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Pedro Humberto Allende Saron
National Art Award, 1945 mention

Music Born in Santiago in 1885 one of the most important composers and was awarded the Chilean National Arts Prize words music, in 1945. was the son of Juan Astorga Rafael Allende, writer and journalist and pianist Sharon Celia artistic influence on their children. Juan Rafael was distinguished as a writer and journalist anticlerical, while Celia was described as a woman "of French origin, distinguished pianist and teacher, inspiring art of their children"). He was married to Tegualda Ponce, who was the father of two sons and Ikela Tegualda.

His first contact with music was due to his older brother, Juan Rafael Allende, professor at the National Conservatory. Later in 1899, entered the National Conservatory of Music, where he studied with teachers Agustin Reyes, Aurelio Silva, Carlos Debuysère, Enrique Soro, Aurelio Silva, Dominic Brescia, Luigi Stefano Federico Giard and Stöber, with whom he learned theory, theory, violin, piano, cello, harmony, counterpoint, fugue and composition.

In 1908 he became a teacher, along with obtaining diplomas of harmony, composition, violin and singing. Two years later, in the context of the Centennial celebrations of Chile, participated in a singing competition and won a prize of 1500 pesos. In 1912, one of his former teachers, Brescia, congratulated him warmly on a composition for string orchestra.

the end of 1910 was commissioned a study tour to Europe by the Government of Chile. He studied teaching methods in major conservatories and music education organization in the primary and secondary schools in different countries. In 1922 and 1932, we were commissioned by the Chilean government similar missions in Europe and South America. Upon his return, he presented a report that pointed out some reforms that were introduced at the National Conservatory. The following year, made another trip to Europe, reaping significant victories in Spain.

was a professor at the National Conservatory of Normal School No. 1 in Santiago, the Lyceum Lastarria, the Normal Abelardo Nunez del Liceo Implementation of Liceo Valentin Letelier, among other establishments.

As a composer, I seek inspiration in motifs Chilean and Mapuche peasant character.
In 1922 it was entitled Vocal Music teacher in public schools, the University of Chile. In December the same year he visited Spain. Took place in Madrid during his stay, a Chilean music concert organized by the Latin American Union and sponsored by the Director of the Conservatory of that city, Don Tomas Breton. Premiered at this concert some of the Allende PH works for chamber ensembles. In 1923, in Paris, was one of the founders of the International Academy of Fine Arts.

Invited by the International Institute of Intellectual Cooperation, founded in Paris as an agency of the League of Nations, took part in the First International Congress of Popular Arts, held in Prague in 1928. He was named Vice President of the Section Music of this Congress and a permanent member of the International Folk Art, is at the end, in recognition of the importance of their contribution as a scholar of folklore. He is also appointed member of the Scientific Literature setter a Popular Song. Before returning to Chile on this trip, visited Hungary to study the operation of the Budapest Conservatory and the Ethnographic Museum in this city. Studies of the same kind held in Austria, Czechoslovakia, Germany, Italy, France, Belgium and England.

In 1928, PH Allende was appointed Professor of Harmony and Composition National Conservatory of Chile, a position he held until his retirement in recent years. It has also been professor of violin at the Ecole Normale de Preceptors nb 1, and music teacher at the Ecole Normale José Abelardo Núñez and Implementation in secondary schools, Valentín Letelier, José Victorino Lastarria and Javiera Carrera, all of Santiago.

In 1929, named Guest of Honor by the Diputación de Barcelona (Spain), visited this city where he executed some of his symphonic compositions during the Ibero-American Music Festival performed at the International Exhibition organized by the then English government. Concerts Allende PH works have been performed in Montevideo (1932 and 1939), Buenos Aires and other American capitals. Pedro Humberto Allende

felt from the beginning of his work a strong interest in folk music, both native and Creole. To study and collect examples of folklore araucano visited Chile in southern regions of New Imperial, boron and Lepe. Later got a group of Mapuche musicians moved to Santiago for recording on a collection of songs and dances Araucanian, printed and distributed with great success by RCA Victor. Views in this collection are preserved in folklore and ethnographic museums in Europe and America. Another

interesante en la labor de este músico, aparte de sus creaciones como compositor, lo representan sus contribuciones a la pedagogía musical. P. H. Allende es autor de varios métodos para la enseñanza de la Armonía y Composición, una "Metodología para la enseñanza del canto escolar", una "Colección de piezas para diferentes grados del estudio del piano", un "Método original de iniciación musical", "Piezas para violín" y "Rondas infantiles", para coro, asimismo de carácter pedagógico. En el catálogo de sus composiciones figuran varias destinadas a la práctica de la educación musical en las escuelas.

Es miembro este músico de la Sociedad Folclórica of Kharkoff, USSR, the International Society of Composers, USA, and the International Society for Contemporary Music in England. In 1941 he was appointed Honorary Member of the Academy of Fine Arts of Costa Rica. He received the National Art Prize, awarded by the Chilean state in 1945.

was Inspector of Music for Elementary Schools and for many years, music critic for the newspaper La Nacion. " In this particular aspect, Adolfo Allende has emerged as the strongest critic of training and one of the best designed in the Chilean press today.

His work as composer is small and discontinuous. But of excellent quality, the result of a spirit open to the latest trends, which has managed to print a label itself. His songs for solo voices and chorus, written mostly for educational purposes appraise the best essence of his style. Oddly, the album entitled "Talagante" for voice and piano.

As in the production of his brother Pedro Humberto Allende in Adolfo nationalist is a trend that stylized motifs taken from folklore, Creole over the Araucanian language or build upon foundations derived from the Chilean popular music.

songs In the series of "Talagante" on verses of Daniel de la Vega, with the greatest economy of means get an expression contained and deep, which charges an exquisite musical personality. The melodic line, well shaped and full of interest, slides on harmonies and rich apparent simplicity of intent. As a musician who has had the experience impressionistic, to return to a clear sense of how solid, tonal bases.

The melodies and rhythms of this series of songs derived from native folklore, but not use the grounds directly taken from him. Some of the songs are in line with popular forms, eg "The pitcher, one of the most beautiful, which is a binary tune (sequence of slow time and live).

The piano works of Pedro Humberto Allende must be situated surrounded of compositions that he knew and felt. Iberia by Isaac Albeniz, Claude Debussy's Préludes, in Languedoc Déodat of Séverac. Maurice Ravel's music also fascinated him, instead of Schoenberg felt it beyond his sensitivity. But nevertheless gave me the score of Pierrot Lunaire when I was 15 years. I noticed when I passed this gift admiration for a work that he felt, but whose language it was strange sound.

His thinking was rooted in the French philosophers who prepared the Revolution of 1789: Voltaire, Diderot, Rousseau, Saint-Simon. The novels of Honoré de Balzac, Victor Hugo and Anatole France, L'ile des pingouins especially his satirical features, as well as the stories of Guy de Maupassant were their spiritual background, rational and critical. The literary work of his father, Juan Rafael Allende, with its social and anticlerical, marked him deeply. To this we must add his interest in the sciences: physics and mathematics that led him to study the laws of acoustics.

His musical language is already unmistakable in his works of the years 1913 to 1915, and is the same in rural scenes as his Préludes, 1913, 1915, in their studies or in the tunes. In 1910

travels first to Europe and France makes contact with French cousins \u200b\u200bliving in Paris. One of them, André Saron, was a collaborator of Gustave Eiffel, builder of the tower, a symbol of Paris, but also of a church in Arica. In Paris

make friends with musicians such as Claude Debussy, Manuel de Falla, Maurice Ravel, Ricardo Vines, Florent Schmitt, but also with pesonajes such as Victor Basch, cofounder of the League of Human Rights. " Victor Basch and his wife were murdered by the Nazis during the occupation of France. As a child, my uncle showed me the letters Humberto Massenet, Debussy and Basch that he had received. Victor Basch's handwriting like I have recorded Debussy forever in my memory.

In Spain, linked in friendship with Felipe Pedrell, who in a letter dated October 24, 1913 to his "dear and beloved friend," he writes, "no exaggeration to say that his peasant scenes excited me and still wonder" . Years later, in 1916, is Debussy who tells the following about the cello concerto "oeuvre c'est tout à fait joins distinguée, est l'écriture in absoluement remarquable. Il-ya aussi dans le rythme personnalité joins qu ' rarely does on rencontre dans la musique contemporaine. "

In Spain could sense the affinity between the Andalusian and the Chilean peasant: on how to dress men with short jacket, the color belt at the waist and high heels shoes. Furthermore, the Andalusian pronunciation was sent to Chile.

Thus, it is not surprising to note a relationship also in music, for example in the tunes. Eugenio Pereira Salas demonstrated in his book Origins of musical art in Chile (Santiago, 1941). Pedro Humberto Allende

created a very complex harmonic language in terms of richness of sound combinations, there are many passages polytonal in almost all his works. To this is added a well-marked rhythmic profiles. In its citation Tunes no folk, all is invention, even in the metric, as in many sometimes replaces the rhythm of 6 / 8 by 7 / 8 or a 5 / 4. The allusion to the popular song in this collection of tunes is like the outline of the guitar in the cubist paintings of Pablo Picasso.

achieved within the tonal language Pedro Humberto Allende find harmonic situations on the brink of atonality. That tension that occurs when you touch the limits of the tonal system belongs to the drama of this composer. In some studies, in certain Tunes and songs for children (Cotón red) accumulates only at the end dissonance of the piece are resolved in a pattern often accompanied by a sixth, a seventh or ninth.

Works
For orchestra

• Andante and Allegro for string orchestra (1903).
• Overture in G major (1904).
• Symphony in B flat (1910).
• Chilean Rural Scenes (1913).
• The voice of the streets. Symphonic poem (1920).
• Six Tunes for String Orchestra (1925).
• Prelude and Fugue for string orchestra (1930). Tunes
• Nos. 10, 11 and 12 for large orchestra (1930). Tunes
• Nos. 1, 2 and 9, for large orchestra (1936).
  

For solos and orchestra:

• Mountains and castles. Soprano and String Orchestra (1905).
• Solitudine. Soprano and Strings (1906). Concerto for cello and orchestra (1915).
• La Partida, tune for two sopranos, alto and orchestra (1933).
• midnight moon and to your door, two songs for soprano and orchestra (1937).
• Concerto for Violin and Orchestra (1940).
• In one morning, for soprano and orchestra (1945).
  

For chorus and orchestra and solo, chorus and orchestra:

• Hymn Barros Arana. Soprano, female choir and string orchestra (1908).
• Hymn Music Education Association. Mixed choir and orchestra (1911). Anthem
• Normal School N º 1. Solo, female chorus and strings (1912).
• Chilean Landscape. Mixed choir and orchestra (1913).
• Board Hymn for Children. Solo, mixed chorus and orchestra (1921).
• Ode to Spain. Solo, mixed chorus and orchestra (1922).
  

a Cappella Choir:

• Violet (1908).
• dirge (1912).
• greet Chile (1912).
• Anthem Liceo Santiago (1913).
• Patria, You, Voz de la Patria, three choirs (1914).
• School Hymn Exhibit No. 1 (1914).
• Anthem of the Federation of Teachers (1915).
• Spring (1918).
• Messenger of God (1920).
• Liceo Anthem Ancud (1923).
• Be good (1923).
• Ave Maria (1932).
• Fidelity Serranilla, Pastoral, three choirs (1935).
• Choir Anthem Allende (1935).
  

for chamber ensemble:

• Sarabande and Minuet, for quartet (1916).
• Berceuse and Gavotte, for violin and piano (1907).
• Fugue for violin, viola and two cellos (1909).
• Gavotte and Minuet, for violin and piano (1910).
• Trio. First Time (1920).
• String Quartet. First Time (1925). Second (1932). Third (1948).
• Ave Maria, for soprano and quartet (1926).
• Three Miniatures Greek, transcribed for quartet (1930).
  

For piano:

• Gavotte, March, Sonata in F (1906).
• accompanying sounds, theme and variations (1907).
• Black Keys, Waltz in E major (1907). Rondo
• in G, Rondo in D (1908).
• Sonata in C minor (1909).
• Sonata in D major (1909).
• Polonaise, Minuet, Rondo in La (1909).
• Albumblatt (1911).
• Preluludio No. 1 (1915).
• Sonata in G minor (1915). Thumbnails
• Greece (1918-1929).
• 12 Tunes of popular Chilean (1918-1922).
• 9 Studies (1920-1936). Cuts
• Children (1931). Berceuse
• (1932).
  

For voice and piano:

• Ave Maria (1914).
• youth anthem (1912).
• Encounter and Beneath a lime, soprano and alto with piano (1915).
• The unhappy lover. Tune (1915).
• Easter Tree.
• Round (1916).
• Anthem (1924).
• While lowering the snow, the fountain, to the clouds of sorrow Ojitos (1925).
• Ode to Chiloé (1926).
• Six Children's Songs (1926).
• Constitution Himno del Liceo (1928).
• Liceo de Talca Hymn (1931).
• The white water lilies (1932).
• Anthem (1934).
• Anthem at The (1936).
  

number:

• A layman who asks silver. Singing and guitar (1907).
• Mozart Rondo alla (1908).
• Tempo di valse, Gavotte, Waltz for Four Hands for piano (1915).
• Havdage arnue. Ask post-futuristic, for piano (1916). He
• brush ingredients. As school piano (1919).
• Minus alla Ravel for piano (1920).
• Time says valleys, for harp (1925).
• Schumann Reverie for voice and piano (1925).
• Nocturne in G Chopin. Soprano, the altos and piano (1925).
• Novelletta No. 9, Schumann Four voices and piano (1925).
• Adagio for guitar (1928).
• pantomime "El Amor Brujo" de Falla. For the pianos (1932).
Album
• school songs one and two voices, with piano (1933).
• Study No. 5, transcription for lute quartet (1933).
• Sarabande and Minuet, Gavotte and Rondo for two pianos (1936).
• "Cinderella" comic chamber opera (1948).
  

References:
http://www.scielo.cl/scielo.php?pid=S0716-27902002019700004&script=sci_arttext
http://es.wikipedia.org/wiki / Pedro_Humberto_Allende
http://www.memoriachilena.cl/mchilena01/temas/dest.asp?id=acariopedro
http://mazinger.sisib.uchile.cl/repositorio/lb/uchile/salasv01/compositores/02.html
http://www.epdlp.com/compclasico.php?id = 3311
http://mazinger.sisib.uchile.cl/repositorio/lb/uchile/salasv01/compositores/03.html