The International Conservatory of Music presents
The John E. Marlow Guitar Series 2011-2012 Season www.MarlowGuitar.org
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 JOHN E. MARLOW GUITAR SERIES
Carlos Barbosa-Lima & Byron Yasui
Dimitris Kotronakis
Westmoreland Congregational Church of Christ
Westmoreland Congregational Church of Christ
October 22, 2011
Duo Amaral
January 21, 2012
November 19, 2011
Simon Powis
February 25, 2012
Westmoreland Congregational Church of Christ
Westmoreland Congregational Church of Christ
John Feeley
Pepe Romero
Westmoreland Congregational Church of Christ
Westmoreland Congregational Church of Christ
March 24, 2012
April 14, 2012
f t b
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.
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 • John and Susie Beatty Music Scholarship Competition for Classical Guitar • Embassy Concert Tours ICM was incorporated in the District of Columbia in 1980 and registered in the State of Maryland in 1995. Our mission is to enrich the musical life of the residents of the metropolitan Washington, DC area. In addition to our regular programs, we also present the Visiting Guitarists In The Schools Program and the Guitar Classes In The Schools Program. In the past 31 years, ICM has presented over 150 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 Edwin Butterworth, Jr.; Howard Byron; Gerard Charleza; Chien-Tai Chen, PhD; Joan Collings; Amy Crews Cutts, PhD; Michael DiMattina, MD; Cheryl Dragoo; Deborah Drayer; Tim Healy, President; Susan Healy, Associate Director; William Herrmann; David Kirstein, Esq.; Art Kosatka; Henry Levin, PhD; Duane Morse, Esq.; Gonzalo Palacios, PhD; Shereen Remez, PhD; Lucinda Wilson. Become a member of the ICM Board of Directors. Please call Ed Butterworth, Chair of Membership Committee, at 703-921-5521.
The International Conservatory of Music Thanks To Our Invaluable Friends!s Vittorio Brod for sharing our vision & providing us with our most generous donation to date John & Susie Beatty for supporting the Beatty Competition Music Scholarship Amy Crews Cutts for her leadership in organizing the Beatty Competition, fundraising & generous donations. The Del Mar Foundation for its continued financial support & friendship David Kirstein for legal advice & hosting Marlow Guitar artists Howard & Lola Byron for hosting Marlow Guitar artists & house performances Henry & Susan Levin for hosting ICM Board Meetings Cheryl Dragoo for her accounting assistance & generous donations William Herrmann for Marlow Guitar ushering & lights management, Beatty Competition support & help in fundraising Joan Collings for ICM administration, Beatty Competition support & Marlow Guitar Receptions Jack & Betty O’Connor for hosting Beatty Competition judges Duane Morse for ICM’s Development Committee (Chair) & “Best Of...” CD Project Debbie & Patrick Mezzetta for Marlow Guitar CD & raffle sales
Ronni Chandra Harvith for Marlow Guitar ticket sales at the concerts Julius Rosen & Shirley Wolock for Marlow Guitar ticket taking & cheerful greeting Deborah Drayer for working on Marlow Guitar Receptions, the Beatty Competition, & ICM’s Strategic Planning Committee (Chair) Miyuki & Shuko Yoshikami for general support & Marlow Guitar Receptions Berta Rojas for serving as Artistic Director for the Beatty Competition for its first 3 years Steve Haley & Andrea Lawrence for their support & help with the Beatty Competition Robert Scharf for Marlow Guitar ushering & Receptions Meagan Healy for ICM & Marlow Guitar social networking, design work & Marlow Guitar Receptions Jim Rose & Susan Rose Hills for Marlow Guitar Receptions Keith Bickel for Beatty Competition website development & support Montgomery County Government & AHCMC for financial support & encouragement Ed Butterworth for ICM’s Board of Director’s Membership Committee (chair)
THE INTERNATIONAL CONSERVATORY OF MUSIC
OUR LIST OF SUPPORTERS
Gran Maestro: $10,000 & Higher John & Susie Beatty Vittorio Brod Hasani Jaali Montgomery County Government Arts & Humanities Council of Montgomery County
Maestro: $5,000 - $9,999 James and Amy Crews Cutts, PhD Charles DelMar Foundation Freddie Mac Foundation
Artist: $1,000 - $4,999 Cheryl Dragoo, sponsor of the Carlos Barbosa-Lima, Byron Yasui Concert Art Kosatka, sponsor of the Dimitris Kotronakis Concert Gonzalo Palacios, PhD, sponsor of the Duo Amaral Concert Shereen Remez, PhD, sponsor of the Simon Powis Concert Tim Healy, sponsor of the John Feeley Concert Duane Morse, Esq. sponsor of the Pepe Romero Concert Embassy of Mexico Mexican Cultural Institute Carol and Chris Espinoza The Reinvestment Fund National Guitar Workshop
Virtuoso: $500 - $999 Michael DiMattina, MD David Kirstein, Esq. Middle C Music Daniel Murphy
THE INTERNATIONAL CONSERVATORY OF MUSIC
OUR LIST OF SUPPORTERS CONT.
Performer: $250-$499 Edwin Butterworth, Jr. Howard Byron Gerard Charleza Joan Collings Deborah Drayer William Herrmann Henry Levin, PhD Jim Rose and Susan Rose Hills Lucinda Wilson Anne & Paul Williams Shuko and Miyuki Yoshikami Acoustic Axis Instruments, Alexandria, VA Guitar Gallery, Washington, DC Guitar Shop, Washington, DC Jerry’s Music, Rockville, MD Kirkpatrick Guitar Studio, Towson, MD
Player: $50-$249 Bethesda Travel Center David & Margaret Delia Neil Doherty Karl Edler Peter Gray Bruce Grayson George & Elizabeth Hammer Cathy Healy Gary & Susan Hilbert Richard Humbert Barbara Johnson & Minh Le
Horace & Elizabeth Kreitzman Fred Margolis Clarissa Mendez Julius Rosen in memory of Beatrice Rosen Michael Rubino Robert G. Scharf Shirley Street & Michael Shanley Toivo Tagamets Grant Thompson Tim Wechsler Gail Yano
Patrons of the Beatty Competition George Washington University Music Dept. The Millenium Stage & John F. Kennedy for the Performing Arts
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, simply write 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, six 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: Acoustic Axis: 2405 Mt. Vernon Avenue, Alexandria, VA The Guitar Shop: 1216 Connecticut Avenue, NW, Washington, DC Jerry’s Music: 5040 Boiling Brook Parkway, Rockville, 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.
“...yours is one of the most important series in town.� Tim Page, Former Chief Music Critic of The Washington Post by email: January 17th, 2006
Carlos Barbosa-Lima, Brazil & Byron Yasui, (Hawai’i) USA Carlos Barbosa-Lima has long been a masterful interpreter of a wide range of music. A brilliant guitarist, Mr. BarbosaLima gives taste and feeling to works that range from Gershwin to Bach, from Jobim to Debussy. His innovative interpretations have been featured on an extensive series of recordings for Concord’s Concerto and Picante subsidiaries. A native of Brazil, Mr. Barbosa Lima began studying the guitar when he was seven years old.Among his teachers were the influential Brazilian guitarist, Isaias Savio, and the most renowned guitarist of all time, Andres Segovia. He performed in public as a child and made his recording debut at age twelve. He first toured the USA in 1967. During the 1971-1972 season, Barbosa-Lima performed in London and New York, gaining a worldwide reputation. He lived in New York for quite a few years before settling in Puerto Rico. Carlos Barbosa-Lima’s tasteful and virtuosic control of the guitar has resulted in consistently delightful recitals that appeal to a wide audience. *** MASTER CLASS: Carlos Barbosa-Lima will be offering a Master Class, Sunday, October 23rd, 2011 from 12pm - 4pm at the Center for the Arts, George Mason University, Fairfax, VA. Come as a performer or auditor. To sign up, contact us: info@marlowguitar.org or (301) 654-6403.
Carlos Barbosa-Lima, Brazil & Byron Yasui, (Hawai’i) USA, cont. Byron Yasui has been on the composition-theory faculty at the University of Hawai’i since 1972 where he retired in August, 2010. His original compositions have been performed and recorded internationally, including the Ambassador Auditorium in Los Angeles and multiple performances at Carnegie Hall, the Weill Recital Hall and the Purcell Room at London’s Royal Festival Hall. He has received the ASCAP Standard Award for Serious Music Composing each year since 1985. He remains active as a performer on three different instruments: double-bass (jazz bass since 1960 and part time classical bassist with the Honolulu Symphony from 1963-2009), guitar duo partner with the Brazilian virtuoso, Carlos Barbosa-Lima, since 1987 and concert ‘Ukulele soloist since 1998. For years now, a number of Yasui’s guitar compositions have been on Barbosa-Lima’s world concert tour programs. *** ‘UKULELE CLINIC: Byron Yasui will be offering a ‘Ukulele Clinic, Sunday, October 23rd, 2011, 1pm-3pm, in Derwood, MD (near Rockville) in the home of Marv and Kathy Reitz. To sign up, contact Kathy Reitz: reitz@verizon.net or (301) 670-6716.
Carlos Barbosa-Lima & Byron Yasui October 22, 2011
This concert sponsored by Cheryl Dragoo. Carlos Barbosa-Lima (Announcing his program from the stage.)
Byron Yasui ‘Ukulele Solos Granada
Agustin Lara (1897-1970)
Anahola
Byron Yasui
If I loved You (“Carousel”) March Medley Hilo March Maui Chimes Stars and Stripes Forever
R. Rodgers (1902-1979) Joseph A’ea Traditional John Philip Souza (1854-1932)
Carlos Barbosa-Lima & Byron Yasui Byron Yasui Program Notes Granada
Agustin Lara
This piece is a favorite among ‘Ukulele players of my generation in Hawaii. This arrangement features mainly the chord/melody style of playing where the melody is heard in the uppermost voice of chords. Rapid strumming goes hand in hand with some intricate right hand fingering in this style of playing. Anahola Byron Yasui I composed this work for a niece who lives in that little village on the Island of Kaua’i. I also wrote the lyrics, which speak of a longing by an imaginary person to return to this picturesque town after being away for some time. If I Loved You R. Rodgers & O. Hammerstein This song is a classic from the musical, Carousel. This arrangement is an example of classical guitar technique applied to ‘Ukulele playing. March Medley The March Medley is made up of two Island favorites, Hilo March by Joseph A’ea, and Maui Chimes (Traditional) and closes with The Stars and Stripes Forever by John Philip Souza. These arrangements feature flashy strumming and virtuosic chord/ melody technique.
www.theguitarshop.us
Dimitris Kotronakis, Greece Dimitris Kotronakis was born in Heraklion, Greece in 1973. He began studies in classical guitar at the age of seven and graduated from the International Conservatory of Athens in 1992. He attended post graduate studies in classical guitar at the Athens Conservatory, graduating in 1996. He also undertook advanced theoretical and musicological studies that led to a degree in musicology from the University of Athens in 1996. Currently, he is a Ph. D. candidate at the University of Athens, his thesis: Greek Guitar Composers in the 20th Century. Mr. Kotronakis has performed numerous recitals throughout Europe and North and South America. He has been presented as soloist with numerous orchestras throughout Europe. The prestigious publication of England, Classical Guitar Magazine, said this of Dimitris’ recordings: “…the speed at which Kotronakis can ‘knock out’ some of this music is quite breathtaking….this is a startling, exciting recording which captures the amazing artistry of a very distinct player.” The American magazine, Guitar International, raved of him, “…Kotronakis performs with perhaps one of the most virtuosic techniques in modern times and a deep passion that makes him a stand out in the classical guitar world.” *** MASTER CLASS: Dimitris Kotronakis will be offering a Master Class. To sign up, contact us: info@marlowguitar.org or (301) 654-6403.
Dimitris Kotronakis November 19, 2011
This concert sponsored by Art Kosatka.
Chaconne in D Minor
J.S. Bach (1685 - 1750)
Caprices, from the 24 pieces for solo violin, Opus 1 Nos. 1, 20, 16, 24
Nicolo Paganini (1782-1840)
Intermission Nine Sketches for Solo Guitar No. 8 No. 1
Thanassis Moraitis (b. 1956)
Kaygorod Swan Song of a Dying Guitar
Štěpán Rak (b. 1945)
Souite Troileana Dans Yeux of Michelle Romantic Voyage
Ástor Pantaleón Piazzolla (1921-1992) Raphaël Faÿs (b. 1960)
Dimitris Kotronakis Program Notes Chaconne in D Minor
J.S. Bach
The magnificent Chaconne in D Minor that concludes the Partita No. 2 for Unaccompanied Violin is some of the most intense music Bach ever wrote. This great work has cast its spell on musicians and audiences alike over the last two and a half centuries. The violin is a linear instrument, and the full harmonic textures implied in the original seem to cry out for performances that can project these more satisfactorily than can the solo violin. Schumann and Mendelssohn both wrote piano transcriptions of Bach’s solo violin music, and the Chaconne itself has been transcribed for many instruments and combinations of instruments. One of the most distinctive transcriptions was made by Johannes Brahms who arranged it for piano, to be played with only the left hand. Another was Andres Segovia’s transcription, a first for the guitar, which he premiered in 1935, and which helped establish his reputation and subsequent career. Johannes Brahms, in a letter to Clara Schumann said about the ciaccona. “On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind.” Caprices, Nos. 1, 20, 16, 24 Nicolo Paganini From the 24 pieces for solo violin, Opus 1 Paganini composed works to play exclusively in his performances. These compositions were to have a profound influence on the evolution of violin technique. His 24 Caprices were composed in the period between 1805-1809 while he was in the service of the Court of Napoleon’s sister. Generally speaking, Paganini’s compositions were technically imaginative and the timbre of the violin was greatly expanded as the result of his works. Paganini was the inspiration of many prominent composers. For example, the A minor Caprice (No. 24) has been an object of interest for a number of composers, such as: Franz Liszt, Robert Schumann, Johannes Brahms, Sergei Rachmaninoff and, most recently, Andrew Lloyd Webber. These composers among others, wrote wellknown variations on the theme of Caprice No. 24.
Dimitris Kotronakis Program Notes cont.
Nine Sketches For Solo Guitar - No. 8 & No.1 Thanassis Moraitis Mr. Moraitis wrote Nine Sketches for Guitar in 2009. He incorporated new right hand guitar techniques derived from the use of a guitar pick. His music is characterized by a sense of Greek rhythms (especially in Sketch No. 1) together with contemporary elements but is sufficiently tonal and tuneful. Thanassis Moraitis is a prolific Greek composer and musicologist who, having studied Greek demotic and Byzantine music, has been studying Western music on his own. Among his works for the guitar, Mr. Moraitis has written compositions for orchestra, a Mass, a Requiem, quartets, traditional instruments and solo harp. Kaygorod and Swan Song of a Dying Guitar Štěpán Rak Štěpán Rak has written many pieces, both published and unpublished, for the guitar. Kaygorod belongs to a three part suite entitled “Three Russian Waltzes”. Kaygorod is the name of a small village east of Moscow. Swan Song of a Dying Guitar is a program piece that uses several guitaristic effects to tell the story. Štěpán Rak is an excellent performer and a unique composer ranking in the elite of the classical guitar. He is well known for the technical innovations that he uses in his compositions. He has composed works for different instruments and ensembles, including a symphony, but the majority of his work is dedicated to the solo guitar. Štěpán Rak, in 2001, was the first guitarist to give a recital at the Rachmaninoff Hall of the Tchaikovsky Conservatory in Moscow where he performed a premiere of his work entitled, “Twenty Thousand Leagues Beneath the Sea.”
Dimitris Kotronakis Program Notes cont.
Souite Troileana Ástor Pantaleón Piazzolla Ástor Pantaleón Piazzolla composed this piece in the memory of his friend, Anibal Troilo who died in 1975. Troilo was considered to be one of the best bandoneón players of Buenos Aires, Argentina. Piazzolla composed this piece the same year Troilo died. The titles of all four parts are Bandoneon, Zita, Whiski and Escolaso. These four titles represent the four most beloved things of Anibal Troilo: The Bandoneon (his instrument), Zita (his wife), Whiski (his drink) and Escolaso (a kind of poker.) Astor Piazzolla was an Argentine Tango composer and Bandoneon player. His work revolutionized the traditional tango into a new style termed Nuevo Tango, incorporating elements from jazz and classical music Dans Yeux of Michelle and Romantic Voyage
Raphaël Faÿs
These pieces are two gypsy-swing arrangements for classical guitar which were influenced by the work of Raphaël Faÿs’ jazz trio: lead guitar, rhythm guitar and bass. Mr. Fays is regarded as a skillful successor of the Django Reinhardt tradition and one of the very few guitarists combining jazz and classical music both as a performer and a composer of classical music.
Duo Amaral, Mexico & Israel Duo Amaral was launched in 2008 by the husband and wife team of Mia Pomerantz-Amaral and Jorge Amaral. This dynamic duo is gaining momentum and steadily attracting audiences in the USA and abroad as their reputation grows. Mr. and Mrs. Amaral completed their studies at the prestigious Peabody Conservatory of Music of the Johns Hopkins University, where both were awarded Master of Music and Graduate Performance degrees under the tutelage of Manuel Barrueco and Julian Gray, respectively. A Jerusalem native, Mia Pomerantz-Amaral, is a top prize winner of several international guitar competitions. Her playing has been characterized as “…a powerful sound, beautiful; rich in harmony with a sure, clean technique.” Jorge Amaral, a native of Guadalajara, Mexico has also won many international prizes and has been described by the eminent master, Alirio Diaz, as “…a brilliant figure in the future of the classical guitar.” He has toured widely throughout Europe, Mexico and the USA as performer, juror and teacher. Mr. Amaral currently serves on the faculty of the Conservatory of Baldwin-Wallace College in Ohio. Duo Amaral performs a wide repertoire, from the Baroque to the Contemporary, and is always seeking innovative interpretations. They have arranged numerous compositions for two guitars and are commissioning new pieces in order to expand the guitar duo repertoire. Their first duo album includes the world premiere composition of Saggio per due chitarre, a work written for and dedicated to them by Mr. Amaral’s father, the renowned Mexican composer, Victor Manuel Amaral Ramirez.
Duo Amaral
January 21, 2012 This concert sponsored by Gonzalo Palacios. L’estro Armonico Concerto No. 9 (*Arr. Jurg Kindle & Duo Amaral) Allegro Larghetto Allegro
Antonio Vivaldi (1678-1741)
Prelude Fugue & Variation Op.18 (*Arr. Matanya Ophee)
Cesar Franck (1822-1890)
Chaconne With 21 Variations
George Frederick Händel (1685-1759)
Intermission Tonadilla I. Allegro ma non troppo II. Minuetto Pomposo III. Allegro Vivace Tres Danzas del Ballet Estancia (Arr. M.Zarata & Duo Amaral) I. Danza del Trigo II. Idilio Crepuscular III. Pequeña Danza Saggio per due Chitarre I. Bagatela II. Suplica III. Fantasia
Joaquin Rodrigo (1901-1999)
Alberto Ginastera (1916-1983)
Victor Manuel Amaral Ramirez (b. 1933)
*Written for and arranged by Duo Amaral
Duo Amaral Program Notes L’estro Armonico – “Harmonic Elegance”
Antonio Vivaldi
Concerto No. 9 for guitar duo - (Arr. Jurg Kindle & Duo Amaral)
This work is a collection of twelve concerti for one, two or four violin soloists. This compilation of violin concerti is perhaps the most influential collection of instrumental music to appear during the entire eighteenth century. They are often referred to as Concerti Grossi, as often played by a concertino-style ensemble, with a cello as basso continuo. Later, Johann Sebastian Bach redefined the conception of Concerti Grossi with his famous Brandenburg Concerti. Bach also later transcribed six concertos from Vivaldi’s set: numbers 3, 9 and 12 were arranged for solo keyboard and numbers 8 and 11 for solo organ. Lastly, the four-violin Concerto number 10 was reworked into the well-known concerto for four harpsichords and string, BWV 1065. Concerto No. 9 for guitar duo, which will be played this evening, was transcribed by Jurg Kindle and arranged by Duo Amaral, with the intention of preserving Vivaldi’s original. Prelude, Fugue and Variation Op. 18 (Arr. Matanya Ophee) Cesar Franck French composer Cesar Franck was famous as an organ virtuoso and educator. The work in tonight’s program was originally composed for organ and was recently arranged for two guitars by Israeli guitarist Matanya Ophee. Several of Franck’s works, including the one performed tonight, employ cyclic form: a compositional technique based on achieving unity among several movements in which all of the principal themes of the work are generated from a germinal motif. The main melodic subjects, thus interrelated, are then recapitulated in the final movement. Chaconne
George Frederick Händel
The Chaconne is a dance related to the Sarabande. These Baroque dances in triple meter feature an emphasis on the second beat. The Chaconne is structurally similar to the Passacaglia, where a set of variations is centered on a seminal bass line. Johann Sebastian Bach elevated this form to its highest level - a cornerstone in the art of composition. However, the Twenty-One Variations of this work of Handel reflects his mastery of invention, virtuosity and pure spontaneous keyboard improvisation. Handel concentrated most of his life in writing various vocal works, but this composition is remarkable in its keyboard mastery, mirroring the most elevated achievements of his contemporary virtuosos Domenico Scarlatti and J.S. Bach.
Duo Amaral Program Notes cont.
Tonadilla
Joaquin Rodrigo
The Tonadilla is a colorful three-movement composition with nationalistic roots in Spain. Historically, the Tonadilla is a Spanish colloquial song form. Though born in Valencia, Joaquin Rodrigo completed his training at the École Normale de Musique in Paris. However, his music always reflected the rich and varied culture of his native Spain. His direct influences were Ravel, Stravinsky, Strauss and 16th Century polyphony. Tres Danzas del Ballet Estancia
Alberto Ginastera
This composition is an arrangement of Ginastera’s original Opus 8, a ballet of one act and five scenes inspired by the rural life of Ginastera’s native Argentina. His works exhibit colorful Argentinean folk rhythms elevated by modern compositional techniques. His influences include Stravinsky, Bartok and De Falla. Saggio per Due Chitarre
Victor Manuel Amaral Ramírez
Saggio is a collection of three independent pieces, composed by my father Victor Manuel Amaral Ramírez that I subsequently transcribed as one work in three movements. These three pieces were not originally composed for guitar duo. The first movement, Bagatela, for solo piano, was constructed as a simple sonata form. Súplica was composed for cello and piano in the form of a Chanson. The final movement was originally composed for violin and piano, titled and characterized as a Rondo, but was a much shorter work. I requested that my father expand this Rondo into a Fantasia by developing the main themes, using musical dialogues and fugatos. The lyricism of this entire composition was influenced by his lifelong study of Gregorian chant, sacred and secular music as well as French impressionism. Toward the end of the third movement my father introduced the popular Mexican theme “El Tranchete”, as a nostalgic reminder of his profound love for popular Mariachi Mexican music.
Simon Powis, Australia Growing up in Sydney, Australia, Simon Powis began his studies at the age of five on the cornet. Inspired by his brother’s musical pursuits, he took up the guitar at age eleven and began an enduring obsession that would result in performances throughout Europe, Australia and the Americas. After completing his studies at the Sydney Conservatorium of Music in 2004, Powis traveled extensively throughout Europe to study with some of the world’s renowned virtuosos. Oscar Ghiglia, David Russell, Pavel Steidl and Aniello Desiderio have had a great impact on the musical style and technical foundation that Powis possesses. In 2006, Mr. Powis was invited to study for a Master of Music at Yale University on a full scholarship. Upon completing this degree, he was accepted as the first guitarist in over two decades to complete doctoral studies at Yale. During his time at Yale, the professor of guitar, Ben Verdery, offered instruction, support and guidance that readied him for a career as a professional musician. Mr. Powis has toured extensively as a soloist, performing in such famous music centers such as the John F. Kennedy Center for the Performing Arts of Washington DC, the Australia House of London and The Banff Center for the Arts of Canada. A strong passion for chamber music has resulted in international collaborations with distinguished ensembles and individuals including less common performances with the double bass, electronics and even the tuba. With a growing interest in pedagogy, he decided to undertake research in sight-reading for his doctoral thesis. Insights and encouragement from Jerry Willard, David Leisner, John Williams and Ben Verdery have helped develop sight-reading seminars that Mr. Powis has given in music schools, guitar societies and guitar festivals around the world.
Simon Powis
February 25, 2012 This concert sponsored by Shereen Remez. Sonatas K 491 K208 K209
Domenico Scarlatti (1685-1757)
Constellations
Armand Coeck (b.1941)
Rossiniana 1, op.11
Mauro Giuliani (1781-1829)
Intermission Bagatelles Allegro Lento Alla Cubana Andante Con Slancio
William Walton (1902-1983)
Sonata Op. 61
JoaquĂn Turina (1882-1949)
Tangos Chau Paris Milonga del Angel La Muerta de Angel
Astor Piazzolla(1921-1992)
Simon Powis Program Notes Sonatas
Domenico Scarlatti
Domenico Scarlatti was born in 1685, the same year as J.S. Bach and Fredric Handel, however, his music reflects qualities of his father’s (Allesandro Scarlatti) operatic background and also incorporates many Spanish and Portuguese elements that give Scarlatti’s music a very individual style. He is largely remembered today for his 555 harpsichord sonatas that are popular on the modern concert stage. These sonatas were influential in the development of the classical sonata form and although his music can sometimes be overshadowed by the Baroque giants of Bach and Händel, his music is of great beauty and inventiveness. Constellations
Armand Coeck
Armand Coeck has made a substantial contribution to the guitar repertoire and its pedagogy. His compositions are steadily growing in popularity and his educational material is used regularly to train young guitarists in Belgium. His composition Constellations was written in 1986 and marked a new compositional style for Coeck. The work is built upon small melodic fragments that can be quite chromatic in nature. These fragments are sewn together to form a very compelling work that utilizes the composer’s intimate knowledge of the guitar and displays an individual style. Rossiniana I, op. 119
Mauro Giuliani
Mauro Giuliani was a respected guitar virtuoso in Vienna at the turn of the 19th century. He circulated with such greats as Beethoven and Rossini. Giuliani played cello in the premiere of Beethoven’s seventh symphony. Around 1820, Giuliani came in to financial troubles and had to return to Italy while at the same time, a fellow countryman, Giocomo Rossini, was enjoying the height of his success with operas such as The Barber of Seville and Otello. Drawing on the great popularity and musical craftmanship of Rossini’s arias and overtures, Giuliani began composing works that incorporated their themes. These works are each entitled Rossiniana with their particular number. Giuliani wrote six Rossiniane and they are substantial works of virtuosity and showmanship. The Rossiniana presented in this program comprises of an introduction and finale composed by Giuliani with five arias.
Simon Powis Program Notes cont.
Bagatelles
William Walton
William Walton was one of the many composers commissioned by Julian Bream to write for the classical guitar. What he produced is one of the jewels of the repertory. It is incredible how Walton managed to coax such beautiful sonorities out of the guitar and, undoubtedly, Bream’s coaching would have aided greatly in the composition’s development. Walton employed scordatura tuning, harmonics, percussion, and several other extended techniques in this work which is a testament to the painstaking care and effort that he put into each composition. Sonata op. 61
Joaquín Turina
Joaquín Turina wrote works for piano, orchestra, voice and guitar. His style reflects both his Andalucian origins and his musical training in Paris from 1905 to 1914. During his time in Paris he befriended Manuel de Falla and became exposed to the works of Ravel and Debussy. The Sonata op.61 is a good example of the two strong musical worlds that are a part of Turina’s style. The Spanish rhythm and flair are continuously juxtaposed with a luscious harmonic landscape that lends itself to campanella and harmonic fingerings. Tangos
Astor Piazzolla
Astor Piazzolla had early aspirations to follow in the footsteps of 20th century composers such as Schoenberg, Stravinsky, and Ravel. After being awarded a grant by the French government for his Buenos Aires Symphony, he traveled to Paris to study with Nadia Boulanger. While under her tutelage, Piazzolla realized that his vocation and compositional voice did not lie in the styles of western european composers but rather in the music of his home city, Buenos Aires, the birthplace of Tango. Piazzolla was a master of the bandoneon, and he performed in a variety of groups comprising of piano, contrabass, guitar, violin and bandoneon. Piazzolla wrote several works specifically for the guitar, both solo and ensemble, but all of the works presented in this program are arrangements from his ensemble music.
John Feeley, Ireland Described by the Washington Post as “Ireland’s Leading Classical Guitarist”, and by Michael Dervan in the Irish Times as a “…trailblazer when it comes to the guitar and guitar playing in Ireland.” John Feeley has become an internationally renowned classical guitarist. Mr. Feeley studied at Trinity College, Queen’s College of the City University, New York, and the National University of Ireland, Maynooth, where he graduated with a Ph.D. in music. He has taught at the American Institute of Guitar, Memphis State University and currently holds the post of Senior Lecturer at the Conservatory of Music, Dublin Institute of Technology. In addition to his solo and chamber music concerts, Mr. Feeley has performed widely with orchestra: the American Symphony at Carnegie Hall, the National Symphony Orchestra of Ireland, the Ulster Orchestra and the Irish Chamber Orchestra among others. He has won a number of prizes at international competitions, including the Special Award for Interpretation in the 1984 Mauro Giuliani Competition of Italy. Mr. Feeley is highly regarded for his performances of new works by Irish composers and for his delightful guitar arrangements of traditional Irish music. He is a favorite performer at many international guitar festivals. His many CDs include performances with the Chieftains and the famous Spanish soprano, Montserrat Caballes. Mr. Feeley’s latest CD is entitled Islands (contemporary Irish music). The previous CD was Romantic Serenade which is music for two guitars by Mertz and Sor which he performs with English guitarist, Raymond Burley. *** MASTER CLASS: John Feeley will be offering a Master Class, Sunday, March 25th, 2012 at the George Washington University Music Department, Washington, DC. Come as a performer or auditor. To sign up or for more information, contact us: info@marlowguitar.org or (301) 654-6403.
John Feeley March 24, 2012
This concert sponsored by Tim Healy. Cello Suite no. 1 (arr. Feeley) BWV 1007 (Prelude, Allemande, Courante,Sarabande, Minuets 1 & 2, Gigue)
J. S. Bach (1685-1750)
Ciaccona in d minor (arr. Feeley) BWV 1004 (Mov. 5)
J. S. Bach (1685-1750)
Intermission Sheebeg Sheemore Due Angeli (1992) WORLD PREMIERE Adagio Choral Three Traditional Irish Airs Carolan’s Farewell to Music Planxty The Coolin (An Chuilfhionn) Three Pieces By Isaac Albeniz Rumores de la Caleta Cadiz Catalunya
T. O’Carolan (Trad.) Arr. by J. Feeley Philip Martin (b. 1947) (Ed. Feeley)
Arr. by J. Feeley T. O’Carolan T. O’Carolan Anonymous Isaac Albeniz (1860-1909) Arr. by J. Feeley
John Feeley Program Notes Cello Suite no. 1 (arr. Feeley) BWV 1007 J. S. Bach (Prelude, Allemande, Courante, Sarabande, Minuets 1 & 2, Gigue) Transcriptions, re-workings, transpositions and arrangements were part of baroque musical life and Bach was no stranger to these practices. A contemporary commented that Bach would play the solo violin Sonatas and Partitas on the harpsichord adding as much in the way of harmony or basses that he found necessary. The six suites for Violoncello by Bach were composed at the time when he worked at the court of the Margrave of Brandenburg, 1717-1723. These works form a kind of counterpart to the six Sonatas and Partitas, which were written for violin solo around the same time. The Ciaccona forms the final movement of the 2nd Partita in d minor. A strict sequence of movements is common to all the ‘cello suites: Prelude, Allemande, Courante, Sarabande, a lighter dance pair (minuets for the first two suites, Bourrees for the third and fourth, Gavottes for the last two), and a Gigue. This pattern can truly be called “classical”, for its pedigree goes to the early 17th century when, throughout all Europe, Allemandes first began to be grouped with Courantes and Sarabandes. Preludes, Gigues and other dances were much more recent inclusions to the order. Predictably, the greatest diversity is to be found in the opening Preludes. The great cellist, Pablo Casals, stated that each suite takes its overall character from the Prelude. This suite is optimistic while maintaining an intimate character and reflects the rest of the movements. There are motivic connections between the movements as found in so many of Bach’s suites. Ciaccona in d minor (arr. Feeley) BWV 1004 (Mov. 5)
J. S. Bach
The Ciaccona was originally a slow Spanish dance in triple time with an emphasis on the second beat of the bar. The theme, a four-bar segment which is usually repeated, descends stepwise from tonic to dominant and recurs throughout the work. This format presents a perfect basis for instrumental variation. From the 16th century onwards composers have been attracted by its simple form and endless possibilities. Bach’s great Ciaccona has 63 variations which are developed in several continuous sections to create a work of expressive grandeur.
John Feeley Program Notes cont.
Sheebeg Sheemore (Arr. Feeley)
T. O’Carolan (Traditional)
Although Carolan wrote many fine melodies, none of his accompaniments were written down. He was clearly influenced by the Italian music of the day – he met and heard the music of some of the leading composers. This tune is said to have been the first of Carolan’s compositions. It was written for George Reynolds of Leitrim and based on a folktale of a war between two fairy armies near Reynolds’s home place of Lough Scur. Due Angeli (Ed. Feeley)
WORLD PREMIERE
Philip Martin
Although commissioned in 1992 by Irish guitarist Benny O’Carroll, Due Angeli, Martin’s only work for guitar, has never been performed John Feeley edited the work in its present form in collaboration with the composer. Due Angeli has a spontaneous and improvisational feel to it, with its own personality and musical argument, and represents an individualistic approach to composition. Three Traditional Irish Airs
Arr. by J. Feeley
Carolans Farewell to Music was apparently the last piece composed by Carolan. Legend has it that he requested his harp and, after playing this tune, withdrew to the upstairs bedroom where he later died. For Planxty, although the subject of this tune is not known for sure, it is thought to be composed (Carolan) for a member of the Crilly family in county Louth. For The Coolin (An Chuilfhionn) is one of the oldest and best loved Irish airs having first appeared in print in Walker’s “Historical Memoirs of the Irish Bards” in 1786. Three Pieces By Isaac Albeniz
Arr. by J. Feeley
The works on tonight’s program are impressionistic pieces, evocative of various parts of Spain. Cadiz, and Catalunya are from Suite Espanola, Op. 47 while Rumores de la Caleta is from Recuerdos de la Viaje, Op.71. Unfortunately, Albeniz did not write for the guitar. However, suggestions of the guitar abound everywhere in his compositions with frequent references to Spanish gypsy music as well as to Moorish and Eastern influences.
Pepe Romero, Spain Celebrated worldwide for his dazzling virtuosity, compelling interpretations and flawless technique, concert guitarist Pepe Romero is constantly in demand for his recitals, performances with orchestra and with the world famous Los Romeros Quartet.
Born in 1944 in Malaga, Spain, Pepe Romero is the second son of “The Royal Family of the Guitar” - the Romeros. His father, the legendary Celedonio Romero, was his only teacher. Mr. Romero’s first professional performance occurred in a shared concert with his father in Sevilla’s Teatro Lope de Vega when Pepe was seven years old. After relocating to America, Celedonio Romero formed the Romeros Quartet with his three sons: Celine, Pepe and Angel. Their many performances solidified them as the leading guitar ensemble in the world. Although best known for his classical guitar performances, Mr. Romero’s passion for the traditional flamenco music of Andalucia has never waivered. His first recording, Flamenco Fenomeno for Contemporary Records, was made when he was only 15. Since then, Mr. Romero has made more than 50 recordings among which are over 20 concertos with the Academy of St. Martin-in –the-Fields conducted by Sir Neville Mariner and Iona Brown, as well as collaborations with numerous renowned artists and ensembles. Pepe Romero holds an honorary doctorate in music from the University of Victoria, British Columbia. In June 1996, he received the “Premio Andalucia de Musica” the highest recognition given by his native land for his contributions to the arts. His majesty, King Juan Carlos 1 of Spain, has knighted Mr. Romero and his brothers into the Order of “Isabel la Catolica”.
Pepe Romero, Spain MASTER CLASS: Pepe Romero will be offering a Master Class, Friday, April 13, 2012, at the Center for the Arts, George Mason University, Fairfax, VA. Come as a performer or auditor. To sign up or for more information, contact us: info@marlowguitar.org or (301) 654-6403.
The 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.
CLASSICAL GUITAR STUDIO PRIVATE LESSONS TECHNIQUE THEORY REPERTOIRE PATIENT & EXPERIENCED
ALL AGES AND LEVELS WELCOME LeighOben@aol.com • 301-681-0366
SILVER SPRING • MARYLAND
Pepe Romero April 14, 2012
This concert sponsored by Duane Morse. Fantasía XVI
Luys Milan (1500-c.1561)
Danzas españolas (Arr. Romero) Pavana con partidas al aire español Españoleta [No.1] Gallarda Villano Zarabanda Rujero y Paradetas Torneo La esfachata de Napoles La miñona de Cataluña Canarios
Gaspar Sanz (1645-c.1721)
Variations on a theme from The Magic Flute of Mozart, Op. 9 (Arr. Romero)
Fernando Sor (1778-1839)
Capricho Árabe Gran jota
Francisco Tárrega (1852-1909)
Intermission Fandango Sonatina Allegretto, Andante, Allegro
Joaquín Rodrigo (1901-1999) Federico M. Torroba (1891-1982)
Fantasía Sevillana
Joaquin Turina (1882-1949)
Leyenda Rumores de la Caleta Fantasia Cubana
Isaac Albéniz (1960 -1909) (Arr. Pepe Romero)
Celedonio Romero (1913-1996)
Pepe Romero Program Notes Fantasía XVI
Luys Milán
The vihuela was an early predecessor to the modern classical guitar, having six double courses (strings). Milán initiated detailed writings on the subject of musical interpretation and is the earliest source employing verbal indications of tempo. In 1536, Milán introduced his most important work, Libro de música de vihuela de mano intitulado El maestro, intended as an instruction book for the vihuela de mano (vihuela played with the fingers). This was the first collection of its kind in Spain and remains valuable for both instrumental and vocal inclusions, and exhibiting the quality of composer that Milán was. Exact performance directions for individual works support the evaluation that El Maestro was meticulously prepared. The book is dedicated to Don Juan, King of Portugal and Algarve, and is the earliest known Spanish example of tablature in print. El Maestro contains 40 fantasías, formally free with a typical blend of homophony and polyphony. The term “Fantasía” had a broad meaning in the 16th century. In the Fantasías of El Maestro, some are characterized by free polyphony where imitation appears in others. Several feature virtuoso passage-work in the form of runs or ornamental turns. © 2000 Columbia Artists Management Inc. Ileen Zovluck Danzas españolas
Gaspar Sanz
Gaspar Sanz was the outstanding Spanish guitar virtuoso of the late 17th Century. Trained early in life as a priest, he travelled to Italy where he received his principal musical training. During the second half of the 17th century, the first great renaissance period for the guitar, Gaspar Sanz was, perhaps, its most outstanding virtuoso. As a composer, he contributed significantly to the early literature of the guitar, leaving many popular works of varying difficulty; for the earliest beginner to a broader and more demanding professional level. Among these is the charming Suite Española featured here. This suite is in nine movements, all based on dance forms. The final movement, Canarios, is among the most famous in the guitar literature, and was adapted by the renowned 20th Century composer Joaquín Rodrigo as the theme for the final movement of his famous guitar concerto, Fantasia para un Gentilhombre.
Pepe Romero Program Notes cont.
The Suite española was written for a five-course guitar. Unlike today’s modern guitar, the instrument that Sanz wrote for was smaller and had five sets of double strings. The guitar was one of the instruments, with the lute, organ and vihuela, for which the first written music was published in the form of tablature. His 1674 treatise, Instruccíon de música sobre la guitarra española, a jewel in the literature of the guitar and the most comprehensive disquisition of its time. The Suite is taken from this text. © 1999 Columbia Artists Management Inc. Elizabeth E. Torres Variations on a Theme of Mozart, Op. 9
Fernando Sor
Fernando Sor displayed remarkable natural ability at an early age. By the time he was five, he had composed several pieces for the guitar — without any musical training. Six years later he went to study at the Monastery of Montserrat, Spain, with Fray Anselmo Viola; there he composed most of his sacred music. When Sor was seventeen, his opera, Telemaco, received its premiere at the Santa Cruz theater in Barcelona with overwhelming success. He concertized extensively throughout Europe as a solo guitarist and later in his life as part of a duo with the celebrated guitarist, Diónisio Aguado. Sor is chiefly remembered, however, for the great body of work he composed for the guitar— literature that has come to be a central part of the guitar repertoire today. Carissa S. Romero Capricho Arabe and Gran Jota
Francisco Tárrega
Francisco Tárrega was an extraordinary guitarist and composer who started his career with a brilliant concert at the Teatro de la Alhambra after which he was invited to play for the Queen of Spain, Doña Ysabel and Princess Matilde. By 1877, Tárrega was hailed as the “Sarasate of the guitar.” He was responsible for starting the renaissance that the guitar has enjoyed throughout the world to the present day. Capricho Arabe, one of Tárrega’s most famous works that takes a glance back in time, reminding one of the strong Moorish influences in Spain.
His Gran Jota fully employs the characteristic melodic turns and rapid triple meter of the Aragonian dance and is a vivid example of Tárrega’s touch and creative abilities. © 1999 Columbia Artists Management Inc.
Pepe Romero Program Notes cont.
Fandango from Tres piezas españolas Joaquín Rodrigo This work forms a part of a “suite” consisting of three pieces for the guitar (Passacaglia, Fandango, Zapateado) which was composed in 1954, the same year as the Fantasia para un gentilhombre for guitar and orchestra. The fandango was a dance which, for a long time, enjoyed the favor of all Spanish social classes, not to be confused with the “fandaguillo,” which is something completely different. The fandango which is heard here is a bit ceremonious but it contains a popular touch – for instance, in the central section, there are vague echoes of songs recounting the heroic deeds of courageous smugglers. © 1980 Joaquín Rodrigo Sonatina in A major Federico Moreno Torroba Federico Moreno Torroba’s vocabulary eschewed experimentation along 20th- century avant-garde lines, preferring lyrically melodic music with tonal harmony. His philosophy of composition is often described as “castizo”, signifying a blend of folk elements drawing on the traditions of Iberian culture, combined with conventional forms and evocative or impressionistic works celebrating dance genres, pacific places or moods. His guitar music is particularly rich in its use of color, melody and lively rhythms to transport the listener into an essentially Spanish expression of a poetic and romantic sensibility. The Sonatina is the embodiment of this description of Torroba’s music. This work has remained one of the most popular works of the modern guitar repertoire ever since Andres Segovia recorded the first movement of the Sonatina in 1927. (He recorded the complete Sonatina in the 1950s.) Torroba was one of the foremost composers involved in the remarkable 20th century renaissance of classical guitar.
Pepe Romero Program Notes cont.
Fantasía Sevillana, Op. 29 Joaquín Turina Turina plays a significant role in Spanish impressionistic music. Educated in Spain, Turina left his native country to spend a decade in Paris where he became close friends and collaborator with Manuel de Falla and Isaac Albéniz, who provided the stimulus for directing Turina’s efforts toward the writing of Spanish nationalistic music. Turina describes this work best: “My music is the expression of the feeling of a true Sevillian who did not know Seville until he left it ... it is necessary for the artist to move away to get to know his country, as it is for the painter who takes some steps backwards to take in the complete picture.” Carissa S. Romero Leyenda
Isaac Albeniz
Isaac Albéniz’ talent as a pianist was obvious almost from his infancy. He gave his first concert when he was four years old. After an adventurous youth, in which he ran away from home and toured as a pianist almost everywhere in the Americas, Albeniz settled down to serious study and became one of the great artists of his time.
As a composer, Albeniz began the important modern movement in Spanish music and is largely responsible for its extraordinary popularity. By petition of Debussy and Faure and other distinguished composers, the French Government presented Albeniz with the Legion of Honor. Albeniz’ music usually portrays colorfully the spirit of his native Spain. Leyenda, originally a work for piano, is the composer’s tribute to the Asturias region of northeastern Spain. Like a traveling troubadour, Albeniz sings of his beautiful native land, its scenery and its changing moods. Leyenda, or “the Legend”, is actually a subtitle with the region “Asturias” as the formal title. Leyenda is part of the Suite Espagnole for piano with the transcription for guitar by Andres Segovia. © 2000 Columbia Artists Management Inc.
Pepe Romero Program Notes cont.
Rumores de la Caleta ( Murmurs of the Cove)
Isaac Albeniz
This work is written as a malagueña and refers to a well-known cove on the coast near Málaga and comes from Albéniz’s Recuerdos de Viaje, Op. 71 (“Travel Souvenirs”). This work was written in 1887 after the composer toured in Spain. © 2006 Pepe Romero Fantasía Cubana
Celedonio Romero
The composer began playing the guitar at a very early age. He once said “Perhaps I was a guitarist in some earlier existence, because when I picked up the guitar as a very young child, I simply began to play as if my fingers had already been trained.” His parents thought that they should develop this talent, and saw to it that he had the very best teachers. In Malaga, he studied with Don Leandro Rivera Pons. Celedonio enjoyed a close friendship with composer Joaquín Turina, and his style of composition was greatly influenced by Turina. As the patriarch of the world’s most famous guitar quartet, his performing career went hand-in-hand with his compositional career. His accolades include a statue in his honor in his home town of Malaga and the coveted Grand Cross La Cruz de Caballero de la Orden de Isabel la Católica, presented by Spain’s King Juan Carlos. Fantasia Cubana received its basic form from the Cuban rhythm of guajiras. It is a technical showpiece, yet reminiscent of the very first efforts of Celedonio improvising on the guitar when he was a small child. His father would come home from work and ask him to play “los compuestos,” which to them meant “improvisations.” © 2000 Columbia Artist Management Inc. Elizabeth E. Torres
www.internationalconservatory.org
TH E B E A T T Y MUSIC SCHOLARSHIP COMPET ITIO N FOR
CLASSICAL GUITAR
6th Annual Beatty Competition March 9-12, 2012
George Washington University, Washington, DC Celebrating the music of Fernando Sor with a $1000 scholarship for the best performance of a Sor composition Set pieces to be composed by Julio César Oliva, Mexico Amy Crews Cutts – Executive Director Glenn Caluda – Artistic Director
2011 Winners: Eleanor Pressler Youth Division
Robbie Belson Junior Division
Jorge Aurelio Menendez
Senior Division & Ponce Prize
Katie Cho Grand Prize