When Latin Meets Classical

The Latin Music Elements in Classical Music

What is often called Latin music consists of music made in South America, from the islands of Cuba, Jamaica, and Puerto Rico to Chile, Argentina, Brazil, and the broader continent.

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These music — as they are all unique and different depending on the place of origin, and reducing it to one style only would be too limiting — represent a fascination for the European world. Indeed, they are often much more rhythm centered than the former, and while very complex, somehow natural and organic. Additionally, they display a treatment of harmony and melody that is quite different from the one in the old continent, at times simpler but with hidden qualities. Latin music also represents a way of thinking that is different from the one in traditional European music — more on this below — and therefore which allows — for one who wishes to take inspiration from these — for creative stunts and a door to musical explorations. Furthermore, while music from South America and Western Europe might rightfully appear as being very different — particularly with the fact that most of the former are popular in its essence, while the latter is considered academic —, history has proven that they tend to work beautifully together when they meet.

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One interesting element to point out with their association, as a matter of fact, is that while most Western classical music avoids putting emphasis on strong percussive instruments, Latin music does very much so! And this particular reverse in the rhythmical balance is what creates such an interesting orchestral sound. It is also what makes Latin music so attractive to listeners; as it brings the focal point back to some of its original purposes; dance. Indeed, while in Europe and through baroque music, for instance, the focus had been on rhythm, and many of its musical mediums were based on dances, it all progressively faded away as the genres developed and a form of intellectualism, both from the composers and the listeners, took over. Latin music still keeps this dance element as central. In fact, it is well-known that all music is made of a pulse; a heartbeat. In the Western world, this is often represented by a crotchet — or quarter note. In Latin music, it is represented by a rhythmic cell, rather than a single entity, the most famous of it being the clave; instead of one single unit, it is the association of rhythms which constitutes the basis of music. 

Latin music is a blend of South American traditional music and colonialism influence. If most of it is the result of traditional folk music evolving, it would not have taken the shape it has today if it was not for the influence of Western Europe’s instruments, such as the guitar for instance, imported from Spanish settlers. There are of course many South American composers, who not only have explored their native folk traditions, but have also included instruments often left out of the orchestra — the guitar, once again, takes a much more important role than on the other side of the Atlantic. Brower, Powell, Villa-Lobos, Rodrigo are some of the most famous names, and more recently Golijov and Guarnieri have stood out. Then there are the musicians and composers inspired by Latin music, through their travels and discoveries. The influence that the music has had on European and North American classical music though, is immense; from Varèse and his “Ionisation”, Reich — throughout his entire body of work, Gershwin and his “Cuban Overture”, Bernstein with West Side Story to Copland’s El Salon Mexico, or Milhaud’s “Le Bœuf sur le toit”.

This Latin influence has been so important — in Western European culture in general too —, that nowadays we barely notice that it is here; yet it is. Through jazz and popular music — genres in which the influence has been even greater, with bossa nova, reggae, funk, and soul music amongst others. Let’s not forget indeed, that in many instances, Latin music has entered the realms of Western classical music through the door of jazz; and it is thanks to Dizzy Gillespie, Chick Corea, Charlie Haden, Sergio Mendes, Antonio Carlos Jobim, Stan Getz, Joao Gilberto, Gil Evans, Paul Desmond and many others that European composers such as Leonard Bernstein discovered the intricate rhythms of latin music, and a fresh approach to harmony, melody, and rhythm!

Jacques Ibert - his music and his life

Jacques Ibert - Divertissement | | Cristian Măcelaru | WDR Sinfonieorchester

Jacques Ibert was born in Paris in August 15 th 1890. His mother, an accomplished pianist, provided violin, then piano lessons for Jacques, despite his father’s wishes that his son follow in his business profession. From the beginning, Jacques always was more interested in free improvisation on the piano than concentration on technique and repertory.

After deciding to become a composer, his cousin ,Manuel de Falla, encouraged him in this field.

After graduating from secondary school in 1908, he delayed entering the Paris Conservatoire in order to help his father, whose family business had suffered a financial setbacks.

While working there, his plans switched from music to acting, an interest stimulated by meeting actors ,singers, artists and writers during the family’s earlier travels. His interest in theatre would be remain important for him throughout life.

Finally in 1911, Ibert entered the Paris Conservatoire,  and was taught by Pessard , Gédalge, and Vidal. Among his classmates were Darius Milhaud and Arthur Honegger, with whom he would work later on several occasions. His father unhappy about his music studies, had withdrawn financial support, so Ibert earns his  living by working as an accompagnist and writing light piano pieces and popular songs under a pen name. His previous skill improvisation became useful when he was employed as a pianist at sillent movie théâtres where he composed  scores  to fit the action on the screen. He later was to write over sixty film scores for sound movies.

World war I interrupted Ibert’s studies at the Conservatoire .He joined an army medical unit, and was decorated with the Croix de Guerre by the French government.

Shortly after returning to the Conservatoire, Ibert stood for the competition for the Premier Grand Prix (Prix de Rome). He won the prize,which meant living up to three years in Rome at the Villa Medici, in October 1919.

During his stay   at the Villa Medici, from February 1920 to May 1923  Ibert produced some of his best known works such as « La Ballade de la Geôle de Reading » and « Escales »..

In 1937 Ibert was named Director of L’Académie de France à Rome, the first musician to hold this post. He was responsible for administrative duties and supervision of the Prix de Rome winners. He held the position until 1960., although World War II forced him to leave Rome for a few years.

In 1955, Ibert was appointed General Administrator of the Réunion des Théâtres Lyriques nationaux (the combined management of Paris Opera and Opera Comique).

In 1956, he was elected to the Académie des Beaux Arts of the Institut de France. He died in  February 5th  1962.

Germaine Tailleferre - her music and her life

 

Born in Paris on April 19th 1892, French composer Germaine Tailleferre began her studies at the Paris Conservatory in 1904, despite her father’s opposition and her equal ability in art. She studied primarily with Eva Sautereau-Meyer. She was a pianistic prodigy with a phenomenal memory for music which led to her winning many prizes. In 1913, she met Auris, Honegger and Milhaud whilst studying in Georges Caussade’s counterpoint class. Eric Satie was so impressed by her 1917 work Jeux de plein air for two pianos that he described her as his ‘musical daughter’, and through this relationship, Tailleferre’s reputation was substantially advanced. When Les Six was formed in 1919-20, she became its only female member. Her abilities at the harpsichord and affinity for the styles of music originally composed for the instrument stood her in excellent stead as the neo-classicism of Stravinsky began to grow in popularity, though her works retained an influence of Fauré and Ravel. 

Unfortunately, Tailleferre’s circumstances in through much of the rest of her life meant that she never gained much of the same acclaim as the other members of Les Six. After two very unhappy marriages, she found her creative energies drained and due to financial issues was almost unable to compose if not for commission, leading to many uneven and quickly composed works. Moreover, her lack of self-esteem and sense of modesty held her back from publicising herself to a fuller extent. In spite of this, some of concerti of the 1930s saw some success and she was often approached to compose for film. Throughout her career she continued to compose music for children which some writers have suggested helped to retain the spontaneity, freshness and charm that characterises her finest works.

Darius Milhaud - his music and his life

 

Darius Milhaud (4 September 1892 – 22 June 1974) was a French composer and teacher. He was a member of 'Les Six' and one of the most prolific composers of the twentieth century. His compositions are influenced by jazz and make use of polytonality. 

Milhaud studied at the Paris Conservatory where he met his fellow group members Arthur Honegger and Germaine Tailleferre. Milhaud (like his contemporaries Paul Hindemith, Gian Francesco Malipiero, Bohuslav Martinů and Heitor Villa-Lobos) was an extremely rapid creator, for whom the art of writing music seemed almost as natural as breathing. His most popular works include Le bœuf sur le toit (ballet), La création du monde (a ballet for small orchestra with solo saxophone, influenced by jazz), Scaramouche (for Saxophone and Piano, also for two pianos), and Saudades do Brasil (dance suite). 

His autobiography is entitled 'Notes sans musique' (Notes Without Music), later revised as 'Ma vie heureuse' (My Happy Life). The Milhaud family left France in 1939 and emigrated to America in 1940 where he secured a teaching post at Mills College in Oakland, California. From 1947 to 1971 he taught alternate years at Mills and the Paris Conservatoire, until poor health compelled him to retire. He died in Geneva aged 81.