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Beyond Flamenco: Ork Finding SpaininMusic Beyond Flamenco: Cultural Center The Spanish of NewYork Instituto Cervantes, the Clarice Smith Performing Arts Center, Guggenheim Museum (NYC), and IberArtists New York. Beyond Flamenco: Finding Spain in Music A joint presentation of Instituto Cervantes New York, the Clarice Smith Performing Arts Center (College Park, Maryland), the Works & Process series of the Guggenheim Museum (New York City), and IberArtists New York. With the support of the National Endowment for the Arts and the Spanish Ministry of Culture. With the exclusive sponsorship of BBVA. A PROGRAM COMPANION Published by Instituto Cervantes Edited by Joseph Horowitz 03 ICNY New York The ongoing association of Post- and of Spanish culture generally, at the turn of the Classical Ensemble with the Clarice twentieth century. Smith Performing Arts Center at Maryland, and the Guggenheim Trans-Atlantically supported by the Spanish Ministry of Museum's Fall 2006 exhibit “El Greco Culture, and by the National Endowment for the Arts to Picasso: Time, Truth, and History”, and Instituto Cervantes New York, our concerts are furnish dual catalysts for the present additionally facilitated by IberArtists New York, which has concert series exploring the promoted the cause of Spanish music in the United “Europeanization” of Spanish music, States since 1997. Eduardo Lago Mary Sharp Cronson Director Producer Instituto Cervantes Works & Process New York Guggenheim Museum Susie Farr Joseph Horowitz Executive Director Artistic Director Clarice Smith Performing Arts Center Post-Classical Ensemble Pedro Carboné Angel Gil-Ordóñez President Music Director IberArtists New York Post-Classical Ensemble ICNY 04 Table of Contents November 2006 19 Clarice Smith Center…………............……………............………. page 05 November Sunday 2:00 pm 19 Clarice Smith Center…………............……………............………. page 05 November Sunday 4:00 pm 19 Clarice Smith Center…………............……………............………. page 05 November Sunday 7:30 pm 28 Guggenheim Museum…………............……………............……... page 06 November Tuesday 7:30 pm 29 Guggenheim Museum…………............……………..............……. page 06 November Wed. 7:30 pm “A Different Spain”…………............……………............………......... page 07 by Antonio Muñoz-Molina 19 & 28 Program Notes for Iberia………….......………............…….....…. page 10 November Sunday & Tuesday by Joseph Horowitz and Pedro Carboné 19 & 29 Program Notes for “Falla in Context”…………........….....……. page 14 November Sunday & Wed. by Joseph Horowitz About the Participants…………............…………….……........…. page 18 Texts & Translations…………............…………….……............…. page 21 05 ICNY Sunday November 19 2:00 pm Clarice Smith Performing Arts Center at Maryland Joseph & Alma Gildenhorn Recital Hall 2:00 pm & 7:30 pm Pedro Carboné, piano Isaac Albéniz: Iberia BOOK I (1906): Intermission Evocación / El Puerto / BOOK III (1907): El Corpus en Sevilla El Albaicín / El Polo / Lavapiés BOOK II (1906): BOOK IV (1908): Rondeña / Almería / Triana Málaga / Jerez / Eritaña Sunday November 19 4:00 pm Clarice Smith Performing Arts Center at Maryland Robert & Arlene Kogod Theatre The “Europeanization of Iberia in translation Spanish Culture” -- as orchestrated by Enrique Fernández Arbós (excerpts from the classic Ataúlfo Argenta recording of 1953 With the participation of: -- as choreographed for Carlos Saura (excerpts from Pedro Carboné his 2005 film Iberia) Angel Gil-Ordóñez Pedro Carboné and Angel Gil-Ordóñez José María Naharro-Calderón Juan Ramón Jiménez - “the first modern European Joseph Horowitz (host) Spanish writer” José María Naharro-Calderón Joaquín Turina: La Oración del Torero, Op. 34 (1926) Yunjung Choi, violin Daniel Sender, violin Sarah Pohl, viola Matan Mintz, cello Discussion Sunday November 19 7:30 pm Clarice Smith Performing Arts Center at Maryland Joseph & Alma Gildenhorn Recital Hall Falla in Context: Manuel de Falla (1876-1946) - Ritual Fire Dance (1915) The Concerto Manuel de Falla - Fantasía Baetica (1919) Post-Classical Ensemble Manuel de Falla (1876-1946) - Concerto for keyboard Angel Gil-Ordóñez, music director and five instruments (1926) Joseph Horowitz, artistic director Allegro Lento: giubiloso ed energico Pedro Carboné, piano Vivace: flessibile, scherzando Sara Stern, flute Mark Hill, oboe Intermission David Jones, clarinet David Salness, viola Thomas Aquinas (ca. 1264) - Pange lingua gloriosi Evelyn Elsing, cello Tomás Luis de Victoria (1548-1611) - Caligaverunt oculi mei (Mine eyes are dim with weeping) Delores Ziegler, mezzo-soprano, and Rita Sloan, piano Poetry by John of the Cross (1542-1591) - La noche oscura (The dark night) Woodley Ensemble Frank Albinder, music director ICNY 06 Tomás Luis de Victoria - Vere Mateo Albéniz (1760-1831) - Sonata in D languores nostros (Our failings he Cantallos (1760-?) - Sonata in C minor has truly taken upon himself) Padre Antonio Soler (1729-1783) - Sonata in D Joaquín Rodrigo (1902-1999) - Manuel de Falla - Concerto for keyboard and five Cuatro madrigales amatorios instruments (1926) Vos me matásteis Allegro De dónde venís, amore? Lento: giubiloso ed energico Con qué la lavaré? Vivace: flessibile, scherzando De los álamos vengo, madre Post-concert discussion with the participation of Pedro Carboné, Angel Gil-Ordóñez, Joseph Horowitz, José María Naharro-Calderón Tuesday November 28 7:30 pm Works & Process, Guggenheim Museum Pedro Carboné, piano From BOOK I (1906): El Puerto / El Corpus en Sevilla With commentary by Pedro Carboné BOOK II (1906): Rondeña / Almería / Triana and Antonio Muñoz-Molina From BOOK III (1907): El Albaicín Isaac Albéniz: Iberia (excerpts) From BOOK IV (1908): Málaga / Eritaña Wednesday November 29 7:30 pm Works & Process, Guggenheim Museum Falla in Context: Thomas Aquinas (ca. 1264) - Pange lingua gloriosi The Concerto Tomás Luis de Victoria (1548-1611) - Caligaverunt oculi mei (Mine eyes are dim with weeping) Perspectives Ensemble Poetry by John of the Cross (1542-1591) - La noche Sato Moughalian, artistic director oscura (The dark night) Sato Moughalian, flute Stephen Taylor, oboe Tomás Luis de Victoria - Vere languores nostros (Our Jon Manasse, clarinet failings he has truly taken upon himself) Michi Wiancko, violin Manuel de Falla (1876-1946) - Concerto for keyboard Wendy Sutter, cello and five instruments (1926) Allegro Pedro Carboné, piano Lento: giubiloso ed energico Magdalena Llamas, mezzo-soprano, Vivace: flessibile, scherzando and Rafael Lamas, piano Joaquín Rodrigo (1902-1999) - Cuatro madrigales amatorios The Collegiate Chorale Vos me matásteis De dónde venís, amore? Robert Bass, music director Con qué la lavaré? De los álamos vengo, madre Germán Jaramillo, reader Angel Gil-Ordóñez, conductor Mateo Albéniz (1760-1831) - Sonata in D Cantallos (1760-?) - Sonata in C minor Antonio Muñoz-Molina, commentator Padre Antonio Soler (1729-1783) - Sonata in D Produced by Joseph Horowitz Manuel de Falla - Concerto for keyboard and five instruments (1926) Allegro Lento: giubiloso ed energico Vivace: flessibile, scherzando 07 ICNY A Different Spain By Antonio Muñoz-Molina Between 1905, when Albeniz declining. Some believed the decline was for good (“the passing started work on Iberia, and the premiere of of Spain,” as an American journalist put it). The accepted idea Falla’s Concerto in 1926, cultural life in within Spain’s boundaries was of national defeat, fluctuating Spain was witness to an outstanding awaken- between fatalism and rejection toward anything foreign, toward ing. It crystallized not only in grandiose and an outside world which condemned us to irrelevance. In 1905, unique creations, but also in an attitude of the celebration of the first centennial of the first part of Don renovation and openness toward the views of Quixote provided ideologues with an adequate symbol of the the outside world in fields beyond the arts. defeat of the country, a sign of bitterness and pride encapsulat- 1906 is the year in which Picasso introduced ed in one feeling: as with Don Quixote, Spain had become a vic- modern painting to the world in Paris with Les tim of its own chivalrous ambition, and the pain to be suffered for Demoiselles d’Avignon; it is also the year its failure intermingled with pride in the idealist bravery of the when one of Spain´s biggest talents, knight-errant. Santiago Ramón y Cajal, was awarded the With its backward economy and its picturesque Nobel Prize for Medicine. Each one of these poverty, Spain was the ideal imaginary setting for Romantic exoti- figures- Albéniz, Falla, Picasso, and Ramón y cism. Although throughout the whole of the nineteenth Spain had Cajal -contradict in their own way the precon- been a closer and cheaper Middle East to European travelers - ceived reputation people had of Spain, the especially the French and the British- the most influential traveler reputation which was commonplace at the had been North American: Washington Irving. Stendhal, who had dawn of the twentieth century and which still barely ventured a few kilometers south of the border, pictured the exists to some extent today: a culturally iso- Spaniards as a generous, forthright, and fiercely courageous peo- lated country, alien to modern artistic and ple, the exact opposite of the hypocrisy and mediocrity he found scientific innovations alike. so disgusting in France’s bourgeoisie. Spaniards were also Spain´s defeat in the Spanish- supposed to be graceful, passionate, irrational, magnificent in American War in 1898, and the loss of its their intemperance. In a word: quixotic. Unlike Stendhal,
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