Voices almost lost to time took center stage in “Musas: Uncovering Lost Piano Works by Latin American Women Composers,” at 7:30 p.m. Saturday, Jan. 28, 2023 in Tateuchi Hall. The free recital of this album by Dr. Gabriela Calderón Cornejo (CSMA faculty, piano) spotlighted the unique styles of compositions by Latin American women born before 1950.
Below, Calderón Cornejo talks with CSMA about the inspiration behind this anthology and her quest to protect the legacies of these storytellers.
Growing up in Costa Rica, what were your early musical influences?
Growing up in Costa Rica, I was fortunate to be admitted into the Castella Conservatory, a state-sponsored K-12 school dedicated to promoting the arts. There, I was able to explore different facets of the arts including dance, theater, visual arts, poetry, folklore and music, which was a huge stimulus throughout my formative years. Overall, my main influence was always classical music specifically because of the type of training I received. However, throughout my many years of studies, I have been privileged to superficially experiment with different genres such as musical theater, popular music, pop, jazz and others, which greatly contributed to my artistry.
How did the idea for “Musas” originate and how did it evolve into this album?
This idea was born from my desire to explore music from my own heritage and to give exposure to compositions that are not well known and much less included in recitals and concerts. While examining different compilations of Latin American music, it was demoralizing to realize the true scarcity of pieces written by women. Clearly, this should not have been surprising since, historically, women have had to face obstacles and deal with culturally imposed limitations due to their gender. Because Latin America was not unfamiliar to these practices, I found it relevant to work on rescuing pieces composed by Latin American women, specifically composers from before the rise of the internet, whose music is at larger risk of disappearing.
Is there a featured composer or work in particular that most resonates with you?
All of the composers featured in “Musas” resonate with me in different ways. However, María Mendoza de Baratta, the composer of “Nahualismo” feels more familiar. She was from El Salvador, as is my mom’s side of the family, and in her works she constantly describes practices and beliefs from the indigenous populations of Mesoamerica, which I find extremely interesting. When I read about this, I can easily remember the mystical quality of my grandma’s stories as well as the many legends, myths and remedies that were a part of my childhood.
What themes and elements do all these works share?
These composers and their works were chosen not only because of their ability to tell a story with their music, but, most importantly, due to the inclusion of the “mestizo” culture in their compositions. The five selected composers’ music incorporates distinctive mixtures of European, Native American and African features that are a significant part of Latin American music traditions, while also heavily borrowing nationalistic features from their own countries. Nevertheless, they merge these elements with characteristics from folk, Indigenous and Western music practices. With the integration of many different traits, each has built a truly unique style that is worth preserving.
How does this album contribute to the overall landscape of musical compositions today?
Growing up, like most music students, I was instilled with an appreciation for composers predominantly from the Western Hemisphere. However, the musical scene is slowly changing and people are starting to realize the very overdue need for diversity and representation of different cultures. It is becoming more common to see women composers being featured in concerts and recitals, and I think that it is great for new generations. The women featured in “Musas” were not able to enjoy this mentality shift, and, because they were born before the digital era, their manuscripts and first editions continue to deteriorate and are at risk of disappearing. This album contributes to that shift, but also sheds light and celebrates the achievements of these wonderful women whose voices would not have been heard otherwise.
What do you hope audiences take away from the “Musas” recital?
I hope that by shedding light on these remarkable composers, people will become more curious about these works and other compositions, increasing their prominence within recitals and concerts. In this manner, the contributions of these previously forgotten artists will continue to be enjoyed by generations to come.
