CAL PERFORMANCES PRESENTS PROGRAM

Thursday, November 29, 2012, 8pm Zellerbach Hall

The Jan Shrem & Maria Manetti Shrem Orchestra Residency Silvestre Revueltas (1899–1940) La Noche de los Mayas (1939)

1. La Noche de los Mayas: Molto sostenuto 2. Noche de Jaranas: Scherzo Simón Bolívar Symphony Orchestra 3. Noche de Yucatan: Andante espressivo — of 4. Noche de Encantamiento: Theme, Variations 1–4, and Finale , Music Director

PROGRAM The Hilti Foundation is very proud to support the talented young musicians of the Simón Bolívar Symphony Orchestra of Venezuela.

Carlos Chávez (1899–1978) Sinfonía India (Symphony No. 2) (1935) The Simón Bolívar Symphony Orchestra of Venezuela would like to thank the Fundación Musical Simón Bolívar, the Governing Body of the National System of Youth and Children’s Orchestras of Venezuela, for its support and cooperation. Tocar y Luchar. Julián Orbón (1925–1991) Tres Versiones Sinfónicas (1953)

1. Pavana (Luis de Milán): Moderato 2. Organum-Conductus (Perotinus): Lento 3. Xylophone (Congo): Molto vivo

Additional support for the Jan Shrem and Maria Manetti Shrem Orchestra Residency is provided by Patron Sponsors Kathryn and Scott Mercer, and by a grant from the Bernard Osher Foundation.

INTERMISSION Cal Performances’ 2012–2013 season is sponsored by Wells Fargo.

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Carlos Chávez (1899–1978) rhythms, textures and melodic leadings are vigorous mixed meters, the first theme (3/2, Copland at the Berkshire Music Center. He re- Sinfonía India (Symphony No. 2) integral to his style. Aaron Copland, deeply re- B-flat major), based on a Huichol melody, is pre- turned to Cuba to become director of the Orbón spectful of Chávez’s achievement, wrote, “Here sented by the violins and oboe. The contrasting Conservatory (founded by his father) from 1946 Composed in 1935. Premiered on January 23, 1936, and there perhaps a recognizably native turn of second theme is a Yaqui tune given with touch- until 1960, and then moved to Mexico City as on the CBS Radio Network, conducted by the phrase can be discerned, but as a whole the folk ing simplicity by the E-flat clarinet. In place of a assistant to Carlos Chávez on the composition composer. element has been replaced by a more subtle sense central development section, Chávez composed faculty of the National Conservatory. of national characteristics.... I feel that no other what he termed a “slow movement,” based on a Orbón’s earliest international recognition as Carlos Chávez, the most important and influ- composer—not even Béla Bartók or Falla—has step-wise melody in triple meter from Sonora. a composer came in 1954, when his Tres Versiones ential figure in 20th-century Mexican music, succeeded so well in using folk material in its After a recapitulation of the first and second Sinfónicas (“Three Symphonic Versions”) won devoted his life to raising the educational, con- pure form while also solving the problem of its themes, a galvanic, whirling “finale” is con- an award at the First Latin-American Music cert and creative activities of his native land to complete amalgamation into an art form.” structed upon a Seri melody treated in ostinato Festival, in Caracas. In the years immediately the standards of the other great musical nations. In 1935 William S. Paley, founder of the fashion. following, he received commissions from the His career included an enormous list of achieve- Columbia Broadcasting System, invited Chávez “TheSinfonía India stands out because of its Fromm Music Foundation, the Koussevitzky ments that would have staggered a man of lesser to conduct one of his own compositions with impetuosity and its obstinate vigor, and because Foundation and others, as well as winning a energy and dedication: between 1928 and 1949, the CBS Orchestra on a radio broadcast. Chávez of the clarity and concision of its simple, effec- Guggenheim Fellowship in 1958. His Concerto he founded and conducted Mexico’s first per- chose to write a new piece for the occasion, and tive language,” wrote Roberto García Morillo Grosso (1958) was chosen to represent Latin- manent professional orchestra, the Orquesta on January 23, 1936, he premiered what became in his study of Chávez’s works, “impressing as American music at the Baden-Baden (Germany) Sinfónica de México; he was director of the his most popular work—the Sinfonía India. The much by the novelty and freshness of its con- Contemporary Music Festival in 1963. In National Conservatory of Music, where he revo- score takes its name from the composer’s use of tents as by the sureness of its logical, full realiza- 1964, Orbón settled in the New York City. lutionized the curriculum by including the study several melodies of Mexican Indian derivation, tion. These qualities contribute to making this During that and the following year, he served of native music (1928–1935); he was head of the namely from the Seri and Yaquis of Sonora and composition extremely attractive and agreeable, as guest composer and lecturer at Mexican Department of Fine Arts (1946–1952); the Huicholes of Nayarit, and from his utiliza- healthy and vital.” University in St. Louis, where he frequently he initiated government-sponsored research tion of several indigenous percussion instru- returned. After taking up American residency, into folklore and ancient instruments that led ments, including clay rattle, metal rattle, water he also taught at New York University College, to the formation of a small ensemble of archaic gourd, tenabari (a string of butterfly cocoons), Julián Orbón (1925–1991) Rutgers University, Hofstra University, Lenox Aztec and Nahua instruments; he championed grijutian (a string of deer hoofs), and raspador. Tres Versiones Sinfónicas College, Barnard College, and at the Hispanic the works not only of contemporary Mexican (The composer allowed substitutes from the Institute of Columbia University, as well as at composers, but also those from throughout the more common percussion if these instruments Composed in 1953. Premiered on December 9, 1954, schools in , Cuba, and Mexico. country’s history; he was Charles Eliot Norton are unavailable.) The practice of actual me- at the First Latin American Festival of Music in The works of Julian Orbón, called by Aaron Lecturer at Harvard University in 1958–1959; he lodic quotation was unusual for Chávez, who, Caracas, Venezuela, conducted by Eduardo Mata. Copland “Cuba’s most gifted composer of guest conducted many of the major orchestras in like Bartók, preferred to create his own themes the new generation,” show several significant the western hemisphere; and he was one of the based on the characteristic gestures, rhythms Julián Orbón, though born in Spain and a resi- streams of musical, literary and ethnic influence. great composers of the modern age. and scales of his country’s indigenous music. In dent of the United States after 1964, regarded His interest in Catholic liturgy, Gregorian chant Chávez studied all aspects of Mexican mu- the wake of the Sinfonía India’s success, Chávez himself as “a Cuban composer.” As a youth, he and the music of the Middle Ages is reflected sic, but he was especially drawn to that of the was, perhaps inevitably, labeled as a “national- studied music at the National Conservatory in in the choral works Crucifixus and Liturgia pre-conquest era. “Among the Aztecs,” he wrote, ist” composer, but Julián Orbón, in his liner Oviedo, Spain before moving to Havana with de Tres Dias, as well as in the Tres Versiones “music achieved the marks of a true artistic cul- notes for Eduardo Mata’s recordings of the com- his father, Benjamin, from whom he took formal Sinfónicas, whose second movement, Conductus, ture. It filled a role of real social importance in poser’s six symphonies on the Vox label, warns piano lessons between 1940 and 1943. The talent was influenced by the revolutionary style of government, religion and war. It was a true state that this music must not be regarded as simply for composition that young Julián manifested the twelfth-century Parisian composer Pérotin, institution, and was the object of special study provincial in scope: “Assuming that a work has early in his life was encouraged by training in one of the earliest musicians to write composi- and cultivation.” It was to this lofty plateau that intrinsic quality, its nationalism is nothing more harmony and counterpoint with the Cuban tions in multiple voices. Orbón’s Spanish–Latin Chávez sought to return modern Mexican mu- than the regional expression of permanent and composer José Ardévol. From 1942 to 1949, American musical heritage, including the in- sic. In his compositions, this meant combining universal values.” Orbón was a member of the Ardévol’s Grupo vigorating rhythmic patterns brought to Cuba the ethos and characteristics of native music Chávez considered his one-movement de Renovación Musical, an organization pro- by African slaves in the 18th and 19th centuries, with the techniques and craftsmanship of the Sinfonía India to be a condensed version of the moting contemporary music, while remaining is reflected in Danzas Sinfónicas and Homenaje a European tradition to produce something spe- traditional symphonic plan, not unlike the tight- active as a composer, music critic, essayist, and la Tonadilla, both for orchestra, and Canciones cifically Mexican. While he seldom quoted ex- ly unified form Liszt had created for his tone pianist at concerts of modern Cuban music. In Folklóricas for choir. He adapted the procedures isting folk songs in his works, their component poems. Following an energetic introduction in 1946, he won a scholarship to study with Aaron and themes of Renaissance music in the Pavane

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movement of the Tres Versiones Sinfónicas, based A complementary theme appears in the clari- spirit deep within me?” This philosophy, that a plethora of activities in an attempt to defeat on a lute dance from around 1500 by Luis net above a quiet, leaping-octave background true Mexican music lies in the hearts and every- the poverty that had plagued him throughout Milán, and in the four Partitas, founded on a in the cellos. Both ideas are treated in the de- day activities of its people rather than in some his life, and he took to drink to ease the strain. type of 16th-century variation form. The Partite velopment section. The Pavana theme and the remote site, was not only an answer to a specific On October 5, 1940, at the age of 40, Revueltas No. 4 for Piano and Orchestra includes as well a complimentary melody are recapitulated, and question, but also suggests the very essence of died of pneumonia precipitated by his crushing quotation from Victoria’s motet O magnum mys- the movement closes with a reminiscence of the Revueltas’s work. All of Revueltas’s music derives life style, an incalculable loss to Mexican mu- terium. In addition to these influences, Orbón’s introduction. from the lore, geography, sounds, and soul of his sic. In a fitting posthumous tribute, his remains music is indebted to the styles of his friends Organum-Conductus alludes to the revo- native land, and the title and content of each of were moved to the Rotunda de los Hombres Chávez and Villa-Lobos, and to the quintes- lutionary music of Pérotin, who worked at the his works celebrates some unique Mexican trait. Ilustres in Mexico City on March 3, 1976. sential Spanish expression of Manuel de Falla. Cathedral of Notre Dame in in the twelfth The rhythms, melodies and ethos of Mexico are La Noche de los Mayas (“The Night of the All of Orbón’s music, whether in the formal century and was among the earliest to compose the foundations of his style, as he pointed up Mayas”) was composed in 1939 as the music for neoclassical manner of his early works or the and notate music in more than one part. Most in a somewhat sarcastic comment in a 1932 let- a film by that name directed by Chano Urueta expansive, romantic language of his later scores, of Pérotin’s music was based on fragments of ter to the musicologist and authority on Latin with a script by Antonio Médiz Bolio. The is marked by careful attention to sonority and existing plainchant to which one, two or even American music Nicolas Slonimsky. “I like all Mexican conductor José Ives Limantour worked strict structural design. three coordinated voices were added, often in kinds of music,” he wrote. “I can even tolerate Revueltas’ score into a four-movement suite for Orbón said that his Tres Versiones Sinfonicas, elaborate, extended roulades of melody above some of the classics, and some of my own com- orchestra in 1960. The first movement, Night of composed in 1953 and premiered on December 9, a greatly sustained chant note. Orbón said that positions, but I prefer the music of the people of the Mayas, begins and ends with a huge massed 1954, at the First Latin American Festival of Organum-Conductus is a “recreation of medieval the ranchos and villages of my country.” cry from the full orchestra, but the long central Music in Caracas, Venezuela, is “a free interpre- techniques such as are to be found in conduc- Revueltas was born to a merchant family of section contains a tender contrasting theme of tation of three musical quotations that appear tus [all voice parts moving in similar rhythm], small success in a little town in the northern state short phrases connected by sustained notes. at the beginning of each movement. The first organum [elaborate ‘melismas,’ i.e., on a single of Durango. He began playing the violin at an Night of the Jaranas, a dance type inherited from is taken from a Pavana by Luis de Milán, the text syllable, over a drone-like chant note], and early age. At 13, he went to Mexico City to study the days of the Spanish conquest of Mexico, is Spanish composer and lutenist of the 16th cen- cadential formulas [often emphasized with ex- performance and composition, and then lived in brilliant and fiery and heady with the excite- tury. The second is taken from a Conductus of tended melismas].” the United States from 1916 to 1920 to attend ment created by its vibrant cross-rhythms. Night Perotinus, the French master of the Notre Dame The brief but powerfulXylophone (Congo), schools in Austin and Chicago. He pursued a of the Yucatan is largely lyrical and contempla- School of the twelfth century; and the third is according to the composer, “consists of a pro- concert career in Mexico in 1921 and 1922, but tive, and includes the quotation of a traditional a rhythmic pattern taken from an original ex- gressive accumulation of rhythms and orchestral decided to return to Chicago to finish his course native melody—Konex Konex Palexén (“Come ample of African Congolese music.” textures based on an original Congolese rhyth- of study. Having gained additional experience on, come on boys, the sun is about to set”)—by The pavane was a dance of slow tempo and mic pattern.” Percussion establishes the inces- while securing his diploma, Revueltas was ac- the solo flute accompanied by drum. The finale refined gesture that originated in during sant rhythm before the xylophone announces complished enough as a performer to join the (Night of Enchantment) is a showcase for percus- the late Renaissance and spread throughout the theme, which is repeated relentlessly to drive distinguished Mexican musician Carlos Chávez sion, whose violent, obsessive drumming pat- , becoming especially popular in Spain the movement to its frenzied close. in a series of recitals in his homeland which in- terns bring an orgiastic frenzy to this music. The and . In Spain, the pavane often ac- Tres Versiones Sinfónicas by Julián Orbón is troduced a number of important chamber works suite closes with a reminiscence of the orchestral companied the weddings of young girls of the performed by agreement with Barry Editorial, to that country. From 1926 to 1928, back in the cry that opened the first movement. nobility, the solemn activities of feast days, and exclusive representative of Peer Music. United States, he worked as a theater violinist certain religious ceremonies. Its name may re- and orchestra conductor in San Antonio and © 2012 Dr. Richard E. Rodda fer to Padua as the place of its origin (“pavana” Mobile, . In 1929, Chávez summoned meaning “of Padua”) or to the supposed re- Silvestre Revueltas (1899–1940) Revueltas to Mexico to become his assistant semblance between the majestic movements of La Noche de los Mayas with the newly formed Orquesta Sinfónica de the dance and the spreading of a peacock’s tail México. It was during his seven years in that (“pavón” in Spanish). Orbón’s Version took its Composed in 1939. Concert suite premiered on post, and with the encouragement of Chávez, inspiration from a Pavana by Luis de Milán (ca. January 30, 1961, by the Guadalajara Symphony that Revueltas undertook serious work as a com- 1500–1561), one of the first composers to publish Orchestra, conducted by Ives Limantour. poser. He also became involved with the cause music for the guitar. Milán’s theme is presented of workers’ and artists’ rights during that vola- broadly by the horn, extended by the orchestra When asked why he did not quote existing songs tile time, and in 1937, he went to Spain to con- and then given by the flute in a quick-tempo and dances in his music, Silvestre Revueltas re- duct concerts of his own music in support of the transformation that becomes the subject for plied, “Why should I put on boots and climb Loyalist government. He returned to Mexico some brilliant discussion by the full orchestra. mountains for Mexican folklore, if I have the City the following year, burdening himself with

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Friday, November 30, 2012, 8pm Zellerbach Hall

The Jan Shrem & Maria Manetti Shrem Orchestra Residency Antonio Estévez (1916–1988) Cantata Criolla: Florentino, el que cantó con el Diablo, for tenor and baritone soloists, chorus, and orchestra (1954)

Simón Bolívar Symphony Orchestra Idwer Álvarez, Fiorentino of Venezuela Gaspar Colón Moleiro, El Diablo Gustavo Dudamel, Music Director

Idwer Álvarez, tenor The Hilti Foundation is very proud to support the talented young musicians of the Gaspar Colón Moleiro, baritone Simón Bolívar Symphony Orchestra of Venezuela.

University Chorus of UC Berkeley The Simón Bolívar Symphony Orchestra of Venezuela would like to thank the Fundación Musical Marika Kuzma, Director Simón Bolívar, the Governing Body of the National System of Youth and Children’s Orchestras of Venezuela, for its support and cooperation. Tocar y Luchar. Pacific Boychoir Kevin Fox, Founding Artistic Director

PROGRAM Additional support for the Jan Shrem and Maria Manetti Shrem Orchestra Residency is provided by Patron Sponsors Kathryn and Scott Mercer, and by a grant from the Bernard Osher Foundation. Esteban Benzecry (b. 1970) Chaac (Maya Water God), from Rituales Cal Performances’ 2012–2013 season is sponsored by Wells Fargo. Amerindios, Pre-Columbian Triptych for Orchestra (2008)

Heitor Villa-Lobos (1887–1959) Chôros No. 10, for chorus and orchestra (1926)

INTERMISSION

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Esteban Benzecry (b. 1970) of the Canary Islands, is dedicated to Gustavo from his father and earned a living as a young winds, guitars, and simple percussion instru- Chaac, from Rituales Amerindios, Pre- Dudamel, a situation that motivated me to write man playing with popular bands, from which he ments. Their repertory at first comprised polkas, Columbian Triptych for Orchestra something representing the three great pre- derived much of his musical background. From waltzes, and other European imports, but later Columbian Latin-American cultures: Aztec (in his earliest years, Villa-Lobos was enthralled came to be associated with such characteristic Composed in 2008. Premiered on January 13, Mexico), Maya (in southern Mexico and Central with the indigenous songs and dances of his Brazilian dances as the maxixe, tango brasileiro, 2010, in Gothenburg, Sweden, conducted by America), and Inca (mostly in ). native land, and he made several trips into the and samba. Villa-Lobos believed that these Gustavo Dudamel. “I did not pretend to do ethnomusicology in Brazilian interior to study the native music and bands epitomized Brazilian native music, and he this work, but to take roots, rhythms and my- ceremonies. Beginning with his earliest works, attempted to capture their essence in his series Esteban Benzecry, one of South America’s lead- thology as inspiration to develop my own mu- around 1910, his music shows the influence of of Chôros, as he explained in a note in the score: ing young composers, was born of Argentinean sical language in a kind of imaginary folklore. the melodies, rhythms, and sonorities that he “The Chôros represents a new form of musical parents in Lisbon in 1970 but raised in his Rituales Amerindios was completed with the discovered. He began to compose prolifically, composition in which are synthesized the differ- parents’ native land. After earning a degree in support of the John Guggenheim Fellowship for and, though often ridiculed for his daring new ent modalities of Brazilian, Indian, and popular painting at the Buenos Aires Superior School Music, premiered under Dudamel’s direction on style by other Brazilian musicians, he attracted music, having for principal elements Rhythm, of Fine Arts, Benzecry took up musical com- January 13, 2010, in Gothenburg, Sweden, and the attention of the celebrated pianist Artur and any typical Melody of popular character.” position and studied with Sergio Hualpa and performed again during the 26th International Rubinstein, who helped him receive a Brazilian The Chôros No. 10 of 1926 is in four sec- Haydee Gerardi in before moving to Music Festival of the Canary Islands in Spain. government grant in 1923 that enabled him to tions, the first three of which are for orchestra Paris in 1997 as a student of Jacques Charpentier “Chaac (Mayan water god). Chaac was the spend several years in Paris, alone. The opening section de- at the Conservatoire Superieur; he was awarded god of rain and also of fertility. He was a univer- where his international reputa- picts the groves and Brazilian a Premier Prix by a unanimous jury upon his sal god of great relevance, the symbol of creative tion was established. Upon his forests, with mock birdcalls graduation in 1999. He took advance training energy, so Chaac is always found in relation to permanent return to Rio de piercing through the insistent in composition with Paul Méfano and in elec- the importance of learning to channel our cre- Janeiro in 1930, Villa-Lobos rhythmic motion. The second tro-acoustic music with Luis Naon and Laurent ative energies wisely. We should understand the became an important figure in portion, slower in tempo, ex- Cuniot. Benzecry’s works, which fuse Latin Mayan symbology: if water is the symbol of life public musical education, urg- plores the coloristic possibili- American rhythms with the diverse aesthetic on the planet, water is also the life-giving en- ing the cultivation of Brazilian ties of solo winds set against currents of European contemporary music, in- ergy inside each human being. Not a single god, songs and dances in the string glissandos in the high- clude three symphonies (the first of which, El Chaac was also considered to be divided into schools. He made his first visit est register. The brief third Compendio de la Vida from 1993, was inspired four equal entities, representing North, South, to the United States in 1944, section, in changing meters, by four of his own canvases) as well as concertos East, and West. and spent the remaining years climaxes in a giant wave of and other symphonic and chamber works that “The water god, with his fecund energy, of his life traveling in America sound led by the brass. A solo have been commissioned and performed by lead- appears at the beginning of the movement as a and Europe to conduct and bassoon establishes the rhyth- ing orchestras, ensembles and performers across water drop and in the central part becomes part promote his own works and mic ostinato that permeates Tom Bachtell Europe, the United States, Australia, and Latin of a powerful tide, which contains Ehécatl’s those of other Brazilian com- Gustavo Dudamel the concluding section. Soon, America. Among his distinctions are grants fanfare. The musical technique that is the basis posers. Villa-Lobos summarized his creative the entire orchestra, reinforced by a large variety and awards from the Music Critics Association for this movement is tone clusters, which pro- philosophy in an interview with New York Times of exotic percussion instruments, joins in with of Argentina, Academie des Beaux Arts de vides a foundation for little melodic motifs or critic Olin Downes by saying that he did not overlapping patterns that generate a primal en- l’Institut de , Fondation d’Entreprise the rhythms of an imaginary Mayan folklore think of music as “culture, or education, or even ergy reminiscent of Stravinsky’s Rite of Spring. Groupe Banque Populaire, and John Simon within a mysterious atmosphere submerged in as a device for quieting the nerves, but as some- The chorus enters singing an untranslatable Guggenheim Memorial Foundation. He has the sounds of a tropical jungle.” thing more potent, mystical and profound in its text derived from the Indian ceremonial chants been a fellow at the Interamerican Music Friends effect. Music has the power to communicate, to that Villa-Lobos collected on his journeys into of Washington DC, Mozarteum Argentino, heal, to ennoble, when it is made part of man’s ’s forests. This text is used for the sonor- and Academie des Beaux-Arts de l’Institut Heitor Villa-Lobos (1887–1959) life and consciousness.” ity of its words rather than for their meaning, a de France, and held residencies at the Yehudi Chôros No. 10, for Chorus and Orchestra The Chôros No. 10 is from a series of 16 compositional device that lends the work much Menuhin Academy in (1995) and works by Villa-Lobos bearing that title which of its incantatory power. TheChôros No. 10 rep- Casa de Velázquez in Madrid (2004–2006). Composed in 1926. Premiered on December 15, are scored for a varied instrumentation rang- resents, according to the composer, “the reaction Benzecry wrote, “Rituales Amerindios 1926, in . ing from solo guitar to full orchestra combined of a civilized man to stark nature. Little by little [“Amerindian Rituals”], composed in 2008 on with mixed chorus. The term derived from the his humanity asserts itself; there are living peo- a commission from the Gothenburg Symphony Heitor Villa-Lobos, Brazil’s greatest composer, popular bands of Rio de Janeiro that originated ple in this land, even though they are savages. Orchestra and the International Music Festival had little formal training. He learned the cello in the mid-19th century which freely mixed Their music is full of nostalgia and of love; their

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dances are full of rhythm.” As the chanting con- of Venezuela, and appearing as guest conductor Heitor Villa-Lobos tinues, a wordless song moving evenly and ma- with the Belgian Radio-Television Orchestra, Chôros No. 10 jestically rises from the chorus. This melody is Paris Opéra, French Radio Orchestra, Municipal known in Brazil as Rasga o coração (“Tear Open Orchestra of Rio de Janeiro, and other leading Se tu queres ver a immensidão do çéo If you want to see the immensity of the e mar reflectindóa prismatisaçao da luz solar, sky and sea reflected like a prism of sunlight, Your Heart”), after the poem in Portuguese ensembles. His creative output includes songs, rasga o coração, vem te debruçar sobre tear open your heart, come and bow by Catullo Cearense which it uses as its text. sonatas, incidental music, orchestral works, a vastidão do meu penar. yourself to the vastness of my pain. This theme stands in sharp relief to the visceral choral compositions, and piano pieces; among rhythmic background of aboriginal vocalization his awards were the Venezuelan National Music Sorve todo o olor que anda a recender Especially above all, be aware of the odor as an almost desperate cry for lost innocence. Prize, Vicente Emilio Sojo Prize, and Ministry pelas espinhosas floranções do meu that accompanies the thorny flowers of Education Prize. soffrer. Vêse podes ler nas suas pulsações of my suffering. See if you can read in your pulsations The Cantata Criolla: Florentino, el que cantó as brancas illuzões e o que elle diz no seu gemer; the white, pure illusions and that which they say to Antonio Estévez (1916–1988) con el Diablo (“Florentino, The One Who Sang e que nao. you in your soft groaning; and that now. Cantata Criolla: Florentino, el cantó con el with the Devil”), premiered in July 1954 in Pode a ti dizer nas palpitações! Ou Can it say it to you, your heartbeat! Or Diablo, for Tenor and Baritone Soloists, Caracas, won first prize in the Vicente Emilio veo brandamenta docemente palpitar. I see softly, sweetly, my heart beating. Chorus, and Orchestra Sojo Competition and received praise from Casto e purpural n’um threno vesperal Chaste and purple in a twilight thought Heitor Villa-Lobos, Aaron Copland, Virgil mais puro que uma candida vestal! more pure than a heavenly picture. Composed in 1954. Premiered on July 25, 1954, in Thomson, and other important musical fig- Caracas, conducted by the composer with soloists ures when it was heard at a festival of Latin- Rasga o que has de ver la: Open up to see what you have to see: Teo Capriles and Antonio Lauro. American music later that year. TheCantata is a dentro a dôr a soluçar: inside the pain is the solution: setting of a poem by the Venezuelan writer, edu- sob o peso deuma cruz de lagrimas, chorar; under the weight of a cross of tears, weeping; anjos a cantar préces divinaes. angels singing little divine songs. Composer and conductor Antonio Estévez was cator, and statesman Alberto Arvelo Torrealba, Deos a rythimar seus pobres, ais! God has given rhythm to his poor ones, alas! one of Venezuela’s foremost musicians. Born based on the legend of a singing contest between in Calabozo on January 3, 1916, Estévez began a Plainsman and the Devil. Estévez chose tenor Rasga que has de ver. Open up to what you must see. studying music at the age of ten as a clarinetist in and baritone soloists to represent the charac- the Guárico state band. In 1934, he entered the ters, with a chorus setting the scenes and com- Music Conservatory in Caracas to study com- menting on the unfolding drama. Though cast position (with Vicente Emilio Sojo) and oboe, in a modern idiom, with daring harmonic and Antonio Estévez Cantata Criolla: Florentino, el cantó con el Diablo completing his performance studies in 1942 and orchestral effects, the Cantata Criolla incorpo- Creole Cantata: Florentino, The One Who Sang with the Devil receiving his master’s degree in composition two rates two ancient Gregorian chants: the hymn years later. His study in Europe and the United Ave maris stella is identified with Florentino, el reto the challenge States from 1944 to 1948 on a scholarship from the Plainsman; the venerable sequence from the Venezuelan government was highlighted by the Requiem Mass, Dies Irae (“Day of Wrath”), El coplero Florentino The singer-poet Florentino a course in orchestral conducting at Tanglewood also used by Berlioz, Liszt, Saint-Saëns, and por el ancho terraplén by the wide terraplein directed by Aaron Copland and Sergei Rachmaninoff, is associated with the Devil. In caminos del Desamparo towards El Desamparo Koussevitzky. Estévez came to prominence after his Cantata Criolla, Antonio Estévez created a desanda a golpe de seis. travels round about six. returning to his homeland, serving as an oboist significant work of nationalistic art that fuses el- El coplero Florentino... The singer-poet Florentino... with the Caracas Symphony Orchestra, teach- ements of popular and cultivated music into an ing at the Caracas Conservatory, helping to authentic and elegant Venezuelan atmosphere. Puntero en la soledad Riding in the loneliness found Orfeón University, directing the National que enlutan llamas de ayer, blackened by yesterday’s flames, Radio Orchestra and the Symphony Orchestra © 2012 Dr. Richard E. Rodda macolla de tierra errante clusters of flying dust le nace bajo el corcel. rise under the horse. Ojo ciego el lagunazo Like a blind eye the pond sin garza, junco ni grey, without stork, rush or flock, dura cuenca enterronada hard lumped basin donde el casco de traspié. where the hoof stumbles. Los escuálidos espinos The squalid cactus desnudan su amarillez, bares its yellowness, las chicharras atolondran the harvest fly rattles el cenizo anochecer. the ashy sunset.

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Parece que para el mundo It seems to stop the world con la sabana en la sien. with the savanna at his temple. la palma sin un vaivén. the palm tree without its sway. En un verso largo y hondo In a long and deep verse se le estira el tono fiel: his faithful tune stretches: El coplero solitario The lonely poet-singer vive su grave altivez carries his deep pride —Sabana, sabana, tierra —Savanna, savanna, land de ir caminando el erial of walking on unplowed land que hace sudar y querer, that makes you sweat and love, como quien pisa vergel. as if it were a flower garden. parada con tanto rumbo a place with many routes En el caño de Las Animas In the Las Animas ditch con agua y muerta de sed, with water and dying of thirst, se para muerto de sed he stops dying of thirst una con mi alma en lo sola, one with my soul in its solitude, y en las patas del castaño and by the trunk of the chestnut tree una con Dios en la fe; one with God in the Faith; ve lo claro del jagüey. he sees the glitter of a pond. sobre tu pecho desnudo over your bare chest yo me paro a responder: I stop to answer: El cacho de beber tira, He throws the water bottle sepa el cantador sombrío let the somber singer know en agua lo oye caer; and on water he hears it fall; que yo cumplo con mi ley that I abide by my law cuando lo va levantando as he lifts it back towards him y como canté con todos and as I have sung with all se le salpican los pies water wets his feet tengo que cantar con él. I have to sing with him. pero del cuemo vacío but from the empty bottle ni gota pudo beber. not one drop could he drink. la porfía the duel Vuelve a tirarlo y salpica He throws it again and splashes el agua clara otra vez, the clear water again, Noche de fiero chubasco Night of fiery squall mas sólo arena sus ojos but only sand his eyes por la enlutada llanura, all over the mourning plain, en el turbio fondo ven. in the turbid bottom can see. y de encendidas chipolas and of aroused folk rhythms que el rancho de peón alumbran. that light up the laborer’s hut. Soplo de quema el suspiro, The breath like a burning gust, Adentro suena el capacho, Inside the maracas sounds, paso llano el palafrén, the palfrey at slow pace, afuera bate la lluvia; outside the rain pours; mirada y rumbo el coplero look and bearing the singer-poet vena en corazón de cedro vein in the heart of cedar pone para su caney, sets toward his cabin, el bordón mana ternura; the bass string oozes tenderness; cuando con trote sombrío when with a somber trot no lejos asoma el río not far the river appears oye un jinete tras él. he hears a rider behind him. pecho de sabana sucia; breast of dirty savanna; más allá coros errantes, further away wandering choirs, Negra se le ve la manta, Black is his poncho, ventarrón de negra furia; wind of black fury; negro el caballo también; black is also his horse; y mientras teje el joropo and while the rhythm weaves bajo el negro pelo-e-guama under his black high-hat bandoleras amarguras sadness with the guitar la cara no se le ve. the face cannot be seen. el rayo a la palmasola the lightning to the palm tree Pasa cantando una copla Rides by singing a couplet le tira señeras puntas. fires solitary rays. sin la mirada volver: without turning his head: Súbito un hombre en la puerta: Suddenly a man at the door: indio de grave postura, Indian of grave attitude, —Amigo, por si se atreve, —Friend, if you dare, ojos negros, pelo negro, black eyes, black hair, aguárdeme en Santa Inés, wait for me in Santa Inés, frente de cálida arruga. forehead of fiery wrinkle. que yo lo voy a buscar where I will be looking for you Pelo de guama luciente Shiny high hat para cantar con usté. to sing with you. que con el candil relumbra. that glitters under the oil lamp.

Mala sombra del espanto Evil shadow of horror Un golpe de viento guapo A gust of daring wind cruza por el terraplén. crosses the terraplein. le pone a volar la blusa, blows his shirt open, Vaqueros de lejanía Remote cowboys y se le ve jeme y medio and one inch can be seen la acompañan en tropel; accompany him in a bustle; de puñal en la cintura. of a knife under his belt. la encobijan y la borran he is covered and obscured Entra callado y se pone Comes in quietly and goes pajas del anochecer. by the grass of sunset. para el lado de la música. to where the music is. Oiga vale, ese es el Diablo, Listen friend, it is the Devil, Florentino taciturno Florentino taciturn —la voz por la sala cruza— —the rumor spreads across the room— coge el banco de través. cuts across the plains. Puntero en la soledad Riding in the loneliness Mírelo como llegó, See how he arrived, que enlutan llamas de ayer blackened by yesterday’s flames con tanto barrial y lluvia, with all the mud and rain, parece que va soñando he seems to be dreaming planchada y seca la ropa ironed and dry his clothes

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sin cobija ni montura. without poncho or mount. y así perdió la pelea, and so he lost his fight, Dicen que pasó temprano They say he went by earlier cuando canta la pavita, when the pavita bird sings, como quien viene de Nutrias, like someone coming from Nutrias, cuando el gallo menudea. when the rooster crows. con un oscuro bonquero with a dark boatman por el paso Las Brujas. by the Las Brujas pass. Florentino Florentino Florentino está silbando Florentino is whistling sones de añeja bravura tunes of past bravery Cuando el gallo menudea When the rooster crows y su diestra echa a volar and his right hand sets flying la garganta se me afina my throat gets in tune ansias que pisa la zurda longing pressed down by his left y se me aclara la idea. and my ideas become clear. cuando el indio pico de oro when the Indian silver-tonged Yo soy como el espinito I am like the cactus con su canto lo saluda. with his song salutes him. que en la sabana florea: that flowers in the plain: le doy aroma al que pasa I give perfume to the passer-by El Diablo The Devil y espino al que me menea. and thorn to the one that shakes me.

Catire quita pesares You who makes others forget sorrows El Diablo The Devil contéstame esta pregunta: answer me this question: ¿quién es el que bebe arena who is he who drinks sand Espino al que me menea: Thorn to the one that shakes me: en la noche más oscura? in the darkest night? ¡Ah caramba! yo en quedarme Well, then! I am wanting to stay y usted Catire me arrea. and you drive me on. Florentino Florentino Mire que estoy remolón Can’t you see I am undecided con esta noche tan fea. with this ugly night. En la noche más oscura In the darkest night Vaya poniéndose alante Put yourself ahead lo malo no es el lanzazo the bad thing is not the attack of the spear pa’que en lo oscuro me vea. so you can see me in the dark. sino quien no lo retruca. but not to return it. Tiene que beber arena It must drink sand Florentino Florentino el que no bebe agua nunca. he who never drinks water. Pa’que en lo oscuro me vea. So you can see me in the dark. El Diablo The Devil Amigo no arrime tanto My friend don’t get so close que el bicho se le chacea. or your beast will go out of control. El que no bebe agua nunca. He who never drinks water. Atrás y alante es lo mismo Behind and ahead is the same Así cualquiera responde Anybody can answer pa’el que no carga manea: if one doesn’t carry a hobble: barajando la pregunta. avoiding the question. el que va atrás ve p’alante the one behind looks ahead ¿Quién mata la sed sin agua Who satiates the thirst without water y el que va alante voltea. and the one ahead turns his head. en jagüey de arena pura? in a pond of pure sand? El Diablo The Devil Florentino Florentino El que va alante voltea. The one ahead turns his head. En jagüey de arena pura, In a pond of pure sand, “Catire, usté canta mucho “My man, you sing quite well el médano solitario, the solitary dune, pero quítese esa idea but forget the idea el ánima que lo cruza, the soul that crosses it, de que me puede enseñar that you can teach me la noche que lo encobija, the night that shelters it, como se canta un corrío. how to sing a corrío [a musical form].” el lucero que lo alumbra. the star that lights it. Los perros está aullando The dogs are howling ¡Qué culpa tengo señores It is not my fault, gentlemen, escúcheles los aullíos, listen to their howls, si me encuentra el que me busca! if he who looks for me finds me! los gallos están cantando, the roosters are crowing, recuerde lo convenía. remember our deal. El Diablo The Devil “Zamuros de la barrosa “Vultures of ‘La Barrosa’ Ya que tienes tantas artes Since you have so many skills del Alcornocal del frío from ‘Alcornocal del frío,’ déjeme que se las vea. allow me to see them. albricias pido señores congratulations I ask, gentlemen, Falta un cuarto pa la una It is now quarter to one que ya Florentino es mío.” for already Florentino is mine.” cuando el candil parpadea, when the oil lamp quivers, cuando el espanto sin rumbo when the ghost without direction con su dolor sabanea, with its pain scours the plain, cuando Florentino calla when Florentino stops singing

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Florentino Florentino chaparral y chaparral. chaparral and chaparral. No le valió su baquía, Your skill didn’t help you Que ya Florentino es mío. For already Florentino is mine. ni lo salvó su cantar. nor did your singing save you. Si usté dice que soy suyo If you say that I am yours “Catire quita pesares,” “You who makes others forget sorrows,” será que me le he vendío, it must be because I sold myself to you, arrendajo y turupial. mocking-bird and troupial. si me le vendí me paga if I sold myself pay me porue yo a nadie le fío. because I give credit to no one. Florentino Florentino Yo no soy pájaro bobo I am not a silly bird pa’estar calentando nío. to be warming up the nest. Arrendajo y turupial. Mocking-bird and troupial. Zamuros de la Barrosa Vultures of “La Barrosa” El Diablo The Devil salgan del Alcornocal come out of “Alcornocal” pa’que miren a Mandinga so you can see the Devil Pa’estar calentando nío. To be warming up the nest. el brinco que va a pegar: the leap he is going to take: No sé si es pájaro bobo I don’t know if you are a silly bird Sácame de aquí con Dios Get me out of here with God pero va por un tendío… but you got into a long journey... Virgen de la Soledá, Virgin of la Soledá, Con el adiós de los gallos With the farewell of the roosters Virgen del Carmen bendita, blessed Virgin del Carmen, yo cargo con los rendíos I take with me the defeated piadosa Virgen del Real, pious Virgin del Real, en el anca e’mi caballo on the back of my horse tierna Virgen del Socorro, tender Virgin del Socorro que sabe un trote sombrío. that knows a somber trot. dulce Virgen de la Paz. sweet Virgin de la Paz. Y vuelvo a cambiarle el pie And I change again the cue Virgen de la Coromoto, Virgin de la Coromoto, a ver si topa atajo. to see if you find the shortcut. Virgen de Chiquinquirá, Virgin de Chiquinquirá, piadosa Virgen del Valle, pious Virgin del Valle, Florentino Florentino Niño de Atocha bendito, blessed Niño de Atocha, Santísima Trinidá, Holy Trinity, A ver si topa atajo. To see if you find the shortcut. Virgen del Carmen bendita, blessed Virgin del Carmen, Cuando se fajan me gusta When they get involved I like it Santísima Trinidá. Holy Trinity. porque yo también me fajo. for I also get involved.

“Zamuros de la barrosa “Vultures of ‘La Barrosa’ del Alcornocal de abajo: from ‘Alcornocal de abajo’: ahora verán señores, now you will see, gentlemen, al Diablo pasar trabajo.” the Devil having a hard time.”

Déjenlo que barajuste Let him try to confuse me que yo en mi rucio lo atajo I will catch him with my horse déjenlo que pare suertes, let him try his luck, yo sabré si le barajo, I will see if I deal to him, alante el caballo fino, ahead the fine horse, atrás el burro marrajo. behind the cunning donkey. Antes que toquen la una Before the clock strikes one se lo lleva quien lo trajo. he will leave as he came. ¡Quién ha visto doro-doro Who has seen a blackbird cantando con arrendajo! singing with a mocking-bird! Si me cambio el consonante If he changed the cue for me yo se lo puedo cambiar. I can change it back for him.

El Diablo The Devil

Yo se lo puedo cambiar. I can change it back for him. Los graves y los agudos The bass and the treble a mí lo mismo me dan. are the same to me. ¡Ay! catire Florentino “Ay! My Florentino” arrendajo y turupial, mocking-bird and troupial, qué largo y solo el camino what a long and lonely road que nunca desandará, that you will never retrace, con esta noche tan negra in this night so black

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pn_sbsov.indd 34-35 11/29/2012 11:39:21 AM ORCHESTRA ROSTER ORCHESTRA ROSTER

SIMÓN BOLÍVAR SYMPHONY ORCHESTRA OF VENEZUELA

José Antonio Abreu Founding Director Eduardo Méndez Executive Director Valdemar Rodríguez Executive Deputy Director oboe Jonnathan Rivas keyboards Gustavo Dudamel Musical Director Frank Giraldo Leafar Riobueno Pablo Castellanos Víctor Rojas General Manager Elly Guerrero Román Granda Vilma Sánchez Ely Molletones Luis Sánchez Manuel Moya Deputy Manager Elvis Romero Miguel Albornóz offstage band Hairin Colina Miguel Tagliafico Andrés Aragón Néstor Pardo Oscar López Daniela Vargas violin i Israel Méndez Gabriela Jiménez Luis González Víctor Caldera Carlos Briceño Alejandro Carreño José Guédez Jhonn Rujano Daniel Vielma Werlink Casanova José Cruz Boris Suárez Juan Pérez Leandro Bandres Wilfrido Galarraga José Moreno Carlos Vegas Oswaldo Martínez Luis Mata clarinet Carlos Caldera Jesús Pinto Patricio Meriño Mónica Frías David Medina trombone Alfredo D’Addona Eduardo Salazar Ronnie Morales Ricardo Corniel Ranieri Chacón Pedro Carrero Elizabeth Linares Douglas Isasis William López Yackson Sánchez Carlos Escalona Alejandro Díaz Karely Torrez Anna González Alessandro Lugo Roberto Pérez Víctor Mendoza Edgar García José Barrios Daniela Becerra Daniel Sánchez Juan Méndez Demian Martínez Jackson Murillo Gustavo Gómez Ebert Ceballo Jairo González Frank Valderrey Jesús Milano Lewis Escolante Andrés Aragon Emirzeth Henriquez Manuel Hernández Mayerlin Carrero Felipe Rodríguez viola Kevin Guerra bassoon Francisco Blanco tour manager Gregory Carreño Ismel Campos Gonzalo Hidalgo Alexander Medina Arlette Dávila Héctor Robles Luis Aguilar contrabass Daniel García Jhonder Salazar José Silva Carlos Corales Freddy Adrián Edgar Monrroy Rudys Sandoval coordination Luis Barazarte David Peralta Hecmary Barroso Aquiles Delgado César Marval Luis González Fabiana Álvarez Jorge Moreno Jesús Díaz tuba Luis Navarro Luís Fernández Antonio Camacho Werner Díaz Leswi Pantoja secretary María Oviedo Greymar Mendoza Luis Peralta Christian Delgado Heicer Osorio Nicole Rodríguez Jhoanna Sierralta Oscar Luque horn Oriana Suárez Luz Cadenas Vanessa Matamoros Daniel Graterol percussion stage crew Rubén López Mary Alvarado Yholmer Yépez José Giménez Félix Mendoza Luis Velásquez Verónica Balda Miguel Jeréz Zahira Guaramatos Reinaldo Albornóz Ramón Granda Jorge Velásquez Pedro González Ismer Bolívar José Melgarejo Acuarius Zambrano coordinators Wilfredo Pérez Samuel Jiménez Luis Primera Danny Gutierrez Edgardo Acosta Edgar Camacho Kenneth Jones Mabel Rodríguez Carlos Rodríguez Edgar Aragón Juan Silva José Campuzano Nestor Alvarez Jorge Arcay Kaylet Torrez Luis Trejo Naudy Nares violin ii Omar Pérez Nataly Al Gindi Luis Castro Luzbel Jiménez Erick Delgado Moisés Medina Pedro Rondón Favio Giraldo Matias Azpurua Alirio Vegas Richard Urbano flute José León Sergio López librarian William González Erika Cedeño Katherine Rivas Simón González Richard Santafé Gregory Mata Ramón Carrero Gabriel Cano trumpet Víctor Villarroel Anderson Briceño Alexis Angulo Tomás Medina Juan Pérez Adriana Von Buren cello Aron García Gaudy Sánchez Carlos Perdomo Edgar Calderón Diego Hernández Andrés Ascanio harp Daniel Herrera Aimon Mata Engels Gómez Andrés González Annette León Daniela Díaz Carlos Ereú Mariaceli Navarro Arsenio Moreno Rodolfo Sarabia Eduardo Gomes Abner Padrino Etni Molletones David Pérez Adel Solórzano Enrique Carrillo Jean Coronado Fernando Martínez Gerald Chacón Jesús Rosales Gleirys Gómez César Giuliani Emily Ojeda Imanuel Sandoval Enn Díaz

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pn_sbsov.indd 36-37 11/29/2012 11:39:22 AM CHORUS ROSTER CHORUS ROSTER

UNIVERSITY CHORUS OF UC BERKELEY PACIFIC BOYCHOIR

Marika Kuzma Director Kevin Fox, Founding Artistic Director Kristen Brown Assistant Director Henry Abrahamson Masis Parunyan Administrative Assistant Calvin Achorn Jeffrey Sykes Rehearsal Accompanist Johannes Aplyn Adam Arega Christopher Berning soprano Farrah Kidwai* bass Andre Boucher Erin Alford Karen Kim Daniel Alley Liam Cochrane Youjin Chung Elena Kivnick James Beatty Maxim Culbeaux Jessica Clarkson* Ilse Kruse Nathaniel Ben-Horin Neil Evans Rosie Fan O’Min Kwon Philippe Campbell Theo Frey Anna Golombek Diana Lozano Andrew Chung* Spencer Fulweiler Katherine Gray Michelle McDowell* Asher Davison* Julian Gandhi Lexi Kopan Katy Pedelty Boris De Denko George Goodhead Sasha Kudler Kim Rankin* Anders Fröelich* Matthew Gray Derrick Hill Marika Kuzma Yeji (Diana) Rha Hayden Godfrey Peter Kenton Carrina Lai Anna-Linnéa Rödegård William Hoberg David Kerns Amanda Loftus Reina Shah Robert Komar Matthew Lee Olivia Lee Aletha Shelby* Micah Lubensky Owen Liquori Seoyoung Priscilla Lee April Soeterman Derek Luscutoff Evan Losito Andrea Mich Tritia Timmins Nik Nackley* Jack Lundquist Tamara Mironova Tanya Varimezova* Ryan Odening William Lundquist Nicole Oslance Hannah Wagner Masis Parunyan Nicholas Main Grace Poon Jingting Yi Johannes Poeschl Gregory Martin Prianca Ramanan Mandy Zou Chung Wai Soong* Aidan Mattingly-App Mimi Ruiz* John Shepard Draven McGill Ilana Segal tenor Thomas Siu William Mitchell Kayla Sheehan Seth Arnopole* Christopher Thompson Cameron Miya Isabel Smith Carl Boe* Evan Warfel Lakin Moser Christina Swindelhurst-Chan Thomas Busse* Cameron Winrow Thomas Mosley Josie Vertz* Mickey Butts* Steven Yang Michael Mueller Elizabeth Werner Antonio Castillo Ibarra Leonardo Nakamura Elena Wikner Sammy Chan Henry Nelson Julian Nesbitt Karen Winner-Huff* Gustav Davila * Alumni and guest singers Noah Patton Adam Flowers* Ian Pitman alto Andrew Gascon Daniel Pliskin Deborah Benedict* Casey Glick Zachary Presberg Kira Bartholomew Victor Huang Andrew Reinfranck Jennifer Brody* Jimmy Kansau* Christian Ricco Kristen Brown Max Kazer Tenzin Rosson Emilie Coats Nicholas Koo Zachary Salsburg-Frank Heather Dadashi Drew Kravin* Aaron Sanchez Ashley Defenbaugh Nathaniel Yixiang Lee Abraham Sanchez Lily Friedman Ziming Li Nathan Savant Jahlela Hasle Dylan Moore David Schneidinger Sonia Gariaeff * Keith Perry* Cap Sharon Rebecca Herman John Sloan Sam Siegel Natasha Hull-Richter Jung Pu Tsui Brendan Singer Christine Kaimer Chun Jimmy Wu Christopher Singer Oscar Thompson Jameson Wang Jared Werlein

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pn_sbsov.indd 38-39 11/29/2012 11:39:22 AM ABOUT THE ARTISTS ABOUT THE ARTISTS

sold-out concerts in Mexico, Los Angeles, San their now legendary 2007 concert, and to the Francisco, Boston, and also at Carnegie Hall in Salzburg Festival to perform works by Mahler New York, where the orchestra was conducted and Tchaikovsky. This tour finished with the by Mr. Dudamel and Sir Simon Rattle as part Orchestra’s first performances at the Istanbul of the “Berlin in Lights” Festival, followed by a Music Festival. In November, they returned to highly acclaimed tour in Spain. In summer 2008, Europe for a short tour, with stops in Zurich, La the Orchestra played at the most important Scala, and Rome, where they performed works European festivals and cities, including Berlin, by Ravel, Beethoven, and Stravinsky. The same Frankfurt, Lucerne, Baden-Baden, Helsinki, month, the orchestra undertook its first interna- and an extraordinarily successful residency at tional tour under the baton of Mr. Matheuz, al- the Salzburg Festival. In December 2008, the ready a star in Italy, playing concerts in Torino, SBSOV made its debut in Asia, with concerts in Napoli, Genova, Palermo, and Reggio Emilia, , Seoul, Tokyo, and Hiroshima. In April performing, among other works, Berlioz’s 2009, their North American tour presented the Symphonie fantastique. orchestra in sold-out residencies in Houston, In January and February 2012, the SBSOV Washington, Chicago, and London, at the Royal held a stunning three-week residency at the Festival Hall. In October 2009, the SBSOV and Walt Disney Concert Hall in Los Angeles, al- Mr. Dudamel toured a selection of Europe’s ternating performances of Mahler’s nine sym- most prestigious venues, including Konzerthaus phonies with the in Vienna, Teatro alla Scala in Milan, and Salle in a venture led by Mr. Dudamel and entitled Pleyel in Paris. This European trip was followed “The Mahler Project.” This program culminated by a visit to Toronto, where the SBSOV had a in Caracas with concerts by both orchestras at week-long residency as its Canadian debut to cel- the Teatro Teresa Carreño. In June and July he simón bolívar Symphony Orchestra The orchestral academic program of El ebrate the awarding of the Glenn Gould Prize to 2012, the SBSOV performed as part of the “Big Tof Venezuela (SBSOV, formerly the Simón Sistema allows the musicians of the SBSOV to its founder and director, José Antonio Abreu. In Concert” in Stirling, Scotland, at the inaugura- Bolívar Youth Orchestra) was founded by José explore a demanding repertory through master addition to a concert with Mr. Dudamel and a tion of the Cultural Olympiad Festival framed Antonio Abreu and a group of fellow musi- classes and concerts, involving soloists from number of activities and events, the SBSOV also within the celebration of the London Olympics. cians who were inspired by the ideals of Simón leading orchestras and arts institutions, such offered a second concert at the Rogers Centre, The Orchestra also performed at the South Bolívar. The orchestra is comprised with over as the members of the Berlin Philharmonic, led by young Venezuelan conductors. Bank Centre in London, the Concertgebouw 200 young musicians between the ages of 18 to the Sibelius Academy of Finland, the Stuttgart In March 2010, their residency at the in Amsterdam, L’Auditori in Barcelona, and 28, and is the flagship of the orchestral academic Bachakademie, and the New England Lucerne Festival at Easter offered four extraor- Auditorio Nacional in Madrid. In July of this program of the Fundación Musical “Simón Conservatory, to name a few. Their work and ex- dinary concerts with four extraordinary con- year, the SBSOV, along with the Simón Bolívar Bolívar” (Fundamusical Bolívar, known collo- change with international conductors includes ductors: Mr. Abbado, Mr. Dudamel, and two Latinocaribeña Orchestra, performed the work quially as El Sistema). Sir Simon Rattle and Claudio Abbado, aside of new young talented Venezuelans, Christian of the popular composer and singer Rubén El Sistema currently involves 400,000 ben- working for months of the year with Gustavo Vásquez and Diego Matheuz. In June 2010, Blades, all under the baton of Mr. Dudamel in eficiaries across Venezuela, in a system that in- Dudamel, their Music Director and also a prod- their major European tour included concerts a concert that brought together an audience of cludes more than 1,550 music groups distributed uct of El Sistema. and activities in Gothenburg, Oslo, Stockholm, more than 200,000 people. in 286 academic centers. Seventy-five percent of The SBSOV has toured several times in St. Petersburg, Moscow, Warsaw, Athens, and The SBSOV and Mr. Dudamel record for these children live below the poverty line. “For Germany, appearing in such major venues as the Granada, making its debut in all these venues. Deutsche Grammophon, and have released re- the children that we work with, music is practi- Berlin Philharmonie and Essen Philharmonie. To mark the bicentennial of the indepen- cordings of Beethoven’s Symphonies Nos. 5 cally the only way to a dignified social destiny. It has also performed at the Parco della Musica dence of Latin America (2010), the SBSOV and 7; Mahler’s Symphony No. 5; the super- Poverty means loneliness, sadness, anonymity. in Rome, the Teatro Massimo in Palermo, and undertook a major tour of the region under hit CD Fiesta, with works by Latin American An orchestra means joy, motivation, teamwork, at the Lucerne Easter Festival. In summer 2007, the baton of Mr. Dudamel, with concerts in composers; and a Tchaikovsky album, featur- the aspiration to success” (José Antonio Abreu). they appeared at the BBC Proms, the Edinburgh Salvador da Bahia, Paulinia, São Paulo, Rio de ing his Symphony No. 5 alongside Francesca Transcending its cultural role, El Sistema em- Festival, and venues throughout Germany, in- Janeiro, Buenos Aires, Montevideo, da Rimini. ploys over 15,000 individuals whose talents and cluding the Schleswig-Holstein Festival and de , and Bogotá, performing works by skills include training in instrument-making, the Semperoper Dresden. In autumn 2007, Mahler, Ravel, Castellanos, and Stravinsky. arts administration and news media. the orchestra undertook a major tour, with In August, they returned to BBC Proms after

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via LA Phil LIVE, experimental theater-casts of Opera in June 2013, followed by a 2013 summer Mr. Dudamel is one of the most decorated Los Angeles Philharmonic concerts which have residency at the Salzburg Festival. conductors of his generation. This month, he reached audiences throughout , An exclusive Deutsche Grammophon artist was named Musician of the Year for 2013 by Europe, and South America, and through Youth since 2005, Mr. Dudamel has released numer- Musical America. In October 2011, he was named Orchestra Los Angeles (YOLA), influenced by ous recordings on the label ranging in reper- Gramophone’s Artist of the Year, and in May Venezuela’s widely successful El Sistema music toire from Stravinsky’s Le sacre du printemps of the same year, was inducted into the Royal education program. With YOLA, Mr. Dudamel to Beethoven’s Symphonies Nos. 3, 5, and 7. Swedish Academy of Music in consideration of brings music to children in the underserved In February 2012, Mr. Dudamel and the Los his “eminent merits in the musical art.” The pre- communities of Los Angeles, and also serves as Angeles Philharmonic won the Grammy Award vious year, he received the Eugene McDermott an inspiration for similar efforts throughout the for Best Orchestral Performance for their live re- Award in the Arts at MIT. Mr. Dudamel was United States, as well as for programs in Sweden cording of Brahms’s Symphony No. 4. In spring inducted into l’Ordre des Arts et des Lettres as a and Scotland. 2012, an LP of Mendelssohn’s Symphony No. 3 Chevalier in Paris in 2009, and received an hon- It is not only the breadth of the audience with the Vienna Philharmonic was released, orary doctorate from the Universidad Centro- reached, but also the depth of the programming with proceeds donated to charity for the pur- Occidental Lisandro Alvarado in his hometown performed under Mr. Dudamel that is remark- chase of instruments for young musicians of El of Barquisimeto. He also received an honorary able. Programs at the Los Angeles Philharmonic Sistema in San Vicente, Venezuela. In August doctorate from the University of Gothenburg in in 2012–2013 represent the best and the bold- 2012, the CD, DVD, and PBS telecast of the live 2012. In 2008, the SBSOV was awarded Spain’s est: ranging from an LA Phil-commissioned and Vienna Philharmonic concert at Schönbrunn prestigious annual Prince of Asturias Award now staged oratorio by John Adams titled The Palace, The Summer Night Concert, was released. for the Arts, and, along with his mentor José Gospel According to the Other Mary, which the The September 2012 release Gustavo Dudamel: Antonio Abreu, Mr. Dudamel was given the “Q LA Phil and Mr. Dudamel tour to New York’s Discoveries is a compilation of recording activi- Prize” from Harvard University for extraordi-

Richard ReinsdorfRichard Lincoln Center, London’s Barbican Centre, ties with the Vienna and Berlin philharmonics, nary service to children. Switzerland’s Lucerne Festival, and Paris’s Salle the Simón Bolívar Symphony Orchestra, and Named one of Time magazine’s 100 most Dynamic conductor Gustavo Dudamel’s pas- Pleyel; to a staged Marriage of Figaro with sets by the Gothenburg Symphony (CD, CD+DVD). influential people in 2009, Mr. Dudamel was sionate music-making invigorates audiences architect Jean Nouvel, representing part two of a Released in October 2012, Dudamel: Mahler 8— born in 1981 in Barquisimeto, Venezuela. He of all ages worldwide. Concurrently serving as three-consecutive-year project of presenting the Symphony of a Thousand Live from Caracas (CD, began violin lessons as a child with José Luis Music Director of the Simón Bolívar Symphony Mozart/Da Ponte trilogy. DVD, Blu-Ray), features the combined forces Giménez and Francisco Díaz at the Jacinto Lara Orchestra of Venezuela and the Los Angeles Having triumphed in performances at the of the LA Phil and the SBSOV. Anticipated Conservatory. He continued his violin studies Philharmonic, the impact of his musical leader- 2012 Olympics in London, Mr. Dudamel con- for release during the 2012–2013 season are the with Rubén Cova and José Francisco del Castillo ship is felt on several continents. tinues to lead the Simón Bolívar Symphony Mahler Symphonies Nos. 7 (CD: SBSOV) and 9 at the Latin American Academy of Violin. His Although his commitment to his music di- Orchestra in his native Venezuela as well as on (CD: LA Phil), as well as an all-Strauss disc with conducting studies began in 1996 with Rodolfo rector posts in the United States and Venezuela tour, in this his 14th season as Music Director. the Berlin Philharmonic (CD). Saglimbeni, and the same year he was given his accounts for the major portion of his yearly Late fall 2012 touring includes concerts at In the area of video/DVD, many releases first conducting position, Music Director of the schedule, Mr. Dudamel also guest conducts Cal Performances, Chicago’s Symphony Hall, capture the excitement of important concerts Amadeus Chamber Orchestra. In 1999, he was with some of the world’s greatest musical institu- Washington’s Kennedy Center, Philadelphia’s in Mr. Dudamel’s musical life, including The appointed Music Director of the Simón Bolívar tions each season. This season, he returns to the Kimmel Center, and New York’s Carnegie Inaugural Concert, documenting his first concert Youth Orchestra and began conducting studies Vienna Philharmonic, Berlin Philharmonic, and Hall, where they are part of the “Voices from in 2009 as Music Director of the Los Angeles with the orchestra’s founder, Dr. Abreu; in 2004, La Scala in both opera and concert, along with Latin America” festival. Additional highlights Philharmonic; New Year’s Eve Concert Gala 2011 Mr. Dudamel was brought to international at- appearances with the Royal Concertgebouw, include a fully staged Rigoletto in July 2012 in with the Berlin Philharmonic; and a Birthday tention by winning the inaugural Bamberger Berlin Staatskapelle, Israel Philharmonic, Santa Caracas, which is part of a multi-year collabo- Concert for Pope Benedict XVI, among others. Symphoniker Competition. Cecilia Orchestra, and Gothenburg Symphony, ration of shared productions with La Scala. In In June 2011, a documentary, Let the Children These early musical and mentoring experiences where he is now Honorary Conductor. April 2013, Mr. Dudamel and the Bolívars are Play, featuring Mr. Dudamel, was shown in molded his commitment to music as an engine Mr. Dudamel is in his fourth season as Music joined by Lang Lang for the world premiere of over 500 Fathom movie theaters nationwide. for social change—a lifelong passion. Director of the Los Angeles Philharmonic, where the Benzecry Piano Concerto, jointly commis- Mr. Dudamel has been featured three times Mr. Dudamel, his wife Eloisa Maturén, and his contract has already been extended until sioned by Mr. Dudamel and Mr. Lang. The or- on CBS’s 60 Minutes and appeared on a 2010 their young son Martín divide their time mainly 2018–2019, the orchestra’s 100th season. Under chestra then embarks on a five-country tour of PBS special, Dudamel: Conducting a Life, with between Caracas and Los Angeles. his leadership, the Los Angeles Philharmonic has South America. The Bolívar season rounds out Tavis Smiley. He appeared on Sesame Street in Additional information about Mr. Dudamel extended its reach to an unprecedented extent with a production of Tannhäuser at the Bogotá February 2012. may be found at www.gustavodudamel.com.

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soloists Venezuelan-American Angelo Pagliucca. He has appeared at many Symphony Chorus, and her several choirs at baritone Gaspar Colón international theaters, including Sinopoli Hall UC Berkeley. In recent seasons, she conduct- Tenor Idwer Álvarez Moleiro (El Diablo) made of Parco Della Musica (Rome), Teatro de- ed Harrison’s Koro Sutro; Morton Feldman’s (Florentino) was born his U.S. debut with the gli Arcimboldi (Milan), Maschio Angioino Rothko Chapel with the Abel-Steinberg-Winant in Caracas, where he Los Angeles Philharmonic (Naples), Megaron Concert Hall (Athens), Trio; and prepared the UC Chamber Chorus studied music and in April 2010 under the ba- Medellín Municipal Theater (), for a performance of James MacMillan’s Seven singing. He made his ton of Gustavo Dudamel. Hall Federico García Lorca (Havana), Bolívar Last Words with the Berkeley Symphony under professional debut was He joined Lyric Opera of Theatre (Quito), and the most important the- Joana Carneiro. In the 2007–2008 season, she in 1980, and since then Chicago in January 2012 aters in Venezuela, such as the Teresa Carreno was the guest chef de chœur for the Montreal has sung regularly with for Amonasro in Verdi’s Theater and Cultural Complex. Symphony Orchestra under Kent Nagano, pre- orchestras in Venezuela and around the world. Aida. paring the chorus for works by Bach, Bellini, Mr. Álvarez has sung in oratorios, religious mu- Mr. Colón began his musical education Wagner, and Ravel. Earlier seasons included sic, and choral symphonic works, ranging from with his grandfather, composer Moises Moleiro, chorus collaborations with the Philharmonia Baroque Beethoven’s Choral Fantasy, Christus am Ölberge, and his mother, renowned pianist Carmencita Orchestra under Nicholas McGegan and Jane Mass in C major, and Symphony No. 9, to Moleiro. He graduated as a clarinetist and opera Sponsored by the Department of Music, the Glover in productions with the Mark Morris Mozart’s Vesperæ solennes de confessore, Missa singer from Pedro Nolasco Colon Conservatory University Chorus of UC Berkeley is a select Dance Group. Ms. Kuzma’s work with choirs solemnis, Mass in C major (“Coronation”), and in Caracas. Mr. Colón continued advanced ensemble of approximately 80 singers open to and orchestras is informed by her study of voice Requiem; Haydn’s Nelson Mass, Theresienmesse, operatic training with the Italian maestro all passionate and skilled singer-musicians in the and violin from an early age and her love of lan- Harmoniemesse, and Schöpfungsmesse; Dvořák’s Elio Malfatti. campus community. guages. She has published articles on choral mu- Stabat Mater; Mendelssohn’s Elijah; Handel’s In 2005, Mr. Colón was presented with the Founded in the 1930s by the celebrated sic focusing on the interplay of music and words. Messiah; Honegger’s Jean d’Arc; Britten’s award for “Best Voice” and “Best Performance American composer Randall Thompson, the Of Ukrainian descent, she has a particular af- Serenade and Les Illuminations; and Penderecki’s of an Aria” in the Seventh Alfredo Hollander chorus provides student singers and audiences finity for Slavic choral music. Her recording of Symphony No. 7 (“Seven Gates of Jerusalem”), National Opera Competition. In addition, he with a stimulating, varied musical experience Dmitry Bortniansky’s choral concertos will be Dies Irae, Te Deum, and Credo. was selected to participate in master classes with every semester. In any four-year cycle, sing- released on Naxos Records in 2013. He is also very active in vocal chamber mu- Mirella Freni and Katia Ricciarelli. He also has ers can expect to perform repertoire in several sic and, especially, contemporary Latin America performed and developed a successful career in languages and styles and from various centu- Based in Oakland, Pacific Boychoir Academy music, a genre in which he has premiered 37 dif- Latin America, Europe, and Venezuela. ries. In recent years, it has performed Handel’s (PBA) was founded in 1998 with six boys, and ferent works. Among his opera credits, Mr. Colón has Messiah, Mendelssohn’s Elijah, Fauré’s Requiem, today includes over 160 boys, ages 5–18, in seven Mr. Álvarez has also performed the main performed the roles of Enrico in Lucia di Brahms’s Alto Rhapsody, Mahler’s Symphony choirs. In addition to an extensive after-school roles in, among other operas, L’incoronazione di Lammermoor, the title role in Rigoletto, Germont No. 3, and Stravinsky’s Symphony of Psalms. program, PBA operates a day school, and is the Poppea, Le nozze di Fígaro, L’elisir d’amore, Lucia in La Traviata, Alfio inCavallerla Rusticana, Last month, the chorus performed portions only choir school in the western United States. di Lammermoor, La Traviata, Rigoletto, Aida, Marcello in La Bohème, Admiral Colón in Los of Haydn’s The Seasons and sang the Bay Area Pacific Boychoir made its San Francisco Macbeth, Falstaff, Madama Butterfly, Tosca, Martirios de Colón, Tonio in Pagliacci, the title premiere of David Conte’s September Sun. Symphony (SFS) debut with conductor Michael and Turandot. role in Gianni Schicchi, and Scarpia in Tosca. As Along with concerts on campus, the chorus Tilson Thomas in September 2002, and the He has sung with such conductors as Gustavo a soloist, his most acclaimed presentations are has been invited to perform at the Midsummer Choir is heard with the Symphony on their Dudamel, Simon Rattle, Claudio Abbado, Beethoven’s Symphony No. 9, Fauré’s Requiem, Mozart Festival under George Cleve, with the Grammy-winning recordings of Mahler’s Giuseppe Sinopoli, Krzysztof Penderecki, William Walton’s Belshazzar’s Feast, Estévez’s Oakland-East Bay Symphony under Michael Symphonies Nos. 3 and 8. Helmut Rilling, Dennis Russell Davies, and La Cantata Criolla; and numerous festivals and Morgan, and with the Berkeley Symphony un- Pacific Boychoir has performed with the Eduardo Mata. recitals in which, in addition performing the der Kent Nagano. Berkeley Symphony, American Bach Soloists, Mr. Álvarez sang the role of Florentino in traditional opera repertoire, he also introduces the Youth Orchestra of the Americas, the Cantata Criolla for the first time in 1987, and Venezuelan and Latin American works. Conductor Marika Kuzma has gained recogni- Lithuanian State Orchestra, the National since then he has performed it 116 times all over Mr. Colon has performed with the Simón tion in the San Francisco Bay Area and beyond Symphony Orchestra of Brazil, the Marcus the world—including at Carnegie Hall in 1994 Bolívar Symphony Orchestra, the Venezuelan as a choral director of unusual versatility and Shelby Jazz Orchestra, the Johannesburg Festival with the American Composers Orchestra. Symphonic and Philharmonic Orchestras, and high standards. She has directed choirs across Orchestra, Trinity Lyric Opera, the University the Caracas Municipal Orchestra, among many North America, including the St. Lawrence of Michigan Men’s Glee Club, the Harvard others, under such well-known conductors as Choir, the Handel Society of Dartmouth Men’s Glee Club, and the Vienna Boys Choir. Gustavo Dudamel, Rodolfo Saglimbeni, Dante College, the University of Virginia Singers, The Choir has toured throughout the United Ranieri, Alfredo Rugeles, Felipe Izacaray, and the Oakland Symphony Chorus, the Montreal States and to Australia, New Zealand, eastern

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and western Europe, South America, South Africa, China, and Russia. Pacific Boychoir has developed a reputa- tion for presenting challenging works written specifically for boys’ voices. Recent concerts have included Masses by Haydn and Mozart, and Rachmaninoff’sAll-Night Vigil performed for the first time in America with boy sopranos and altos. The choir’s recordings feature Bach’s Cantata 150; Britten’s Ceremony of Carols; two of Bach’s “Lutheran” Masses; That Promised Land, a recording of American spirituals for which the Boychoir was honored by the Friends of Negro Spirituals and the Academy of Gospel Music Awards; and most recently Show Me the Way, the choir’s second collection of spirituals from America’s choral heritage. In the 2012–2013 season, Pacific Boychoir performs with the , the Oakland East Bay Symphony, and the Simón Bolívar Symphony Orchestra of Venezuela.

Kevin Fox, Founding Artistic Director of Pacific Boychoir Academy, is one of America’s few full-time boys’ choir directors. He holds a degree in music from Wesleyan University in Connecticut, where he received the Lipsky Prize for outstanding scholarship in choral studies. He studied music at Oxford University and cho- ral conducting at Westminster Choir College in Princeton. Mr. Fox worked for the American Boychoir and has sung with the choirs of Trinity Church New Haven, Trinity Church Princeton, American Bach Soloists, Philharmonia Baroque Chorale, and the Grace Cathedral Choir in San Francisco, where he has also served as Interim Assistant Choirmaster. Mr. Fox has been on more than 40 tours with boys’ choirs to almost all 50 states and to numerous foreign countries.

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