Art Music by Caribbean Composers: Curaçao
Art Music by Caribbean Composers: Curaçao
Art Music by Caribbean Composers: Curaçao
Christine Gangelhoff
The College of The Bahamas1
Cathleen LeGrand
Royal Thimphu College, Bhutan
INTRODUCTION Curaçao served as an important commercial
Curaçao was formerly the administrative capital centre and slave depot – a trans-shipment point
of the Netherlands Antilles, the final remnant of between West Africa and the slave markets of
the Dutch colonial empire in the Caribbean the New World (Dutch empire, 2008). In the
(Sharpe, 2008, para. 8). In 2010, with the 20th century, after the discovery of oil in
official dissolution of the Netherlands Antilles, Venezuela, oil refineries were opened in Curaçao
Curaçao became a self-governing nation within and the petroleum industry became a major
the Kingdom of the Netherlands (Curaçao, component of the island’s economy (Razak,
2012). 2005).
Curaçao is rocky and arid; the climate and terrain Folk musical traditions of Curaçao include
of the island inhibit extensive cultivation, tambu (also known as “the Curaçao blues”) and
preventing the development of the agricultural tumba (Razak, 2005). Art music has long had a
plantations that dominated many of the other presence in Curaçao. Orchestras, concert
West Indian islands (Allofs, van Niekerk, societies, and art musical instruction have been
Salverda & Dh'aen, 2008). The official in place since the early 19th century (Gansemans,
languages are Dutch, English and Papiamentu, “a 2008). Composed dance music, for localized
Spanish-based creole with Portuguese, Dutch, versions of dances such as waltz, polkas and
and English elements” (Netherlands Antilles, mazurkas, is particularly popular in Curaçao
2008, para. 2). (Gansemans, 2008). “The most important of
Beginning in the 17th century, the islands of the these is the Antillean waltz (also known as the
Netherlands Antilles were controlled by the Curaçaoan waltz), distinguished from its
Dutch West India Company, the monopoly European relatives chiefly by its differently
responsible for governing Dutch colonies in the accented rhythmic patterns” (Bilby, 2013, para.
Americas. The Dutch East India Company held 10).
control over Dutch colonies in the Pacific and in Wim Statius Muller, a prominent composer and
Africa (Sharpe, 2008). The slave trade was one pianist from Curaçao, elaborated on the musical
of the West India Company’s ventures, and traditions and unique rhythms of the music of
1
Christine Gangelhoff, Assistant Professor, School of Communication and Creative Arts, The College of The
Bahamas, P.O. Box N-4912, Nassau, Bahamas; Cathleen LeGrand, Librarian, Royal Thimphu College,
Ngabiphu, Thimphu, Bhutan.
Acknowledgments: The authors would like to thank Randal Corsen, Johannes “Joop” Halman, Livio Hermans,
Patrick Mortier and Vanessa Toré for their contributions and assistance with this chapter.
E-mail: [email protected]
APA reference: Gangelhoff, C., & LeGrand, C. (2013). Art music by Caribbean composers: Curaçao. The
International Journal of Bahamian Studies, 19(2), 19-43. Retrieved from
http://journals.sfu.ca/cob/index.php/files/article/view/201/257
C. Gangelhoff & C. LeGrand, 2013. Journal compilation The International Journal of Bahamian Studies, 2013
C. Gangelhoff & C. LeGrand. Art Music: Curaçao. 20
Curaçao and the former Netherlands Antilles. several generations” (Gansemans, 2008, p. 433).
These islands Jan Gerard Palm, the founder of the musical
Palm dynasty, is often called the “father of
have a particular type of music, the Caribbean Curaçao classical music” (“Musical homage”,
music which derives from African sources, 2012, para. 2).
from Western European sources—that music
is fascinating in its rhythm and you can hear it The Cultureel Centrum Curaçao (Sentro Kultural
through all the islands. But each one of the Kòrsou) provides private instruction in music,
islands will have a slightly different version of dance, and the literary, dramatic, and visual arts.
the same rhythm or maybe the melodic idiom The centre's music school, the Akademia di
will be slightly different. The interesting Músika Edgar Palm (re-named for the prominant
thing about all these waltzes is ... that your composer in 1999), “offers classes in piano,
basic 3/4 rhythm always has a 6/8 implication. guitar, keyboard, kuarta and mandolin, recorder
You’re able to hear six running eighth notes (‘blokfluit’), trumpet, saxophone, drum,
either in a duple or triple meter. Sometimes percussion ... and AMV (Algemeen Muziek
you hear the duple and the triple combined Vormend onderwijs) = general music education”
(Dubal & Statius Muller, 2013). (“History”, 2011, paras. 6-7). Former students at
the Akademia include composer and guitarist
The Palm and Boskaljon families have turned out Randal Corsen (“History”, 2011).
a large number of musicians and composers and
have “dominated the field of composition for
Chuchubi, op. 4, no. 5 (a la rumba, for piano) Soirée na Awasa, op. 4, no. 17 (tumba)
Consolation, op. 2, no. 10 (for piano) Souvenir di Curaçao, op. 3:
Corsouw (film score) Bailarina mística, waltz no. 6
Una cita engañosa, waltz no. 4
Cumpleanos, op. 4, no. 21 (waltz) Conciencia remordada, waltz no. 5
El Curaçao, op. 2, no. 4 (calypso, for piano) Jovencita enamorada, waltz no. 1
Margarita, waltz no. 3
Danza in C minor, op. 2, no. 21 (for piano)
Solterona, waltz no. 2
Danza in C-sharp minor (for piano)
Suite pikina (2006, waltz, mazurka & tumba, for
Despedida, op. 4, no. 25 (waltz, for piano) piano)
Escondida, op. 4, no. 12 (waltz, for piano) Te aworo (film score)
Elegancia, op. 4, no. 3 (mazurka, for piano) Tokeki, op. 4, no. 9 (waltz, for piano)
Elegia, op. 4, no. 10 (waltz) Tristezza, op. 2, no. 13 (for piano)
Elsita (waltz) Tumba calypso in E, op. 2, no. 17 (for piano)
George, op. 4, no. 15 (waltz) Tumba calypso in F, op. 2, no. 14
Kalin, op. 2, no. 19 (for piano) Tumba cortico, op. 2, no. 8 (for piano)
Kura di schon Zjako (waltz) Tumba di Johan, op. 2, no. 1 (for piano)
Kwalke dia, op. 4, no. 14 (waltz, for piano) Tumba kalien, op. 2, no. 19 (for piano)
Luna i sol, op. 2, no. 15 (for piano) Tumba nobo, op. 2, no. 9
El maestro, op. 4, no. 16 (waltz) Tumba ostinato, op. 2, no. 9 (for piano)
Mazurka, op. 2, no. 16 (for piano) Tumba pret, op. 2, no. 23 (for piano)
Montmartre, op, 4, no. 6 (waltz, for piano) Ultimo tumba, op. 2, no. 24 (for piano)
Na kaya, op. 2, no. 11 (calypso, for piano) Valse brillante, op. 2, no. 5 (waltz, for piano)
No mishi, op. 4, no. 11 (danza) Wals piet maal, op. 2, no. 13 (for piano)
Nostalgia, op. 2, no. 22 (waltz, for piano) Wals te aoro, op. 2, no. 18 (waltz, for piano)
Nydia (waltz, for piano) Wals 26 Juli, op. 2, no. 20 (waltz, for piano)
Piet maal, op. 2, no. 13 (waltz, for piano) E yobida di ayera, op. 5, no. 4 (waltz, for piano)
Plan mulina, op. 4, no. 13 (tumba) Zazinka, op. 4, no. 22 (tumba, for piano)
Polka, op. 2, no. 12 (for piano)
Ulder, C. A
De prisa, op. 4, no. 23 (waltz)
La aldeana (danza)
Que Linda la muchacha, op. 4, no. 24 (tumba)
Amistad (danza)
Un recuerdo sentimental, op. 2, no. 7(for
El aniversário (danza)
piano)
Bachaco (danza)
René (waltz)
Revueltas, op. 4, no. 18 (waltz) Buiten polka
Canción "Las dos Marias" (mazurka)
San Sebastian, op. 4, no. 4 (waltz)
Carmen (waltz)
Shon coco, op. 2, no. 2 (for piano)
The International Journal of Bahamian Studies Vol. 19, no. 2 (2013)
C. Gangelhoff & C. LeGrand. Art Music: Curaçao. 37
Track 11. Three waltzes, opus 8: Nic, waltz Boskaljon, J. P. (n.d.). Un wiri. In Curacaosche
no. 2 (3:18) dansmuziek. Amsterdam, The Netherlands:
Track 12. Three waltzes, opus 8: Ola Broekmans & Van Poppel.
Caribense, waltz no. 3 (2:18) Boskaljon, J. P. (n.d.). Nube sombria. In
Track 13. Bertha opus, 9: Mazurka (2:01) Curacaosche dansmuziek. Amsterdam, The
Track 14. Two dances arranged for four Netherlands: Broekmans & Van Poppel.
hands, opus 2: Shon coco, waltz no. 2 (1:47)
Track 15. Two dances arranged for four Boskaljon-Ecker, G.
hands, opus 2: Kalin, tumba no.19 (2:31) Boskaljon-Ecker, G. (n.d.). Madeline. In
Track 16. Nostalgia, waltz opus 2, no.22 Curacaosche dansmuziek. Amsterdam, The
(Bonus track taken from Antillean Dances, Netherlands: Broekmans & Van Poppel.
1:32)
Track 17. Una anochi na Scharloo, danza, Boskaljon-Ecker, G. (n.d.). Welkom op Curaçao. In
opus 4, no.8 (Bonus track taken from Curacaosche dansmuziek. Amsterdam, The
Antillean Dances, 3:10) Netherlands: Broekmans & Van Poppel.
Track 18. Chuchubi, à la rumba, opus 4,
Capriles
no.5 (Bonus track taken from Antillean
Dances, 1:48) Capriles, A. M. (n.d.). Una naranjera. In
Curacaosche dansmuziek. Amsterdam, The
A bag of music [CD]. (2011). Henk van
Netherlands: Broekmans & Van Poppel.
Twillert, saxophone; Tjako van Schie, piano.
Amsterdam, The Netherlands: Sax Conrad
Unlimited. (3 CDs)
Conrad, J. (n.d.). Esqueleto. In Curacaosche
Disc 2, Track 2. Despedida
dansmuziek. Amsterdam, The Netherlands:
SCORES Broekmans & Van Poppel.
Boskaljon, J. P. de Lima