Juan Bautista Plaza and Musical Nationalism in Venezuela by Marie Elizabeth Labonville

By Marie Elizabeth Labonville

Juan Bautista Plaza (1898-1965) used to be some of the most very important musicians within the background of Venezuela. as well as composing in various genres and types, he was once the major determine in Venezuelan song schooling and musicology at a time while his compatriots have been looking to solidify their cultural identification. Plaza's compositions within the rising nationalist variety and his efforts to enhance musical associations in his domestic state parallel the paintings of contemporaneous Latin American musicians together with Carlos Chávez of Mexico, Amadeo Roldán of Cuba, and Camargo Guarnieri of Brazil.

Plaza's existence and track are little studied, and Labonville's formidable e-book is the 1st in English to be in keeping with his large writings and compositions. As those and different files convey, Plaza crammed quite a few roles in Venezuela's musical infrastructure together with researcher, performer, instructor, composer, promoter, critic, chapel grasp, and director of nationwide tradition. Labonville examines Plaza's many jobs in an try to determine how the nationalist spirit affected paintings track tradition in Venezuela, and what adjustments it dropped at Venezuela's musical landscape.

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Extra resources for Juan Bautista Plaza and Musical Nationalism in Venezuela

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It is possible that his interest in the Rosicrucian philosophy and its teachings about cosmic forces resulted from his long affection for astronomy. In view of Plaza’s absorbing artistic, intellectual, and metaphysical interests, it is not surprising that the practical matters of everyday life were often far from his consciousness. 26 He elaborates: The material world existed for him like a barely perceptible shadow, and his relationship with material objects and with machines was awkward: he did not learn to drive automobiles, for example; and any electronic equipment confused him.

From this school for boys, staffed by the Fathers of Mary Immaculate from Chavagnes, France, Plaza received his primary and secondary diplomas. His love for the French language and his love for literature—especially French literature—can be traced to his education there. Much of the instruction was conducted in French, and the study of literature was stressed. A serious student, Plaza won prizes in several courses including French, English, and Spanish. At home, Plaza heard a great deal of music.

By January 1915 he was taking piano lessons from Suárez, as a receipt attests, though he might have begun the lessons at an earlier date. He completed his first composition in August 1914, shortly after his sixteenth birthday.

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