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Osvaldo Golijov’s Oceana: performance considerations

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Osvaldo Golijov’s Oceana: performance considerations

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Content OSVALDO GOLIJOV’S OCEANA:

PERFORMANCE CONSIDERATIONS

by

Ariel Omar Quintana

___________________________________________________________

A Dissertation Presented to the
FACULTY OF THE USC THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF MUSICAL ARTS
(CHORAL MUSIC)

May 2010

Copyright 2010 Ariel Omar Quintana
ii
DEDICATION

To my wife and daughter, I love you. To my parents, “con mucha gratitud”.

iii
ACKNOWLEDGMENTS
I would like to thank Lucy Hirt (in memoriam) for making possible a first contact
with Dr. William Dehning at the Choral Department at USC. Your encouragement helped
me make one of the most important decisions in my life. A special “muchas gracias” to
Dr. William Dehning for taking me into the choral program and believing that something
good could come out of this Argentinean guy; you are the best. To Dr. David Wilson, for
counseling and patience. To Dr. Nick Strimple for helping me decide the subject of my
dissertation. To Dr. Magen Solomon and Dr. Morten Lauridsen, a special thank you for
your guidance in my writing process. To my friends TJ and Erin, a big THANK YOU
for giving me encouragement and a helping hand when needed. To my many teachers and
mentors my deepest gratitude, for you have shaped me in my musical journey and given
me the best of your knowledge, attention and Figure: Estrella Steger (in memoriam),
Patricia Chicahuala, Waldermar Wensell, Perla Brugola (in memoriam), Julio Fainguersh
(in memoriam), Marta Benegas and Paul Salamunovich. Finally, I want to thank my wife
and daughter, for they also had to endure six years of graduate school with me.
I also would like to thank Ytalliana Publishing, Boosey & Hawkes and Osvaldo
Golijov for granting permission to use the following copyrighted material.
Oceana, by Osvaldo Golijov. Copyright © 1996 by Ytalianna Music Publishing.
All Rights Reserved. Used by Permission of Boosey & Hawkes, Inc.
iv
TABLE OF CONTENTS
DEDICATION ii
ACKNOWLEDGMENTS iii
LIST OF FIGURES v
ABSTRACT vii
PREFACE viii
CHAPTER ONE: INTRODUCTION 1
CHAPTER TWO: BIOGRAPHY OF THE COMPOSER 7
CHAPTER THREE: TRANSLATION 14
CHAPTER FOUR: THE CALL (DEDICATED TO DIANA) 17
CHAPTER FIVE: FIRST WAVE AND RAIN TRAIN INTERLUDE 22
CHAPTER SIX: SECOND WAVE 27
CHAPTER SEVEN: SECOND CALL 34
CHAPTER EIGHT: THIRD WAVE 41
CHAPTER NINE: ARIA 50
CHAPTER TEN: CORAL DEL ARRECIFE (CHORALE OF THE REEF) 59
CHAPTER ELEVEN: CONCLUSION 63
BIBLIOGRAPHY 66
APPENDIX: ERRATA FOR OCEANA: SECOND WAVE 68
v
LIST OF FIGURES
Figure 1: Overview 13
Figure 2: Guitar 17
Figure 3: Guitar percussion 18
Figure 4: Guitar effect 18
Figure 5: Butterfly percussion 19
Figure 6: Oceana Score, Page 9 24
Figure 7: Oceana Score, Page 14 26
Figure 8: Oceana Score, Page 19 29
Figure 9: Oceana Score, Page 41 30
Figure 10: Oceana Score, Page 38 33
Figure 11: Oceana Score, Page 44 36
Figure 12: Oceana Score, Page 46 37
Figure 13: Oceana Score, Page 48 38
Figure 14: Oceana Score, Page 67 43
Figure 14b: Oceana Score, Page 68 44
Figure 14c: Oceana Score, Page 69 45
Figure 14d: Oceana Score, Page 70 46
Figure 15: Oceana Score, Page 61 48
Figure 16: Oceana Score, Page 86 52
Figure 16b: Oceana Score, Page 87 53
Figure 17: Oceana Score, Page 93 55
Figure 17b: Oceana Score, Page 94 56
vi

Figure 17c: Oceana Score, Page 95 57
Figure 18: Oceana Score, Page 101 61
Figure 19: Suggestions and Comments 63
Figure 20: Suggested stage chart 65

vii
ABSTRACT
Osvaldo Golijov became a well-known composer in the mid 1990’s when his
Pasion según San Marcos put him on the international pedestal of great composers at the
turn of the century. His music, not framed within a single musical style, has appealed to
large audiences around the world. This study of Oceana will serve to delineate the
composer’s musical journey in choral writing. It will also present technical aspects of
study, unique challenges of performance practice and musical aesthetics that need to be
considered for a successful performance of this work.
viii

PREFACE
Oceana is a composition of great complexity providing conductors with numerous
obstacles to creating a successful performance. Among the great challenges, are: complex
meters, amplification, instrumentation, balance, non-traditional notation and text. This
paper will provide insight into these issues and provide some solutions as a companion to
the score. Also provided in this document will be an errata sheet, a discussion of the only
commercial recording and interviews with performers. It is hoped that this document will
provide practical information about preparing Oceana for performance.
1
CHAPTER ONE: INTRODUCTION
This chapter contains an overview of selected choral compositions based on texts
about the sea. Although the text of Oceana is also centered on the sea, it contrasts
sharply with these choral works. While not intended as a complete catalogue of choral
music related to the ocean, these pieces do provide a context for understanding the
uniqueness of Oceana.
A Sea Symphony by Ralph Vaughan Williams:
A Sea Symphony is scored for Soprano and Baritone solos, SATB choir with
divisi, SSAA semi-chorus and a large orchestra. It was written during the period from
1903-1908 and revised in 1923. The text was taken from Leaves of Grass written by Walt
Whitman. The orchestration calls for 2 flutes and piccolo, 2 oboes (one ad libitum),
English horn, 2 clarinets (one ad libitum), 2 bassoons and contrabassoon (ad libitum),
4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, snare drum, bass drum,
cymbals, 2 harps (one ad libitum), organ (ad libitum) and strings.
Vaughan Williams also wrote an orchestration for a small orchestra with only
eight woodwinds. Although most of the work was written during the years 1908 and
1909, parts of the Scherzo and a slow movement were conceived early in 1903.
1
The
premiere was held on October 12, 1910 at the Leeds Festival with the composer
conducting.
The seventy-minute symphony opens with a fanfare by the horns and trumpets,
followed by the choir’s entrance with a roaring, “behold” and then, “the sea itself”

1
Michael Steinberg, Choral Masterworks: A Listener’s Guide. (New York:
Oxford University Press, 2004-2005), 288.
2
accompanied by organ and timpani. The grandeur of the beginning sets the stage for a
masterpiece that holds its symphonic structure and is not constrained by the text it uses.
In the program notes to the premiere performance the composer wrote:
“The plan of the work is symphonic rather than narrative or dramatic, and this
may be held to justify the frequent repetition of important words and phrases
which occur in the poem. The words as well as the music are treated
symphonically. It is also noticeable that the orchestra has an equal share with the
chorus and soloists in carrying out the musical ideas.”
2

The movements are:
1. “Song for all Seas, all Ships” and “Songs of the Exposition” (baritone, soprano and
chorus)

2. “On the Beach at Night alone” (baritone and chorus)

3. Scherzo: “The Waves” (from ”After the Sea Ship” for chorus)

4. “The Explores” (from “Passage to India” for baritone, soprano, semi-chorus, and
chorus)
3

Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage) by Ludwig

van Beethoven:

The cantata Calm Sea and Prosperous Voyage (Meeresstille und glückliche Fahrt,
opus 112) was written in 1814 and revised in 1815. The work was premiered on
November 29, 1814 during the celebrations of the Congress of Vienna. In opus 112
Beethoven is able to show his fine compositional skills providing a musical picture for
the listener. The long sustained chords in the choir aptly describe the motionlessness of
the sea when there is no wind. This stillness is the very root of the sailors’ fear since

2
Ibid, 292.
3
Ralph Vaughan Williams, A Sea Symphony. (London: Stainer & Bell; New
York: Galaxt Music Corp, c1926).
3
without wind they will not be able to return to port. The two movements present
contrasting tempos. Calm Sea is presented in a slow tempo with austere harmonic
changes and frequent rests to suggest a calm sea. Prosperous Voyage starts with a swift
upward unison line of the strings, as if breezes were coming, and continues to rise with
the woodwinds as if finally bringing relief to the sailors. The piece is approximately
seven minutes long and is scored for SATB choir and orchestra. The instrumentation is 2
flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, timpani and strings.
The text is by Johann Wolfgang von Goethe to whom Beethoven dedicated the cantata.
Calm Sea

Deepest calm lies on the water,
motionless the idle sea.
Anxiously the sailor scans
the glassy surface all around.
No breeze stirs in any quarter!
Deathly calm, arousing dread!
In that vast immobile ocean.
Not one ripple moves.

Prosperous Voyage

The mists start to scatter,
the sky grows bright,
and Aeolus loosens
the knot of fear.
The winds are now whispering,
the sailor now stirs.
Swiftly! swiftly!
The waters are parting,
the distance draws nearer:
land is in sight!
4

Translation: © 1987 Mary Whittall

4
Ludwig van Beethoven, Meeresstille und glückliche Fahrt. (Leipzig: Breitkopf
& Härtel, 1890).

4

Incantatio maris aestuosi (Incantation for a Stormy Sea) by Veljo Tormis:

The Estonian composer, Veljo Tormis wrote this work in 1996. His output of
musical compositions (more than 500) clearly shows his preference for choral music. He
has been compared to Bártok and Kodály for his interest in folk material and his
collection of folk melodies of his native country.
5
However, he has also extensively
studied the musical folk tradition of all the Baltic countries. Incantation for a Stormy Sea
is seven minutes and fifty seconds long and written for unaccompanied male choir. The
text is taken from the Kalevala, a compilation of Finnish folk poetry with translation by
Tuomo Pekkanen. The composer uses selected sea-related passages taken from the
22,795 verses in the Kalevala. In Finnish mythology Ukko is the most prominent god,
Ahto is the god of the deep, and Vellamo is the god of the sea.
In his compositions, Mr. Tormis makes use of unusual textures, repetition with slight
modifications, and sustained notes with layers of intricate rhythmic textures above them
to convey power through his works. In addition, he uses whistle sounds, whispers,
stomping, and glissandos, and echo-like effects are present throughout the composition.
Translation:

"Come aboard my ship, O Ukko,
Come with me, thou God of mercy,
To protect thine ancient hero,
To support thy trusting servant
On the breasts of raging billows,
On the far out-stretching waters.
Rock, O winds, my magic vessel,
homeward drive my ship, O billows;
Lend the rowers your assistance,

5
Dennis Shrock, Choral Repertoire. (New York: Oxford University Press, 2009).
5
Give the oarsmen easy labors
On this vast expanse of waters!”

We had journeyed but a little,
Scarce a moment had passed over,
When the King of all creators,
Mighty Ukko of the heavens,
Made the winds blow full of power,
Made the storms arise in fury,
Made them rage upon the waters.
From the west the winds came roaring,
From the north-east came in anger,
Winds came howling from the south-west;
Came the winds from all directions,
In their fury, rolling, roaring.
"Sea, command thy warring forces,
Bid thy children cease their fury!
Ahto, still thy surging billows!
Sink, Vellamo, to thy slumber,
That our boat may move in safety.
Rise, ye storm-winds, to your kingdoms,
Lift your heads above the waters
To the regions of your kindred,
To your people and dominions;
Cut the trees within the forest,
Bend the lindens of the valley,
Let our vessel sail in safety!"
6

The Sounding Sea by Eric William Barnum:
The Sounding Sea is an SATB a cappella piece, and is five minutes in length. It
was commissioned by the Iowa State Choral Department for the Iowa State Singers
conducted by Dr. James Rodde. The text is by George William Curtis (1824-1892).
O listen to the sounding sea
That beats on the remorseless shore,
O listen! for that sound will be
When our wild hearts shall beat no more.

6
Veljo Tormis, Incantatio maris aestuosi. (Helsinki: Sulasol, 1996).

6
O listen well and listen long!
For sitting folded close to me,
You could not hear a sweeter song
Than that hoarse murmur of the sea.

The piece requires some divisi and includes mixed meters, non-traditional
notation, stomping, glissandos and whispering; the performance notes clearly explain
how to produce the required sounds. Musical challenges are found in the composition but
are certainly well within the ability of a good community choir. Although the musical
language is not strictly tonal, certain tonal centers are found.
7

Other exemplary choral pieces based on sea related themes include: Peter
Mennin’s Symphony #4 The Cycle (on text by the composer), which presents the sea as
metaphor for all life-cycles
8
, the part song Away From the Roll of the Sea (SSAA
w/piano or TTBB w/ piano) by Allister McGillivray, arr. by Diane Loomer
9
and Sea
Moods (SSA with piano) by David Eddelman with text by Christina Rossetti.
10

7
Eric William Barnum, The Sounding Sea. (Chapel Hill: Walton Music
Corporation, 2009).
8
Peter Mennin, Symphony #4 The Cycle. (New York: Carl Fisher, 1949).
9
Allister McGillivray, Arrangement, Diane Loomer, Away From the Roll of the
Sea. (Vancouver B.C.: Cypress Publishing, 1986, 1997).
10
David Eddelman, Sea Moods. (San Diego: Neil A. Kjos, 1985).
7
CHAPTER TWO: BIOGRAPHY OF THE COMPOSER
Composer Osvaldo Golijov was born in the city of La Plata, Argentina on December
5, 1960 to a Jewish family. His parents had immigrated from Romania and Ukraine
during the 1920’s. During his childhood, he spoke Yiddish and Spanish. His father was a
doctor and his mother a piano teacher, and she exposed him early in life to chamber
music, Jewish liturgical music and klezmer, and the music of Ástor Piazzolla. He studied
piano at the Conservatory of La Plata and composition with Gerardo Gandini.
In 1983, Mr. Golijov moved to Israel where he studied with Mark Kopytman at
the Rubin Academy in Jerusalem. In 1986 he moved once again, this time to the United
States, to study with George Crumb at University of Pennsylvania where he graduated
with a PhD in composition. His other teachers included Lukas Foss and Oliver Knussen.
His most prominent compositions to date are Ainadamar (opera, 2003),
Pasión Según San Marcos (for choir, soloist and orchestra, 2000), and Oceana (for
soloist, double choir and instrumental ensemble, 1996). Other works are written for
chamber ensemble with and without voice, soloist and orchestra, orchestra only,
instrumental solo; he has also written film scores and arrangements. A complete list of
his works can be found on the composer’s web site: www.osvaldoglolijov.com.
Since the early 1990’s Mr. Golijov has worked frequently with excellent string
quartets, including Kronos and the St. Lawrence String Quartet. These groups have given
worldwide exposure to his music and his category-defying style. Yiddishbbuk, a
Grammy-nominated CD, was released by EMI in 2002. This recording of chamber music
pays homage to the ten years of close collaboration between the composer and the
Kronos String Quartet, the St. Lawrence String Quartet, and clarinetist Todd Palmer.
8
The Dreams and Prayers of Isaac the Blind, Nuevo, and Caravan are three other
compact disc projects in which Kronos has recorded the composer’s works. Kronos has
also played Golijov’s compositions in collaboration with artists such as the Romanian
Gypsy band Taraf de Haidouks, the Mexican Rock band Café Tacuba, tabla virtuoso
Zakis Hussain, and Argentine guitar player, composer and producer Gustavo Santaolalla.
For more than ten years Mr. Golijov has worked with soprano Dawn Upshaw and
has written many works with her voice in mind. Three Songs for Soprano and Orchestra
(2002), the opera Ainadamar (2003), and the song cycle Ayre (2004), are some of the
works that were inspired by Ms. Upshaw’s voice.
To commemorate the 250
th
anniversary of J.S. Bach’s death the Internationale
Bachacademie Stuttgart commissioned Mr. Golijov, Sofia Gubaidulina, Tan Dun, and
Wolfgang Rihm to write works for the occasion; he presented La Pasion según San
Marcos, a work that gave him international exposure. La Pasion was premiered by the
Schola Cantorum of Caracas, the Orquesta La Pasión and percussionist Mikael Rinquist
conducted by Venezuela’s leading choral conductor, Maria Guinand. The CD of the
premier performance (released by Haenssler Classic) received both Grammy and Latin
Grammy nominations.
In 2004 Golijov created the virtuoso group The Andalucian Dogs to premiere his
new work: Ayre. Together, with soprano Dawn Upshaw they premiered the work and the
Deutsche Grammophon recording was nominated for a Grammy in 2005. The following
year a recording of his new opera Ainadamar was released. Robert Spano conducted the
Atlanta Symphony Chorus and Orchestra and sopranos Dawn Upshaw and Jessica Rivera
and mezzo-soprano Kelly O’Connor sang the main roles. This recording was awarded
9
two Grammy awards in 2007, one for best opera recording and another for best
contemporary composition.
Golijov has received numerous prizes and awards, among them the MacArthur

Foundation and the Vilcek Prize. He is composer-in-residence for the Chicago
Symphony, adjunct professor at the Vera Cruz Institute in Worcester Massachusetts, and
professor at the Boston Conservatory. He resides with his family in Newton,
Massachusetts.
OCEANA:

In tracing the choral compositions of Mr. Golijov, one finds two early choral
compositions mentioned in the composer’s web site: Mourners (premiered in 1989) and
Cantata de los inocentes (premiered in 1990). While it would be interesting to study
these pieces in order to evaluate the composer’s evolving craft, the scores have not been
published and are otherwise unavailable.
11

Oceana was written in 1996, commissioned by Helmuth Rilling for the Oregon
Bach Festival as a result of the “Cantatas of the Americas” project. The world premier
was given on June 27, 1996 by Luciana Souza, New World Guitar Trio, Schola Cantorum
de Caracas and the Oregon Bach Festival Orchestra with Maria Guinand conducting.
12

In 2004, Oceana was revised by the composer. This new version was recorded by
the Deutsche Grammophone label and released in 2007 with Luciana Souza, vocals,
Elizabeth Reny Johnson, harp, Jamey Haddad, percussion, Jay Anderson, bass, Scott

11
Osvaldo Golijov. http://www.osvaldogolijov.com/w_chor.htm (accessed
October 10, 2008).
12
Osvaldo Golijov, Oceana. (Newton, Mass.: Ytalianna Music Publishing, 1996).
10
Tennant and John Dearman, guitars (members of the Los Angeles Guitar Quartet);
Gwinnett Young Singers, Atlanta Symphony Orchestra and Chorus, and Robert Spano,
conductor.
13
The original 1996 version of the composition was never recorded.
Oceana is scored for:
Vocalist (Brazilian jazz style)
Boy Soprano (or small children chorus)
Double Chorus
3 flutes (doubling alto flute, piccolo)
3 percussionists (4
th
optional)
2 guitars (amplified)
Harp
Strings
14

The work of about 28 minutes in length “was conceived with a small ensemble in mind
i.e. a chorus of 40-50 members and strings players: 6-5-4-3-2.”
15
High levels of
musicianship and technique are needed to successfully perform this piece. Sections of the
composition require several measures of sustained high note in the soprano of both
choirs.
The text is by Pablo Neruda (1904-1973), taken from his 1961 poem Oceana,
which is part of Cantos Ceremoniales. Not all eleven stanzas of Oceana’s text are used
in Golijov’s composition. A quote by the composer reflecting on his creation summarizes
his creative process when composing Oceana:
“My aim in Oceana was the transmutation of passion into geometry. This
is in my mind, the clue to both Bach’s and Neruda’s work…[One hopes
that the emotion evoked by the work] is the emotion of hearing order,
inevitable and full of light: every note in its place, as in Bach, and every

13
Alan Rich, Oceana Compact disk. (Hamburg: Deutsche Grammophon Gmbh,
2007).
14
Osvaldo Golijov, Oceana. (Newton, Mass.: Ytalianna Music Publishing, 1996).
15
Ibid.

11
word in its place, as in Neruda”
16
…”to transmute water and longing, light
and hope, the immensity of South America’s nature and pain into pure
musical Symbols.”
17

The difficult task of using musical notes to describe the ocean in its different moods is
accomplished in this work.
The composition has seven movements. Titles appear as they appear in the score:

1. Call (3:29 minutes)
2. First Wave and Rain Train Interlude (1:38 minutes)
3. Second Wave (2:40 minutes)
4. Second Call (2:10 minutes)
5. Third Wave (2:10 minutes)
6. Aria (5:32 minutes)
7. Coral del Arrecife (Chorale of the Reef) (8:26 minutes)

These seven movements are to be performed without interruption and although
each one has its own well-defined musical and esthetic characteristics as well as different
forces, they should not be performed independently. The contrast between them enhances
the unique characteristics of each movement. However, an exception can be made with
regard to the last movement and will be discussed in Chapter 10.
Special care should be taken in choosing the soloists for this work. The previously
mentioned “Vocalist (Brazilian Jazz Style)” needs to be a mezzo-soprano with a vast
register and complete control of vocal production. Furthermore she must accurately
negotiate many large intervals and passages of rapid staccato.

16
Chicago a cappella. http://www.chicagoacappella.org/about_us/prg-
argentineeyes.htm (accessed January 05, 2009).

17
Positive Feedback online, Issue 35. http://www.positive-
feedback.com/Issue35/amateur.htm (accessed January 05, 2009).
12
The boy soprano must be a well-trained singer, with a substantial experience in
solo singing. If one is not available, a small children’s choir may be used. The Deutsche
Grammophon 2007 recording uses a children’s choir.
The choral score calls for a double choir of 40 to 50 singers total. They should
have highly developed vocal technique and excellent musicianship. Having an ensemble
of fewer than 40 singers could be problematic because of the vocal and physical
endurance needed to perform the work.
The two guitars and harp parts feature non-traditional notation. The string parts
are written in traditional notation and present extensive divisi. Fewer players than the
suggested by the composer 6-5-4-3-2 would compromise the performance. The
percussion part could be embellished or expanded by a creative player as done on the
Deutsche Grammophon recording.
Unusual notation is a feature of Oceana and the composer describes and explains
this notation in the first pages (un-numbered) of the score. In this treatise Golijov’s
notation and his explanations are reproduced verbatim from the score and placed in
boxes. This is discussed in Chapter 4.
The entire work is written in Spanish; therefore, a coach that is familiar with
Spanish, preferably with an Argentinean accent, is recommended. This will give to the
performance a flavor of the Spanish that the composer used in the recording of the work.

13
Figure 1: Overview
Length Forces Notation
challenges
Conductor's
challenges
Choral writing
1. "Call" 3:29 Mezzo-soprano,
2 guitars, harp
Some non-
traditional
None No choir

2. "First
Wave and
Rain Train
Interlude"
1:38 Choir, strings Train
Interlude: Piccolo,
flutes 1&2, harp,
and 2 guitars
None None Traditional

3. "Second
Wave"
2:40 Choir. Bars 1 to
25: flutes, 2
guitars, harp Bars
25 to163 strings
Mistakes in the
text
Maintain the
energy
Text is difficult. Fast
tempo. Call and
response Duple
against triple
rhythms

4. "Second
Call"
2:10 Mezzo-soprano, 2
guitars,
contrabass, flute
1,2 and alto flute
None Very difficult
Mixed meter
No choir

5. "Third
Wave"
2:10 Choir, strings None Very difficult
Mixed meter
Very difficult
Mixed meter
Fast

6. "Aria" 5:32 Mezzo-soprano,
boy soprano2
guitars, 2 flutes,
alto flute, harp,
percussion, strings
No text or
vowels in the
Mezzo's
"vocalize" Also
mezzo-soprano
improvisation
None No choir

7. "Coral
del arrecife"
8:32 Choir (piccolo,
flutes 1&2, strings
only first few bars)
None None Almost all a cappella

14
CHAPTER THREE: TRANSLATION

From Oceana (in Cantos Ceremoniales) By Pablo Neruda:

1. First Wave and Rain Train Interlude: (Movement II)

(Text taken from Oceana I first three lines).

Oceana nupcial, cadera de las islas,
Oceana, bridal Oceana, thigh of the islands
aquí a mi lado, cántame los desaparecidos
Sing to me here, by my side, the vanished
cantares, signos, números, del río deseado.
Chants, signs, numbers of the desired river.

2. Second Wave: (Movement III)

(Text taken from Oceana I last five lines).

Quiero oír lo invisible, lo que cayó del tiempo
I want to hear the invisible, that which fell
al palio equinoccial de las palmeras.
From time to the equinoctial mantle of the palm trees.
Dame el vino secreto que guarda cada sílaba:
Give me the secret wine contained in each syllable
ir y venir de espumas, razas de miel caídas
The coming and going of foams, of races of honey
al cántaro marino sobre los arrecifes.
Fallen to the marine vase over the reefs.

3. Third Wave: (Movement V)

(Text taken from Oceana III, four first lines in their entirety. The fifth line used partially,
lines six and seven).

Oceana, reclina tu noche en el castillo
Oceana, recline your night in the castle
que aguardó sin cesar pasar tu cabellera
That awaited forever your mane coming
en cada ola que el mar elevaba en el mar
In each wave that the sea elevated in the sea
y luego no eras tú sino el mar que pasaba,
And then it wasn’t you the one coming
sino el mar sino el mar.
But the sea but the sea.
15

4. Aria: (Movement VI)

(Text taken from Oceana VII first five lines, lines 6
th
to 20
th
are not used)

Tengo hambre de no ser sino piedra marina
I’m craving to be nothing but marine stone,
estatua, lava, terca torre de monumento
Statue, lava, tower, a monument
donde se estrellan olas ya desaparecidas,
Where the waves that crash have disappeared:
mares que fallecieron con cántico y viajero
Seas that died with chant and traveler.

5. Coral del Arrecife. (Chorale of the Reef): (Movement VII)

(The entire text of Oceana VIII is set)

Oceana, dame las conchas del arrecife
Oceana, give me the shells of the reef
para cubrir con sus relámpagos los muros,
To cover the walls with their lightning
los Spondylus, heroes coronados de espinas,
The Spondylus, heroes crowned with thorns
el esplendor morado del murex en su roca:
The splendor of the murex on the rocks:
tú sabes como sobre la sal ultramarina
You know how, over the ultramarine salt,
en su nave de nieve navega el Argonauta.
In his vessel of snow, the Argonaut sails.

Translation: Osvaldo Golijov
Text in Spanish printed with permission of the Pablo Neruda Foundation.
Text in English printed with permission of Ytalianna Music Publishing.

Verses II, VI, V, VI, IX, X and XI of Neruda’s poem are not used in Oceana.

There is another translation found in the book Ceremonial Songs, which is a translation
by Maria Jacketti of Cantos Ceremoniales, Latin American Literary Review Press,
Pittsburgh, Pennsylvania, 1996. It would be beneficial for the non-Spanish speaker to
16
read this translation since the different translation can give a different nuance to the same
text.

17

CHAPTER FOUR: THE CALL (DEDICATED TO DIANA)

Introduction:

Unique notation is found in Oceana and mention must be also made about the
vocalization in the mezzo-soprano solo line and the guitars’ amplification. Additionally
the Deutsche Grammophon recording includes a few elements, which are not found in the
score.
Notation:
The first few pages of the score show some non-traditional notations, but the use
of this notation increases as Oceana develops. In the score the composer offers a clear
explanation as to how the non-traditional notation should be performed. Note the
following Figures taken from the notes for guitars at the beginning of the score.
Although the explanation is presented here it applies to the whole work. These are
Golijov’s explanations:

Figure 2:
18
Guitar

18
Osvaldo Golijov, Oceana. (Newton, Mass.: Ytalianna Music Publishing, 1996).

The pitches and range should be adhered to strictly as the notes in the cells are
generally triggered by the vocal line.

18

Figure 3:
19
Guitar percussion

Figure 4:
20
Guitar effect

19
Ibid.
20
Ibid.

In this case, play the F-sharp tamboura with the thumb so that the note is a combination
of the pitch and a deep drum sound.

Play near the bridge with p using the flat of the nail, then for the second
sixteenth note Hammer the F-sharp with the left hand (try not to let the open E sound
when you come off the string!). If you wish to create an additional phrasing effect,
move p back and forth slowly along the string as you strike.

19
Figure 5:
21
Butterfly percussion

Other indications in the score such as “with occasional slight accents,” “start trill
slowly,” “(irreg. tremolo-arpeggio),” etc., give directions to the performer as to how to
play or sing.
Guitars:
The driving, forward motion of the piece is created by the percussive possibilities
of the guitars that support the vocal soloist harmonically and rhythmically. The
improvisatory nature of the guitar accompaniment is described in the Figures above. The
composer also wishes the guitars to create an “ambient” and a “stereo” effect; therefore,
while positioning them to the left and right of the stage could produce a great effect it
could also present challenges in ensemble. Guitars should be amplified, but it is at the
conductor’s discretion as to what kind of sound amplification system to use. Regardless,
if a sound system is used, each guitar player should have total control of the
levels for equipment. In pictures taken during the recording of the work, the two guitar
players are positioned in the center, sitting next to each other. To their right is the harp

21
Ibid.
(butterfly flutter percussion.)

A percussive “roll.” Using the right hand, create a flutter by rapidly rotating the
forearm so the thumb and pinkie slap against the guitar body.

20
and to their left are the percussion and double bass. It is also suggested that the soloists
should be amplified to achieve a good balance (see Figure 20).
Vocalization:
In this movement, the mezzo-soprano soloist is required to sing free vocalization
in a style that is somewhat jazz-like. It requires fluidity in the delivery of the vocal line,
trills that become faster, and “echo-doppler and fade” effects. These elements would
clearly create an enormous challenge for a singer who has only been classically trained.
The writing is so free that changes in the meter do not grab the attention of the listener. It
is so fluid that no rhythmic patterns are apparent to the ear, and only some melodic
gestures give unity to the movement. It is interesting to note that in the full score the solo
part does not have any text, syllables or words; however, in the aforementioned recording
the soloist, Luciana Souza, sings the word “Oceana” in addition to nonsense syllables
throughout the movement.
Additions to the score:
Although in the Deutsche Grammophon recording (conducted by Robert Spano)
there seems to be a recording of the sound of waves, this cannot be found in the printed
score, nor does it mention the use of such a recording in the composer’s notes. The use of
additional percussion instruments are also found in the recording, which, although they
add an atmospheric dimension, are also not found in the score of this movement. This use
of percussion adds color and texture to the already very creative and unique use of the
guitars. It is assumed that the composer approved this practice since he is seen in
photographs during the recoding sessions.

21
The music:
Oceana begins with a murmur of the guitars under a light color of the harp’s
tremolo on a high E. Soon the soloist comes in on a low E (below the staff) on what is
referred as “a “call” from afar, lonely, rubato sempre.”
22
The daunting call “Oceana”
becomes the theme that keeps the entire movement cohesive, and sounds like a cry to the
goddess of the sea. The F sharp 9
th
chord that dominates the harmonic foundation of the
first 25 measures then melds into E minor and then into an A dom. 7
th
at bar 45. This will
soon evolve to become a D dom. 7
th
at bar 56, and turn into an E minor and then into an
A dom. 7
th
at bar 66. The harmonic changes continue until arriving at a pedal F sharp for
the last 8 bars that will connect this movement to the next. Clearly these chords do not
play harmonic roles in the key that could be inferred by the key signature when we see F
sharp and C sharp; rather they are chord centers around which the music evolves.
Conclusion:
This slow contemplative opening movement introduces the mezzo-soprano soloist
as if a preamble to the very important role she will play throughout the work. The
instruments also present their important role, that of creating mood. From stillness to the
rumbling motion of the sea towards the end of the movement, the instruments provide
accompaniment that propels the energy forward and connects one movement to the next.

22
Ibid, 2.
22

CHAPTER FIVE: FIRST WAVE AND RAIN TRAIN INTERLUDE
Introduction:
This is the movement in which we hear the choir with the call “Oceana,” this
appearance is one of importance and dramatic impact. The First Wave and Rain Train
Interlude is a movement comprised of two sections. The first section utilizes the choir
and the strings, and the second features piccolo, flutes 1 and 2, harp, and guitars 1 and 2.
The music:
The last six bars of the prior movement, Call prepare the tempo with a “Subito
faster, precise” indication. In a seamless transition, a chromatic scale of three bars of the
guitars and lower strings introduce the entrance of the choirs. The first entrance is sung in
unison by the tenors and basses of both choirs. The marked indications of “forte” and
“open voice, like pirates at sea calling their goddess non dim.”
23
gives a clear idea as to
the vocal production and the character of the singing desired by the composer. This
manner of singing is also required by the women in the ensemble, since at their entrance
the composer asks again for “forte open voice, non vibrato” (see Figure 6). In the
Deutsche Grammophon recording, the vowel production is quite open. It is clear that the
composer coached or had direct influence in the sound production of the choir for this
recording. Although the choir in the recording is a U.S.-based organization, the sound is
similar to the vocal production found in choral singing in Argentina.

23
Ibid, 7.
23
The accompaniment:
The use of the strings as a minimalist accompaniment is important since it
becomes a theme throughout the work. Here the strings provide an energetic, rhythmic
pulse (see Figure 6). The voices are seldom doubled except for the lower strings, which
play close to the bass part.
Rehearsal plan:
It is suggested that, initially, the two choirs be rehearsed separately, since the
rhythmic difficulty can make working immediately with both choirs unproductive (see
Figure 6 tenor and bass parts between the two choirs). Also, the text should be learned
independently of the pitches since the fast tempo will present a challenge for non-Spanish
speaking choirs. When separate rehearsals of choir I and choir II are completed, the
following should be considered:
1. Rehearse men’s parts (both choirs together) starting at measure twenty-nine to
the end.
2. Rehearse women’s parts (both choirs together) starting at measure fifty-five to
the end.
24
Figure 6: Oceana, page 9 Soprano and alto voice production. Tenor and bass between
two choirs rhythmic difficulties.

25
Time signature:
The First Wave starts written in 3/8, should be conducted in one since the dotted
quarter note is suggested at sixty-three. Even though the time signature is 3/8, this piece
could have also been written in 6/8, which is a common time signature of many folk
dances in South America. Samba and Malambo dances have the characteristic 6/8 or 3/8
time signature. Syncopations and intricate rhythms in this movement can well be found in
these folk dances. The composer probably choose the 3/8 signature to give more accent
and drive to the music.
Rain Train Interlude:
The Rain Train Interlude is written for piccolo, flute, harp and the two guitars
only. Four sharps in the key signature suggest the key of E major (or perhaps C sharp
minor). However, most of this section sits in the apparent dominant, on B dom.7 with a
very repetitive pattern in the guitars and harp and a very rhythmically disjointed flute and
piccolo trio. The rhythmic patterns of the harp and guitars seem to imitate a locomotive’s
noise (see Figure 7).
Conclusion:
Although the movement has a second part that is instrumental, the dramatic
entrance of the choir makes known the important role it will play in the piece. While this
choral writing is very effective and could be challenging at times, this movement is only
an intimation of the difficulty to come.

26
Figure 7: Oceana, page 14 Locomotive’s noise in harp and guitars’ parts. Rhythmically
disjointed piccolo and flutes parts.

27
CHAPTER SIX: SECOND WAVE
Introduction:
The “Second wave” poses numerous issues for the chorus, most importantly the
difficult of the text and rhythm.
Choir:
This movement can be particularly challenging for the choir since the text goes by
very quickly and the rhythmic intricacies are not predictable, nor do they seem to follow
a natural flow. There also seems to be a continuous crescendo that does not stop until the
end of the movement. The first part is written in homophonic style for both choirs; from
measure 1 to 25, the accompaniment is limited to both guitars and harp that play two
minimalist patterns. For the remainder of the movement, measures 25 to 163, the strings
take over the role of accompanist. The low strings play a pattern of three repeated eighth
notes in every bar while the violins and violas alternate patterns that keep the rhythmic
intricacy thriving and pushing constantly as if imitating the currents of the ocean in all its
fury. The well-crafted string parts feature clear indication of how to play certain chords
using roman numerals to tell the player on which strings each note should be played. This
can be seen in measures 59, 60, 61 and 62 among others. There is also use of harmonics
and of left hand pizzicato.
From measure 25 to the end the choral writing becomes more of a call and
response that goes back and forth between the parts, which also overlap duple and triple
rhythmic patterns. The tension that this overlapping of patterns creates is quite agitating
and the build up of energy does not subside until the very last chord (with a fermata)
where the guitars join with an effective tremolo. One could expect at this point to have a
28
rest or a pause to regroup, but the next movement comes immediately. The abrupt
change in style is so refreshing that it comes as a relief to the listener, yet for the solo
“vocalise,” it is the most demanding part of the entire work. This will be discussed in
further detail in the next chapter.
Figure 8 illustrates minor differences in the two choirs singing two similar parts
(see also Figure 9). This technique is used throughout the movement starting at bar 26,
first with minor changes in the rhythms and then with slight note changes. Compare the
Alto in Choir I and the Alto in Choir II, also the Bass in Choir I and the Bass in Choir II.
Also observe a case of missing text on bar 26 in the AI and BI. Also observe the
composer’s indication at the bottom of the page in regard to dynamics.
29
Figure 8: Oceana, page 19 Missing text in measure 27 (o-cea-na is suggested). Same
notes on different rhythm and text. Composer’s note at the bottom of the page.

30

Figure 9: Oceana, page 41 Differences between Soprano Choir I and Soprano Choir II;
Tenor Choir I and Tenor Choir II.

31
Printed text:
There are textual errors in the printed score. It is brought to the reader’s attention
to prepare the conductor for questions that may be raised during rehearsals. An errata
sheet for the choir may be helpful in order to save time (it is provided here in the
Appendix). There are four types of mistakes:
1. Missing text.
2. Incorrect text.
3. Missing hyphens.
4. Missing accents.

There is text missing in measure 27 Alto Choir I and Bass Choir I. The suggested
missing word be “o-cea-na” (see Figure 8). In measure 44 Alto and Bass in Choir II
where the text is “E”, it should be “o-cea-na”. In measure 46, Bass Choir I, the text
should be the same as Alto in Choir I: “o-cea-na”. Also note that in the score the word
“vi-to” should be “vi-no” on measures 58, 59 in the Soprano and Tenor Choir I.
Hyphens are missing from the following text: in measure 71 Soprano and Tenor
Choir I the word is “guar-da,” not “guar da.” Also in measures 77, 78 the word is “sí-la-
ba,” not “si la ba” and the acute accent on the “i” is missing. In measures 90, 91 the word
is “cán-ta-ro,” not “cán-ta ro”. Measure 96 has missing text in the alto and Bass Choir II,
with “O” suggested for both notes. In measures 95, 96 the word is “a-rre-ci-fes,” not “a-
rre-ci fes”. Measure 102 should not have a dotted line in the Soprano and Tenor Choir I.
In measures 134, 135 the word is: “sí-la-ba,” not “sí-la ba” in the Soprano and Tenor
Choir I and Soprano and Tenor Choir II. In measure 148 Bass Choir II the word is “ve-
nir,” not “ve nir”. These are not critical errors; they are only pointed out so that those not
familiar with Spanish will know the correct way in which these words should be written.
32
The following Figure (Figure 10) shows the use of hocket-like treatment of the
text, in which a word’s syllables are divided among different voices: Measure 136 the
syllable “da” in the Alto Choir I is part of the word “dame” (da-me) which is completed
in the Alto Choir II in measure 137. Also the word “cántaro” (cán-ta-ro) is sung in
measure 138 as follows: “cán” by Alto Choir II the next syllable by Alto Choir I “ta” and
is completed in bar 139 by the Alto in Choir II “ro” (see Figure 10). Although this
technique is not frequently used by the composer, it is important to know that these are
not mistakes but rather a composition technique in which the syllables of a word are sung
by different parts. Be aware that the words “razas de miel caídas” are omitted in the score
and the article “al” is replaced by the word “dame.”
Conclusion:

Although there are several problems with the text in this movement, the errata
sheet provided at the end should address of any questions the singers may ask (see
appendix, pg 68). This is one of the most demanding choruses in Oceana. Because of its
constant crescendo and building tension it can be vocally demanding yet the singers will
find it very satisfying to sing.

33
Figure 10: Oceana, page 38 Hocket-like treatment of the text.

34
CHAPTER SEVEN: SECOND CALL

Introduction:
This dazzling movement brings a true sense of virtuosity to Oceana. This is a
movement in which the mezzo-soprano shows her vocal flexibility and technique. The
intricate rhythms and the clever writing in the accompaniment, requires highly developed
technique and musicianship of the instrumentalists and conductor.
Forces:
Second Call is written for solo voice, guitars 1 and 2, contrabass, flute 1, flute 2
and alto flute. Note that this is the only movement in which the alto flute is used.
Tempo:
The tempo marking for the movement is: “Fast” (there is no metronome marking)
however, in the previously mentioned recording the tempo is: dotted sixteenth note 94.
This movement has speed, it dazzles, and it shows off.
Soloist:
This section defines the kind and caliber of mezzo-soprano needed to approach
Oceana. The challenges include: quickly singing large intervals in a fast tempo, (see
Figure 11) singing a range that extends over two octaves, (see Figure 12) and accurately
performing rhythmic intricacies that only a truly accomplished singer can handle (see
Figure 13). Although this may be the most difficult movement of the whole work for the
soloist, Golijov assists the singer by doubling the voice part with the guitar I beginning at
measure thirteen and continuing the doubling throughout the rest of the movement (see
Figure 11). In addition, the flutes also double the vocal melody alternating or repeating
notes (see Figure 11). The overall feel of the movement is “Brazilian jazz” (as described
35
in the score) in which the instrumentation truly enhances the South-American flavor of
the music.

36
Figure 11: Oceana, page 44 Wide, fast intervals and instrumental doubling of the solo.

37
Figure 12: Oceana, page 46 Two-octave vocal range of the arpeggio from measure 28 to
30.

38
Figure 13: Oceana, page 48 Extreme vocal agility is required in measures 42 to 44 and 46
and 47. Conducting gesture 2+3 in measure 43.

39
Meter and conducting challenges:
After a single measure in 3/8 and one in 5/16, the time signature is 11/16 for most
of the composition; however, the challenge for all involved, singer, instrumentalists and
conductor, is that the grouping of 16ths is constantly changing. Sometimes the measures
are in five: 2+2+2+2+3, other times in four: 2+3+3+3, or in various other combinations.
It is interesting to note that from measures three to sixty-two there are only five instances
in which the rhythmic pattern is the same in two consecutive measures, ones when the
pattern is the same in three measures, and ones time when a pattern of two measures is
repeated.
These are some pattern suggestions:
Measures 16 and 17 are in five: 3+2+2+2+2 to be grouped 3+2.
Although measure 20 is 2+2+3+2+2, the same as 21 and 22, it too is to be
grouped 3+2.
Measures 21 and 22 are in five: 2+2+3+2+2 to be grouped 2+3.
Measures 32 and 33 are in five: 2+2+3+2+2 to be grouped 2+3.
Measures 34, 35 and 36 are in five: 3+2+2+2+2 to be grouped 3+2. This is the
only time when the same pattern is repeated in three measures.
Measure 37 the grouping in the voice and guitar I staves should be followed,
which suggests: 3+2+2+2+2; to be grouped 2 +3.
Measure 38 suggests the same pattern as 37 in the guitar II part, but here
2+2+3+2+2 is suggested, which is the same as in the voice and guitar I staves, to be
grouped 2+3.
Measures 43 and 44 are in five: 2+2+3+2+2 to be grouped 2+3. (see Figure 13)
40
Measures 59 and 60 are in five: 3+2+2+2+2 to be grouped 3+2.
Note that measures 59 and 60 are the only two identical, repeated note by note
and with the same rhythmic figures in the voice, flutes and guitar I, yet here is a harmonic
change in the last two beats. This creates tension that propels the motion to the Piú
mosso. There, with successive repetitions of melodic and rhythmic patterns, the
movement ends and leads to the next.
Conclusion:
This movement presents the opportunity for virtuosic music-making. The
complexity of rhythmic patterns, intervallic leaps, tessitura and conducting are all
aspects, which need to be addressed and studied carefully.
41
CHAPTER EIGHT: THIRD WAVE
Introduction:
The Third wave is a choral movement in which the strings provide the
accompaniment. The guitars and harp play only on the last measure of the movement.
The demands of rhythm and diction make it a particularly difficult movement for the
double choir, but Golijov begins with forty-nine measures that are relatively easier.
Forces:
Double choir and strings. Harp and guitars play only on the last measure (see
Figure 14d).
Tempo and time signature:
Written in 3/8, this movement should be conducted in one. This is another case in
which this section could have been written in 6/8. There is neither a metronome marking
nor a tempo indication at the beginning of the movement; the aforementioned recording
takes a tempo of approximately sixty-nine to the dotted quarter note. In this movement
the rhythm pushes forward, it feels “agitato”. Metric changes make this movement feel as
if it is rushing, (see Figure 14b). This aspect will be discussed further at the end of this
chapter under Conducting Considerations.
The music:
This movement begins with S, A, T in both choirs singing the same notes. The
basses answer each other, echoing repeated notes in octaves (bass and baritone divisi)
creating a “swaying” motion on G’s and A’s that becomes a bourdon for the first thirty-
two measures, then changes to B’s and C’s for another sixteen measures. After the first
ten measures of homophonic singing in the S, A, T voices in both choirs, each choir
42
becomes independent, yet complementing each other. They create a melodic line that is
shared almost in a hocket style of writing. Starting at measure forty-nine the music and
text begin lining up in both choirs, returns to homophonic writing, and the vocal parts in
both choirs sing almost identical notes. At this point the meter changes and a section of
especially intricate rhythms begin which will challenge the most proficient singers (see
Figure 14b).
Vocal challenge:
The soprano parts in both choirs require extensive singing in the upper register;
this, of course, is an important consideration when choosing a choir to perform the
composition. It may be advisable to assign only first sopranos to sing the two soprano
parts (Choir I and Choir II) at the ending of the movement (see Figure 14).
43
Figure 14: Oceana, page 67 High tessitura for sopranos in both choirs.

44
Figure 14b: Oceana, page 68 (continued)

45
Figure 14c: Oceana, page 69 (continued)

46
Figure 14d: Oceana, page 70 Entrance of guitars and harp on last measure. Conducting
pattern in measure 145: in 2 (3+2) and 146: in 3 (3+2+2).

47

The harp and the two guitars enter on the last measure of this movement and with
the “attacca” they connect it seamlessly to the next, Aria. With an extremely fast tempo
and mixed meter in almost every measure this movement is extremely challenging
rhythmically and requires the conductor to pay particular attention to the chorus.
The orchestral accompaniment is also challenging and potential conductors
should consider adding extra rehearsal time for this movement. The first violins
sometimes divide into three parts; also there is divisi in the second violin, viola and cello
parts. This, coupled with the frequent use of harmonics and accents that fall in different
parts of the measures, make it challenging for the string players. Therefore, players
familiar with minimalist music are most desirable.
Conducting considerations:
The study that is needed to conduct this movement should not be underestimated.
The mixed patterns (see Figure 18), fast tempo, articulation of the text, orchestral
accompaniment, and the length of this very difficult section will demand careful
preparation, vocal and instrumental endurance, and through knowledge of the score.
Conducting patterns are suggested by the composer above the violin I in measures fifty-
seven and sixty-four (see Figure 15). (Measure 57: 10/16 to be conducted in 4: 3+3+2+2
and measure 64: 5/16 to be conducted in 2: 2+3. Measure 58: 8/16 to be conducted in 3:
3+3+2, measure 59: 10/16 to be conducted in 4: 3+3+2+2, measures 60 to 63: 8/16 to be
conducted in 3: 3+3+2). The task of keeping all the forces together will require the full
concentration and preparation of even the most experienced conductors.
48
Figure 15: Oceana, page 61 Meter changes. Composer’s suggested conducting patterns
above the violin I part on measures fifty-seven and sixty-four.

49
Conclusion:

Conductors must not underestimate the difficulty of this movement. It is as
difficult for the singer as it is for the conductor.

50
CHAPTER NINE: ARIA
Introduction:
Marked at the considerable slower half note circa sixty-two, this movement
releases the tension created by the previous, almost frantic, ending. In this movement the
choir does not sing, which gives the singers a well-deserved break. The conductor will
also have a chance to regroup since there are no conducting challenges although special
attention should be given to the soloist.
Forces:
Aria is written for two guitars, harp, percussion (three percussionists), mezzo-
soprano vocalist, three flutes and boy soprano (or children’s choir); strings are added
towards the end of the movement playing in divisi, muted, and with an extensive use of
harmonics (see Figure 17, measure 288 and Figure 17b). Note that this is the first
movement that uses written percussion parts and the only movement that uses a solo boy
soprano. The percussion instruments include talking drums or clay drums, shaker, small
maracas (optional), and doumbek. There are three percussionists needed with a fourth
player optional. Although in the previously mentioned recording there are percussion
instruments that provide an atmospheric effect in the first movement of the work, those
are not written in the score. Indications such as: “always a shade behind voice in the
beginning, then taking over the end of the long note, so as to modulate the color of the
double-instrument,”
23
give an indication to the percussionist of the composer’s intention.

23
Ibid, 72.
51
Soloists:
In this movement the mezzo-soprano soloist carries most of the musical
responsibility. It is the second longest movement, at five minutes thirty-three seconds.
This vocalization calls for substantial breath management. Long sustained phrases on the
order of ten measures in length are found several times. The specific syllables in the
vocalization are left to the creativity of the singer since no vowel sounds are indicated in
the score. Text fist appears in the boy soprano part in measure 226 (see Figures 16 and
16b). It is also important to point out that the boy soprano melodic line and the female
soloist mezzo-soprano (listed as “Voice” in the score) are rhythmically and melodically
independent; they are not related in any way (see Figures16 and 16b). Also we see
doubling of the mezzo-soprano part in the guitar one and the flute parts (see Figures16
and 16b).
Text:
The previously discussed problem of missing hyphens is also present in this
movement. It is important to note that Golijov changes Neruda’s word “fallecieron” (to
die) that is printed in the Text and Translation page of the full score and replaces it with
the word: “desaparecieron” (to disappear) in pages ninety and ninety-one of the full
score. The word “desaparecieron” has strong socio-political connotations for
Argentineans that lived during the military regime (March 24, 1976 to December 10,
1983) since they use “desaparecidos” to refer to thousands of people that are still missing
after they vanished during the military regime. Many of them, it is now known, to have
been thrown from planes to the Rio de la Plata (a very wide river) and the Atlantic Ocean.

52
Figure 16: Oceana, page 86 Doublings.

53

Figure 16b: Oceana, page 87 Doublings and difference between vocal solos.

54

The composer’s note on page ninety-three clearly shows his reliance on the
excellent improvisatory capability of the mezzo-soprano soloist when he writes,
“continue improvising: a slow, sinuous line descending to low E and fade out around m.
303”
24
(see Figure 17). Conductors considering performing this work should hire a singer
very familiar with improvisatory style and not try to teach or write down the notes for a
section like this, as doing so would certainly contradict the composer’s intention.
Listening to the recording can be of tremendous help to the soloist, with the goal not of
trying to imitate note by note but rather listening to the melodic choices of the soloist’s
improvisational style and then coming up with her own improvisation. This may be the
best way to approach measures 290 to 303.

24
Ibid, 93.
55

Figure 17: Oceana, page 93 Improvisatory passage for mezzo-soprano and composer’s
instructions.

56
Figure 17b: Oceana, page 94 Improvisation continued.

57
Figure 17c: Oceana, page 95 Improvisation continued.

58

Conclusion:

In the only movement where a boy soprano is called to sing with the mezzo-
soprano soloist, the music evolves into a calm mood. The slow tempo, lack of choral
forces and easy conducting pattern may appear to give the conductor a well-deserved
breath, however, special attention should be given to the young soloist. The choir can
now rest and prepare for the final movement. This slow tempo piece gives the listener a
sense of repose and relaxes the tension that was created by the previous three movements.

59
CHAPTER TEN: CORAL DEL ARRECIFE
(CHORALE OF THE REEF)
Introduction:
This concluding movement brings a quiet closure to Oceana. Performing this
movement as a separate stand-alone piece will be discussed.
Forces:
The last movement of Oceana is the longest at eight and one half minutes.
Although primarily a cappella may also be used as an independent choral composition
with the strings and flutes chords omitted. Making this movement a complete a cappella
concert work makes it more approachable and easier to program for organizations that
cannot otherwise present the whole work, and to aid this the publisher has published this
movement by itself. This is an excellent way for the music from Oceana to reach a larger
audience. The Chicago based chicago a cappella sang Coral del Arrecife (Chorale of the
Reef) in 2007 in Chicago
25
. In a conversation with founder and Artistic Director Jonathan
Miller, he expressed how much of a challenge it was for the twelve professional singers
to produce the seamless phrasing that characterizes this movement.
Tempo:
It has a slow tempo, dotted quarter note circa fifty-eight in 6/8, which creates a
calm and peaceful mood. The words “with devotion,” found at the beginning in the first
measure, best describe the feel of this movement.

25
Chicago a cappella. http://www.chicagoacappella.org/press/pr-07-03-09.htm
(accessed on April 03, 2008).
60
The music:
This movement starts with the repeated text “Oceana” on eighth notes in Choir I,
which are repeated in Choir II four measures later, to create an antiphonal effect. All this
is sung over a sustained chord in the strings and flutes that comes out of the last note of
the previous movement (see Figure 18). The tenutos on the first of each group of three
eighth notes produce a wave-like effect and the composer’s indication “with devotion”
gives the essential character of this movement (see Figure 18). Jonathan Miller described
Golijov’s writing as “mood painting.” The composer writes the following about Coral
del Arrecife:

“The overall effect of this movement should be of a continuous series of gentle
waves originating from each choir, all arriving to lick a single point on a shore.
The dynamic variations are fluid and minimal.
The lines (-) on top of certain notes mean subtle emphasis (not quite and accent),
as if to provide the energy to carry the “wave-phrases” those notes originate.
When no articulation markings appear, let the normal “spoken” accent of each
word (this is generally shown in the way groups of notes are beamed) provide the
shape to the “wave-phrases.
Most importantly: preserve the liquid substance of the music, especially in
making the consonants fluid, and approach this movement as a prayer to Oceana,
the Ocean-Goddess.”
26

26
Osvaldo Golijov, Oceana. (Newton, Mass.: Ytalianna Music Publishing, 1996)
101.
61
Figure 18: Oceana, page 101 Tenutos on the first of each group of three eighth notes.
Composer’s notes at the bottom of the score.

62

It is important to note the care the composer took in writing dynamics and tempo
changes in both choirs to show even the subtlest detail. The dynamics range is from ppp
to f, “but still prayerful,” and indications such as “dissolving,” and “with devotion,”
clearly indicate the soft and intimate character of the concluding movement to this piece.
Conclusion:
This last movement may be performed independently a cappella. Although
written for double choir and the longest chorus of Oceana, it is not as rhythmically
demanding as the previous movements since it lacks fast tempo and the frequent meter
changes seen earlier. It would present a challenge in vocal endurance for a choir smaller
than the proposed forty-member ensemble; yet smaller groups can take the challenge and
excel in performing this movement alone.
63
CHAPTER ELEVEN: CONCLUSION
After studying the score, interviewing performers, and listening to the only
commercially available recording of Oceana, it is clear that this is a work that requires a
major undertaking in different facets of its preparation.
Figure 19: Suggestions and comments

1. The conductor must be able to conduct extremely difficult changes in the
rhythmic patterns at fast tempos and be able to keep all forces together.

2. The mezzo-soprano soloist must have absolute vocal control and be a jazz-style
singer who can improvise.

3. The choir should be a group with more than forty members and fewer than eighty.
(twenty singers in each choir or more). Smaller ensembles will find very difficult
to maintain the vocal endurance required by the music. Additional balance issues
will occur with a choir of smaller proportions.

4. The child soloist should have extensive experience in solo singing.

5. The use of a children’s choir should be considered as a strong possibility.

6. Strings, guitars, harp and percussion players should be professionals who are well
acquainted with minimalist style of writing.

7. If a sound system is used, it is suggested that a professional engineer be hired to
ensure proper balance between all parts involved.

8. A Spanish coach may be needed to convey the nuances of the South American
accent to the choir and soloists.

Although more than a small army of well-trained musicians is needed to present
Oceana, it is an exciting, fresh, moving and reflective piece of music well worth the
effort. Oceana is recommended to any organization looking for a fresh, twenty-first
century work that will delight any audience. Only time and more performances of
Oceana will make choral music audiences aware of the talent and uniqueness of Mr.
Golijov’s writing. Minimalistic composers such as John Adams, Steve Reich, Phillip
64
Glass and others are now receiving universal acclaim in concert halls all over the world.
The music of Osvaldo Golijov is taking a prominent role in this minimalistic movement,
but yet he incorporates elements of his South American upbringing.

65
Figure 20: Suggested stage chart

66
BIBLIOGRAPHY
Barnum, Eric William. The Sounding Sea. Chapel Hill, NC: Walton Music Corporation,
2009.

Beethoven, Ludwig van. Messe in C. Ah! perfido. Meeresstille und glückliche Fahrt. 435
391-2 LP. Deutsche Grammophon GmbH, Hamburg, 1992.

Bill Holab Music. http://www.billholabmusic.com (accessed June 10, 2008).

Bob Neill. “Notes of an Amateur.” http://www.positive-
feedback.com/Issue35/amateur.htm (accessed January 05, 2009).

Burnham, Scott G. and Johnson, Douglas. “Beethoven, Ludwig van.” Choral works with
orchestra Grove Music Online ed. L. Macy. http://www.grovemusic.com
(accessed April 2, 2009).

Chicago a cappella. “Through Argentine Eyes”
http://www.chicagoacappella.org/about_us/prg-argentineeyes.htm (accessed
November 3, 2008).

Deutsche Grammophon. “Oceana”
http://www2.deutschegrammophon.com/special/?ID=golijov-oceana (accessed
October 13, 2008).

Frogley, Alain, Ottaway, Hugh. “Vaughan Williams, Ralph.” Oxford Music Online.
http://www.oxfordmusiconline.com (accessed April 23, 2009).

Gehrke, Karl. MPR News. “Clarinetist finds universal meaning in klezmer-inspired
piece.” http://minnesota.publicradio.org/display/web/2007/04/12/toddpalmer/
(accessed October 13, 2008).

Golijov, Osvaldo. Oceana. Newton, Mass.: Ytalianna Music Publishing, 1996.

Holy Cross. “Osvaldo N. Golijov.” http://academics.holycross.edu/music/faculty
(accessed October 13, 2008).

Kepley, Vance Jr. Victory at Sea. U. S. Compilation Documentary. The Museum of
Broadcast Communications.

Kepley, Vance Jr. “Victory at Sea.”
http://www.museum.tv/archives/etv/V/htmlV/victoryatse/victoryatse.htm
(accessed November 3, 2009).

67
Neruda, Pablo. Ceremonial Songs (Cantos Ceremoniales). Translated by Maria Jacketti
Pittsburgh, Pennsylvania: Latin American Literary Review Press., 1996.

Pro Musica Colorado Chamber Orchestra. http://www.promusicacolorado.org/home
(accessed October 13, 2008).

Rodgers, Richard. Victory at Sea. RCA Victor. BMG, 1972 and 1992, compact disc.

Schünemeyer, Jens. Editor. Oceana. Deutsche Grammophon GmbH, Hamburg, 2007,
compact disc.

Shrock, Dennis. Choral Repertoire. New York: Oxford University Press, 2009.

Steinberg, Michael. Choral Masterworks: A listener’s Guide. New York: Oxford
University Press, 2005-2004.

Stephen Eddins. “Veljo Tormis: Works for Men’s Voices”
http://www.answers.com/topic/veljo-tormis-works-for-men-s-voices (accessed
March 11, 2009).

Strimple, Nick. Choral Music in the Nineteenth Century. New York: Amadeus Press,
2008.

Urve Lippus. “Veljo Tormis.” http://www.artistsonly.com/tormhm.htm (accessed March
11, 2009).

Wikipedia. “Osvaldo Golijov.” http://es.wikipedia.org/wiki/Osvaldo_Golijov (accessed
October 10, 2008).

68
APPENDIX: ERRATA FOR OCEANA: SECOND WAVE
Measure 27 Alto Choir I and Bass Choir I, the suggested missing word be “o-cea-na.”
Measure 44 Alto and Bass in Choir II, where the text is “E” it should be “o-cea-na.”
Measure 46 Bass Choir I, the text should be “o-cea-na.”
Measures 58, 59 Soprano and Tenor Choir I, the word “vi-to” should be “vi-no.”
Measures71 Soprano and Tenor Choir I, the word is “guar-da” not “guar da.”
Measures 77, 78 The word is “sí-la-ba” not “si la ba” and the acute accent on the “i” is
missing.

Measures 90, 91 The word is “cán-ta-ro”, not “cán-ta ro”.
Measure 96 Alto and Bass Choir II, has missing text. It is suggest “O” for both notes.
Measures 95, 96 The word is “a-rre-ci-fes”, not “a-rre-ci fes”.
Measure 102 Soprano and Tenor Choir I should not have a dotted line.
Measures 134, 135 Soprano and Tenor Choir I and Soprano and Tenor Choir II, the word
is “sí-la-ba”, not “sí-la ba”.

Measure 148 Bass Choir II, the word is “ve-nir” not “ve nir”.

Abstract (if available)

Abstract Osvaldo Golijov became a well-known composer in the mid 1990’s when his Pasion según San Marcos put him on the international pedestal of great composers at the turn of the century. His music, not framed within a single musical style, has appealed to large audiences around the world. This study of Oceana will serve to delineate the composer’s musical journey in choral writing. It will also present technical aspects of study, unique challenges of performance practice and musical aesthetics that need to be considered for a successful performance of this work.

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Asset Metadata

Creator Quintana, Ariel Omar (author)

Core Title Osvaldo Golijov’s Oceana: performance considerations

School Thornton School of Music

Degree Doctor of Musical Arts

Degree Program Choral Music

Publication Date 04/19/2010

Defense Date 03/26/2010

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Ariel,Golijov,OAI-PMH Harvest,Oceana,Osvaldo,Quintana

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Strimple, Nick (committee chair), Lauridsen, Morten J., III (committee member), Solomon, Magen (committee member)

Creator Email aoquinta@usc.edu,mail@arielquintana.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-m2941

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Document Type Dissertation

Rights Quintana, Ariel Omar

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Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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