Momenta in Bolivia

The Momenta Quartet have been among my main collaborators for quite some time. In 1997 they gave the first performance of my String Quartet No. 1 ‘Montes’ at Rock Hall Auditorium, Philadelphia, and they went on playing the piece many times since. In 2008 they visited Newcastle, playing ‘Montes’ at the ¡Vamos! Festival and at King’s Hall.

Years later, Momenta successfully applied for a Koussevitzky commission for what was to become my String Quartet No. 2, ‘Sin tiempo’, which they premièred in 2013 at Williams College, Williamstown, Massachusetts, and this work too became part of their repertoire. A highlight was their performance of ‘Sin tiempo’ as part of the 2017 Momenta Festival at the Americas Society, a performance which attracted much attention and heart-warming reactions from the press.

A visit to Bolivia by Momenta was long overdue. Over the years I repeated spoke to relevant institutions in the hope of arousing their interest in a Momenta project. It was only when I eventually approached the USA Embassy in La Paz that I met a receptive response. In retrospect it seems odd that I did not think of them in the first place.   

So it was that Momenta came to Bolivia in October 2018. The project included working with the students at Instituto Laredo coaching the strings of the Laredo Youth Orchestra, giving a concert as a string quartet and taking part in an orchestral programme as soloists and as members of the string section. 

The chamber concert took place on 24 October at the beautiful church of Convento Santa Teresa, which has been lovingly restored with funding from the USA Embassy. The programme consisted of works by living composers from the USA and my ‘Sin tiempo’. Admission was free. The public began to queue up about an hour in advance, and by the time we were due to start there were so many people standing in the aisles and in the atrium that many were unable to get in and had to go home. 

Momenta gave a spirited rendition of Eric Nathan’s Four to One, of Philip Glass’s String Quartet No. 2 ‘Company’, of Roberto Sierra’s String Quartet No. 2 and of my String Quartet No. 2 ‘Sin tiempo’. These works proved an excellent choice for the occasion, and the audience surprised us by staying put till the end of a not undemanding programme of contemporary music. 

As to ‘Sin tiempo’, it may be because over the years Momenta have grown to know my work deeply, or because they were in my home country and hometown, playing within thirty metres of the spot where I was born, or because they were playing in a beautiful church to a rapt and numerous audience, or because of a combination of some or all of these factors. The fact is that they played magnificently. Rarely, if ever, have I heard my own music performed to such standard of perfection and commitment. This was one of life’s most rewarding musical experiences. 

The next two days Momenta were soloists in an orchestral programme at the theatre of Instituto Laredo. The conductor was Alejandro Posada, a maestro with an international career who had been invited for the occasion by Fundación Bravura. The same foundation had invited three Venezuelan musicians, members of Orquesta Juvenil Simón Bolívar, to take part in the project. They played one of Vivaldi's Concerti Grossi, Mozart’s Sinfonia Concertante and Mozart’s Symphony No. 41 ‘Jupiter’. This orchestral experience was a logical continuation of last year’s Beethoven programme which I had prepared and conducted in August 2017. It was reassuring to see that the orchestral standard continues to rise at Laredo and that the recurrence of international projects involving visiting professionals is producing the desired results. Momenta shone in the Vivaldi in the Mozart, gaining many admirers among the orchestra members and the audience. 

Throughout the week there were rehearsals and masterclasses, enabling Momenta to leave a lasting mark in the development of all the young people with whom they interacted. 

To say that Momenta in Bolivia was a success would be an understatement. It was a truly inspirational and developmental experience for many, bringing audiences and students in Cochabamba into contact with excellent music and musicians from the USA, enabling students to improve their technique and musicianship, and making it possible for a Bolivian composer such as I to interact at a high level with his native audience. 

Thanks are due to Instituto Laredo, which is now the main driving force for music in Cochabamba, to the Embassy of the United States in Bolivia for their generous and determined support, to Fundación Bravura for seizing the moment to enhance this project with the presence of an outstanding conductor of international profile and of three young Venezuelan professionals whose contribution as performers and coaches was very noticeable and enjoyable. 

To the four members of Momenta, Emilie-Anne Gendron, Alex Shiozaki, Stephanie Griffin and Michael Haas, there are no words to thank them and congratulate them. They were outstanding in every respect, and they have left a trail of admiration and respect among those who heard them and those who worked with them.  

String Quartet No. 2, 'Sin Tiempo'

The Koussevitzky commission is now completed. It took me one and a half years' work – obviously not full-time, since university work only allows a fraction of my week to be spent on composition - but intensive enough. The last few months I had to find additional hours in the day, starting in the very early hours, before the family woke up. Six hours' sleep is not a regime I thrive on, but it was the only way of achieving results.

The Momenta Quartet were very tactful in not applying pressure, even as time went by and the agreed time for a première - autumn 2013 - approached. Now, with any luck, they will be able to prepare the new piece over the summer and release it to the world as scheduled. We do not have a specific performance date as yet.

This is probably a good time to explain some of the background and the nature of the piece.

'Sin tiempo' are the first two words of a longer title: Sin tiempo para las palabras: Teoponte, la otra guerrilla guevarista en Bolivia (“No time for words: the other Guevarist guerrilla campaign in Bolivia”). That is the title of Gustavo Rodríguez Ostria's monograph on a guerrilla campaign that took place briefly in 1970 at Teoponte, a mining district northeast of La Paz.

Teoponte is also the subject of an eponymous opera of mine, premièred at the London International Opera Festival 1988. Teoponte is not a full-scale operatic display, but a shorter affair, 35 minutes, for six singers and an electroacoustic soundtrack. A digression on this older work may be useful for an understanding of the new piece.

Living as a student in London at the time (1987), I found it beyond my reach to find a suitable collaborator to write the libretto. This did not feel like a severe inconvenience, since, as I researched the topic, I was developing a clear conception of how I wanted to treat the story. Thus came about as a natural development for me to write my own libretto, based as much as was feasible on the historical facts of 1970 - remembered from childhood and more freshly gleaned from the pages of El Diario, La Paz's conservative daily. Miraculously, many of its issues of the relevant period were available on microfilm at London's Colindale Library.

Contemporary sources were scarce. I contacted Isabel Hilton, then Latin American correspondent at The Independent. She was very helpful and pointed me in the direction of James Dunkerley, the author of a well-researched book on Bolivian politics in the relevant period, Rebellion in the Veins: Political Struggle in Bolivia 1952-1982. One paragraph in the book relates to the episode, but I inferred that Dunkerley knew more, so I sought him out. Dunkerley, too, was very helpful. He received me at his office in Queen Mary University of London, with a surprising treat: he opened a packet of Casino, a strong brand of dark tobacco much in favour among Bolivian students and intellectuals. I was not a smoker, but I could neither decline the hospitality nor resist a nostalgic taste of earlier times. Dunkerley explained his take on Teoponte, opening my eyes to aspects I had only been half-aware of, such as, for example, the influence of Liberation Theology on the catholic contingent among the insurrectionists. He kindly lent me his copy of Teoponte, una experiencia guerrillera, a succinct testimonial by the Brazilian priest Hugo Assmann, which I used intensively and returned to Dunkerley by post.

Memories, press, two conversations, one book. Based on these exiguous sources I formed a conception and fashioned a libretto that was simple, pithy and essentially distilled from contemporary speeches, reports and communiques.

Teoponte the opera was performed at the Bloomsbury Theatre, as part of the 1988 London International Opera Festival. The performers were Innererklang Music Theatre, directed by Séan Doran. The reception seemed enthusiastic on the night, but appeared mixed in the press. It was instructive to hear appraisals from colleagues who had attended, including one from Trevor Wishart - whose Anticredos Innererklang had performed in the same programme - who opined that Teoponte showed an excessive closeness of its composer to its subject. 

Wishart’s comment was perceptive, but I am not convinced that it was possible to form an informed opinion on the basis of that performance. I cannot fault Séan Doran or any member of his team; they worked with commitment and artistry in difficult circumstances. It is the circumstances I find fault with: a tight timescale and a breach of understanding between Innererklang and me as to the role of the tape part. They had expected occasional electroacoustic interventions, whereas I presented them with a soundtrack to which they were expected to synchronise from beginning to end.

It had not been my intention to surprise; I simply had not considered any other possibility than a fully developed tape part as a substitute for the orchestra, that is, as a continuous stream of sound, not only supporting and punctuating what the voices did, but also carrying the flow of expression whether the voices were singing or silent. And, it would be disingenuous not to mention it, I delivered the completed tape part to the performers two weeks prior to the première, that is, far too late for them to assimilate it properly.

This is tempting, but I must postpone a detailed description of Teoponte the opera. I will only say that it is set in a folk club, it is in four scenes or tableaux, and its structure – both locally and overall – is based on four chords which happen to be quite common in Bolivian folk music.

I will also say that, back in my very young days as a folk musician in Cochabamba, I knew Benjo Cruz, a charismatic solo singer who was a frequent visitor at the folk club where most of my gigs took place, Peña Ollantay. I greatly admired the intensity if his performances, charged with the energy of his political convictions. I did not fully understand these at the age of eleven, but I was aware, like any Bolivian of any age was, of an ideological struggle between the establishment, broadly associated with right-wing military dictatorships, and a younger front who opposed it and wanted change. I had seen the demos and the riots, I had smelt the tear gas, and I had heard the shots. Both my parents were journalists and news were always table conversation. I was certainly aware of Che Guevara and of the entrenched polarisation in public opinion after his death.

Benjo Cruz sang protest songs. He would first work the crowd with some lively traditional repertoire, and then he would hit them with a thinly veiled political message in the form of a song or a recitation. The folk club – Peña Ollantay – was a popular weekend entertainment, and it was well attended by a cross-section of the population, including the well-heeled. Benjo would not temper his message if there was a public official or dignitary in the audience. This added to the electricity in the atmosphere of his performances, and yet I never witnessed any unpleasantness.

What could not escape my or anybody’s notice was that a new guerrilla campaign had begun. ELN (Ejército de Liberación Nacional) had made good a promise made on the death of Che Guevara: volveremos a las montañas (we shall return to the mountains) and had unleashed a new insurrection against the military regime. Among the fighting rebels was Benjo Cruz. Over the next few months, either in combat or in summary executions, the military killed 59 out of the 67 rebels. Benjo was one of the casualties.

The story of my attachment to this topic is long and entangled. I tell it in greater detail elsewhere, and will tell it in even greater detail when I have the chance.

For today’s purposes, I will say that Gustavo Rodríguez Ostria’s book opened my eyes to many facts and ideas I had only superficially known, or intuited, and many other facts and ideas which I had not known. If this book had been in existence in 1987, Teoponte the opera would have been very different indeed.

Hence the need to write more about Teoponte. My business is unfinished. In 2012 I completed Souvenir de Teoponte for double bass and piano, a piece where I return to some of the opera’s material and I test its potential in a new medium. As well as the harmonic and structural conception, there was the conversion of electroacoustic sounds into double bass and piano sounds to explore. James Rapport and Eduard Lanner, and then James Rapport and Linus Kohlberg, have done committed work with this piece in Vienna.

Now I present my Second String Quartet, ‘Sin tiempo’. It too revisits some structural and thematic material from the opera, even where it is only in passing evocation. It engages with the world of turmoil, commitment, strife and self-sacrifice for an ideal that characterised that moment in history. It brings the past to the present and it does so in several layers. It pays homage to some of those fighters – Benjo Cruz in particular – and to Gustavo Rodríguez Ostria for his enormous achievement. It also celebrates the artistry of the Momenta Quartet, who I know will do a superb job with the work.

Koussevitzky commission

For the last few months I have been battling with a piece for double bass and piano. Along with the trombone, this is the instrument in the orchestra I feel I understand the least. Its workings may be based on the same basic principles as those of the violin and the viola, of which I do claim a good knowledge. But the size, the tuning in fourths, the strings’ thickness and length, the very different proportions and resulting differences in the physicality between the player and the instrument, they all strike me as an unknown world. I would have never volunteered to write for it if someone else had not planted the idea in my head, in this case James Rapport, a professor at Vienna’s Bach Musikschule. 

With impressive initiative, some time ago Professor Rapport offered to transcribe one of my existing pieces for the double bass. Partly in recognition of this commitment, partly from serious doubts that any of my existing pieces could be successfully adapted for the double bass, and partly, too, out of curiosity, I offered to write a new work instead. That is how I came to be treading this outlandish territory. It is a learning process, and I don’t find it easy.  

Not many days ago, on Bolivia’s national day - 6 August -  I received the wonderful news that the Koussevitzky Foundations (that is, The Serge Koussevitkzy Music Foundation in The Library of Congress and The Koussevitzky Foundation) had graciously decided to commission a new quartet from me for the Momenta Quartet. This brought me joy. At a time of dwindling opportunities in the UK this comes as a much-needed reminder that not all is indifference and that somebody has been listening, even some distinguished ears.  

For quite some time I have been in awe at the stratospheric - and rising - standard of the performances the Momenta Quartet have been offering of my String Quartet No. 1, ‘Montes’. Their première of it in 2007 in Philadelphia was already the best I could have hoped for; their rendition at King’s Hall in Newcastle the following year was entrancingly impassioned. A recording they sent me of a performance at Cornell University last year (2010) shows them with a new lineup - three players have changed - but playing ‘Montes’ to something worryingly akin to perfection. 

It was the Momenta who applied to Koussevitzky on my behalf, and the application’s success is, I am sure, in no small measure due to their rising prestige in the USA. To have one of the best commissions I know of to write music for one of the best quartets I know of makes a heady combination. 

What makes Koussevitzky any more desirable than any other commission? History, of course. The list of previous recipients is a who’s-who of twentieth-century music, including some legends of the recent past. Next to those one holds close to the heart (Adams, Andriessen, Dallapiccola, Henze, Ligeti, Maw, Stravinsky) are names one cannot but respect (Babbitt, Birtwistle, Britten, Castiglioni, Malipiero, Messiaen, Schoenberg, Stockhausen). The list also includes other names that are less universally acclaimed, and even some others I hadn’t heard before, but I am not letting that dampen the joy, the illusion of breathing for a moment the same air as music's most exalted figures. Ultimately it boils down to this: if Koussevitzky enabled Bartók to compose Concerto for Orchestra, I am jolly proud to have Koussevitzky. 

Am I slow or what. I was aware, I think, at all times, that the two venerable Foundations that made all these commissions had been set up in 1942 by Serge Koussevitzky (1874-1951), a Russian émigré to the US who was a celebrated conductor and entrepreneur. What at some point had slipped my mind was the fact that Serge Koussevitzky was also a virtuoso double-bass player, and the composer of a concerto and other pieces much prized in the repertoire.  When the coincidence dawned on me, I wondered if my efforts grappling with the double bass had acted as an incantation that eventually worked the magic of attracting Koussevitzky to me. I know, their panel takes its own decisions oblivious to any incantatory attempts, based instead on scores and recordings from the composers and the track record of the performing organisation. But it is a temptation to think that I had been currying the eponymous maestro's favour even before the panel convened. 

Meanwhile I grapple on.