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Aurelio de la Vega

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Aurelio de la Vega
BornNovember 28, 1925
La Habana, Cuba
Alma materDe La Salle College, Havana
University of Havana
Ada Iglesias Music Institute, Havana
Occupation(s)Composer, educator, essayist, poet
AwardsKennedy Center Friedheim Award (1978)

Aurelio de la Vega is a Cuban-American composer, lecturer, essayist and poet. He has written numerous works in all forms and media except opera and since the early 1960s has been an active force in the United States musical scene. Many of his compositions are published and recorded, and the majority of them are played constantly nationally and internationally. His music and aesthetic ideas have been commented upon and analyzed in books, newspapers and reviews throughout the United States and Latin America. In 1978 he was awarded the coveted Friedheim Award of the Kennedy Center for the Performing Arts, Washington, D.C. He has been nominated four times for a Latin Grammy Award, three times for Best Classical Contemporary Composition and once for Best Classical Album.

Biography

De la Vega was born in La Habana, Cuba, November 28, 1925, educated at De La Salle College, Havana, 1940-1944 (B.A. in Humanities); University of Havana, 1944-1946 (M.A. in Diplomacy); Ada Iglesias Music Institute, Havana, 1951-1958 (M.A. in Musicology, 1956; Ph.D. in Composition, 1958) and studied composition privately with Fritz Kramer in Havana (1943-1946) and Ernst Toch in California (1947-1948).[1] After occupying important positions in his native land (Editorial Secretary of Conservatorio, official review of the Havana Municipal Conservatory, 1950-1953; music critic of newspapers Alerta (1952-1957) and Diario de la Marina (1957), Havana; President, Cuban Section of the International Society for Contemporary Music, 1952-1954; President, Cuban National Music Council (Cuban branch of the International Council of Music of UNESCO), 1953-1957; Professor of Music and Chairman, Music Department, University of Oriente, Santiago de Cuba, 1953-1959; Treasurer, Cuban Section of the Inter-American Music Association (Caracas), 1955-1958; Vice-President, Havana Philharmonic Orchestra, 1956-1957), he toured the United States as lecturer (1952-1954) and settled in Los Angeles in 1959, becoming an American citizen in 1966.[2]

After being a Guest Professor of Music at the University of Southern California, Los Angeles (summer 1959) he became Distinguished Professor of Music, Director of the Electronic Music Studio and Composer-in-residence at California State University, Northridge (1959-1992) and in 1971 he received the Outstanding Professor Award of the entire California State University system.[3] At present, he is a California State University, Northridge Distinguished Professor Emeritus.[4]

In 1978 he received the Friedheim Award of the Kennedy Center for the Performing Arts, Washington, D.C. for his orchestral work "Adios" which was commissioned and premiered by Zubin Mehta and the Los Angeles Philharmonic.[5] He has been nominated four times for a Latin Grammy Award. Three of these nominations were for Best Classical Contemporary Composition: in 2009 for Variación del Recuerdo ("Variation of the Remembrance") for string orchestra,[6] in 2012 for Prelude No. 1 for Piano[7] and in 2017 for Recordatio for soprano, woodwind quintet and string quintet.[8] His fourth nomination was in 2019 for Best Classical Album "Cuba: The Legacy".[9]

Chronology

1925 Born in Havana, Cuba, November 28
1933-1944 Colegio De La Salle, Havana
1943-1946 Studies with Viennese composer and pianist Fritz Kramer
1944 Tres preludios ("Three Preludes") for piano[10]

La fuente infinita ("The Infinite Fountain"), song cycle for soprano and piano, on poems by José Francisco Zamora[11]

1944-1946 University of Havana
1946 First of his many articles and essays on music, composers, electronic music and art: “Hugo Wolf”, Review of Sociedad Pro-Arte Musical, Havana

First of his innumerable lectures on music: “Arnold Schoenberg and his Music”; Reception Hall, Sociedad Pro-Arte Musical, Havana. Erich Kleiber hears the lecture and offers to give him letters of introduction to Arnold Schoenerg and Ernst Toch

1947 Marries pianist and educator Sara Lequerica Martínez

Moves to Redlands, California

Meets Schoenberg and Stravinsky

Rondó en Mi bemol for piano, only piece of the composer to employ a key signature[12]

1948 La muerte de Pan ("The Death of Pan") for violin and piano[13]

Returns to Havana

1949 Trio for violin, cello and piano[14]
1950 Obertura a una farsa seria ("Overture to a Serious Farce") for orchestra[15]

Soliloquio ("Soliloquy") for viola and piano, commissioned by violist Alberto Fajardo[16]

El encuentro ("The Encounter") for contralto and piano, on poems by Rabindranath Tagore[17]

First aesthetic (later political) encounters with the Cuban classical music establishment

1950-1953 Editor, Conservatorio review

Music critic, Alerta and Diario de la Marina

1952 Introducción y Episodio ("Introduction and Episode") for orchestra, commissioned by Frieder Weissman[18]

President, Cuban National Music Council (UNESCO project)

1953 Leyenda del Ariel Criollo ("Legend of the Creole Ariel") for cello and piano, commissioned by Adolfo Odnoposoff and Berta Huberman, first piece to be played internationally, first published work (Peer International, New York) and first piece to be commercially recorded (Panart) [19]

Epigrama ("Epigram") for piano[20]

1953-1957 Professor of Music, Department Chair, Universidad de Oriente, Santiago de Cuba
1954 Elegía ("Elegy") for string orchestra, premiered in London, Royal Philharmonic Orchestra; Alberto Bolet, conductor[21]
1954-1959 Music Advisor, National Institute of Culture, Havana
1955 Virginia Colliers Chamber Music Award, Washington, D.C.
1955-1958 Treasurer, Inter-American Music Association, Caracas-Havana
1956 Divertimento for piano, violín, cello and string orchestra[22]

Danza lenta ("Slow Dance") for piano[23]

The Conservatorio Ada Iglesias (Ada Iglesias Music Conservatory), Havana, confers upon him the title of Professor of Music Composition and of Aesthetics of Music

1956-1957 Vice-President, Havana Philharmonic Orchestra
1957 String Quartet in Five Movements In Memoriam Alban Berg, first of his twelve-tone works[24]

Minuet for piano[25]

Toccata for piano, commissioned by pianist Jorge Bolet[26]

Lyceum Publication Award, Havana

Travels to Los Angeles. Lectures at various American universities

1958 First performance of String Quartet in Five Movements In Memoriam Alban Berg, First Inter-American Music Festival, Claremont Quartet, Pan American Union Concert Hall, Washington D.C. Marks the beginning of his musical career in the United States [27]

Cantata for two sopranos, contralto and twenty-one instruments, on poems by Roberto Fernández Retamar. First of several premiere performances at the Library of Congress[28]

1959 After brief return to Cuba, settles permanently in Los Angeles; teaches at University of Southern California; accepts chair of music at California State University, Northridge

Quinteto para instrumentos de aliento ("Woodwind Quintet"), last piece started in Cuba, finished in Northridge, California. First of several works premiered over the years at the Monday Evening Concerts, Los Angeles[29]

1960 Sinfonía en cuatro partes ("Symphony in Four Parts") for orchestra, commissioned by Inocente Palacios for the Second Inter-American Music Festival , Washington, D.C.; National Symphony Orchestra, Howard Mitchell, conductor [30]

Trío for flute, oboe and clarinet[31]

1962 Structures ("Estructuras") for piano and string quartet, commissioned by the Coolidge Foundation, Library of Congress[32]
1963 Andrew Mellon Fellowship, University of Pittsburgh

Inducted as member of Phi Kappa Lambda Honor Society

Vectors ("Vectores") for monaural tape, first of the composer’s electronic works.[33]

1964 Segments ("Segmentos") for violin and piano, commissioned by violinist Robert Gross.[34]

First European performance of Sinfonía en cuatro partes ("Symphony in Four Parts"), Encounter of Spanish and Ibero-American Composer Festival, Orchestra of the Spanish Radio and Television, Madrid.[35]

1965 Exametron for flute, cello and four percussionists.[36]

Interpolation for clarinet with or without pre-recorded sounds, commissioned by clarinetist John Neufeld.[37]

1966 Exospheres ("Exosferas") for oboe and piano, first of his open score works, commissioned by oboist John Ellis.[38]
1967 Antinomies ("Antinomias") for piano[39]
1970 Labdanum for flute, vibraphone and viola, first of his works abandoning serialization and employing variable, non-repeating twelve-note modules[40]

Plaque of Honor, Association of Music Students, California State University, Northridge

1971 Named Outstanding Professor, California State University System
1972 Intrata for orchestra, first of his works to be commissioned and premiered by Zubin Mehta and the Los Angeles Philharmonic Orchestra[41]

Diploma and Recognition Plaque for Outstanding Contributions to Contemporary Music, Ateneo de Buenos Aires ("Athenaeum of Buenos Aires")

1973 Tangents ("Tangentes") for violin and pre-recorded sounds, commissioned by violinist Endré Granat[42]

Para-Tangents ("Para-Tangentes") for trumpet and pre-recorded sounds, commissioned by trumpeter Thomas Stevens [43]

1974 Septicilium for clarinet and small instrumental ensemble), commissioned by the University of California, Los Angeles; Festival of Contemporary Music, Los Angeles.[44]

Olep ed Arudamot for any number of instruments and or voices; Gloria Morris (Monaco), commissions first of several works, starting with Olep ed Arudamot[45]

Distinguished Professor of Music, California State University, Northridge

1975 The Infinite Square ("El cuadrado infinito") for any number of instruments and or voices[46]

Andamar-Ramadna for any number of instruments and or voices[47]

The Magic Labyrinth ("El laberinto mágico") for any number of instruments and or voices, most internationally performed of his graphic scores [48]

Sound Clouds ("Nubes de Sonidos") for guitar[49]

Appointed Cultural Overseer of the Patronato José Martí, Los Angeles

Certificate scroll recognizing the composer as an Important Valuable Human Resource of the United States of America, The American Heritage Research Association, New York

Plaque honoring the composer, Parade of American Music, National Federation of Music Clubs

1976 Inflorescencia ("Inflorescence") for soprano, bass clarinet, pre-recorded sounds, on a poem by the composer[50]
1977 Astralis for any number of instruments and or voices, first of three similar pieces commissioned by Francisco Lequerica[51]

Nones for any number of instruments and or voices[52]

Corde for any number of instruments and or voices[53]

Adiós ("Farewell") for orchestra, commissioned by the Los Angeles Philharmonic, Zubin Mehta, conductor[54]

1978 Friedheim Award, Kennedy Center for the Performing Arts, Washington, D.C.

Diploma of Honor recognizing his creative career, Cruzada Educativa Cubana ("Cuban Education Crusade"), Miami

1978-1990 President, Los Angeles Chapter of the United States Section of the International Society for Contemporary Music, Los Angeles-London
1978-2019 Receives first of two colored Commendations from two different Mayors of Los Angeles; one each from the California State Senate, the California Arts Commission and the County of Los Angeles Executive Council; and two from the Los Angeles City Council—all recognizing his great contributions to contemporary music and his notable educational career, Sacramento and Los Angeles
1979 Large pencil drawing of the composer as an honor from Cuban sculptor and painter Alfredo Lozano
1980 Certificate of Merit, National Association of Composers, U. S. A., Los Angeles Chapter

First stage performances (3) of The Magic Labyrinth ("El laberinto mágico") for alto, tenor, bass, four dancers, solo violin, chamber ensemble of 5 players, pre-recorded group of whistles, Valencia, Spain

1981 Undici colori ("Eleven Colors") for solo bassoon with or without projected transparencies, depicting collages by the composer, commissioned by bassoonist Donald Christlieb[55]

Extrapolation ("Extrapolación"), stereophonic tape[56]

1981-1985 President, National Association of Composers, U. S. A. (NACUSA)
1982 Galandiacoa for clarinet and guitar, commissioned by clarinetist Julian Spear[57]

Honor Plaque, City of Los Angeles 14th District (Arthur Schneider, councilman)

1983 Tropimapal for nine instruments, commissioned by Nelson Nirenberg [58]

Distinción de Honor de la Rosa Blanca ("Rosa Blanca Honor Distinction"), Patronato José Martí, Los Angeles

1984 Creativity Award, President’s Club, California State University, Northridge
1985 60th Birthday Anniversary Concert of the composer’s music in his honor, Cypress Hall, California State University, Northridge. First public concert where all the program is devoted to his music

Adramante for soprano and piano, on a poem by Octavio Armand[59]

Asonante ("Assonant") for soprano, dancers, 7 instruments, pre-recorded sounds, poem by the composer[60]

Memorial de la ausencia ("Memorial of the Absence") for unaccompanied cello, commissioned by arts patron Petroso Novares, Rio de Janeiro

Fulbright Fellowship, Rio de Janeiro. Teaches at the University of Rio de Janeiro

Concert of his music and in his honor, co-sponsored by the Brazilian Fulbright

Commission and the American Embassy in Brazil ("Brasilia"), Rio de Janeiro

Elected Vice-President of the Webern International Society of which Pierre Boulez is President

The Spokane, Washington, Public Library exhibits several of his manuscripts together with some of Webern

1986 Magias e invenciones ("Magics and Inventions") song cycle, soprano and piano, on poems by Gastón Baquero, commissioned by Fundación Música, Zaragoza, Spain[61]

Testimonial of Gratitude; colored scroll, California State University, Northridge music students

Premio José de la Luz y Caballero ("José de la Luz y Caballero Prize"), Cruzada Educativa Cubana ("Cuban Education Crusade"), Miami

1987 Homenagem “In Memoriam Heitor Villa-Lobos” (piano), commissioned by pianist José Eduardo Martins; together with Epigrama, the composer’s most internationally played works[62]
1988 Andamar-Ramadna, Version II for soprano and piano[63]
1989 Second Creativity Award, President’s Club, California State University, Northridge
1990 Testimonial for female voice, flute, clarinet, piano, violin and cello, on poems by Armando Valladares[64]

Inducted into the Academia Chilena de Bellas Artes ("Chilean Academy of Fine Arts") as Correspondent Member ("Miembro Correspondiente"), Santiago de Chile

1991 Madrigales de entonces ("Madrigals of Another Time") for a cappella choir, on poems by Heberto Padilla

Inducted into the Order of the Knight Templars, Scottish Branch ("Orden de los Caballeros Templarios, Rama Escocesa"), with the title of Chevalier du Temple de Jerusalem ("Caballero del Templo de Jerusalen"), Edinburgh (Scotland)-Los Angeles (USA)

1992 Bifloreo for guitar, commissioned by guitarist Anton Machleder[65]
1993 After 34 years of teaching he retires from California State University, Northridge, with the title “Distinguished Emeritus Professor”. Students and Faculty honor him with a party where some express verbally their positive feelings for his teaching and guidance, and then proceed to sign (52 signatures) on a Renoir paintings book.
1995 Canciones transparentes ("Transparent Songs") for soprano, clarinet, cello and piano, on poems by José Martí, commissioned by Florida International University, Miami, to commemorate the Centennial of the death of Martí[66]
1996 Interpolation receives its 200th public performance
1997 70th Birthday Anniversary concert of the composer’s music in his honor (complete piano works, Martha Marchena, pianist), Cypress Hall, California State University, Northridge

Reconocimiento de Honor ("Honor Recognition"), Instituto Cubano-Americano de Cultura ("Cuban-American Cultural Institute"), Los Angeles

1999 Variación del recuerdo ("Variation of the Remembrance") for string orchestra, commissioned and played by Culver City (California) Chamber Orchestra
2000 FACE (Facts about Cuban Exiles) Award ("Datos sobre los cubanos exiliados"), Excellency in Music, Award ("Premio por Ecelencia Musical"), Miami

Crystal Award (Large crystal cup with The Magic Labyrinth engraved), Cuban American Cultural Institute ("Instituto Cubano-Americano de Cultura"), Los Angeles

The Library of Congress includes The Magic Labyrinth (1975) in its book of 732 pages Music History from Primary Sources, one of 100 scores and letters reproduced, starting with a medieval neumes illustrated fragment and ending with Frank Wedekind’s stock poster with his autographed prologue to Der Erdgeist ("The Earth Spirit"; "El espíritu de la Tierra"), Washington, D.C.[67]

2001 Inducted into the Academia Brasileira de Música, Rio de Janeiro
2003 Homenaje a Aurelio de la Vega ("Homage to Aurelio de la Vega"), Revista Encuentros de la Cultura Cubana ("Encounters of the Cuban Culture review") (Essays by Rafael Rojas, Ramón Alejandro, Ángel Marrero, Carlos M. Luis, Nivaria Tejera, Carmelo Gariano, Laura Ymayo Tartakoff and Enrico Mario Santí; interview by Néstor Díaz de Villegas), Madrid
2004 Premio Herencia Cultural Cubana ("Cuban Cultural Heritage Prize"), Miami-Los Angeles
2005 80th Birthday Anniversary Concert of the composer’s music in his honor (works for strings), Cypress Hall, California State University, Northridge

Variación del recuerdo ("Variation of the Remembrance"), Versión II for six voices, clarinet, marimba, vibraphone, commissioned by the Moldenhauer Foundation, Library of Congress, Washington, D.C.; premiered in the Coolidge Auditorium of the Library by the Aguavá New Music Studio Ensemble, Carmen Helena Téllez, conductor

The Magic Labyrinth ("El laberinto mágico"), Versión II for two sopranos, clarinet, marimba, vibraphone, premiered in the Coolidge Auditorium, Library of Congress, Washington, D.C.

2006 First European performance of Adiós, Orquesta de la Radio y Televisión Española ("Spanish Radio and Television Orchestra"), Madrid
2008 String Quartet in Five Movements In Memoriam Alban Berg receives its 400th public performance

Appointed as Musicologist of the Verdi Chorus, Santa Monica

Latin Grammy Nomination for Best Classical Music Composition, Variación del Recuerdo (1999)

2009 The International Mozart Award, Prize in music Composition, illuminated Diploma, International Biographical Center, Cambridge

William B. Warren Lifetime Achievement Award, Cintas Foundation, New York-Miami[68]

First wife, Sara Lequerica y Martinez, dies[69]

2010 85th Birthday Anniversary Concert of the composer’s music in his honor (vocal works), Cypress Hall, California State University, Northridge
2011 Marries American soprano and opera choral conductor, Anne Marie Ketchum-Monroe
2012 Premio Ignacio Cervantes, medalla y diploma ("Ignacio Cervantes Prize, medal and scroll"), Centro Cultural Cubano ("Cuban Cultural Center"), New York

Second Latin Grammy Nomination for Best Classical Music Composition, Preludio No. 1 (Second version, 2008)

2013 Commendation honoring Aurelio de la Vega from the Los Angeles County Board of Supervisors (Illuminated scroll) and tribute in the program and concerts, The Verdi Chorus, Santa Monica

Homenagem “In Memoriam Heitor Villa-Lobos”, for piano, receives its 100th public performance

2014 Documentary on the composer Aurelio: Rebel with a Cause (Aurelio: Rebelde con causa) by film maker Camilo Vila, narrated by Andy García; first public showing of documentary at the Koubek Center, Miami-Dade College, Miami. Subsequent public showings of documentary Aurelio: Rebel with a Cause at the University of Southern California, Los Angeles and at California State University, Northridge[70]
2015 Recordatio for soprano, woodwind quintet and string quintet, on poems by Emilio Ballagas, commissioned by North/South Consonance, New York

90th Birthday Anniversary Concert of the composer’s music in his honor. Four works (three from previous students: Yalil Guerra, Kenneth de Vito and Carl Byron; and one from a colleague: Raymond Torres-Santos) are expressly written for this occasion. The rest of the program is music by de la Vega and includes the West Coast premiere of Recordatio, Cypress Hall, California State University, Northridge

2016 Angel Lifetime Achievement Award, Bilingual Foundation of the Arts (Premio Angel al Mérito, Fundación Bilingüe de las Artes), Los Angeles

Premio Educador del Año (Educator of the Year Award), NACAE (National Association of Cuban American Educators), Miami[71]

Epigrama receives its 150th public performance

First article on him (“Aurelio de la Vega, the Cuban Ariel”, by Roberto Méndez Martínez) published in English to appear in a present-day Cuban official site (Inter-Press Service in Cuba), Havana[72]

2017 First professional contact with Cuba since 1959. Essay on him (“Redescubriendo a Aurelio de la Vega”-Rediscovering Aurelio de la Vega) by Roberto Méndez Martínez, Revista del Arzobispado de La Habana ("Archbishopric of Havana Review"), Havana

“Homenaje al gran compositor internacionalmente reconocido Aurelio de la Vega, Profesor Emérito` de California State University, Northridge” (Homage to the great internationally known composer Aurelio de la Vega, Emeritus Professor, California State University, Northridge), Círculo de Cultura Panamericano (Pan American Circle of Culture), Miami-Dade College, West Campus, concert of his music, panel discussion, statement by the composer, Miami

Goes to Caracas to hear Intrata (1972) played by the Teresa Carreño Youth Orchestra (students 18–20 years of age) under Alfredo Rugeles; Anne Marie, his wife, sings Canciones Transparentes (1995)

2018 Third Latin Grammy Nomination for Best Classical Music Composition, Recordatio (2015)

Inducted into the Academia de la Historia de Cuba en el Exilio ("Academy of Cuban History in Exile"), Los Angeles Chapter

Inducted into the Orden Imperial Hispánica de Carlos V ("Imperial Spanish Order of Emperor Charles V"), Segovia-Madrid, Spain

2019 Premiere performance of The Magic Labyrinth ("El Laberinto Mágico"), Version IV for piano four hands, Altadena, California, and recording of the work

Intrata played in Cuba for the first time by the Cuban National Symphony Orchestra, Enrique Pérez Mesa, conductor, Havana, 41 years after its premiere in Los Angeles, marking the 32nd public performance of the work

Premio Herencia Cubana Por Toda Una Vida De Creatividad Musical ("Cuban Heritage Lifetime Award"), Los Angeles

Community Hero Award ("Premio Héroe de la Comunidad"), Los Angeles Dodgers [73]

2020 Version VII of The Magic Labyrinth ("El Laberinto Mágico"), for string quartet, marks the 100th public performance of the work. Globulos Quartet, Saint Petersburg, Russia

The book Aurelio de la Vega: Impresiones desde la distancia ("Aurelio de la Vega: Impressions From Afar"), by Cuban novelist, essayist and poet Manuel Gayol-Mecías, appears on the market in a bilingual edition in honor of the composer's 95th birthday. Academia de la historia de Cuba en el exilio (Academy of Cuban History in Exile), New York, and Palabra Abierta ("Open Word"), Eastvale, California; Amazon Books

2021 Receives the CUBADISCO award for the album Cuba: The Legacy, Havana

Compositions

ORCHESTRA

  • Obertura a Una Farsa Seria ("Overture to a Serious Farce") (1950)
  • Introducción y Episodio ("Introduction and Episode") (1952) - commissioned by Frieder Weissmann
  • Elegía ("Elegy"), for string orchestra (1954)
  • Divertimento for Piano, Violin, Cello and String Orchestra (1956)
  • Symphony in Four Parts (1960) - commissioned by Inocente Palacios for the Third Inter-American Music Festival
  • Intrata (1972) - commissioned by Zubin Mehta and the Los Angeles Philharmonic Orchestra
  • Adiós (“Farewell”) (1977) - commissioned by Zubin Mehta and the Los Angeles Philharmonic Orchestra
  • Variación del Recuerdo ("Variation of the Remembrance"), for string orchestra (1999) - commissioned by the Culver City Chamber Orchestra

CHAMBER: INSTRUMENTAL

  • La Muerte de Pan ("The Death of Pan"), for violin and piano (1948) - commissioned by Carlos Agostini
  • Trio for Violin, Cello and Piano (1949) - commissioned by the Sociedad de Conciertos, La Habana
  • Soliloquio ("Soliloquy"), for viola and piano (1950) - commissioned by Alberto Fajardo
  • Leyenda del Ariel Criollo ("Legend of the Creole Ariel"), for cello and piano (1953) - commissioned by cellist Adolfo Odnoposoff and pianist Berthe Huberman
  • String Quartet in Five Movements, "In Memoriam Alban Berg" (1957) - Havana Lyceum Publication Prize, Igor Markevitch, Presiding Juror
  • Woodwind Quintet (1959)
  • Trio for Flute, Oboe and Clarinet (1960)
  • Structures, for piano and string quartet (1962) - commissioned by the Coolidge Foundation, The Library of Congress
  • Segmentos ("Segments"), for violin and piano (1964) - commissioned by Robert Gross
  • Exametron, for flute, cello and four percussionists (1965)
  • Exospheres, for oboe and piano (1966) - commissioned by oboist John Ellis
  • Labdanum, for flute, vibraphone and viola (1970) - commissioned by Peter Morelenbaum
  • Septicilium, for solo clarinet and small instrumental ensemble (flute, harp, piano-celesta, one percussionist, violin and cello) (1974) - commissioned by the 1973 Festival of New Music, University of California, Los Angeles
  • Olep ed Arudamot, for any number of instruments and/or voices (1974) - commissioned by Gloria Morris
  • The Infinite Square, for any number of instruments and/or voices (1975) - commissioned by Gloria Morris
  • Andamar-Ramadna, for any number of instruments and/or voices (1975) - commissioned by Gloria Morris
  • The Magic Labyrinth, for any number of instruments and/or voices (1975) - commissioned by Gloria Morris
  • Astralis, for any number of instruments and/or voices (1977) - commissioned by Francisco Lequerica
  • Nones, for any number of instruments and/or voices (1977) - commissioned by Francisco Lequerica
  • Corde, for any number of instruments and/or voices (1977) - commissioned by Francisco Lequerica
  • Galandiacoa, for clarinet and guitar (1982) - commissioned by Julian Spear
  • Tropimapal, for nine instruments (flute, clarinet, bassoon, trombone, one percussionist, violin, viola, cello and double bass) (1983) - commissioned by the Los Angeles American Chamber Symphony

CHAMBER: VOCAL

  • Fuente Infinita ("The Infinite Fountain"), song cycle for soprano and piano on poems by José Francisco Zamora (1944) - commissioned by Magda Medina
  • El Encuentro ("The Encounter"), for contralto and piano, on a poem by Rabindranath Tagore (1950)
  • Cantata for Two Sopranos, Contralto and Twenty One Instruments, on poems by Roberto Fernández Retamar (1958)
  • Inflorescencia ("Inflorescence"), for soprano, bass clarinet and pre-recorded sounds, on a poem by Aurelio de la Vega (1976)
  • Adramante, for soprano and piano, on a poem by Octavio Armand (1985) - commissioned by the University of California, Santa Barbara, in honor of composer Ernest Krenek
  • Asonante ("Assonant"), for soprano, dancer(s),seven instruments (flute, trumpet, trombone, piano, violin, cello and double bass) and pre-recorded sounds, on a poem by Aurelio de la Vega (1985) - commissioned by Franco Saltieri
  • Magias e Invenciones ("Magics and Inventions"), song cycle for soprano and piano on poems by Gastón Baquero (1986) - commissioned by Fundación Música, Zaragoza, Spain
  • Andamar-Ramadna (Version II), for any number of instruments and/or voices (1988) - commissioned by Gloria Morris
  • Testimonial, for female voice, flute, clarinet, piano, violin and cello, on poems by Armando Valladares (1990) - commissioned by the Buenos Aires Encounters of Contemporary Music
  • Madrigales de Entonces ("Madrigals from Another Time"), for SATB a cappella choir, on poems by Heberto Padilla (1991)
  • Canciones Transparentes ("Transparent Songs"), for soprano, clarinet, cello and piano, on poems by José Martí (1995) - commissioned by Florida International University, Miami
  • Variación del Recuerdo, Versión II ("Variation of the Remembrance", Version II), on a poem by Aurelio de la Vega, for six voices, clarinet and two percussionists (2005) - commissioned by the Moldenhauer * Foundation, The Library of Congress
  • Recordatio ("Recollection"), for soprano, wind quintet and string quintet, on a poem by Emilio Ballagas (2011) - commissioned by North/South Consonance

PIANO

  • Tres Preludios (Three Preludes) (1944)
  • Rondó (1948)
  • Epigrama ("Epigram") (1953)
  • Danza Lenta ("Slow Dance") (1956)
  • Minuet (1957)
  • Toccata (1957)
  • Antinomies (1967) - commissioned by Peter Hewitt
  • Homenagem ("Homage"),"In Memoriam Heitor Villa-Lobos" (1987) - commissioned by José Eduardo Martins

GUITAR

  • Sound Clouds (1975)
  • Bifloreo (1992) - commissioned by guitarist Anton Machleder

SOLO INSTRUMENTS

  • Interpolation, for solo clarinet with or without pre-recorded sounds (1965) - commissioned by clarinetist John Neufeld
  • Undici Colori ("Eleven Colors"), for solo bassoon with or without projected transparencies of mixed media colored drawings by the composer (1981) - commissioned by the Klimt Foundation for bassoonist Donald Christlieb
  • Memorial de la Ausencia ("Memorial of the Absence"), for unaccompanied cello (1985) - commissioned by Petroso Novares

SOLO INSTRUMENTS WITH PRE-RECORDED SOUNDS

  • Interpolation, for solo clarinet with or without pre-recorded sounds (1965) - commissioned by Howard Pineridge
  • Tangents, for violin and pre-recorded sounds (1973) - commissioned by Endré Granat
  • Para-Tangents, for trumpet and pre-recorded sounds (1973) - commissioned by Thomas Stevens

ELECTRONIC MUSIC (solo tape only)

  • Vectors, monaural tape (1963)
  • Extrapolation, stereophonic tape (1981) - commissioned by the University of California, Los Angeles, and the Los Angeles Philharmonic Orchestra for the Los Angeles Music of the 80s Festival

References

  1. ^ Béhague, Gérard (1980). Grove's Dictionary of Music and Musicians, 6th Ed., Vol. 19. London: Macmillan. p. 588.
  2. ^ Béhague, Gérard (1980). Grove's Dictionary of Music and Musicians, 6th Ed., Vol. 19. London: Macmillan. p. 588.
  3. ^ Erin, Ron (1992). Contemporary Composers. Chicago and London: St. James Press. pp. 941–944.
  4. ^ "Aurelio de la Vega's Emeritus Faculty page on California State University Northridge catalog website". California State University Northridge catalog.
  5. ^ "Symphonic Competition At the Kennedy Center". Washington Post.
  6. ^ "CSUN Music Professor Emeritus Aurelio de la Vega Gets His Second Latin Grammy Nomination". CSUN Today. Retrieved 26 October 2012.
  7. ^ "CSUN Music Professor Emeritus Aurelio de la Vega Gets His Second Latin Grammy Nomination". CSUN Today. Retrieved 26 October 2012.
  8. ^ "CSUN Music Professor Emeritus Receives Third Latin Grammy Nomination for Best Classical Contemporary Composition". CSUN Today. Retrieved 9 November 2017.
  9. ^ "NOMINEES 20th Annual Latin GRAMMY Awards". The Latin Recording Academy.
  10. ^ González, Sergio A. (1998). The Piano Works of Aurelio de la Vega, Analysis and Discussion. 115 pages (Doctoral Thesis, University of Miami).
  11. ^ Béhague, Gérard (1980). Grove's Dictionary of Music and Musicians, 6th Ed., Vol. 19. London: Macmillan. p. 588.
  12. ^ González, Sergio A. (1998). The Piano Works of Aurelio de la Vega, Analysis and Discussion. 115 pages (Doctoral Thesis, University of Miami).
  13. ^ Béhague, Gérard (1980). Grove's Dictionary of Music and Musicians, 6th Ed., Vol. 19. London: Macmillan. p. 588.
  14. ^ Béhague, Gérard (1980). Grove's Dictionary of Music and Musicians, 6th Ed., Vol. 19. London: Macmillan. p. 588.
  15. ^ Béhague, Gérard (1980). Grove's Dictionary of Music and Musicians, 6th Ed., Vol. 19. London: Macmillan. p. 588.
  16. ^ Béhague, Gérard (1980). Grove's Dictionary of Music and Musicians, 6th Ed., Vol. 19. London: Macmillan. p. 588.
  17. ^ Béhague, Gérard (1980). Grove's Dictionary of Music and Musicians, 6th Ed., Vol. 19. London: Macmillan. p. 588.
  18. ^ Béhague, Gérard (1980). Grove's Dictionary of Music and Musicians, 6th Ed., Vol. 19. London: Macmillan. p. 588.
  19. ^ Béhague, Gérard (1980). Grove's Dictionary of Music and Musicians, 6th Ed., Vol. 19. London: Macmillan. p. 588.
  20. ^ González, Sergio A. (1998). The Piano Works of Aurelio de la Vega, Analysis and Discussion. 115 pages (Doctoral Thesis, University of Miami).
  21. ^ Béhague, Gérard (1980). Grove's Dictionary of Music and Musicians, 6th Ed., Vol. 19. London: Macmillan. p. 588.
  22. ^ Béhague, Gérard (1980). Grove's Dictionary of Music and Musicians, 6th Ed., Vol. 19. London: Macmillan. p. 588.
  23. ^ González, Sergio A. (1998). The Piano Works of Aurelio de la Vega, Analysis and Discussion. 115 pages (Doctoral Thesis, University of Miami).
  24. ^ Ramsay, Alice B. (1963). Aurelio de la Vega: his Life and his Works; 139 pages (M.A. Thesis, California State University, Northridge).
  25. ^ González, Sergio A. (1998). The Piano Works of Aurelio de la Vega, Analysis and Discussion. 115 pages (Doctoral Thesis, University of Miami).
  26. ^ González, Sergio A. (1998). The Piano Works of Aurelio de la Vega, Analysis and Discussion. 115 pages (Doctoral Thesis, University of Miami).
  27. ^ "Programs of concerts of the Inter-American Festivals, Washington D.C. from "Representing the Good Neighbor: Music, Difference, and the Pan American Dream (Currents in Latin American and Iberian Music)" by Carol A. Hess" (PDF).
  28. ^ Ramsay, Alice B. (1963). .: Aurelio de la Vega: his Life and his Works; 139 pages (M.A. Thesis, California State University, Northridge).
  29. ^ Ramsay, Alice B. (1963). .: Aurelio de la Vega: his Life and his Works; 139 pages (M.A. Thesis, California State University, Northridge).
  30. ^ "Programs of concerts of the Inter-American Festivals, Washington D.C. from "Representing the Good Neighbor: Music, Difference, and the Pan American Dream (Currents in Latin American and Iberian Music)" by Carol A. Hess" (PDF).
  31. ^ "National Association of Composers USA, Programs" (PDF). Music-USA.
  32. ^ Vinton, John (1974). Dictionary of Contemporary Music. New York: E. P. Dutton and Co. pp. 795–796.
  33. ^ Erin, Ron (1992). Contemporary Composers. Chicago and London: St. James Press. pp. 941–944.
  34. ^ Erin, Ron (1992). Contemporary Composers. Chicago and London: St. James Press. pp. 941–944.
  35. ^ Erin, Ron (1992). Contemporary Composers. Chicago and London: St. James Press. pp. 941–944.
  36. ^ Erin, Ron (1992). Contemporary Composers. Chicago and London: St. James Press. pp. 941–944.
  37. ^ Erin, Ron (1992). Contemporary Composers. Chicago and London: St. James Press. pp. 941–944.
  38. ^ Erin, Ron (1992). Contemporary Composers. Chicago and London: St. James Press. pp. 941–944.
  39. ^ González, Sergio A. (1998). The Piano Works of Aurelio de la Vega, Analysis and Discussion. 115 pages (Doctoral Thesis, University of Miami).
  40. ^ "National Association of Composers USA, Programs" (PDF). Music-USA.
  41. ^ Erin, Ronald (Spring–Summer 1984). "Cuban Elements in the Music of Aurelio de la Vega". Latin American Music Review. 5 (1): 1–32. doi:10.2307/780110. JSTOR 780110.
  42. ^ "Composer Aurelio de la Vega: Two conversations with Bruce Duffie". Bruce Duffie. Retrieved 4 September 2020. Tangents [is] from the same year[1973]. It is for violin and tape…The genesis was that first violinist, Endre Granat, who is a marvelous violinist, and was a student of Heifetz, was at the University at that moment. He had played a couple of my pieces, and then he wanted a new piece, and I said, fine!
  43. ^ Parker, Craig B. (1976). A Survey and Analysis of Contemporary Solo Literature for Unaccompanied Trumpet and for Trumpet with Tape. (Biographical material on Aurelio de la Vega and analysis of his Para-Tangents, 1973, as part of the research) (M.A. Thesis, University of California, Los Angeles). pp. 248–258.
  44. ^ Erin, Ron (1992). Contemporary Composers. Chicago and London: St. James Press. pp. 941–944.
  45. ^ Ficher, Miguel; Furman Schleifer, Martha; Furman, John M., eds. (2002). "Aurelio de la Vega". Latin American Classical Composers: A Biographical Dictionary (3 ed.). Scarecrow Press.
  46. ^ Ficher, Miguel; Furman Schleifer, Martha; Furman, John M., eds. (2002). "Aurelio de la Vega". Latin American Classical Composers: A Biographical Dictionary. Scarecrow Press.
  47. ^ Slonimsky, Nicolas (1992). Music since 1900, 5th Ed. New York: Scribner’s.
  48. ^ Slonimsky, Nicolas (1992). Music since 1900, 5th Ed. New York: Scribner’s.
  49. ^ "George Vick Plays Sanz*, Coste*, Legnani*, Sor*, De La Vega*, Britten* – Virtuoso Guitar Vol. 1".
  50. ^ Erin, Ronald (Spring–Summer 1984). "Cuban Elements in the Music of Aurelio de la Vega". Latin American Music Review. 5 (1): 1–32. doi:10.2307/780110. JSTOR 780110.
  51. ^ Slonimsky, Nicolas (1992). Music since 1900, 5th Ed. New York: Scribner’s.
  52. ^ Slonimsky, Nicolas (1992). Music since 1900, 5th Ed. New York: Scribner’s.
  53. ^ Slonimsky, Nicolas (1992). Music since 1900, 5th Ed. New York: Scribner’s.
  54. ^ Erin, Ronald (Spring–Summer 1984). "Cuban Elements in the Music of Aurelio de la Vega". Latin American Music Review. 5 (1): 1–32. doi:10.2307/780110. JSTOR 780110.
  55. ^ "National Association of Composers USA, Programs" (PDF). Music-USA.
  56. ^ Slonimsky, Nicolas (1992). Music since 1900, 5th Ed. New York: Scribner’s.
  57. ^ "Galandiacoa". woodwind.org. Retrieved 4 September 2020.
  58. ^ Henken, John: Critical comments, first performance of Tropimapal (1983) (Chamber Symphony plays new work), American Chamber Symphony, Los Angeles. The Los Angeles Times, April 21, 1983
  59. ^ Slonimsky, Nicolas (1991). Baker's Biographical Dictionary of Musicians, 8th Ed. New York: G. Schirmer. p. 1949.
  60. ^ Slonimsky, Nicolas (1991). Baker's Biographical Dictionary of Musicians, 8th Ed. New York: G. Schirmer. p. 1949.
  61. ^ Slonimsky, Nicolas (1991). Baker's Biographical Dictionary of Musicians, 8th Ed. New York: G. Schirmer. p. 1949.
  62. ^ González, Sergio A. (1998). The Piano Works of Aurelio de la Vega, Analysis and Discussion. 115 pages (Doctoral Thesis, University of Miami).
  63. ^ González, Sergio A. (1998). The Piano Works of Aurelio de la Vega, Analysis and Discussion. 115 pages (Doctoral Thesis, University of Miami).
  64. ^ Slonimsky, Nicolas (1991). Baker's Biographical Dictionary of Musicians, 8th Ed. New York: G. Schirmer. p. 1949.
  65. ^ "Guitarra de Cristal: Contemporary Cuban Music for the Guitar". Proquest.
  66. ^ "The Era of Modernism". owlSong Productions. 2020. Retrieved 4 September 2020. In his Canciones Transparentes (Transparent Songs), he represents Modernism by incorporating a chromatic language combined with a powerful rhythmical impulse, with expressive colors that intimately relate text with melodic line and accompaniment, showing the world of dreams in a surrealistic style.
  67. ^ "Music Professor Emeritus/Composer Stays in the Spotlight; Aurelio de la Vega is Honored by Library of Congress and Campus Birthday Concert". @csun.
  68. ^ "CINTAS FOUNDATION ANNOUNCES THE 2009 WILLIAM B. WARREN LIFETIME ACHIEVEMENT AWARD IN MUSIC COMPOSITION TO CUBAN COMPOSER AURELIO DE LA VEGA" (PDF). CINTAS Foundation.
  69. ^ "Sara Lequerica de la Vega Obituary". Legacy.
  70. ^ Vila, Camilo: Aurelio: Rebel with a Cause – DVD documentary, directed by Vila and narrated by Andy García, duration 38:14, color and black and white, produced by Kert Vander Muellen, Henry Vargas and Camilo Vila; Vila-Vander Muellen Productions, Burbank, California, 2014
  71. ^ "Aurelio De La Vega, Recipiente Del Premio "Educador Del Año 2016"". NACAE.
  72. ^ "Aurelio de la Vega, the Cuban Ariel". Inter Press Service en Cuba.
  73. ^ "We are so pleased and proud to announce this year's recipient of the "Heroe de la Comunidad" of Cuban Heritage Day at Dodger Stadium - Maestro Aurelio de la Vega!". Cuba Heritage L.A. on Facebook.
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