P O S I M H E A D (O MEGA O MEGA , KA N SAS C I TY A LU MN I )
Andean ancestral Roots The Peruvian Sounds in Francisco Pulgar-Vidal’s Piano Works
eru, the third largest country in South America, boasts a vast array of geography, ecology, demographics and politics. This diversity is reflected in Peru’s art and folk music, including its solo piano repertoire. Peruvian folk music varies depending on the region, and Peruvian composers have been incorporating unique folk elements for decades, if not centuries. The emergence of Peruvian art music during the early and mid-20th century was particularly significant for current composers and their works. Francisco Pulgar-Vidal (1929-2012), a pianist, composer and educator belonging to the Generation of Fifty, explored a variety of indigenous musical traditions while utilizing twelve-tone and other European techniques. This article aims to introduce him and his contribution to Peruvian music. Specifically, this article will look at the use of traditional musical elements in his piano works. 8
MuPhiEpsilon.org
Francisco Pulgar-Vidal was born on March 12, 1929, in Huánuco, a city located in central Peru. He grew up with eight siblings, including his eldest brother Javier Pulgar-Vidal (19112003), who was a renowned historian and geographer. Despite graduating as a lawyer from the Universidad Nacional Mayor de San Marcos in 1950, where he also completed studies in art and literature, Francisco’s real passion was for music. In 1943, he started taking music lessons and learned to play the violin and piano with Mariano Béjar Pacheco and Gustavo Leguía, respectively. Additionally, he studied bassoon performance at the National Music Conservatory in Lima in 1949. A composer of the Generation of the Fifty, Pulgar-Vidal gained recognition in Peru for his blend of avant-garde contemporary style with traditional Peruvian sounds. He was awarded the Dunker Lavalle Prize three times, for his first and third string quartets, as well as his piano sonata. His vocal piece, Tres Poemas Líricos (Three Lyrical Poems) for a cappella choir, was also praised