José Serebrier Last Tango Be fore Sunrise

Málaga Philharmonic Orchestra Moscow Gnessin Percussion Ensemble, Ilia Melikhov, Director Nadia Shpachenko, piano Nestor Torres, flute Gabriel Goñí, flute fr esh ! Sara Cutler, harp Solène Le Van, soprano José Serebrier, who is one of the most frequenJtoly sreéc oSrdeedr ecobndruicetors, estab - lwishhoed i hs imonsel fo afs ath seig nmifoicsatn ftr ceoqmuepnostelyr ares cfoarrd ebdac k caosn dthuec t1o9r5s,0 s. eTsthaeb liSsyhm ed - phhimonsye lNf oa. s3 , a“S ysmigpnhiofniciea Mnty sctioqmuep,” owsears rseinlecaes edh oins a Nteaexnoss , DwVhDe nin 2L00e8o,p poelr d - fSotromkeodw lsivkei apt Crehmeiseterre dC atthed r1a7l iny ethaer UolKd' sb yF tihrset N Saytmionpahlo Ynoyu ttho Orerpchlaecsetr ath oe f Sprpeamini ecroen douf ctthede bIvye tsh e4 tcho mSpymosperh. Tonhye . T3rhde S Symymphpohnoyn, yo rNigoin. a3l,l y" Sreycmorpdhedo noine CMD ysftoiqr uNea,"x ows absy rtehle aTsoedul oouns ea CNhaaxm o-s DbeVr D iOn r2c0h0e8st,r pa,e rformeceidv eadt Chtehsrteer GRAMMY® nominations, including a Cathedral in the UK by the National nomination for the “Best New Compo - Youth Orchestra of Spain conducted sition of 2004”. BIS Records and the by the . The 3rd Symphony, American Orchestra co-com - originally recorded on CD for Naxos missioned a in 2018, by the Toulouse Chamber Orchestra, “Symphonic B A C H Variations” recceoivrdede dth rbeye GARleAxaMndMreY ®K nanomtoirnoawtio onns , BinIcSl.u Pdrienvgi oau ns oremcoinrdaitniogns ofof rS tehreb "rBieers”st mNuewsic Cinocmludpeo sai tCioDn roefle a2s0ed0 4b"y. bBoItSh RNeacxosr dasn da nRde fetrheen cAe mReecroicrdainn gCs owm ith- pthoes eLrso Ondrocnh ePsthrail hcoar-mcoomnimc, isfseiaotnueridn ga Spiyamnop hcoonnyc eNrto . in2 20an1d8 , "oSthymer phmoanjoicr B A C H Variations" recorded by Awolerxkas.ndre Kantorow on BIS. Previous recordings of Serebrier's music include a C D S erreelberaiseerd w bays bboortnh iNn 1ax9o3s8 ain dM Roenfterveidnecoe, RUerucogurdaiyn ogfs Rwuistshi atnh aen Ld oPnodliosnh Ppahrielnhtasr. mAot nthice, faegaet uorf inign eth hee Sbyemgapnh toon syt uNdoy . v2io. lin, and at age eleven made his c o n d Sucetrienbgr ideerb wuta. sW bohrilne in h1i9g3h8 s cinh oMol ohnet eovrigdaenoiz, eUd raungdu acyo nodfu Rctuedss itahne fainrsd t Pyooulitshh o prcahreensttrsa. Aint U thrueg augaey , owf hniicnhe t ohuer bedeg aannd tgoa vsteu mdyo rvei othliann, aonde haut nadgree edl ecvoen n - mceratdse o vheirs focuorn ydeuacrst.i nUgp odne bguratd. uWatihngil ef roinm hthieg hM sucnhicoiopla l hSec hoorogl aonfi zMedu siacn idn cMonondtuecvtiedde ot hine vfiiroslti ny,o suotlfhe goer,c thheesotrya, iann dU Lruagtiuna Ay, mwehriicchan t ofoulrkeldo raen adt aggaev efi fmteoerne , tohpapno rtounneit ihesu fnodr rceodn dcuocnticnegr tUs rouvgeura yf”os uorn lye marasj.o rU oprcohne sgtrraa wdueraet innogt fforrotmhc otm he- Mingu. nTihciapt ayle Sarc, hthoeo la nonf uMal ucsoimc pino sMitioonn tceovnitdeesot biyn tvhieo lNina,t isoonlafel gSey, mthpehoornyy, aOnr d - chestra was announced very late, only two weeks before the deadline. The young Latin American folklore at age fifteen, opportunities for musician, thinking that if he won he might be permitted to conduct his work, Uruguay’s only major orchestra were not forthcoming. That year, the annual entered the contest with a hastily written Legend of Faust overture. The 18-minute composition contest by the National Symphony Orchestra was announced work was written in the last four days and nights, and the last page composed on very late, only two weeks before the deadline. The young musician, thinking a taxi ride while rushing to meet the deadline. Serebrier won the contest. But the that if he won he might be permitted to conduct his work, entered the contest composer being fifteen, his work was assigned to a guest conductor, Eleazar de wCiatrhv aalh hoa, satti ltyh awt rtiitmteen t hLee gmenodst opf rFoamuisnt eonvt eLrtautirne . ATmher i1c8an-m coinnudtuec tworo. rTko wdaays , wSerriettbernie rin c othnde ulactsst mfoousrt doaf ytsh ae nmda njoigr hotrsc,h aenstdr atsh aer olausnt dp athge woarsl dc,o amnpdo hsaesd boe n - aco tmaxei trhide em wohsti lree croursdheidn gc otnod muceteotr t ohfe h dise agdenlienrea.t iSoenr,e pberrihear pws oin hthiseto croyn, wteistht. wBeultl tohve r ctohmrepe ohsuenr dbreeidn gre lfeifatseees na,n hdi sm wulotirpkl ew ianst earsnsaitginonedal taow ar dgsu. eHsti sc opnudbluischtoedr, Ecolmeapzoasri tidoen sC, maravnayl hoof , thaet mth watr itttiemn ea tt hane emarolys ta gper,o amlsoin neunmt bLear toinve rA omne rhicuan n - cdorendd.Eucatrolyr. iTn ohdisa cya, rSeer,e Sberriebr rcieorn wdausc ths em reocsitp ioefn t hoef mmaanjyo ro fo mrcuhseisct”rsa ms oasrto cuonv d - tehteed w hoornldor, sa. nIdn h19a5s 6b eacnodm 1e9 5th7 eh me roescte irveecdo rad eUdn citoendd Sutcattoers oSft ahteis Dgepnaertamtieont, pFerllhoawpssh inp thoi ssttourdyy, wcoitmhp woseiltli oonv eart tthree Ce uhrutnisd Irnesdt irteulteea osef sM anusdi cm wuiltthip Bleo hinutselar v- nMaatirotinnaul aanwda Vrditst.o Hrioi sG piaunbnliisnhi,e adn dc owmitpho Asiatrioonn sC, omplaannyd oatf Tthanegmle woroitdte. Inn a1t9 a5n6 ehaer lwya asg aew, aalrsdoe dn uam Kboeurs osevveirt zoknye Fhouunnddraetdio. n Award at Tanglewood and in the s a m e E yeaarrly a iBn MhiIs Ycoaurenegr ,C Soemrepboriser sw Aaws athrde froerc hipisie Fnitr sot fS mymanpyh oonf ym aunsdi cQ’s umarotest cforv Setaexdo phhoonnoerss. .T Inh e1 S9t5a6te a Dnde p1a9rt5m7 ehnet rFeecleloivwesdh iap Uwnasit feodl lSowtaetde sb Sy ttawteo consec - Dutievpea Grtmugegnetn Fheelilmow Fsehlilpow tosh sitpusd iyn c 1o9m5p7o asnitdio 1n9 a5t8 t. hAet C nuinrteitse Iens, thiteu rtem ofa iMnsu tshice wyoiuthn gBesoth euvselra tvo M obatratiinn tuh easned a Vwaitrtdosr iino aGnyia fnienldin. iS, earnebdr iwerit hha sA aalsro nb eCeno phloanodr ead t Twaitnhg tlewwoo Dodo.r aItni F1e9l5lo6w hseh iwpsa sa ta wthaer dUendi vae rKsiotyu sosfe vMitiznknye sFootua nwdhaetrioe nh eA rwecaeridv ead t Thiasn MglAew ino o1d9 6a0n (dh ein g rtahdeu asatemd ef ryoema rt hae B CMurIti sY Ionusntigtu Cteo inm 1p9o5s8e)r,s a A Pwana rAdm foeri chain s FUinrsiot nS Pymubplhicoantiyo na nAdw Qardu a(rftoert hfoisr ESlaegxyo pfohro Sntersin. Tgs )h, ea nSdta tthee D Feoprda rFtmouenndt aFtieol n- lAomwsehriicpa nw aCs ofnodlluocwtoerds bCyo tmwpoe ctiotniosne cAutwivaerd G, wugonge tnohgeitmhe rF ewlliothw Jsahmipess iLn e1v9in5e7 . Many other prizes followed: a award to be Composer- and 1958. At nineteen, he remains the youngest ever to obtain these awards in-Residence of the Orchestra, at the invitation of George Szell during in any field. Serebrier has also been honored with two Dorati Fellowships at the season 1968/69 and again 1969/70; a Harvard Musical Association Com - the University of Minnesota where he received his MA in 1960 (he graduated mission Award (for Fantasia for string quartet); a National Endowment for the from the Curtis Institute in 1958), a Pan American Union Publication Award Arts Commission (for a ballet, Orpheus x Light for the Joffrey Ballet, based on (for his Elegy for Strings ), and the Ford Foundation American Conductors the Concerto for Harp and Orchestra, Colores Mágicos ); a Grammy nomination for Chios mrepcoertditiinogn oAf wthaer dF,o wurotnh Stoygmepthheorn yw bityh C Jahmareless LIveevsi nwei.t hM tahne yL ootnhdeorn p Prihziel -s fhoalrlmowonedic: Oa rRchoecskterafe; ltlheer UFo.Ku.n Mdautsiiocn R aewtaailredr st oA sbseo cCiaotmionp oaswearr-din f-oRr beesisdt eonrcchee os -f thrael Crelceovredlainngd (Oforrc hthees tMra,e antd tehlses oinhvni tsaytmiopnh oofn Giees,o wrgieth S tzheell Sdcuortitnigsh t hCeh saemasboen r 1O9r6ch8/e6st9r aa);n tdh ea gDaeinu ts1c9h6e9 S/7ch0a; lalp Hlataternva Ardw Mardu fsoicra bl eAsts osorcchiaetsitoranl rCecoomrdminigss (ifoon r Athwe afrirds t( foofr tFharenet aCsiDa ”fso ro fs tSrihnogs tqaukaorvtiecth)”;s a F Nilmat ioSnuaitle Es, nwdiothw tmhe nBt eflogri atnh eR Aadritos COorcmhemstirsas)i,o An u(dfoiprh ail eb aMlleatg,a zOinrpe”hse uaws xar dL ifgohrt Bfeosrt tOherc Jhoefsftrreayl RBeaclolerdt,i nbga sfeodr hoin s trhened iCtionc oerft So chfeohre rHazaardpe wanitdh tOhrec Lheosntrdao, nC Pohloilrheas rmMoángiicc, oas n);d am aGnyR oAthMerMs. Y® n o m iSnearteibornie fro wr ahsi s2 2re yceoarrdsi nolgd owf htehne LFoeouprtohld S Sytmokpohwosnkyi bnyam Cehda hrliems IAvsesso wciiatth e tChoen Lduocntdoor no fP theil hnaerwmlyo fnoircm Oedrc Ahemsterraic; atnh eS yUm.Kph. Monuy sOicr cRheetsatirlae rins ANseswo cYioatriko, n a apwosatr dh ef ohre lbde fsot ro fricvhe eysetararsl. rPerceovridoiunsgly ,( fSoerr etbhrei eMr wenasd tehlses oMhinn nsyemsoptah Oonricehse, swtriat”h s tAhpep Srecnotitciseh C Cohnadmucbteor, Owritchh eAstnrtaa)l; tDhoe rDatei,u ftosrc htwe oS csheasllopnlsa.t tSeenr eAbwriearr dm faodre b hesist oNrecwhe Ysotrrakl croencodrudcitningg ( dfoebr utht ew fitirhs th oef Athmreeer iCcaDn S’s yomf pShhoonsyta Okorcvhicehst’sr aF aitlm C aSrunietgeise , wHiatlhl inth 1e9 6B5e wlgiitahn w Ridaed ciroi tiOcarlc ahcecslatirma)., RAuundniionpgh liilkee M a tahgeamzien teh’s roauwgahr dth efo rre vBieewsst Owarsc hane satwraalr eRnecsso ordf ihnigs ifnotre nhsies, dryenadmitico nap opfr oSachhe htoe rmazuasdice awndit hi st hsuep Lerobn cdoon n - Ptrholi lohfa rthmeo onricch, easntdra .m Saenreyb oritehre”sr sa. ssociation with Stokowski goes back to 1957, w h e n S tehre btrwieor cawmaes t2o2g etyheearr st horoldu gwh hae dnr aLmeaotipco tludr nS otof keovewnstks.i Itn awmase din hthimat Ayesasro wcihaitle cCoonndducutcitnogr tohfe tHheo unsetownl yS yfomrpmheodn yA, tmhaetr itchaen m Sayemstrpoh polnayn nOedrc thoe psrtera- imni eNree twh eY doirffkic, ual tp Soysmt phheon hy eNldo. 4fobry fIives .y Beaurts t.h Pe rmevuisoicu stliyl,l Spreorveebdr iteoro wdiafsf ictuhlet and complex for the orchestra, and Stokowski began to search for a new and in - Minnesota Orchestra’s Apprentice Conductor, with Antal Dorati, for two teresting work that he could premiere instead, as a last minute replacement for seasons. Serebrier made his New York conducting debut with the American the Ives Fourth. He found and chose Serebrier”s Symphony No. 1, written by the Symphony Orchestra at in 1965 with wide critical acclaim. then 17-year-old student at the Curtis Institute of Music, who had recently ar - Running like a theme through the reviews was an awareness of his intense, rived in the . The occasion of the concert was their first meeting. dynamic approach to music and his superb control of the orchestra. Serebrier’s Eight years later the “unplayable” Ives Fourth Symphony finally had its premiere awsistohc Siattoikoonw wskiti hc oSntdoukcotwinsgk tih geo Aesm bearcicka nto S 1ym95p7h, ownhy eant Cthaern tewgoie cHamalle. Stotagnedthinegr tohnr oanuogthh ear dproadmiuamti cn teuxrt nto o Sf teovkeonwts.k Ii,t o wnea so ifn t hteh atht ryeeea cro wndhuilcet ocrosn ndeuccetsisnargy tfhoer Htheo urhstyothnm Sicy mcopmhpolnexyi,t itehs aotf the wmorake,s wtraos Jpolsaén Sneerde btroie rp. Are mfeiwe ryee atrhs ela tdeirf fSicerue l-t Sbryimer pwhoounlyd Npeor.f 4o rbmy Iavneds .r Becuotr dth teh me suysmicp shtiolln py rwovitehd tthoeo Ldoifnfidcounlt Pahnidlh caormponleixc fOorc thhees torarc ohne shtrias , oawnnd, Swtiotkhowuts kthi eb eagssainst aton csee aorfc ho tfhoerr ac onnedwu catnodrs .i nHteisre RstCinA g wreocorkrd tihnagt i sh ceo cnosuidlder pedre am laienrdem inarskte. aHdi,g ahs Fa ildaeslti tmy icnaulleted riet p“olancee omf ethnet bfoers tt hreec oIvrde-s Finogusr etvhe. rH mea fdoeu.”n Idt wanodn cah Gosrea mSemreyb nroiemr’isn Saytimonp hanodn yit Nreoc.e 1iv, ewdr nitutmene rboyu tsh aew tahredn s 1ar7o-uynedar t-hoeld w sotrulde. nTth aatt thhiest Coruicr triesc Ionrsdtiintug tree omfa Minsu saivca, iwlahbole .had recently arrived i n t h Le eUopnoitledd SSttoakteosw. sTkih ec onccdauscitoend otfh teh ef icrsotn cNeretw w aYso rtkh eipre frifrosrtm maneeceti nogf. ESeirgehbtr iyeer”asr sE leagtye rf otrh Set r“iunngspilnay 1a9b6le2” aItv eCsa rFnoeugrieth H Sayllm, apnhdo inny 1 f9i6n3a lSlyt ohkaodw siktsi popreemneider eth we iAthm Setroickaonw Ssykmi cpohnodnuyc Otinrcgh tehster aA smeaesroicna ant SCyamrnpehgoien yH aatl lC wairtnhe tghie Hpreamll.i eSreta onfd tihneg c omn paonsoert”hse Pr oepmoad iEulmeg ianceo x(to rtiog iSnatollky oewntsiktlie, do “nFeu noefr atlh Me athrcrhe”e, cthoen dusecctonrsd nemcoesvseamrye nfto r otfh e Prahrytittham) icT hcoe mLploeuxiistvieilsle o fO thrceh wesotrak , wreacso rJdoesdé Serebriierr”. sA P faerwtit yae. aIrns hlaitse rre Svieerweb, Arielfrr ewdo Furldan pkeernfostremin a wnrdi triencgo frodr t Hhei gshym Fpidheolinty wMiathg atzhien eL, honaidleodn S Pehreiblhriaerrm aos n“tihc eO lorgchiceaslt sruac ocnes hsoisr otow tnh,e w cirtohwonu to tfh Vei lalsas-iLstoabnocse , oanf do tthhee Sro cuothn dAumcetroicrasn. Hto iws aRtcCh.A” F orer cthoer d1i9n6g8 -i6s9 caonnds 6id9-e7r0e dse as olanns, dGmeoargk e . HSzieglhl nFaimdeldi tJy oscéa Sllerde birti e“ro Cneo mofp otsheer -bine-sRt erseidcoenrdcein ogfs t heev eCr lemvealdane.d” OItr cwhoesnt ra GunRdeAr Ma sMpeYci® aln gormanitn afrtoiomn tahned Rito rcekceefievleledr nFuomunedroautiso anw. Wardhsi laer oinu nthda tth peo wsiotiroldn., he wrote a harp concerto entitled for the Inter American Music That historic recording remains Cavoaloirlaesb Mle. ágicos Festival in Washington. It combined light and sound and it tempted Irving conducted the first New York performance of Lowens to write: “Despite the use of such fashionable devices as tone-rows (the Serebrier’s Elegy for Strings in 1962 at Carnegie Hall, and in 1963 Stokowski composer says that the work is based on a row of 10 notes, and if he wants it that opened the American Symphony Orchestra season at Carnegie Hall with way, so be it, even though I couldn”t perceive the serial organization with my ears), the premiere of the composer’s Poema Elegiaco (originally entitled “Funeral tone-clusters, tone-clouds...Serebrier, a first-rate conductor, uses orchestral colors Min amrcuhch”, tthee ssaemcoen wda my aosv ae mcheinldt uosfe Ps afirntigtea r)-. pTahinet sL. oHuei slvaiylsle a bOoructh heismtr aw riethco ar dfiende Sfuerrye, barniedr ’asc Phaiervtietsa .soInm hetish irnegvi eowf ,t hAel fsrteadg eFyr ahnokreronrs toefi na wtarliet ibnyg Efodrg Hari gAhl lFanid ePloitey . mOfa gthaze i1n5e , nhewai lwedor kSs eIr ehberairedr dausr in“gth teh el ocoguicrasel osfu tchce sfseosrti vtaol, It”hde r acnrko wConl oroefs VMiallgai-coLs oabs oths,e a vnedry t bhees tS..o.iutst ha dAvamneceridc atenc hton iwquaetcs hd.o” n ”Fto gre t hoen 1it9s6 w8a-y6. 9D aonudb t6le9s-s 7it0 w siella sboen hs,e aGrde—organe dS zseeelln —naamgeadin Jvoesréy Soefrtenb;r iietr d Cesoemrvpeso steor -bien.”- RShesoirdtelyn caeft eorf , tSheere bCrileerv welraonted a nOotrhcehre msturalt i-umneddeira wa orskp,e Nciuaelv e g, raa cnotn cferrotmo f otrh deo uRbloec bkaesfse allned r Forocuhnedstartai,o cno.m Wmhisilseio ine tdh afot rp tohseit idoonu,b hle wbarsost ev iart huaorspo cGoanrcye rKtoar er.n Stietrlebd rCieor loarned s MKaárgr ihcoas vefo pre trhfoer Imnetder t hAims ceorniccaenrt oM aurosuicn Fd etshteiv walo irnld W. Saesrhebinrigetro hna. sI ta lcsom wbritntedn lai gchotn caenrdto s foourn adc caonrdi oitn t eamndp otercdh Iersvtrina g( cLomowmeinsssi oton ewd rbitye t: h“eD Aesmpeitreic tahne A ucsceo or -f such fashionable devices as tone-rows (the composer says that the work is based on a row of 10 notes, and if he wants it that way, so be it, even though I couldn’t perceive the serial organization with my ears), tone-clusters, tone- clouds...Serebrier, a first-rate conductor, uses orchestral colors in much the same way as a child uses finger-paints. He lays about him with a fine fury, and achieves something of the stagey horror of a tale by Edgar Allan Poe. Of the 15 new works I heard during the course of the festival, I’d rank Colores Mágicos as the very best...its advanced techniques don’t get in its way. Doubtless it will be heard—and seen—again very often; it deserves to be.” Shortly after, Serebrier wrote another multi-media work, Nueve , a concerto for double bass and orchestra, commissioned for the double bass virtuoso Gary Karr. Serebrier and Karr have performed this concerto around the world. Serebrier has also written a concerto for accordion and orchestra (commissioned by the American Accordionists Association), and concertos for trombone, violin, piano and others. He has composed several works for percussion ensembles. The Symphony for Percussion was recorded by Sir John Elliott Gardiner. Serebrier’s Winter was premiered at Lincoln Center in New York in 1995 to wide critical acclaim, and has since been performed in London (Philharmonia Orchestra), Madrid (National Symphony), and many other cities around the world. —Based on articles by © By Broadcast Music Inc. (used by permission) dionists Association), and concertos for trombone, violin, piano and others. He has composed several works for percussion ensembles. The Symphony for Percus - sion was recordTedh bye S iMr Jouhns Eillcio tto Gf arJdoinesr.é S erSeberirere”s bViroline Cr oncerto Winter was premiered at Lincoln Center in New York in 1995 to wide critical acclaim, SanYd MhasP siHnceO beNenY p eFrfoOrmRed iPn ELoRndConU (PShSilhIaOrmN oni(a1 O96r4c)hestra), Madrid (Na - Dtiounrainl gS ymmyp yheoanrys )w, ainthd Lmeaonpyo oldt hSetro ckiotiwess kair’os uAnmd ethriec awno Srlydm. phony Orchestra at C a r n egie Hall, five— unBfaosregde otnta abrltei clseesa bsyo nOsl,i vseorm Dea onfie lthe star musicians asked m e t o write new com©p Boys iBtrioandsc afsto Mr tuhsiec mIn.cP. (auusel dP bryi pcer mwisassio nt)h e A S O p r i n c i p a l percussionist, and I wrote the Symphony for him and his Manhattan Percussion Ensemble. Price performed it year after year, all over the city and at home in the Manhattan School of Music. The first recording was conducted by Sir on the transition technology between LP and CD: “Direct-to-Disc”. This is the first recording on CD. The amazing group from Moscow performs it entirely from memory, an outstanding feat. They can be seen on YouTube in a Moscow performance.

PIANO SONATA (1957) Composed as one of the requirements for graduation from the Curtis Institute in Philadelphia in 1958, I was honored to have premiere it. I may have felt nostalgic for my home town of Montevideo, since I employed for the first time Latin-sounding rhythms. Performed numerous times around the world, this is the first recording. DANZA (from Flute Concerto with Tango) (2008) Flute Concerto with Tango was commissioned by the BIS record label for Sharon Bezaly, who performed it on tour in and recorded it with the Australian Chamber Orchestra, directed by Richard Tognetti and produced by Robert Suff. The American premiere took place in October 2012 at Carnegie Hall, with the American Composers Orchestra, Sharon Bezaly soloist.The fourth movement justifies the title of the work. Traditionally, tangos end with a strong dominant chord followed by a brief, barely audible tonic chord. I take this idea further, leaving my tango up in the air in the middle of a phrase, so that the listener can make his own conclusion. The tango’s interlude of slow, lyrical passages gives way to the final Allegro movement, Danza , when soloist and orchestra are off to the races. A virtuoso Presto section ends the work with a flourish of pyrotechnics. The Danza movement is often performed by itself, sometimes preceded by Tango Inconcluso .

CANDOMBE (2019) In the the 17th and 18th centuries Africans sold as slaves took the candombe percussion patterns to Uruguay, Argentina, Brazil and even to Cuba where it developed different rhythms. It became adopted especially in Uruguay, later modifying into milonga, itself a predecessor of the tango. Candombe, milonga and tango originated from the same African roots, but tango adopted its name and pulsation from Spain. Candombe still exists in Uruguay, especially during Carnival, when amazing drummers parade with their collection of drums played with bare hands. My own Candombe is just an homage to the genre, contrasting the broken rhythm with melodic turns. It was written especially for the recording with the Málaga Philharmonic Orchestra, including my three previous attempts at concert tangos . TANGO IN BLUE (2001) Tango in Blue was written during the long overnight flight from New York to Montevideo, as an impromptu gift for the National Orchestra of Uruguay, OSSODRE, who had invited me to conduct their 75th anniversary concert. It didn’t have a title, and we performed it as an encore. When I asked the public for title suggestions, I was inundated with names, none of which seemed appropriate. My favorite title was “BlueTango,” but I was reminded that there are at least two pieces with that title. Then a friend suggested a compromise, which I liked best, and “Tango in Blue” was born. The first four notes are a direct quote from the final four notes of my “Partita” (Symphony No. 2), almost as if I was saying that there’s where I left off and I am back. Written soon after my arrival in the United States, “Partita” was one of the few compositions in which I used Latin American rhythms and melodic turns. After writing experimental works during the sixties and seventies, it was a challenge to go back to basics, and write a simple tune, a sort of popular piece for concert use. I had fun composing “Tango in Blue,” and thrilled to find it so successful. After Montevideo, it was played in Lima and later on in Buenos Aires, and many other cities. At my publisher’s request, I wrote several versions, for violin and piano, trio, string quartet, string orchestra, voice and piano, guitar, etc. My favorite version is for violin and piano, which reflects the style of tango. My first violin teacher was a tango musician, and at age ten I was playing in his tango orchestra, my first stage experience. CASI UN TANGO (2002) Casi un Tango (Almost a Tango) is an entirely different piece than Tango in Blue , nostalgic and more “classical.” No longer having the 4/4 beat as a basis, it is a much more rhapsodic piece, salon music in a simple a-b-a form. The relation to the popular concept of tango is in the spirit and character of the music. While Casi un Tango was conceived as a work for English Horn and strings it works perfectly well with other solo instruments. Alternate solo parts are provided for flute, oboe, Bb clarinet, bassoon, French Horn, and Trumpet. For this recording the solo was played on flute.

LAST TANGO BEFORE SUNRISE (2018) As with my previous essays in this medium, Tango in Blue and Almost a Tango , this new chapter intends to simulate the spirit of the tango, more for reflection than for the dance floor. A quality of nostalgia is typical of most tangos. I wrote Last Tango Before Sunrise at the request of publisher-critic-entrepreneur Martin Anderson, who asked for a work memorializing the love of his life, Yodit, recently deceased. I only met Yodit once for a brief moment at the Royal Albert Hall in London. Martin introduced her thus: “meet the mother of my son.” Martin’s de - votion merits the more than 100 compositions he has inspired to honor her memory.

SAMSON AND BUDDAH (2014) Samson, our beloved eleven-year-old Maltese, a very special dog, had a pet of his own, a stuffed blue hippo named Buddha. Samson played with it for hours, chased it, slept with it: they were inseparable. The news of Samson’s death reached me while on tour in Boston. In my hotel room, I wrote this piece in his memory, in which two instruments follow each other closely and complete each other’s thoughts. COLORES MÁGICOS (1971) It was during my years as the Composer-in-Residence of the , when George Szell was the conductor, that a member of the orchestra told me I should meet an inventor in Cleveland, Stanley Elliott, who had produced a magical machine that transformed musical sounds into the most colorful images. Having read so much about Scriabin and his interest in the combination of colors and music, I visited Mr. Elliott and was fascinated by his invention. At the same time I had a commission from Col. Samuel Rosenbaum to write a concerto for his wife, the famous harpist of the . He had already commissioned Ginastera, and mine was the second. This was a perfect opportunity, since the sound of the harp seemed to produce the most wonderful images on the Synchroma. Colores Mágicos was premiered in Washington, DC by Heidi Lehwalder, using the Synchroma to project images on her and on a screen on the stage. The orchestra was in the pit, while the soloist was the only person on stage. Mr. Elliott asked Ms. Lehwalder to wear a white suit so he could project images on her, from a second machine he invented, a slide projector that came alive when the music started. The short concerto, about 12 minutes long, is a set of variations. It has been done often as a ballet. Nancy Allen, currently the harpist of the , played it extensively with the Joffrey Ballet all over the United States for several seasons. The Joffrey Ballet was titled “Orpheus Times Light”. Colores Mágicos was the featured work at the recent International Harp Convention in , organized by Heidi Lehwalder. —Music Notes Jose Serebrier, 1/2021 The Musicians

Gnessin Percussion Ensemble founded by p rofessor Dmitry Lukyanov at the Gnessins Russian Academy of Music in Moscow, consists of former students from the academy’s percussion class. The young percussionists took part in concerts and master classes in Russia and abroad with Keiko Abe, (professor Tokyo University), Nebojsa Zivkovic, (professor Wiena Conservatory), Klaus Tresselt, professor “HMDK” Stuttgart, and many others. The Ensemble performs in numerous fes - tivals: “Other Space”, RNO Big Festival, “Brass Days”, always from memory as can be seen on YouTube, which includes the Serebrier “Symphony for Percussio n.”

Ilia Melikhov, director associate professor at Gnessins Russian Academy of Music and associate timpanist, principal percussion of RNO, the Russian National Orchestra, Moscow, has performed with Rostropovich, Nagano, Dutoit , Serebrier, Zukerman at BBC Prom s in London and Edinburgh, and other festivals. Melikhov has recorded over 25 CDs with RNO including GRAMMY® nominated Shostakovich 7th symphony with Paavo Jarvi. He performed with LPO (Vladimir Jurowski), SSO ( Gerard Schwartz ), Chinese National Orchestra (Jose Serebrier ), Keiko Abe, Evelin Glenny, Nebojsa Zivkovic and gave master classes at San Francisco Conservatory, Nebraska University, IOWA University, Chapman University and Parma Conservatory.

Nadia Shpachenko won a GRAMMY® Award in the category of Best Classical Compendium with her RR recording The Poetry of Places . Her Woman at the New Piano CD on RR received GRAMMY® Nominations in 3 categories. Professor of music at Cal Poly Pomona University, the Steinway Artist is featured in numerous collaborative recordings alongside various colleagues. She has given recitals in Carnegie Hall, ’s Concertgebow, L.A’s Disney Hall and with numerous orchestras in Europe and the Americas. She has given the world premiere of more than 70 works.

Nestor Torres was born in Puerto Rico. He studied flute at NY’s Mannes School, New England Conservatory in Boston and Jazz at Berklee College. His CD This Side of Paradise won the Latin GRAMMY® in the Pop instrumental category. His music has always been a Crossover fusion of Latin, Classical, Jazz and Pop sounds. Torres has received honorary doctorate degrees from Barry University and Carlos Albizu University for his commitment to youth, education and cultural exchanges. He has collaborated with diverse artists such as Gloria Estefan, Herbie Hancock, Tito Puente, Michael Camilo, Paquito D’ Rivera and Arturo Sandoval. Sara Cutler, Principal Harp of the Orchestra of St Luke’s, American Symphony Orchestra and Ballet Orchestra, has performed as soloist at Carnegie Hall, Lincoln Center, and the Kennedy Center in Washington, DC., and in recitals in Tokyo, Tel Aviv, London, Paris, and New York. Among the many conductors she has worked with are Bernstein, Gergiev, Levine, Serebrier and Solti. Her recordings include the Dohnányi Concertino for Harp , an all- Debussy CD, a Christmas CD with soprano Jessye Nor - man, and recent releases from Paul Simon and Bjork.

Gabriel Goñi-Dondi has been teaching and performing flute and piccolo recitals throughout the Americas, Europe and Asia while simultaneously holding the position of Principal Flute at the National Symphony Orchestra of Costa Rica and directing at this time the country’s National Center for Music. An Emanuel Flute Artist, he is also currently the President of the Ibermusicas organization.

Málaga Philharmonic Orchestra Apart from recording a wide repertoire, hosts a Festival of Ancient Music and a Cycle of Contemporary Music dedicated to Spanish music of our time, and holds didactic activities to inspire new audiences. The orchestra has toured Sweden, Greece, Slovakia, Czech Republic and Germany. Maestro Serebrier has conducted three recordings with the orchestra. Among their many soloists were Alicia de Larrocha, Plácido Domingo, Alfredo Kraus, Joaquín Achúcarro, Montserrat Caballé, Leónidas Kavakos. Guest conductors have included Jesús López Cobos, Philippe Entremont, Juanjo Mena, José Serebrier, Rafael Frühbeck de Burgos, Antoni Ros Marbá and many others.

Soprano Solène Le Van is a lyric coloratura who was a soloist in the American premiere of Handel’s 1741 Dublin “Messiah”.She has been invited to perform with the Teatro Nuovo Bel Canto Festival Orchestra, Young Musicians Foundation Orchestra, Hollywood Chamber Orchestra, and the Burbank Philharmonic. A recent award recipient of the National Council Auditions, her recital engagements include con - certs at Carnegie Hall, the Grimani Palazzo in Venice, the New National Theater at the NNT Studio (Tokyo, Japan), the International Jazz Festival in Munster (France), and the Vianden Festival (Luxembourg). Ms. Le Van has been recognized by the Cul - tural Services of the French Embassy, the Association of International Educators, and the Association of Public and Land-grant Universities for her contributions to the promotion of French culture. Her debut album of mélodies by Hahn and world premieres by Paladilhe will soon be released. A graduate of Princeton University in music and literature, she received first class honors in voice and violin f rom the Royal College of Music in London. She conducts research on turn-of-the-century vocal recordings and is co-founder and faculty of the Jon Fredric West Vocal Academy. Last Tango Before Sunrise The Music of José Serebrier José Serebrier, conductor - Málaga Philharmonic Orchestra Nestor Torres, flute - Sara Cutler, harp - Nadia Shpachenko, piano Gnessin Percussion Ensemble, Moscow , Ilia Melikhov, director Gabriel Goñí-Dondi, flute - Solène Le Van, soprano

Producers: Julio Bagué and Mary Megan Peer for Peer-Southern Productions, Inc

Mixed by Alfonso Ordoñez at Red Dot Recording studios at Peermusic / Miami, Florida Mastered by German Landaeta at Phaseland Studios / Miami, Florida

Executive Producer: Marcia Gordon Martin A&R – Todd Vunderink and Karen Heymann Art Director: Bill Roarty Cover Photograph / Mary Megan Peer / Plaza de Pio XII, Málaga, Spain

Málaga Philharmonic Orchestra Recording in Spain: October 1-3, 2019 Recorded by Alfonso Ordoñez and Javier Monteverde Sala Carranque / Málaga, Spain and Red Dot Recording Studios at Peermusic / Miami, Florida on December 5th, 2019 Assistant Recording Engineer: Nicolas Dominguez Symphony For Percussion Recorded: April 20, 2019 Gnessin Percussion Ensemble of The Gnessins Russian Academy of Music in Moscow, Russia Head of Percussion Department - professor Dmitry Lukyanov Ensemble director - associate professor Ilia Melikhov Performers: Vladislav Lukyanov - Petr Maksimov - Gleb Kharitonov Juan Mateo Rivas - Jean Carlos Rodríguez 2nd movement Solo by Ilia Melikhov - Drum set Solo - Jean Carlos Rodríguez Sound engineering - Anna Rodiukova

Piano Sonata Recorded: February 16, 2020 Recording produced by Jack Van Zandt and recorded by Barry Werger-Gottesman / California

Colores Mágicos Recorded: October 23, 2019 Additional recording by Juan Cristobal Losada at Jungle City Studios New York City ALSO BY JOSÉ SEREBRIER ON REFERENCE RECORDINGS R

WWW .R EFERENCE RECORDINGS .COM r Last Tango Before Sunrise The Music of José Serebrier Symphony For Percussion - First Digital Recording 1 Adagio - Conga 5:15 2 Solo 1:46 3 Moto perpetuo e Cadenza 3:12 Piano Sonata - World Première Recording 4 Allegro molto vivace 4:43 5 Andante 4:30 6 Moto Perpetuo: Presto 3:02 7 Danza (from Flute Concerto with Tango) 5:04 8 Tango In Blue (Tango en Azul) 3:26 9 Candombe World Première Recording 4:12 10 Almost a Tango (Casi un Tango) 5:23 11 Last Tango Before Sunrise (Último Tango del Amanecer) 3:39 12 Samson and Buddah World Première Recording 5:30 13 Colores Mágicos World Première Recording 13:03

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