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Airiños: For Orchestra and Two-Part Women's Choir, and a Airiños: For Orchestra and Two-Part Women's Choir, and a

Biography of The Poet Rosalía de Castro Biography of The Poet Rosalía de Castro

Scott T. Stobbe Stephen F Austin State University, [email protected]

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Airiños: For Orchestra and Two-Part Women's Choir, and a Biography of The Poet Airiños: For Orchestra and Two-Part Women's Choir, and a Biography of The Poet Rosalía de Castro Rosalía de Castro

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AIRIÑOS: FOR ORCHESTRA AND TWO-PART WOMEN’S CHOIR, AND A BIOGRAPHY OF THE POET ROSALÍA DE CASTRO

By

Scott T. Stobbe, Bachelor of Music Composition

Presented to the Faculty of the Graduate School of Stephen F. Austin State University

in Partial Fulfillment of the Requirements

for the Degree of Master of Music

Stephen F. Austin State University

May 2017

AIRIÑOS: FOR ORCHESTRA AND TWO-PART WOMEN’S CHOIR,

AND A BIOGRAPHY OF THE POET ROSALÍA DE CASTRO

By

Scott T. Stobbe, Bachelor of Music Composition

APPROVED:

_____________________________________ Stephen Lias, Thesis Director

_____________________________________ Jamie Weaver, Committee Member

_____________________________________ Tod Fish, Committee Member

_____________________________________ Juan Carlos Ureña, Committee Member

_____________________________________ Richard Berry, D.M.A Dean of the Graduate School

i

ABSTRACT

Spanish poet Rosalía de Castro was a central figure in the Galician

cultural and literary revival of the mid nineteenth-century. One of her most

significant books is Cantares Gallegos, a book of poems written in Galician that

serves as an homage to the language, culture, customs and countryside of

Galicia. The text for the musical portion of this document, a work for orchestra

with extended percussion and two-part women’s choir entitled Airiños, comes

from Castro’s poem Airiños, airiños, aires which was featured in Cantares

Gallegos. To gain a deeper understanding of the author’s importance and

influence in Galicia and beyond, an overview of her upbringing and professional

life is provided in Chapter One. Chapter Two consists of an English translation of

the poem from which the text of Airiños originates, as well as the historical

background and significance of the poem in question. Chapter Three is a score

of Airiños, and chapter Four is a structural analysis of Airiños.

ii

Table of Contents

ABSTRACT ............................................................................................................ i TABLE OF CONTENTS ........................................................................................ ii LIST OF IMAGES .................................................................................................. iii LIST OF MUSICAL EXAMPLES .......................................................................... iv CHAPTER 1: BIOGRAPHY ................................................................................... 2 CHAPTER 2: ENGLISH TRANSLATION OF AIRIÑOS, AIRIÑOS, AIRES ALONG WITH NOTES BY THE TRANSLATOR ............................................. 15 CHAPTER 3: SCORE Airiños ............................................................................. 31 CHAPTER 4: ANALYSIS OF Airiños ................................................................... 54 BIBLIOGRAPHY .................................................................................................. 76 VITA..................................................................................................................... 78

iii

List of Images Image No. Page 1 – Portrait of Rosalía de Castro ........................................................................... 1 2 – The home where Castro was born .................................................................. 3 3 – The home where Castro lived in Padrón ......................................................... 4 4 – Cover of La Flor ............................................................................................... 6 5 – Portrait of Murgúia ........................................................................................... 8 6 – Murgía on his 89th Birthday May 17, 1918 ....................................................... 8 7 – Castro, Murgúia and their five surviving children ............................................ 9 8 – Original cover of Cantares Gallegos ............................................................. 10 9 – Portrait of Castro ........................................................................................... 13 10 – Painting of Castro ........................................................................................ 27

iv

List of Musical Examples

Example No. Page

1. m.4 A section Vibraphone ............................................................................. 59

2. mm.73-74 A’ section Vibraphone .................................................................. 59

3. m.82-83 A’’ section Cello ............................................................................... 59

4. mm.2-3 clarinet figure .................................................................................... 60

5. mm.71-72 clarinet figure ................................................................................. 60

6. mm.84 violin figure ......................................................................................... 61

7. mm.8-13 A section clarinet melody ................................................................ 61

8. mm.14-16 A section clarinet melody ............................................................. 62

9. mm.88-91 A’’ section violin melody ............................................................... 62

10. mm.20-22 woodwinds ................................................................................. 63

11. mm.23-24 horns and trumpets .................................................................... 64

12. m.32 flutes and oboes ................................................................................. 65

13. m.33-34 trumpets ........................................................................................ 65

14. mm.135-137 flutes and oboes ..................................................................... 66

15. mm.141-143 choir ....................................................................................... 66

16. mm.43-45 marimba and vibraphone ........................................................... 67

17. m.51 flutes and oboes ................................................................................. 68

v

18. mm.78-79 clarinets, oboes and flutes ......................................................... 69

19. mm.94-95 choir ........................................................................................... 70

20. mm.147-148 choir ....................................................................................... 71

21. m.114 choir and violins ................................................................................ 72

22. m.144-145 choir .......................................................................................... 73

23. m.153-154 choir .......................................................................................... 73

24. m.172-173 choir .......................................................................................... 74

Rosalía de Castro

February 24, 1837 – July 15, 1885

Image 1 Portrait of Rosalía de Castro1

1Photo Courtesy of the Fundación e Casa Museo Rosalía de Castro website, accessed November 19, 2016, www.rosalia.gal .The museum is located at A Matanza, s/n 15917 Padrón Galicia Spain. Telephone (34) 981-811-204

1

CHAPTER 1

Early years in Galicia

Rosalía de Castro was born February 24, 1837 at a home in Camiño

Novo, a suburb of Santiago de Compostela. She was baptized shortly after her

birth at the chapel of the Hospital Real in Santiago de Compostela. The

baptismal records state her name as María Rosalía Rita, daughter of unidentified

parents. The infant Castro was brought to the Hospital Real by María Francisca

Martínez who was a family servant and acted as Godmother and wet nurse to

Castro. “At the hospital she was registered as “hija de padres incognitos”

(daughter of unidentified parents) this is probably due to the fact the she was the

illegitimate daughter of a woman who came from a noble family and a seminarian

who later became a priest.”2

Her mother was María Teresa de la Luz de Castro y Abadía (1804-1862)

from Padrón3 in the province of A Coruña Galicia, Spain. Castro’s father was

José Martínez Viojo (1798-1871).

2 Rosalía de Castro Biografia. Trans. Scott Stobbe, accessed November 19, 2016, http://rosalia.gal/rosalia/biografia/. 3 The municipality of Padrón is also known by the name Iria Flavia and lies 17.5 miles southeast of Santiago de Compostela.

2

Image 2 The home where Castro was born4

Castro’s first years were spent living with María Francisca Martínez and

her paternal aunts María Josefa and Teresa Martínez Viojo on the estate where

her father was born called Castro-Ortuño in Tarroeira, 13 miles north east of

Santiago de Compostela.

4 Photo Courtesy of the Fundación e Casa Museo Rosalía de Castro website, accessed November 19, 2016, www.rosalia.gal.

3

Image 3 The home where Castro lived in Padrón 5

In 1842 Castro moved to Padrón to live with her mother.6 After 8 years in

of living in rural Padrón, Castro and her Mother moved to Santiago de

Compostela in 1850. Shortly thereafter the young Castro began her formal

education. “She attended school at the “Sociedad Económica de Amigos del

País” (Association of Friends of the Country) and received what was then

5 Photo Courtesy of the Fundación e Casa Museo Rosalía de Castro website, accessed November 19, 2016, www.rosalia.gal . 6 There are some minor discrepancies as to the exact dates and living situations in the early life of Castro. In the case of ambiguities the information provided here has come from the website of the Fundación e Casa Museo Rosalía de Castro which is believed to be the most reliable source.

4

considered suitable instruction for a well-bred young lady.”7 At the Association

she studied music, drawing, and French (among other things). She also

attended the “Liceo de la Joventud” (Lyceum for Youth) held at the convent of

San Agustín.

“The Lyceum, one of the many such groups founded in Spain during the

Romantic era, was a cultural association which provided a meeting place for

writers and artists.”8 At the Lyceum she participated in theatrical productions and

met many intellectuals from the area.

Her literary formation took place during the Spanish Romanticism, which had been fed by the English, French and German. Castro read French and knew other foreign authors through French or Spanish translations. She undoubtedly read extensively in the Spanish classics, and perhaps knew some Portuguese masterpieces as well. The youthful period spent in Santiago would correspond almost exactly with the intense social, intellectual and artistic activities of the Galician Restoration.9 10

7 Kathleen Kulp-Hill, Rosalía De Castro (Boston: TWAYNE PUBLISHERS, 1977), 26. 8 Kulp-Hill, Rosalía De Castro, 27. 9 The Galician restoration is also known as the Galician revival or rexurdimento. It was a movement from the mid-nineteenth century that aimed to revive and preserve literary, cultural, political and historical values unique to Galicia. This movement was influenced by European Romanticism. The Galician revival is generally dated as beginning in 1863 with the publication of Cantares Gallegos by Castro.) 10 Kulp-Hill, Rosalía De Castro, 27.

5

Marriage, Family, and Professional Life

Castro composed her first poems at the age of twelve. In 1856, when she

was nineteen, Castro travelled to Madrid to stay with her aunt Carmen Lugín de

Castro. There she was exposed to theater events, artists and writers (most

notably her future husband the Galician writer and historian, Manuel Martínez

Murguía).

The following year, at the age of twenty she published her first book, a

collection of six poems titled La Flor. “The themes which predominate in La Flor

are impossible and tragic love with its ensuing disillusionment and despair, loss

of innocence and faith, unfortunate destiny, hostility and sarcasm on the part of

society, and longing for solitude and death.”11

Image 4 Cover of La Flor12

11 Kulp-Hill, Rosalía De Castro, 36. 12 Photo Courtesy of the Fundación e Casa Museo Rosalía de Castro website, accessed November 19, 2016, www.rosalia.gal .

6

Murguía wrote a positive review of the book in the periodical La Iberia.

Murguía claimed he did not know the author at the time but it is generally

accepted that they had been acquainted prior to the favorable review.13 They

were engaged that same year and married in Madrid on October 10, 1858.

Murguía was born on May 17, 1833, in Arteixo, a small town 34 miles

north of Santiago de Compostela. He was a central figure of the Galician revival

as a writer and historian. He founded the Real Academica Galega in 1905,14 an

institution dedicated to the study and promotion of Galician culture and language

that still exists to this day.

His career included a number of responsible and prestigious positions: director of the periodical La Oliva in Vigo, Government Historian (Jefe del Archivo) in Simancas, head of the Regional Archives of Galicia in La Coruña, director of the Archives and Library of the University of Santiago, and the editor of the periodical La Ilustracíon Gallega y Asturiana in Madrid…Murguía supported and encouraged his wife’s literary efforts.15

13 Kulp-Hill, Rosalía De Castro, 27. 14 The first meeting of the Real Academica Galega was in the following year 1906. 15 Kulp-Hill, Rosalía De Castro, 28.

7

Image 5 Portrait of Murgúia 16

Image 6 Murgía on his 89th Birthday May 17, 191817

16 Photo courtesy of the Wikepedia website, accessed November 19, 1016. https://en.wikipedia.org

8

Castro wrote her first novel La Hija del Mar in 1858, the year of her

marriage. Set in a small village on the Galician coast, La Hija del Mar tells the

tale of Esperanza, an orphan girl rescued from a shipwreck who is brought in and

raised by Teresa, a single woman who had previously lost her own child. Castro

travelled back and forth from Galicia to Madrid during this period of her life. In

1859 Castro gave birth to Alejandra the first of seven children.18

Image 7 Castro, Murgúia and their five surviving children19

In 1861 her second novel Flavio was published as well as her first poem in

Galician Adios rios; adios Fontes. Castro’s mother passed away in 1862, while

17 Photo courtesy of the Almanaque das Irmandades website, accessed November 19, 2016. http://almanaquedasirmandades.gal 18 Two of Castro’s seven children did not survive infancy. Adriano was stillborn and another Valentina died when she was 19 months old. 19 Photo Courtesy of the Fundación e Casa Museo Rosalía de Castro website, accessed November 19, 2016, www.rosalia.gal.

9

Castro was staying with her in Santiago de Compostela. In 1863 Castro moved

back to Santiago de Compostela more permanently. A short volume of poems

titled A mi Madre (To my Mother) was published in 1863 along with her first

volume of poetry written in the Galician language Cantares Gallegos. Cantares

Gallegos is a significant literary work of the Galician revival. In 1864 Castro

published her only prose book written in Galician entitled Contos da Miña Terra.

Image 8 Original cover of Cantares Gallegos20

Castro is most famous for her romantic depictions of Galicia and her

feminist poetry and prose.21 The poem Airiños, Airiños, Aires, is one such

20 Photo Courtesy of the Fundación e Casa Museo Rosalía de Castro website, accessed November 19, 2016, www.rosalia.gal .

10

example of a romantic depiction of Galicia and comes from Castro’s Cantares

Gallegos.

In 1866 the article Las Literatas: Carta a Eduarda was published in the

Galician Almenac. Castro’s article was written from the feminist perspective on

the condition of women.22 In 1866 her novel, Ruinas, was published. The story

revolves around three characters experiencing conflict between tradition and

modernity. This is another theme that reoccurs in the works of Castro. In 1867

she published her longest and most ambitious novel entitled El Caballero de las

Botas Azules. This masterwork is set on the scene of a pilgrimage to Madrid and

is a critique of the social and literary ideals of the time. In 1868 her second child

Aura was born. 1869-1870 Castro wrote the bulk of her book of poetry later

entitled Follas Novas.

Castro spent the end of 1870 and the beginning of 1871 in Madrid. In

1871 Murgúia took a job at the royal archive of Galicia and the family moved to

La Coruña, living there until 1874. In 1871 Castro gave birth to twins, Gala and

Ovidio. In 1872 the second edition of Cantares Gallegos was published in Madrid

with the addition of four new poems. In 1873 Castro’s daughter, Amara, was

born. In 1875 Castro gave birth to Adriano who died 19 months later after falling

21 There are entire books dedicated to the feminist messages in her poetry. One example of this is the book Between the Maternal Aegis and the Abyss: Woman as Symbol in the Poetry of Rosalía de Castro. 22 Rosalía de Castro Biografia, trans. Scott Stobbe, accessed November 19, 2016, http://rosalia.gal/rosalia/biografia/.

11

off of a table.23 In 1877 Castro gave birth to a daughter, Valentina, who was

stillborn. During 1878-1879 Castro lived in Santiago de Compostela.

In 1880 Follas Novas was published. This work solidified Castro’s identity

as an important Galician poet and champion of the Galician revival. In 1881

Castro published three works, El Primer Loco: Cuento Extraño, El Domingo de

Ramos and Padrón y las Inundaciónes.

In 1882 Castro moved back to Padrón and published many poems in

Spanish for various publications. These poems were collected and published in

1884 as En las Orillas del Sar. This was Castro’s last publication before her

death from uterine cancer on July 15,1885 at the age of 48. “During her last few

years she was slowly consumed by cancer of the uterus, in a time when there

was no recourse for surgery or other treatments”24 By her request she was buried

in Iria Flavia (Padrón) in the Andina Cemetery near her family home. In 1891 her

body was exhumed and brought to Santiago de Compostela to be re-buried at

the a chapel in the convent of Domingos de Bonaval (later renamed El Panteón

de Galegos Ilustres “The Pantheon of Illustrios Galicians”)

23 Rosalía de Castro Biografia, trans. Scott Stobbe, accessed November 19, 2016, http://rosalia.gal/rosalia/biografia/. 24 Kulp-Hill, Rosalía De Castro, 29.

12

Image 9 Portrait of Castro25

25 Photo Courtesy of the Fundación e Casa Museo Rosalía de Castro website, accessed November 19, 2016, www.rosalia.gal.

13

Complete list of published works by Rosalía de Castro:

La Flor (1857)

Lieders (1858)

La Hija del Mar (1858)

Flavio (1861)

A mi Madre (1863)

Cantares Gallegos (1863)

Contos da Miña Terra (1864)

Las Literatas. Carta a Eduarda (1866)

El Cadiceño (1866)

Ruinas (1866)

EL Caballero de las Botas Azules (1867)

Follas Novas (1880)

El Primer Loco. Cuento Estraño (1881)

El Domingo de Ramos (1881)

Padrón y las Inundaciónes (1881)

Costumbres Gallegas (1881)

En Las Orillas del Sar (1884)

14

CHAPTER 2

English Translation of Airiños, airiños, aires along with notes by the

translator.

Translator: Eduardo Freire Canosa (University of Toronto Alumnus)26

The poems of "Cantares Gallegos" abound in the use of the affectionate

diminutive peculiar to the Galician language. "Airiños, airiños aires" employs

sixteen. The affectionate diminutive of a word ending in "a" is iña (feminine case)

and the affectionate diminutive of a word ending in "o" is iño (masculine case).

The plural variance is iñas and iños. Affectionate diminutives make the exercise

of translating harder and something of artwork, but to ignore them altogether is to

miss the full emotivity of the poem. On the plus side Galician affectionate

diminutives afford the translator an opportunity to add alliteration, internal rhyme

or lyrical sharpness to the text as part of the exercise of finding the best modifier

which conveys size, frailty, sympathy or endearment depending on the context.

All the words in "Airiños, airiños aires" whose singular form ends in iña or iño are

listed below together with a range of possible translations and a short

explanation of the choice made where useful. Please note that not every word

that ends in iña or iño is an affectionate diminutive.

• airiños. Dim. and pl. of "aire" (air, wind). There are two possible interpretations.

26 Translation from Galician to English of 11 poems by Rosalía de Castro. accessed October 28, 2016, http://www.rosalia--de--castro.webs.com/.

15

The first and most common weighs the intensity of the wind and would

translate as "light winds" or "breezes." The second views the wind with

affection and would translate as "beloved winds" or "sweet winds" (cf.

14.1). The bulk of this poem endorses the second interpretation more than

the first. However I picked the translation "breezes" to restrain the

emotion, given that it pervades the rest of the poem already.

• airiños aires. This is an unconventional grammatical construct where a noun,

"airiños," plays the part of an affectionate adjective. Hence an affectionate

bias is required. "Airiños" can be translated as "sweet airs" and

adjectivized to "sweet airy" while the noun "aires" means simply "winds,"

yielding "sweet airy winds." Another option: beloved blowing winds.

• amoriño. Dim. of "amor" (love) translated "truelove." Other options: cherished

love, darling, sweetheart.

• casiña. Dim. of "casa" (house) translated "dear house." Other options: house

that I love, little house, precious house, small house.

• compañeiriños. Dim. and pl. of "compañeiro" (companion) translated "mates."

Other options: buddies, chums, pals.

• corazonciño. Dim. of "corazón" (heart) translated "poor heart" to reflect the

writer's despondency (5.7) .

• cunchiñas. Dim. and pl. of "cuncha" (seashell) translated simply "seashells."

The affectionate diminutive was ignored because these shells are used for

percussion.

16

• folliña. Dim. of "folla" (leaf) translated "poor leaf" to reflect the writer's

despondency. Another option: hapless leaf.

• gaitiña. Dim. of "gaita" (bagpipe) translated "dear bagpipe." Other options:

beloved bagpipe, Galician bagpipe (10.10), native bagpipe.

• galleguiños. Dim. and pl. of the Castilianism, "gallego," (Galician) translated

"Galician...that I love." Another option: dear Galician.

• miña, miñas (my). Not a diminutive.

• mortiña. Dim. of "morta" (dead) translated "pass away sadly" Other options:

grievously dead, peacefully dead, placidly dead, unhappily dead. The

second and third options clash with her restless shout to the passing wind.

• mouriña. Dim. of "moura" (either a Castilianism of "mora" meaning Moorish

woman or a localism of "mourana" meaning a person of yellowish-brown

skin). I opted for the Castilianism so "mouriña" can be translated as "pretty

Moorish woman." Other options: cute Moorish woman, humble Moorish

woman.

• mouriña moura. As with "airiños aires," the translation of this hyperbole

benefits from adding the alternate interpretation, here "moura" as "a

person of yellowish-brown skin" or "tan." The unconventional grammatical

construct then translates as "tan, pretty Moorish woman" (7.5).

• muchiña. Dim. of "mucha" (shriveled, withered) translated "withered alas!"

Other options: piteously shriveled, sadly withered, sorrily withered.

• paxariño. Dim. of "paxaro" (bird) translated "little bird" connoting size and

17

affection when the protagonist fancies becoming a bird (11.1) and

translated "small bird" when she stops fantasizing (13.1).

• quitadoiriños. Dim. and pl. of "quitadoiro" (reliever, remover) translated

"cherished erasers." Other options: dear expungers, kind removers,

soothing allayers.

• sospiriños. Dim. and pl. of "sospiro" (sigh) translated "sad sighs." Other

options: sorrowing sighs, tender sighs.

• toliña. Dim. of "tola" (crazy, disturbed, mad) translated "delirious" since the

protagonist would be delighted to be able to fly back home (11.4). Other

options: ecstatic, giddy mad, wild.

Airiños, airiños, aires

18

Airiños, airiños aires, airiños da

miña terra; airiños, airiños

aires, airiños, levaime a ela.

Sin ela vivir non podo,

non podo vivir sin ela,

que adonde queira que vaia

cróbeme unha sombraespesa.

Cróbeme unha espesa nube

tal preñada de tormentas,

tal de soidás preñada,

que a miña vida envenena.

Levaime, levaime, airiños,

como unha folliña seca,

que seca tamén me puxo

a callentura que queima.

¡Ai! si non me levás pronto,

airiños da miña terra,

Breezes, sweet airy winds, Breezes of my

homeland; Breezes, sweet airy

winds, Breezes, take me home.

Without her I can not live,

I can not live without her,

For go where I may

A thick shadow hangs over me.

A thick cloud hangs over me

So pregnant with storms,

So with yearnings pregnant,

That it poisons my life.

Carry me—carry me, breezes—

Like a poor dry leaf

For dried up too left me

The fever that burns.

Ay! If you don't take me away soon,

Breezes of my homeland,

19

si non me levás, airiños,

quisais xa non me conesan,

que a frebe que de min come

vaime consumindo lenta

e no meu corazonciño

tamén traidora se ceiba.

Fun noutro tempo encarnada

como a color da sireixa,

son hoxe descolorida

como os cirios das igrexas,

cal si unha meiga chuchona

a miña sangre bebera.

Voume quedando muchiña

como unha rosa que inverna,

voume sin forzas quedando,

voume quedando morena

cal unha mouriña moura,

filla de moura ralea.

Levaime, levaime, airiños,

If you don't take me away, breezes,

Perhaps they won't recognize me

For the fever that feeds off me

Keeps consuming me slow

And harries my poor heart also,

Treacherous.

I was in another time carmine

Like the cherry's colour,

Today I am discolored

Like the candles of churches

As if a bloodsucking witch

Had imbibed my blood.

I am becoming withered alas!

Like a rose in wintertime,

I am losing my strength gradually,

I am turning dark-skinned

Like a tan, pretty Moorish woman,

Daughter of Moorish lineage.

Carry me—carry me, breezes—

20

levaime a donde me esperan

unha nai que por min chora,

un pai que sin min n'alenta,

un irmán por quen daría

a sangre das miñas venas

e un amoriño a quen alma

e vida lle prometera.

Si pronto non me levades,

¡ai!, morrerei de tristeza,

soia nunha terra estraña

donde estraña me alomean,

donde todo canto miro

todo me dice: «¡Extranxeira!».

¡Ai, miña probe casiña!

¡Ai, miña vaca vermella!

Años que balás nos montes,

pombas que arrulás nas eiras,

mozos que atruxás bailando,

redobre das castañetas,

xas-co-rras-chás das cunchiñas,

Carry to where await me

A mother who for me weeps,

A father who without me struggles,

A brother for whom I'd give

The blood of my veins

And a truelove to whom life

And soul I vowed.

If you don't carry me away soon

Aye! I will die of sorrow

Alone in a strange land

Where they label me a stranger—

Where all I gaze upon,

All, says to me, "Foreigner!"

Ah, my poor dear house!

Ah, my golden-red cow!

Lambs that bleat in the highlands,

Turtle doves that purr in the fields,

Lads who yell-yodel in the dance,

Roll of the castanets,

Shas-caw-russ-chas of the seashells,

21

xurre-xurre das pandeiras,

tambor do tamborileiro,

gaitiña, gaita gallega,

xa non me alegras dicindo:

«¡Muiñeira, muiñeira!».

¡Ai, quen fora paxariño

de leves alas lixeiras!

¡Ai, con que prisa voara,

toliña de tan contenta,

para cantar a alborada

nos campos da miña terra!

Agora mesmo partira,

partira como unha frecha,

sin medo ás sombras da noite,

sin medo da noite negra;

e que chovera ou ventara,

e que ventara ou chovera,

voaría e voaría

hastra que alcansase a vela.

Shur-ray shur-ray of the tambourine,

Drum of the drummer,

Dear bagpipe, Galician bagpipe,

You no longer gladden me saying,

"Jig! Jig!"

Ah, who were a little bird

Of slim, nimble wings!

Ah, with what haste would I fly

Delirious from so much joy

To sing the morning song

On my homeland's meadows!

This very instant I'd part,

I'd part like an arrow

Without fear of the night's shadows,

Without fear of the black night,

And whether it rained or blew hard,

And whether it blew hard or rained,

I would fly and fly

Until she came into view.

22

Pero non son paxariño

e irei morrendo de pena,

xa en lágrimas convertida,

xa en sospiriños desfeita.

Doces galleguiños aires,

quitadoiriños de penas,

encantadores das auguas,

amantes das arboredas,

música das verdes canas

do millo das nosas veigas,

alegres compañeiriños,

run-run de tódalas festas,

levaime nas vosas alas

como unha folliña seca.

Non permitás que aquí morra,


que aínda penso que de morta

hei de sospirar por ela.

Aínda penso, airiños aires,

But I am not a small bird

And I'll be dying slowly of sorrow,

Anon in tears transformed,

Anon in sad sighs dissolved.

Sweet Galician winds that I love,

Cherished erasers of heartbreaks,

Enchanters of the waters,

Lovers of the coppices,

Music of the green stalks

Of corn of our valleys,

Merry mates,

Roon-roon of every celebration,

Carry me away on your wings

Like a poor dry leaf.

Do not grant that I should die here,


For I yet think that when I'm dead

I shall pine for her.

I yet think, sweet airy winds,

23

que dimpois que morta sea,

e aló polo camposanto,

donde enterrada me teñan

pasés na calada noite

runxindo antre a folla seca,

ou murmuxando medrosos

antre as brancas calaveras,

inda dimpois de mortiña,


heivos de berrar: «¡Airiños,

airiños, levaime a ela!».

That after I am dead

And over in the graveyard

Where they have interred me

You pass by in the quiet night

Clattering among the dry leaves

Or whispering fearful

Among the white skulls—

Even after I pass away sadly—


I shall cry out to you, "Breezes,

Breezes, take me home!"

Airiños, airiños, aires and the Galician revival

24

The poem Airiños, airiños, aires, included in Castros first book of poems

published in Galician titled Cantares Gallegos, gives homage to the countryside,

folklore, language and culture of Galicia. This book is considered one of the most

important works of the Galician cultural and literary revival and its publication

date is widely accepted as marking the beginning of the revival itself, May 17,

1863. This date is believed to be the exact publication date of Cantares Gallegos.

One hundred years later, “The Real Academia Galega”, (Royal Galician

Academy) declared the date May 17, as a public holiday named “El Dia de la

Letra Galega” (The Day of Galician Literature). In 1991 “El Dia de la Letra

Galega” became an official public holiday in all of Galicia. This day is marked by

celebrating a different Galician writer each year. The holiday’s inaugural year in

1963 was dedicated to Castro.

The significance of the Galician Language begins over a thousand years

age. Galician-Portuguese was an important language throughout the country in

the middle ages.

Written literature begins with the medieval cancioneros (collections of songs) in Galician-Portuguese. These reflect the thriving school of poetry which had developed in Santiago de Compostela, holy shrine of St. James and teeming crossroads of medieval culture, where the poets and troubadours of Spain were in contact with European artistic currents, especially the Provencal movement in southern France. Galician-Portuguese was refined and elevated as the poetic medium of the peninsula, the preferred language for lyrics, a position it retained until the 15th century.27

27 Kulp-Hill, Rosalía De Castro, 23.

25

In spite of the importance of Galician-Portuguese at the time, the language

was to become marginalized in part as a result of a political move. “Alfonso X,28 a

learned man, acted to standardize competing erratic linguistic norms. He devised

a correct form of castellano, the language of Castiles, in 1276.”29 “By the 15th

century it (Castilian) had become not just the official language of administration,

but also the dominant written language, while Galego (Galician) was relegated to

the status of an oral language.”30

Portugal was part of the Spanish Iberian Peninsula and shared cultural

and linguistic ties to Galicia until gaining its independence in the 12th century.

Portugal and Galicia then were divided into two separate lands split by the Miño

River. “In the eighth century, Galicia had been a vital component of the tiny

Asturian Kingdom. By the thirteenth century, it had returned to its familiar

peripheral status.”31 Therefore Galicia lost its compatriots to the east in Asturias32

and to the south in Portugal while also having its native language replaced with

Castilian. This gave the Galicians a sense of being outsiders in their own country

and, at the same time gave them a sense of unique regional identity.

28 Alfonso X was the king of Castilla and León from 1252-1284 this region consisted of the entire Iberian Peninsula with the exceptions of Portugal, Navarra, Aragón and Granada. 29 Sharif Gemie, Galicia: A Concise History (Cardiff: University of Wales Press, 2006), 24. 30 Gemie, Galicia: A Concise History, 25. 31 Gemie, Galicia: A Concise History, 23. 32 Asturias lies directly east of Galicia and was the only region in the Iberian Peninsula that was never conquered by the Moors.

26

This regional identity of culture and language was reinvigorated in the 19th

century sparked by the European Romantic movement.

In the early part of the nineteenth century there occurred in Galicia a resurgence of local patriotism, the outgrowth of Romanticism and of political conditions in Spain. Similar movements arose in other culturally distinct regions of Spain, such as Catalonia and the Basque Provinces. France also experienced this phenomenon in such areas as Provence and Brittany. The Galician Restoration was both political and cultural in nature. The language became the rallying point of the regional enthusiasts, who proposed to revive the idiom as artistic medium and to cultivate an authentic literary expression. Political issues included the desire for recognition of cultural individuality and the protest against the increasing centralization of the national government, with the consequent neglect of regional problems. The movements “Patriarch” Manuel Murgúia (Rosalia’s husband), and other leaders sought to create a Galician consciousness.33

Image 10 Painting of Castro34

33 Kulp-Hill, Rosalía De Castro, 24. 34 Photo Courtesy of the Fundación e Casa Museo Rosalía de Castro website, accessed November 19, 2016, www.rosalia.gal .

27

Airiños, airiños, aires and the tradition of Galician emigration

Airiños, airiños, aires is a depiction of a Galician emigrant longing for their

homeland. During the 19th century there was a significant emigration of

Galicians, mainly to the Americas, for employment. Airiños represents the

homesickness that a Galicians abroad must have felt and the love that Castro

herself had for her homeland.

The main destinations for these Galician emigrants were Argentina, Brazil,

Uruguay, Mexico and Cuba. It is interesting to note of these countries

mentioned, Cuba was the only country that was still a Spanish colony at the time.

Cuba did not gain its independence from Spain until 1898.35 Galician emigration

was also due to political and military factors, but above all, it was a rise in

population combined with a decline in the agricultural and industrial sectors.

Local textile manufacturers could no longer compete with the prices of imported

cotton textiles and imported machine made textiles from other parts of Europe.

This triggered a large migration in search of a better living situation.36

Eugenio R. Romero comments on the history of Galician emigration in the

book Contemporary Galician Culutral Studies

35 The Poet Castro shares the Galician Surname with Fidel Castro. Castro is the name of the ancient Celtic fortresses in Galicia. 36 Causas de la Emigracion Gallega, trans. Scott Stobbe, accessed November 12, 2016, http://html.rincondelvago.com/causas-de-la-emigracion-gallega.html.

28

Galician national and cultural identity is framed between two planes that coexist and operate simultaneously: one rooted in a concrete physical space (A Coruña, Ourense, Santiago, Vigo, Galicia, etc.), the other anchored in the movement and displacement of emigration to and from Cuba, Argentina, Brazil, Uruguay, Mexico, Switzerland, England and so on. Thus Galicians have long perceived themselves within the parameters of emigration. Historically Galicia lost more inhabitants to emigration in the search for better opportunities than any other region of Spain. The majority (about 70%) of emigrants who left during this first phase of Galician emigration in the second half of the nineteenth century never returned.

Emigration has played an important part in shaping the identity of Galicia

and the poem Airiños, airiños, aires is a glimpse of the emigration experience.

Considerations in adapting Castro’s poetry to music

Rosalía de Castro was a very important figure in the Galician revival of the

ninteenth-century. Her work Airiños, airiños, aires is one well-known example of

the literature of this movement. Set entirely in Galician it is a snapshot of the

times of mass emigration to the Americas for work from rural Galicia. It is also a

homage to the language, customs, culture and countryside of Castro’s homeland.

The text used in Airiños is taken from the poem Airiños, airiños, aires. The

composer has lived in Galicia for two years and is familiar with the Galician

language, many of the cities and villages where Castro worked and lived as well

as the customs and cultures she describes. This familiarity with the language

makes it possible to set the text with nuances and inflections that bring out the

emotion of the poem.

29

Chapter 3

Performance notes for Airiños

The vibraphone is played with the motor turned off The vibraphone is played with soft or medium mallets The marimba is played with medium or hard mallets The timpani are tuned low to high E,Ab,A,E The voices are for 2 part women’s choir. soprano and mezzo soprano voices minimum of 2 singers per part The part of the narrator should be amplified and spoken by one of the members of the choir. The cues for starting phrases that are spoken are marked with a cross notehead. Whenever possible the words are lined up just below the cross notehead, however there are instances where due to formatting the words do not line up exactly underneath the notehead.

30

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ños ai res ai ri ños- le vaime- a el la.- Ai ri- ños ai ri- ños- ai res ai ri ños- da mi ña- te rra.- Ai ri- ños- ai ri- ños- ai res

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como os cirios das igrexas, cal si unha meiga chuchona a miña sangre bebera.

∑ ∑ ∑ ∑ ∑ ∑

Voume quedando muchiña como unha rosa que inverna; voume sin forzas quedando, voume quedando morena cal unha mouriña moura, filla de moura ralea.

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53

CHAPTER 4

Airiños

For orchestra with extended percussion, two-part women’s choir, and narrator Instrumentation:1

2 flutes

2 oboes

2 clarinets in Bb

1 bass clarinet

2 bassoons

4 horns in F

2 trumpets in Bb

2 trombones

1 bass trombone

1 tuba

percussion-timpani, crotales, marimba, vibraphone, snare drum, tenor drum,

cymbals and large gong

Soprano and Mezzo-Soprano treble choir

Narrator

Strings

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54

Summary

I completed Airiños for orchestra with extended percussion and two-part

women’s choir in November 2016. The text for this work comes from the poem

Airiños, airiños, aires by the nineteenth-century Spanish poet Rosalía de Castro.

The poem, written in Galician, is inspired by the mass emigration that occurred in

Galicia beginning in the mid nineteenth-century. In this work the poet captures

the longing for one’s homeland that many of these emigrants felt. The poem also

demonstrates the reverence that the poet herself felt for her native Galicia.

Prior to writing this thesis I spent two years living in Galicia composing

and performing, and have visited Padrón, Santiago de Compostela and many

other Galician cities that Castro has lived in and referenced in her works. My

own firsthand experience with the unique and beautiful countryside, language,

culture and customs that Castro holds dear have informed and influenced my

creative choices while composing this work.

The pages that follow provide a structural analysis of the piece in the

efforts to give the listener a deeper understanding and appreciation of the music

in question.

55

Formal structure of Airiños

The formal structure of Airiños does not conform to any of the traditional

classical forms, however the overall architecture of the piece employs a logical

shape that balances new material with repetition and quotation resulting in a

cohesive work.

The piece consists of seven distinct musical ideas as well as the coda (H)

section that incorporates aspects of all of the previous sections. The overall

musical form is the following:

ABCDEA’E’A’’FB’GD’E’’HE’’’

The first 70 measures of the piece is through-composed material in five

sections (ABCDE). Measures 71 through 93 bring back familiar sections with

some degree of variation forming an A’E’A’’ structure. The F section (mm.94-

116), marks the first entrance of the choir. The B’ section (mm. 117-138), is a

variation on the B section (mm. 20-30). The G section (mm. 139-175) features

the second appearance of the choir, this section marks the end of new material in

the piece. The D’ section (mm. 176-195) is a variation on on the D section (mm.

43-67) Following that we have the third iteration of the E section, E’’ in measures

196-199. The H section, (mm. 200-253) functions as the coda bringing back

echoes of melodic ideas heard throughout the work while a narrator continues to

56

speak the poem by Rosalía de Castro from where the choir left off. The string

section supports the narration and melodic material with sustained chords. The

piece ends with one more iteration of the E section, E’’’ in measures 254-258.

Once again the E section is in the role of introducing and ending a section of the

work E’’HE’’’. This occurred earlier with EA’E’ (mm. 67-79). This final variation

on E concludes the work with a very similar gesture to the one that opens the

piece. Thus providing another sense of non-traditional recapitulation.

The structure as a whole incorporates ideas of conventional forms and

structures but more as an impressionistic vision of traditional forms, intentionally

blurred to give only a hint of familiarity. After the initial ABCD sections we have

an allusion of ternary form with EA’E’. The E section is so brief that it functions as

transitional material yet it is such an integral part of the work that it is not labeled

as such. The E section is the shortest section of the piece yet it is repeated four

times so its presence is significant enough to merit being labeled a section in and

of it self.

When looking at the formal structure it may be tempting to think of

EA’E’’A’’ as a unit in some kind of binary form but this is not the case. The third

iteration of the A section is much faster and modified so that the listener will not

likely perceive the form as such. The F,B’, and G sections could be thought of as

a ternary structure of choir F, instrumental B’, choir G, with F and G having

similar textures.

57

Hints of conventional structures and repeated gestures guide the listener

through each section of this work. To better understand how sections relate to

each other and the logic within each section the following is a thorough

examination of each individual section with comments on the creative process

and musical examples.

The A section

The A section is repeated three times during the piece. Once at the

beginning of the work in measures 1-19, once in an abbreviated version with

variation in measures 71-77 and again with considerable variation in measures

80-93. The first two iterations of the A section are augmented in comparison to

the third occurrence of A. The third and final time the A section occurs the rhythm

is steady and much faster compared to the ethereal feeling of the first two A

sections.

The piece begins with a jarring high-register minor second consisting of A

and G# in the strings, percussion, clarinets, oboes and flutes (m. 1). This gesture

is a repeated theme throughout the piece, which is heard twice in the B section,

once in m. 20 and again in m. 25. Throughout the C section the melody in the

horns is interrupted by this gesture as well. In m. 70 this sonority is heard once

again, marking the return to the A section. In m. 124 it signals the beginning of

the second B section. In m.138 it marks the beginning of the second vocal

58

section (G). In m. 200 this figure returns again, signaling the return of the C

section. The piece ends as it began with this figure in the very last measure at m.

258.

Measures 1-3 foreshadow the second half of the B section which is based

on the A Lydian mode. After the forte ‘primal-scream’ dyad in measure one, the

dynamic is quiet and the instrumentation is sparse, only high woodwinds,

percussion, and strings are utilized. I m. 4 there is a shift to the tonality of A

minor while the vibraphone plays a hint of the cello rhythm that is a major feature

in the A’’ section.

Example 1 m.4 A section Vibraphone

Example 2

mm.73-74 A’ section Vibraphone

Example 3 m. 82-83 A’’ section Cello

59

The A and G# dyad is echoed by the clarinets in measures 2-3 and 71-72.

Example 4 mm. 2-3 clarinet figure

Example 5 mm.71-72 clarinet figure

60

In measure 84 the A and G# dyad is heard in the violins.

Example 6 mm.84 violin figure

The first and second A sections in the clarinets feature augmented versions of

the melody heard in the third A section in the violin section.

Example 7 mm.8-13 A section clarinet melody

61

Example 8 mm. 14-16 A section clarinet melody

Example 9 mm. 88-91 A’’ section violin melody

The B Section

The B section is presented twice in the piece, the first time in measures

20-30 and then again in measures 117-138. Both times it has a louder dynamic,

more movement, and a thicker texture than both the A section that precedes it in

its first appearance and F section that precedes it in its second iteration. The B

section is based on the Lydian mode and the instruments are introduced in a

62

layered fashion. The first B section introduces the orchestra as a whole,

beginning with a phrase in the C Lydian mode played by the woodwinds in

measures 20-22. This phrase is answered by the horns and trumpets in a call-

and-response fashion in mm. 23-24.

Example 10 mm.20-22 woodwinds

63

Example 11 mm. 23-24 horns and trumpets

In measures 25-29 the tonality shifts to A Lydian. This shift to A Lydian

appears again in m. 124-127 during the B’ section along with a thicker

accompaniment from the brass section. Both B sections end with transitional

material that foreshadows the following section. The last bar of the first B section

64

in measure 32 incorporates the same material as the first two bars of the C

section in measures 33 and 34 but with a variation using diminution.

Example 12 m. 32 flutes and oboes

Example 13 m. 33-34 trumpets

65

At the end of the second B section (m. 135-137) we hear a foreshadowing

example of the choir part heard in measures 141-143.

Example 14 mm.135-137 flutes and oboes

Example 15 mm.141-143 choir

66

The C Section

The C section, (m 33-42) only occurs once in the piece. The main

characteristic of the C section is the march theme in Ab major played by the

horns and trumpets. Throughout this section the march theme is accompanied by

a rolling snare drum that is interrupted by the familiar dissonant dyad gesture that

began the piece.

The march theme associated with C section returns in measures 212-254

where it is woven into the coda (H) section.

The D Section

The D section first appears in measures 43-67 and then returns in

measures 176-195. This section is characterized by a driving motoric ostinato in

D major played by the marimba and vibraphone that is echoed in the flutes and

oboes along with sustained chords in the brass section and short melodic figures

in the woodwinds. The section ends with an energetic hocket between the mallet

percussion and the flutes and oboes.

Example 16 mm. 43-45 marimba and vibraphone

67

Example 17 m.51 flutes and oboes

The E Section

The E section is an arpeggiated figure that appears as reoccurring

material between larger sections, functioning as the connective tissue of the

piece. The first E section, played by the clarinets and flutes in m. 67-70, is based

on a Cmmaj7 chord. E returns in measures 78-79 with the same instrumentation

but this time they outlining an Am9 chord. The E section returns in measures

68

196-199 as a transition to the coda material. The third E section is also based on

an Am9 chord, this time played by the trumpets, the first horn, clarinets and flutes.

The final E section ends the piece (m.254-258) where the trumpets, horns,

clarinets and flute outline the familiar Am9 for the last time.

Example 18 mm.78-79 clarinets, oboes and flutes

The F Section

The main function of the F section (mm.94-116) is to introduce the choir.

Utilizing only strings and mallets, the thinner texture and softer volume help shift

the listener’s attention to the voices. In contrast to the vibraphone, which is used

very sparsely to double vocal lines, the strings act as a droning pad and provide

69

some melodic counterpoint. Harmonically, the section is based on A minor. The

lower strings are providing a drone dyad of B and E for the majority of measures

94-109 while the violins either drone on an A or provide counterpoint to the vocal

lines. The choral melodies are all derived from A minor. This gives the effect of A

minor melodic material on top of the dominant harmony of E7 until the lower

strings resolve to A in measure 116. The vocals are in two-part harmony for the

majority of the section. The melody in the first two measures of the choir (mm.94-

95) is repeated with different lyrics in the second vocal section in measures 147-

148. In mm. 94-95 the lyric is “Airiños, airiños” (breezes, sweet airy winds) and in

mm.147-148 the lyric is “Levaime, levaime” (Carry me, carry me). The rhythm of

the lyric and syllables are the same in both instances. The repetition of the

melody follows the natural rhythm of the poetry.

Example 19 mm. 94-95 choir

70

Example 20 mm.147-148 choir

This vocal refrain is brought back once again in the H section where

disparate melodic fragments of the piece come together in the coda as a non-

traditional recapitulation of sorts.

In measure 114 the lyric “cróbeme” (hangs over me) is sequenced to give

the effect that one cannot get away, that it is all around, above and below. The

rhythmic and melodic figure is first played by the strings and then echoed in the

choir.

71

Example 21 m.114 choir and violins

The G Section

The G section mm. (139-175) marks the second entrance of the choir.

Texturally it is similar to the first vocal section, employing light accompaniment

from the strings, vibraphone and crotales, intermittently doubling vocal lines. The

strings in measures 139-146 are much busier than they were in the previous

vocal section, doubling vocal parts, providing counterpoint and harmonies. The

harmonic rhythm is much faster in measures 139-146 as well shifting every few

72

bars until we come back to the familiar vocal refrain in A minor at measure 147.

The melody heard in mm. 144-145 in the mezzo-soprano vocal line is repeated in

mm. 153-154 and then sequenced in mm. 155-156 and mm.172-173. This

sequence reflects the repetitions in the rhythm of the poetry by Castro.

Example 22 m.144-145 choir


73


In measures 156-157 we hear the highest note in the vocal part (A5) sung

for the first time. This note occurs on the exclamation “ai” and is a response to

the lyric that precedes it “a callentura que quiema” (the fever that burns). This

high note is repeated at the climax of the piece in measures 174-175, when it is

sung in response to the lyrics “Vaime consumindo lento” (keeps consuming me

slow). This climax at the end of the G section transitions back to the D section.

The H Section

The H section functions as the coda and consists of measures 200-253.

This section is marked by a long droning chord progression that undulates in a

2/4+3/4+4/4 rhythm. If the E section that ends the piece is included as part of H,

elements of every section of the piece reoccur in some form or another within the

H section. It is a type of fragmented recapitulation.

74

On top of this pad of strings we have the march melody from the C section

played by the horns, a variation on the A minor vocal refrain from both vocal

sections (F) and (G) sung by the soprano, and melodic fragments from the A, B

and D sections. The H section also has the addition of a narrator that speaks

more of the poem by Castro from where the choir left off. Following the H (coda)

section we have one more iteration of the E section to end the piece.

Conclusion

The pleasure and challenge of writing this piece was in creating a unique

and contemporary piece of music that holds the listeners attention while not

following any familiar musical formal structures very closely, while at the same

time bringing out the full emotional and lyrical meaning of the Poetry by Castro in

a comprehensible way. The influence of traditional Galician music in my score is

minimal, however the drones in the strings and the modal style of the vocal parts

do incorporate elements of Galician music. In this piece I have utilized the

traditional musical tools of repetition, variation, sequence, diminution, and

elongation, but these techniques are not framed in a formal structure familiar to

the listener. There is no traditional sonata-allegro, rondo or theme and variations

structure to follow.The listener must experience the piece as it is, a unique sonic

form.

75

Bibliography

Aldaz, Ana-Marie, ed. An Anthology of Ninteeth-Century Women’s Poetry from Spain. New York: The Modern Language Association of America, 2009.

Almanaque Das Irmandades. http://almanaquedasirmandades.gal (Accessed

November 19, 2016) Balbotin, José Antonio. Three Spanish Poets. London: Alvin Redman Limited,

1961. Canosa, Eduardo Friere. “Translations from Galician to English of 11 poems by

Rosalía de Castro.” http://www.rosalia--de--castro.webs.com/ (accessed October 28, 2016).

Causes of the Galician Emigration in the nineteenth-century

http://html.rincondelvago.com/causas-de-la-emigracion-gallega.html (accessed November 12, 2016)

Cultura de Galicia. http://www.cultura.gal/gl (accessed November 20, 2016). Fundación e Casa Museo Rosalía de Castro. http://rosalia.gal/ (accessed

November 19, 2016). Gemie, Sharif. Galicia: A Concise History. Cardiff: University of Wales Press,

2006. Geoffrion-Vinci, Michelle C. Between the Maternal Aegis and the Abyss: Women

as Symbol in the Poetry of Rosalía de Castro. Madison and Teaneck: Associated University Presses Inc.

Hooper, Christy and Puga Moruxa, Manuel, ed., Contemporary Galician Cultural

Studies: Between the Local and the Global. New York: Modern Language Association of America, 2011.

Kulp-Hill Kathleen. Rosalía De Castro. Boston: Twayne Publishers, 1977. Marti, V. Garcia, ed. Rosalía De Castro: Obras Completas. Madrid: Aguilar,

1960. Pérez López, David. Historia de Galicia. Pontevedra: Cumio, 2015.

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Prieto de Paula, Angel L., ed. Poesía del Romanticismo:Antología. Madrid: Ediciones Cátedra, 2016.

Real Academia Galega. http://academia.gal/ (accessed November 19, 2016). Stevens, Shelly. ROSALIA DE CASTRO AND THE GALICIAN REVIVAL.

London: Tamesis Books Limited, 1986. Villares, Ramon. Historia de Galicia. Vigo: Galaxia, 2004. Wikipedia. https://en.wikipedia.org/wiki/Manuel_Murguía (Accessed November 19, 2016)

Wilcox, John C. Women Poets of Spain: Toward a Gynocentric Vision. Urbana

and Chicago: University of Illinois Press, 1997.

77

Vita

Scott Stobbe has an Associate of Arts degree in music composition from

Foothill College in Los Altos California, a Bachelor of Music degree in music

composition from Portland State University and is currently a candidate for the

Master of Music in Composition degree at Stephen F. Austin University

Scotts’ music has been performed by The New Music Works Ensemble in

Santa Cruz, CA, The Cabrillo College Guitar Orchestra, Thollem Mcdonas, The

Blue Cranes, The Quadraphonnes, Triems and the New Music Society of

Portland. His music has been featured at The Portland Jazz Festival and the

Olympia Festival of Experimental Music. His works have been recorded by The

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Blue Cranes, The Quadraphonnes, The Underscore Orkestra, Triems, Michelle

Alany, and Thollem Mcdonas.

Scott currently teaches guitar and music theory at Salinas Valley State

Prison and has a firm belief that music is a powerful force that can uplift, heal,

educate and bring people together.

Permanent Address: 310 Park Ave Capitola, CA 95010 Style manual: Turabian, Kate L. A Manual for Writers of Research Papers, Theses, and Dissertations 8th ed. This thesis was typed by Scott T. Stobbe

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Airiños: For Orchestra and Two-Part Women's Choir, and a ...

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Transcript of Airiños: For Orchestra and Two-Part Women's Choir, and a ...