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SALÓN MEXICANO in the Fay and Daniel Levin Performance Studio at 98.7 WFMT 1 RICARDO CASTRO (1864–1907) Caprice Vals, Op

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SALÓN MEXICANO in the Fay and Daniel Levin Performance Studio at 98.7 WFMT 1 RICARDO CASTRO (1864–1907) Caprice Vals, Op Also with Jorge Federico Osorio on Cedille MEXICAN PIANO MUSIC BY MANUEL M. PONCE “Osorio plays all of these pieces masterfully, with virtuosity to spare and a natural expressiveness that never compromises SALÓN the music’s freshness and spontaneity. If I had to choose one highlight, it would probably be the Suite cubana, a marvelous exploration of Latino musical folklore cast as a triptych in the manner of Debussy’s Images. But then, there are no dead spots, musically or interpretively, and the engineering offers MEXICANO the last word in sonic realism. In short, this is an absolutely CASTRO wonderful disc by any measure.” — CLASSICSTODAY.COM VILLANUEVA PIANO ESPAÑOL PONCE Albéniz, Falla, Granados, and Soler ROLÓN “Jorge Federico Osorio knows this music as well as any pianist alive, and his performances bespeak the wisdom of maturity with no loss of freshness or spontaneity. There’s poetry aplenty, but also bravura. Sonically this recording strikes me as ideal. In short, what you hear is what Osorio does, and what he does is pretty terrific.” — CLASSICSTODAY.COM DEBUSSY & LISZT “Osorio’s performances combine . clarity of texture with an articulate rhythmic sense that illuminate such pieces as ‘La cathedrale engloutie’ (one of the highlights of the set) from within. His robust readings of the Liszt pieces benefit from the pianist’s finely-chiseled detail and generous color palette.” — CHICAGO TRIBUNE JORGE FEDERICO OSORIO, PIANO Producer James Ginsburg JORGE FEDERICO OSORIO Engineer Bill Maylone piano Recorded February 8–9 and April 15, 2012 SALÓN MEXICANO In the Fay and Daniel Levin Performance Studio at 98.7 WFMT 1 RICARDO CASTRO (1864–1907) Caprice Vals, Op. 1 (7:03) Steinway Piano Technicians Charles Terr and Ken Orgel 2 FELIPE VILLANUEVA (1862–1893) Sueño Dorado: Mazurka (4:33) Cover Portrait of Angelina Beloff, 1918 (oil on canvas), Diego Rivera (1886–1957) 3 CASTRO Vals caressante (1:56) Museo Dolores Olmedo Patiño, Mexico City, Mexico / The Bridgeman Art Library 4 MANUEL M. PONCE (1882–1948) 8a Mazurca de Salón (2:32) Cover Design Sue Cottrill 5 VILLANUEVA Causerie: Vals lento (3:47) Inside Booklet and Inlay Card Nancy Bieschke 6 VILLANUEVA Tercera Mazurka, Op. 27 (4:14) 7 PONCE “Marchita el Alma...” (3:03) 8 VILLANUEVA Ebelia: Mazurka de Salón (5:38) 9 CASTRO Vals amoroso, Op. 31, No. 11 (1:58) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation bu CASTRO Mazurca melancólica (3:30) devoted to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording bl CASTRO Barcarola, Op. 30, No. 2 (2:46) Foundation’s activities are supported in part by contributions and grants from individuals, foundations, corporations, and government agencies including the Alphawood Foundation, Irving Harris Foundation, Mesirow Financial, NIB bm VILLANUEVA Amor: Vals de Salón (3:12) Foundation, Negaunee Foundation, Sage Foundation, and the Illinois Arts Council, a state agency. This project is bn PONCE “Todo pasó…” (2:07) partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events. bo CASTRO Vals sentimental, Op. 30, No. 1 (2:35) bp CASTRO Vals bluette (1:58) CONTRIBUTIONS TO THE CHICAGO CLASSICAL RECORDING FOUNDATION bq PONCE Mazurca de Salón (2:55) MAY BE MADE AT CEDILLERECORDS.ORG OR 773-989-2515. br CASTRO Vals melancólico, Op. 36, No. 2 (4:29) bs VILLANUEVA Vals Poético: Vals de Salón para piano (3:40) CEDILLE RECORDS trademark of The Chicago Classical Recording Foundation bt PONCE Canciones Mexicanas: “Por ti mi Corazón…” (2:38) 1205 W Balmoral Ave. Chicago IL 60640, USA cu JOSÉ ROLÓN (1876–1945) Vals Capricho, Op. 14 (8:32) 773.989.2515 tel - 773.989.2517 fax WWW.CEDILLERECORDS.ORG TT: (74:10) CDR 90000 132 P & C 2012 Cedille Records All Rights Reserved. Made in U.S.A 2 3 SALÓN MEXICANO of those themes in a pyrotechnical has a significant international profile startling virtuosity. Through numerous Notes by Andrea Lamoreaux fashion. Many of Chopin’s and Liszt’s today. Along with Ponce, you will hear key changes and shifts between pieces by two of his predecessors and major and minor modes, it explores Some musical purists use “salon compositions are complex, soulful one contemporary on this program of the whole range of the piano’s sound music” as a term of contempt. They works of deep expressiveness and musical rediscovery. and the pianist’s art. Structured as claim it lacks artistic value; that it meaning. Others serve a different a free rondo, it builds to a powerful is just an early type of Muzak, or purpose: to show off pianistic ability, Ricardo Castro (1864–1907) came triple-forte climax in octaves. meaningless background sound. In explore every nuance of a tune, and from the generation that preceded the 19th century, however, piano bring a smile to listeners’ faces (and Ponce. Ponce’s major interest was Castro’s serene, melodious Vals music as a form of pure entertainment probably their own faces as well). in traditional Mexican music and caressante (Caressing Waltz) evokes had both an artistic and a social Composers and pianists of all levels its integration into the world of art a vision of ballroom dancers. Also function. In those days, before the of inspiration and talent seized upon music. Castro was more inspired included on the program are Castro’s invention of recording, the advent these elements and created large by the European styles of his time, rhapsodic Vals amoroso and lilting of radio, and the arrival of MP3 quantities of such entertainment and especially by Chopin. Castro Barcarola, reminiscent in mood and downloads, party music could only pieces, or salon music. performed from an early age in rhythm of the famous Barcarolle be provided by actual performers. The salon style fell out of favor during Mexico, Venezuela, the United States, from Offenbach’s Tales of Hoffmann. Often these were pianist-composers the 20th century. Now that we’re well and Paris, while also composing In between those pieces on the who could create melodies that into the 21st, we hardly ever hear symphonies, concertos, two operas, disc, Castro’s Mazurca melancólica were singable and danceable, and it. Jorge Federico Osorio’s current and a great deal of piano music. recalls Chopin. Chopin wrote some elaborate them in clever ways that recording brings many of these Having studied at the conservatory in 50 mazurkas based on traditional made them highly interesting and delightful pieces back to life. It has the Mexico City, he became its director Polish dances; the time signature is entertaining to hear. further interest of presenting works shortly before his death. 3/4, like a waltz, but the accents are usually placed on the second or third Two giants of keyboard composition by composers not generally well Opening the disc, Castro’s Caprice- beat, rather than the first. Castro’s in the 19th century were Frédéric known to us: those who revitalized Vals, Op. 1, exists also as a piece for mazurka is full of challenging octave Chopin and Franz Liszt, virtuoso and developed the performance piano and orchestra. As a calling-card passages. It’s followed later by two performers who could invent and appreciation of the musical arts work, it appears intended entirely more evocations of Chopin’s style, melodies and exploit every possibility in Mexico. Of the four composers as a display piece, an exhibition of represented, only Manuel Ponce the mellow Vals sentimental that 4 5 makes us again picture ballroom accompaniments to its right-hand very quietly with an octave in the the passionate 8th Mazurca de Salón dancers and Vals melancólico, which melody: a single note, a broken piano’s high register. It’s moderately that opens his group. Later come fluctuates constantly between major chord, and a rest. In Tercera Mazurka paced and very lyrical. instrumental versions of three of his and minor. In between, the rippling (Third Mazurka), the introductory One of the most important figures songs: the plaintive Marchita el Alma runs and ornaments Castro loved flourish is followed by a mazurka in Latin-American music, Manuel (My Soul Languishes), which calls to write are particularly apparent theme that starts on the second beat, M. Ponce (1882–1948) was a child- for the pianist’s best singing tone in Vals bluette (Little Blue Waltz), a emphasizing the dance’s distinctive prodigy pianist who became a to express lost love; Todo pasó (All waltz more suited for listening than rhythm. The tunefulness of the renowned composer, teacher, and Passes), a very simple tune that also dancing. opening leads into a virtuosic romp, musicologist. Ponce researched reflects sadness and loss; and, from Felipe Villanueva (1862–1893) was combining the singing quality that’s Mexican music, incorporated it into Ponce’s Tres Canciones Populares playing violin in a theater orchestra so much a part of salon music with its his concert works, and brought it to Mexicanas, Por ti mi Corazón (For at the age of 14. He went on to be equally characteristic brilliance and the attention of the world. He studied You, My Beloved), again a lament of a composer, pianist, piano teacher, high spirits. Ebelia, subtitled “Salon in Mexico City, Italy, and Germany; love gone wrong. Rounding out the and founder, with Ricardo Castro, Mazurka,” starts out with a sequence visited Cuba; met Brazil’s Heitor Ponce selections, another Mazurca of a new Music Institute to enhance of rhetorical gestures in changing Villa-Lobos in the musical ferment of de Salón features a scale-based the teaching of all things musical to tempi; having gained our attention, 1920s Paris; and wrote songs, piano main theme and a more elaborate young Mexicans.
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