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José Pablo Moncayo García (June 29, 1912 – June 16, 1958) was a Mexican pianist, percussionist, music teacher, composer and conductor. "As composer, José Pablo Moncayo represents one of the most important legacies of the Mexican nationalism in art music, after Silvestre Revueltas and Carlos Chávez."〔 p. 245.〕 He produced some of the masterworks that best symbolize the essence of the national aspirations and contradictions of Mexico in the 20th century. ==Biography== Born in Guadalajara, Jalisco, José Pablo Moncayo was introduced to music by his elder brother Francisco.〔Torres-Chibras 2002, 66.〕 Eduardo Hernández Moncada is reported as the first teacher of José Pablo Moncayo in 1926, when the teenager was fourteen years old.〔Aurelio Tello, "Biografía de José Pablo Moncayo, 1997." (José Pablo Moncayo Biography) TMs, Armando Torres-Chibrás dissertation archives, Mexico City. Quoted in Torres-Chibras 2002, 67.〕 According to Aurelio Tello, Hernández Moncada suggested his pupil Moncayo study at the National Conservatory.〔Torres-Chibras 2002, 86.〕 Tello reports that Moncayo was admitted to the conservatory in 1929; meanwhile, in order to finance his studies, he worked as a jazz pianist.〔 According to the research of Torres-Chibrás, different sources point out the fact that Moncayo took composition lessons with Candelario Huízar, and it is known that he continued his piano instruction with Hernández Moncada.〔 It is not certain in which courses Moncayo registered at the conservatory and who his other teachers were, but thanks to the biographies of his contemporaries Salvador Contreras, Blas Galindo and Daniel Ayala we may assume that Moncayo followed a similar path during his instruction at the National Conservatory. It is known that Huízar taught courses such as harmony, counterpoint and analysis (also called musical forms). Solfège or sight reading was taught by the eminent professors Vicente T. Mendoza and Gerónimo Baqueiro Foster. Music history was taught by Ernesto Enríquez. Luis Sandi was the conductor of the conservatory chorale and Eduardo Hernández Moncada, the associate conductor. In different periods Hernández Moncada taught, in addition to his piano lessons, harmony, sight reading, and later, opera ensembles. José Rolón, who had studied under Nadia Boulanger and Paul Dukas in Paris (and also met Arnold Schoenberg), taught harmony, counterpoint and fugue.〔Torres-Chibras 2002, 87〕 Chávez was highly concerned with the general education and culture of the conservatory students and established literature courses taught by the contemporary poets Salvador Novo and Carlos Pellicer, world history by Jesús C. Romero, and history of Mexican culture by Agustín Loera and Chávez himself.〔Torres-Chibras 2002, 87.〕 According to Salvador Contreras, Carlos Chávez created a composition course at the National Conservatory.〔Salvador Contreras, "El Grupo de los Cuatro," Armonía (August–September 1967): 8-10; quoted in Tello 1987, 46.〕 Although Roberto García Morillo points out the year 1930,〔García Morillo 1960, 19.〕 most sources agreed that this course started in 1931.〔Parker 1983, 10.〕 According to Robert L. Parker, this new composition class was originally called Class of Musical Creation and later, Composition Workshop; Chávez had some colleagues as pupils, such as Vicente T. Mendoza, Candelario Huízar and Revueltas, and "there were four students under twenty years of age: Daniel Ayala and Blas Galindo (both pure blooded Indians), Salvador Contreras and José Pablo Moncayo."〔 Jesús C. Romero suggests that Chávez conducted a selection process among young students of the conservatory before admitting anyone and relates that Daniel Ayala was chosen thanks to his "incipient renown as composer, Salvador Contreras, for his violin skills, and José Pablo Moncayo, on account of his ability to do sight reading at the piano." 〔Jesús C. Romero, "José Pablo Moncayo," Carnet Musical 161 (Año 13/14, July 1958): 300.〕 Furthermore, Romero reports that Blas Galindo was admitted the following year together with five other students. It seems that the new composition course attracted many students, their number increasing year after year, but only four of them attended the final examination. These four diligent students were Moncayo, Contreras, Galindo and Ayala. An article written by Galindo confirms his admittance to the course in 1932, together with seven other students. The article offers a detailed account of the training received at Chávez's workshop. At the first performance of the Renovation Musical Society (Sociedad Musical "Renovación")on August 22, 1931, Moncayo presents a couple of his own compositions, ''Impressions in a Forest'', and ''Impression'', both for solo piano.〔Jesús C. Romero, "La Sociedad Musical Renovación," Carnet Musical 150 (Año 13, 1957) : 383-384. And Jesús C. Romero, "José Pablo Moncayo," Carnet Musical 161 (Año 13/14, July 1958): 301.〕 An opportunity of professional advancement for Moncayo in 1932 was his admission to the Symphony Orchestra of Mexico (OSM). The first program of the season of the Symphony Orchestra of Mexico dated 28 October 1932, lists the name of José Pablo Moncayo for the first time as a member of the orchestra in the percussion section.〔Library of the National Center for the Arts. Mexico City.〕 During the fall of 1932, Chávez organized a festival of chamber music at the National Conservatory and invited his friend Aaron Copland to participate in it.〔Parker 1987, 435.〕 The friendship between Chávez and Copland was extended to Revueltas as well, as described by Eduardo Contreras Soto, revealing that Revueltas also exchanged correspondence with the American composer.〔Contreras Soto 2000, 37–38.〕 Moncayo and Galindo, both incipient proteges of Chávez, also started a long and fruitful relationship with Copland. Next year, Moncayo gets a part-time job as music teacher in a school (16 May 1933).〔Tello 1987, 51–54.〕 Mexican newspapers reported that on 1 December 1934, the new president of Mexico, General Lázaro Cárdenas, took the oath of office. There was a change in executive positions in the federal government, and Ignacio García Téllez, former dean of the National University, was now appointed Secretary of Education. García Téllez appointed José Muñoz Cota as chief of the Department of Fine Arts; as a result Chávez was removed from the head of the National Conservatory and was replaced by his enemy Estanislao Mejía. According to Blas Galindo, with the arrival of this new administration the composition workshop was terminated.〔Galindo Dimas 1948, 75.〕 Consequently, the composition training of Moncayo and his young friends was interrupted. According to Torres-Chibrás, "life was not easy at the conservatory for the four "orphans" of Maestro Chávez. Despite all the pressure exerted against them, they overcame all the difficulties, joined forces and emerged as an avant-garde group."〔Torres-Chibrás 2002, 122.〕 Blas Galindo reports that they were branded as "Chavistas" and blacklisted by the new administration of the Conservatory, to the point of setting obstacles for their registration. They decided to give a first concert with their compositions demonstrating with it the truthfulness of the class of Music Creation that had been suppressed from the study plan of the Conservatory.〔 The four friends agreed to arrange the program with compositions made by them after Chávez's departure from the conservatory. On 25 November 1935, at 8:30 P.M., the first concert of these young composers took place at the Teatro de Orientación.〔Tello 1987, 46.〕 Moncayo premièred his Sonatina for solo piano, performed by himself, and premiered as well ''Amatzinac'', for flute and string quartet. His friends collaborated as performers in the following order: Salvador Contreras and Daniel Ayala, violins; Miguel Bautista, viola; Juan Manuel Téllez Oropeza, violoncello; and Miguel Preciado, as flute soloist. A review from José Barros Serra calls the students "The Group of Four," with the aim to promote the nationalistic spirit of Mexican music.〔José Barros Serra. ''Grupo de los cuatro: Crítica musical'' (Group of Four: Music Review). ''El Universal'', 27 November 1935.〕 The second time these four young composers joined as a group was in a concert that took place on 26 March 1936, at 8:30 P.M. at the Teatro de Orientación.〔Tello 1987, 227.〕 They adopted the epithet given to them the previous year in a newspaper review by José Barros Serra, the "Group of Four," and this was the first public appearance where they intentionally used it. The Group of Four experienced increasing awareness among Mexican audiences and even some internationalization. In the collection of programs of the year 1936 at library of the National Arts Center, in Mexico City, José Pablo Moncayo is listed as a member of the percussion section of the controversial National Symphony Orchestra created in 1935 at the National Conservatory by Estanislao Mejía and conducted by Silvestre Revueltas from 1936 on.〔Carlos Chávez, "Reflexiones Sinfónicas: Los Subdirectores de la OSM," ''El Universal'' (20 August 1948), 3. and Contreras Soto 2000, 37–38.〕 The OSM programs preserved at the Library of the National Center of the Arts have the program of 5 September 1936, where Moncayo's ''La Adelita'' was premiered by the Orquesta Sinfónica de México, within the children's concert series, under Carlos Chávez's baton. One week later, on 11 September, Moncayo made his debut as orchestra conductor with the OSM, at the age of 24. During the seventh program of the season, Chávez gave Moncayo the opportunity to conduct the opening work of the evening, the Prelude of Richard Wagner's ''Lohengrin''. Chávez conducted the rest of the program that included ''La damoiselle élue'' by Debussy, and Beethoven's Ninth Symphony. The same month, in another program of the children's concert series, the one of 26 September 1936, another arrangement by Moncayo, ''La Valentina'', was premiered by the OSM, conducted by Carlos Chávez. In 1941 Chávez organized a concert of Mexican music with the OSM that included some of the works presented previous year in New York and requested Moncayo and Contreras to write compositions for such program. José Antonio Alcaraz says that, "It was Chávez himself who asked Moncayo to write a piece based on popular music of the (Mexican) southeast coast for a concert that he called 'Traditional Mexican Music.' " 〔Alcaraz 1975, 10.〕 According to the notes prepared by Herbert Weinstock for the concerts arranged by Chávez in New York (1940), the program then included a work called ''Huapangos'' by Gerónimo Baqueiro Foster. This piece was in reality an orchestral arrangement of several popular dances from the eastern state of Veracruz. In the 1941 program Chávez replaced Baqueiro's ''Huapangos'' with a new work called ''Huapango'', written by Moncayo. The difference is that Moncayo's ''Huapango'' is not just an arrangement but a legitimate work inspired by the popular music of Veracruz ("El Siquisiri", "El Balajú" and "El Gavilancito"). Chávez sent Moncayo and Galindo to Veracruz for a field exploration about the popular music of the region. Quoted by Moncayo's faithful pupil, José Antonio Alcaraz, Moncayo reports his experience: Moncayo's ''Huapango'' was premièred on 15 August 1941, at the Palace of Fine Arts by the Symphony Orchestra of Mexico under Chávez's baton.〔Concert Program, library of the National Arts Center. Mexico City.〕 Programs of the 1942 season list Eduardo Hernández Moncada as assistant conductor and José Pablo Moncayo at the piano as well as in the percussion section. Moncayo began to work on an ambitious project, a symphony. That summer, and probably thanks to the recommendations of Chávez and Copland, Moncayo and Galindo were granted scholarships from the Rockefeller Foundation to study at the Berkshire Music Institute, known today as the Tanglewood Music Center. According to Dr. Jesús C. Romero, Moncayo was invited to attend there by Aaron Copland and Serge Koussevitzky.〔Romero, ''José Pablo Moncayo'', 302.〕 The Symphony was scheduled to be premiered by the Orquesta Sinfónica de México on 21 August 1942, but the performance was postponed. The première would take place a couple of years later. The program notes of 1 September 1944, written by Francisco Agea, explain that the two last movements were written in Berkshire:
Moncayo worked in Berkshire not only on his symphony but also completed another work, probably in Copland's composition course, ''Llano Grande'' for chamber orchestra, which was premiered by the orchestra during the Berkshire Festival precisely on 21 August. ''Arroyos'' by Blas Galindo, Moncayo's alter ego in this trip, was premiered in Berkshire a few days before, on 17 August.〔Ruiz Ortiz, Blas Galindo: Biografía, 130.〕 The two Mexicans also had the opportunity to meet two other fellow composers and conductors who attended the courses at Berkshire that summer, Lukas Foss and twenty-four-year-old Leonard Bernstein. Galindo reports his experiences about Berkshire:
The programs of 1945 reveal that Moncayo was appointed assistant conductor of the Symphony Orchestra of Mexico in that year and that his activities as conductor increased.〔Library of the National Arts Center, Mexico City.〕 The year 1946, the rising conducting career of Moncayo brought him to his next position. Chávez appointed the thirty-four-year-old conductor as artistic director of the Symphony Orchestra of Mexico, while Chávez remained its musical director.
However, the Symphony Orchestra of Mexico season program of 1948 (13 February to 25 April) no longer lists Moncayo as a member of the orchestra. In 1948 Eduardo Hernández Moncada was the conductor of the National Symphony Orchestra (Mexico) (OSN)—created in 1947 under the aegis of the National Institute of Fine Arts—and within the programs Moncayo's name appears on the list of musicians as the orchestra pianist.〔Library of the National Arts Center. Mexico City.〕 Chávez, as general director of the Fine Arts Institute, appointed Moncayo as music director/conductor of the National Symphony Orchestra (Mexico) on 1 January 1949. The last program found with Moncayo's name as conductor of the OSN dates from Wednesday 17 February 1954. It was a memorial concert held at the Palace of Fine Arts to honor a distinguished music professor, Don Luis Moctezuma, recently deceased. The program consisted of some words of appraisal by Andrés Iduarte, General Director of the INBA, Three Pieces for Orchestra by Moncayo, the Concerto for Three Pianos and Orchestra by J. S. Bach, an address by professor Manuel Bermejo Chibrás, followed by Piano Concerto No. 2 by Rachmaninoff. This was the last time in his life Moncayo conducted the National Symphony Orchestra of Mexico. His name never again appeared on a program of the OSN. On 16 June 1958, Moncayo died in his home, at 295 Amsterdam Avenue, Mexico City, only a few days before his forty-sixth birthday. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「José Pablo Moncayo」の詳細全文を読む スポンサード リンク
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