The International Conservatory of Music presents
The John E. Marlow Guitar Series 22nd Season • 2015-2016 301-654-6403 • www.MarlowGuitar.org
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How The John E. Marlow Guitar Series Began With the unexpected passing of John Marlow in 1992, his friends formed a committee to organize a musical tribute to John and to raise scholarship money for his son, Richard. The tribute was a huge success, bringing in almost $6,000 for Richard Marlow’s first semester at college. The magic that was felt by all in attendance on that beautiful Sunday afternoon of April 18th, 1993, inspired Tim Healy and Regis Ferruzza to create a guitar series in John’s name.
John E. Marlow The John E. Marlow Guitar Series is dedicated to our good friend John Marlow: performer, composer, arranger, educator and former Head of the Guitar Department at American University. John inspired and assisted generations of guitarists with his talent, commitment to excellence and generous personality. Few are the guitar professionals in the Washington area whose work was not influenced by John. The International Conservatory of Music has chosen to commemorate this outstanding human being with an annual living memorial:
The John E. Marlow Guitar Series
INTERNATIONAL CONSERVATORY OF MUSIC www.internationalconservatory.org
The International Conservatory of Music (ICM), a 501(c)(3) organization, is the umbrella organization for: • The John E. Marlow Guitar Series • Beatty Music Scholarship Competition for Classical Guitar • Education and Outreach Programs • Embassy Concert Tours in USA ICM was incorporated in the District of Columbia in 1980 and registered in the State of Maryland in 1995. Our mission is to create community through music. The John E. Marlow Guitar Series brings the best classical guitarists in the world to Montgomery County, MD to entertain, educate, and inspire. We also present the Beatty Music Scholarship Competition for Classical Guitar, the Embassy Concert Tours in USA, and Master Classes, School Visits, Community Concerts and Podcasts through our Education and Outreach Programs. In the past 35 years, ICM has presented hundreds of events and co-sponsored programs with area universities, the John F. Kennedy Center for the Performing Arts, Embassies, Federal Government agencies, public school systems and other community and cultural organizations. ICM Board of Directors Timothy Healy, President; Edwin Butterworth, Jr.; Chien-Tai Chen, DMA; Joan Collings; Amy Crews Cutts, PhD; Michael DiMattina, MD; Neil Doherty; Cheryl Dragoo; Deborah Drayer; William Herrmann; David Kirstein, Esq.; Art Kosatka; Charlotte A.Kuenen, CFP; Henry Levin, PhD; Glen McCarthy; Duane Morse, Esq.; Gonzalo Palacios, PhD; Shereen Remez, PhD; Lucinda Wilson, Johnny Young. Ex. Officio: Susan Healy, Administrative Director; Danielle Cumming, Artistic Director
Thanks to our Invaluable Friends! Vittorio Brod for sharing our vision & providing us with our most generous donation to date
Julius Rosen & Shirley Wolock for Marlow Guitar ticket-taking & cheerful greeting
John & Susie Beatty for supporting the Beatty Music Scholarship Competition
Miyuki & Shuko Yoshikami for general support & Marlow Guitar Receptions
The Charles Del Mar Foundation for its continued financial support & friendship
Robert Scharf for Marlow Guitar ushering & Receptions
Tomoko Shinagawa for taking on Quickbooks for ICM
Meagan Healy for ICM & Marlow Guitar social networking, design work & Marlow Guitar Receptions
Mike Hemmer for concert sponsorships
Jim Rose & Susannah Hills Rose for Marlow Guitar Receptions
Debbie & Patrick Mezzetta for Marlow Guitar CD & raffle sales
Keith Bickel for Beatty Music Scholarship Competition website development & support
Myrna Sislen for general support and concert sponsorship
International Conservatory of Music/The John E. Marlow Guitar Series is supported in part by funding from the Montgomery County government and the Arts and Humanities Council of Montgomery County.
The International Conservatory of Music
Our Supporters Gran Maestro: $10,000 & Higher John & Susie Beatty Arts & Humanities Council of Montgomery County & Montgomery County Government
Maestro: $5,000 -$9,999 James and Amy Crews Cutts, sponsors of the Beatty Music Competition The Charles DelMar Foundation TECRO - Taipei Economic and Cultural Representative Office in the United States, sponsor of the Chia-Wei Lin performance
Artist: $1,000 - $4,999 Mike Hemmer, sponsor of the Xuefei Yang performance Charlotte Kuenen & David Kirstein Duane Morse, Esq., producer of “Marlow Series Favorites” CD, sponsor of the Marco Socías performance Equifax Foundation, matching Gonzalo Palacios, G. PhD, sponsor of the Bandini-Chiacchiaretta Duo performance The Reinvestment Fund, matching Shereen Remez, PhD, sponsor of the David Russell performance Iota chapter of Rho Psi Society Johnny Young
Virtuoso: $500 - $999 Art Kosatka Susan Healy, sponsor of the Zoran Dukic performance Michael DiMattina, MD Shuko & Miyuki Yoshikami
Friends of the ICM Chevy Chase @ Home, Betty O’Connor Catholic University Music Department
The International Conservatory of Music
Our Supporters Performer: $250-$499 Edwin Butterworth, Jr. Joan Collings June Das Gupta Neil Doherty Deborah Drayer Cheryl Dragoo William Herrmann William Marple Jim & Susannah Hills Rose Julius Rosen, in memory of Beatrice Rosen Anne & Paul Williams
Lucinda Wilson Shuko & Miyuki Yoshikami Guitar Gallery, Washington, DC Steve & Linda Spellman - The Guitar Shop Jerry Lynn Guitar with Victor Litz Music Center Kirkpatrick Guitar Studio, Baltimore, MD Middle C Music Gail Yano and Edward Celarier
Player: $50-$249 Jacqueline Barth Sonja Benson Deborah Best Emily Best Robert Bergman Frank Bevacqua Bruce Bostwick Philip Branton Mark Campbell Vera Connolly Steve Corley David & Margaret Delia Mark De Mulder Karl Edler III Andrea Feight Peter Gray
Jeffrey Green George Hammer Virginia Hartman Joseph Handwerger Linda Hause Gary and Susan Hilbert Richard Humbert Jorn Larsen-Basse Larry LeMaster Fredric Margolis P. Van Mechelen Bruce Mencher Cliff & Claudia Moy Patricia Randall Marlon Rebelatto Mary & Michael
Rubino Robert G. Scharf Calvin Schnure Michael Shanley & Shirley Street Tomoko Shinagawa Elizabeth Stanford Toivo Tagamets Sharon Virga Bruce Weber Tim Wechsler Willner Family Deborah Wood
EVENING OF THE CONCERT • Pre-Concert Lecture 7:15 - 7:45 pm - given by Professor Larry Snitzler in the downstairs Reception Hall of the Church • Door Prizes & Our Mailing List When you present your ticket to each performance in the Church, you are entitled to fill out a voucher to qualify for a free door prize. Prizes include CDs of the artist performing that evening or free tickets to upcoming performances. The International Conservatory of Music/John E. Marlow Guitar Series will use the information you provide to create a mailing list to inform you of future performances. (We do not sell or give away this list.) If you do not wish to be put on the list, write only your name on the voucher. • Guitar Raffle & Rules to the Raffle Each concert, we will raffle off one guitar. Raffle Tickets - $5 each; 5 for $20. This year, five guitar specialty shops have contributed a guitar to use for the raffle, in support of the John E. Marlow Guitar Series. Please support these shops & guitarists: The Guitar Shop: Please call Steve Spellman at 301-807-7777 Jerry Lynn Guitar & Victor Litz Music: 306 East Diamond Avenue, Gaithersburg, MD Kirkpatrick’s Guitar Studio: 4607 Maple Avenue, Baltimore, MD Middle C Music: 4530 Wisconsin Avenue, NW, Washington, DC Guitar Gallery: 3400 Connecticut Ave NW Washington DC Rules: 1. You must be present to win. 2. You can only win one guitar per season. 3. If you don’t win in a drawing on a particular night, your unpicked ticket will qualify for the next drawing until the end of the season. • Our Free “Meet The Artist” Reception Following each performance at the Church, the International Conservatory of Music hosts a complimentary reception in the Reception Hall downstairs. This is a great opportunity for you to meet the performer/s and have your CDs autographed and meet other music lovers and friends.
WELCOME Our Artistic Director, Danielle Cumming and our Outreach/Education Coordinator, João Paulo Figueirôa welcome you to our 2015-16 Season.
Danielle Cumming Artistic Director Dr. Danielle Cumming has a background in performance, education and concert presentation. She is an active guitarist and recording artist, and is the founder and director of the Guitar Festival and the Guitar in the Gallery concert series at Salisbury University, Salisbury MD, where she is an Associate Professor. Dr. Cumming frequently serves as an adjudicator at international guitar competitions and as a teacher of master classes at festivals in the US, Canada and Germany. She holds a Doctorate in Music Performance from McGill University and a Masters in Performance from the University of Toronto, where she studied with the renowned guitarist, Norbert Kraft.
danielle@marlowguitar.org
João Paulo Figueirôa Education & Outreach Coordinator Praised for his lively and imaginative musical reading by the Washington Post, Dr. João Paulo Figueirôa is recognized today as one of the most influential classical guitar players from Brazil. Dr. Figueiroa has performed in guitar festivals, television and radio broadcasts, and with several orchestras throughout the United States and South America. His performances include appearances at the Kennedy Center, Sala do Coro do Teatro Castro Alves and for the John E. Marlow Guitar Series. In addition to his performing career, Dr. Figueiroa is also in demand as a teacher. He has served as a faculty member at Universidade Federal da Bahia in Brazil, and as a teaching assistant at The Florida State University, where he obtained his Master’s and Doctoral degrees. Currently, he is the director of guitar studies at Catholic University of America. joao@marlowguitar.org
“...yours is one of the most important series in town.�
Tim Page, Former Chief Music Critic The Washington Post email: January 17th, 2006
JOIN
THE BOARD OF DIRECTORS Come and join those who are already decision making members of the Board of Directors for the ICM: John E. Marlow Guitar Series and other exciting programs. Let us hear from you. Please call Tim Healy: 301-980-4085 or Please call the ICM Phone: 301-654-6403
THANK YOU Duane Morse for Chairing the Board Membership Committee, for Marlow Guitar Series Favorites CD Project, legal assistance, visa applications & concert sponsorships, work on the Cultural Data Project Charlotte Kuenen for chairing the Fundraising Committee & to members Duane Morse, David Kirstein, Tomoko Shinagawa & Tim Healy. Amy Crews Cutts for her leadership in organizing the Beatty Music Scholarship Competition, fundraising, donations & sponsorship. Neil Doherty for his help with tickets & the ICM phone David Kirstein for legal advice & hosting Marlow Guitar artists Art Kosatka for his support for the recording of Finals Night at the Beatty Music Scholarship Competition
Henry & Susan Levin for hosting ICM Board Meetings Cheryl Dragoo for her accounting assistance & generous donations William Herrmann for hosting Marlow guitarists, ushering & lights management, Beatty Music Scholarship Competition support Joan Collings for ICM administration & Marlow Guitar Receptions Deborah Drayer for working on Marlow Guitar Receptions, the Beatty Music Scholarship Competition & writing exceptional reviews Gonzalo Palacios for letter writing and concert sponsorships Johnny Young for taking tickets and over all friendly support
Master Classes This year, the Series is offering four master classes and two classroom presentations by our world class, international touring professionals. Participants: Prospective Master Class participants can apply for as many classes as they wish, however participation may be limited and an audition may be requested prior to selection. Those not selected to play will be offered an alternate class or have their Master Class fee reimbursed. Those wishing to be selected to perform in the master class should complete the On-Line Master Class Application Form and pay the Master Class fee $75 per Master Class, with exception of the Master Class for David Russell Master Class fee of $90*. Or mail the Application Form and check payment to: 7001 Delaware St. Chevy Chase, MD 20815 * Early Application for the Master Class is available for a discount rate of $50 (per Master Class and $75 for David Russell). In order to qualify for the discount rate, the application must be received at least one month prior to the intended Master Class start date. No application and/or fees will be accepted on the day of the Master Class. Auditors: Master-Classes are free for auditors, however donations are accepted. The auditor’s suggested donation is $10 and must be paid in advance. Donations can be made on-line or at the Marlow Series Concerts. Thank you for supporting new educational opportunities for young guitarists. All master classes take place on Sundays from 1pm – 4 pm Marco Socías - October 25, 2015 Zoran Dukić - January 24, 2016 Xuefei Yang - February 21, 2016 David Russell - March 13, 2016 Location: Chevy Chase Village Hall 5906 Connecticut Ave. Chevy Chase, Md. 20815 http://www.marlowguitar.org or http://bit.ly/JEMGSMasterClasses Questions: Contact our Education and Outreach Coordinator, João Figueirôa at (571) 305-1280 or joao@marlowguitar.org
Hundreds of millions in real estate sales. Tim O. Healy is a “Friend In Deed!”
Call Tim: (301) 980-4085 Timothy.Healy@lnf.com TimOHealy.com Facebook.com/TimOHealyRealEstate
20 Chevy Chase Circle, NW Washington, DC 20015 Office - 202-363-9700 Office Direct - 202-895-7319
Marco Socías, SPAIN
Photo: Supplied by artist
The great Spanish composer, Joaquin Rodrigo, said this of Marco Socías’ interpretations of his compositions:
and powerful technique” (January 1998).
“A new recording of my guitar works is always gratifying. But in the case of this young Spanish interpreter, that satisfaction becomes a delight. Socías’ framework provides a deep emotional journey through some of my most emblematic works with genuine musicality
Born in Malaga to a family of pianists, Marco Socías received his education in his hometown and later at the Musikhochschule of Cologne, Germany. Among the teachers who had the most influence in Socías’ development are Carmen Gallardo, Antonio Company, Jose Tomas, Jose Miquel Moreno and David Russell. Mr. Socías has been awarded top prizes from a number of prestigious international guitar competitions, such as Le Printemps de la Guitare (Belgium), the Infanta Cristina (Spain) and the International Competition of Gargnano (Italy). He has performed in the major cities of Europe, the Middle East and the United States. He is regularly invited to take part in international guitar festivals and in addition to his extensive recital career he is frequently invited to perform with chamber groups and distinguished orchestras. To date, he has recorded 8 CDs, mostly of Spanish music. Currently Marco Socías is Professor at the Center of Music of the Basque Country, Musikene San Sebastian.
Marco Socías, SPAIN October 24, 2015
This concert is sponsored by Duane Morse, Esq.
Concert Program John Dowland (1563-1626)
Lady Hunsdon’s Puffe Lachrimae Pavan Sir John Smith, his Almaine
Silvius Leopold Weiss (1687-1750)
Suite II in D Prelude Allemande Courante Bourrée Sarabande Menuet Gigue
Fernando Sor (1778-1839)
Introduction, Theme and Variations on a Theme by Mozart
Intermission Regino Sáinz de la Maza (1891–1981)
Zapateado Petenera Rondeña
Eduardo Sáinz de la Maza (1903–1982)
Platero y Yo Platero La azotea Paseo La muerte
Joaquín Rodrigo (1901-1999)
Sonata Giocosa Allegro moderato Andante moderato Allegro
Marco Socías Program Notes
John Dowland: Lady Hunsdon’s Puffe, Lachrimae Pavan, Sir John Smith, his Almaine The pre-eminent lutenist of his day, John Dowland was an almost exact contemporary of William Shakespeare. He wrote over 80 songs for voice and lute, and for solo lute many Fantasias, as well as dancemovements, including pavanes, galliards, almains and jigs. Perhaps his best-known work is the Lachrimae Pavan, a melancholic work that became the most popular pavan of its age, a model for all pavans and central in the Elizabethan lute repertoire. Silvius Leopold Weiss: Suite II in D Silvius Leopold Weiss, born in Breslau, capital of Silesia, (now Wrocław, Poland) in 1686, is now acknowledged as the greatest Baroque lutenist of his epoch. Taught by his father, he studied the lute from an early age and eventually entered the service of aristocrats in Germany and Italy as a court musician. In 1718 he was appointed to the Dresden court where he joined the famous orchestra of the Elector of Saxony and King of Poland. Weiss remained in this post until his death in 1750. Weiss composed over 600 pieces for solo lute organized into suites or Sonaten. The majority of these are contained in two manuscripts, one located in the British Library, London, and another in the Sachsisches Landesbibliothek, Dresden. Weiss was also a renowned teacher, and among his pupils was the youthful Frederick the Great. Fernando Sor: Introduction, Theme and Variations on a Theme by Mozart Fernando Sor performed his compositions on a guitar smaller in structure than the instrument as we know it today. Yet he captures the essence of the guitar as a ‘miniature orchestra’, emulating the great composers by writing sonatas, fantasias, sets of variations, and many studies for all levels of ability. Spanish by birth, he emigrated to France after Napoleon’s defeat in Spain, and travelled extensively, giving recitals in Britain, Poland and Russia.
Marco Socías Program Notes
Fernando Sor, cont. His variations on “O cara armonia” from Mozart’s The Magic Flute, indicate a great deal about Sor’s approach. Such a brilliant showpiece surely astounded Sor’s audiences as there were few guitaristic precedents for this kind of “tour de force” in which the instrument’s technical devices were developed with such gusto. Opus 9 is one of those rare compositions which break new ground, uniting lyricism with thrilling virtuosity. Regino Sáinz de la Maza: Zapateado, Petenera, Rondeña Eduardo Sáinz de la Maza: Platero y Yo The brothers Regino and Eduardo Sainz de la Maza were born in the northern Spanish town of Burgos. Although both became accomplished guitarists and composers, Regino was the more distinguished of the two. He is perhaps best known as the guitarist for whom Rodrigo wrote the famous Concierto de Aranjuez (1939). The zapateada and the petenera are typical flamenco dance types from Andalusía. Both feature extensive use of hemiola, a rhythmic effect created by the mingling of duple and triple divisions of the measure. Platero Y Yo (Platero and I) is a suite of eight short works inspired by a work of the same name (written in 1914) by poet Juan Ramón Jiménez. The music is inspired by the prose, about the writer and the donkey Platero in which the writer confides as they travel through Andalusía. Joaquín Rodrigo: Sonata Giocosa Joaquín Rodrigo, composer of the renowned guitar concerto, Concierto de Aranjuez, is acknowledged as one of the great Spanish composers of the twentieth century. Though blind from childhood, Rodrigo wrote almost two hundred works, although is perhaps best known for his writing for guitar. Sonata giocosa, Rodrigo’s first sonata for the guitar, was composed in 1958 and dedicated to Renata Tarragó, an earlier editor of the Concierto de Aranjuez. The work is naturally good-humoured, following concepts of the ‘sonatina’ rather than a weightier ‘sonata’. The opening
Marco Socías Program Notes
Joaquín Rodrigo cont. ‘Allegro moderato’ contains several echoes from other works, such as the ‘wrong note’ and dissonant chord concepts of Fandango from Tres piezas españolas, the downward triple runs reminiscent of the Concierto de Aranjuez, and rapid scale passages in quasi-flamenco mode. The charming slow movement, ‘Andante moderato’, relies on a lightly dotted rhythm interspersed with firm chords. The final ‘Allegro’ is a vigorous zapateado dance in 6/8 time, with strummed chords, and a strong flamenco flavor. Notes by Nigel North (Dowland), Graham Wade (Rodrigo, Sor, Weiss) and Jonathan Kulp (E. & R. Sainz de la Maza), edited by Danielle Cumming Marco Socías is a D’Addario Artist. He performs on a guitar made by Irish luthier Michael O’Leary.
In 2015 - 2016, The International Conservatory of Music celebrates the John E. Marlow Guitar Series’ 22nd Anniversary Season
Chia-Wei Lin, TAIWAN
Photo: Supplied by Artist
This young Taiwanese guitarist makes his first appearance on the John E. Marlow Guitar Series stage, and just his second concert in the United States beyond his Carnegie Hall debut last season. Chia-Wei Lin was born in Kaohsiung, Taiwan in 1988, and studied the guitar with his father from the age of four. At age 8, he began studying guitar with Professor Panpei Huang and Showlee Huang in Taiwan and quickly received many honors including the Prize from President of Taiwan and Top Rising Stars in Taiwan. Performing professionally since a teenager, Lin has won prizes at the most prestigious competitions in Europe for his expressive playing and astonishing technical facility. In addition to national and international competition wins, he has played concerts and recitals with orchestra. After graduating in Taiwan, he continued to study in Germany with Professor Hubert Kappel at the Koblenz International Guitar Academy. He is currently a student at the Cologne Conservatory.
Chia-Wei Lin, TAIWAN November 21, 2015
This concert is sponsored by TECRO - Taipei Economic and Cultural Representative Office in the United States
Concert Program Luis Milan (c. 1500 – c. 1561)
Pavana No. 1
Alonso Mudarra (c. 1510 – c. 1580)
Fantasia
Mauro Giuliani (1721-1829)
Gran Sonata Eroica, Op. 150
Chien-Tai Chen (b. 1949) Marek Pasieczny (b. 1980)
Tango Tomorrow I Am My Lover’s The Tango Impressions
Intermission J.S. Bach (1685-1750)
Sonata No. 3, BWV 1005 Adagio Fuga Largo Allegro assai
Carlos Moscardini (b. 1959)
Suburbio
Chia-Wei Lin Program Notes
Luis Milan: Pavane No. 1 Milan was a composer, writer, courtier, and player of the vihuela, a plucked string instrument which was popular during the Spanish Renaissance. Milan lived in Valencia at the brilliant and cultivated court of the vicereine Germaine de Foix, which he described in a manual of courtly behavior, El Cortesano (1561). His most famous work is El Maestro (1536; “The Teacher”), a collection of vihuela pieces and songs with vihuela accompaniment. El Maestro was the first of a series of vihuela books that became one of Spain’s most distinguished contributions to 16th-century music. Alonso Mudarra: Fantasia Spanish composer and vihuelist Alonso Mudarra, probably traveled to Italy with his patron before returning to Spain, becoming a priest and eventually a canon at Seville cathedral, overseeing musical activities there. His book of vihuela and guitar music, Tres libros de musica en cifras para vihuela (‘Three Books of Music in Tablature for the Vihuela’) was published in 1546. It contains fantasias, diferencias (variations), instrumental dances (pavanas and a gallarda), short prelude-like pieces, several pieces for four-course guitar, and one piece for harp and organ. Mudarra uses symbols to indicate tempos, and he discusses plucking technique in his book’s preface. Mauro Giuliani: Gran Sonata Eroica, Op. 150 Mauro Giuliani was the greatest guitar virtuoso of his generation and one of the finest composers for the instrument. The details of his musical training are not known, but he was born in Bisceglie, in the old Kingdom of Naples, and he settled in Vienna in 1806. There he established himself as the best guitarist in the city, where the instrument was enjoying great popularity, and he befriended many of the city’s musical luminaries, including Beethoven and Schubert. An important innovator, Giuliani composed what may have been the first virtuoso guitar concerto and dozens of other works, many of them requiring prodigious technique on the instrument. Giuliani returned to Italy in 1819, perhaps to escape debtors, and spent his last years in Rome and Naples. During these years he met Rossini, who had always
Chia-Wei Lin Program Notes
Mauro Giuliani cont. been a great influence on his music, and also Paganini, with whom he was frequently compared. The one-movement Sonata Eroica, Op. 150, one of only three sonatas composed by Giuliani, was published posthumously by Ricordi in 1840. Chien-Tai Chen: Tango Tomorrow Board member and long time insider to the International Conservatory, Dr Chien-Tai Chen has surprised us all by quickly composing a new work - Tango Tomorrow. Using a theme from his opera, Journey to the West, Chen draws on early Chinese literary history to breathe new life and a uniquely Chinese way of thinking to the classical guitar. - Chen Chien-Tai Chen: I Am My Lover’s Chien-Tai Chen’s I Am My Lover’s was inspired by the same source of many artistic works, a movie watched in a living room. The movie, Meet Joe Black, is a love story between a spiritual being who falls in love with a woman. Underneath this story though, is one of a father’s deep love for her daughter and the difficulty he has with letting her go. This is an emotion that every daughter’s father struggles with but it is also one of the central themes in the Bible, the father’s love for his people. The lyrical inspiration is found and paralleled in the 6th chapter of the Song of Solomon. The Song of Solomon was written by a young man to his lover but many early Jewish interpreters saw the book as an allegory for God’s love for Israel and many Christian theologians interpret the book as an allegory for Christ’s love for his church. - Chen Marek Pasieczny: The Tango Impressions Polish guitarist and composer Marek Pasieczny is one of the most influential and respected young composers for guitar. Pasieczny holds a double Master’s Degree from the Royal Conservatoire of Scotland in Glasgow (in Composition and Performance) and a Master’s from “Karol Lipinski” Academy of Music in Wroclaw, Poland. Pasieczny has composed for and collaborated with such musicians as Pat Metheny, Odair and Clarice Assad, David Russell, Roland Dyens and many others. Tango Impressions resulted from Pasieczny’s experiments with
Chia-Wei Lin Program Notes
Marek Pasieczny cont scordatura tuning, exploration of percussive techniques and what he describes as “their infinite scale of colors” on the guitar. Chia-Wei Lin gave the US premiere of this work at Carnegie Hall in 2014. Johann Sebastian Bach: Sonata No. 3, BWV 1005 Bach completed his Three Sonatas and Three Partitas for Unaccompanied Violin, BWV 1001 -1006 in 1720, during his time as Kapellmeister in the court of Prince Leopold of Anhalt-Cöthen. Leopold was a supportive patron who highly valued music, and Bach found the atmosphere at Cöthen tremendously conducive to work. In addition to the Sonatas and Partitas, it was during these years that Bach wrote the six Brandenburg Concertos and the Well-Tempered Clavier. The Sonatas are patterned after the Italian sonata da chiesa. By this time performed outside of Mass, these sonatas were usually constructed in four movements arranged in the order slow-fast-slowfast. In the Sonata No.3 the opening ‘Adagio’ is followed by the ‘Fuga’ whose subject is based on the Lutheran chor’ale hymn, Komm Heilger Geist, Herre Gott. This work may be the longest existing fugue of Bach. The third movement, ‘Largo’, is Bach at his most tender, and the brilliant ‘Allegro assai’ draws this final sonata to a triumphant conclusion. Carlos Moscardini: Suburbio The Argentine guitarist and composer Carlos Moscardini was born in Buenos Aires in 1959. He is Tango professor at Gilardo Gilardi Conservatory of Music in La Plata and at Manuel de Falla Conservatory of Music in Buenos Aires. A competition winning performer, he has also gained great praise for his publications for guitar, including Suburbio, written in 2010, which draws from milonga and tango traditions. Notes by Chia-wei Lin, Colin Cooper (Giuliani), Nicholas Goluses (Bach), Eden Chen (Chen), edited by Danielle Cumming. Chia-Wei Lin is a D’Addario Artist. He performs on a guitar made by Spanish luthier, Paulino Bernabe.
Zoran Dukić, Croatia
Photo: Mario Majcan
Zoran Dukić is one of the most distinguished classical guitarists of our time. His concert performances, both as a soloist or with orchestra, leave long-lasting impressions on both audiences and critics. Dukić graduated from the Music Academy of Zagreb, studying with Darko Petrinjak, then completed his studies with Hubert Kappel at the Hochschule Musik in Cologne, Germany. In his “tour de force” competition years (1990-1997) Zoran Dukić won an astonishing number of competitions, and remains the only guitarist to have won both “Andres Segovia” competitions, in Granada and in Palma de Mallorca, and demonstrated astounding mastery of musical periods and styles by winning competitions dedicated to such diverse composers as “Fernando Sor”, “Manuel Ponce”, “Manuel de Falla”, and “Francisco Tarrega” among others. At the most prestigious Spanish guitar competition, patronized by the Royal Family, Dukić was awarded not only the first prize, but the special prize for the best interpretation of Spanish music, making him the first non-Spaniard to receive this honor. Though he considers the music by J. S. Bach the focal point of his musical life, Dukić is a great admirer of contemporary music, and his programs include works by the greatest names in modern writing, including Takemitsu, Henze, Reily, Carter and Gubaidulina, and this has inspired numerous composers to dedicate their works to him. Dukić also enjoys a special affinity for Spanish and South American musical idiom, the core repertoire of classical guitar. Currently, his carefully balanced programs present a range of music from Bach to Britten, from Sor to Albaniz, from Tarrega to Villa-Lobos and Brouwer. He is truly a master of the guitar.
Zoran Dukić
January 23, 2016 This concert is sponsored by Susan Healy
Concert Program Silvius Leopold Weiss (1687-1750)
Tombeau sur le mort de Comte D’Logy
J. S. Bach (1685-1750)
Ciaccona BWV 1004
Miguel Llobet (1878-1938)
Four Catalan Folk Songs El testament d’Amelia Canco del Lladre El Noy de la Mare Le nit de Nadal
Fantasy Malcolm Arnold (1921-2006) Prelude Scherzo Arietta Fughetta Arietta March Postlude
Intermission Juan Manén (1883-1971)
Fantasia Sonata Op.22a
Gerard Drozd (b. 1956)
Adagio Op. 44 (hommage à J.S. Bach)
Astor Piazzolla (1921-1992)
Invierno Porteño La Muerte del Angel
Zoran Dukić Program Notes
S.L. Weiss: Tombeau sur le mort de Comte D’Logy Weiss’s Tombeau is one of the most beautiful pieces of the tombeau genre in all Baroque repertoire, which is of no surprise since the vast majority of tombeaus were written for lute and Weiss was by far the most advanced lutenist of the time. With the first ever tombeau written by the French lutenist Gaultier in 1638 the new genre was born. It seems only natural that it spread so quickly since lutenists (as well as guitarists today) are of a sentimental, melancholic temperament who enjoy solitude as much as the intimacy of their instrument, it being the quietest instrument in the world. This is the ideal set of circumstances for creating the most profoundly beautiful music when mourning the death of someone close or important in one’s life. Weiss’s example is exquisitely sensitive and filled with deep sadness after the death of a close friend and a colleague lutenist. J.S. Bach: Ciaccona BWV 1004 Bach’s Ciaccona stands out in so many ways from the rest of his vast opus. It is the longest single movement he ever composed. Its magnificent architecture attracted the attention of so many artists and its dramaturgy keeps defying all theoretical intentions to squeeze it into the narrow constraints of the Baroque style or any other style for that matter. It reaches far beyond those limits. It has been arranged countless times, and for dozens of instruments, by Mendelssohn, Brahms, Schumann and others. It is no wonder that the latest musicological research seems to confirm that it was composed just after Bach’s first wife Maria Barbara passed away, proving it to be a sort of a tombeau, an elegy, a lament for his beloved, a deep cry for the loss of love, for the cruelty of life, yet bringing forth new hope. J. Manen: Fantasia Sonata Op.22a Juan Manen lived a long and fruitful musician’s life. His virtuoso violin playing took him all over the world, often accompanied on piano by some of the greatest musicians of the time, Granados and Richard Strauss among many.
Zoran Dukić Program Notes
J. Manen cont. Befriended by Tárrega and Segovia, Manen was very intimately connected to the guitar. Sonata-Fantasia was composed for Segovia in 1929. It is a unique piece in the guitar repertoire due to its symphonic, almost Wagnerian dimensions. Using Liszt’s piano sonata as the model, it is written as a continuous piece, without pauses between the movements, though one can easily discern 5 clear sections - 3 sonata movements are encompassed by an introduction and coda, both of the same thematic material. It is an impressively rich and passionate piece in the style of late Romanticism. Malcolm Arnold: Fantasy Sir Malcolm Arnold - one of the most important British composers, acquired even wider fame by winning an Oscar for his music in the movie The Bridge over the River Kwai. His Fantasy for guitar was written for Julian Bream in 1971. It is an immensely original piece, full of lovely British humor and composed in a variety of styles ( one can hear dodecaphony, Ravel, Bach, Stravinsky and plenty of brass instrument imitations such as in an opening and closing fanfare-like chords, Arnold himself being an accomplished brass player) and it is structured in a mirror fashion. It has 7 movements, the fughetta being the central point around which the surrounding movements reflect each other. Miguel Llobet: Four Catalan Folk Songs Miguel Llobet could not have imagined that his arrangements of Catalan popular tunes would become his most successful creation for guitar. They are played worldwide, have been recorded countless times and belong to the core of the classical guitar repertoire. By enriching the tunes with gorgeous impressionistic harmonies Llobet also opened new horizons for 20th century arranging for guitar by showing the full possibilities of the instrument. The four songs presented tonight are Amelia’s Will, The Song of the Thief, Mother’s Son and Christmas Night. These songs are very much alive in Catalonian culture and one can still hear them when strolling through the streets of Barcelona.
Zoran Dukić Program Notes
Gerard Drozd: Adagio Op. 44 (hommage à J.S. Bach) Drozd composed Adagio for his daughter in the early 1990s. Very much inspired by Bach, it is a simple piece of great beauty, a beauty that stems from the simplicity. As soon as I heard it I decided to include it in my repertoire. It is the most often performed piece by Drozd and it has already been arranged for many instruments and ensembles. The original guitar version is primarily in just two voices, with a regular eighth note movement in the bass line and neo-Baroque melody gently carrying us through the typical form of a Baroque second movement (AABB) but with added repetition of the “A” part at the end of the piece. Astor Piazzolla: Invierno Porteño, La Muerte del Angel Piazzolla used to define his new direction in tango composition as “Nuevo tango = tango + tragedy + comedy + whorehouse”. La muerte del ángel (from a series of ‘angel’ pieces), one of the first pieces with which Piazzolla shook the conservative world of tango. Invierno porteño (Winter in Buenos Aires) is a movement from Piazzolla’s Four Seasons written for his Quinteto. It was arranged masterfully by Sergio Assad, using the guitar’s potential to its maximum through polyphony, rich harmonization and rhythmic textures and yet sounding as if it were written for guitar originally. I see it as the masterpiece of contemporary arranging for classical guitar. Notes by Zoran Dukić.
Zoran Dukić is a D’Addario Artist. He performs on a guitar made by French luthier Daniel Friedrich.
Photo:Neil Muir
Xuefei Yang, CHINA Xuefei Yang is acclaimed as one of the world’s finest classical guitarists. Born in Beijing, she was the first-ever guitarist in China to enter a music school (Beijing’s Central Conservatoire of Music), and became the first Chinese guitarist to launch an international professional career. Now based in the UK, she has recorded several highly acclaimed CDs for EMI Classics. Fei’s first public appearance was at the age of ten and received such acclaim that the Spanish Ambassador in China immediately presented her with a concert guitar. Her debut in Madrid at the age of 14 was attended by the composer Joaquin Rodrigo and, when John Williams heard her play he gave two of his own instruments to Beijing’s Central Conservatoire especially for her and other advanced students. She then went on to become the first Chinese student to be awarded a full postgraduate scholarship to study at London’s Royal Academy of Music. In recognition of her distinguished career, Fei was awarded a Fellowship of the Royal Academy of Music in June 2012. Fei enjoys a truly international career, performing worldwide as a soloist, chamber musician and with leading orchestras. Her success has led her to be invited to many prestigious venues such as Wigmore Hall, all Southbank venues, and Royal Albert Hall in London, as well as the Philharmonie Berlin, Musikhalle Hamburg, Concertgebouw Amsterdam, Konzerthaus Vienna, Auditorio Nacional de Espana, Carnegie Hall and Lincoln Center New York, and the Herbst Theatre San Francisco. Fei is one of the few guitarists who is frequently invited to play with the world’s leading orchestras including Royal Philharmonic Orchestra, BBC Concert Orchestra, English Chamber Orchestra, Royal Scotland National Orchestra, Royal Liverpool Orchestra, Hamburg Symphony Orchestra, Hong Kong Symphony Orchestra, New Zealand Symphony Orchestra, & Detroit Symphony Orchestra. The UK classical music magazine, Classic FM, named Xuefei as one of the 100 top classical musicians of our time.
Xuefei Yang
February 20, 2016 This concert is sponsored by Mike Hemmer
Concert Program Isaac Albeniz (1860-1909)
Torre Bermeja, arr. Xuefei Yang
Franz Schubert (1797-1828)
Three Songs, arr. Johann Kaspar Mertz In Praise of Tears Homestead Serenade
Enrique Granados (1867-1916)
Valses PoĂŠticos, arr. Xuefei Yang
Claude Debussy (1862-1918)
La Fille aux Cheveux de Lin, arr. Julian Bream
Manuel de Falla (1876-1946)
Homenaje, pour le tombeau de Debussy Spanish Dance No.1 from La Vida Breve, arr. Xuefei Yang
Intermission Stephen Goss (b. 1964)
llustrations to the Book of Songs Separation Mountain Song Lamentation Flowers and Youth Pastoral Wan Dance
Xuefei Yang Concert Program cont Chen Yi (b. 1953)
Shuo Chang
Chinese Trad.
Fisherman at Eventide, arr. Xuefei Yang
Heitor Villa Lobos (1887-1959)
Suite Populaire Bresilienne Mazurka-choro Schottisch-choro Valsa-choro Gavota-choro Chorinho
Xuefei Yang Program Notes
Isaac Albeniz: Torre Bermeja (arr. Xuefei Yang) Much of composer Isaac Albeniz’s piano music captures the sound of Spain, and inherent in it is the sound of the Spanish guitar. Perhaps this explains why his music sounds so natural when arranged for guitar. Torre Bermeja, (the Vermillion Tower) vividly evokes the rhythms, heat and colours of Spain. Xuefei’s own arrangement closely follows Albeniz’s original score. Franz Schubert: Drei Lieder (arr. J.K. Mertz) Austrian composer Franz Schubert is recognized today as one of the leading exponents of the Romantic period. In his short lifespan of just 32 years, he wrote some 600 songs (Lieder), nine symphonies, liturgical music, operas, and a large body of chamber and solo piano music. After Schubert’s death, the great Hungarian guitarist Joseph Kaspar Mertz arranged these works and others for guitar, altering them only slightly in texture, key, and melodic changes to make them more idiomatic for the instrument.
Xuefei Yang Program Notes
Enrique Granados: Valses Poeticos (arr. Xuefei Yang) Today, Granados is recognized as one of Spain’s most important composers. His music is multi-faceted, but essentially Romantic, with some nationalist characteristics. He has been variously described as “the Spanish Chopin,” “the last Romantic,” and by his compatriots as “our Schubert.” The Valses Poeticos were likely written in 1887. They are a collection of 7 Romantic waltzes together with an introduction and a coda. They were originally part of a larger collection of pieces. When Granados selected a group and offered them to his friend, pianist Joaquim Malats, he suggested the name “Valses Poeticos” to be specifically applied to this selected group. Claude Debussy: La Fille aux Cheveux de Lin (arr. Julian Bream) Claude Debussy was a French composer, who along with his countryman Maurice Ravel was one of the most prominent figures in the field of Impressionist music (though he disliked this term being applied to his music). La Fille aux Cheveux de Lin (the Girl with the Flaxen Hair) is from the Debussy’s Préludes – Book 1 (1910). This book of twelve preludes proved to be one of his most successful works for piano, replete with rich and unusual harmonies and often drawing comparisons to the works of Chopin. Debussy wanted people to respond intuitively to these pieces and so he placed the titles at the end of each one in the hope that listeners would not make stereotype images as they listened. Manuel de Falla: Homenaje pour le tombeau de Claude Debussy Manuel de Falla is Spain’s most significant 20th century composer. He was inspired by the music of his native Andalusía, and he combined this with two of the great aesthetic movements of his time, Impressionism and Neo-classicism, to create many highly original works. Falla spent a number of years studying music in Paris, where he met a number of important Impressionist composers, including Claude Debussy, who influenced his composition style. When Debussy died, Falla among others contributed a piece to a special edition of the Paris periodical
Xuefei Yang Program Notes
Manuel de Falla cont Revue musicale, in Debussy’s memory. Falla’s Tombeau (tombstone) is a short work of lasting impression and influence, in the rhythm of a slow habanera, dignified but not funereal, restrained but emotionally intense. Falla concludes the work by quoting Debussy’s piano work Soirée dans Grenade. Spanish Dance No. 1 from La Vida Breve (arr. Xuefei Yang) The final piece of the first half is Xuefei’s sparkling arrangement for solo guitar of ‘The Spanish Dance’ from Falla’s opera La Vida Breve (Life is Short). Stephen Goss: Illustrations to the Book of Songs Stephen Goss is a Welsh composer, who writes communicative, accessible music that draws freely on a number of styles and genres. This work is one of several he has written for Xuefei, many of which have Chinese themes. The Books of Songs is one of the oldest collections of Chinese poetry dating from 11th to 7th century BCE. Almost three thousand years old, it is one of the great treasures of China, and contains 305 poems which give a great insight to the lives and concerns of the ordinary Chinese people, and the rituals, ceremonies and banquets of the aristocracy. Many of the poems would originally have been sung, however the original music has long been lost. Here Goss has written six short musical impressions of scenes contained in these poems, choosing six as it is a lucky number in China. The first piece is called ‘Separation’ - from a poem describing the separation of lovers, when the man is sent to work on the building of the Great Wall of China, knowing he will never return. The second piece is based on a lively Chinese folksong. The third piece is ‘Lamentation’, about the loss of a loved one. The fourth piece is based on another lively Chinese folksong. The fifth piece, ‘Pastoral’, is a contemplation of countryside with wind blowing in the long grass and trees. The final piece is called ‘Wan Dance’. The ‘Wan Dance’ is mentioned many times in the Book of Songs, but since no one knows what it was like, this is Steve’s version of this long lost dance of my ancestors.
Xuefei Yang Program Notes
Chen Yi: Shuo Chang As Xuefei Yang was the first guitarist to enter a music school in China, Chinese composer Chen Yi was the first Chinese woman to receive a Master of Arts in music composition from the Central Conservatory of Music in Beijing. It is appropriate that these two admirable figures in the Chinese classical music world who have both received international recognition for their work, should be brought together in this work. Chen Yi writes, “Our new piece will be called Shuo Chang, in which I use the guitar to play the role as in a monodrama, representing the singing, the speaking, and the performing of instruments like the sanxian, the pipa or the drum in the style of traditional Chinese musical story telling. It is inspired by the Shuo Chang (speaking and singing), a Chinese folk music form, which is popularly presented at tea house in small towns and cities in the history. The guitar solo piece has the flavor of Chinese Shuo Chang music.” The Fisherman at Eventide (arr. Xuefei Yang) The Fisherman’s Song at Eventide is one of the most popular pieces of traditional Chinese music, and is most commonly played on guzheng, or zither. While Xuefei long desired to play this piece she was concerned that she only had 6 strings, while the guzheng has 13. Her guitar arrangement is the result of several months of effort, and it presents the full beauty of this Chinese piece on her instrument. Heitor Villa-Lobos: Suite populaire brésilienne The Brazilian composer Villa-Lobos is one of most significant figures in the history of South American music. His music is shaped by twin musical forces: European classical music and the music of Brazil. The titles of the pieces in the Suite populaire brésilienne reflect these two worlds, with each combining a European dance with the Brazilian musical form chôro. The opening ‘Mazurka-Chôros’ is nostalgic, followed then by the ‘Schottisch-Chôros’ (the schottisch was a polka-like dance popular in the nineteenth century), a bittersweet ‘Valsa-Chôros’, and a classically-styled ‘Gavota-Chôros’. The final ‘Chôrinho’, a miniature chôros, is the most dramatic of the five. Notes by Xuefei Yang and Melanie Moult, revised by Danielle Cumming Xuefei Yang is a D’Addario Artist. She performs on a guitar made by Australian luthier Greg Smallman.
Photo:Supplied by Artist
David Russell, SPAIN Classical guitarist David Russell is world renowned for his superb musicianship and inspired artistry, having earned the highest praise from audiences and critics alike. In recognition of his great talent and his international career, he was named a Fellow of The Royal Academy of Music in London in 1997.
David Russell spends his time touring the world, appearing regularly at prestigious halls in main cities such as New York, London, Tokyo, Los Angeles, Madrid, Toronto or Rome. Concert-goers everywhere are in awe of his musical genius and inspired by his captivating stage presence. His love of his craft resonates through his flawless and seemingly effortless performance. The attention to detail and provocative lyrical phrasing suggest an innate understanding of what each individual composer was working to achieve, bringing to each piece a sense of adventure. Mr. Russell’s musical talent presented itself in early childhood. Born in Glasgow he moved with his parents to the small Spanish island of Minorca. In 2003 he was bestowed the great honor of being made “adopted son” of Es Migjorn, the town in Minorca where he grew up, naming a street after him. After winning the Grammy award for his CD Aire Latino, the town of Nigrin in Spain where Mr. Russell resides gave him the silver medal of the town in an emotional ceremony. Since 1995 David Russell has an exclusive recording contract with Telarc International, with which he has recorded sixteen CDs up to now, among them Aire Latino, which received a Grammy in 2005. The New York Times wrote about his performance: “... Mr. Russell made his mastery evident without ever deviating from an approach that places musical values above mere display. It was apparent to the audience throughout the recital that Mr. Russell possesses a talent of extraordinary dimension”.
David Russell March 12, 2016
This concert is sponsored by Shereen Remez, PhD
Concert Program Federico Mompou (1893-1987)
Suite Compostelana Preludio Coral Cuna Recitativo Canción Muñeira
Stephen Goss (b. 1964)
Cantigas de Santiago (dedicated to David and María) 1. Quen a Virgen be servira (Alfonso X, EL Sabio) 2. Ondas do mare de Vigo (Martin Codax) 3. Cantiga CLXVI (Alfonso X, El Sabio) 4. Kyrie Trope (Codex Calixtinus) 5. A madre de Deus (Alfonso X, El Sabio) 6. Al ondas que eu vin veer (Martin Codax) 7. Non e gran causa (Alfonso X, El Sabio)
Intermission
David Russell
Concert Program cont J.S. Bach (1685-1750)
Partita I, BWV 825 * Praeludium Allemande Corrente Sarabande Menuet I Menuet II Giga
Francisco Tárrega (1852-1909)
Gran Jota * Transcription: Gerhard Reichenbach
David Russell Program Notes
Federico Mompou: Suite Compostelana Suite Compostelana, written in 1962, is Spanish composer Mompou’s only work for guitar. The suite pays tribute to Santiago de Compostela, and is dedicated to Andres Segovia who for many years held his annual summer school there. The city’s cathedral is evoked in the four-part Bachlike chords, while the ‘Cuna’ (Cradle Song), ‘Canción’ and ‘Muñeira’ are more folk-like in effect. Stephen Goss: Cantigas de Santiago (dedicated to David and María) Cantigas de Santiago is a modern reworking of medieval music associated with the Camino, the ancient pilgrimage route that leads to the shrine of St. James in the cathedral of Santiago de Compostela, Spain, where tradition has it that the remains of the saint are buried. The pieces draw on three sources: the Cantigas de Santa Maria (a collection of over 400 pieces compiled between 1250 and 1280), the Cantigas de Amigo (the earliest extant Iberian secular songs, from the second half of the thirteenth century), and the Codex Calixtinus (a twelfth century travel guide of information and advice for pilgrims following the Camino.)
David Russell Program Notes
Stephen Goss cont. The set beings and ends with songs taken from the Cantigas de Santa Maria. The center of the set is the ‘Kyrie Trope’, which in the Codex Calixtinus is one of the earliest examples of polyphonic music. Before and after the ‘Kyrie’ are lively interludes from the Cantigas de Santa Maria, and flanked by two Cantigas de Amigo which are slow and reflective. Cantigas de Santiago was commissioned by and is dedicated to David and María Russell, who live close to the route of the Camino and have walked it many times. J.S. Bach: Partita I, BWV 825 (Transcription by Gerhard Reichenbach) The Partitas for keyboard were composed between 1725 and 1731 in Leipzig, when Bach was around the age of 45 and had all the mastery for instrumental composition as well as polyphonic part writing. Although modestly titled “Exercises for the Keyboard”, the six Partitas, offered by the composer “to music lovers as refreshment for their spirits,” are works of an altogether astonishing richness and complexity. Like all of Bach’s instrumental suites, they are organized around the four traditional dances of the dance suite – allemande, courante, sarabande and gigue – but here the composer reaches the summit of his art in his handling of the suite for keyboard. He goes beyond the strict framework and achieves a complete and original synthesis of the major European styles, Italian and French in particular, that had heretofore characterized the suite. One of his major innovations is the insertion between the conventional dances of several “galanteries”, which are lighter pieces or dances such as minuet, scherzo, burlesca or passepied, and by introducing each Partita with an extensive overture. The Partitas exemplify both the apex and the end of Baroque dance-forms in music, just like the last Beethoven sonatas are the culmination and the closing of the classical sonata form. Francisco Tárrega: Gran Jota Francisco Tárrega is famous among guitarists for his poetic compositions and for being a pivotal figure in the development of the modern classical guitar. In addition to his compositions and arrangements, Tárrega’s revision of guitar technique and his advocacy of new concepts of Antonio de Torres’ guitar construction have a lasting influence on guitarists today.
David Russell Program Notes
Francisco Tárrega cont. The Gran Jota is a set of colorful and virtuosic episodes which bring out the versatility and orchestral capabilities of the guitar. It was arranged by Tárrega from popular themes from the region of Aragon, originally collected by guitarist and composer Julián Arcas, an early influence on Tárrega. David Russell is a D’Addario Artist. He performs on a guitar made by German luthier Matthias Dammann.
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Bandini-Chiacchiaretta Duo, Italy
Photo:Arturo Delle Donne
The Duo of Giampaolo Bandini and Cesare Chiacchiaretta formed in 2002. Their goal was to present Argentine music through the charm and magic of its most representative instruments, guitar and bandoneon, and they quickly became a favorite in the international concert circuit thanks to their great communicativeness and extraordinary charisma. Invited by the most important festivals and theatres in the world, they have toured in Mexico, Romania, China, Poland, Slovakia, Austria, Germany, Spain, Switzerland, France, Belgium, Holland, Croatia, Russia, Slovenia, Turkey, the Czech Republic and Hungary meeting outstanding critical and audience approval. The Duo had the privilege to play Astor Piazzolla’s Double Concerto “Hommage a Liegi” conducted by Maestro Leo Brouwer at the Auditorium Paganini of Parma and for the Unione Musicale of Turin with the renowned Moscow Virtuosi chamber orchestra conducted by Pavel Berman. In 2004, the Duo was awarded the 15th “Beniamino Joppolo” Citti di Patti Prize (Messina, Italy) for remarkable artistic achievements in the field of music. In 2005, the Duo made their debut in the prestigious Grand Hall of Saint Petersburg Academic Philarmonic achieving such great success that they were immediately asked to play for the following two years. Their first CD Hombres de Tango has sold more than ten thousand copies with great enthusiasm and critical acclaim. They have recorded for the most important radio and television broadcasters in Italy and abroad. Recently, a concert held in Brussels was broadcast via satellite to more than twenty countries.
Bandini-Chiacchiaretta Duo, Italy April 9, 2016
This concert is sponsored by Gonzalo Palacios, G. PhD
Concert Program TANGO DEL ANGEL Astor Piazzolla (1921-1992)
Suite Troileana Bandoneon Escolaso Whisky Zita
Agustin BardĂŹ (1884-1941)
Gallo Ciego
Astor Piazzolla
Ave Maria
Angel Villoldo (1861-1919)
El Choclo
Intermission Astor Piazzolla
Adios Nonino Invierno Porteno
Maximo Diego Pujol (b. 1957)
Nubes de Buenos Aires
Astor Piazzolla
Milonga del Angel Muerte del Angel Oblivion Libertango
Bandini-Chiacchiaretta Duo Program Notes
Giampaolo Bandini, guitar | Cesare Chiacchiaretta, bandoneon TANGO DEL ANGEL “That ever so tight embrace between a man and woman was invented by the tango. No dance had ever before dared so much. Is there any sign of love more obvious?” We begin with the words of tango lyricist Horacio Ferrer in order to understand the spirit of tonight’s concert program, Tango del Angel. We cannot here attempt a history of the individual pieces and it would be even more impossible to attempt a history of tango, which arose from the estuary of Rio della Plata, a more mythological than geographical place between Argentina and Uruguay. So much has been said about the tango, by Enrique Granados, “a sad thought that is danced”, by Astor Piazzolla, “a sad thought that is played”, by Paolo Conte, “as a lizard is the summary of a crocodile, so is the tango a summary of a life”, by Jorge Luis Borges, “tango: an impossible memory of having died in a duel, on some obscure suburban street corner”. Argentinian tango, as author Rémi Hess wrote, is “a complex invention, product of a métissage, arising from a context of human, ethnic, cultural and sexual mixing”. “Can a tango be born without the twilight and nights of Buenos Aires?” Borges asked. Tango is born in a brothel, on the edges of the street, the dramatic sense of being a lost soul immersed in a South American metropolis. The tango is always a rattle of solitude, a cry of communion, the searching of a face, from one bar to the next. To the musicians playing tango, abandoning oneself to generic emotions is not enough, nor is it sufficient to attempt an improbable identification with it. One must attempt a construction of the senses, constantly full of tension and sweetness, enacted through the deepest of readings of the music. To this must be added the beauty of the sound: to fill every note with the crackling of a story, changing colours and letting the light pass through the song, throwing open the notes, one by one. The duo describe their program Tango del Angel this way: We move as on a chessboard, each movement puts off the moment of checkmate (but
Bandini-Chiacchiaretta Duo Program Notes
for how long?), an alchemy of questions and answers and movements, a dance, funereal and orgiastic at the same time. The music slows until it seems to stop, but starts again, just a moment before its final breath; and the crowning points last for a small eternity, filled with desperation, rage, shouts, craving for redemption, without the fear of exaggerating, without the slightest shame at being immodest, at being nude, adding where one had not thought to, letting loose the dynamic gradations, and uniting liberty of phrasing and strictness of time. The melodic line of the tango is often carnal, oily and grave. It is the sensual perfection of an instant; it is the evocation of eroticism and of looks that reach miles away, an expression of solemnity; a slow rhythm of a sleepy siesta like migrating birds perched on wires resting after an exhausting journey. Music steeped in a lyrical physicality, born at the edge of illegality, and so it was dirtied, plied, changed and scratched. Tango is all these things, and much more. Notes by Enrico Raggi, revised by Danielle Cumming Giampaolo Bandini is a D’Addario Artist. He performs on a guitar made by French luthier Dominique Field.
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LARRY SNITZLER 2015 Season Tour of the Luberon Region, France: Les Deux Amis - Dana Chivers & Larry Snitzler, guitars July 6: Roussillon, July 9: Buoux, July 10: Saignon, July 12: Lacoste Aug. 30: L. Snitzler, guitar, Kate Hearden, soprano. N.Y. Ave. Presbyterian Church, Wash., D.C. Oct. 9: L. Snitzler, guitar; Kate Hearden, soprano; Stan Curtis, Trumpet. Harris Theatre, Fairfax. VA Nov. 20: The Eclectic Guitars, L. Snitzler, R. Whitehead. The Lyceum, Alexandria, VA Nov. 29: The Eclectic Guitars, L. Snitzler, R. Whitehead. Mitchellville, MD
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10th ANNUAL BEATTY COMPETITION March 4-7, 2016 Catholic University Washington, DC
Presented by The International Conservatory of Music
Julio Salvador Sagreras (1879-1942) Featured Historical Composer Judges: Mr. Michael Andraccio, Ms. Andrea Cannon, Dr. Kerry Alt Dr. Amy Crews Cutts - Executive Director Dr. Glenn Caluda - Artistic Director Mr. Mark Anthony Cruz - Set Piece Composer, USA
2015 Winners Amanie Oubrahim, Youth Division Michelle Armstrong-Spielberg, Junior Division Ethan Ditthardt, Senior Division Ethan Ditthardt, Grand Prize YeRam Yoon, Composer’s Prize