Danny Granados BRAHMS ◊ PIAZZOLLA ◊ GOLIJOV
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A TRIBUTE TO DANNY GRANADOS BRAHMS ◊ PIAZZOLLA ◊ GOLIJOV DE 3562 FIDELIS STRING QUARTET AND FRIENDS DANNY GRANADOS, CLARINET (1964-2018) 1 DELOS DE 3562 A TRIBUTE TO DANNY GRANADOS — BRAHMS GRANADOS DANNY DELOS DE 3562 A TRIBUTE TO DELOS DE 3562 A TRIBUTE TO DANNY GRANADOS — BRAHMS GRANADOS DANNY DELOS DE 3562 A TRIBUTE TO A TRIBUTE TO DANNY GRANADOS JOHANNES BRAHMS Clarinet Quintet in B Minor, Op. 115 (37:02) OSVALDO GOLIJOV "Lullaby and Doina" from The Man Who Cried (6:44 ) ASTOR PIAZZOLLA La Muerte del ángel (arr. Pablo Zinger) (3:40) Allegro tangabile (arr. Carlos Franzetti) (3:04) Milonga para tres (arr. Pablo Zinger) (7:17) Libertango (arr. Pablo Zinger) (5:53) Fidelis String Quartet Rodica Oancea-González and Mihaela Oancea-Frusina, violins Joan DerHovsepian, viola ♦ Jeffrey Butler, cello ♦ ♦ PIAZZOLLA PIAZZOLLA Danny Granados, clarinet Judy Dines, flute ♦ Erik Gronfor, bass ♦ Pablo Zinger, piano ♦ ♦ Total Playing Time: 63:41 GOLIJOV GOLIJOV GOLIJOV GOLIJOV DE 3562 © 2019 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 (800) 364-0645 • (707) 996-3844 [email protected] • www.delosmusic.com In memory of Danny Granados To realize his dream of bettering the plight of orchestral musicians, Danny decided to evoted father, accomplished musi- leave the Alabama Symphony and pursue cian and passionate arts administra- an MBA degree at Rice University. Upon Dtor, Danny Granados leaves a legacy graduation, he began working as head of of excellence that will forever inspire those marketing, and later as director of finance, who knew him. at Applied Diagnostics, where he fulfilled a calling to serve those who were ill. After As a clarinetist, Danny studied with the leg- many years in these positions, he became endary clarinet pedagogue Robert Marcel- the Chief Financial Officer of the Houston lus at Northwestern University and went on Symphony Orchestra, thereby achieving to become his teaching assistant while he his dream of being able to serve the music was earning his master’s degree there. He industry in the realm he loved best: that of also studied at the Hochschule für Musik the orchestra. und Theater in Hannover, Germany. His other clarinet mentors include Russel Da- In his short tenure at the Houston Sym- gon, David Shifrin and Hans Deinzer. Upon phony Orchestra, Danny implement- graduation from Northwestern, Danny ed — and was able to secure financing to served as Principal Clarinetist of the Ala- sponsor — the orchestra’s highly success- bama Symphony Orchestra, working as well ful European tour in 2018, during which with the Orquesta Sinfonica de Galicia in the orchestra played to sold out houses Spain and The New Hampshire Music Fes- and received glowing reviews everywhere tival Orchestra, among others. Danny also it performed. freelanced actively in New York City, where he played on numerous occasions with the Danny lost his battle with cancer in May of Metropolitan Symphony Orchestra. 2018. His legacy includes a great sense of hope and inspiration to continue on the As a chamber musician, Danny was a path of service to others in whatever ca- member of Quintet of the Americas, pacity and ability we are able to give. and performed at many Music Festivals; among them Italy’s Spoleto Music Festival, — Marco Granados (Danny’s brother) Chamber Music Northwest, The Chamber Music Society of Lincoln Center and the New Hampshire Music Festival. 2 3 Notes on the Program: ful experiences, it could be said that noth- Brahms Meets Argentina ing can transport one to a world of spir- itual yearning like the second movement This project grew from a simple idea that of Brahms’ clarinet quintet — or Piazzolla’s arose by chance during a conversation ‘Milonga para tres’. about Brahms’ beginnings as well as the struggles and setbacks that artists must We can therefore conclude that this re- endure in order to realize their passion. cording is a celebration of the best that can come from such humble, yet true History tells us that during his youth, beginnings…a memorial of those lonely Brahms contributed to his family’s income ports in Hamburg and Buenos Aires. by playing the piano at brothels in his na- tive city of Hamburg. Not much is made of JOHANNES BRAHMS (1833-1897) this period of Brahms’ adolescent life, but Quintet in B Minor for Clarinet and it makes for interesting speculation as we String Quartet, Op. 115. explore the effects of this experience in a young man’s life and music. Written for clarinetist Richard Mühlfeld in 1891, the quintet seems to communicate Music is at its best when it reflects people’s deep yearning and traces of sadness in ev- hopes and aspirations while elevating our ery movement. Not unlike the tango, one souls and conscious dreams. Conceivably, is seduced by beautiful melancholic lines Brahms’ music and the tango genre are and led to experience a highly personal not that far removed from each other. story. Both can be said to embody the emer- gence into the world of romanticism and Unlike other works written for this com- passion that is perhaps best expressed in bination of instruments, where the string our lonely searches for completeness in quartet assumes more of an accompany- our lives…even if at the dark and squalid ing role, Brahms allows all instruments to brothels, bars and dance halls that formed blend and have equal voice in the ensem- the unsavory underbellies of the ports of ble. The quintet received its public pre- Hamburg and Buenos Aires. miere in Berlin on December 12th, 1891. Not surprisingly, the Gypsy-like second Regardless of tango’s beginnings or the movement, with its passionately rhapsod- veracity of the accounts of Brahms’ youth- ic interlude, was performed as an encore. 4 OSVALDO GOLIJOV (b. 1960) In Pablo Zinger’s version of Libertango, “Lullaby and Doina” the main theme is preceded by an origi- nal clarinet cadenza based on the theme’s Osvaldo Golijov grew up in an Eastern Eu- harmonic structure. The main section fea- ropean Jewish household in La Plata, Ar- tures an ostinato in the piano and strings. gentina. Golijov was raised surrounded by The piece has been arranged countless classical chamber music, Jewish liturgical, times for a variety of instrumental com- klezmer music, and the tangos of Astor binations, and Piazzolla himself recorded Piazzolla. the piece numerous times with various artists. “Lullaby and Doina” (2001) was com- posed in 2001 for the filmThe Man Who La Muerte del ángel was originally con- Cried. The film explores the fate of Jews ceived as music for a play of the same and Gypsies in Europe during the middle name by the Argentinian playwright Al- years of the 20th century, through a ro- berto Rodríguez Muñoz. The melody mance between a Jewish woman and a quotes the first seven notes of Carlos Gar- Gypsy man. del’s famous Mi Buenos Aires querido. ASTOR PIAZZOLLA (1921-1992) Milonga para tres was written for the Tango selections show “Tango Apasionado” (New York City, 1987), inspired by the writings of Jorge The creator of the “New Tango” (“Nuevo Luis Borges. Pablo Zinger was the show’s Tango”) style, Piazzolla moved to New York musical director and recorded the music City with his family when he was only three with the composer. The tune was used for years old. After returning to Argentina in the soundtrack of the Hong Kong movie 1937, Piazzolla became a sought-after Happy Together and became extremely bandoneon player with traditional tango popular in East Asia. bands. Piazzolla studied composition with Alberto Ginastera and — at Ginastera’s Allegro tangabile is part of María de Bue- urging — with Nadia Boulanger. His style nos Aires (1968) — a poetic oratorio (aka combines elements of traditional tango, “Operita Porteña,” or Buenos Aires little klezmer, baroque, jazz and avant-garde opera) written to a libretto by Uruguayan music. poet Horacio Ferrer — which has become one of the most widely performed works 5 of Latin American musical theater. It fea- Romania, Austria, Italy, Switzerland, Can- tures Piazzolla’s typical device of a fugue- ada, Mexico and the United States. She like exposition leading into a forceful tutti, made her Carnegie Hall debut in 2002 and with the piano prominently featured. The has performed there several times since. Allegro represents the spirit of the poet At the time of this release, Mrs. Rodica being conveyed by its messengers in or- Oancea-Gonzalez will make her London der to perform the miracle of the impreg- recital debut in May 2019 at St. John’s nation of María’s dead spirit. Smith Square. Rodica is a founding mem- ber of the Fidelis Quartet and the Tre Voci — Danny Granados piano trio. MIHAELA OANCEA-FRUSINA RODICA OANCEA-GONZALEZ second violin, FSQ first violin, Fidelis String Quartet (FSQ) Mihaela Oancea-Frusina was born in Bu- Romanian violinist Rodica Oancea-Gon- charest, Romania, and began playing the zales, has been playing violin since the violin at the age of five. She gave her age of four. She has been a member of first public performance at the age of 12 the first violin section of the Houston while studying at the George Enescu Mu- Symphony since 1990. Originally from Ro- sic School. Mrs. Oancea-Frusina received mania, Rodica studied, as a child, at the her Bachelor’s and Master’s Degrees in George Enescu Music School, giving her violin performance from Rice University first solo performance with an orchestra at in Houston under the tutelage of Sergiu the age of eleven. At age 18, she enrolled Luca. Mrs. Oancea-Frusina is currently a in the Ciprian Porumbescu Conservatory member of the Houston Symphony and in Bucharest.