JAVS Spring 2025

Atehortua, being a violist, demonstrates his deep understanding of the instrument, showcasing its full range from the low C3 to the high B5, allowing the viola to express its rich and warm sound. Despite Atehortua’s many complex works involving modern structures and harmonies, this piece, among many others, reflects his belief in his mentor’s commandment: “Do not try to impress with elaborate techniques and notation, but aim to move others with the depth of your message.” This piece leaves a touching impression on many listeners and performers, despite its apparent simplicity. An interesting aspect of this piece is that it is not a standalone movement, as its title suggests—it is part of a collection of five romantic pieces. These works were originally composed for viola and piano in 1979. It wasn’t until 1987 that the composer transcribed the first movement for cello, which subsequently gained popularity among young cellists. 24 The original manuscripts, containing all five movements for viola, are preserved in the National Library of Colombia. Access to these manuscripts is restricted without special permission, and to date, there are no known records of the complete work being performed. Atehortua composed Five Romantic Pieces after his return from Spain, during a tumultuous period in his life, including political unrest in Colombia with terrorism and narcotraffic, as well as challenges in his career. During his struggles, he found refuge in music, creating award-winning works such as “Cinco piezas a Béla Bartók, op, 104,” commissioned by the Bogotá Philharmonic for Bartok’s centenary. The manuscript was sent to Budapest, earning Atehortua the Béla Bartók medal from the Hungarian government, accompanied by a diploma stating: “Your musical creativity greatly contributes to the knowledge of Béla Bartók ‘s work.” 25 Conclusion Blas Emilio Atehortúa’s significant impact on Latin American music is clear, yet much of his vast catalog remains unperformed, resulting in a considerable portion of his legacy being overlooked. His works in chamber music, especially those featuring the viola, showcase his profound insight into the instrument’s expressive possibilities. Some of these include:

• Duo for Violin and Viola, Op. 133 • Concerto for Two Violas and String Orchestra, Op. 210

• Sonata for Clarinet and Viola, Op. 169 • Suite for Violin and Viola, Op. 177

Even though he passed away in 2020, initiatives to preserve and promote Atehortúa’s music are still in progress, particularly through the Blas Emilio Atehortúa Foundation (FUBEA), which protects his manuscripts. However, the lack of governmental support for promoting his works after his death has impeded its wider recognition and the development of Colombian academic music. This highlights the necessity of individual and community initiatives in bringing his compositions to performance. I invite violists and musicians globally to delve into and showcase his works, ensuring that the richness and depth of his music remain impactful for audiences and enhance the global appreciation of Latin American classical music. Contemporánea. La Proyección De La Música Colombiana: Blas Emilio Atehortúa,” 1997. 2 The dulzaina is a traditional Spanish double reed instrument. 3 Friedmann, “Blas Emilio Atehortúa: Tallando Una Vida de Timbres, Acentos y Resonancias,” 2014. 4 Friedmann, “Blas Emilio Atehortúa,” 2014. 5 Castineira, “La Musica En El Di Tella,” Secretaria De Cultura , 2011. 6 The Rockerfeller Foundation had initially agreed to finance the program for just six years. 7 “CAS - Central Authentication Service,” 1997. 8 Friedmann, “Blas Emilio Atehortúa,” 2014. 9 Friedmann, “Blas Emilio Atehortúa,” 2014. 10 Valbuena, “Blas Emilio Atehortúa: Alusión A Lo Posible Nómadas,”1997. 11 The John Simon Guggenheim Memorial Foundation offers fellowships to exceptional individuals in pursuit of scholarship in any field of knowledge and creation in any art form, under the freest possible conditions. 12 Friedmann, “El Siglo Veinte Y La Música Contemporánea,” 1997. 13 Valbuena, “Blas Emilio Atehortúa: Alusión A Lo Posible Nómadas,”1997 Footnotes: 1. Friedmann, “El Siglo Veinte Y La Música

• Concerto for Violin, Viola, and Orchestra, Op. 160 • Concerto for Violin, Viola, and String Orchestra, Op. 187

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