Paquito D'rivera, Clarinet Sérgio & Odair Assad, Guitars
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CAL PERFORMANCES PRESENTS PROGRAM Wednesday, April 10, 2013, 8pm Music for solo clarinet, announced from the stage Zellerbach Hall Paquito D’Rivera, clarinet Paquito D’Rivera (b. 1948) Afro Paquito D’Rivera, clarinet Ástor Piazzolla (1921–1992) Milonga Per Tre with Piazzolla Escualo Sérgio Odair Assad, & guitars Antônio Carlos Jobim (1927–1994) Amparo Jobim Stone Flower Dances from the New World Gabriel Levy Baião de 5 PROGRAM A Medley of Sambas Paquito D’Rivera, clarinet Sérgio & Odair Assad, guitars Aníbal Augusto Sardinha (1915–1955) Medley Dilermando Reis (1916–1977) Dois Destinos Baden Powell (1937–2000) Tempo Feliz Sérgio & Odair Assad, guitars Cal Performances’ 2012–2013 season is sponsored by Wells Fargo. Cristóvão Bastos (b. 1947) Todo Sentimento Ernesto Lecuona (1896–1963) Conga de la Media Noche Ariel Ramírez (b. 1921) Alfonsina y el Mar Aaron Copland (1900–1990) Hoe-Down, from Rodeo Alberto Ginastera (1916–1983) Malambo, from Estancia, Op. 8a Paquito D’Rivera, clarinet Sérgio & Odair Assad, guitars INTERMISSION 28 CAL PERFORMANCES CAL PERFORMANCES 29 PROGRAM NOTES PROGRAM NOTES Aníbal Augusto Sardinha (1915–1955) president of Brazil from 1956 to 1961 and found- captures the music’s buoyant mood: Happy time, as a pianist, and soon was touring with a popular Medley er of the country’s new capital city, Brasília), ap- let bygones be bygones, Time so full of memo- dance band known as Lecuona’s Cuban Boys, peared regularly in concert and on radio, and ries, So many songs he left, Bringing peace to so which enjoyed great success through its record- Aníbal Sardinha, born in 1915 in São Paulo recorded over 40 albums, playing not only many hearts. ings and its tours of Latin America, Europe, and to Portuguese immigrants, began playing gui- popular Brazilian music but also compositions the United States performing his own music tar, mandolin, banjo, and ukulele as a young- by Bach, Barrios, Tárrega, and Pernambuco as and that of other Latin composers. As a recit- ster and started performing in public when he well as his own works, for which he employed a Cristóvão Bastos (b. 1947) alist, Lecuona scored triumphs in concerts in was eleven, earning for himself the nickname particularly adventuresome harmonic style that Todo Sentimento New York (Aeolian Hall) and Paris (Salle Pleyel) “Garoto”—The Banjo Kid. Sardinha made his he playfully said might well “confuse accom- during the 1920s, and returned frequently to first recording four years later, and by then was panists.” In 1953, he toured the United States Composed in 1987. Havana during those years to produce his zarzu- playing with bands and as a soloist all around and recorded for Columbia. Reis died in Rio elas at the Teatro Martí. In addition to his musi- São Paulo province. In 1938, he moved to Rio in 1977. The gentle waltz melody Dois Destinos Cristóvão Bastos, born in Rio de Janeiro in 1947, cal activities, Lecuona served for a period as an de Janeiro, where he performed in concerts (“Two Destinations”) has become a standard of is one of Brazil’s most admired pianists, com- attaché to the Cuban Legation in Washington, and broadcasts, recorded, composed, and col- the Latin American guitar literature. posers, and arrangers. He studied composition, receiving a gold medal in appreciation of his laborated with such leading Brazilian artists as accordion and piano as a youngster, made his services to his country at a nationally broad- guitarist Laurindo Almeida and singer, dancer, professional debut at age 18 in a suburban Rio cast ceremony in Havana. For a time, he lived and film star Carmen Miranda, who invited him Baden Powell (1937–2000) club, and has since performed, recorded, writ- in New York City, where he wrote for films and to tour the United States with her the follow- Tempo Feliz ten for television, film, and concert, and col- radio. On October 10, 1943, he presented a con- ing year. Sardinha became one of Brazil’s most laborated with many of the country’s leading cert of Cuban music at Carnegie Hall at which popular performers and composers, recording Composed in 1966. musical artists; he has won eight Sharp Awards, he premiered his Rapsodia Negra for Piano and bestselling albums and confirming the reputa- Brazil’s highest recognition for excellence in Orchestra. After Fidel Castro came to power in tion as “The Man with Golden Fingers” he had Baden Powell was one of the 20th-century’s popular music. Among Bastos’s many original 1959, Lecuona cut all his ties with Cuba, and earned on his American tour. He composed in foremost composers and performers of Latin works is the 1987 reverie Todo Sentimento (“All settled in the Canary Islands, where he died at the traditional Brazilian styles but brought to popular music. Born into a musical family in the Feeling”), with lyrics by composer, guitar- Santa Cruz de Tenerife on November 29, 1963. them a new sensibility that presaged the bossa Rio de Janeiro in 1937, Powell started playing ist, and poet Chico Buarque: After losing you, I’ll Though Lecuona, like George Gershwin, dem- nova craze of the 1950s. “It was not a transfor- guitar at age seven, won an amateur radio con- find you again for sure…maybe…in another time. onstrated his talent as a composer in the con- mation,” wrote the Brazilian pianist, composer, test two years later, and was performing profes- cert and operatic forms, his reputation endures and folklorist Waldemar Henrique. “It was a sionally by the time he was ten. He immersed principally through the many songs and piano long period of gestation when composers were himself in Brazilian classical and popular music Ernesto Lecuona (1896–1963) pieces that epitomize the popular idioms of his looking for modernity, breaking rules. The traditions and began broadcasting as a soloist Conga de la Media Noche country—Siboney, Jungle Drums, Malagueña, guide who prepared the approach of the bossa and vocal accompanist on Radio Nacional in La Comparsa, and a host of other compositions nova was Garoto.” Sardinha died in Rio in 1955 the late 1940s. He had his first hit as a composer Composed in 1930. embody for the world the spirit and style of at the age of just 39, when he was planning his in 1959 with Samba Triste, and three years later Latin music. The “Afro-Cuban dance” Conga de first tour to Europe. met the poet, lyricist, and composer Vinicius de Ernesto Lecuona was the Cuban analog of la Media Noche (“Midnight Conga,” 1930) re- Moraes, with whom he collaborated on some of George Gershwin—a composer of brilliant nat- flects the style and spirit of the popular conga the finest compositions of the emerging bossa ural gifts whose works exemplified the popular lines that wound through Cuba’s streets and Dilermando Reis (1916–1977) nova movement. In 1963, Powell moved to Paris, music of his country who also broached a more clubs during Carnival. Dois Destinos where he became one of the leading exponents of elevated expression in his compositions for the Brazilian music by performing, recording, and concert hall and operatic stage. Lecuona was Dilermando Reis was born in São Paulo in 1916 contributing to the soundtracks of such major born into a musical family in the Havana suburb Ariel Ramírez (b. 1921) but lived most of his life in Rio de Janeiro, where films as A Man and a Woman (1966), for which of Guanabacoa on August 7, 1896, and played Alfonsina y el Mar he established himself as one of Brazil’s best- he wrote Samba da Bencão. He lived and worked piano from an early age; he published his first known guitarists and composers. He first stud- for the next two decades primarily in Europe, song when he was eleven. He started teaching Ariel Ramírez has played a significant role ied guitar with his father and had progressed suf- but returned frequently to Brazil to perform and music in the city schools as a teenager while at- in incorporating the idioms of popular Latin ficiently by age seventeen to join the well-known record before again settling permanently in 1989 tending the National Conservatory in Havana, American music into concert compositions. blind guitarist Levino da Conceição on a tour in Rio de Janeiro, where he died in 2000. The from which he graduated in 1911. After further Born in 1921 in Santa Fe, Argentina, at the of Brazil. Reis settled in Rio, where he taught text that Brazilian poet and lyricist provided study with the noted Cuban pianist and com- junction of the Salado and Paraná Rivers, (his students included Juscelino Kubitschek, for Powell’s Tempo Feliz (“Happy Time,” 1966) poser Joaquín Nin, Lecuona began performing north of Buenos Aires, Ramírez discovered his 30 CAL PERFORMANCES CAL PERFORMANCES 31 PROGRAM NOTES PROGRAM NOTES country’s folklore when he took a teaching job melodies, and its ebullient spirit. Hoe-Down Paquito D’Rivera (b. 1948) musical talents had been discovered by Carlos at age nineteen in the Argentinean interior. He borrows the traditional tunes Bonyparte and Afro Gardel, then the most famous of all performers absorbed the music of the Indians, gauchos, McLeod’s Reel to portray the foot-stomping, and composers of tangos and a cultural hero in and creoles during the next three years before country fiddling, and swaggering bravado of Composed in 2003. Argentina. At Gardel’s urging, the young Ástor formally studying piano and composition in this rousing Western square dance. moved to Buenos Aires in 1937, and joined the Buenos Aires and, after 1950, at the conserva- Since appearing as soloist with the National popular tango orchestra of Anibal Troilo as ar- tories of Madrid and Vienna.