmín.

9 10 11 12

This little bird, came into the garden And brought to the little boy flowers of jasmine.

Este pajarito nunca más volvió. Porque abrí la puerta y se me escapó.

13 14 15 16

This little bird never again returned. Because I opened the window and he escaped me.

Performance History: unknown Notes: The collection in which this song appears won a prize from the Comisión Nacional de Cultural in 1937. The text comes from Ida Réboli's book, Monopatín. The seven songs were republished by Ricordi Americana in 1956.

Weiss 64 45. La casita del hornero Collection: Text: Language: Composed: Published: Publisher:

Siete canciones infantiles (Seven Children’s Songs) Ida Réboli (d. 1970) Argentina Spanish 1937 1938 Ricordi Americana


Dr. Antonio Sagarna Andante (Moderately slow) G Major D4 - G5 0:50

Title:

The little house of the baker

Con barro bien amasado, el hornero y la hornerita, sobre el poste han fabricado una preciosa casita.

1 2 3 4

With mud well kneeded, the little bakerman and the bakerwoman, on the doorstoop have built a precious little house.

La besa el sol con su rayo. La acaricia el fresco viento. La hornerita empolla huevos y el hornero está contento.

5 6 7 8

It kisses the sun with its ray. It caresses the fresh breeze. The little bakerwoman hatches eggs and the little bakerman is pleased.

9 10 11 12

It they will fill with pigeons and when they can fly, the bakerman and the bakerwoman to them will say, to work!

La llenarán de pichones y cuando puedan volar, el hornero y la hornerita les dirán ¡A trabajar!


Weiss 65 46. El jardín de mi Escuela Collection: Text: Language: Composed: Published: Publisher:



Dr. Antonio Sagarna Lento (Slow) Eb Major Eb4 - Eb(G)5 0:45

Title:

Garden of my little school

Jardín de mi escuelita, todo florido. Con su arbol, sus macotas, su luz, su nido.

1 2 3 4

Garden of my little school, everything in bloom. With its tree, its pets, its light, its nest.

Las flores son amigas de todo niño. Nosotros las cuidamos con gran cariño.

5 6 7 8

The flowers are friend of every child. We take care of them with great love.


Weiss 66 47. Mi señorita Collection: Text: Language: Composed: Published: Publisher:



Dr. Antonio Sagarna Allegretto (Moderately quick) G Major D4 - E5 0:50

Title:

My nanny

Mi señorita, todo lo sabe, mi señorita, todo lo vé. nunca se enoja, ni se molesta, cuando algún pillo le da que hacer.

1 2 3 4

My nanny, everything knows. my nanny, everything sees. Never gets mad, nor gets annoyed, when some mess to her gives a task.

Nos ha enseñado miles de cosas. A decir versos, y a dibujar; Nos cuenta cuentos maravilloso cuando acabamos de trabajar.

5 6 7 8

To us she has taught thousands of things. To say rhymes, and to draw; To us she tells stories marvelous when we finish our work.

¡Mi señorita! Siempre contenta Siempre con ganas de sonreir. ¡Mi señorita! No hay como ella, a todo el mundo lo he de decir.

9 10 11 12

My nanny! Always content Always with desire to smile. My nanny! There’s no one like her, to the entire world it I will declare!


Weiss 67 48. El patio Collection: Text: Language: Composed: Published: Publisher:



Dr. Antonio Sagarna Allegro moderado (Lively but measured) C Major C4 - E5 1:20

Title:

The patio

A este patio alegre con un lindo rosal, a este patio alegre venimos a jugar. Ajajá, ajajá. Venimos a jugar. Ajajá, ajajá. Venimos a jugar.

1 2 3 4 5 6 7 8

To this patio happy with a beautiful bouquet, to this patio happy we come to play. Ha-ha-ha, ha-ha-ha. We come to play. Ha-ha-ha, ha-ha-ha. We come to play.

Cantan los pajarillos. Chiribín, chiribín, chin, chin. Cantan los pajarillos. De pico de coral. Ajajá, ajajá. De pico de coral. Ajajá, ajajá. De pico de coral.

9 10 11 12 13 14 15 16

Sing the little birds. Chirp, chirp, chirp. Sing the little birds. Of beak of coral. Ha-ha-ha, ha-ha-ha. Of beak of coral. Ha-ha-ha, ha-ha-ha. Of beak of coral.

Tomados de la mano. Chiribín, chribín, chin, chin. Tomados de la mano. Nos vamos a bailar. Ajajá, ajajá. Nos vamos a bailar. Ajajá, ajajá. Nos vamos a bailar.

17 18 19 20 21 22 23 24

Holding hands. Chirp, chirp, chirp. Holding hands. We are going to dance. Ha-ha-ha, ha-ha-ha. We are going to dance. Ha-ha-ha, ha-ha-ha. We are going to dance.

Performance History: unknown

Weiss 68 Notes: The collection in which this song appears won a prize from the Comisión Nacional de Cultural in 1937. The text comes from Ida Réboli's book, Monopatín. The seven songs were republished by Ricordi Americana in 1956.

Weiss 69 49. El canario Collection: Text: Language: Composed: Published: Publisher:



Dr. Antonio Sagarna Largo (Slow) C Major C4 - D5 0:50

Title:

The Canary

El canarito canta con alegría, porque ve que ha llegado la luz del día.

1 2 3 4

The canary sings with happiness, because he sees that has come the light of day.

Con su pluma amarilla, su pico de oro y su ojito tan vivo, es mi tesoro.

5 6 7 8

With his feathers yellow, his beak of gold and his little eye so alert, he is my treasure.

Salta por la jaulita de arriba abajo. Y continuamente canta: es su trabajo.

9 10 11 12

He hops inside the cage up and down. And continually sings: that’s his work.


Weiss 70 50. El arco iris Collection: Text: Language: Composed: Published: Publisher:



Dr. Antonio Sagarna Con animación (With animation) Bb Major D4 - Eb5 1:25

Title:

The Rainbow (Seven Children’s Songs)

¡A saltar! ¡A saltar! La lluvia dejó de caer, ¡A saltar! ¡A saltar! La lluvia dejó de caer,

1 2 3 4

Jump! Jump! The rain has stopped falling, Jump! Jump! The rain has stopping falling,

El arco iris tendió su cuerda para que cese de llover. Con la cuerda del arco iris el salto nuestro no tiene fín.

5 6 7 8

The rainbow tied its cord so it would stop raining. With the cord of the rainbow Our jump has no end.

¡A saltar!¡A saltar! Salta, saltarín, salta. ¡A saltar! ¡A saltar! Salta, saltarín.

9 10 11 12

Jump! Jump! Jump, little jumper, jump Jump! Jump! Jump, little jumper.

Soltó su cuerda de colores el arco iris del Señor. Soltó su cuerda de colores el arco iris del Señor.

13 14 15 16

Let out his cord of colors the rainbow of the Lord. Let out his cord of colors the rainbow of the lord.

Han de soltar las estrellitas, la luna nueva y el buén sol. Han de soltar las estrellitas, la luna nueva y el buén sol.

17 18 19 20

The little stars will jump, the new moon and the good sun. The little stars will jump, the new moon and the good sun.

¡A saltar! ¡A saltar! Salta, saltarín, salta ¡A saltar! ¡A saltar! Salta, saltarín.

9 10 11 12

Jump! Jump! Jump, little jumper, jump Jump! Jump! Jump, little jumper.

Weiss 71

¡A saltar! ¡A saltar! La lluvia dejó de caer. ¡A saltar! ¡A saltar! La lluvia dejó de caer.

1 2 3 4

Jump! Jump! The rain has stopped falling, Jump! Jump! The rain has stopping falling,


Weiss 72 51. Querendona (Motivos serranos) Text: Language: Composed: Published: Publisher:

Tilde Perez Pieroni (1913-1952) Argentina Spanish 1938 1940 Ricordi Americana


Maestro Constantino Gaito Allegro moderato (Moderately quick) Db Major D4 - F#5 1:50

Title:

Sweetheart (Mountain Motives)

¿Que si ió te quiero mucho, me preguntás? Días, meses, años, y te quiero más.

1 2 3 4

If I love you too much, you ask me? Days, months, years, and I love you more.

Ya sabís que llevo tu nombr'en la boca. ¡De tanto querirte ia ando medio loca!

5 6 7 8

Already you know that I carry your name on my lips. Of so much loving you already I walk half crazy!

Hondo como el valle, fresco como el río, puro como el cielo es el querer mío.

9 10 11 12

Deep like the valley, fresh like the river, pure like the heaven is my love.

Desde el primer día que te conocí, la risa y el sueño, todito perdí.

13 14 15 16

From the first day that I met you, the laughter and the dream, I lost it all.

¿Que si ió te quiero mucho? ¡Vaia la prigunta!... Dios nos echó al mundo pa vivir en iunta.

17 18 19 20

If I love you too much? Forget the question!... God put us on the planet to live together.

¿Que si ió te quiero mucho, me preguntás? Días, meses, años, y te quiero más.

21 22 23 24

If I love you too much, you ask me? Days, months, years, and I love you more.


Weiss 73

Notes: Debuted in Montevideo, Urgugay on 26 August 1938 for a "Amigos del Arte" recital, sung by Brígida Frias de López Buchardo accompanied by Carlos López Buchardo (Montes de Oca 317).

Weiss 74 52. Copla criolla Text: Language: Composed: Published: Publisher:

anonymous (popular poetry) Spanish 1938 1940 Ricordi Americana


Conchita Badía Alegremente (Cheerily) F# Major F#4 - G#5 1:35

Title:

Folk couplet

A la mar por ser honda, se van los ríos, de trás de tus ojitos se van los míos.

1 2 3 4

To the ocean because it is deep, go the rivers, following behind your little eyes go mine.

A la mar tiré un tiro, cayó en la arena. Donde no hay morenitas no hay cosa buena.

5 6 7 8

To the ocean I fired a shot, it fell in the sand. Where there are no little brown girls there is nothing good.

Al cabo se han juntado dos parecidos el clavel y la rosa los dos unidos.

9 10 11 12

At last have joined two similar people the thorn and the rose the two united.

Al cabo a salido la señorita a bailar derramando su hermosura como rosa en un rosal.

13 14 15 16

At last has left the young girl to dance scattering her beauty like a rose in a rose vase.

Laralai, lalaraila, larailai la, la, la. Laralai, la, laraila, larai laila, la, la.

17 18 19 20

Laralai, lalaraila, larailai la, la, la. Laralai, la, laraila, larai laila, la, la.

A la mar por ser honda, se van los ríos, de trás de tus ojitos se van los míos.

1 2 3 4


To the ocean because it is deep, go the rivers, following behind your little eyes go mine.

Weiss 75 53. Porteñita (Canción) Text: Language: Composed: Published: Publisher:

María Luz Regas Velasco, unknown unknown Spanish unknown 1936 G. Ricordi & Co.


Marita Z. de Dedyn Andante (Moderately slow) C Major E4 - F5 2:45

Title:

Porteñita (Canción)

Porteñita linda, que cruzas los mares, y recorres puertos… cual clavel del aire… que llevara el viento, magnolias y azahares, de tu cielo claro, por el viejo mundo en pos de su abril…

1 Porteñita beautiful, that crosses the oceans, 2 and visits ports…like a carnation of the air… 3 that would carry the wind, magnolias and orange blossoms, 4 of your sky clear, to the old world behind their April…

Díme que te dijo el murmullo suave, aroma y cantares del Guadalquivir. Lo que te cantaron, Porteñita al paso, lo que pensó acaso al mirar tus ojos, la noche encendida del loco Paris. Díme si en Sevilla de Don Juan la sombra, tomó cuerpo al verte en gesta de amor. Si del agua quieta de Venecia bella, surgiera la trova de algún jóven dux. Qué es lo que dijeron aquellas estrellas al ver su hermanita de la cruz del Sur.

5 6 7 8 9 10

Si el cielo lejano girón de la Pampa, a tu azul cantara la tierna canción.

16 17

Porteñita linda, que cruzas los mares, y recorres puertos... cual clavel del aire... como flor serrana, magnolias y azahares que aroma ciudades, los campos y prados del Tajo hasta el Rhin.

18 Porteñita beauitful, that crosses the oceans, 19 and visits ports… what flower of the air… 20 like flower of the highland, magnolias and orange blossoms 21 that sweetens cities, the countryside and prairies from the Tajo to the Rhine.

11 12 13 14 15

Tell me what to you said the murmuring soft, aromas and songs of the Guadalquivir. What to you they sang, Porteñita, in passing, what he thought with a glance at your eyes, the night flaming of crazy Paris. Tell me if in the Sevile of Don Juan the shade, raised up upon seeing you in a gesture of love. If from the water tranquil of Venice beautiful, surged the song of some youth sweet. What did they say those stars upon seeing their little sister of the Southern Cross. If the heaven distant rotating of the Pampa, to your blue might sing the sweet song.

Weiss 76

Porteñita linda que habló con las frondas y trajo sus cantos de luz y de sol.

22 Porteñita beautiful that spoke with the river foilage 23 and brought her songs of light and sun.

Porteñita bella, Mariposa Rosa. Ya que así te alejas, tu corazoncito a dejar no vayas en otro confín.

24 Porteñita beautiful, Butterfly Pink. 25 Since you must depart, 26 your little heart to remain and not in any other place.

Performance History: unknown Notes: There is an orchestration for timpani, drums, piano, and strings located at the Asociación Wagneriana (Montes de Oca 318).

Weiss 77 54. Lamento (Mírala como ha venido) Text: Language: Composed: Published: Publisher:

anonymous (popular poetry) Spanish 1938 unknown Ricordi Americana


Héctor Ruiz Díaz Grave (Solemn) E Major B4 - C#5 1:45

Title:

Lament (Look at her, how she has come)

Mírala como ha venido cuando triste me ha dejado… Perdona a quien te ha faltado, si ya viene arrepentido.

1 2 3 4

Look at her, how she has come when sad me has left… Forgive whoever has trepassed against you, if they come already remorseful.

De lo mal que me ha pagado yo no me quiero acordar; más bien quisiera olvidar el daño que me ha causado.

5 6 7 8

Of the ill that she has paid me I don’t want to remember; I would rather forget the hurt that she has caused me.

Al fin y al cabo es mujer y no la puedo olvidar... La tengo que perdonar y la tengo que querer.

9 10 11 12

At last and in conclusion she is woman and I cannot forget her… I have to forgive her and I have to love her.

Performance History: Performed in a concert at the Centro Cultural Félix F. Bernasconi in 1943 (Montes de Oca 318).

Weiss 78 55. Canta tu canto, ruiseñor y vuela… (Soneto) Text: Language: Composed: Published: Publisher:

Ignacio B. Anzoátegui (1905-1978) Argentina Spanish 1940 1949 Ricordi Americana


Señora Tina C. de Guido Cantabile (Smooth, lyrical) Eb Major C4 - G5 1:55

Title:

Sing your song, nightingale, and fly… (Sonnet)

Canta tu canto, ruiseñor, y vuela, vuela tu vuelo, ruiseñor, y canta, y en la luz que a tu canto se adelanta adelanta mi pena paralela.

1 2 3 4

Sing your song, nightingale, and fly, fly your flight, nightingale, and sing, and in the light that to your song comes forward comes forward my pain parallel.

Canta sobre la luna, centinela, toda condecorada tu garganta, y el amor de la estrella desencanta enamorada en éxtasis de espuela.

5 6 7 8

Sing about the moon, centinal, all decorated your throat, and the love of the star disenchanted, in love with the extasis of the last drink.

Canta para la estrella enamorada que repitió en la pena florecida la sangre de la boca lastimada.

9 Sing for the star in love 10 that returned to the pain blossomed 11 the blood of the mouth injured.

Y subirá la luna decidida como subió en la luz de su mirada la noche ilustremente amanecida.

12 And will rise the moon determined 13 like rose the light in her look 14 the night illustriously dawned.

Canta tu canto, ruiseñor, y vuela...

1 Sing your song, nightingale, and fly…

Performance History: Debuted in Buenos Aires in the Sociedad Argentina de Artistas Plásticos on 14 December 1944 (Montes de Oca 318).

Weiss 79 56. Canción de Perico Text: Language: Composed: Published: Publisher:

Fryda Schultz de Mantovani (1912-1978) Argentina Spanish 1940 unknown Ricordi Americana


Frederick Fuller Animado (Animated) A Major B4 - E5 1:00

Title:

Song of Perico

Perico, Perico no quiere ser rico no quiere ser sabio ni quiere ser rey; ¿que quiere este chico, Perico, Perico? Jugar en el bosque reir y correr.

1 2 3 4

Perico, Perico doesn’t want to be rich doesn’t want to be wise nor wants to be king; what wants this boy, Perico, Perico? To play in the forest, to laugh, and run.

Con lengua de trapo gritar como el sapo, meterse en el agua y en ella nadar. No quiere Perico ser sabio, ni rico, ni rey, pero quiere reir y cantar.

5 6 7 8

With tongue like rag to squeal like a toad, to jump in the water and in there swim. Doesn’t want Perico to be wise, nor rich, nor king, but wants to laugh and to sing.

Perico, Perico se llama este chico, no quiere ser rico Perico, Perico.

9 Perico, Perico, is called this boy, 10 doesn’t want to be rich, Perico, Perico.

Performance History: Debuted in Buenos Aires in the Biblioteca Alberdi on 15 October 1940 by Brigida Frías de López Buchardo with Carlos López Buchardo at the piano (Montes de Oca 319).

Weiss 80 57. Canción del niño pequeñito Text: Language: Composed: Published: Publisher:

Ida Réboli (? - 1970) Argentina Spanish 1940 1949 Ricordi Americana


Carlitos Alfredo Fitte Lento (Slow) Db Major C4 - Eb5 2:40

Title:

Song of the Tiny Child

El niño pequeñito está en la cuna; El sol ya se ha ocultado, salió la luna.

1 2 3 4

The child tiny is in the craddle; The sun already has hidden, has risen the moon.

Todos cuiden el sueño del niño mío que yo le haré collares con el rocío.

5 6 7 8

Everyone cares for the sleep of the child mine that I for him will make necklaces with the dew.

Nadie le turbe el sueño al pequeñuelo Yo le haré una diadema con luz del cielo.

9 10 11 12

Nobody distubes the sleep of the little one. I for him will make a diadem with light from heaven.

Venga una mano y le haga la noche bella; que yo le haré una joya con una estrella.

13 14 15 16

That might come a hand and for him make the night beautiful; that I for him will make a jewell with a star.

Ya todo se ha quedado sin hacer ruido; El niño pequeñito ya se ha dormido.

17 18 19 20

Now everything has settled down without making a sound; The child little has already fallen asleep.

Performance History: Debuted in Buenos Aires in the Biblioteca Alberdi on 15 October 1940 by Brigida Frías de López Buchardo with Carlos López Buchardo at the piano (Montes de Oca 319). Notes: The dedicatee “Carlitos” was Carlos López Buchardo’s step son, by then a grown man. The composer would have been 59 at the time of its debut.

Weiss 81 58. Canción de ausencia Text: Language: Composed: Published: Publisher:

Gustavo Caraballo (1885-1939) Argentina Spanish 1942 1943 Ricordi Americana


Marita Andante elegíaco (Moderately slow and elegiac) eb minor C4 - Eb5 4:00

Title:


Como gime el otoño en las ramas y el rumor del mar esta pena de mi alma doliente no podré callar.

1 2 3 4

Like groans the autumn en the branches and the murmurring of the ocean this pain of my soul painful I will not be able to hush.

Como brota el dolor en la ausencia y en la cruel soledad esta angustia que llevo escondida sólo así quiere cantar:

5 6 7 8

Like blossoms the pain in the absense and in the cruel solitude this pain that I carry hidden only wants to sing:

Ay! Luz del cielo tranquilo y profundo que iluminó el cendal de ayer, esa tarde que vi su partida para jamás volver... Ay! mi dolor!

9 10 11 12

Ay! Light of heaven tranquil and deep that illuminates the silk of yesterday, that evening that I saw her leaving to never again return… Ay! my pain!

Viejas tapias que aroman las rosas del jardín en flor, peregrino que va a la aventura con su mal de amor

13 14 15 16

Old adobe walls that scent the roses of the garden in bloom, stranger that goes to adventure with his bad love

Como sombra que vaga en la vida sin hogar y sin paz, su recuerdo que llevo en el alma ya no se puede borrar.

17 18 19 20

like shadow that fleets through life without home and with out peace, her memory that I carry in my soul can no longer be erased.

Ay! luz del cielo celeste y dorado que oyera mi postrer adiós como un eco perdido en la tarde de la fe que murió… Ay! mi dolor!

21 22 23 24

Ay! Light of heaven blue and gold that might hear my last goodbye like an echo lost in the afternoon of my faith that died… Ay! my pain!

Weiss 82

Y en las noches sin luna ni estrellas síentese el clamor, del viajero que va repitiendo su canción de amor...

25 26 27 28

And in the nights without moon nor stars is heard the clamor, of the traveler that goes repeating his song of love…

Y así brota la angustia en la ausencia y en la cruel soledad de esta pena que llevo escondida y que así quiere llorar.

29 30 31 32

and so blooms the anguish in the absense in the cruel solitude of this pain that I carry hidden and that wants to cry out.

Performance History: Debuted in Montevideo, Uruguay during the inauguration concert of the Undécimo Ciclo del Arte y Cultura Popular at the Universidad de Montevideo on 27 April 1942. Brigida Frías de López Buchardo sang accompanied by her husband Carlos López Buchardo (Montes de Oca 318). In Buenos Aires, the song was premiered in a social gathering of the Sociedad Argentina de Autores y Compositores de Música (SADAIC) on 2 June 1943 (Montes de Oca 331-332).

Weiss 83 59. Caminito de Flores Text: Language: Composed: Published: Publisher:

Vicente Medina (1866-1937) Spain Spanish 1942 unknown unknown



Title:

Little Path of Flowers

Performance History: Debuted in Montevideo, Uruguay during the inauguration concert of the Undécimo Ciclo del Arte y Cultura Popular at the Universidad de Montevideo on 27 April 1942. Brigida Frías de López Buchardo was accompanied by her husband Carlos López Buchardo (Montes de Oca 318, 340, 342). Notes: Listed in the catalog of Carmen García Muñoz as an incomplete song finished by Abraham Jurafsky, but this seems strange if it was debuted in 1942 (Montes de Oca 318).

Weiss 84 60. Canción del Estudiante Text: Language: Composed: Published:

unknown Spanish unknown unpublished manuscript



Title:

Song of the Student

Performance History: unknown Notes: The unpublished manuscript was located by Montes de Oca in the Carlos Fitte family archive. The title was actually taken from an orchestrated version of the song found at the Universidad Nacional de La Plata (La Plata, Argentina) (Montes de Oca 318).

Weiss 85 61. Los camperos Text: Language: Composed: Published:

unknown Spanish unknown unpublished manuscript



Title:

The Country Folk

Performance History: unknown Notes: The manuscript was located by Montes de Oca in the Carlos Fitte family archve (318).

Weiss 86 62. Canción del trabajo Text: Language: Composed: Published:

Francisco Luis Bernández (1900-1978) Argentina Spanish 1948 unpublished manuscript


none unknown unknown unknown unknown

Title:

Song of Work

Performance History: Was sung during the presentations given on the holiday "Day of Work" en the CGT together with the National Anthem from 1948 until 1954 (Montes de Oca 319).

Weiss 87 CHAPTER 2 The Songs in French and Italian Like other Argentine composers who came of age at the turn of the twentieth century, Carlos López Buchardo looked to Paris as the ideal location for studying Western art music. But even before his first trip to France at the age of 23 and his longer stay of four years beginning when he was 28, López Buchardo was already using French texts as the basis for his earliest song compositions. These were Silence, Les Roses de Noël, Extase, composed sometime between 1899 and 1903, and La Mort des Oiseaux and Le voyage, probably composed in 1903. His selection of French poems that, according to Alfred Andrés, were “read with great delight in those days”, underscores that for a young man of his class and social status, the language of Paris was the language of choice—a symbol of refinement and sophistication in the booming city of Buenos Aires (72). López Buchardo was blessed with a musical and devout Catholic mother who saw to it that Carlos and his two brothers, Alberto and Próspero, studied music. María Filomena Buchardo was already an accomplished singer and pianist, who sometimes sang songs that “she herself had harmonized” (Andrés 64) and it was she who encouraged López Buchardo to write his first musical work, a Mass for choir and organ that was performed at her parish in 1901 (Andrés 72). Even before that, however, there is record of his first song being composed in 1896 at the age of fifteen. Not surprisingly, the text is a religious one: an Italian version of the Ave María. On the role of the mother’s religion in the composer’s home, Andrés writes, Her religious spirit (which Cecilio López did not share but respected), was displayed openly in the home. In one room, a figure of the Virgin of Carmen, to whom María Buchardo was a fervantly devoted, dominated the space. It was of great beauty and extraordinarily detailed in a colorful plaster, one

Weiss 88 meter tall. On many occasions they prayed the rosary before her in the old custom, or in other words, all together: everyone, including the servant woman (the father was the only exception). Afterwards, the children would file past their parents for a blessing. The mother, in similar occasions, would often sing religious songs that she would then teach to her children.1 (Andrés 71) Though religious texts were not used in any of López Buchardo’s later songs, his mother’s dedication to and encouragement of her son’s musical development was critical to his initial formation as a composer. She died in 1904 when Carlos was 23, the year of his first trip to France (Jurafsky 13). Springing from “one of the most illustrious families of Porteña society”, the young composer did not lack for money during his time in Paris (Andrés 81). Abraham Jurafsky points out that Carlos became quick friends with fellow Argentine composers José André and Celestino Piaggio and “alternated” with them his coveted private lessons with Albert Roussel (1869-1937) (13). Zulema Lasala confirms this account with the following anecdote, naming two different Argentine companions: López Buchardo was the typical argentine man of the era, son of a ranch owner, studying and enjoying life in Paris, generous and genteel. At the same time, [Floro] Ugarte and [Athos] Palma were there, who weren’t as well-off, so he invited them to participate in his classes with Albert Roussel and then asked them to do his chores.2 (Lasala, par. 15) Strangely, from 1904 until 1913, when López Buchardo ended his stay in Europe, there is record of only one finished song, entitled Salve Oh, Reina Gloriosa (1911). It is somewhat difficult to explain why he wouldn’t have composed more songs between the ages of 23 and 32, especially since he was studying with a celebrated composer of art song.

Weiss 89 Perhaps he was focused on his first idea for an opera, engrossed in his compositional studies with Albert Roussel at the Schola Cantorum, or simply too busy enjoying the sights and sounds of Paris. The absense of dated sketches precludes finding a more satisfying answer. Following his return to Buenos Aires, the now “bonafide” Euro-Argentine had practically every card in his favor. This was quickly evidenced by his ability to launch his first and only opera—or “lyric fantasy” as he labeled it—in the premier venue of his day, the Teatro Colón. On 4 August 1914, the debut of Il Sogno di Alma (The Dream of Alma) was enthusiastically received by the opera-going public and set the 33-year old in a position to accomplish almost anything he might have wanted, musically, socially, or institutionally (for more information on the development and reception of López Buchardo’s first opera, see Andrés 75-87, Jurafsky 12-16, Montes de Oca, 16-43). Between 1915 and 1918, López Buchardo composed ten songs and chose for the first time to base three of them on Spanish texts. A detailed description of Era una rosa (1915), Si para un fino amante (1916), and Nocturno (1917) is found in Chapter Four. The remaining seven from the same period were all in French: Feuillage du cœur (1915), Le paravent (1915), Lassitude (1915), Une fleur (1915), Reflets (1916), Petit Ynga (1917), and A toute âme qui pleure… (1918). Of the twelve songs with French texts mentioned in this chapter, seven have been located for study (See Appendix E for a complete listing of the scores not yet found). Though none of these songs received the recognition that his nationalist pieces would, they were still performed regularly throughout his career (Figure 1). Together, the seven works contain enough evidence of López Buchardo’s early musical style to warrant their brief commentary. One of López Buchardo’s early tendancies manifests itself very clearly in the French

Weiss 90 pieces: an understanding of the value of motivic and rhythmic consistency to increase a song’s cohesiveness. He demonstrates the ability to create rhythmically-consistent piano accompaniments, whose textures appear, at least visually, to directly reflect the poem’s subject matter. Such rhythmic and thematic limit-setting would eventually became a virtue that helped rather than hindered his later songs. In these works, however, the harmonic progressions frequently lose direction and fail to outline any sense of sonic form to the listener. By this point López Buchardo knew how to carefully craft phrases with harmonic tension and release, as demonstrated in his pre-Paris Silence. But he may have preferred to follow what he might have viewed as a “French” aesthetic, attempting to align with each word inventive harmonies with little regard for overall harmonic structure (Andrés 93-94).

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Date 26 November 1915

Song Titles Feulliage du cœur Lassitude Le Paravent

Singer(s) Paula Ripert Mancilley

Pianist(s) Carlos López Buchardo Cesar A. Stiattesi Razael González

19 September 1918

Lassitude Reflets

Ana S. de La Guardia Sarah Ancell

29 August 1921

Los puñalitos Era una rosa Vidalita Sé Los puñalitos

Mara Barrientos

Adolfo Forpurgo C. Fanelli Remo Bolognini Carlos López Buchardo

19 December 1923 29 October 1924 14 November 1924

15 December 1924

Si para un fino amante Reflets Se… Petite Inga Lassitude A toute âme qui pleure* Puñalitos Era una rosa* Le Paravent Feuillage du cœur Hormiguita Canción desolada* Extase La canción desolada Canción del carretero

Occasion/ Location Sociedad Nacional de Música Museo Nacional de Bellas Artes Audición de Autores Argentinos

Montes de Oca 64

Recital de Canto

256

255

Palomea Krucenisky Enrique de Herrera y Lerena Brígida Frías de López Buchardo Enriqueta Basavilbaso de Catelín Antonieta Silveyra de Lenhardson Albana Secco

Rafael Gousates [sic] Celiq Correa Leuna

Recital de Canto Recital de Canto

257 258

Carlos López Buchardo Alberto Inzaurraga

Sociedad “Diapasón” Museo Nacional de Bellas Artes

328-329

Ninon Vallin

Carlos López Buchardo Aldo Ramarriello

Clausura del Año Artístico 259

Figure 1. A partial list of López Buchardo songs performed in public. Titles with astericks were marked in the programs as debut performances, though such indications do not always correspond with other sources.

Weiss 92 Date 3 June 19[30s], probably late 30s

1936-1940

27 April 1942

2 June 1943

27 August 1945

22 May 1946

Occasion/ Location Comisión Provincial de Bellas Artes Museo “Rosa Galisteo de Rodríguez”

Montes de Oca 347

Carlos López Buchardo

Obras de Carlos López Buchardo

341

Brígida Frías de López Buchardo


Acto de Inauguración del 340, 342 Undécimo Ciclo del Arte y Cultura Popular en el Salón de Actos Públicos de la Universidad de Montevideo (Uruguay)





Brigida Frías de López Buchardo

Mafalda Napolitano de Quaratino

Sociedad Argentina de Autores de Compositores de Música Comisión Nacional de Cultura Teatro Nacional de Comedia Casa Central Cangallo 1154 Buenos Aires

Song Titles Vidalita Jujeña Los Puñalitos Frescas sombras de sauce Si lo hallas Prendiditos de la mano Oye mi llanto Querendona* Cancion del carretero Nocturno* Una rosa para mi rosa* Jazmines criollos* Canción del niño pequeñito* Canción de Perico* Oye mi llanto Frescas sombras del sause Vidala Prendiditos de la mano Canción del niño pequeñito Querendona Jazmines criollos Canción de ausencia* Jujeña Caminito de flores* Una rosa para mi rosa Canción del carretero Prendiditos de la mano Canción de ausencia* Canción de carretero Mírala como ha venido* Querendona*

Singer(s) Brígida Frías de López Buchardo

Pianist(s) Carlos López Buchardo


Canción del carretero Prendiditos de la mano

Figure 1 (cont.). A partial list of López Buchardo songs performed in public.

331-332

354-355

223a 223b

Weiss 93 Silence (Entry 2). Set in the key of B major, this piece has everything one might expect in a late romantic French parlor song: a falling pseudo-pentatonic scale to hail the beginning and end of the piece (Example 1), richly prepared dominants and secondary dominants throughout, and a middle section that slides quietly into the key of G Major (Example 2), modulates to Bb Major and then returns to B Major through the circle of fifths for the final stanza (e.g. BbEbAbDb/C#F#B).

Example 1. Silence, measures 1-5. López Buchardo’s melody contains well-balanced antecedant and consequent phrases of two measures each, which sometimes flow one into the other. The melody and harmony employed for the first and last stanzas of text (i.e. the A sections of the ABA form) are almost the exactly the same, with some melodic license taken to create speech-like expresiveness on the phrases “on a loving heart that it adores” (4) and “of a musical heart and silence of the hour” (11-12) (Example 2). Though clearly intended for a less-formal chamber music audience, this song avoids sounding formulaic and could be performed today. The long phrases that move frequently from low to mid-register and the startling interval of a major seventh in measures 11 and 26 require a well-formed singing technique (Example 3).

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Example 2. Silence, measures 12-15.

Example 3. Silence, measure 11.

Weiss 95 Les Roses de Noël (Entry 3). The directive doux et lié (“soft and connected”) to the pianist in the first measure is both the key and the challenge to successfully interpreting this piece, which seems to ride eternally in the key of Eb Major. The vocalist must likewise begin simplement et sans nuances (“simply and without nuances”) López Buchardo’s lilting melody. Edmond Arnould’s (1811-1861) poetic thought might be summarized as, “Thank goodness for the little white Christmas roses that bloom in the winter when everything else is dead. The young will have their spring flowers. But for those who suffer or for those that are old, oh heavens, always remember to make the pale roses bloom” (9-14). The singer should intensify the vocal tone in measure 15, marked un pleu plus expressif (“a bit more expressive”), and fulfill the song’s climax in measures 19 through 25 (Example 4).

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Example 4. Les roses de Noël, measures 19-27.

Weiss 97 The song closes with almost the same melody as at the beginning for an overall form of AA’BA. An important aspect of López Buchardo’s musical style reveals it self in the piano accompaniment of Les Roses de Noël (Example 5).

Example 5. Les Roses de Noël, measures 1-6. Even though the accompaniment is rhythmically simple, the alto line is full of irregular variations that the pianist must carefully observe. Perhaps his fascination with inner voices was a result of his years of playing viola in the string trio he comprised with his brothers and piano teacher (Jurafsky 12). The minute variations inside of a regular eighth-note pulse keep the song’s four-measure phrases from settling down into simple and easy-to-predict shapes. López Buchardo learned early the technique of making small changes in the

Weiss 98 counterpoint of the piano accompinaments to enrich expected harmonic shifts. Measures 8 and 9 contain another example. The descending Db-C-Cb inner voicing in the right hand pulls the ear strongly to the fifth of the tonic Eb, but is promptly interrupted by an extra measure of the dominant chord before resolving to the tonic chord on the last note of the phrase (Example 6).

Example 6. Les Roses de Noël, measures 8-10. Lassitude (Entry 13). The English word “Lassitude” is defined by the American Heritage Dictionary of the English Language as “a state or feeling of weariness, diminished energy, or listlessness”, a state effectively captured by Maurice Maeterlinck’s images and run-on phrases. The challenge is to identify exactly who or what Maeterlinck means by the first word of the poem, “They” (1). If the subject “they” were to refer directly to “the flock of gray sheep on the horizon” (5-6) … “indifferent and without a flame of desire” mentioned later in the poem, then the entire scene becomes an outward projection and description of the an internal emotional state. The lethargy of the moment is captured in López Buchardo’s monotonous 12/8 accompaniment. The song stays for long stretches in a hazy f minor with persistant emphasis on the first and fifth scale degrees, shifting occasionally to a G or Bb tonal areas

Weiss 99 within the same texture (Example 7).

Example 7. Lassitude, measures 17-20. The harmonies in this song are unusual and might be studied in greater detail. But the main impediment to the song’s overall effectiveness still remains: the composer’s choice and treatment of this particular text. López Buchardo may have felt compelled to write seemingly-listless music to match the poem’s imagery and purposely delayed writing any expressive music until the words “to the caresses of the vague sky like their life; / indifferent and without a flame of desire” (5-6), at which point the observer and the observed seem to meld into one. This is the point at which the listener would recognize that the description of the pastoral scene as the reflection of an inner reality. The monotonous accompaniment finally ceases and a very quiet, static, and effective ten measures end the piece (Example 8).

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Example 8. Lassitude, measures 23-32.

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Example 8 (cont.). Lassitude, measures 23-32. Unfortunately, López Buchardo’s literal representation of the poem does not lend itself to a musically-coherent whole. Une fleur (Entry 15). This song’s harmonic turf is delineated in the last three measures. López Buchardo appears to be playing with the superimposition of the interval of a fourth, C5 to G4, over the song’s Bb tonality (Example 9).

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Example 9. Une fleur, measures 73-75 The rather-awkward melody circles around C5 and tries to end phrases on G4, but none of the harmonies support this melodic idea. Most difficult to sing is the constant interchange between Eb and E§ in the vocal line, perhaps intended as the melodic key that turns between Bb and C tonalities (Example 10).

Example 10. Une fleur, measures 42-45. Unfortunately, neither tonal area is fully developed and the song does not successfully transmit the poem’s essence. Reflets (Entry 16). The treble piano accompaniment in Reflets moves regularly between the tonic F and dominant C in the left and right hands with closely related “color chords” on the offbeats in the right hand. The harmonically unintuitive vocal line circles around F, G, and C, as foreshadowed by the animated introduction (Example 11). Every melodic phrase, except for one, ends on one of these three notes. Very similar to Lassitude in

Weiss 103 terms of key (Bb) and harmonic devices, this piece was finished only five months later. López Buchardo was 34 years old.

Example 11. Reflets, measures 1-9. Petit Ynga (Entry 18). The male narrator of the poem’s text and tessitura of this pleading chanson make it especially appropriate for the Tenor voice. The accompaniment, which requires an agile and flowing technique to avoid covering the vocal line, is an excellent indicator of López Buchardo’s own long-fingered piano technique (Example 12).

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Example 12. Petit Ynga, measures 30-32. In the first phrase of the melody, López Buchardo uses a duple-to-triple rhythmic figure over six beats that is seen frequently in his later works to evoke a more “folk”sounding tune (Example 13). But here, the same figure sounds perfectly “French” in the context of the song’s accompaniment and text. As will be discussed in Chapter 3, most of musical devices employed by López Buchardo to evoke the “folk” relied on the audience’s shared perceptions of what constituted folk music. It was the audience, not the composer,

Weiss 105 that essentially decided which compositional techniques and music or text resources should constitute truly nationalist music.

Example 13. Petit Ynga, measures 3-6. A toute âme qui pleure… (Entry 20) Based on a Marian text of exceptional passion, the French words “pleure” and “pleuré” (1, 8), denoting a plea or cry for mercy, are at the heart of this song’s musical dramatism, one of the young composer’s more successful attempts. López Buchardo utilizes a pulsing off-beat accompaniment in 3/4 to drive the piece forward through tension-laden harmonies to its final release in the key of D Major in the penultimate measure (Example 14). The song’s tonic chord is clearly enunciated for the first time with a pleading 2-1 appogiatura in the right hand. The singer ends on the fifth with a pianissimo A5.

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Example 14. A toute âme qui pleure…, measures 26-29. Major sixth chords dot the entire piece. Six times during the course of the song’s 29 measures, the e-minor sixth chord in second inversion encases the leading tone c-sharp, which appropriately “pleads” for resolution to either B Major or D Major. Instead, López Buchardo moves expertly to other chords (e.g. G Major, e minor) that build harmonic tension and avoid a clear intimation of the tonic (Example 15).

Example 15. A toute âme qui pleure…, measures 4-6. Other tools used to enhance the song’s drama include counter melodies in the accompaniment that “cry” when the singer isn’t (Example 16) and downward chromatic movement that draws attention to the beleaguering c-sharp (Example 15, measure 4).

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Example 16. A toute âme qui pleure…, measures 16-24. The handwriting above the vocal line is that of soprano Enriqueta Basavilbaso de Catelín, who couldn’t decipher the small letters beneath the notes, according to Zulema Castello de Lasala.

Weiss 108 An appropriately dramatic portrayal of Maeterlinck’s text, this song is recommended for performance. Singers should beware of the subtle harmonic shifts and determine carefully where the melody “fits in” to the piano’s harmony, for without that supporting structure, it will make little sense to the listener. Pianists will enjoy the romantic gusto in the accompaniment and should take full advantage of the dynamic contrasts to heighten the dramatic effect. Ave Maria (Entry 1). Composed around the age of 15, the first song in Carlos’s catalog utilizes late-Romantic harmonic devices to evoke a strong sense of devotion and Catholic religiousity. He begins with a 13-measure introduction in g minor, which the melody follows until the word “Gesù” (4), at which point the composer modulates suddenly to Bb (a dominant preparation for the piece’s tonal goal: Eb). One measure later, he begins alternating between g-minor and D-Major chords and moves gracefully through the major keys B to E to A to D. Once solidly in D Major, López Buchardo pulls his first harmonic “trick”. He interjects two measures of the Neopolitan in root position to enhance the listener’s expecation of a resolution to D Major. Then, via a combination of g-minor and Bb7 chords (Measure 35), he breaks into a fresh-sounding Eb for the song’s Grandioso climax (Example 17).

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Example 17. Ave Maria, measures 32-37. The ending likewise uses abrupt modulations and non-harmonic carrying tones (i.e. the G4 sustained through the harmonic changes in measures 53-54) to enhance the satisfaction of the final resolution within the Eb tonality (Example 18).

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Example 18. Ave Maria, measures 47-55. Though such a piece may not satisfy the musical expectations of today’s churchgoing audiences, López Buchardo’s first opus is still performable. Like many other lateRomantic art songs, it could be used in the studio to explore the dramatic qualities of a student’s voice. Scordarmi di te..!!?? (Entry 8) Although the poem could be interpreted as motivated by purely amorous feelings, the presence of words like “Mother” and “your holy image” lend a religious overtone to this Romanza. Likely composed in the years surrounding the

Weiss 111 death of María Buchardo, part of the text may have taken on a more personal meaning for the composer: “Exiled and alone, oh Mother, you left me in this false life of love” (5-6). An alternate interpretation of the text may take the main character as a disgruntled traveler in mortality, lost and alone, who promises never to forget Mary’s holy image. The poem begins with a cheerful scene at daybreak that is immediately contrasted to the narrator’s “eternal pain” (3) and “misfortune (7). Not surprisingly, the melody perpetually emphasizes the fifth and deemphasizes the tonic to illustrate the traveler’s weariness (Example 18, measures 51-56). The only phrase to end on the tonic is the singer’s final exclamatory question “Forget you..!!??” (13), which has already been answered in the previous line: “I will never forget you” (12) (Example 19a, measures 64-65, 57-60).

Example 19a. Scordarmi di te..!!??, measures 51-66.

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Example 19a (cont.). Scordarmi di te..!!??, measures 51-66. The overall harmonic path of the song follows the text’s built-in structure, with strategically-placed modulations to add color and variation to the otherwise repetative melody (Figure 2).

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Form: Measure: Tonal area:

Introduction 1-10 e E

A 11-18 e G 7

A 19-28 cf

B 29-42 CBb7/gB/f#CGB

A 43-50 eB+

A 51-60 eB+

Coda 61-66 e E

Figure 2. Formal and harmonic structure in Scordarme di te..!!??

As seen in his first song Ave Maria, López Buchardo uses purposefully-weakened and ambiguous harmonies to “set up” the listener for striking modulations. For example, by combining Bb7  dominant harmonies in the left hand and g-minor melody-oriented harmonies in the right hand in the climax of the piece, the ear is confused but feels mostly drawn to an Eb Major resolution (Example 19b, measures 36-37). This is abruptly interrupted by a sudden move to B major whose own resoluation to E Major is also interrupted by various distantly-related tonal areas until the very end of the piece (Example 18, measure 65). Both the songs in Italian exemplify López Buchardo’s mastery of subtle but effective harmonic devices that increase dramatic tension and allow him to economize melodic and rhythmic material. Scordami di te..!!?? is especially recommended for performance by singers who subscribe to bel canto vocal techniques, for without them it would be difficult to effectively perform the marked dynamic contrasts and late-Romantic pathos of this song.

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Example 19b. Scordarme di te..!!??, measures 36-42.

Weiss 115 CHAPTER 3 The Songs of Folk Origin Carlos López Buchardo published two collections of songs which include his bestknown and best-loved works. The first collection, entitled Seis canciones al estilo popular (Six Songs in a Popular Style), was published in 1924 and is comprised of Vidalita (1921), Los puñalitos (1921), Desdichas de mi pasión… (1924), Vidala (1924), Canción del carretero (ca. 1924), and Jujeña (1924). The second collection, entitled Cinco canciones al estilo popular (Five Songs in a Popular Style), was published in 1936 and is comprised of Prendeditos de la mano (1931), Si lo hallas (1931), Frescas sombras de sauces (1931), Oye mi llanto (1931), and Malyaha la suerte mia (1931).. García Muñoz and Jurafsky both agree that the published collections were not originally conceived as a song cycles, though by virtue of treating similar folk themes, textually and musically, they work very well together (García Muñoz, 1005; Jurafsky, 35). As Andrés points out, the Cinco canciones are especially related in theme, as each poem treats a different aspect of love. Any grouping of the eleven songs into smaller sets for performance would be acceptable. The most famous of these two collections were Vidalita and Canción del carretero. These were performed, arranged, and recorded by many vocal artists during the composer’s lifetime. Some of the better-known sopranos who left recordings were Ninon Vallin, Isabel Marengo, Conchita Badía, Delia Rigal, and Helena Arizmendi. The popularity of these two songs may have been due to their simpler piano accompaniments and memorable melodies (Lasala, par. 10). Of the 62 total songs outlined in this study, 17 best exemplify López Buchardo’s nationalist music style. In addition to the eleven outlined in this chapter, they include Pampeana (1927), Querendona (1938), Copla criolla (1938), Lamento (Mírala como ha venido)

Weiss 116 (1938), Canta tu canto, ruiseñor y vuela… (1940), and Canción de ausencia (1942), discussed in Chapter Four. With these songs, Carlos López Buchardo continued what early nationalist composer Julián Aguirre (1868-1924) had begun with songs such as El nido ausente, Tu imagen and Serenata campera, and pointed to the many songs yet to be written by Carlos Guastavino (1912-2000), these three forming a triumvirate of Argentine nationalist art song in the twentieth century.

Vidalita (Entry 26). Various meanings and uses surround the the word vidalita, which is left untranslated in this entry as well as in Entry 29. The Quecha root word viday, meaning “life”, was more frequently used by native peoples in its diminutive form, viditay, or “little life”. The word vidalita, then, is a double diminutive of the original Quecha root, meaning literally “little little life.” In its use as a kind of exclamation or refrain word in folk music and poetry, however, the word did not necessarily mean “my little life”. It became a “sound word”, similar to “Heigh! Nonny! Nonny!” in British folk songs, whose silables served to round out folk poems and melodies. In this poem, Argentine poet Leopoldo Lugones (1874-1938) inserts the word after the first and third lines of every stanza in the spirit of folk song. López Buchardo adds music to a text that was already thought of in musical terms. Additionally, a form of the Quechua word was used it as a categorical name for a kind of folk song called the vidala, usually sad and nostalgic in nature, a sort of lament. Lugones’ poem is the first-person account of a love-sick person who has no intention of being healed. The doctors might prescribe herbs, but the minute he or she catches even a glance of the beloved, the sickness returns. The metaphor in the last stanza reinforces this idea of sweet pain: the beloved, like a honeybird, picks at his or her love and honey spills from the wound.

Weiss 117 The introduction to the song begins with a folk-sounding rhythmic sequence of four measures in 6/8, subdivided into 3, 3, 2, and 3 pulses, respectively (Example 20, measures 1-4). The melody will normally follow the same four-bar rhythmic pattern, except that in the second measure, the voice line moves into a duple feel, which juxtoposed over the accompaniments’ triple feel, makes a perfect rhythmic place for the vidalita refrain (Example 20, measure 9).

Example 20. Vidalita, measures 1-9. To all of this is added yet another duple subdivision of the latter half of measure 9,

Weiss 118 forcing the piano’s left hand to feel the first half of the measure in 3 and the second half in 2. This effect is used for the first two vidalitas in stanzas 1 and 3 (1,3, 9, 11). The other vidalitas stay in duple feel (i.e. 123456) for the entire measure. Singers and pianists alike will enjoy the rhythmic vitality of this song and others that utilize duple and triple subdivisions of compound meters to create a folk-sounding lilt and flow. To begin rehearsing this piece, pianist and singer should use a metronome to feel where the duple and triple strong beats fall within the measure. Once the rhythm is firmly engrained in the performers’ ears and bodies, they can add a subtle ritardando to the fourth measure of every phrase, which will enhance the feeling of pick-up in the first measure of the next. Los puñalitos (Entry 27). More than any other song in López Buchardo’s catalog, Los puñalitos takes advantage of a recitative-like melody for the overall effect of sung speech, or a sung recitation of Lugones’ couplet. The three stanzas follow the same rhyming pattern, ABAB, and the singer would do well to ensure that the final two vowel sounds of each line match (lines 1 and 3, 2 and 4, etc.), so that the listener can easily hear the poem in action. There are two points where the melody, wich follow closely López Buchardo’s harmonies, can be difficult to hear (measures 9-12, 17-21). If the pianist and singer will spend time with the song’s chords as they progress from e minor (measure 1) to b minor (measure 9) to E Major (measure 14) to F Major (measure 18) to f minor (measure 19) to C Major (measure 20) to B Major (measure 23), and at last, to E Major in the final measure (measure 26), the melodies will begin to make more sense. López Buchardo’s modulations are designed to create the effect of a dramatic reading. It is as if the poet or “letter writer” (3) were reading the couplets aloud and getting more excited with every phrase building up to the penultimate line, where the voice relaxes back to the tonic (Example 21).

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Example 21. Los puñalitos, measures 17-22.

Weiss 120 Desdichas de mi pasión… (Entry28). Similar in feeling to Malhaya la suerte mia, the main character in this song laments the bad luck of lovers past and the agony of a recent affair gone sour. Most of the literal translation is self-explanatory, but the word rigores (8, 18,28) might benefit from some additional explanation. This word is used elsewhere in Lugones’ Si para un fino amante (Entry 17, line 7) and it refers to the beloved’s “sternness, severity, [and] harshness of temper” or his/her “power, intensity…hardness, [and] vehemence” (Velazquez de la Cadena 775). In the context of unrequited love, it may also mean his/her stubborn refusal to cooperate, leaving the suitor’s heart “captive” in chains (7-10, 17-20, 27-30). In the introduction and coda to the piece, the pianist has the difficult task of playing a series of triplet-duplet subdivisions in the left hand while maintaining a 6/8 feel in the upper voices. The 2/4 marking at the beginning of piece emphasizes the fact that the introduction should go quickly and lightly, in great contrast to the 6/8 Moderado tempo that accompanies the singer. More than likely, the tempo marking in measure 9 is not a quarter note, but a dotted quarter note at 48 beats per minute. This slow tempo calls for a folk-style of singing that gives great liberties to the singer. It may help to think of a slightly drunk and depressed main character who gains energy with each refrain, “Wilted flowers are my lovers.” Without overdoing it, singers can use portamentos from high to low notes, as in the descending melody of measures 13 and 14. Singers may also give a slight impulse of air, a light accent, to each note to create a sense of heaviness with the melody. The tenuto F5 at the end of the song on the second syllable of corazon should also be sung with a sense of exhaustion and resignation. The introduction and closing bars of this song may be interpreted as signifying the merry guitar music of a local peña or bar while the middle section reflects the main character’s innter gloom. Accordingly, the pianist should not hesitate to jump quickly back

Weiss 121 into the protagonist’s surroundings, thus heightening the irony of his/her situation.

Example 22. Desdichas de mi pasión, measures 1-13.

Weiss 122 Vidala (Entry 29). The title for this song refers directly to the vidala type of folk song and the refrain word is used in the same way as it was with the song Vidalita (see page 119 for a complete discussion on the variations of this word). The slow “placid” accompaniment superimposes a slow triple feel in the right hand against a duple feel in the left. The triplet eighth note in the left hand and the grace note to the second beat in the right hand should be played separately and in rhythm to imitate the strumming of a guitar.

Example 23. Vidala, measures 1-6. The song is equally effective as a solo or duet. If performed as a duet, slight adjustments in tempo may need to be made to allow the second voice ample time to sing the moving parts in measures 10, 14, 30, 36, and 47. A nice musical effect may be produced by creating a slight pull from the last note in the first measure of each two-measure subphrase to the first note of the second measure

Weiss 123 (Example 23, measures 2-3). Performers can imagine drums on beat “six” and “one” throughout the piece, as if the 3/4 meter was really in 6/8. López Buchardo adds his own emphasis to the sixth beat with a glissando in the right hand in measure 10. This kind of “kick back” on the last beat will keep the rhythmic groove of the song in place, while still allowing the singer flexibility in the shaping of phrases. This song’s text, like that of the Cancion del carretero, capitalizes on images of the Argentine climate and terrain: rain, drizzle, stars, fresh air, and mountain ridges are all related to a the desparate and sad state of a lover separated from his/her beloved by some kind of distance. In the last stanza, the guitar, the ultimate symbol of life, “sleeps alone, like the harmony of a cold night” (17-20). Performers should attempt to sing and play this last verse as quietly as possible, which will make the final crescendo-decrescendo phrase marking from measure 45 to 47 all the more effective. Canción del carretero (Entry 30). This song is one of the most frequently referred-to examples of Argentine music nationalism and merits in-depth analysis. Vicente Gesualdo comments on what little desire López Buchardo had to thoroughly investigate Argentine folk music resources; he preferred instead to listen to the music as an observer and capture its essence with “poetic intuition and refined taste” (Breve Historia de la música en la Argentina 366). Related to the issue of folk music sources, from which Argentine nationalistic music is often assumed to have been drawn, Schwartz-Kates argues that there are indeed no direct references in this song to a particular folk music or folk dance. The Cancion del carretero thus figures as a wholly atypical example because it is considered one of the most profoundly nationalist compositions, yet it fails to derive its substance from Argentine folkloric sources. Such a phenomenon therefore underscores the fallacy of equating musical nationalism with national style, of requiring an ostensibly nationalist work to manifest concrete

Weiss 124 evidence of tangibly localized features, as observed in accordance with the precepts of a dominant Western analytical system. (512) Even without “concrete evidence” of folk music, the Canción del carretero still succeeds at capturing a particular time and terrain as seen through the eyes of the Argentine landowning elite. The end result is a romanticized imaging of and sympathetic connection with the inner emotional landscape of the wagon driver, perhaps even more than his natural surroundings. As with other songs by López Buchardo, the success of this song is partly due to the cohesiveness of its text, drama, form, melody, harmony, and rhythm. Such cohesiveness is achieved at least partly because each element adheres to essentially cyclical behaviors. With many kinds of circles at work—small, large, oblong or imperfect—comes an overwhelming impression of circular motion that eventually returns the listener to a better understanding of the poem itself. Furthermore, it is the emotional work of cycles engaged in by the listener (likely subconscious) that creates a particular emotional space during the journey and a sense of completion at the song’s end. Cycles in text. The wheels of the cart begin spinning with the text itself. An examination of Caraballo’s Spanish text will reveal one poetic meter in use throughout: a 99-10-9 syllabic count during each stanza (see Ex. 24). By highlighting the naturally accented syllables of the language (usually penultimate in words of three syllables or more) and by taking into account vocalic elisions (marked with underscores), it is clear how the composer arrived at the 3/4 meter as the basis for the song’s melodic and rhythmic structure. The accented syllables in the Spanish text that coincide with a 3/4 meter of recitation are bolded and italicized.

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1 2 3 4

En las cuchillas se pone_el sol; las golondrinas han vuelto ya, y por la senda del campo verde un carretero cantando va:

(9) (9) (10) (9)

5 6 7 8

“Alma de mi_alma, ¡como lloré bajo_este cielo lleno de sol, cuando_agitastes en la tranquera tu pañuelito diciendo_adiós!

(9) (9) (10) (9)

9 10 11 12

¡Ay paisanita! Vuelve_a mi_amor. Sin ti, mi vida no puede_estar. Las madreselvas se_han marchitado y las calandrias no cantan ya.

(9) (9) (10) (9)

13 14 15 16

¡Ay paisanita! Vuelve_a mi_amor. Hecha tapera la casa_está, y_entre los sauces llora_el remanso porque tus labios cantan más.”

(9) (9) (10) (9)

17 18 19 20

En las cuchillas se_ha puesto el sol mientras la tarde muriendo_está; y_así cantando va_el carretero las desventuras de su cantar!

(9) (9) (10) (9)

Example 24. Gustavo Caraballo’s poem, Canción del carretero. The naturally accented syllables in the Spanish text lend themselves to strong beats combined with the two syllabic weak beats between them invoke a 3/4 meter. What is not fully determined by the text itself is the phrase length. A nine-syllable line could be divided into three measures of 3/4. But taking the first line of text as an example, the elision of ne_el from pone_el and the strength of the single syllable word sol would render that interpretation very unnatural. So from the first line, this poem is naturally recited in four bar phrases following a 3/4 meter, or           (i.e. STRONG-weak-weak, STRONG-weak-weak, STRONG-weak-weak, STRONG). The syllabic structure of each stanza (9-9-10-9), otherwise labeled as A-A-B-A already denotes the overall arch shape of the classic storyline, where the climactic point

Weiss 126 occurs about three-quarters of the way through each stanza. Appropriately, during the cart driver’s “solo song” (stanzas 2-4), the 10-syllable lines contain the most active and dramatic verbs: shaking (agitar), withering (marchitar), and crying (llorar) (7,11,15). To summarize, each stanza of this poem completes an A-A-B-A cycle in terms of syllabic count. Each line of the poem is felt in the cyclical rhythm of 3/4, perhaps the most inherently-circular of all meters. Finally, the narrator’s voice, heard in stanzas one and five, forms an overarching poetic cycle that is closed. Cycles in drama. Figure 24 shows the interchange between three dramatic personages: the wagon wheel (as interpreted by the piano), the narrator (as interpreted by the voice in stanzas one and five), and the lonely carretero (played by the voice in stanzas two, three, and four). There are moments when each of these characters are featured in pseudo-monologue. And there are moments when characters share or trade melodic messages. Their interlocking circles of melodic and rhythmic material account for much of the piece’s dramatic effect. The first instance of this interchange occurs in measure 17, when the third rotation of the wheel begins prior to the voice’s first note. By staggering these two players’ entrances, López Buchardo creates a backdrop of slowly-turning wagon wheels against which the voices of the narrator and carretero can be heard (Example 25).

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Figure 3. Form and phrase structure in Canción del carretero

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Figure 3 (cont.). Form and phrase structure in Canción del carretero

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Example 25. Canción del carretero, measures 1-22. Another cyclical shape can be found in the unfolding of what is happening around and within the carretero. In first stanza, the narrator describes an idyllic scene at the end of

Weiss 130 the day: the sun is setting, the swallows are returning to their nests, the fields are green, and the cart driver is singing. With each succeeding stanza, however, we gain additional knowledge about the why and wherefore of the drooping introduction. After a brief closeup shot of the wagon wheels turning (measures 33-41), the cameras focus squarely on our main character: “Soul of my soul [soul mate], how I cried! / beneath this sunlit sky…when you waved goodbye / with your handkerchief at the fence!” (5-8). At this point the carretero remembers a past moment of parting when he had taken leave of his lover, presumably on the way to his wage-earning route as a wagoner. Stanzas three and four summarize his plight and pleadings: “Ah, sweetheart! Return to my love. / Without you, my life cannot exist. / The honeysuckle has withered / and the larks no longer sing. // Ah, sweetheart! Return to my love. / The house is a ruin, / and amongst the willows the pool weeps / because your lips sing no more” (9-16). Exhausted and speechless from his anguished outcry, the narrator takes over for the carretero by describing the setting as he did in the beginning, only this time in the past tense: “the sun has set” (17) , now the “evening dies” (18), and the cart driver’s silhouette sinks behind the horizon, as evidenced by the vanishing tonic chords in the last three measures. Various readings of the poem’s text might interpret the carretero’s cause for lament as love unrequited (a short-term relationship) or love gone wrong (a long-term relationship that one or both terminated). Subtle signs lead one to believe, however, that his was a functioning relationship separated by death. This reading would take the sunset and the swallow returning from a day’s work as a symbol of the end of life’s day (1, 2). The weeping of the carretero occurs in the perfect past when the sky was full of light (i.e. life) (56), and when she was full of life, waving her handkerchief (i.e. agitaste (7). The honeysuckle has already withered (11) and the larks do not sing (12). The house is a ruin, suggesting the one-time presence of a housekeeper (14), and the tide pools are pools of the carretero’s own

Weiss 131 tears (15). Why? Because “your lips sing no more” (16). The finality of this, the carretero’s last utterance, positioned at the climactic point of the poetic and musical structures (line 16 of 20 in the poem; measures 85-90 of 108), speak of death or at the very least, an irreconcilable separation. The drama of Caraballo’s poem behaves cyclically in terms of the interchange between three main players, the wagon wheels, the narrator, and the carretero, and in terms of the poetic content that begins with the hope of possibility in the present (stanza 1), but closes dramatically with an evening that “dies” (18) along with the heart of the carretero. Cycles in form and phrase. The musical form follows closely that of the poem (see Figure 3). Except for measure 90 (the full recognition of the permanent nature of the conflict on the part of the listener and the carretero), each of the poem’s stanzas has been set to a 16-measure verse. The narrator’s verses are comprised of two 4+4 antecedentconsequent phrase structures. The carretero’s verses are made up of two declamatory phrases (2+2) followed by a 4-measure phrase and a long 8-bar phrase (in agreement with the lack of punctuation between lines 3 and 4, 7 and 8, and 11 and 12). During the introduction, the piano’s wheels complete two full rotations in 8-bar phrases (measures 1-8 and 9-16) and then once again before the carretero begins his song (measures 33-40). Interestingly, the piano begins a new rotation one measure before the narrator in verse one and one measure before the carretero in verse two (noted with arrows in Figure 1). This is not the case in measure 90 when the extra rhythmic space before the narrator’s closing statement is used to neutralize all sense of momentum. At this point, the narrator must jar into motion the wheels that have been utterly forgotten by the protagonist. Cycles in melody. The first audible melody is heard in the left hand of the piano reaching from the tonic to the fourth degree in measures one and two. A summation of the

Weiss 132 whole piece might be found in the first four measures, where the piano line attempts to reach above the fourth degree to the fifth (Example 25, measure 3, beat 3) but is dragged down again in measure four. The same idea is heard again in the left hand from measures five through eight, only this time in the relative major of Eb and with the jarring effect of a diminished seventh degree in measure six, which leads down to the fifth degree of the subdominant in preparation for a return to the relative minor. The harmonic message of the wheel’s first eight-measure rotation is clear: upward motion toward a Major goal devastatingly interrupted by a “sour” note in measure six (three-quarters of the way through the phrase) that precipitates a rapid decline to a solid c-minor tonality. Such an upward-downward motion can also be seen in every four-bar melodic phrase within the narrator’s verses (measures 1-4, 5-8, etc.; 91-94, 95-98, etc.), where the highest pitch is usually placed on the third beat of the second measure. Only in the B lines of the opening and closing stanzas (3, 19) does the narrator hold on to the third beat in an attempt to delay the melody’s inevitable downward motion. The last line of the narrator’s opening verse resolves to the third of the tonic, which creates a harmonic opening for the “close-up shot” of yet another rotation of the wheel. While the narrator’s text seems to be working together with the overall phrase structure of the right hand, the left hand competes with a duple-feel rhythmic motion that moves steadily up the staff in two beat increments. Except for the dominant chords in measures 24, 32, 93, and 105, this is always the case. Usually, the downward motion in the left hand is found in the form of a descending quarter-note motive, frequently beginning on scale degrees I or II (see measures 8, 16; combined in measures 40-41; measures 42, 51, 58, 59, 61, 74, 75, 77, 78, 81, and 84). During the two-measure declarations, ¡Ay, paisanita! Vuelve a mi amor! this same motive is punctuated by thick chords in the right hand. This cycle downward is the wheel’s forward turning and an echoe of the melody’s tendency to

Weiss 133 do the same. The third stanza begins with melodic material that is different from every other verse. This is the only verse whose melodic content is not wholly repeated elsewhere and forms the A of the ABB form that is the carretero’s “song within the song” (Example 25, stanzas 2, 3, and 4). The melody Buchardo uses for the phrase Alma de mi alma (5) immediately stands out from what precedes it because it does not move up or down immediately, but hangs on to the tonic degree, moving up only once on the first beat of measure 43. Strikingly different from the rest of the melodic shapes, this short phrase may be taken as a melodic representation of the static, halting nature of memory, when time stands still inside of the protagonist (even though the wheels of the cart are still turning below him) and he begins to remember “how [he] wept / … / when [she] waved goodbye.” Verses three and four begin with melodic phrases that are at the very highest point of the piece’s tessitura. Scale degrees II, IV, and V, set in a perfect cyclical arch on the staff, allude to the yearning for the key of Eb, an idea supported by the left hand in measure 58 and then negated in measure 74. These four short phrases (measures 58-59, 60-61, 74-75, 7677) are moments of unabashed yearning and denial. She can’t come back, but the carretero insists on giving reasons why she should anyway: “I cannot live (10) … the house is a ruin (14) ... the honeysuckle has withered (11) … the larks won’t sing (12)”. In summary, the overall shape of melodic content in this piece involves a conscious shaping of the phrases into arches with only one melodic high point. Melodic movement in the left and right hands of the piano either denote a steady movement upward or a rapid decline downward. Juxtaposed with the voice, there is simultaneous movement upward and downward, continually evoking the image of a wagon wheel in rotation. Cycles in harmony. Harmonic motion in the piano’s opening interpretation of the

Weiss 134 wagon wheels begins in c-minor and alludes to E-flat major as a point of arrival in the narrator’s opening statement (measures 21, 29-30), but doesn’t fully engage with the target tonal center until the carretero has officially entered the realm of his memories with the past tense word lloré (“I cried”). The composer couldn’t have been more precise here because the Spanish conjugation of the verb llorar to denote the perfect past tense occurs on the first beat of measure 45 with the ending -é. At that very point the melody line that follows his trip down memory lane begins immediately to build. For the first time, the composer begins introducing a variety of non-harmonic tones (augmented seconds and fifths) and joins the final two 4-bar phrases of the verse into one long 8-bar phrase ending on the seventh scale degree. The two syllables of the word adiós are accompanied by the song’s only two ninth chords on I and V, a careful set-up for the eruption of emotion that begins verse three. Almost the exact same harmonic structure of verse three is repeated in verse four, indicative of a cycling memory that can be relived over and over without ever loosing its emotional impact or intensity. C minor is used at the end of the piece to close the overall harmonic design. Textual rhythm. The 10-syllable line in each of the stanzas presents a unique opportunity to the composer. Whereas before the syllables could easily fit between strong beats in a 3/4 meter, the last four syllables of lines 2, 7, 11, 15, and 19 (campo verde, la tranquera, marchitado, etc. ) force the composer to do something different with his melody line. To align the strong beat of the last measure of the phrase with the accented syllable of verde, for example, he must use up an extra beat with the syllable that precedes the last four (del, en, se_han, llo-, va_el). It is during these phrases (labeled as phrase “c” in Figure 3) that an extended rhythmic anticipation severely cripples the strong beat in measures 28, 68, 83, and 101. By “tripping” through the high climactic point of the 16-bar verse and mitigating the strength of beat one, the composer pushes the melody toward closure. And in measure

Weiss 135 69 we find the VII-VI suspensions that mark the melodic decline in the closing phrase (Figure 3, measure 69). In measure 85, a second strong anticipation follow quickly on the heals of the upbeat in measure 83. It is placed below the word porque, which in speaking patterns carries a bit more stress on the por- than on the que when the speaker intends to make special emphasis on his/her reasoning (in English, “BE-cause”), a nice idiomatic touch. As Schwartz-Kates has pointed out, the carretero’s journey becomes the listener’s journey inasmuch as the terrain and emotions of the moment speak of larger metaphors for life. Carabello utilizes one of the classical techniques of the Gauchesco literature by portraying the barren landscape of the Pampa as a metaphor for human spiritual desolation. He makes abundant use of lifeless images such as the withering honeysuckles, the weeping river, and the dying evening, all of which he portrays through the forsaken eyes of his despondent carretero. On this point, Oreste Schiuma waxes poetic: Luckily, there is a musical expression that better represents the people’s feelings [in comparison to popular urban music]. But for the suburban dweller, it is harder to accept and internalize. I speak of the song sung by country folk, the authentic Argentine, who faces valiantly the heat of the sky, is found close to the deep work of the earth, and struggles with its overwhelming energy. All of it: their ways of thinking, of feelings, of pleasure, their desires, emerge harmoniously and blend person and panorama into one rhythmic identity. (98-99) Jujeña (Entry 31). The enthusiastic text to this song invites an animated and vibrant interpretation. Each of the sixteen separate descriptions of nature are a symbol of and preamble to the last two lines, “I sing because I love you, Vidita, for this reason I sing!” (3132). Accordingly, the singer may decide to make each verse a little more exciting and

Weiss 136 perhaps a little louder than the last. The suitor’s heart should be practically bursting with joy by the final phrase (Example 26, measure 113).

Example 26. Jujeña, measures 113-125.

Weiss 137 The pianist may find the piano accompaniment challenging at first, especially with the subtle chromatic variations in measures 5-7 and 13-15. Rhythmically, the introduction calls for a steady triple pulse in the left hand and a rollicking 6/8 or duple feel in the right hand. To achieve a folk-sounding flavor, the pianist should settle into the tonic chord at the end of each eight-bar phrase and accelerate ever so slightly into the next one (measures 78). That same feeling of settling down and moving forward might also be accompanied by a decrescendo and crescendo. Prendeditos de la mano (Entry 34). As in Jujeña, the pianist begins this song with a dance-like introduction bien ritmado or “well rhythmed”. This means that the staccatos and tenutos should be strictly observed and that the pianist should emphasize the pull from beats three to four in the right hand while maintaining a steady triple feel in the left hand. This delightful song tells the story of a girl, Felicinda, and a boy, Ciriaco, that have disappeared behind the hills. They return holding hands and the narrator wonders what might have happened between the two sweethearts. Stanza three quotes Ciriaco asking Felicinda for a kiss, which she gives him, with their hands clasped. So completely “confused” by the experience, they return in silence, with their hands held, a symbol of their new-found love. López Buchardo uses a similar rhythm for each of the stanzas but changes substantially the harmonies and melodic intervals to reflect the text. In measure 61, he paints the phrase tan confusos “so confused” with a leap downward and the upward again from Db5 to Db4 to Bb5 to Eb5 (Example 27). The result is a sonic represenation of the learching stomach and physical shock of a first kiss.

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Example 27. Prendeditos de la mano, measures 60-62. Si lo hallas (Entry 35). López Buchardo imitates the guitar in this song’s introduction with a kind of strumming between the right and left hands in measures two, four, six, and eight. The two pedal marking at the beginning signifies the use of the soft and sustain pedals for the purpose of imitating the resonance and delicate sound of a guitar. As with many of these nationalist songs, the pianist should avoid overusing the sustain pedal to the point where the harmonies turn mushy. As beautiful as they are, if the pianist wishes to maintain a more folk-sounding accompaniment, the harmonies should be cleanly sustained and with clearly marked “breaths” during each eighth-note rest (Example 28).

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Example 28. Si lo hallas…, measures 1-9. Camino’s text is written from the perspective of a female voice, but the song could be just as easily interpreted by a male, with no changes made. If the singer wishes to adjust the gender of the beloved, change del (4) to de la and lo (5) to la. The interpretation of this song should reflect the main character’s yearning for a

Weiss 140 departed lover. The images are exquisite: “Dear little stream…if you find him, kiss him for me, on his hands if he touches you and on his lips if he drinks from you” (1, 5-10). Frescas sombras de sauces (Entry 36). The opening accompaniment sets the tone for a song and text that suggests a more mature love than the first two songs in this collection of five. This same introduction is used to close the piece, reflective of an emotional state the persists within the heart of the main character. López Buchardo uses more complex harmonies and switches frequently from 6/8 to 9/8 to create a sense of rhythmic freedom and flexibility of expression. Accordingly, the singer and the pianist should feel free to make the most of every phrase and each of the composer’s expressive markings and: armonioso “harmoniously”, dulcemente cadencioso “sweetly cadential”, espresivo el bajo “expressive bass line”, con el canto “follow the singer”, con expresión “with expression”, poco más animado “a little more animated”, como eco “like an echo”, en el movimiento “in the movement”, and ligado “smoothly connected”. The text uses natural images to paint pictures of the beloved’s beauty. The fresh shade of the willowtrees are like her glances (1-2), the mountain breezes, her words (3-4), the smell of oranges, her promises (5-6), and the coolness of the custard apple tree, her lips (9-10). The last stanza is especially vivid: her love is like the cedar bark, fragrant and rough, that heals his wounds and like water that bathes the arid land. Oye mi llanto (Entry 37). The huaynu subtitle refers to a kind of folk lament from northern Argentina and Peru, but further research remains to be done on the exact correlation between the folk rhythm and López Buchardo’s song. In any case, the quarterhalf-note rhythm that repeats itself in almost every measure of the piece seems to be a universal if not localized signifier of death and mourning. Like the half-quarter-quarter rhythm in Schubert’s song, The Death and the Maiden, the introduction calls to mind the slow beating of drums. By repeatedly referring to this rhythmic motive, López Buchardo

Weiss 141 creates an intense and dramatic backdrop to the gut-wrenching outcry of love unrequited. He imitates the endless repetitivenss of the drum beat by imitating the IV-III motion in the left and right hands (Example 29, measures 1-4). And with the decsending IV-III-II-I scaler motion in the right hand agains the c# minor tonality, the entire piece calls out defeat and the death of love. The singer should prepare mentally for a cathartic grieving experience that leaves the audience emotionally exhausted by the final measure. Each phrase requires a sustained and dramatic shaping to demonstrate the lover’s absolute devotion. Even when the composer marks pianissimo or lejanamente “distantly”, the singer should always maintain an intensity in the vocal tone. Harmonically, López Buchardo uses the insertion of a major third where the listener might expect a minor third to denote the main character’s loose grasp on reality, a case of love-induced psychosis (Example 29, measure 8; measures 9, 11, 13, etc.). The protagonist recognizes this to some degree, as evidenced by the final stanza, but it is up to the interpreter to decide if the final measures will denote some kind of resolution, complete resignation, or continued anguish.

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Example 29. Oye mi llanto, measures 1-9. Malhaya la suerte mia (Entry 38). The main character in this song reflects on a particular lover whom he had traveled by railroad to visit in the city of Rosario. And this lover, fully aware of her power over him, would cling to him, knowing that he could never

Weiss 143 leave her of his own accord. The third stanza illustrates his irritation: “And now with you, I have to eat 150 peaches (to experience anything close to your sweetness) and then spit out the pits against the door of the ranch (to release my frustration) (9-12). He continues in the fourth stanza, “And now its my turn, because of your deceit, to do what you did in Rosario—await your return day and night” (13-16). The last line makes clear that the longdistance relationship has either been terminated or cannot ever fully materialize: “Damn my luck!” The gender-specificity in this text would be difficult to adjust and the melodic writing seems particularly appropriate for the baritone or tenor voice. But that does not exclude female singers from effectively performing the piece. It was actually debuted by a female singer, Ninon Vallin, in 1931. The strophic song contains one phrase particularly wide in range and somewhat difficult to sing in tune (Example 30). The rest of the melody is mostly scaler. The singer might consider speak-singing some of the intervals, like the opening fifth, especially since the voice of the poem is that of a characteristically “unrefined” working man.

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Example 30. Malhaya la suerte mia, measures 22-27.

Weiss 145 CHAPTER 4 The Songs of Love and Betrayal The first record of Carlos López Buchardo setting a Spanish text to music is found in the manuscript of Era una rosa (1915). The two songs that followed, Si para un fino amante (1916) and Nocturno (1917), are also found in manuscript form only. La canción desolada (1924) marks a turning point in López Buchardo’s output. It was the first song to be published with a Spanish text and from that point on, the composer would rely solely on texts of his native language, though there are records of him performing his French songs in public. Almost all of López Buchardo’s songs in Spanish were eventually printed by G. Ricordi & Company or Ricordi Americana (See Appendix E for more information on the publishers). The texts for Pampeana (1927), Querendona (1938), Copla criolla (1938), and Canción de ausencia (1942) are, outside of the two collections “in a Popular Style” (1924, 1936), the strongest in their references to Argentine folk themes. All four songs contain thick and sometimes difficult (but interesting) piano accompaniments. Composed and published toward the end of his career (excepting Pampeana), it is unclear how often these songs were performed—certainly not as often as the songs discussed in Chapter Three. Only Canción de ausencia has been recorded (Appendix C), but the other three are promising candidates for the vocal repertoire. Carlos López Buchardo married Brígida “Brigidita” Frías in 1920. He was 39 and she was 24. A recently-divorced single mother, Brigidita quickly became known in high social circles as a powerful, enchanting, and intimidating woman. According to Zulema Lasala, She was loved by some and hated by others. In some ways she directed the goings-on in musical culture. Many people were afraid of offending her because she was not the kind of enemy you wanted. There are an infinite

Weiss 146 number of anecdotes about her. For example, she used to say, “When I have to go somewhere where I know they don’t like me, I dress myself up prettier than ever and enter the room smiling and stepping loudly.3 (Lasala, par. 6) Perhaps her outgoing nature did well to balance Carlos’ gentler personality. What is clear is that a better musical companion could not be found. Thanks to her devotion and expert delivery of vocal repertory, audiences in a variety of cities, including La Plata, Santa Fé, Paraná, Rosario, Bahía Blanca, Tucumán, Azul, Viña del Mar (Chile), Concepción (Uruguay), and Montevideo (Uruguay), were exposed to the Argentine song literature. Jurafsky’s two descriptions of the couple’s performances glows with approval: A woman of extraordinary beauty, posessor of a beautiful soprano voice, to which she added her refined musical sensitivity. She interpreted perfectly the songs of French composers and felt a special predillection for the works of Argentine composers. Her union with López Buchardo was for him a great incentive to continue his work as a composer, but above all, he found in his companion the ideal interpreter of his songs. Those who had the priviledge of attending one of their recitals, with her singing the music of her husband, and with him accompanying on piano, will never forget the charming atsmosphere they created, such that even the most indifferent listener could not ignore. Both artists represented the most perfect image of interpenetration [i.e. the ideal duo], radiating a power of seduction rarely achieved by any artist.4 (Jurafsky 21) He continues, Our composers had in those two magnificent interpreters the best medium through which their works might become known to the public at an exceptionally high level. Argentine music heard in the voice of his spouse

Weiss 147 Brígida Frías found its ideal complement in the hands of López Buchardo, who could tease such a marvelous sound from the piano and had his own peculiar and charming way of expressing our music.5 (Jurafsky 36) Carlos and Brigidita together hosted visitors in their home on an almost-nightly basis, where almost everyone who was “anyone” came to enjoy the couple’s company and Brigidita’s singing of melodies by Fauré and Debussy. Musicians, poets, painters, and politicians, including the likes of Arthur Rubenstein, Richard Strauss, Jacques Thibaud, Félix Weingartner, Erich Kleiber, Fritz Busch, Otto Klemperer, and Leopoldo Lugones, were counted among their guests (García Muñoz 1004, Jurafsky 52, Lasala, par. 7). Brigidita’s grandchild (daughter of her only son, Carlos Alfredo Fitte), Beatríz Fitte de Fox, remembers as a little girl sitting in the parlor of her grandmother’s house, watching all the socializing among the élite. She also remembers being terrified when the then-widowed Brigidita would try to coax her into singing for the gathering (Fox, Beatríz Fitte de. Personal interview. 8 June 2004). But there were rumors of a sad side to the López Buchardo marriage. During a time in Argentina when it was far more common for men to engage in extramarital relationships, it was Brigidita who was said to be unfaithful to her husband. Such hearsay would not be mentioned if it weren’t for the texts of two songs that seem curiously to align with the idea: Lamento (Mírala como ha venido) (1938) and Canta tu canto, ruiseñor y vuela… (1940). Of course, due to the gender roles and expectations of the time, if Carlos had been unfaithful, not much would have been said about it, so there is no telling what truly went on between them. Beatríz Fitte de Fox never saw anything from her perspective as a young grandchild that would allude to discord or conflict in the marriage. It remains a matter of speculation. But if López Buchardo did suffer from the escapades of a beautiful and flirtatious wife, then the texts to these two songs take on an additional layer of meaning.

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Era una rosa (Entry 14). This short text captures as if in a still shot the first blush of love. López Buchardo calls for a soft declamado “almost spoken” interpretation of the first three lines, which are then contrasted by a slow and expressive final two lines. By declamado, the composer probably meant for the singer to use soft and gentle diction that captures the exquisite image of rose tones captured in the cheeks of two lovers. Written in 1915, this is López Buchardo’s first attempt to set a Spanish text. The accompaniment is simple and consistent throughout with little harmonic movement. For singers who enjoy capturing a static moment of beauty that lasts but one minute, this manuscript is worth digging up. Si para un fino amante (Entry 17). While Lugones’ text seems to represent a lover’s fierce devotion and loyalty, as stated in the third stanza, López Buchardo softens the tone of the piece and uses lush harmonies to emphasize the message of the first. His long harmonic progressions which float beneath the melody offer few points of closure. As was observed in his French songs written during the same time period, the composer was looking for ways to bind poetic phrases together by purposely avoiding harmonic resolution, thereby enhancing the aural effect of resolution at the end of the piece (Example 31).

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Example 31. Si para un fino amante, measures 21-39.

Weiss 150 Nocturno (Entry 19). The word nocturno here refers to the musical term: “a serenade or a dreamy sentimental composition appropriate to the evening or the night” (Velazquez de la Cadena 639). The text is spoken from one lover to another with reference to a particularly amorous evening. This is López Buchardo’s most physically-explicit text and could have been composed around the time he fell in love with Brígida Frías. The song was dedicated to her and she performed it with him in 1924. The piano accompaniment is almost entirely made up of a fluid eighth-note pattern in both hands with subtle and occasionally surprising harmonic moves. The throughcomposed melody, with its languishing triplets above the rolling accompaniment, seems to reflect the composer’s intent to infuse the melody with the same inflections that would be used to recite text. Unfortunately, the melody is difficult to sing and the overall effect of the song is less than what one might hope given the text. The strongest element of this piece is the piano accompaniment, which itself could exist by itself as its own piano nocturno. La canción desolada (Entry 25). A bilingual text, this poem refers to the familiar French folk song, Au clair de la lune (Example 32). Caprile’s use of these lines points much more directly than the original text to the image of a blind man whose candle has literally gone out (5). He feels betrayed by God and resents his physical limitation that forces him to beg from door to door (9-16). Au clair de la lune, Mon ami Pierrot, Prête-moi ta plume Pour écrire un mot. Ma chandelle est morte, Je n'ai plus de feu. Ouvre-moi ta porte Pour l'amour de Dieu!

Tonight by the moonlight, Pierrot, my dear friend A note I would soon write, If a pen you'd lend. Burnt out is my candle, and my fire is cold unlock your door handle for God's love of old.

Au clair de la lune, Pierrot répondit: Je n'ai pas de plume, Je suis dans mon lit.

In the moonlight bright then, Pierrot answered me: I do not have a pen, I'm in bed, you see.

Weiss 151 Va chez la voisine, Je crois qu'elle y est. Car dans sa cuisine. On bat le briquet.

Go next door, the neighbour does not yet retire, In the Kitchen labours Someone at the fire.

Au clair de la lune, L'aimable Arlequin Frappa chez la brune, Qui répond soudain: Qui frapp' de la sorte? Il dit à son tour: Ouvrez votre porte, Pour le dieu d'amour.

By the moonlight bright then, This fool went and knocked At the brunettes door, when . Through the door she asked Who is knocking now, here? In return he spoke: Open up your door dear, For the God of love.

Au clair de la lune, On n'y voitque peu; On chercha la plume On chercha le feu. Cherchant de la sorte Ne sais c'qu'on trouva; Mais je sais qu'la porte Sur eux se ferma.

Only by the moonlight Not much can be told. They search for a pen now Then the fire behold. Searching this and that way Who knows what they'll find. This much tho' I can say, They closed the door behind.

Example 32. Text and translation of the traditional folk song, Au clair de la lune (“20,000 Volkslieder, German, and other Folk Songs.” http://www.ingeb.org/). The four lines borrowed by Margarita Caprile for her poem in Spanish are bolded. López Buchardo modifies the original folk melody slightly. Instead of 1-1-1-2-3-2, he uses 1-1-2-2-3-2 for the opening melodic phrase. The rest of the song contains original melodic and harmonic material that draws upon the rhythms of the orginal folk song. The exception to this rule is the accompaniment, which rolls in 6/8 and contrasts the melody’s duple feel (Example 33). The song ends with an upward triadic motion to the tonic, reflecting the main character’s interrogative, “Lord, what for?” or “why me?”

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Example 33. La canción desolada, measures 38-45. Pampeana (Entry 33). This song is divided into two parts: an introduction designed to set the stage for the sad complaints of a pampa girl long since deceased (measures 1-44) and the words of the pampa girl herself (measures 45-64). In Caraballo’s poem, the main character describes herself as having been betrayed both by a lover (the poet) and by her age. She first recalls days gone by when she was the prettiest of girls, the inspiration of poets (14-20). But the text supercedes earlier songs in term of its symbolic power for women. By mentioning her pain-filled life and death, expressed in rhymes of pain and love (22-25), she represents all women whose experiences in relationships have served as the object of male creativity (32-22). By objectifying herself she calls attention to her side of the

Weiss 153 story. The decidedly female lament (though written by a male poet) and the vocal writing suggest that it would be most appropriate for a soprano, though a male singer might experiment by singing the first half to introduce the female voice. Singers will note that there are very few breath markings during the entire second half of the piece, which demands that the singer be quite technically advanced. In every way, this haunting and painful voice from the plains (6-9) equals that of the more male-centric texts, such as Malhaya la suerte mía and Canción del carretero. Querendona (Entry 51). The word querendona refers to the protagonist of this song as a female individual who is “crazy in love”. The text captures in short quips this girl’s absolute certainty at having found “the one”. This unabashed confession of love rides rhythmically in a 6/8 meter that is alternates rapidly between triple and duple subdivisions in each measure (Example 34). The pianist may find this tricky at first, especially when the rhythm doesn’t move into a duple subdivision (Example 34, measures 5, 7, 13, 15, 17, etc.).

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Example 34. Querendona, measures 1-9. The piano interlude that preceeds that last stanza should be played rambunctiously. Here, the main character’s enthusiasm knows no bounds. And the singer can capitalize on this emotion by accentuating the eighth notes in each phrase without loosing the phrase’s legato feel. Spanish speakers will notice slight spelling changes that reflect a more campesino or “country way” of speaking: ió instead of yo “I” (1, 17, 21), querirte instead of quererte “to love you” (7), ia instead of ya “already” (8), vaia instead of vaya “out with” or “forget”, and prigunta instead of pregunta “question” (18). The accents placed on the last syllable of the singular tú forms of verbs, preguntás “you ask” (2) and sabís “you know” (5), also denote the distinctively porteña way of speaking informally to friends, family, and children. Singers should feel free to accent these syllables to bring out even more the poet’s voice: “If

Weiss 155 I love you too much? / Forget the question!... / God put us on the planet / to be together.” (17-20). Copla criolla (Entry 52). The short couplets of this popular poem capture the feelings of initial attraction. The text is written from a male perspective, but the song is just as easily performed by a female. The first three stanzas might be interpreted so that the first two lines sound poetic and sincere while the last two lines reveal something of the main character’s mischievousness. The fourth stanza should reflect the boy’s excitement at finally seeing the woman of his desire and the fifth stanza his light-hearted enthusiasm. The last stanza is melodically identical to the first except for the final word míos “mine” which goes upward to a F#5 instead of a F#4. The singer and pianist will find the coordination of rhythm between them especially challenging in this piece, because it requires both the singer and the pianist to sing “against” each other. At a faster tempo, it becomes easy for the singer to “give in” to the accompaniment and sing a quarter-eighth-note rhythm instead of straight duple eighthnotes. This must be avoided to maintain the integrity of López Buchardo’s arrangement of folk rhythms (Example 35).

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Example 35. Copla criolla, measures 49-57. Lamento (Mírala como ha venido) (Entry 54). The sagging introduction in a slow 3/2 triple meter effectively captures the essence of the text before the singer even begins. It is the lament of a deep love betrayed. And adding to such pain is the fact that the main character accepts, forgives, and would eagerly forget the betrayal, if it wasn’t a repeating offense. But no matter the numbe of offenses, he must forgive her because he will never be able to release himself from her emotionally. “I have to love her” (12) is his self-proclaimed

Weiss 157 sentence. The pianist and singer alike must count carefully to not cheat any of the measures their full three beats. López Buchardo’s expressive markings challenge the singer to find cynicism and resignation in his vocal tone. He should sing the phrases con amargura “with bitterness”, con angustia “with anguish”, and tristemente “sadly”, as marked. Most of all, this is a man’s (or woman’s) song of defeat. The piano’s coda should draw that feeling out through the very last measure (Example 36).

Example 36. Lamento (Mírala como ha venido), measures 23-31.

Weiss 158 Canta tu canto, ruiseñor y vuela (Entry 55). The text to this song also addresses feelings of betrayal, less exposed and raw than in Lamento (Mírala como ha venido), but nonetheless potent. Nothing can be proven, but it is tempting to associate the singing nightingale with Brígida and with her song the “parallel pain” (4) that López Buchardo might have experienced due to her unfaithfulness. Lines 12-14 harken to an earlier moment of innocent bliss, captured in the song Nocturno. It might have been this “night illustriously dawned” (Entry 19, line 14) that was the beginning of it all. As the poem contrasts images of beauty with those of pain, so too must the singer express con simplicidad “simply” the poet’s acceptance of a basic reality, that love cannot exist without pain. The melody to this song is particularly beautiful and sweet (Example 37). Each phrase is short enough to be expertly shaped and clearly enunciated, similar to how they might be recited in a spoken sonnet. López Buchardo uses triplet figures in the third stanza to represent the nightingale’s call (9-10). This chirping is contrasted starkly with the thick harmonies surrounding the image of “the blood of the injured mouth” (11).

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Example 37. Canta tu canto, ruiseñor y vuela, measures 5-20. Canción de ausencia (Entry 58). This main character finds herself betrayed by distance. In contrast to the images of nature used in previous songs to represent beauty and desire, the images of nature in this poem are vehicles for the pain felt in the absence of a lover. The nature of that absense and its cause is left to the artist’s imagination. The metaphors of “groaning” winds and the “murmuring” ocean appropriately

Weiss 160 describe the ever-present pain of a lover in absence. The Spnaish text rolls easily off the tongue in a triplet-based melody set against a pulsing quarter-half-quarter-note accompaniment in common time (Example 38, measures 57, 64-67). The exclamations, Ay! literally stop the rhythmic flow of the melody and give the singer a moment for directly expressing his or her hurt (9, 12, 21, 24). There are an abundance of interpretive possibilities with the long closing phrases, “Ay! My pain!”. The singer might consider a crescendo on the syllable –lor of dolor the first time and use a decrescendo on the same syllable the second time to transition into the pianissimo dynamic of the penultimate stanza. The singer and pianist should steadily crescendo all the way from the first word of the last stanza through the end of the last note, as noted in the accompaniment.

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Example 38. Canción de ausencia, measures 57-68.

Weiss 162 CHAPTER 5 The Songs for Singing to Children During his career, Carlos López Buchardo completed a collection of Siete canciones infantiles (1937) (Seven Children’s Songs) and the three other songs written for or about children entitled Hormiguita (1919), Canción de Perico (1940), and Canción del niño pequeñito (1940). Due to Argentina’s innovative and comprehensive state-sponsored music education system, there was a steady demand for one- and two-part songs to be used in the primary and secondary schools. Sometimes, these songs were differentiated from formal art songs with the parenthetical subtitle, canción infantil (children’s song). Children’s songs were normally considered a separate genre, entirely apart from the canción de camara (chamber song, art song), but they have been included in this study for two reasons. First, children’s songs were an important and expected contribution of composers of López Buchardo’s generation. According to Jurafsky, It would be difficult to find an Argentine composer that hasn’t written something for children, whatever his or her preferred musical genre might have been. From Alberto Williams and Julián Aguirre, to José André, José Gil, Athos Palma, Floro M. Ugarte, Cayetano Troiani, to the young composers of today, all have contributed to the formation of a body of songs for the primary schools, perhaps more so than most other countries.6 (Jurafsky 42) Second, these songs could be effectively performed and recorded by adult singers in a recital setting, in the same fashion as Mexican composer Silvestre Revueltas’ Five Children’s Songs. Questions still remain about exactly how these songs were used in the schools. As seen in Exampled 39 and 43, not all of the melodic lines and vocal ranges seem particularly suited to the young voice. Either the young students were exceptionally skilled or some of

Weiss 163 the songs were designed for teachers to sing to the children (although with repetition, young students might have memorized refrains and sung along). Today, adult singers, young vocal students, and children could all benefit from a study of the Siete canciones infantiles. The songs’ rhythmically-even phrases and simple melodies make for a pleasant introduction to Spanish diction. Vocal students might practice reciting the text in strict rhythm, a good method for learning any of López Buchardo’s songs. As a side note to the musical qualities of the children’s songs, the text that López Buchardo’s chose for Hormiguita (1919) also points to a quality in the composer’s personality that was repeatedly recognized by the people who knew him or knew of him: They were two little ants small and black […] On the path they go, I don’t know what they say, I only know that they walk happily with their loads. Want to be a little ant to walk through life without anyone seeing us, without anyone hearing us? (1, 6-9) Alfredo Andrés, writing ten years after the composer’s death, and Abraham Jurafsky, writing eighteen years after, arrive at different conclusions about whether the composer’s quiet and non-aggressive manner was “passive” or “private”. Comments Andrés, who was only 24 when he wrote his book (and would have been 14 the year López Buchardo died): His career…exists. And it wasn’t exactly the least-active career. On the contrary, coming from a strong socio-economic position facilitated his occupying of positions that on repeated occasions might have defined the Argentine music scene. Unfortunately, his presence, in spite of the good things he had to offer via his own music, seemed to be more passive than anything, meaning he didn’t destroy anthing, simply maintained the state of

Weiss 164 things as they were, not allowing anything to lose quality, but at the same time, keeping his distance from the many projects or improvements that one might expect from someone operating in his sphere of influence.7 (Andrés 74) Jurafsky prefers to view López Buchardo as a quintessentially private man who, nonetheless, “didn’t like being alone” and “always sought after the company of those for whom he felt a special affection” (Jurafsky 51). He quotes Arturo Capdevila as saying, “[He] never made a negative judgment about those voices—that were for others—the discordant voices in life, to such a degree that if we would have asked him, “And what is the world, Maestro?” he would have answered us with in his most persuasive tone, “Frankly, an orchestra.” “And what about conflict in the workplace?” “Glitches in the orchestration…”8 (Jurafsky 54) His ability to stay on the good side of the various factions and political debates related to his administrative positions amazed many, including Carlos Suffern, who wrote in his public homage, Carlos López Buchardo has died, but the most authentic vocal cords to be found in our output of lyric works have not been muted: he remains forever with us. He remains in his Vidala, which is like the scents of twilight that enter in through the window that overlooks the horizon of native nostalgia…But he also remains in that unending gift of Concord that he possessed, in the gift of tolerance and patience. Someone once said, accurately, that the harmony professor also knew how to harmonize men.9 (Jurafsky 50) But for those who were not among his close friends, his impression was one of a formal distance and, at times, apathy. Always a gentleman, finely dressed, López Buchardo preferred to maintain distance between himself and the students of the conservatory. Ana

Weiss 165 María Portillo records conductor and composer Jorge Fontenla (b. 1927) as saying in an interview conducted 8 November 1995, I remember when I was a student at the Conservatory that we would hear López Buchardo behind a thick door that separated him, but didn’t necessarily protect him from the world. He had his own entrance for coming and going, separate from the entrance the students used, so we never knew when he came or went, we never saw him, but sometimes we could hear him playing the piano and it was really exquisite playing. Everything about him we knew from the other teachers. I never heard him speak, not one word. He was such a discrete man, so reserved, so private. He was like a patriarch for us, an illustrious figure. We accepted these kinds of rules of a game that somehow signified we were a part of something very important.10 (128-129) The interpreter of Hormiguita and any of López Buchardo’s children’s songs might consider capturing in his or her presenation the joy of being happy but unseen, involved but protected, as these were some of composer’s hallmark personality traits.

Hormiguita (Entry 21). The music for Hormiguita appears simple at first glance, but singers and pianists (and listeners) will find some of the melodies and harmonic progressions difficult to grasp at first. A good example is López Buchardo’s attempt to express musically the little ants as they wind through their long path in the grass (2-5). His modulation from C Major to G Major must also find its way through intimations of c minor, Eb major, and D Major, all of which are heavily laden with chromatic notes that allude to their secondary dominants (Example 39, measures 21-28). Although this song is labeled as a canción infantile, its melody and harmonies make it better suited for the more experienced singer.

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Example 39. Hormiguita, measures 18-34.

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Este pajarito (Entry 44). Additional support for the idea of singing the Siete canciones infantiles to an adult audience is found in López Buchardo’s piano accompaniments, which rarely double the vocal melody line and gracefully contrast it with colorful “jazzy” harmonies (Example 40). In Este pajarito, he is especially fond of using appoggiaturas that move to from a nonharmonic tone in one chord to the 6th or 7th degrees of a resolving chord (Example 41). The overall effect is that the accompanying chords serve as adult commentary on the child’s melody; in other words, the listener experiences the child’s poetic voice through adult eyes.

Example 40. Este pajarito, measures 8-10.

Example 41. Este pajarito, measures 5-7.

Weiss 168 The charming text for this song switches from third person to first person when the “little boy” (3) admits to having let the bird escape out the window (15-16). Accordingly, if the song is sung by an adult singer, he or she might try to flatten the tone of the high F4 to resemble that of a little boy rather than a mature singer (Example 42). The singer’s facial expression and tone in the last phrase, y se me escapó (“and he escaped me”), might also exhibit the innocent charm of a young child.

Example 42. Este pajarito, measures 21-24. La casita del hornero (Entry 45). The “little bakerman and the bakerwoman” (2) in this poem actually refer to male and female pigeons making their mud home on a doorstoop. Again, this is appears to be a text that children would not fully comprehend without some explanation. The melody is sometimes difficult, other times delightfully simple (Example 43).

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Example 43. La casita del hornero, measures 14-17. El jardín de mi Escuela (Entry 46). The most idyllic of the collection, this song sounds almost like an adult reminiscing about his childhood playground at school. Of course, the text is in present tense and Ida Réboli’s poetic voice is definitively childlike. López Buchardo includes an optional high G5 in one of the phrases and includes several expressive markings that suggest once again that he had adult interpreters in mind for this collection of songs, just as much or more so than children. Mi señorita (Entry 47). This poem refers to the Nannies that the many of the wealthier families hired to take care of and educate their young children. This nanny is perfect and never gets mad at her charges for making messes (3-4). She’s always content and tells the children stories (7). Again, Réboli’s text references childlike subjects, but from an adult perspective. What child, afterall, would sing about finishing chores (8)? El patio (Entry 48). The music for this song is jovial and rhythmic. The singer sings “Ha-ha-ha” before finishing every stanza in a rhythm that invites jumping or dancing. This song, along with El arco iris, seems the most appropriate for a Spanish-speaking Kindergarten today. Still, López Buchardo adds chromatic harmonies that might distract the young singer from the main melody, if it wasn’t first learned well (Example 44).

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Example 44. El patio, measures 1-15.

Weiss 171 El canario (Entry 49). The canary sings happily because that is his work. In this poem, Ida Réboli does capture the child’s voice almost exactly with phrases like “he is my treasure” (8), though once again, the expressive markings such as con ternura (“with tenderness”) and frequently changing meter suggest that this song would find its ideal interpreter in a young singer or an adult singer with a young-sounding voice (Example 45).

Example 45. El canario, measures 10-13. El arco iris (Entry 50). The simple and repetitive A sections in this, the final song in the collection, seem perfectly suited to the young child’s voice. The B section (stanza four), however utilizes half-note intervals and a sudden shift to the parallel major that does not seem appropriate (Example 46). Perhaps López Buchardo was encourage to write children’s songs for the sake of making a contribution to the music education efforts of his day. The songs are not poorly written, but it does seem that the composer could not help but write for a mature interpreter who could read his many markings and interpret the subtleties of the poems.

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Example 46. El arco iris, measures 17-25. Canción de Perico (Entry 56). In the case of Canción de Perico, the composer obviously meant for an adult to perform it. The poem assumes the voice of a parent figure that lovingly recognizes a child’s free spirit. The bouncy introduction hails the arrival of a rambunctious boy who plays in the forest, sticks out his tongue, and croaks like a toad (4-

Weiss 173 5). The image of the young boy may also refer tangentially to a grown man with artist-like tendancies who “doesn’t want to be wise or rich or king, but wants to laugh and sing” (78). This is a comical and upbeat piece, only one minute in length, that could be learned with some effort by intermediate singers. The most difficult melodic line is a chromatic painting of the boy’s rowdy demeanor (Example 47).

Example 47. Cancion de Perico, measures 14-21. Canción del niño pequeñito (Entry 57). This poem uses beautiful imagery to illustrate the love of a father or mother for a small baby who is falling asleep. The song was dedicated to López Buchardo’s only son by marriage, “Carlitos” Alfredo Fitte. His lush harmonies in the introduction and throughout the piece serve as a rich and comforting backdrop to the vocal line. The eighth-note pulsing and milonga-like triplets that end the piece might even be interpreted as the gentle sway of a baby’s cradle (Example 48)

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Example 48. Canción del niño pequeñito, measures 19-26.

Weiss 175 CHAPTER 6 The Songs of Civic Duty Carlos López Buchardo held several administrative positions during his lifetime. In spite of his personality, which was by all accounts quiet and unobstrusive, López Buchardo seems to have been called upon to provide a sense of legitimacy and stability for the organizations that he oversaw. Carmen García Muñoz’ summary of the composer’s curriculum vitae is probably the most complete: In 1916, he assumed the presidency of the Wagnerian Association, a position that he held until his death…In 1921, the School of Music in the Teatro Colón was created and he was appointed director [of the various professors], a collaboration that three years later would result in the inauguration of the conservatory. The National University of La Plata [UNLP] decided in 1923 to establish a music division within the Department of Fine Arts, which began operating in 1924 with López Buchardo as director and professor of Harmony. That same year, the National Conservatory of Music and Recitation was founded with López Buchardo as [director and] professor. For 24 years he held that position, surrounding himself with a highly-qualified group of professors. After his death, the Conservatory was named after him. In 1924 la Municipality of Buenos Aires designated a commission devoted to organizing seasonal activities at the Teatro Colón, of which he was a part. He stayed tied to the theater for many years. In 1927 and 1928 he was became a member of two commissions charged with studying the National Anthem and determining which [of the many versions extant at the time] would be the designated as official. Beginning in 1934 and for three years after, he was President of the Nacional Society of Music…In 1936 the Government created

Weiss 176 the Nacional Acadamy of Fine Arts and designated López Buchardo and José María Castro as members of the music division.11 (García Muñoz 1004) López Buchardo’s appointment to so many positions of importance were due in part to the public recognition he frequently received as a composer. Following his successful debut of Il Sogno di Alma in 1914, he received a Municipal Prize in 1923 for his symphonic poem Escenas Argentinas (“Argentine Scenes”), which was debuted by Félix Weingartner and the Philharmonic Orchestra of Vienna during a 1922 concert they gave in Buenos Aires (Andrés 88). In 1925, he received another Municipal Prize for his first collection of folkinspired songs Seis canciones al estilo popular. In 1935, the Nacional Commision of Culture awarded him a prize for his lyric opera Amalia (Andrés 88). López Buchardo received yet another Municipal Prize for his Cinco canciones al estilo popular, most likely awarded in 1936 during the same year of their publication. And in 1937, the Nacional Commission of Culture awarded him a prize for Siete canciones infantiles (Montes de Oca, 315-319). By this point in his career, Zulema Castello de Lasala asserts that though the composer’s many recognitions were duly merited, they were also given, at least in part, because López Buchardo had the right “connections”, refering to his highly-regarded and protected place in the city’s heirarchy of cultural players (Lasala, par. 8). Four of López Buchardo’s songs seem to have resulted either from his administrative positions or in response to social causes that fell within the realm of his civic duties. They are the Himno de la Universidad Nacional de La Plata (1927) (“Hymn of the UNLP”), Himno de la Cruz Roja Argentina (1935-36) (“Hymn of the Red Cross”), La Doble Cruz (Himno de la cruzada contra la tuberculosis) (1935-36) (“Hymn of the Double Cross”), and his last known composition, which has not been located for study, Canción del trabajo (1948).

Himno de la UNLP (Entry32). A native of La Plata where López Buchardo served as

Weiss 177 chair of the music department at the Universidad Nacional de La Plata (“National University of La Plata”), Montes de Oca included an analysis of the song, a historical synopsis of its origins, and its performance history in her dissertation (96-107). Today, the piece still serves as the University’s official anthem, although it is infrequently performed. The text is a romanticized paint-job of the glories of academia and the promise of budding youth. Himno de la Cruz Roja (Entry 41). The wherefore of this piece is still unknown. It is assumed, as with the hymn for La Doble Cruz, that López Buchardo was commissioned to write a song that the ladies of the Red Cross could sing at their gatherings or during their public marches. The poem’s author and renown educator, F. Julio Picarel, is featured with a short biographical summary by Montes de Oca (119-120). His text takes on the personage of the Red Cross, who declares that she is “the guardian angel that covers brotherly pain, the flower’s balm, and a melting pot which harmonizes all the races” (9-11). La Doble Cruz (Entry 42). F. Julio Picarel also wrote the text to the hymn used by the “Crusade Against Tuberculosis”, whose symbol was a cross with two horizontal lines forming a “Double Cross”. Even more of a march that the López Buchardo’s hymn for the Red Cross, this piece was almost probably sung in public parades and presentations.

Weiss 178 CHAPTER 7 The Lost Songs and Other Vocal Works López Buchardo began work on six large-scale vocal works, four of which were completed and performed: Il sogno di Alma (lyric fantasy, 1914), Madama Lynch (lyric comedy, 1932), La Perichona (lyric comedy, 1933), and Amalia (lyric comedy, 1935). It is still debated whether the score that López Buchardo left of La Bella Otero (lyric comedy, 1937), was actually complete. In any case, it was never performed. Toward the end of his life, he began work with long-time colleague Gustavo Caraballo on Santos Vega, a “lyric legend in a prologue, one act, and an epilogue” (García Muñoz, “Carlos López Buchardo,” 1004). It was left unfinished. Brief summaries of the vocal works’ plots (if known) and preliminary information about their performance history are included below. There is still much work to be done in the area of López Buchardo’s operas. It is hoped that this basic information will be useful to English-speaking researchers.

Il sogno di Alma (1914), 3 Acts, 4 Scenes.The composition of this opera, or “lyric fantasy”, as López Buchardo preferred to categorize it, began in 1909, when the he was eighteen. Its libretto, originally conceived as a book entitled En el pais violeta (“In the purple country”) by Enrique Prins in Spanish, was translated into Italian by Leopoldo Longui before the composer began setting it to music. It was eventually refined and completed in Rome by the Italian librettist Sem Benelli. López Buchardo finished his orchestrations in May 1914 and it was debuted in August of the same year in the Teatro Colón. The sponsoring company Longinotti spared no expense on the initial production. Costumes and sets were designed in Milan by Mario Scala, Tulio Serafin was hired as the stage director, and the cast included some of the best singers to be had in Buenos Aires at the

Weiss 179 time: Lucrecia Bori (soprano), Alejandro Bonci (tenor), and José de Luca (baritone). The work was staged again in 1917, 1949, 1967 (Montes de Oca 8-9). The story line was rather simple and much criticized for its lack of dramatic action, though López Buchardo’s musical setting was critcally acclaimed. It begins with Alma, a young country girl who lives at the base of a mountain in a forest with Bolián, an old shepherd and her guardian. Herio, the young man to whom she is promised, and Bolián leave in the evening and promise to be back in the morning. During the night, Alma dreams that she is carried by faries to a queen. The queen wishes Alma to fall in love with her son, a sad prince. Bolián, in disguise as a wise man in her dream, tries to rescue her from the situation. Just as her coronation begins, Alma awakes to the sound of dogs who are accompanying Bolián on his trip back home. She is reunited again with Herio and the old pastor gives his blessing to the young couple (Montes de Oca 9). Madama Lynch (1932), 3 acts, 10 scenes. At the suggestion of impresario Enrique T. Susini, the libretto for this musical comedy was conceived of by Agustín Remón and Enrique García Velloso and the music written by López Buchardo (Jurafsky 43-45). The work tells the story of Elisa Alicia Lynch and the Paraguayan sailor Francisco Solano López (García Muñoz 1005). La Perichona (1933), 3 acts, 8 scenes. Based on the overwhelming success of Madama Lynch, the same librettists, Agustín Remón and Enrique García Velloso, wrote another plot set in the time of counter-revolutionary military strikes by the English in Buenos Aires (ca. 1806). The love story occurs between Anita Perichon and Santiago de Liniers. Two songs from this comedy eventually took on a life of their own: ¡Pobres jasmines criollos! and Vals, both of which were performed in public recitals with López Buchardo at the piano (Figure 1) (García Muñoz 1005). Amalia (1935), 1 act, 11 scenes. Pedro Miguel Obligado was invited by Susini to

Weiss 180 joing García Velloso and López Buchardo in writing yet another musical comedy. They took as their storyline the novel Amalia by José Marmol, set in the times of the Juan Manuel de Rosas (ca. 1835-52) (García Muñoz 1005). This comedy was debuted at the Teatro Odeón (as were the other aforementioned vocal works) by Dora Peyrano, Amanda Varela, Benita Puértolas, and Miguel Faust Rocha (Jurafsky 46). La Bella Otero (1937), incomplete, 8 numbers. The subject of this musical comedy was the famous Spanish opera singer and ballerina Carolina Otero (1868-1965), who was nicknamed “The Beautiful Otero”. The plot is unknown (Montes de Oca 155), but probably followed her famous “rags-to-riches” life story. López Buchardo is quoted as saying that he had finished this work in collaboration with Maestro Torroba, but the work was never staged. Santos Vega, incomplete, 1 act, 3 scenes. Based on the poem Santos Vega, by Rafael Obligado, the libretto by Gustavo Caraballo and music were still in preparation at the time of López Buchardo’s death (García Muñoz 1004, Andrés 90). Santos Vega was a legendary payador (“singing gaucho”) whose talents as a song-writer were unsurpassed. According to the legend, only the devil, disguised as Juan Sin Ropa (John Without Clothes) was ever able to defeat him under the shade of the great Ombú tree. This subject matter would have been ideal for López Buchardo, since he had already established himself as a classical payador of his time.

Two popular songs in Spanish, akin to the style of Petite Ynga from the composer’s early days, remain for analysis: Pobres jazmines criollos (1933) and Porteñita (date unknown). Seven songs by Carlos López Buchardo, in addition to those already mentioned in previous chapters are “lost” and unavailable for study. They are Para flor de durazno (1921), Tránsito (1924), Vals (1933), Una rosa para mi rosa (1936), Caminito de Flores (1942), Canción del

Weiss 181 Estudiante (no date), and Los camperos (no date). Readers who are interested may consult their respective entries in Chapter One for all known data gathered to date about these works. Some say that nothing is ever truly lost in Buenos Aires, only hidden, and that in due time all things of importance will eventually rise to the surface. Others lament that many musical and cultural treasures have been destroyed or stolen, due to a lack of funding for proper preservation and storage. It is not uncommon to find that works by composers of great national importance are extremely difficult to locate and, for all intents and purposes, “lost” to the public. To aid the interested researcher, important resources for the study of Argentine music in general and art song in particular are provided in Appendix F. In the case of López Buchardo, very few of his manuscripts remain for consultation and study, most of which are currently in the hands of his granddaughter through marriage, Beatríz Fitte de Fox. These include the piano score of Amalia, the score and parts to La Perichona, the incomplete manuscript of La Bella Otero, and the manuscripts to some of his songs along with a few sketches (Fox, Beatríz Fitte de. Personal interview. 8 June 2004.). Luckily, Susana Montes de Oca was able to access additional scores and several items of López Buchardo’s personal history when they were still housed at his son Carlos Fitte’s home in La Plata, Argentina over a decade ago. In her dissertation, she includes a her own brief summary of the musical numbers in La Perichona, Amalia, and La Bella Otero along with the poorly duplicated and hard to read clippings of newspaper reviews of the lyric comedies that made it to the stage. Pobres jasmines criollos (Entry 39). Except for a few measures that expose the medium-high tessitura, this song is ideal for the young female singer with basic Spanish skills. The basic ABA song form is easy to grasp and the piano accompaniment style is

Weiss 182 reflective of the song’s origin in musical theater. The song was extracted from song number 11 of the La Perichona and was probably sung by the protagonist, Anita Perichón (Example X).

Example 49 ¡Pobres jazmines criollos!, measures 1-4. Porteñita (Entry 53). Set in ABA form (A: comprising lines 1-9, B: 10-17, A: 18-26), María Luz Regas Velasco’s text is an ideal representation of Argentina’s nationalist pride and connection to the old world. The “carnation-colored” ship, baptized with the name Porteñita, crosses the ocean and carries the scent of magnolias and orange blossoms to the old world (1-4). The trees of Seville and the songs of Venice rise up to greet “their little

Weiss 183 sister of the Southern Cross” (10-15). And the ship must not leave its heart in any other place, but home. This song is most easily sung by a tenor or baritone voice. The accompaniment is flowery and full of opportunities for emotion-laden rubato. It may serve as a nice addition to a less-formal recital of Neapolitan songs and other such popular genres.

Weiss 184 CHAPTER 8 Carlos López Buchardo’s Musical Style Montes de Oca suggests three different periods in López Buchardo’s compositional development. The first, from 1896 through 1919, is characterized as predominately eclectic. It is a time of experimentation with fresh harmonic ideas he probably learned in Paris. These included the juxtaposition of chords for an essentially bitonal effect and the utilization of the interval of a sixth, especially over the tonic. During this period, the composer’s musical language was characterized by frequent meter changes, irregular rhythms and through-composed melodies that sounded at times more instrumentally than vocally conceived. From the beginning, his melodies and harmonies were very obviously textually-inspired, to the detriment of formal structures, as seen in his early French songs. His song forms are sometimes in a loose binary or ABA forms. From the earliest pieces, López Buchardo established the piano as an equal participant to the voice, occasionally taking his pianism to the point where the accompaniment seems to lose track with the melodic material (Montes de Oca 6-7 ). The second period, dating from 1919-1931, begins with the debut performance of “La Campera”, one movement from a three-movement orchestral work that would eventually become Escenas Argentinas. The entire symphonic poem was debuted in 1920. Between 1921 and 1924, López Buchardo composed six songs that were eventually published as the Seis canciones al estilo popular. This landmark collection shows López Buchardo combining for the first time characteristic elements of folk songs or dances and incorporating within them elements of impressionist harmonies. The harmonies are more transparent during this period, the melodies easier to sing, and he begins resolving phrases on the first degree without dissonances. In many of these songs, the composer emphasizes the third degree in his melodies, a common element of Argentine folk song, especially the

Weiss 185 minor third (Montes de Oca 68-70). López Buchardo’s third period, from 1931-1946, includes the Cinco canciones al estilo popular and the various musical comedies, all of which incorporated numerous folkinspired themes, rhythms, and melodies (Montes de Oca 150). Andrés and Jurafsky both opine that with the second collection of songs, López Buchardo achieved an amalgamation of an even higher order than with the first collection. Carmen García Muñoz lists as principal elements of López Buchardo’s style his painstaking attention to the details of his writing and musical form, an innate sense of lyricism, elegant phrasing and line, a “noble” sense that he infuses into popular musics, a distinctive harmonic landscape, various combinations of duple and triple rhythms, and a close relationship between the piano accompaniment and the voice (1006). Other important facets of López Buchardo’s approach to the song repertoire are his careful selection of texts whose treatment of folk thems closely aligned with his own treatment of the music, harmonic and melodic word painting, subtle harmonic and contrapuntal variations (especially in his earlier works), the piano as the ideal tool for setting of an emotional landscape for text, tertiary, binary, and strophic song forms, and thick-fingered piano accompaniments.

López Buchardo began feeling symptoms of an unspecified illness in 1947, but kept it a secret from all but his closest friends. He downplayed the seriousness of his situation until January of the following year, when he began to undergo a variety of treatments. Fatigued by the medicines prescribed to him during the ensuing months, López Buchardo finally succumbed to his ailment on the morning of 21 April 1948 (Jurafsky 47). The composer’s death came as a shock to many professors, students, and

Weiss 186 acquaintences who had assumed the 66-year old to be in good health. A public viewing of López Buchardo was prepared in the conservatory, which would later be named after him (Illustration 1 and 2), and his body was carried to the famous Recoleta cementary (Jurafsky 47). Homages and concerts in tribute to the composer abounded during the next twenty years, especially on the anniversary of his death (Monte de Oca 288-300). One of Argentina’s principal newspapers, La Nación, wrote: The news of the Maestro Carlos López Buchardo’s passing has, without a doubt, awoken grief and sadness within the artistic and cultural circles of this country. Such feeling is owed not only to his role in the formation and development of a nascent school of Argentine music, or to the exemplary way in which he carried out his official positions of importance and responsibility, but also to the moral qualities that distinguished him and made of him an accomplished gentleman, in the most elevated sense of the term…As a composer, López Buchardo has already earned a place of preference in the realms of national music, being one of the few composers to have defined his own artistic personality and musical style; all of this he has done with complete naturalness, with a spontaneity that witnesses to the authenticity of his vocation.12 (Jurafsky 47-48, no date mentioned) Similar mention of López Buchardo’s moral fiber was made in an homage read by Roberto García Morillo on the twentieth anniversary of his death. I would like to reflect…on the beautiful moral and human qualities that always set him apart, in his magnificent work at the head of the Conservatory; his gentlemanliness and integrity, his unvarying affability and goodness, his permanent and kind smile, and his good will and desire to understand and help solve—inasmuch as it were possible—the many

Weiss 187 problems that his delicate tasks, of so much responsibility, put in front of him frequently.13 (Montes de Oca 293) García Morillo concludes, …perhaps the beauty of his melodic inspiration in his musical creations, ever fresh and lush, are nothing more than a reflection and a consequence of the kindness of his soul and the elevation of his spirit.14 (Montes de Oca 293) Jurafsky would have agreed with García Morillo. Not only was López Buchardo’s music somehow a reflection of “the kindness of his soul and the elevation of his spirit”, but it spoke for the composer in a way that his words could not. Carlos López Buchardo speaks to us still in his admirable songs, in a language better than words—a musical expression that, thanks to its beauty will last, and in spite of time and distance, is where his spirit will be found more clearly and deeply than in his actual existence…I wish to relay and important event, which occurred shortly after his death. A concert was organized in his memory and various musicians performed some of his works. As the concert went on, an undescribeable emotion filled the room. It was his authentic voice, his soul’s confession, expressed with an exactness that only art can achieve. And the Maestro Alberto Williams [about 86 years old at the time] with his eyes shining, and who had spoken earlier about his colleague…said beautifully when the last song had finished: “This was Carlitos! That was our Carlitos!” And everyone present felt that we had never had him so close, that we had never loved him so much, that we had never understood him better.15 (Jurafsky 7-8) The image, then, of Carlos López Buchardo passed down through the decades since his death has been one of a good-natured, non-aggressive, and private man (Illustration 3).

Weiss 188 It was also thought that the detailed minituristic work found within his songs, the carefully crafted harmonies and inner voices in the piano accompaniments, were somehow reflections of his equally intricate personality. A talented pianist with his own unique style of playing that complemented perfectly his wife’s singing, López Buchardo is remembered for his “miraculous” performances of Argentine chamber music (Jurafsky 52). His greatest accomplishment remains, however, in the development of a unique musical style that fulfilled the aspirations of a nascent Argentine musical nationalism.

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Illustration 1. Plaque dedicated to Carlos López Buchardo in the National Conservatory, Buenos Aires, Argentina. “To Maestro Carlos López Buchardo. – and homage from the Nacional Conservatory of music and scenic arts. 1924-1948.”

Illustration 2. Plaque celebrating the centenary of Carlos López Buchardo’s birth in the National Conservatory, Buenos Aires. “To Maestro Carlos López Buchardo. Centenary of his birth. 1881—12 October—1981. Homage of the Nacional Conservatory of Music “Carlos López Buchardo.”

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Illustration 3. Photograph of Carlos López Buchardo (1881-1948).

Weiss 191 ENDNOTES 1.

López Buchardo era el típico argentino de la época, hijo de estanciero, estudiando y disfrutando de la vida en París, generoso y gentil. En la misma época estaban Ugarte y Palma, que no eran tan ricos, entonces él los invitaba a participar de sus clases con Albert Roussel, y luego les pedía que le hicieran los deberes. (Lasala, par. 15) 2. Su

espíritu religioso (que Cecilio López no compartía pero respetaba), recorría la casa abiertamente. En una de las habitaciones dominaba el espacio una figura de la Virgen del Carmen, de quien María Buchardo era ferviente devota, de gran belleza, extraordinariamente trabajada en yeso policromado, que alcanzaba un metro de altura. En muchas ocasiones rezaban ante ella el rosario, a la antigua usanza, o sea en común: todos, incluyendo a la servidumbre (el padre era la única excepción). Finalizando el hecho, los hijos desfilaban ante los padres reclamando la bendición. La madre, en ocasiones similares, solía entonar cánticos religiosos que luego enseñaba a los hijos. (Andrés 71) 3. Era

querida por algunos y odiada por otros. En cierto modo ella manejaba el ambiente musical. Muchos le tenían miedo porque era mala enemiga. De ella hay infinidad de anécdotas. Por ejemplo, decía: "Cuando tengo que ir a un lugar donde sé que no me quieren, me pongo más linda que nunca y entro sonriendo y pisando fuerte". (Lasala, par. 6) 4.

Mujer de extraordinaria belleza, era dueña de una hermosa voz de soprano, a la que se unía una refinada sensibilidad musical. Interpretaba a la perfección a los compositors franceses y sentía especial predilección por las obras de los músicos argentinos. Su unión con López Buchardo fue para éste un poderoso estímulo para la prosecución de su labor de compositor, pero por sobre todo hallo en su compañera a la intérprete ideal de sus canciones, y quienes tuvieron el privilegio de asistir a cuanta manifestación artística realizaron juntos, ella cantando la música de su marido, y él acompañandola al piano, no olvidarán jamás el clima de encanto que creaban a su alrededor y a cuya suggestion no podia sustraerse ni aún el más indiferente. Ambos representaban la más perfecta imagen de compenetración, irradiando un poder de seducción raramente alcanzado por artista alguno. (Jurafsky 21) 5.

Tuvieron así, nuestros creadores, en esos dos magníficos interpretes, el mejor medio para que sus obra fueran conocidas por el público en un plano de jerarquía excepcional. Y es que la música argentina, en la voz de su esposa Brígida Frías, hallaba su más admirable complemento cuando, bajo los dedos de López Buchardo, adquirían en el teclado una sugestión que emanaba de su maravilloso sonido y de la forma tan peculiar y encantadora de expresar lo nuestro. (Jurafsky 36) 6.

Difícil sería hallar un compositor argentino que, cualquiera fuera el género musical en que hubiera volcado sus preferencias, no haya escrito algo dedicado a los niños. Desde Alberto Williams y Julián Aguirre, pasando por José André, José Gil, Athos Palma, Floro M. Ugarte, Cayetano Troiani, hasta los jóvenes músicos de la actual generación, todos han contrubuido a la formación de un cancionero escolar como tal vez pocos países puden contar. (Jurafsky 42) 7.

Su actividad…existe. Y no es precisamente de las menos movidas, por el contrario, el ser dueño de una posición económico-social difícilmente vulnerable hace que en repetidas ocasiones, ocupe cargos que pudieron haber sido definitorios para el desarrollo musical argentino. Desafortunadamente, su presencia, pese a lo que el tenía de positivo en su mensaje musical, tuvo siempre una actitud más vale pasiva, esto quiere decir que no destruyó cosas, sino que se redujo a mantener un estado de

Weiss 192 cosas, no permititiendo la destrucción de nada, pero asimismo, permaneciendo ajeno a las multiples realizaciones que un desrrollo como el que renglones arriba se menciona, exigiría. (Andrés 74) 8.

[Él] nunca conjeturó nada mala de las—para otros—discordes voces de la vida, a tal extremo que si le hubiéramos preguntado: ¿y qué es el mundo, maestro?, él nos habría contestado con su aire más persuasivo: Francamente una orquesta. ¿Y los encontrados destinos?: Pues… pequeños problemas de orquestación… (Jurafsky 54) 9.

Carlos López Buchardo ha muerto, pero la cuerda mas genuina de nuestra lírica no ha enmudecido: queda para siempre con nosotros. Queda en su Vidala, que es como perfume crepuscular que se entra por la ventana abierta al horizonte brumoso de la nostalgia criolla…Pero queda también en el don inagotable de Concordia que poseía, en el don de la tolerancia y de la paciencia. Alguien dijo de él, con palabra certera, que el señor de la armonía supo también armonizar a los hombres. (Jurafsky 50) 10.

Recuerdo cuando era alumno del Conservatorio que escuchábamos a López Buchardo detrás de una gruesa puerta que lo separaba del mundo, no lo protegía. El tenía una puerta que entraba y salía, que no era la de los alumnus, así que nosotros no sabíamos nunca cuando entraba, cuando salía, no lo veíamos nunca, pero a veces lo escuchábamos tocar el piano y era realmente delicioso. Las cosas referidas a él, las conocíamos porque las comentaban otros maestros. No lo escuché hablar nunca, nunca le escuché decir una palabra. Era un hombre tan discreto, tan reservado, tan interior. Era como un patriarca para nosotros, un prócer. Aceptábamos las reglas de juego que de alguna manera significaban una cosa muy importante. (Portillo 128-129) 11.

En 1916 asumió la presidencia de la Asociación Wagneriana, cargo que desempeño hasta su muerte…En 1921 se creó la Escuela de Música del Teatro Colón y fue nombrado director, agrupando a un conjunto de colaboradores que tres años después participó en la creación de un conservatorio. La Universidad Nacional de La Plata [UNLP] decidió en 1923 establecer la sección de música en la Escuela Superior de Bellas Artes, que comenzó a funcionar en 1924, de la cual fue designado director y profesor de Armonía. Ese mismo año se fundó el Conservatorio Nacional de Música y Declamación, de donde fue nombrado professor. Durante 24 años ejerció el cargo, rodeándose de un grupo calificado de profesores. Después de su muerte el instituto llevó su nombre. En 1924 la Municipalidad de Buenos Aires designó una comisión administradora para el Teatro Colón, encargada de organizar temporadas artísticas, de la que formó parte. Permaneció ligado al teatro por varios años. En 1927 y 1928 fue miembro de dos comisiones oficiales para estudiar y determinar la versión definitiva del himno nacional argentino. Fue, desde 1934 y durante tres años, presidente de la Sociedad Nacional de Música. […] En 1936 el Gobierno creó la Academia Nacional de Bellas Artes, eligiendo a López Buchardo y a José María Castro como miembros en la sección de música. (García Muñoz 1004) 12.

Profundo sentimiento de congoja y tristeza ha despertado sin duda en los círculos artísticos y culturales del país, la noticia de la desaparición del maestro Carlos López Buchardo. Y no sólo por la significacón que en la formación y desarrollo de la naciente escuela musical argentina ha tenido, ni por la importancia y responsabilidad de los cargos oficiales que desempeñaba de manera ejemplar, sino por las cualidades morales que lo distinguían y que hacía de él cumplido caballero, en el más elevado sentido del término…Como compositor, López Buchardo ocupa ya un puesto de preferencia en la música nacional, siendo uno de nuestros pocos creadores que lograron definir una personalidad artística y un estilo musical proprio; ésto fue realizado con toda naturalidad, con una espontaneidad que dice claramente de lo auténtico de su vocación. (Jurafsky 47-48, no date mentioned)

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13.

…quisiera referirme…sobre las bellas cualidades morales y humanas que lo distinguieron en todo momento, en su magnífica gestión al frente del Conservatorio; su caballerosidad y hombría de bien, su invariable afabilidad y benevolencia, su permanente y bondadosa sonrisa, y su buena voluntad y deseo de comprender y ayudar a solucionar—en la medida de lo posible—los múltiples problemas a que sus delicadas tareas, de tanta responsabilidad, lo ponían con frecuencia en contacto. (Montes de Oca 293) 14.

…tal vez la belleza de su inspiración melódica, en sus creaciones musicales, cada vez más frescas y lozanas, no sea en última instancia más que un reflejo y una consecuencia de la bondad de su alma y de la elevación de su espíritu. (Montes de Oca 293) 15.

Carlos López Buchardo logra hablarnos, todavía, en sus canciones admirables, que son un idioma superior a las palabras; effusion musical que, gracias a su belleza, perdura, a pesar del tiempo y del espacio, y donde su espíritu se halla más claramente, más profundamente, que en su propia existencia…quiero recordar un acontecimiento significativo, que ocurrió al poco tiempo de su muerte. Se realizaba un homenaje a su memoria; y varios artistas interpretaban en un concierto, algunas de sus obras. A medida que se iban oyendo sus composiciones una emoción indescriptible nos embargaba a todos. Era su voz auténtica, la confesión de su alma, expresada con esa exactitud que presta el arte. Y el maestro Alberto Williams que tenía los ojos brillantes y había hablado con singular acierto de su colega…dijo hermosamente, cuando se terminó la última canción: “¡Este era Carlitos! ¡Así era Carlitos!” Y todos sentimos que jamás lo habíamos tenido tan cerca, ni lo habiamos querido tanto, ni lo habíamos comprendido major. (Jurafsky 7-8)

Weiss 194 WORKS CITED

American Heritage Dictionary of the English Language, 4th Ed. 9 February 2005. Andrés, Alfredo. Carlos López Buchardo: Músico argentino. Buenos Aires: Editorial Nueva America, 1958. Arizaga, Rodolfo. Enciclopedia de la música argentina. Buenos Aires: Fondo Nacional de las Artes, 1971. ---, and Pompeyo Camps. Historia de la música en la argentina. Buenos Aires: Ricordi Americana, 1990. Bruno-Videla, Lucio. E-mail interview. 2 March 2005. Fox, Beatríz Fitte de. Personal interview. 8 June 2004. García Acevedo, Mario. La música argentina contemporánea. Buenos Aires: Ediciones Culturales Argentinas, 1963. ---. La música argentina durante el período de la organización nacional. Buenos Aires: Edicinoes Culturales Argentinas, 1961. García Morillo, Roberto. Estudios sobre música argentina. Buenos Aires: Ediciones Culturales Argentinas, 1984. García Muñoz, Carmen. “Carlos López Buchardo.” Diccionario de la Música Española e Hispanoamericana. 10 vols. Ed. Emilio Casares. Madrid: Sociedad General de Autores y Editores, 1999-2002. (Vol. 6: 1004-06) ---. Jacket Notes. Música vocal de cámara argentina. Diana Arzoumanian, Soprano. Roberto Caamaño, piano. Buenos Aires: Academia Nacional de Bellas Artes and Facultad de Artes y Ciencias Musicales de la Universidad Católica Argentina, ca. 1993. Gesualdo, Vicente. Breve historia de la música en la argentina. Buenos Aires: Editorial

Weiss 195 Claridad, 1998. ---. Historia de la música en la argentina. 2 vols. Buenos Aires: Editorial Beta, 1961. Giacobbe, Juan Francisco. Julián Aguirre. Buenos Aires: Ricordi Americana, 1945. Jurafsky, Abraham. Carlos López Buchardo. Buenos Aires: Ediciones Culturales Argentinas, 1966. Kulp, Jonathan Lance. “Carlos Guastavino: A Study of His Songs and Musical Aesthetics.” Diss. University of Texas at Austin, 2001. LaCombe, Roxane M. “Carlos Guastavino’s Song Cycles Las Nubes and Cuatro Sonetos de Quevedo: The Relationship of Text and Music.” DMA Document: University of Oklahoma, 2000. Lasala, Zulema Castello de. E-mail interview. 29 January 2005. Montes de Oca, Susana Graciela. “Carlos Félix López Buchardo: Aproximación a su labor musical.” Diss. Universidad Católica Argentina, 2000. Pickenhayn, Jorge Oscar. “El nacionalismo musical europeo y su influencia sobre la canción de cámara argentina.” Diss. Universidad Nacional de Buenos Aires, 1943. Plesch, Melanie. “El rancho abandonado: algunas reflexiones en torno a los comienzos del nacionalismo musical en la argentina.” Actas de las IV Jornadas de Teoría e Historia de las Artes. October 1992. Buenos Aires: Facultad de Filosofía y Letras, Universidad de Buenos Aires, 1992. ---. “La música en la construcción de la identidad cultural argentina: el topo de la guitarra en la producción del primer nacionalismo.” Revista Argentina de Musicología de la Asociación Argentina de Musicología 1 (1996): 57-68. ---. “También mi rancho se llueve: problemas analíticos en una musicología doblemente periférica.” Actas de las IX Jornadas Argentinas de Musicología y VIII Conferencia Annual de la Asociación Argentina de Musicología, 25-28 August, 1994 (Mendoza): Procedimientos

Weiss 196 Analíticos en Musicología. Buenos Aires: Instituto Nacional de Musicología “Carlos Vega”, 1998. Portillo, Ana María. and Irma Agustina Romero. “Carlos López Buchardo y los dos ciclos de Canciones argentinas al estilo popular.” Seminar paper. Universidad Nacional de San Juan, 1995. Schiuma, Oreste. Música y músicos argentinos. Buenos Aires: n.p., 1943. Schwartz-Kates, Deborah. “The Gauchesco Tradition as a Source of National Identity in Argentine Art Music (ca. 1890-1955).” Diss. University of Texas at Austin, 1997. Suarez Urtubey, Pola. “Carlos López Buchardo (1881-1948)” La creación musical. Ed. Carmen García Muñoz. Spec. issue of Historia General del Arte en la Argentina. Academia Nacional de Bellas Artes 1986: 196-197. Velazquez de la Cadena, Mariano, Edward Gray, et. al. The New Velázquez Spanish and English Dictionary. Clinton: New Win Publishing, Inc., 1999. Veniard, Juan María. Aproximación a la música académica argentina. Buenos Aires: Ediciones de la Universidad Católica Argentina, 2000. ---. La música nacional argentina (Influencia de la música criolla tradicional en la música académica argentina: relevamineto de datos históricos para su estudio). Buenos Aires: Instituto Nacional de Musicología “Carlos Vega”, 1986. ---. “La teoría histórica de las generaciones y el desarrollo cronológico de la música académica argentina.” Actas de la III Conferencia Anual de la Asociación Argentina de Musicología, 17-20 September, 1986 (Buenos Aires): Terceras Jornadas Argentinas de Musicología. Buenos Aires: Instituto Nacional de Musicología “Carlos Vega”, 1998. Wagner, Deborah. “Carlos Guastavino: An Annotated Bibliography of his Solo Vocal Works.” DMA Research Paper. Arizona State University, 1997.

Weiss 197 Appendix A Correspondence with Zulema Castello de Lasala (Taken from an email to Allison Lauree Weiss, 29 January 2005) Zulema Castello de Lasala was born in Buenos Aires, where she completed her studies in vocal performance at the National Conservatory of Music “Carlos López Buchardo” with professors Freya Wolfsbruck and Mercedes Weinstein. She received a scholarship from the Department of Foreign Relations in Brazil to study with baritone Gerhard Hüsch in the Pro Arte workshop and specialized in Brazilian art song with professor María Sylvia Pinto in Rio de Janeiro. During her lengthy and varied career, she performed in the Teatro San Martín, for the Mozarteum, Society of Chamber Music, Beethovan Society, and many other institutions in Buenos Aires and greater Argentina. She was interviewed and performed several times on radio and television. She received the Municipal Prize for best singer to devote her talent to Argentine art song. She was also awarded the San Francisco Solano y Medalla award as an honorary member of the Argentine Council on Music. She has worked as a professor of Italian, German, and French diction in the Provincial Conservatories of Morón, Banfield, and San Martín and has offered Portuguese diction courses in the Performing Arts Institute of the Teatro Colón. ALW 1. Could you give me your full name and the names of your parents? ZCL My full name is Haydee Zulema Castello de Lasala. My father was Alfredo Juan Castello and my mother was Zulema Aguilera Ramos. My father was a civil engineer, founder of various towns in the province of Buenos Aires and my mother was a teacher and a writer. ALW 2. When were you born? ZCL I was born October 13, 1929. ALW 3. Did you ever know or meet Carlos López Buchardo? When and where? ZCL I first saw Carlos Lopez Buchardo in 1947, when I began my studies at the National Conservatory. I saw him in the opening ceremonies before classes began, singing the national anthem with the other students and professors. He was a man of rther short stature and thin, with a very well-kept appearance. ALW 4. Did you ever know or meet Brígida Frías? When and where? ZCL I first knew of her when Maestro [Athos] Palma asked her to listen to me audition

Weiss 198 and she offered me a space in her class at the Conservatory (the accompanist at the time was Dora Castro). That was in 1947. She further proposed that I study with her and my mother almost decided to let me. She was a gorgeous woman (she would have been 47 at the time), with a complexion soft and clear like a peach and virginlike facial features. ALW 5. What did the public think of López Buchardo? What was said of him? ZCL What I know is that López Buchardo was greatly loved. He was a polished gentleman, son of a wealthy land owner, very connected with the aristocracy of those days. He was very involved the society of the times. ALW 6. What was his wife like? What was known of her? ZCL Brigidita (as she was called) was the daughter of a Mr. Salustiano Frías. Brigidita was married very young with a Mr. Fitte, whose last name her son Carlos kept. She divorced him very soon after (I’m not sure if her son had already been born) and in short order married López Buchardo. She was loved by some and hated by others. In some ways she directed the goings-on in musical culture. Many people were afraid of offending her because she was not the kind of enemy you wanted. There are an infinite number of anecotes about her. For example, she used to say, “When I have to go somewhere where I know they don’t like me, I dress myself up prettier than ever and enter the room smiling and stepping loudly.” ALW 7. What were their performances like? ZCL She sang her husband’s songs accompanied with the composer himself, with a pretty voice, nothing spectacular, in the spirit of chamber music, and very charming. She also sang very well the French repertoire, but was especially dedicated to the works by Argentine composers. She debuted the works of young

Weiss 199 students and recent graduates of the Conservatory, like [Alberto] Ginastera, [Angel] Lasala, [Abraham] Jurafsky, [Pedro] Sáenz, etc. In her house on Canning street (today Scalabrini Ortiz) she hosted frequent social gatherings (dinners, cocktails) that were attended by many important guests. Richard Strauss, Arturo Rubenstein, compose politicians, and poets all ate there, and she introduced to them composers and young musicians. You must recognize that she was very Argentine and did a great deal for the music of our country. She was professor at the School of Music at the University of La Plata and Music Inspector at the primary schools. Her supervisor was Athos Palma. ALW 8. Speaking of the prizes that López Buchardo won during his career, why do you think he won them? ZCL I don’t remember very well the prizes that López Buchardo won, but I believe they were well-deserved, and besides…he had connections. Allison: it was a different Argentina, very small (in 1940 we didn’t surpass 20 million) with a port-town society that was very closed and elitist. If you didn’t have connections, you didn’t have money, understand? Don’t forget that López Buchardo was founder (along with others) of the Nacional Society of Music (today the Association of Composers) and of the Wagnerian Association. The Wagnerians were all professional musicians that were very distiguished and rich. It was a very common thing for men in that group to have gone to Germany or French to study music. The common people didn’t particpate in this kind of thing. ALW 9. How was it that he could debut an opera at such a young age? ZCL I don’t understand your question. Il sogno di Alma didn’t debut at a young age. He was already an adult [33 years old], and the administration of the [Teatro] Colón was

Weiss 200 in the hands of gentlemen like himself: [Floro] Ugarte, [Athos] Palma, [Cirilo] Grassi Díaz, Ferriccio Calusio, etc. Everything happened in very high social circles. ALW 10. Why do you think the Canción del carretero (or any other song that occurs to you) became so famous? ZCL López Buchardo composed many songs based on the texts of poets of his time. They were not easy songs, especially for the pianist. Perhaps the most simple is the Canción del carretero—very creole-sounding and it was sung in the schools, along with the Vidala. Remember that life was very different. There was no TV and radio wasn’t accessible to everyone, so the way that song became so famous was through the primary schools. Formal concerts weren’t as popular as they are now and they were more like social gatherings. ALW 11. If you had to give advice to the singers in my country that want to interpret the songs of López Buchardo or Argentina in general, what would you tell them? ZCL If I had to give a piece of advice to the singers of your country or of any other country—English speaking, German speaking, French speaking… or Japanese speaking—I would tell them that before anything, they should study Spanish and then listen to Argentine music to capture the spirit of the music, just like they have always done with German, French, or Spanish music. ALW 12. Do you remember the names of other singers like yourself that were good interpreters of Argentine works? ZCL Many singers have included in their repertoire Argentine art songs. I will list those I remember from the first half of the twentieth century: Clara Oyuela, María Pini de Chrestia, Graciela Berro Madero de Molina, Enriqueta Basavilbaso de Catelin, Isabel Marengo, and others that aren’t coming to my mind, and in the second half of the

Weiss 201 century, Myrtha Garbarini, Emilse Zulberti, Noemí Souza, Amalia Bazán, Marisa Landi. ALW 13. How was the composer in his role as director of the Conservatory? ZCL The Conservatory was not difficult to administer. There weren’t that many people, not like now, and López Buchardo was definitely not the one truly in charge. Brigidita had a lot of influence and there were staff people that did all the paperwork. He was in his office a lot playing the piano and tending to important visitors, professors, etc. ALW 14. Who were Carlos’ closest friends? ZCL He had many friends: [Floro] Ugarte, [Athos] Palma, Cunil Cabanellas (great drama professor), Enrique T. Susini...many friends. ALW 15. Do you have an other anecdotes you’d like to share that you haven’t already? ZCL Maestro [Athos] Palma, who, like everyone, had disagreements with Brigidita, used to say: “I can’t say or do anything against her because I might hurt Carlitos.” López Buchardo was the typical argentine man of the era, son of a ranch owner, studying and enjoying life in Paris, generous and genteel. At the same time, [Floro] Ugarte and [Athos] Palma were there, who weren’t as well-off, so he invited them to participate in his classes with Albert Roussel and then asked them to do his chores. Isn’t that funny? ALW 16. What could be said of the era in which Carlos López Buchardo carried out his musical activities? ZCL I have to say again that in the days of López Buchardo [Argentina] was a different country. The Argentines were Argentine and loved their nation. Less people and more identity. It was the culture of the generation of [18]80s, which was the

Weiss 202 generation that built the country. Cultural activity was very much concentrated in Buenos Aires and some people were researching the folklore in the interior, like [Manuel] Gómez Carrillo in Santiago del Estero. Ricardo Rojas with his work Ollantay had given reason to pay attention to the interior. Other evidence includes the ballets of Angel [Lasala] (Chasca Ñahui), of [Alberto] Ginastera (Panambí), or [Constantino Gaito] (La flor del Irupé), works like El Tarco en Flor by Luis Gianneo and so many others. And Argentine [nationalist] music fulfilled a role that it has lost today. The globalization and other issues of the present day have done away with our identity, but with God’s help we will get it back what these turbulant times have calmed down. ALW 17. Is there anything else you’d like to say? ZCL To López Buchardo and his generation we owe the establishment of a hierarchy that was able to administrate complete seasons at the Teatro Colón (which today is very run-down) and the excellent education of professors and students of the time as far as music was concerned. For example, my mother, who graduated as a teacher in 1914, had as her professor of music Carlos Pedrell, nephew of the famous Spanish [composer and musicologist] Felipe Pedrell. Imagine that in her class they sung Lemoine’s Solfège des Solfèges and the Spinning Chorus of Wagner’s Flying Dutchman. Today, all of that is gone, and the kids don’t sing; they only listen to the rock of Charly García. The generation of López Buchardo treated music education much differently.

Weiss 203 Correspondencia con Zulema Castello de Lasala (De un correo electrónico dirigido a Allison Lauree Weiss, 29 January 2005) Zulema Castello de Lasala nació en Buenos Aires, ciudad en la que realizó sus estudios de canto en el Conservatorio Nacional de Música “Carlos López Buchardo” y se perfeccionó con las profesoras Freya Wolfsbruck y Mercedes de Weinstein, y con el barítono Gerhard Hüsch como parte de un seminario “Pro Arte” en Brasil, oportunidad que ganó con una beca del Ministerio de relaciones Exteriores de ese país. Se especializó en repertorio de compositores brasileños en Rio de Janeiro con la profesora María Sylvia Pinto. Ofreció conciertos en el Teatro San Martín (Sala Casacuberta), para el Mozarteum, Sociedad de Conciertos de Cámara, Sociedad Beethoveniana y diversas instituciones de la capital y el interior, en radio y televisión, obteniendo el Premio Municipal al mejor intérprete que una a su calidad el haber realizado más obra argentina. Obtuvo también el Premio “San Francisco Solano y Medalla” como Miembro Invitado del Consejo Argentino de la Música. Ha desempeñado las cátedras de Canto y Dicción italiana, alemana y francesa en los Conservatorios Provinciales de Morón, Banfield y San Martín y ha dictado cursos de canto en portugués en el Instituto de Arte del Teatro Colón. ALW 1. ¿Cual es tu nombre completo y quienes fueron tus padres? ZCL Mi nombre completo es Haydee Zulema Castello de Lasala. Mi padre se llamaba Alfredo Juan Castello y mi madre Zulema Aguilera Ramos. Mi padre fue un ingeniero, fundador de varios pueblos en la provincia de Buenos Aires, y mi madre era profesora y escritora. ALW 2. ¿Cuándo naciste? ZCL Nací el 13 de octubre de 1929. ALW 3. ¿Llegaste a conocer o a ver a Carlos López Buchardo? ¿Cuándo o dónde? ZCL Conocí a Lopez Buchardo en 1947, cuando ingresé al Conservatorio Nacional. Lo vi en el acto de iniciación de las clases, cantando el Himno junto con alumnos y profesores. Era un señor más bien bajo y delgado, de aspecto muy fino. ALW 4. ¿Llegaste a conocer o a ver a su esposa Brígida Frías? ¿Cuándo o dónde? ZCL A ella la conocí cuando el maestro [Athos] Palma le pidió que me escuchara y ella me citó en su clase del Conservatorio (la pianista acompañante era Dora Castro). Esto fue en 1947. Era una mujer bellísima (en ese entonces tendría 47 años), con un

Weiss 204 cutis que parecía un durazno y unas facciones virginals. ALW 5. ¿Cuáles eran las opiniones que tenía el ambiente de aquel época del compositor? ¿Qué se decía de él? ZCL Sé que López Buchardo era muy apreciado. Era un fino caballero, hijo de estanciero, muy vinculado con la aristocracia de entonces. Era muy sociable. ALW 6. ¿Cómo era su esposa? ¿Que se sabía de ella? ZCL Brigidita (como se la llamaba) era hija de un señor Salustiano Frías. Brigidita se casó muy joven con un señor Fitte, de quien llevaba el apellido su hijo Carlos. Se divorció al poco tiempo (no sé si ya había nacido el hijo) y luego se casó con López Buchardo. Era querida por algunos y odiada por otros. En cierto modo ella manejaba el ambiente musical. Muchos le tenían miedo porque era mala enemiga. De ella hay infinidad de anécdotas. Por ejemplo, decía: "Cuando tengo que ir a un lugar donde sé que no me quieren, me pongo más linda que nunca y entro sonriendo y pisando fuerte". ALW 7. ¿Cómo eran sus interpretaciones juntos? ZCL Ella cantaba las canciones de su marido acompañada por él mismo, con una bonita voz, no espectacular, muy camarística y muy graciosa. También cantaba muy bien el repertorio francés, pero especialmente hacía las obras de los compositores argentinos. Estrenaba las de los jóvenes alumnos y egresados del Conservatorio, como [Alberto] Ginastera, [Angel] Lasala, [Abraham] Jurafsky, [Pedro] Sáenz, etc. En su casa de la calle Canning (hoy Scalabrini Ortiz) se realizaban numerosas reuniones sociales (cenas, cocktails) a las que concurría gente importante. Allí comió Richard Staruss, Arturo Rubinstein, políticos, poetas, y ella presentaba jovenes compositores e intérpretes. Hay que reconocer que era muy argentina e hizo

Weiss 205 mucho por la música de nuestra patria. Fue profesora en la Escuela de Música de la Universidad de La Plata e Inspectora de Música de las escuelas primarias, donde el jefe principal era Athos Palma. ALW 8. ¿De los premios que ganó Carlos, por que crees que los ganó? ZCL No recuerdo bien los premios que ganó López Buchardo, pero creo que tenía méritos suficientes, y además...relaciones. Allison: era otra Argentina, muy pequeña (en 1940 no llegábamos a 20 millones) con una sociedad porteña muy cerrada y elitista, y el que no tenía relaciones no tenía recursos, comprendes? No olvides que López Buchardo, fue fundador (junto con otros) de la Sociedad Nacional de Música (hoy Asociación de Compositores) y de la Asociación Wagneriana. Los wagnerianos eran todos profesionales muy distinguidos y ricos. Era común que hubieran ido a estudiar a Alemania y a Francia. El pueblo pueblo no participaba de esas cosas. ALW 9. ¿Cómo logró ver una opera estrenada a tan tierna edad? ZCL No entiendo bien esta pregunta. "El sueño de Alma" no se estrenó en "tierna edad". Ya era grande [33 años de edad], y la dirección del Colón estaba en manos de señores como él: [Floro] Ugarte, [Athos] Palma, [Cirilo] Grassi Díaz, Ferriccio Calusio, etc. Todo se desarrollaba en un círculo alto. ALW 10. ¿Por qué crees que la Canción del carretero (u otra canción que puedas pensar) llegó a ser tan famosa? ZCL López Buchardo compuso muchas canciones sobre texto de poetas de la época. No eran fáciles, especialmente para el pianista. Quizás la más sencilla es la “Canción del Carretero,” que es muy criolla y se cantaba en las escuelas, lo mismo que la “Vidala.” Piensa que era una vida muy diferente. No había TV y la radio no era accesible para todo el mundo, de modo que la fama de esa canción fue a través de la

Weiss 206 escuela primaria. Los conciertos tampoco eran populares como ahora, más bien eran reuniones sociales. ALW 11. ¿Si tuvieras que dar algún consejo a los cantantes de mi país que quieren interpretar las canciones de López Buchardo o de Argentina en general, que les diría? ZCL Si tuviera que dar un consejo a los cantantes de tu país o de cualquier otro de habla inglesa, o alemana, o francesa...o japonesa, les diría que, ante todo, estudien castellano, y luego que escuchen música argentina para captar el espíritu, tal como lo han hecho siempre con la música alemana, o francesa, o española. ALW 12. ¿Te acordás de los nombres de otros cantantes como ti misma que eran buenos para cantar obras argentinas? ZCL Muchas son las cantantes que han incluído en su repertorio las canciones de cámara argentinas. Te citaré las que recuerdo de la primera mitad del siglo XX: Clara Oyuela, María Pini de Chrestia, Graciela Berro Madero de Molina, Enriqueta Basavilbaso de Catelin, Isabel Marengo, y otras que no me vienen a la memoria, y en la segunda mitad del siglo, Myrtha Garbarini, Emilse Zulberti, Noemí Souza, Amalia Bazán, Marisa Landi. ALW 13. ¿Como era el compositor como administrador del conservatorio? ZCL El Conservatorio no era difícil de administrar. Había poca gente, no como ahora, y López Buchardo estaba muy bien secundado. Brigidita tenía mucho poder, y había empleados que hacían los papeles. Él estaba mucho en su sala tocando el piano, y atendía a la gente importante, profesores, etc. ALW 14. ¿Quienes fueron los amigos mas fieles de Carlos? ZCL Sus amigos eran muchos: [Floro] Ugarte, [Athos] Palma, Cunil Cabanellas (gran

Weiss 207 profesor de teatro), Enrique T. Susini...muchos. ALW 15. ¿Tienes alguna anéctoda para compartir que no has compartido? ZCL El maestro [Athos] Palma, que como todos tenía choques con Brigidita, decía: "No puedo hacer nada contra ella porque me parece que perjudico a Carlitos." López Buchardo era el típico argentino de la época, hijo de estanciero, estudiando y disfrutando de la vida en París, generoso y gentil. En la misma época estaban Ugarte y Palma, que no eran tan ricos, entonces él los invitaba a participar de sus clases con Albert Roussel, y luego les pedía que le hicieran los deberes. ¿No es gracioso? ALW 16. ¿Qué se puede decir de la época en que desempeño su labor musical Carlos López Buchardo? ZCL Vuelvo a repetirte que en la época de L. B. era otro país. Menos gente y más identidad. Los argentinos eran argentinos y amaban a su patria. Era la cultura de la generación del 80, que fue la que hizo el país. La actividad cultural estaba muy concentrada en Buenos Aires y algunos estaban investigando el folklore en el interior, como [Manuel] Gómez Carrillo en Santiago del Estero. Ricardo Rojas con su obra "Ollantay" había dado impulso a poner la atención en el interior. La prueba son los ballets de Angel [Lasala] "Chasca Ñahui", de [Alberto] Ginastera "Panambí", o "La flor del Irupé", no recuerdo el autor [Constantino Gaito], obras como "El Tarco en Flor" de [Luis] Gianneo, y tantas otras. Y la música argentina ocupaba un lugar que hoy ha perdido. La globalización y otras cosas de la época actual acabaron con nuestra identidad, pero si Dios quiere la vamos a recuperar cuando se asienten las turbulencias. ALW 17. ¿Algo más quieres comentar?

Weiss 208 ZCL A López Buchardo y su generación se le debe la jerarquía que alcanzaron las temporadas del Teatro Colón (que desgraciadamente hoy está muy decaído) y la éxcelente preparación de profesores y alumnos de su época en lo referente a música. Por ejemplo, mi madre, que se recibió de maestra en 1914, tuvo como profesor de música a Carlos Pedrell, sobrino del célebre español Felipe Pedrell. Imaginate que en su clase cantaban el solfeo “Lemoine” y “el Coro de las Hilanderas” del Buque Fantasma de Wagner. Todo eso actualmente se ha perdido, y los chicos ni cantan, solamente escuchan el rock de Charly García. Era la generación de López Buchardo la que educaba musicalmente de otra manera.

Weiss 209 Appendix B Letter of Permission

Weiss 210 Appendix C Discography of Songs by Carlos López Buchardo (1881-1948) The following is a discography of accessible recordings and the song titles included in each. Anhelo. José Cura, tenor. Eduardo Delgado, piano. Compact disc. Paris: Erato Disques S.A., 1998, 3984-23138-2. (“Canción del carretero”, “Canción de Perico”) Argentine Songs, Volume I. Víctor Torres, tenor. Jorge Ugartemendía, piano. Compact disc. Buenos Aires: Testigo, 1997, TT10112. (“Jujeña”, “Cancion del carretero”, “Vidala”, “Desdichas de mi passion”, “Los puñalitos”, “Vidalita”, “Cancion de ausencia”, “Cancion de Perico”, “Cancion del nino pequeñito”, “Malhaya la suerte mia”, “Oye mi llanto”, “Fescas sombras de sauce”, “Si lo hallas”, “Prendiditos de la mano”) Homenaje a Conchita Badía. Conchita Badía, soprano. Carlos Manso, piano. Compact disc. Buenos Aires: Piscitelli Producciones, 1997, P-009. (“Vidala”) Homenaje a Delia Rigal. Delia Rigal, soprano. Harold Fink, piano. Compact disc. Buenos Aires: Piscitelli Producciones, no date, P-005. (“Prendiditos de la mano”, “Canción del carretero”) Homenaje a Helena Arizmendi. Helena Arizmendi, soprano. Compact disc. Buenos Aires: Piscitelli Producciones, 1995, P-007. (“Vidala”) Homenaje a Isabel Marengo. Isabel Marengo, soprano. Compact disc. Buenos Aires: Piscitelli Producciones, 1997, P-008. (“Canción del carretero”) López Buchardo y otros: canciones argentines de cámara. Myrtha Garbarini, soprano. Víctor Narke, bass. Enqrique Ricci, piano. LP. Buenos Aires: Municipalidad de la Ciudad de Buenos Aires, Secretaría de Cultura, L.S.1 Radio Municipal de la ciudad de Buenos Aires, no date, MCBA-0008.

Weiss 211 Música vocal de cámara argentina. Diana Arzoumanian, soprano. Roberto Caamaño, piano. 2 compact discs. Buenos Aires: Academia Nacional de Bellas Artes and Facultad de Artes y Ciencias Musicales de la Universidad Católica Argentina, ca. 1993. (“Si lo hallas”, “Oye mi llanto”, “Prendiditos de la mano”)

Weiss 212 Appendix D Recital Program

Weiss 213 University of Portland Department of Performing and Fine Arts Presents

The Songs of Carlos López Buchardo (1881-1948, Argentina) Allison Weiss, soprano Naomi LaViolette, piano Prendeditos de la mano Si lo hallas Oye mi llanto

Miguel A. Camino Miguel A. Camino Miguel A. Camino

Vidalita Los puñalitos Desdichas de mi pasión Vidala Jujeña

Leopoldo Lugones Leopoldo Lugones Leopoldo Lugones Gustavo Caraballo Victoriano Morales INTERMISSION


Gustavo Caraballo University of Portland String Ensemble

Pampeana Querendona Canción de ausencia

Gustavo Caraballo Gustavo Caraballo Gustavo Caraballo

Hormiguita Canción de Perico Canción del niño pequeñito

Enrique Amorim Fryda Schultz de Mantovani Ida Réboli ABOUT THE PERFORMERS

ALLISON WEISS (BM, University of Puget Sound, 2000) is in her final semester of the M.A. in Music at the University of Portland. In 2003, she founded the Latin American Art Song Alliance (www.laasa.org) to promote the lesser-known song repertoire of Latin America. Next fall, she begins a M.A. in Latin American Studies at the University of Chicago. NAOMI LAVIOLETTE (MM, Piano Performance, Portland State University, 2001; BM, University of Puget Sound, 2000) is a versatile piano soloist, accompanist, jazz musician, and college music professor. She currently teaches at Clackamas Community College. UNIVERSITY OF PORTLAND STRING ENSEMBLE is comprised of Christina Schulz and Cynthia Ruggles on first violin, Steve Hsu and Rachelle Jessup on second violin, Laura Saddler and Hannah Hillebrand on cello, Zach Heath and Ashley Cantlon on viola, and Rob Busey on bass (from left to right). SONG TRANSLATIONS Prendeditos de la mano. Here they come in silence, Felicinda and her Ciriaco, grasped at the hand. What could have happened between the two sweethearts? “Felicinda, give me a kiss,” was Ciriaco’s request. And they kissed in silence, their hands clutched. And so confused it left them, they returned in silence, grasped at the hand. Si lo hallas. Little stream, I would follow you in search of the absent one. If you find him, kiss him a thousand times for me—on his hands if he touches you and on his lips if he drinks from you.

Weiss 214 Oye mi llanto. Since you spurn my love, listen to my cry, to what I sing. Why do you not come when my love entreats you? Don’t mock my sad song. Since your love is a dream, this song will reach your ears. I sing because I love you! Awake and hear my cry. Vidalita. Wise men may know how to heal me of my sickness, but in vain they prescribe their herbs. With one glance of you, I am sick again and would rather not get better. Like the hummingbird that picks at the flower, you pick at my wound from which spills honey. There is no better medicine for me than that hummingbird that picks at me so. Los puñalitos. In the interest of these couplets, may every syllable fall like a fragile string of pearls, so that my message of love will take flight in your breast, so that these verses will distill upon you the soft doctrine of lovers, and so that they might rhyme like kisses on your lips of fire, kisses that are for their cruelness so much the more exquisite, even though they upset all good sense and calm with the biting impact of little darts that pierce the soul. Desdichas de mi pasión. My bad luck with love has no limits. Less deep is the ocean and the ocean has no end. And just as it isn’t reasonable to reduce the ocean, there is no reducing my bad luck with love. In vain I try to compare the smallness of the ocean with the greatness of my passion. My lovers are like wilted flowers and my heart cries out, captive in the chains of your rejection. Vidala. It’s raining in the country. It’s raining in the city. It drizzles in my soul. The stars beg their pardon and leave because your eyes sparkle more than they. Fresh breezes of my land where there is peace! Tell them that I am dying far from her soul. On the ridges, the country man goes cursing, like the sad echo of my restless love. My guitar sleeps silently and alone in the harmony of the bitter cold night. Jujeña. Crispness of the custard apple tree, blossom of the Abertuya, scent of the Amancay and the Puya Puya. Mountain breezes that perfume the corners of your mornings. Warbling of the Charchaleros and the Moorish Queens: all nature says thank you for your beauty. Mountain sunsets fall over rivers and white lilies. From the mysterious canyon walls comes a deep and silent mourning. The Quena flute sings her eternal legend of love and pain. The afternoon falls asleep over your fields of gold. Blossom of the Agapanto… I sing because I love you, my sweetheart, for this reason I sing! Canción del carretero. The sun sets over the mountain ridges, the swallows have returned, and along the path of the green fields a cart driver goes singing: “Soul of my soul, how I cried beneath this sun-filled sky when you waved at the gate goodbye. Ah, sweetheart! Return to my love. Without you, my life cannot exist. The honeysuckle has withered and the larks are silent. The house is a mess and the willows weep over the pond because your lips no longer sing.” The sun has set, the evening dies, and the woeful song of the cart driver goes on. Pampeana. The countryside sleeps and the chilly breezes blow. The heavens are decorated with the miracle of ignorant stars and the prairies echo the voices of farmers, of plains, and of brush. The sad willow tree tells the forest of a sad legend. It emerges tentatively, the long shadow of a heart. At last her complaint was told, her sad legend: I was the most beautiful Pampa girl with black eyes and rustic braids. I kissed the poets and died of sadness, for I was the sad life of which they sang. And still today the waves sing and the forests sob. I was the girl who died of sadness. I was the girl who loved the poet. Querendona. If I love you too much, you ask? Days, months, years and I love you more. I carry your name on my lips and love you so much I’m half crazy. Deep as the valley, fresh as the river, pure as the skies is my love. From the first day I met you, the laughter and the dream, I lost it all. If I love you too much… forget the question. God put us on the planet to be together. Canción de ausencia. As the Autumn winds groan and the oceans murmur, this pain in my soul will not cease. In my solitude the pain blossoms and cries out. Ay! The light of yesterday’s skies that watched her leave, never to return! Ay! My Pain! Like a fleeting shadow, her memory cannot be erased from my soul. Ay! That those skies might hear once again my final adieu, like an echo lost in the evening of my hope that died. Ay! My Pain! In the starless night are heard the sounds of a traveler that repeats again his song of love… and so blossoms once more my hidden pain. Hormiguita. There were two little ants, small and black, climbing among the leaves, crossing through the lawn on the path through their jungle. I don’t know what they say, only that they walk happily with their loads. Want to be a little ant and walk through life unseen and unheard? With our hands clasped together, let’s go quietly through life like those two little ants, small and black. Canción de Perico. Perico, Perico doesn’t want to be rich! Doesn’t want to be wise or be king. What’s this kid want, Perico, Perico? To play in the forest, to laugh, and to run. With tongue jutting out, to croak like a toad, to jump in the water, and to swim. Oh, Perico. Doesn’t want to be wise, nor rich, nor king…but wants to laugh and to sing. Perico, Perico! Canción del niño pequeñito. The tiny baby lays awake in the cradle; the sun has hid itself and the moon arises. Everyone tries not to disturb the little one, for whom I will make a necklace of dew and a diamonds from heaven. Come heaven and make him a beautiful night. I will make him jewels from the stars. Now everything has calmed down. Not a sound. The little baby has fallen asleep.

Weiss 215 Appendix E Index to Songs and their Locations Entry Song Title

Publisher

Location

1

Ave Maria

Not indicated

LBV

2

Silence

Breyer Hermanos

AMP

3

Les Roses de Noel

G. Ricordi & Co.

UCA

4

Extase

Manuscript

Score not found

5

Sé…

Manuscript

Score not found

6

Vorrei

Unknown

Score not found

7

La Mort des Oiseaus

Unknown

Score not found

8


Not indicated

CNM

9

Le voyage

Bibelot Magazine

Score not found

10


Unknown

Score not found

11

Feuillage du cœur

Manuscript

Score not found

12

Le paravent

Unknown

Score not found

13

Lassitude

Manuscript

SMO

14

Era una rosa

Manuscript

SMO

15

Une fleur

Manuscript

SMO

16

Reflets

Manuscript

SMO

17


Manuscript

SMO

18

Petit Ynga

Ricordi Americana

UCA

19

Nocturno

Manuscript

SMO

20


Manuscript

ZCL

21

Hormiguita

G. Ricordi & Co.

UNLP

22


Manuscript

Score not found

23

Le para vent

Manuscript

Score not found

24

Tránsito

Manuscript

Score not found

25


G. Ricordi & Co.

LBV

26

Vidalita

G. Ricordi & Co.

UCA

27

Los puñalitos

G. Ricordi & Co.

UCA

28


G. Ricordi & Co.

UCA

29

Vidala

G. Ricordi & Co.

UCA

30


G. Ricordi & Co.

UCA

Weiss 216 Entry Song Title

Publisher

Location

31

Jujeña

G. Ricordi & Co.

UCA

32

Himno de la UNLP

Ricordi Americana

UCA

33

Pampeana

Ricordi Americana

AMP

34


G. Ricordi & Co.

UCA

35

Si lo hallas

G. Ricordi & Co.

UCA

36


G. Ricordi & Co.

UCA

37

Oye mi llanto

G. Ricordi & Co.

UCA

38

Malyaha la suerte mia

G. Ricordi & Co.

UCA

39


Ricordi Americana

AMP

40

Vals

Manuscript

Score not found

41


G. Ricordi & Co.

UCA

42

La Doble Cruz

G. Ricordi & Co.

CNM

43


Unknown

Score not found

44

Este pajarito

Ricordi Americana

UCA

45


Ricordi Americana

UCA

46


Ricordi Americana

UCA

47

Mi señorita

Ricordi Americana

UCA

48

El patio

Ricordi Americana

UCA

49

El canario

Ricordi Americana

UCA

50

El arco iris

Ricordi Americana

UCA

51

Querendona

Ricordi Americana

UCA

52

Copla criolla

Ricordi Americana

UCA

53

Porteñita

G. Ricordi & Co.

UCA

54


Ricordi Americana

UCA

55

Canta tu canto, ruiseñor y vuela… Ricordi Americana

UCA

56

Canción de Perico

Ricordi Americana

UCA

57


Ricordi Americana

UCA

58


Ricordi Americana

UCA

59

Caminito de Flores

Manuscript

Score not found

60

Canción del Estudiante

Manuscript

Score not found

61

Los camperos

Manuscript

Score not found

62


Manuscript

Score not found

Weiss 217 Location abreviations: LBV = Lucio Bruno Videla, Céspedes 2387 Piso 17 Dpto "E", 1428 Capital Federal, Buenos Aires, Argentina, [email protected] AMP = Ana María Portillo, Ana María Portillo, Barrio Mutual Banco, Manzana "O" Casa 1, 5400 San Juan, Argentina, [email protected] UCA = Universidad Católica Argentina, Biblioteca de la Facultad de Artes y Ciencias Musicales, Avenida Alicia Moreau de Justo, 1500 Puerto Madero, Buenos Aires, Argentina, [email protected] CNM = Conservatorio Nacional Superior de Música "Carlos López Buchardo", Avenida Córdoba 2445, 1120 Capital Federal, Buenos Aires, Argentina, Tel 011 54 11 49610161/4736 Fax 011 54 11 4961-9618 SMO = Suzana Montes de Oca, 35 Nº 878 Dpt. A, Entre 12 y 13, 1900 La Plata, Argentina, [email protected] ZCL = Zulema Castello de Lasala, Junin 340, 5ºA, 1026 Capital Federal, Buenos Aires, Argentina, [email protected] UNLP = Universidad Nacional de La Plata, Escuela Superior de Bellas Artes, Diagonal 78, Número 680, 1900 La Plata, Argentina, Tel 011 54 21 423-6598/421-2456/423-5756, [email protected] Publisher information: 1. Breyer Hermanos is no longer in business and the current owner of their catalog is unknown. 2. G. Ricordi & Co., a.k.a. Ricordi Americana, S.A.E.C. Tte. Gral. Juan D. Perón 1558 1037 Capital Federal Buenos Aires Argentina Tel 011 54 11 4371-9841/42/43 Fax 011 54 11 4371-8791 [email protected]

Weiss 218 Appendix F Resources for the Study of Argentine Art Song Associación Argentina de Musicología, México 564 (at. Y. Velo), 1097 Capital Federal, Buenos Aires, Argentina. http://www.aamusicologia.cjb.net [email protected] Archivo del Teatro Colón, Viamonte 1168, 1010 Capital Federal, Buenos Aires, Argentina. Tel 011 54 11 4378-7137, [email protected] Argentmúsica. Estela Telerman, Beruti 3676, 3º B. 1425, Capital Federal, Buenos Aires, Argentina. Tel/Fax 011 54 11 4832-4097 [email protected] Biblioteca Musical del Centro Cultural Recoleta, Junín 1930, 1° Piso, Capital Federal, Buenos Aires, Argentina. Tel 011 54 11 4803-4051 Biblioteca Nacional, Agüero 2480, 1425 Capital Federal, Buenos Aires, Argentina. Tel 011 54 11 4806-4684/4692/3 Biblioteca de la Facultad de Filosofía y Letras de la Universidad de Buenos Aires, Puán 480, 1406 Capital Federal, Buenos Aires, Argentina. Tel 011 54 11 4432-0840/2497 Int. 173 Biblioteca de Música Argentina “Blas Parera” de SADAIC, Lavalle 1547, 1048 Capital Federal, Buenos Aires, Argentina. Tel 011 54 11 4410-4867/4446-2730 Casa Piscitelli, San Martín 450, 1004 Capital Federal, Buenos Aires, Argentina. Tel 011 54 11 4394-1992 Fax 011 54 11 4394-2376 [email protected] Conservatorio Municipal de Música “Manuel de Falla”, Sarmiento 1551 6° Piso, Capital Federal, Buenos Aires, Argentina. Tel 011 54 11 4440-5898/4446-1251 Conservatorio Nacional Superior de Música "Carlos López Buchardo", Avenida Córdoba 2445, 1120 Capital Federal, Buenos Aires, Argentina. Tel 011 54 11 4961-0161/4736 Fax 011 54 11 4961-9618 Conservatorio Provincial “Gilardo Gilardi”, Calle 49 No. 342 entre 1 y 2, 1900 La Plata, Argentina. Tel 011 54 0221 4210-2453 Castello de Lasala, Zulema. Junin 340, 5ºA, 1026 Capital Federal, Buenos Aires, Argentina. [email protected] D.I.M.I. (Distribuidora Internacional de Música Impresa), Montevideo 181, 1019 Capital Federal, Buenos Aires, Argentina. Tel 011 54 11 4371-8103 [email protected] Disquería/Librería Zival’s, Avenida Callao 395, 1022 Capital Federal, Buenos Aires, Argentina. Tel 011 54 11 4371-7500/4374-0675

Weiss 219

Fundación Ostinato, Dora De Marinis, http://www.ostinato.org [email protected] Gourmet Musical, Leandro Donozo, http://www.gourmetmusical.com, [email protected] Instituto Nacional de Musicología “Carlos Vega”, México 564, 1097 Capital Federal, Buenos Aires, Argentina. Tel. 011 54 11 4361-6520/6013 [email protected] http://www.inmuvega.gov.ar/index2.html Museo Histórico Nacional, Defensa 1500, 1143 Capital Federal, Buenos Aires, Argentina. Tel 011 54 11 4307-4457/3157 Fax 011 54 11 4307-1182 Música Clásica Argentina, Ana María Móndolo, http://www.musicaclasicaargentina.com [email protected] Ricordi Americana, S.A.E.C., Tte. Gral. Juan D. Perón 1558, 1037 Capital Federal, Buenos Aires, Argentina. Tel 011 54 11 4371-9841/42/43, Fax 011 54 11 4371-8791, [email protected] Universidad Católica Argentina, Biblioteca de la Facultad de Artes y Ciencias Musicales, Avenida Alicia Moreau de Justo, 1500 Puerto Madero, 1107 Capital Federal, Buenos Aires, Argentina. [email protected] Universidad Nacional de La Plata, Escuela Superior de Bellas Artes, Diagonal 78, Número 680, 1900 La Plata, Argentina. Tel 011 54 21 423-6598/421-2456/423-5756 [email protected]

Weiss 220 Appendix G Index to Songs in Alphabetical Order Song Title

Entry

Composed

Published

Pages


20

1 Jan 1918

unpublished

25, 105

Ave Maria

1

ca. 1896

unknown

5, 108

Caminito de Flores

59

1942

unknown

83, 180


58

1942

1943

81, 159

Canción de Perico

56

1940

unknown

79, 172


30

ca. 1924

1925

40, 123

Canción del Estudiante

60

unknown

unpublished

84, 180


57

1940

1949

80, 173


62

1948

unpublished

86, 176

Canta tu canto, ruiseñor y vuela…

55

1940

1949

78, 158

Copla criolla

52

1938

1940

74, 155


28

ca. 1924

1925

36, 120

El arco iris

50

1937

1938

70, 171

El canario

49

1937

1938

69, 171


46

1937

1938

65, 169

El patio

48

1937

1938

67, 169

Era una rosa

14

30 Oct 1915

unpublished

18, 148

Este pajarito

44

1937

1938

63, 167

Extase

4

before 1899

unknown

8, 87

Feuillage du cœur

11

1915

unknown

15, 89


36

1931

1936

50, 140


41

1935-36

1936

58, 177

Himno de la UNLP

32

1927

1930

44, 176

Hormiguita

21

1919

1925

26, 165

Jujeña

31

ca. 1924

1925

42, 135


25

ca. 1924

1925

31, 150


45

1937

1938

64, 168

La Doble Cruz

42

1935-36

1936

60, 177

La Mort des Oiseaux

7

ca. 1903

unknown

11, 87


54

1938

unknown

77, 156

Weiss 221 Song Title

Entry

Composed

Published

Pages

Lassitude

13

Sep 1915

unpublished

17, 98

Le para vent

23

ca. 1924

unknown

29

Le paravent

12

1915

unknown

16, 89

Le voyage

9

unknown

1903

13, 87

Les Roses de Noel

3

before 1899

1924

7, 95

Los camperos

61

unknown

unpublished

85, 181

Los puñalitos

27

1921

1925

34, 118

Malyaha la suerte mia

38

1931

1936

53, 142

Mi señorita

47

1937

1938

66, 169

Nocturno

19

15 Mar 1917

unpublished

24, 150

Oye mi llanto

37

1931

1936

52, 140

Pampeana

33

1927

1949

46, 152


22

1921

unknown

28, 180

Petit Ynga

18

20 Feb 1917

1949

23, 103


39

1933

1949

55, 181

Porteñita

53

unknown

1936

75, 182


34

1931

1936

48, 137

Querendona

51

1938

1938

72, 153

Reflets

16

11 Jan 1916

unpublished

21, 102


10

8 Oct 1911

unknown

14, 88


8

unknown

unknown

12, 110

Sé…

5

before 1899

unknown

9

Si lo hallas

35

1931

1936

49, 138


17

21 Apr 1916

unpublished

22, 148

Silence

2

before 1899

unknown

6, 93

Tránsito

24

1924

unknown

30, 180


43

1936

unknown

62, 180

Une fleur

15

19 Dec 1915

unpublished

19, 101

Vals

40

before 1933

unpublished

57, 180

Vidala

29

ca. 1924

1925

38, 122

Vidalita

26

1921

1925

32, 116

Vorrei

6

ca. 1903

unknown

10

A GUIDE TO THE SONGS OF CARLOS LÓPEZ BUCHARDO (1881-1948) ARGENTINA

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