Ernst Widmer's Kosmos Latinoamericano: a progressive piano method.

Ernst Widmer's Kosmos Latinoamericano: a progressive piano method. Very often I receive calls and e-mails from colleagues inquiringabout Latin American piano repertoire for their students from the easyto intermediate levels. This is not an easy subject, since most of theavailable scores of famous Latin American composers are for thelate-intermediate to advanced level. A few years ago, during a trip to Argentina, I visited the Ricordistore in Buenos Aires and came across Ernst Widmer's KosmosLatinoamericano. Widmer (1927-1990) was a Swiss composer who moved toBahia, Brazil, in 1956 and established himself as a pedagogue, composerand conductor. His musical language ranged from reactionary to moderateto avant-garde. Komos Latinoamericano is modeled after Bartok's Mikrokosmos;as Widmer explained in the preface of his work: "In 1966 I acceptedRicordi Brasileiras's suggestion to write the Ludus Brasiliensis:162 piano pieces set in progressive order of difficulty. BelaBartok's Mikrokasmos ... stood out among the available literature.I wanted to do some thing similar in order to acquaint young people withthe music of their time and to introduce them to the piano withouthermetism [sic.] and aesthetical concessions. But Mikrokosmos cannot beequalled [sic.] and for this reason I produced something which, thoughsimilar in its presentation.... could be used at the same time."(1) Kosmos Latinoamericano (1978-82) is an eclectic collection of 146pieces organized in four volumes ranging from early-elementary toadvanced level. It includes an array of musical elements, such asoriginal compositions and improvisations; readings and exercises;popular melodies and rhythms from Latin America; and pieces usingpercussion effects such as knocking on the piano's frame or playinginside the piano's strings. They are all written using a variety ofcompositional techniques including parallel, inverted, tonal, pentatonicand hexatonal melodies; fugues and canons; and bimodality among others.The books are published in Spanish with English translation, which isnot always accurate. Throughout the four volumes, Widmer uses traditional Latin Americansongs and dances. In fact, the majority of the popular melodies used byWidmer are intact, but when specific compositional techniques such as aninterval canon, an inverted canon or bitonality/modality are applied,the sonoric result is different from the original. Book 1 Book 1 is very well-suited for the young beginner or elementarylevel, and could be a perfect complement to traditional books andrepertoire. In a clear curve of increasing difficulty, Book 1 contains55 short pieces including five readings and seven improvisations inaddition to four exercises. It is intended to introduce students to allsorts of canons and playing techniques. Among the folkloric pieces from different Latin American countrieswe can distinguish "Reading I" Vidala of the Indians(Argentina). It is written in the key of A melodic minor and the lefthand features a long-short rhythm on a single note. This rhythm is thetypical accompaniment of the vidala by the caja (frame drum). The righthand plays an ostinato based on a three-note melody. As in many piecesfrom Bartok's Mikrokosmos, the challenge for the young student isthe coordination and independence between the hands due to the differentarticulation marks. Example 1. Reading I [ILLUSTRATION OMITTED] Number 51 Vidalita (Argentina) offers a very different approachfrom Vidala. Although the melody is typical of a vidalita, it is writtenas an exact interval canon and ends with a picardy third. The follower(Comes) repeats the exact intervals of the leader (Dux) but at thefourth. Example 2. Vidalita [ILLUSTRATION OMITTED] Number 41 Lorito-Lorito (Peru) explores bimodality. Thistraditional syncopated melody, written in a D minor pentatonic scale, isaccompanied with alternate D Major and D minor seventh chords. Example 3. Lorito-Lorito [ILLUSTRATION OMITTED] Number 46 White pigeon (Peru) is a traditional melody with a tonalcenter on F, but is presented as an inverted canon. After the right handstarts, the left hand imitates it but the intervals are in oppositedirection. Example 4. White pigeon [ILLUSTRATION OMITTED] There are two melodies from Mexico, No. 32 !Ay mama, mira a DonJose! (Oh Mother, Look Don Jose), and No. 50 that feature two songscombined. Number 32 is very simple in its arrangement: written in thekey of E major, the accompaniment includes a constant pedal point in Eas well as added seconds. Written in an A-B-A form, the B section is a"variation" consisting of alternate descending tripletsbetween both hands. Example 5. Oh Mother, Look Don Jose [ILLUSTRATION OMITTED] Number 50 is a combination of two songs of equal length. A mi mellaman el Negro (I'm Called The Negro) is written in the key of Gminor and features syncopated rhythms in the right hand melody,including appoggiaturas and a mordent, with a steady accompaniment inthe left hand. It ends on the dominant chord, D major, and isimmediately followed by Cuando voy a cam de Pena (When I Go toPena's Home) written in the key of B-flat major. Example 6. No. 50 [ILLUSTRATION OMITTED] Three pieces represent Brazil, Nos. 42, 43 and 49. Na bahia tem,No. 42, is written as a canon at the octave in an A-B-A form. In the Asection, hands are an octave apart, and the left hand starts the melody.Upon returning to A, both hands are two octaves apart, and the righthand is followed by the left hand. The B section alternates syncopatedrhythms between hands. Example 7. Na bahia tem [ILLUSTRATION OMITTED] Capoeira, No. 43, is a mix of dance and martial arts developed bythe slaves in Brazil. It is the longest piece in the set and features asolo simple melody, which is subsequently varied rhythmically to includesyncopations. As in many of the pieces of this set, we can seeWidmer's tendency toward symmetric structures and his preoccupationwith both hands working equally. In fact, at the end, hands switchintervals and entrances. Example 8a. Capoeira, beginning [ILLUSTRATION OMITTED] Example 8b. Capoeira, end [ILLUSTRATION OMITTED] Number 49, Esclavos de Job (Slaves of Job) is a round canon in thekey of E-flat major. In a rapid tempo, it uses an uncommon timesignature of 1/2 which equals a 2/4. Example 9. Slaves of Job [ILLUSTRATION OMITTED] Number 47, Pobre corazon (Poor Heart) from Ecuador is another roundcanon in a B-pentatonic minor scale, which at the very end changes intoB-melodic minor. Example 10. Poor Heart [ILLUSTRATION OMITTED] Number 48, E1 Teje del Sebucan (The 'Teje' [sic.knitting] of Sebucan) is from Venezuela. The title refers to a nationaldance that is performed around a pole with laces attached; as performersturn around, it creates a net. Like the original form, it uses anasymmetric 5/8 time signature. The right hand melody is accompanied withascending five-finger patterns. Example 11. The 'Teje' of Sabucan [ILLUSTRATION OMITTED] Number 44, Dormite ninito (Sleep Baby), from El Salvador, it iswritten in three staffs. Although it is not suggested by Widmer, it is afantastic way to make students play a piece in six different settings.As a solo piece, students can play the following combinations: 1) bassand top, 2) bass and middle, 3) top and middle. As a duet, performer onecan play 1, 2 or 3, and a second performer can play the remaining line.The top two staves are written as a round canon while the bass featuresa rhythmic ostinato that spans a tenth. Example 12. Sleep Baby [ILLUSTRATION OMITTED] Among the many pedagogical and original compositions in Book 1, wecan notice healthy doses of readings and improvisations. Perussions, No. 3, is a simple piece that explores a vast range ofthe keyboard using hands crossing to play single notes. It is written inan "all-sharp" key signature--a big sharp is placed after theclefs to indicate that all notes are going to be played on black keys.It also features knocking rhythms on the piano's case. Example 13. Percussions [ILLUSTRATION OMITTED] Improvisation V, No. 40, offers a variety of parameters toextemporize upon. There is an alternation of a) precise rhythmic andpitch notation, b) rhythmic improvisation on given notes and c) notepermutation. Example 14. Improvisation V [ILLUSTRATION OMITTED] Book 2 As a progressive piano method, pieces in Kosmos Book 2 increase indifficulty and length to ultimately include a suite, Seven Pieces WithOrnaments. There are three very distinctive pieces from Brazil, No. 70, Elrosal (The Rose-Bush), features bitonality and an asymmetric timesignature. Example 15. The Rose-Bush [ILLUSTRATION OMITTED] No. 71, En esta calle (In This Street) is a beautiful, wellknownsong written as a round canon in the key of F-minor. Example 16. In This Street [ILLUSTRATION OMITTED] Samba-le-le, No. 72, is another traditional song. Unlike In ThisStreet, it features syncopated rhythms and staccato playing. Example 17. No. 72 Samba-le-le [ILLUSTRATION OMITTED] No. 73 Huaino and No. 74 Milonga, are both dances from Argentina.Huaino's melody, original from Bolivia, is alternated betweenhands, like a dialogue. The alternation is also rhythmic by the presenceof hemiolas, typical of folk rhythms using a 6/8 time signature. Milongais written as an interval canon featuring the distinctive syncopationsof the milonga. Example 18. Huaino [ILLUSTRATION OMITTED] Example 19. Milonga [ILLUSTRATION OMITTED] ?Donde esta la ma' Teodora? (Where is Mother Teodora?) No. 76,is a Cuban melody. It features a rhythmic introduction and coda to beclapped or knocked on the piano frame, followed by diatonic ascendingand descending scales in C major. This attractive piece can be anexcellent complement to the study of the C major scale. Example 20. Where is Mother Teodora? [ILLUSTRATION OMITTED] Among non-Latin pieces of this volume, Widmer offers two studiesfor one hand alone. No. 60 One hand II (One hand I is in Book 1), is arapidly syncopated exercise for the right hand. Basically, it is afive-finger pattern study in two positions: A and E, and resembles someSchmitt's Preparatory Exercises Op. 16. Example 21. One hand II [ILLUSTRATION OMITTED] No. 61 One hand III, is for the left hand alone and uses mostly anA minor, five-finger pattern with contrasting articulations anddynamics. The end is marked by a forearm black key cluster. Example 22a. One hand III [ILLUSTRATION OMITTED] Example 22b. One hand end [ILLUSTRATION OMITTED] Another excellent finger dexterity exercise is No. 62, Liveliness.It is written in a compound meter (3+3+2 and 2+3+3) using a D minorfive-finger pattern, almost entirely in parallel motion. It can also beplayed using other rhythmic combinations such as 2+3+3 or 3+2+3 and soon. Example 23. Liveliness [ILLUSTRATION OMITTED] The last set of Book 2, Seven Pieces with Ornaments, offers avariety of original compositions. Although not one is modeled after aLatin American folk song, No. 94 and the fifth of the set, Guitar,features tempo changes and imitations of guitar playing gestures such asarpeggios on open strings (E-A-D-G-B-E) and simple melodies. Example 24. Guitar [ILLUSTRATION OMITTED] Book 3 Among original compositions, readings, improvisations and TenPolyrhythmic Studies, Book 3 offers two Latin American Suites. They bothcould be played as suites or each piece separately. 1era Suite Latinoamericano (1st Latin American Suite) contains sixpieces from Argentina and Bolivia. No. 108 Vidala from Chilecito(Argentina) features a melody which is alternated or passed between thehands, but with octave displacement. Example 25. Vidala from Chilecito [ILLUSTRATION OMITTED] No. 109, Triste, which can be translated as Sadness (Argentina), iswritten as an interval diatonic canon; the follower is accompanied bylong notes in thirds. As in previous interval canons, although themelody is traditional, the interval of a fourth between the voicescreates a bitonal sonoric result. Example 26. Triste [ILLUSTRATION OMITTED] El pajarillo (The Little Bird), No. 110 is a cueca, the nationaldance of Bolivia. After a fast introduction, the dance is presented in around canon. Example 27. The Little Bird [ILLUSTRATION OMITTED] Number 111, Cielito (Argentina), which can be translated as LittleSky, is a diatonic interval canon. Example 28. Cielito [ILLUSTRATION OMITTED] A very effective piece is No. 112, Huayno which is a traditionaldance from Bolivia. A slow, lyric introduction is followed by a rhythmiclively dance, which combines round canon, parallel melodies and Albertibass accompaniment like. Example 29. Huayno [ILLUSTRATION OMITTED] The last piece of the set, No. 113, is a combination of twocontrasting Argentinean songs, Oiga cocherito (Listen Little Coachman)and Triste es ausentarse (Sorrowful is to Go Away). After a briefintroduction, the first melody is presented as a diatonic interval canonat the fifth. The second melody is also a diatonic interval canon but atthe second. Example 30a. Listen Little Coachman [ILLUSTRATION OMITTED] Example 30b. Sorrowful is to Go Away [ILLUSTRATION OMITTED] The last set of Book 3 is the Second Latin-American Suite. No. 124Huella (Argentina), is in a very fast tempo and presents a traditionalmelody with the typical use of hemiolas. Example 31. Huella [ILLUSTRATION OMITTED] No. 125 El sapo (The Toad) is a Chiminique air from Honduras. Thisis the first and only time that Widmer writes the lyrics on the score.Although they are not intended to be sung nor are they complete, thesefast paced lyrics are spread over the length of the piece, alternatingwith contrasting dissonant instrumental parts. Example 32. The Toad [ILLUSTRATION OMITTED] No. 126 Hace tres anos (Three Years Ago), from Brazil, features asad repetitive melody with a rich rhythmic complexity. It is connectedto No. 127 Media cana (Argentina), which containing sharp rhythms andwide hands crossing. Example 33. Three Years Ago [ILLUSTRATION OMITTED] Example 34. Media cana [ILLUSTRATION OMITTED] Book 4 Book 4 contains two more Latin American Suites. IIIrdLatin-American Suite includes four pieces. No. 128 Velo que bonito (LookHow Beautiful It Is) is a Pacific Negro Christmas carol from Colombia.It is in a "walking" tempo and features an introduction whichincorporates tremolos. There are several short, canonic sections in thebody of the piece. Example 35. Look How Beautiful It Is [ILLUSTRATION OMITTED] No. 129 Eres para mi mas dulce (You Are Sweeter For Me) is a yaravifrom Bolivia, a ritual elegiac chant about loss. The melody starts withthe left hand alone, in the middle register in a single staff andcontinuously rises, accompanied by parallels fifths and thirdscompleting a triad. Example 36. You Are Sweeter For Me [ILLUSTRATION OMITTED] No. 130 Pueblo de mi corazon (Town of My Heart) is a cachimbo, anorthern traditional dance from Chile. Similar to No. 129, it is in Dminor and features an unaccompanied melody at the beginning. Example 37. Town of My Heart [ILLUSTRATION OMITTED] The last piece of this set is also, a double one. It features twopasacalles (passacaglia) from Bolivia, Abreme la puerta (Open the Door)and Alla arriba es mi camino (Up There Is My Way). It follows a largeA-B-A form. No. 131, Open the door, features bitonality most of thetime: the right hand in D major, the left hand in B minor/major and Gmajor. Up There Is My Way is written in G major and features octavedisplacement in the melody. Both dances are lively with many syncopatedrhythms and asymmetric time signatures. According to the score, thissuite is also transcribed for winds quintet. Example 38a. Open The Door [ILLUSTRATION OMITTED] Example 38b. Up There is My Way [ILLUSTRATION OMITTED] The last work of Kosmos Latinoamericano is the IV Latin-AmericanSuite, which features rhythms from Argentina and Brazil. It is asynthesis of all the elements displayed throughout the books:improvisations, canons, folklore from different countries andavant-garde technique such as playing inside the piano. No. 144, Estilo (Argentina) is a slow, sad song. It opens andcloses with a fast improvisation-like pattern which is repeated "adlibitum" with dynamic changes. A nostalgic, molto largo sectionfollowed by the Estilo's theme features a difficult exact intervalcanon at the fourth, which along with the intricate syncopations createsa very complex contrapuntistic texture. Example 39. Estilo [ILLUSTRATION OMITTED] No. 145 Chacarera (Argentina) is lively in tempo and characterfeaturing hemiolas and a wide pianistic range. A point of interest isthe melodic imitation between the hands and the switch of theaccompaniment's direction: rising left hand and descending righthand. Example 40. Chacarera [ILLUSTRATION OMITTED] The last piece of the suite is Punta d' arena, a simpleBrazilian theme developed into nine demanding variations that includepolyrhythms and pointillist writing (var. III and VI); asymmetric timesignatures (var. VII); and playing inside the piano (var. IX). It hasthe subtitle Variations III (in waveform) since it is the third set ofvariations of the entire four-book collection. Variation IV has a verywell-suited sixteenth-note accompaniment in a compound meter (3+3+2 and2+3+3). Example 41a. Punta d'arena, theme [ILLUSTRATION OMITTED] Example 41b. Var. III [ILLUSTRATION OMITTED] Example 41c. Var. IV [ILLUSTRATION OMITTED] Example 41d. Var. VI [ILLUSTRATION OMITTED] Example 41e. Var. IX, end [ILLUSTRATION OMITTED] In every senses of the word, Kosmos Latinoamericano providesexactly a "cosmos," a Latin American kaleidoscope of not onlyethnic and regional sounds, but also of different compositionaltechniques and playing approaches to the piano. Widmer'spedagogical work is well-suited for the young beginner and aims toexpand their musical taste through examples that embrace sounds andrhythms from South America with the latest 20th-century techniques. BONUS BYTE The collection is available online through a few stores includingthe publisher, Melos Ediciones Musicales (previously Ricordi Argentina),at http://www.ricordimusica.com.ar. Note (1.) Ernst Widmer Kosmos Latinoamericano Para piano 1, BuenosAires: Ricordi, 2000. References Behague, Gerald, "Widmer, Ernst," The New GroveDictionary of Music and Musicians, ed. Stanley Sadie and John Tyrrell,2nd ed. (London, 2001), 27:358-59. Nogueira, Ilza. Ernst Widmer (biography). Historical Landmark ofContemporary Composition in Bahia www.mhccufba.ufba.br/infoCompositor.php nome-ernstwidmer (accessed July 25, 2008). All the musical examples printed here are by kind permission ofMelos Ediciones Musicales S.A. (former Ricordi Americana S.A.E. C.),Buenos Aires, Argentina. Oscar Macchioni studied piano in Argentina and Poland and receiveda D.M.A. degree from the University of Arizona. He is an activeperformer and adjudicator. Currently, he is an associate professor ofpiano at the University of Texas at El Paso.