Danny Granados BRAHMS ◊ PIAZZOLLA ◊ GOLIJOV

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 ♦ PIAZZOLLA ♦ GOLIJOV DE 3562 (707) 996-3844 (707) • www.delosmusic.com • © 2019 Delos Productions, Inc., © 2019 Delos Productions, (800) 364-0645 (800) cello os AD A n r P.O. Box 343, Sonoma, CA 95476-9998 Box P.O. G

Pablo Zinger, piano Zinger, Pablo ♦ [email protected] [email protected] Jeffrey Butler, Butler, Jeffrey rahms ♦ oliJov B G iazzolla nny A P svaldo stor D ohannes a o J Fidelis String Quartet String Fidelis bass Gronfor, Erik o Total Playing Time: 63:41 Time: Playing Total ♦ Danny Granados, clarinet Granados, Danny T

Libertango (arr. Pablo Zinger) (5:53) Zinger) Pablo (arr. Libertango

Milonga para tres (arr. Pablo Zinger) (7:17) Zinger) Pablo (arr. tres para Milonga Clarinet Quintet in B Minor, Op. 115 (37:02) Op. in B Minor, Quintet Clarinet Allegro tangabile (arr. Carlos Franzetti) (3:04) Franzetti) Carlos (arr. tangabile Allegro La Muerte del ángel (arr. Pablo Zinger) (3:40) Zinger) Pablo (arr. del ángel Muerte La Joan DerHovsepian, viola DerHovsepian, Joan

(6:44 ) (6:44 Cried Who Man The from and Doina" "Lullaby flute Dines, Judy e T ribu Mihaela Oancea-Frusina, violins Oancea-Frusina, and Mihaela Oancea-González Rodica A T A

DELOS DE 3562 A TRIBUTE TO DANNY GRANADOS — BRAHMS ♦ PIAZZOLLA ♦ GOLIJOV 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 member 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. In the mid-eighties she was has performed extensively as a recitalist awarded scholarships at prestigious music and chamber player throughout Romania, academies in Italy and Switzerland. It was Italy, Mexico and the United States. then that she met Sergiu Luca, who invit- ed her to study with him at Rice Universi- JOAN DERHOVSEPIAN, viola, FSQ ty’s Shepherd School of Music, where she received her master’s degree in violin in Joan DerHovsepian holds the position of 1990. Rodica has performed extensively as Associate Principal Viola of the Houston a recitalist and chamber player throughout Symphony. She is an Artist-Teacher of Vio-

6 la at Rice University’s Shepherd School of ERIK GRONFOR, double bass Music. Ms. DerHovsepian performs reg- ularly in the Grand Teton Music Festival, Mr. Gronfor is the Assistant Principal Bass the Mimir Chamber Music Festival and as of the Houston Grand Opera Orchestra. principal viola of the Peninsula Music Fes- Before moving to Houston he was Prin- tival in Wisconsin. She was the Principal cipal Bass of the Charleston Symphony Violist of the Charleston Symphony and Orchestra, and taught at the College of a member of the Rochester Philharmonic Charleston. He holds degrees from the Orchestra. Ms. DerHovsepian won second Curtis Institute of Music and Rice Uni- prize in the William Primrose Memorial versity’s Shepherd School of Music. Erik Scholarship Competition. is a member of the River Oaks Chamber Orchestra, the Grand Teton Music Festival JEFFREY BUTLER, cello, FSQ and Wisconsin’s Peninsula Music Festival. He teaches at the American Festival for Jeffrey Butler has been a cellist in the the Arts. Houston Symphony since 1986. He holds degrees in music performance from JUDY DINES, flute Boston University and the University of Michigan, where he was recipient of that Flutist Judy Dines, a member of the Hous- school’s highest award, the Stanley Med- ton Symphony, is an active performer in al. He began cello studies at an early age Houston and beyond. In the orchestral with his parents, both professional cellists, world, Ms. Dines has performed with and continued studies with Jerome Je- the National Symphony Orchestra, the linek, Claus Adam and George Neikrug. St. Louis Symphony Orchestra, and the Prior to joining the Houston Symphony, Chautauqua Symphony Orchestra. Born he was a faculty member at the Stetson in Washington, DC, she attended Temple University School of Music and a member University in Philadelphia, and the Pea- of the Detroit Symphony. He is a founding body Institute in Baltimore. member of the Fidelis Quartet as well as the Houston Symphony’s Bad Boys of Cel- DANNY GRANADOS, clarinet (See In lo, and recently performed the premiere Memory of piece above) of a new cello concerto written for him by composer Donald Appert.

7 PABLO ZINGER, piano go Apasionado at New York's Westbeth Theater Center. His critically acclaimed Born in Uruguay and living in New York CDs include Tango Apasionado with Astor since 1976, Pablo Zinger is a conduc- Piazzolla, Chamber Music from the South tor, pianist, writer, composer, arranger and the Grammy-nominated The Clarinet- and lecturer. Mr. Zinger specializes in the ist with Paquito D’Rivera, Las Puertas de music of Astor Piazzolla, tango, Spanish la Mañana (songs of Carlos Guastavino), zarzuela, and Latin American vocal and and two albums of Carlos Suriñach. In instrumental music. In 1987, he was asked 2009, he accompanied Plácido Domingo by Astor Piazzolla to serve as musical di- at Washington’s Constitution Hall, played rector for the premiere production of Tan- and conducted the Moscow première of

Left to right: Jeffrey Butler, Pablo Zinger, Mihaela Oancea-Frusina, Brad Sayles (engineer), Rodica Oancea-Gonzales, Judy Dines, Danny Granados, Joan DerHovsepian.”

8 Piazzolla’s María de Buenos Aires (2006), and played with orchestras, singers and and conducted the closing of Paquito chamber groups throughout the Americas D’Rivera’s Carnegie Hall 50th Anniversary as well as in Spain, Russia, Poland, Slove- Concert (2005). Mr. Zinger has conducted nia, South Africa, Germany and Norway.

Brad Sayles and Danny Granados

9 Johannes Brahms

Osvaldo Golijov

Astor Piazzolla

10 SPECIAL THANKS: This recording was made possible in part by Houston Public Media and the generous contributions of friends and family members.

Recorded on May 24, June 6, June 16, June 23 and June 28, 2011, at the Geary Perfor- mance Studio of the Melcher Center for Public Broadcasting, Houston, Texas

Executive Producers: Rodica Oancea-Gonzalez and Jeffrey Butler Producers: Fidelis Quartet and Brad Sayles Recording Engineer: Brad Sayles Editing: Joseph Simon, Brad Sayles Mixing and Mastering: Brad Sayles Booklet design and layout: Lonnie Kunkel Booklet editors: Lindsay Koob and David Brin Osvaldo Golijov photo: Alejandro Golijov © 2000

JOHANNES BRAHMS Clarinet Quintet in B Minor, Op. 115 (37:00) 1. Allegro (12:18) 2. Adagio (11:15) 3. Andantino (4:28) 4. Con Moto (8:59)

OSVALDO GOLIJOV 5. “Lullaby and Doina,” from The Man Who Cried §, * (6:44)

ASTOR PIAZZOLLA – Tango selections §, Þ 6. La Muerte del ángel (arr. Pablo Zinger) (3:40) 7. Allegro tangabile (arr. Carlos Franzetti) (3:04) 8. Milonga para tres (arr. Pablo Zinger) (7:17) 9. Libertango (arr. Pablo Zinger) (5:53)

Fidelis String Quartet Rodica Oancea-Gonzalez and Mihaela Oancea-Frusina, violins Joan DerHovsepian, viola ♦ Jeffrey Butler, cello

Danny Granados, clarinet

With:

Judy Dines, flute § Erik Gronfor, bass * Pablo Zinger, piano Þ

Total Playing Time: 63:41