Celso Garrido-Lecca: Synthesis and Syncretism in Concert Music of the Andes Area (1985-2000)
The art music of the Andean region, especially the music produced in the last decades of the twentieth century, has been largely neglected by modern scholarship. This situation has generated a profound lack of research not only in relation to the works of specific composers of this area but also comprehensive research projects that allow an understanding of the aesthetics and musical currents in an important number of South American countries. Among a number of prolific composers of the Andean region, Celso Garrido-Lecca (b. 1926) has been chosen as the central focus of this dissertation. His direct contact with two different cultures of the Andean region, Peru and Chile, gave him a unique and interesting world view.Garrido-Lecca after 1985 was able to synthesize his diverse musical experiences in a very personal language. His mature compositional stage, which extends from 1985 to the present, reached its highest point in the year 2000 when the composer was awarded the "Tomas Luis de Victoria" prize. All the compositions of the period 1985-2000 are discussed in this dissertation and four representative pieces are analyzed in detail: Trio para un Nuevo Tiempo (1985), String Quartet No. 2 (1987), Simpay (1988), and Duo concertante for charango and guitar (1991). The main characteristics of his mature compositional period are defined in this dissertation mainly through the musical analysis of Garrido-Lecca's works and information gathered during the close contact established between the author and the composer.In the works composed by Garrido-Lecca between 1985 and 2000, one finds a syncretism of elements from different traditions and influences, including serialism, native and mestizo music from the Andes, Creole music from Peru and Chile, popular songs associated with the Nueva Cancion Chilena, and musical representations of mystical conceptions. This repertory constitutes an important synthesis and syncretism of European, Peruvian, and Chilean traditions, representing one of the most remarkable examples of the music composed in the Andean region during the last decades of the twentieth century.
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