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University of Texas Press
Leo Brouwer: A Portrait of the Artist in Socialist CubaAuthor(s): Paul CenturySource: Latin American Music Review / Revista de Música Latinoamericana, Vol. 8, No. 2(Autumn - Winter, 1987), pp. 151-171Published by: University of Texas PressStable URL: http://www.jstor.org/stable/780096
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Paul
Century
Leo
Brouwer:
A
Portrait
of
the Artist in Socialist Cuba
Leo
Brouwer-guitarist, composer,
con-
ductor,
teacher,
and
essayist-figures prominently among
the
most active
living
Cuban
musicians
today. Regarded
worldwide
as one
of
the fore-
most
living composer/guitarists,1
Brouwer
has
contributed
an
essential
component
to the
guitar's repertoire,
with
many
of
his
works
serving
as
fundamental
pedagogical
mainstays
of the classical
guitarist's
curricu-
lum.
A
prolific composer,
Brouwer's
compositions, apart
from
the
guitar
genre,
include
orchestral
and chamber
works,
instrumental
concerti,
ballet and theater
scores,
and film
music
in
styles representing
his
native
Cuban
heritage, avant-garde
art
music,
and
popular jazz-rock
idioms.2
Today
at
the
age
of
forty-eight,
Brouwer
remains in
post-revolutionary
Cuba
to
work within the Marxist
political
structure. He holds
a
number
of influential and
prestigious positions
in
the
Cuban
musical world.
Since 1964 he has headed the Music Division of
the Cuban
Film In-
stitute
(ICAIC),
and he has served as
the
Cuban
representative
on the
International Music Council of UNESCO since 1980. Brouwer is
also
currently
a
musical
advisor to
the Cuban minister of culture and artistic
director of the
Havana
Symphony.
Brouwer travels
frequently
outside
Cuba in
multiple
artistic roles. His
appearances
as
a
conductor
of
his
own music as well as the
standard
orchestra
repertoire
are
becoming
more
common,
notably
with the
BBC
and
Toronto
symphonies.
Brouwer is also
responsible
for
providing
artistic direction
and
pedagogical guidance
at
many
of
the
top-ranking
guitar
festivals
such as the World Festival
of Guitar
in
Martinique,
the
Toronto
Guitar
Festival,
and festivals
in
France,
Belgium,
Finland,
Hungary, Germany, and Japan.
Aside from his
substantial
administrative
duties and
pedagogical
activ-
ities,
Brouwer sustains
a
busy
schedule
composing
for
film,
theater,
ballet,
and instrumental ensembles. He
is
at
present engaged
in
prepara-
tory
work for his
first
opera,
a
"romantic"
story
set
in
Cuba
during
the
early
decades of this
century. Significant
among
the
larger
of
Brouwer's
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152
: Paul
Century
recent
compositions
are
two
guitar
concertos
and Cancion
de
Gestafor
wind orchestra.
Brouwer shares a common cultural background with a Cuban com-
poser
better
known to
the
American
public,
Aurelio
de la
Vega.
De
la
Vega
himself has commented on their
mutual
heritage,
noting
that al-
though
he
chooses to reside
in
California and Brouwer in
Cuba,
it is
their
culture,
isolated from
any
political
issues,
which binds
them
to-
gether.
For both
composers
there was an initial
impulse
to
transcend
the
physical
limits of their
island.
Each
felt
the
necessity
to confront the
pre-
vailing
issues of
composition
in
America
and
Europe,
and it was
in
an
international context that
their Cuban
folk
affinity
was manifested.
Ronald Erin's insightful article on de la Vega (LAMR 15, no. 1) pro-
vides not
only
a
satisfying
historical
background
to
any
discussion of
contemporary
Cuban
composers
but also introduces
a
necessary analyti-
cal
approach
to an
understanding
of how a Latin American
composer
incorporates
his folk
music
heritage
into his
personal
musical
language.
I
refer the reader to
Erin's
introductory
paragraphs
on nationalism
and
the
requisite
"cultural
identity"
which
Erin
explores
with de la
Vega.
What
I
present
here
is more
of
a
"portrait"
of
Brouwer than
a
lengthy
technical discussion
of
his
compositions.
An
understanding
of
the
man
and his
philosophies precedes analysis,
a
task reserved
for
a
later
article.
As
Brouwer
himself
has
emphasized,
the total world
surrounding
the
composer
is essential to
a
complete appreciation
of
his
music,
and it is
to
this end that
these
pages
are
offered.
Musical
Background
Brouwer
began studying
the
guitar
at the
age
of
thirteen,
first with
his
father
and later
with
renowned Cuban
guitarist
Isaac
Nicola.
At
the
same
time he
began
the
study
of
painting,
which he
gave
up
after
a
number of
years
to devote himself
entirely
to music.
Essentially
self-
taught
as
a
composer,
Brouwer's
first
compositions
came at the
age
of
fifteen.
Shortly
after he
experienced
what
might
be termed
a
"moment
of
epiphany";
this
"mystical"
event marks the
point
when Brouwer
realized
the
primary
direction his life as
a
creative
artist
would
take:
There was
something
magical, magical
for
me,
I
have
to
declare it to
you.
The first time I was composing(but really composing, not joking), my
mind
changed
entirely,
in
such
a
way,
and in
such
a
speed,
that
probably
in
24
hours,
for
the first time in
my
life,
I
changed my
entire
scope-of
the
world,
of the
environment,
of
man
in
the earth.
I
got
a dimension of
everything
that
I
never had
before
. . .
This
is
something very personal:
immediately
I
realized
the
esthetics,
the
world of
creation,
good
taste,
all
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Leo
Brouwer.
A
Portrait
of
the
Artist
in
Socialist
Cuba : 153
these
words that
signify
tremendous
things
. .
.I
experienced
these
all in
one
stroke,
one
flash.3
Brouwer devoured the
existing
literature for
guitar
with
great
rapidity:
"[I
saw]
. .
. like a
panorama,
a
'fast-motion,'
all
the
repertoire
of
the
guitar,
all
the
composers,
the
ones
I
liked,
the ones
I
disliked,
and
then
I
started
composing."4
Brouwer
explains:
Where was the Bart6k
of
guitar?
There was no Bart6k
of
guitar
...
Where
was the
Concerto
for Cembalo
and
Instruments
[sic]
that
de Falla
did?
.
.
.
There was no Octet
like
Stravinsky's,
no Danse
Sacree
nd
Danse
Profane
f
Debussy
for
harp
and
strings
. . . all
this
music was
a
discovery
for me
? . . and I said, I'm going to compose for guitar and strings, I did Danzas
Concertantes. . 5
As a
young
guitarist
in the 1950s with
an
open
mind
for
contem-
porary
music,
Brouwer
was,
in
effect,
filling
for
himself
a
gap
in
the
guitar
repertoire.
But
it
was not
only
the
guitar
which
attracted
him
compositionally;
Brouwer was
aware of
the
need to further
his
knowl-
edge
of other instruments
as
well. He
developed
compositional discipline
by writing
solo sonatas
for
many
other
instruments,
avoiding
the
guitar.6
Brouwer's
earliest
compositional
efforts
as
a
teenager
exhibit
a
strong
flavor of his own native Cuban-folk
heritage.7
At the same
time,
with
such works
as the
Suite
#2
and
Fuga
No.
1,
a
concern
for formal
unity
and traditional
musical
craftsmanship
is
evident. Brouwer
demonstrates
clever
contrapuntal
skill in
Fuga
No.
1,
investing
both
the
subject
and
countersubject
with
a
syncopated
Latin
rhythm. Study
#5
from
the
early
Simple
Studies
exhibits the
characteristic montuno
rhythm
of Cuba.
The
first
of half a dozen works
for
guitar
and
orchestra,
Brouwer's
Tres Danzas Concertantes
represent
a
step
into
the twentieth
century
for
the
modern
guitarist.
While the
ever-popular
Conciertode
Aranjuez
of
Joaquin
Rodrigo
remains
an idiomatic
expression
of
Spanish
tradition,
Brouwer's
youthful
concerto
explores
the
domain
of
quartal
harmony
and subtle
textural
development.
Brouwer
received his
only
formal
musical
training
in
1959-60
with
Vincent
Persichetti
at
the
Juillard
School
and Isador Freed
at
the Hartt
School
of Music.
Stylistically,
the
works
immediately following
Brouwer's
initial
period
of
study
do
not differ
substantially
from the earlier
works,
although
his
compositional
technique
shows
the benefits of his studies.
Brouwer admits that the later style was guided by a greater intellectual
understanding
of
compositional
practices
in
contemporary
music.8
His
music also became
more skilled
and well crafted
than
previously.
Of
interest
is
Elogio
de la
Danza,
which
presents
rich
harmonies with wide
timbral
changes.
A
significant
event
for
Brouwer's
musical
development
was his
atten-
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Ex.
1.
Fuga
No.
1,
measures
1-12.
(?1972
by
Editions
Max
Eschig.
Used
by
permission.)
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Ex. 2.
Simple
Studies,
#5,
measures
1-8.
(?1972
by
Editions
Max Eschig.
Used
by
permission.)
-?r
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Ex. 3.
Tres Danzas
Concertantes,
hird
movement,
measures
1-12.
(?1959
by Verlag
Neue Musik. Used
by
permission.)
I .
_ ;.
~~~~~~~~~~~-
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rs
t.
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Ex.
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Leo
Brouwer:
A
Portrait
of
the Artist
in
Socialist Cuba
:
157
Lento
(J=44-46)
p
I
m
J
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r
r
.
-
.
r-
iO.
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dvbr.
,
p
p
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?s 6
r0sc
- . -
m
pc
2
'"0'
a1
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8tpo
Molot
3onOro
(rubato)
Ex. 4. Elogio de la Danza, measures 1-7.
(?B.
Schott's
Soehne, Meinz,
1972.
All
rights
reserved. Used
by per-
mission of
European
American Music Distributors
Corporation,
sole
U.S.
Agent
for
B. Schott's
Soehne.)
dance at
the
Warsaw Autumn Music
Festival
in
1961,
where he heard
performances
of
Lutoslawski'
s
Jeux
Vinitien,
Stockhausen'
s
Zyklus,
and
Penderecki's
Threnody
o the Victims
of
Hiroshima. He
writes of
his
ex-
periences
at
the
festival and the
subsequent
significance
for Cuban
com-
posers
of the music
performed
in Warsaw in the
essay
"The Avant-
Garde
in
Cuban Music."9
Following
his
return
from
the
Warsaw
festival,
Brouwer
became an
active
and influential
figure
both
musically
and
in
his
ideological
stance.
He
accepted
a
position
as
professor
of
harmony,
counterpoint,
and
com-
position
at
the Conservatorio Amadeo
Roldan
in
1961,
where he was
responsible
for
inspiring
a
new
generation
of
ost-revoltionotuionary
Cuban
music
students.
He also
provided
guidance
for
popular
music
performers
and
composers, assisting
them with
musical
training
and
technical ad-
vice
in
electronic
recording.10
Despite
the economic
hardships
in
Cuba
following
the American em-
bargo
of
1964, Brouwer,
fellow
composer Juan
Blanco,
and
conductor
Manuel Duchesne Cuzan
prepared
concerts of
new
music.
Blanco,
work-
ing
primarily
with electronic
music,
produced
massive multimedia
hap-
penings
such as
Contrapunto spacial
No.
3
for
twenty-four
instrumental
groups, magnetic tape,
and
twenty
actors. Carlos Fariias's Relieves
placed
five instrumental
groups
in
the
corners of
the concert
hall
performing
pointillistic
lines
among
the
groups.
Brouwer's
La
tradicin se
rompe
.
.
pero
cuesta
trabajo
presented
a
notice
to the
audience
stating
that
"in
this
work,
the
public participates."
Works of the
great
classic
composers
(the
presto
from
the
g
minor
sonata of
J.
S.
Bach,
Beethoven's
Grosse
Fuge)
are
juxtaposed
in a
controlled
aleatory; gradually
the
composer's
own sonorities are introduced.
Brouwer
described
the aesthetic of
a
com-
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158:
Paul
Century
position
such as
La
tradicion
se
rompe
. .
pero
cuesta
trabajo
as "a
transfor-
mation
of
the
great
musical cliches into
a
contemporary
identity.
It is
a
vision of the universe of sound from all times, intermingling at the same
moment.
"
The
avant-garde
movement
in music
provided
for Brouwer
a means
of
incorporating
concepts
of
abstraction
prevalent
in
modern
art into the
realm
of sound textures.
In
Conmutaciones,
omposed
in 1966
for three
percussionists
on
twenty-three
instruments,
Brouwer
utilizes
a
graphic
score,
allowing
the
performers
to
interpret
the
visual
relationships
as
musical cues.
His
application
of
principles
of
visual
art to
composition
will
be considered later
in
this
article.
I-lF
lS,
i,
^
v
I - ^ . ~
1.
3n.
0
ro
o
0 0
0 0
0~~
0??
o o ' i
O~
O~~~~
r.P.-cl?
t
*bttU.
---
Ex.
5.
Commutaciones,
Section
F
Creative artists
explored
new facets
of
artistic
representation
during
the
1960s
within socialist
Cuban
society.
This
period
of
experimentation
came
to
an
abrupt
halt
in
1970
with
an economic crisis
resulting
from
the
failure
of
a
major
sugar
crop.
A
critical
reappraisal
of the
policies
and
priorities
of
Cuban
society, including
the
cultural
agencies,
followed.
Subsequently,
Cuban
folk
heritage
became
a
primary
concern
and
in-
spiration
in
the
arts.12
Coinciding
with Cuba's
time of
economic
and cultural
"soul-search-
ing,"
Brouwer embarked on
a
major
international concert
career. He
was
closely
involved
musically
with
Hans
Werner Henze
at
this
time,
performing
Henze's recital
piece
El
Cimarron
and
conducting
his
own
symphony
Exaedros
II
with the
Berlin
Philharmonic.'3
While
in
Germany
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Leo Brouwer:
A
Portrait
of
the
Artist
in
Socialist
Cuba : 159
as
a
guest
of
the
German
Academy
of
Arts,
he
began composing
his
first
guitar
concerto,
a
work central to
his
avant-garde
period
of com-
position.
From
1972
to
1973,
Brouwer
was in
West Berlin on
a DAAD
grant
from the German
government.
In
Germany
he
completed
a
"tetralogy"
of works
utilizing
similar
compositional
material but
cast
in
four differ-
ent
settings,
each
involving
the
guitar.
These
are La
Espiral
Eterna,
for
solo
guitar,
Per
Suonare
a
Due,
for two
guitars
(or
guitar
and
tape),
Per
Suonare
a
Tre,
for
flute, viola,
and
guitar,
and
the concerto for
guitar
and
small orchestra
(fifteen instruments).
In
the
following
passage
of
La
Espiral
Eterna,
a fixed
left-hand
position
(a widely spaced cluster) is maintained while the right hand articulates
various
rhythmic patterns
derived from Afro-Cuban
drumming styles.
Within the soft articulations
of
this
"pseudo-drumming" appear
force-
fully
accented notes
(Part
D,
Section
2);
the
performer
is
free
to
impro-
vise
upon
the
specified
pitches
and
rhythms.
The
embodiment of
a
folk-
derived
rhythmic
improvisation
within the chromatic
background
creates
a
unique synthesis
of musical
styles.
While in
Germany,
Brouwer
was
offered
a
recording
contract
both
as
guitarist
and
composer
with
Deutsche
Grammophon.
He
made
several
solo
guitar recordings
but soon returned to
Cuba,
giving
up
the
oppor-
tunity
to become
a
marketable
commodity
in
Europe.
It is
possible
that
with the
movement toward nationalism
in
the arts
in
Cuba at this time
Brouwer felt
a
stronger compulsion
to
participate
as
a musician in
his
homeland
than to
live
as
a
foreigner
outside
Cuba.
Brouwer's most recent
compositions
reflect
a
return to
"tonality,"
to
a
style
of
neo-romanticism,
a
trend much
in
evidence in
contemporary
music
in
the 1980s.
Brouwer, however,
dislikes
the
label
"neo-romanti-
cism" to
describe his
present style;
he
prefers
instead
"hyper-romanti-
cism,"'4
an
indication
of
his
philosophical
desire not
only
to
defy
the
connotations
implied
by
the former
term but
also
to
remain in
personal
control of the labels used
to
describe his
music.
Cancion
de
Gesta
of
1981,
commissioned
by
the American
Wind
Sym-
phony
Orchestra,'5
exemplifies
Brouwer's
controlled
synthesis
of musical
cultures.
Opening
with
the theme from
Handel's
Water
Music,
the work
proceeds
with
frenetic
passages
of
Afro-Cuban
conga
drumming,
Bartok-
ian
"insect
music,"
and the
Handel theme
developed contrapuntally
and closes with a return of the Afro-Cuban drumming, which might be
described
as
Brouwer's own "Cuban
Danse
Sacrale."
More recent is
Brouwer's Canciones
Remotas
(1984),
a
four-movement
work
for
string
orchestra
inspired by
the
poetry
of
D.
Jaquinet.
In this
opening passage
of the
fourth
movement,
deep parallel
fifth sonorities
sustain
a
plaintive
melody
in
the violins.
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160 : Paul
Century
Ex. 6.
La
Espiral
Eterna,
Sections
D/1
and
D/2.
(?1973
by
Schott.
Used
by
permission.)
One further
aspect
of Brouwer's
compositional activity
is his
popular
folk-song arrangements,
which
encompass chronologically
his entire
creative
output.
From
his
earliest
arrangements
of
Cuban
and
other
Latin
American folk melodies
to
his more
recent
guitar adaptations
of
Scott
Joplin piano
rags
and
the
music of
the
Beatles,
Brouwer
has con-
tinued
to
adapt folk/popular-inspired
music to the
guitar.
Brouwer
and
Art
Although
Brouwer's
youthful
excursions into
painting
were short-lived
(he
even claims to
have
destroyed
his
completed
works),
the
conceptual
basis of his art
studies
was
of considerable
importance
for
his
later direc-
tion
as
a
composer.
"It
was
an
approach
to
form
which was essential to
consider
.
. .
that
is
why
I
considered
so much
Paul Klee in
my
com-
position
class in
music."16
Klee's
theories of
modern
art
deal with basic
principles
of
line
and
color;
in
comparing
abstract
art
and
contemporary
music,
it is
possible
for
both the
artist
and
the
composer
to
interpret
"lines"
(physical
or
musical)
or
"colors"
(on
the
canvas or as
orchestra-
tion)
to
suit their
compositional
needs.
These
concepts
are best
represented
in
Brouwer's
"avant-garde"
period covering
the decade from the
mid 1960s
to
the
mid 1970s.17
In
Canticum
(1968),
the
sweeping
linear
motion toward the
pitch
b can be
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Ex.
7.
Canciones
Remotas
IV-"Y
anduvo
por
la
Tierra
solo,"
measures
Ir^Asj.lo
-
Qolctly
IZvoltb
W1
r-
')
-v.ltP
t
t/
'
4
-
,
-o,.,
I
\ I
; I
i
'
-
I
's
=
j1w
_
^
t.
'?'
i
~~~~~~,.-
,
I
,
^
'
_i~
7'~
vl
r
vL
I.
t
E.
'J,
Vc.
Cb.
:
.
,
-
,
_
-
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162:
Paul
Century
interpreted
visually
as a
line on the
canvas,
and
the
chordal
fragment
preceding
the horizontal
motion
can
be seen as
a
visually larger
surface.
I have chosen this
particular drawing
of Klee's to illustrate the com-
parison.
L
_
,
r
_
-r
-
-
'--
i -fmPppp
ff
f
MP P
mp
legatissimo
6
,
(t--=-~~~(~
E~ '
Ex.
8.
Canticum,
excerpt.
(?1972
by
Schott.
Used
by
permission.)
Ex. 9.
Paul
Klee's
"Dreamlike 1930"
(?1966
by
Faber
and Faber.
Used
by
permission.)
Brouwer
as
Intellectual
During
the late
1960s,
Brouwer
wrote
a
series
of
brief
essays
dealing
with such
topics
as
post-revolutionary
Cuban music
in
general,
the
avant-
garde
movement
in
Cuba,
and
aleatoric musical forms. His
writings
provide psychosocial insights
into the mind
of the
composer
in
a
socialist
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Leo Brouwer:
A
Portrait
of
the
Artist in Socialist Cuba : 163
state.
In
his
essay
from
1970,
"La
musica,
lo cubano
y
la
innovaci6n,"
Brouwer
writes:
The
first
thought
that
comes to
mind when we
speak
of
music is its classi-
fication or division into
types.
This
classification-which
I
dislike-is
engendered
more
by
the
specialization
of
the
consumer
fields
than
the
product
itself,
and has remained subdivided
. .
.
into
popular
nd art
music.
. .
.The
great
contradictions that
result from
this nomenclature make
us
try
to
explain
.
.
.
the
etymological
"truths"
of
Popular
and of Art.
By
Art is
understood
that music which is
elaborated
by
a sense
of
complex
structure
and
of sonoral traditions with various historical roots linked
to
a
concert tradition.
Popular
music,
which
does not establish
a
commitment
to the eternal, is founded in simple elements of easy recognition, so as not
to disturb
the
intellectual
capacity....
18
Brouwer
then considers the
way
in
which
society
tends to
categorize
music in terms of its
function,
concluding
that
in
the
twentieth
century
such
an
interpretation
taken to its end would result
in
a
dialectic
di-
chotomy
between the
concepts
of
popular
and
art.
Brouwer's
opinions
concerning
musical
analysis
are
stated
in
the same
essay:
Music is most often analyzed by means of its technical components . . .
almost
always
neglecting
to consider the circumstances which
surround the
creator,
circumstances of
philosophical-social
background,
political
circum-
stances.
. .
.
The inner world
of
the
composer,
for
one
thing,
is an
ex-
tremely
complex array
of
theoretical
worlds,
of
academics,
of
formative
learning,
of informations-all this
amalgamated
in
the conscious
mind
to
give
way
to the
imagination,
the unconscious
...
19
It is an
engaging
and
intellectually stimulating
work.
Brouwer
writes
openly
and
convincingly
about
his
thoughts
on
music,
society,
and the
composer
in
the
twentieth
century.
The formidable task of
opening up
a
composer's
cosmos takes
us
far
beyond
an
appreciation
of
the
musical
artifact. If
by exploring
the world
of the
composer
we come
to understand the
relationship
of his music
to
our
world,
we can
perhaps
better
comprehend
our
own culture and
our
relationship
to
it;
thus
the
symbiotic kinship
of
composer
and audience.
Leo
Brouwer
enriches our world
with his music
and
his
imagination.
Notes
1.
Of
Brouwer,
Colin
Cooper
has
stated,
"
'Greatest
living
guitar
com-
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164: Paul
Century
poser'
is
not
a
phrase
that comes
easily
in
any
context,
but,
all
things
considered,
it
is
impossible
to
think
of
any
other
composer
with a
better right to the title." "Chanson de Geste: Leo Brouwer and the
New
Romanticism,"
Classical Guitar
3
(June 1985):
13.
2.
The
most
complete
catalog
of
Brouwer's
music
can
be
found
in
Helie
Orovio,
Diccionario
de
la musica
cubana
(Havana:
Editorial
Letras,
1981), pp.
62-68.
An
accurate
list
is difficult to
compile
because of
the
number of
early
works
Brouwer
suppressed (but
which he
has
now been
making
available)
as
well as works
that
he
delays
publish-
ing,
sometimes for
years.
3.
Century,
"Interview
with
Leo
Brouwer," Fort-de-France,
Mar-
tinique,
December
10,
1984. Such a
mystical experience
may
be
compared
with the
creative-poetic experience
described
by
Mexican
poet-writer
Octavio
Paz,
whom Brouwer
greatly
admires. From The
Bow
and
the
Lyre
(Austin:
University
of Texas
Press,
1973),
p.
121:
"The
poetic experience,
like
the
religious
one,
is
a
mortal
leap:
a
change
of nature that
is
also
a
return to
our
originl
nature.
.
.
.
Our
being
suddenly
remembers its
lost
identity;
and
then that 'other' that
we are
appears,
emerges. Poetry
and
religion
are a
revelation
.
. .
it
is
the revelation
of himself
that
man
makes
to
himself."
4.
Century,
"Interview with
Leo Brouwer."
5.
Ibid.
6.
"Composers
Panel,"
Guitar Review
59
(Fall 1984):
11.
7.
Jose
Ardevol
wrote
of
his
great
admiration for Brouwer's
prodigious
talents
in
a
letter to the
teenage
composer,
also
remarking
that
he
was "one with
the
people."
I
am
grateful
to
Michael Lorimer for
informing
me of this
letter,
which he
saw at the
1986
International
Guitar
Festival
of Havana devoted to
the
music
of Brouwer
and to
his thirty-year contribution to Cuban music.
8.
Century,
"Interview with Leo Brouwer."
9. "La
vanguardia
de
la
musica cubana." First
published
in Muisica
1
(1970):
2-6.
10.
For Brouwer's
involvement
in
the
nueva trova
movement,
see
Rina
Benmayor,
"La
nueva
trova:
New
Cuban
Song,"
p.
19,
in
Latin
AmericanMusic Review
2,
no.
1
(Spring/Summer
1981):
11-35.
11.
"La
vanguardia
de
la
muisica
cubana,"
from
La
musica,
lo
cubanoy
la
innovacion
(Havana:
Editorial
Letras
Cubanas,
1982),
p.
32.
12. Julianne Burton deals with this issue in "An Interview with Hum-
berto
Solas,"
Jump/Cut
19
(December
1978):
27.
13.
Although
entries on
Brouwer
in
music
dictionaries
have
stated
that
Henze's music
influenced Brouwer's
(New
Grove,
Vinton's
Dictionary
of Contemporary
Music),
Brouwer's music
in
fact
does
not show
any
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Leo
Brouwer:
A
Portrait
of
the Artist
in
Socialist
Cuba
:
165
similarity
with
Henze's. On the
contrary,
Brouwer
supplied
Henze
with
a
knowledge
of
contemporary
guitar
techniques
which
he
ap-
plied in his El Cimarrdn,a score
containing
a
passage
"homage to
Leo Brouwer."
14.
Century,
"Interview
with
Leo Brouwer."
15.
Recorded
on
AWSO
105,
the
American
Wind
Symphony
Orchestra,
conducted
by
Robert
Austin Boudreau. The
work is
subtitled "For
the Boat Loaded with the
Future."
16.
Century,
"Interview
with
Leo Brouwer."
17.
Other sources of
nonmusical
inspiration
for
Brouwer
include laws
of
geometric proportion represented
by
the
principles
of
the
Golden
Mean and the Fibonacci series. For a technical discussion of
Brou-
wer's
application
of
these
concepts
in
La
Espiral
Eterna,
see
my
mas-
ter's
thesis,
"Idiom
and
Intellect:
Stylistic Synthesis
in
the Solo
Guitar Music of Leo Brouwer"
(University
of
California,
Santa
Barbara),
pp.
27-36.
18.
"La
musica,
lo cubano
y
la
innovacion,"
in La
musica,
lo
cubanoy
la
innovacidn,
p.
9.
19.
Ibid.,
pp.
10-11.
Selected
Bibliography
of Leo Brouwer
To
a
younger generation
of
musicians
in
the United
States,
Cuban
music means
little
more
than
a
driving, energetic
form of
music known
as salsa.
Research
in
the
area
of Cuban
art music
currently
seems a low
priority in the United States-an unfortunate circumstance, for the two
countries share fundamental
aspects
of
their
development
during
the
twentieth
century:
1.
Both nations
are
endowed with
a rich and
dynamic
folk
music tra-
dition derived
in
part
from
indigenous
Indian
sources
and
implanted
African
musical culture.
2. Earlier
in
this
century, composers
from Cuba
and
the United States
sought
musical
guidance
in
Europe
(the
generation
of
Boulanger
pupils).
3. During the 1930s and 1940s composers and writers from the United
States
expressed
interest
in
the
music of Cuba.
Witness the
relationships
between
Henry
Cowell and
Garcia
Caturla,
Roldan,
and
Ardevol
dis-
cussed
by
Rita Mead
in
"Latin American Accents
in New
Music,"
LAMR
3,
no.
2
(Fall/Winter 1982):
211-213.
Also Nicholas
Slonimsky,
"Catur-
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166 :
Paul
Century
la
of
Cuba,"
Modern Music
17,
no.
1
(October-November
1939):
76-80,
and
Lou
Harrison,
"Spring
Styles
in New
York,"
Modern Music
22,
no. 4 (May-June 1945): 258-269.
Following
the
1959
Cuban
revolution,
economic
and
cultural
ties be-
tween Cuba
and
the United
States
deteriorated;
Cuba has since
be-
come
closely
affiliated with
the Soviet Union
and
the Eastern
European
Communist nations.
Although
information
covering
the
musical
activi-
ties of these latter countries
is
available,
news
of
current
Cuban musical
life
for most
Americans is
nonexistent.
This
bibliography
achieves two
key objectives.
First,
it
presents
a
thorough representation
of Brouwer's multifaceted
accomplishments,
opening up
the
potential
for
further
research
into
his life and music.
Second,
it serves to
update
listings
of
general
sources
dealing
with Cuban
music since the revolution.
Music researchers
are
fortunately
not
faced with a
total lack of
in-
formation
from Cuba-materials
dealing
with
post-revolutionary
Cuban
music do
exist
in
the United States.
In
particular,
the
Library
of Con-
gress
continues
an
exchange
with
Cuban
libraries;
in
addition,
the
music
libraries of
the
University
of Texas at
Austin,
the
University
of
Miami,
and
the Latin American Music Center at Indiana
University
contain
music,
literature,
and
recordings
from
post-revolutionary
Cuba.
That
Brouwer
is not
better
known
in
the United States
is more an
indication
of the
current
state
of
diplomatic
affairs
between Cuba and the United
States than
of his
proper
stature
in
today's
musical world.
Bibliography
The
bibliogrphy
has been
organized
according
to
the
following guide-
lines:
(1) writings
by
Brouwer;
(2)
books, dissertations,
and
theses;
(3)
journal
articles,
excerpts
from
books,
program/record
notes,
and
selected
concert reviews.
Writings by Brouwer
Composer's
notes for Dos
Bocetos
[two
short
pieces
for solo
piano].
Ha-
vana:
Biblioteca
Nacional
"Jose
Marti,"
1964.
"Die
Avantgarde
in
der Kubanische Musik."
Trans. Norma
Fritz.
Melos
41,
no.
6
(1974):
345-346.
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168 : Paul
Century
List,
George,
and
Juan
Orrego-Salas,
eds.
Music in
the
Americas.
Inter-
American Music
Monograph,
vol.
1.
The
Hague,
Holland:
Mouton,
1967.
Martin,
Edgardo.
Panorama
Historico
de
la
Musica en Cuba. Havana:
Uni-
versidad de
la
Habana,
1971.
Meyer,
Leonard
B.
Music,
the
Arts,
and Ideas.
Chicago
and London:
University
of
Chicago
Press,
1967.
Moholy-Nagy,
Laszlo.
The New
Vision and
Abstract
of
an
Artist.
New
York:
George
Wittenborn,
1947.
Orovio,
Helie.
Diccionario
de la
mtusica ubana:
Biograficoy
tecnico.
Havana:
Editorial
Letras
Cubanas,
1981.
Paz, Octavio. The Bow and the
Lyre
(El
arcoy
la
lira).
Trans. Ruth L. C.
Simms.
Austin:
University
of Texas
Press,
1973.
Sanchez
Vasquez,
Adolfo.
Esteticay
Marxismo.
2
vols.
Mexico
City:
Edi-
ciones
Era,
1970.
Sapanov,
Mihail.
Musicology
in
Socialist
Cuba
(in
Russian).
Moscow:
In-
formacionnyj
Centr Po
Problemam
Kul'tury
i
Iskusstva,
1974.
Schneider,
John.
The
Contemporary
Guitar.
Berkeley
and Los
Angeles:
University
of
California
Press,
1985.
Summerfield,
Maurice
J.
The
Classical
Guitar:
Its Evolution and Its
Players
since 1800.
Gateshead,
England: Ashley
Mark
Publishing
Co.,
1982.
Suzuki,
Dean.
"Solo
Guitar
Music of
Leo Brouwer."
Master's
thesis,
University
of
Southern
California,
1981.
Whitrow,
G.
J.
The
Structure
f
the Universe.
London: Hutchinson's Uni-
versity Library,
1949.
Reprinted
as
The
Structure
nd
Evolution
of
the
Universe.
Hutchinson
and
Co.,
1959.
Xenakis,
Iannis.
Formalized
Music:
Thought
and
Mathematics
in
Composition.
Bloomington:
Indiana
University
Press,
1971.
Journal
Articles,
Excerpts
rom
Books,
Program/Record
Notes,
and SelectedCon-
cert Reviews
Ardevol,
Jose.
"Entrevista." Union
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170: Paul
Century
Fernandez
Retamar,
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1967).
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XX: I.
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From
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Musik
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