Saúl Bitrán, violin I 2:30 PM, April 22, 2012 Arón Bitrán, violin II Faye Spanos Concert Hall Javier Montiel, viola In cooperation with Pacific’s TH Alvaro Bitrán, cello Conservatory of Music 56 SEASON WWW.CHAMBERMUSICFRIENDS.ORG

Fantasia for (1946) Gonzalo CASTELLANOS YUMAR (Venezuela, 1926)

Barcarola (1932) Minuetto (1924) (, 1897–1986) Tres Canciones Españolas (1929)

Cuarteto en Sol (Quartet in G) (1958) Domingo LOBATO Lento (, 1920) Largo Rudo –intermission–

Echú* (2010) Alejandro CARDONA (Costa Rica, 1959)

Lullaby (1919) (Brooklyn, 1898–1937)

String Quartet No. 5 (1931) Heitor VILLA-LOBOS Poco Andantino (Brazil, 1887–1959) Vivo ed Energico Andantino—Tempo Giusto Vivo ed Energico

* Dedicated to Cuarteto Latinoamericano

CUARTETO LATINOAMERICANO is represented in the USA by Thomas Gallant, MCM Artists, P.O. Box 825, Highland, NY 12528 845.691.4960  tgallant@mcmarts  http://www.mcmarts.com http://www.cuartetolatinoamericano.com/en/ Artists Program Conservatories, Mignone returned to São Paulo in 1929 to teach harmony, and in Cuarteto Latinoamericano is a world "Spanish music" or "Latin rhythms” are 1933 took a post in at the renowned string quartet from Latin standard labels used to describe music Escola Nacional de Musica.. Mignone America that will celebrate its thirtieth from Latin American sources. If you was a versatile composer, writing solo anniversary season this year. Founded in replace "Spanish" and "Latin" with songs, piano pieces, chamber instrumental Mexico in 1981, Cuarteto "American" and "Anglo", the ambiguity of works, orchestral works, choral works, Latinoamericano is the leading proponent such terms is obvious. In Latin America, five and eight . of Latin American music for string quartet. there is usually some local musical flavor, Much of Mignone's music is strongly Three members are brothers, but all four and the inherent cultural and ethnic factors nationalistic in which he uses the folk and share a mission to spread Latin American of a region or group are more strongly popular melodies and forms of his native to the world. They have expressed than their political frameworks Brazil as a basis for his compositions. His toured extensively in Europe, the or boundaries. Today you may compare solo vocal and piano works earned him Americas, Israel, China, Japan and New the music by composers from four different particular acclaim for their expression of Zealand. The quartet has introduced more Latin American locations.1 Brazilian musical styles, such as the than a hundred works written for them Castellanos Yumar—Fantasia choro, the modinha, and the valsas and participated in over a hundred world (waltzes) of which he wrote a series called Gonzalo Castellanos Yumar, premieres. They are the recipient of a Valsas da Esquina, for various instruments. Venezuelan composer and conductor, 1983 Mexican Music Critics Association Brazilian musicologist Osvaldo began his musical studies at age 6 with award and "most adventurous Colarusso has this to say about the his father, an organist and choirmaster. programming" awards from CMA/ASCAP three pieces in today's concert: "The He studied composition in 1940 with in 1997, 1999, and 2000. Barcarola was written at the beginning Vicente Emilio Sojo at the Escuela Cuarteto Latinoamericano was quartet- of Mignone's period of collaboration Superior de Música, Caracas. In 1947 his in-residence at Carnegie Mellon with Mario de Andrade. It begins with Suite Caraqueña won the National University in Pittsburgh from 1987 until the characteristic flowing rhythm of Composition Prize. His symphonic work 2008. They have collaborated with many the Italian Barcarolla, but there is also Antelación e imitación fugaz won in the artists including cellists János Starker and an element of nationalist character in 1955 Belgian Queen Elisabeth Yehuda Hanani, pianists Santiago the middle section, in 3/8, where we Competition. From 1959 to 1963, he Rodriguez, Cyprien Katsaris and Rudolph can foresee the Valsas da Esquina. studied conducting, analysis and Buchbinder, tenor Ramón Vargas, and “The Minuetto is the oldest work for orchestration, and attended classes of guitarists Narciso Yepes, , string quartet by this author. Written in Celibidache and Messiaen. David Tanenbaum and Manuel Barrueco. 1924, it has absolutely nothing "Brazilian", Castellanos returned to Venezuela in A commissioned guitar quintet from neither in the…main theme or in the Trio. 1963 and held several posts as conductor, American composer , It is actually a transcription of an excerpt teacher and administrator. In 1978 he gave Inca Dances, won a Grammy in 2009 for from the 0 contratador de diamantes, up conducting to dedicate himself to Best New Latin Composition. written in 1921. composition. In 1990 he received the Cuarteto Latinoamericano has recorded “Between 1927 and 1929 Mignone was National Music Prize of Venezuela for over sixty CDs, which include the in Spain, and during this time he wrote lifetime achievement. Despite his small complete works for string quartet by several songs in Spanish. Vasco Mariz, output, Castellanos is recognized as a Heitor Villa-Lobos, , the Brazilian historian, said in his History great Venezuelan composer. , as well as most of the of Music in Brazil that is was in this period His Fantasia for String Quartet reflects a Latin American repertoire for string when Mignone became a great songwriter. post-Impressionist nationalist aesthetic quartet. The sixth volume of their Villa- In 1932 he transcribed three of these and introduces elements of Venezuelan Lobos 17-quartet cycle, recorded for songs for string quartet: Nana, ¿Por qué traditional music within a classical Dorian, was nominated for Grammy lloras morenita, and Las mujeres son las framework. Listen for the constant Awards for Best Chamber Music and Best moscas. In these transcriptions the main alternating 6/8 and 3/4 time signatures, a Latin Music. song line is in the first violin, while the hallmark of Venezuelan music. The Cuarteto is credited with the other instruments accompany. The emergence of a new generation of string Mignone—Tres Piezas subtleties of the instrumentation players. Under the auspices of the Francisco Paolo Mignone, son of an (harmonics, tremolo) put us in an almost Sistema Nacional de Orquestas Juveniles Italian immigrant flutist, is one of the most impressionistic atmosphere.” of Venezuela, the Cuarteto has created significant figures in Brazilian classical Lobato—Cuarteto en Sol the Latin American Academy for String music. In 1968 he was chosen Brazilian Domingo Lobato was born in 1920 in Quartets, based in Caracas, which serves composer of the year and is considered Morelia, in the state of Michoacan. In as a training ground for five select young one of the most significant Brazilian 1951, Lobato accepted an invitation to string quartets from the Sistema. The composers. collaborate at the State of Jalisco School Cuarteto visits the Academy four times a A graduate of the São Paulo and Milan of Fine Arts. In 1956, he agreed to teach at year. 1 Five if you count Brooklyn the music school of the University of Guadalajara where he was director for 18 [metaphorical] doors". We could say that Villa-Lobos wrote a total of 17 string years. In 1958, he received the Premio this piece is a contemporary and Latin- quartets and was working on an eighteenth Jalisco for the Arts as a musician, teacher Americanized reinvention of the blues …" at the time of his death in 1959. They span and composer. His works include religious Gershwin—Lullaby a period of forty-two years, are filled with music for choir and for organ, symphonies, the composer's skillful experiments with Speaking of blues, Gershwin's Lullaby is concerti, chamber music, and music for tonality, , color, sonority, texture, a fairly early work, from the same period as theatre and . and his much beloved and ubiquitous his breakthrough hit song Swanee and his Lobatos' Cuarteto en Sol is written in a Brazilian folk language, and are peculiarly Broadway play La La Lucille. He was at language which, although romantic in its and lamentably missing from the customary this same time a devoted student in theory gestures and aesthetic conception, is concert repertoire. His quartets have and harmony of Edward Kilenyi, a Hungarian nonetheless firmly rooted in the 20th pronounced strict discipline, although they émigré who encouraged his gifted pupil's Century. The Lento begins with a highly eschew the structures of classical tradition: interest in popular music. Lullaby started chromatic and slow introduction, followed strict sonata movements, variations, and life as one of Gershwin's exercises, in this by a faster and rocking movement in 12/8. rondos. None is a compositional exercise, case writing for string quartet. It is in The character of the music is easy-going but rather they all display his ability to straightforward A-B-A form, with an and flowing, although you should listen for synthesize his broad range of inspirations. occasional soupçon of jazz (listen for a relentless, bold use of chromatics. The Composed in São Paulo in 1931, the syncopation and "blue" notes) suggestive second movement is one of the most fifth quartet is among the most immediately of Gershwin's popular leanings. poignant pieces ever written for string appealing and at the same time one of the Gershwin never did anything himself to quartet in Mexico. You will hear a lengthy most inventive of all 17 quartets. Its stable promote the piece in its original form, but viola solo, which explores a dark and tonal logic and unmistakable melodies he did turn it into the aria "Has Anyone emotive setting. The movement fades out coexist with astonishing originality and Seen My Joe?” a number in his leaving a sense of vague yearning. creativity. The first movement has seven unsuccessful2 1922 Afro-American opera However, in the 3rd movement (Rudo, sections organized in a three-part Blue Monday. Lullaby had to wait until literally, rough), he lets his Mexican arrangement. First is a theme derived from 1967 to resurface in its original form, when character surface. The music is joyful, and an old round over a persistent rhythm. it was revived by the . the roughness is mainly apparent in the Listen for a related idea to follow in staccato articulation of the eighth notes. Villa-Lobos—Quartet No. 5 harmonics. Third is a simple notion with Cardona—Echú Heitor Villa-Lobos, easily one of the pizzicato accompaniment. A brief most consistently prolific Latin American restatement of the initial theme rounds off Costa Rican composer and guitarist, composers, launched the Nationalist the first part. The fourth part of the Alejandro Cardona, studied composition movement in Brazilian music when his movement is an evocative 4/4 love song with Luis Jorge Gonzalez, Leon Kirchner, music was featured at the pivotal Semana (modinha) with a rapid, syncopated dance Ivan Tcherepnin and Curt Cacioppo. He de Arte Moderna (Week of ) in as a contrasting component. Three more graduated from Harvard University and has São Paulo in 1922. He wrote for an ideas form the closing part of the a Master’s Degree in Image Synthesis and extensive variety of instrumental movement: a 4/4 theme over a rhythmic Computer Animation from Portsmouth combinations from symphonies to operas accompaniment, a brighter 2/2 theme, and University and The Utrecht School of the but today is most often remembered for his finally a 12/8 presto epilogue, based on Arts. He lived for many years in Mexico just as significant set of Baroque-inspired material related to the quartet's opening. where he conducted research on popular "Bachianas Brasileiras," his contribution to The second movement is nearly incredible. Meso-American and Caribbean music. the more "traditional" chamber music To begin, it dazzlingly quotes the first part Since 1986 he has worked at the Universidad where he adapted Baroque harmonic and of a nursery tune, "Cai, cai balao,” with Nacional de Costa Rica, in the Cultural contrapuntal procedures to Brazilian descending scales and . Then Identity, Art and Technology Program and music. there is a expressive melody, while the Music School where he is founder of It has become predictable to describe fantastic sui ponticello effects and whirling the Latin American Composition Workshop. Villa-Lobos’ musical output as diverse, as figurations fashion an sense of deep The composer writes: "Echu originated huge, and as vibrant as his life-long ambiguity. The third movement recalls as a piece composed for the Calacas inspiration, the Amazon rain forest. It is a more children's songs. The outer Blues Band (a contemporary Latin colorful comparison: Villa-Lobos’ catalogue, contrapuntal sections frame two movingly American blues oriented group). Since more than 2,000 works, contains an lyrical inner sections. Vibrant and dynamic, then it has been adapted for various astounding diversity of forms that the final movement continues to draw on instrumental groups: 6 cellos (for Alvaro document the composer's inquisitive and folklore and maintains a popular character Bitran's CD, Mi Chelada), cello and strings, adventurous spirit. His stated goal was to by comingling melody and driving rhythms. 5 percussionists and electric bass guitar, escape the 19th century European Simply stated it is comprised of an and now for string quartet. Echu is one of tradition, drawing inspiration instead from exposition, repeated, followed by a simple the names given to an important Yoruban the folk . tune in harmonics, and a condensed Orisha (deity) of Nigerian origin, also repeat of the primary material. known as Elegguá, who, among other 2 It was given only a single performance as part of things, is responsible for "opening “George White’s Scandals” Notes© Dr. Michael Spencer FIFTY-SEVENTH BOARD OF 2011/2012 DIRECTORS CONTRIBUTORS SEASON Supporter $50-99 2012-2013 Officers Sustainer $2,000+ Dwane Milnes, President John & Gayle Perl Ann M Chargin Presented in Cooperation with Carole Gilbertson, Vice President Estate of Kathe Underwood Zulka Dozier Pacific’s Conservatory of Music; Peter Meyer, Secretary C A Webster Foundation Peter & Jane Vial Jaffe Giulio Ongaro, Dean Sara Milnes, Treasurer Benefactor $1,000-1,999 Mary Jensen Louise Saunders Dædalus String Quartet Members Anonymous Steve & MaryAnn Schermerhorn 2:30 PM Sunday, October 7, 2011 Janet Bonner Philip & Carole Gilbertson Nelda Smith Faye Spanos Concert Hall Marilyn Draheim Dwane & Sara Milnes Linda Wheeler RECEPTION FOLLOWING Jane Kenworthy Patron $500-999 Frank & Lynelle Wiens Marie Medford Patricia Cox M Lincoln Yamaguchi Intersection Piano Trio Giulio Ongaro Les & Marie Medford Jerold & Judith Yecies 2:30 PM Sunday, October 28, 2011 Vince Perrin Michael & Helen Spencer Faye Spanos Concert Hall Glenn Pillsbury Joel F Steinberg, MD & Mayumi Friend $1-49 RECEPTION FOLLOWING Michael Spencer Kosugi Jesse J Alexander Musica Pacifica Pacific Intern Sponsor $250-499 Conni & Jim Bocki Christine Witmer Jane Humes & Richard Schaffer 2:30 PM Sunday, November 11, 2011 Marilyn E Draheim Clara Kaiser Faye Spanos Concert Hall Artist Selection Committee Ann & Dick Filson Sarah King RECEPTION FOLLOWING Ira Lehn Dr Anthony & Catherine Guidon Eleanor & Robert Lawrence Carole Gilbertson Patricia & Thomas Krise Sally M Miller Italian Saxophone Quartet Don Nelson Peter Meyer & Cynthia Rence Jim & Diane Morgali 2:30 PM Sunday, February 17, 2013 Glenn Pillsbury Irva Rageth Jonathan Pearce Faye Spanos Concert Hall Patti Shands (Pacific faculty) Thelma Stewart RECEPTION FOLLOWING Michael Spencer Brigid Welch & Paul Zarins In Memory of Warren van Bronkhorst Dr Henry & Carol Zeiter Enso String Quartet Walter & Ilse Perl Past Presidents Donor $100-249 John & Gayle Perl 2:30 PM Sunday, April 21, 2013 Robert Cox Faye Spanos Concert Hall Carole Gilbertson Dick Archbold & Joyce Burris Michael Spencer, PharmD Janet L Bonner Marilyn Draheim RECEPTION FOLLOWING Janet Bonner Gwenneth L Brown Philip & Carole Gilbertson TO OUR AUDIENCE Kathe Underwood Fred Busher Nelda Smith . The use of cameras and recording Martha Tipton Sharon Elizondo Jonathan Pearce devices of any kind is forbidden. Frank Dick Jane E Kenworthy Michael Spencer . There is no smoking in the lobby or Mary Jensen Ira Lehn auditorium. Mary Chamberlain Madeline B Lynch In Kind Donations . Please turn off cellular phones and Helen Kessel McCrary Marian S Malloy Steve Nosse Graphics disengage audible alarms on pagers Virginia Short McLaughlin Giulio & Cheryl Ongaro Glenn Pillsbury and watches. Wilfred Mitchell, PhD Glenn & Rhonelle Pillsbury Michael Spencer . Students are admitted free on a space- Tasha Stadtner Marvin & Bune Primack available basis. For information or to Marjorie Williams Matthew & Ester Roche contribute: . Concert programs are subject to Alfred Rageth Larry & Pat Stump PO Box 4874 change without notice. Robert Adams, MD Robert & Louise Talley . Seating is unreserved for the current Stockton, CA 95204 Peter Tuxen Season. Founder 209-946-0540 Don & Joan Waugh . Contributions, including memorials, Walter H. Perl (1956) [email protected] are tax deductible to the extent allowed by law. Tickets are available at the door: General Admission: $25 Pacific/Delta Faculty & Staff: $10 Students with ID card: Free FOCM welcomes children to our concerts. However, an adult must accompany children ten years and under (no babes in arms please). At the request of our artists, children should not sit in the first four rows.