JAVS Spring 2025

Featured Article

Blas Emilio Atehortua: Romanza from Five Romantic Pieces for Viola and Piano by Nicole Herrera

This paper examines key aspects of the prominent Colombian composer Blas Emilio Atehortua’s life and work against the complex political and economic backdrop of twentieth-century Latin America. Focusing specifically on his piece Cinco piezas románticas for viola and piano, this study emphasizes the first movement, “Romanza,” including its composition, stylistic elements, and significance within Atehortúa’s broader oeuvre. A prominent Colombian composer, conductor, and university professor, Blas Emilio Atehortua is widely recognized as one of the most significant Latin American composers of the twentieth century. Some mystery shrouds his early life, with his birth year uncertainly recorded as 1933, 1935, or 1943. Atehortua’s mother, a Spanish doctor, traveled to Medellin, Colombia, to research medicinal plants; however, due to complications, she gave birth prematurely. The newborn was mistakenly declared dead, and his mother returned to Spain, unaware that her son had survived. Atehortua was subsequently adopted by a Colombian family, with an educator mother and a father passionate about opera, introducing him to academic music at a young age. 1 The Life of Blas Emilio Atehortua At the age of six, Atehortua showed remarkable musical talent, performing the Colombian National Anthem on a dulzaina entirely by ear. 2 His musical journey continued as he began playing the recorder and harmonica in church. Though a journalist located his biological mother, Atehortua chose to remain with his adoptive family. His biological mother respected his decision and supported his musical ambitions financially, paying for private music lessons. 3 Atehortua began his music education with violin and viola lessons under Bohuslav Harvanek (1904–1974), who also introduced him to composition. By the age of

twelve, he was studying at the Bellas Artes Conservatory of Medellín. Soon after, he joined the Medellín departmental band as a timpanist and began composing. His career advanced rapidly as he worked as a violinist, violist, and composer, eventually performing with the Colombian Navy Symphony Orchestra. His String Concerto op. 3 earned him admission to the Colombian National University to study music composition. 4 During the 1950s, significant musical festivals and political events in Latin America led to increased support for Latin American musicians. The Rockefeller Foundation, through its humanities director, helped establish the Latin American Center of Higher Musical Studies for Composers (CLAEM) in Argentina, offering rigorous scholarships to young composers. 5 Atehortua was initially awarded a scholarship to study in Russia, but opted to apply to CLAEM, where he was selected among numerous applicants. At CLAEM, he studied under distinguished composers such as Aaron Copland (1900-1990), Ricardo Malipiero (1914 2003), and Olivier Messiaen (1908-1992), with Alberto Ginastera (1916-1983) as his main composition teacher. Unfortunately, the CLAEM closed after one decade due to the coup d’état in Argentina in 1966, subsequent censorship policies, and the cessation of funding from the Rockefeller Foundation. 6 Despite the closure of CLAEM, Atehortua maintained a strong and enduring relationship with his teachers from the institution, evidenced by their letters expressing mutual affection and respect. His former teachers frequently sought his feedback on their new compositions, underscoring the high regard they had for his musical expertise and the lasting impact of his time at CLAEM.

Journal of the American Viola Society / Vol. 41, No. 1, Spring 2025

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