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Saturday, March 9, 2019 - 3:00 pm Eno River Unitarian

Universalist Fellowship, Durham

LATIN PASSIONS

Jacquelyn Bartlett – harp / Nathan Leyland - cello Salomé Sandoval - voice & guitar

“El Negrito” (Vals Venezolano No.1) Antonio Lauro

(Venezuela 1917-1986)

From Seguidillas for voice & guitar Fernando Sor “Mis Descuidados ojos” (Spain 1778-1839)

“Natalia” (Vals Venezolano No.3) Lauro Seguidilla “Si dices que mis ojos” Sor Siete Canciones Populares Españolas Manuel de Falla

“Nana” (Spain 1876-1946) “El Paño Moruno”

Sonata for cello and harp, Op. 208 Mario Castelnuovo-Tedesco

Molto Moderato (Italy 1895-1968) Minuetto Variato Toccata: Rondo

INTERMISSION “O canto du cisne negro” A. 122 Heitor Villa-Lobos

(Portugal/ Brazil 1887-1959) Aria (Cantilena) from Bachianas Brasileiras No. 5 Villa-Lobos Suite for Solo Cello Gaspar Cassadó

Prelude -Fantasia (Spain 1897-1966) Sardana Intermezzo e Danza Final

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Veinte Cantos Populares Españoles Joaquin Nin “Saeta” (Cuba 1879-1949) “Granadina”

Mr. Leyland’s appearance is sponsored by Susan Coon and Conrad Weiser Thank-you to the Eno River Unitarian Universalist Fellowship for making their beautiful sanctuary available to us.

ARTIST INFORMATION Salomé Sandoval sings and plays lutes, as well as early and classical guitars. A native of Venezuela, she holds a Graduate Performance Diploma in Early Music voice and lute thanks to a scholarship awarded by Longy School of Music in Cambridge, MA. She also completed a Master’s in Arts with an assistantship from Middle Tennessee State University and a Bachelor of Music from Instituto Universitario de Estudios Musicales in Caracas, Venezuela, both in classical guitar. Salomé‘s experience extends to master classes, radio shows, theater, movie soundtracks and television, performing early, Latin American, and contemporary music in Venezuela and the US with groups such as Camerata de Caracas, the Church of the Advent choir, Harvard Early Music Society, Canto Armonico, Revels, El Mundo, Newberry Consort and the Boston Camerata. Salomé‘s CDs “Singing with the Fire” and “Potions” as well as videos are available in iTunes and YouTube. In 2010 Salomé founded “El Fuego Early Music Ensemble” featuring Hispanic Baroque vocal music. Jacquelyn Bartlett was born in Detroit, Michigan where she was surrounded with music since her beginning. Her mother, Mary Bartlett, is a noted harpist, arranger, composer and teacher and Jacquelyn began her musical studies at an early age with her mother.

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After continued studies with world renowned harpists, Carlos Salzedo and Alice Chalifoux, Ms. Bartlett, at age sixteen, made her solo debut in Chicago’s Orchestra Hall in a performance of the Handel Harp Concerto which received high critical praise. She graduated with honors from Interlochen Arts Academy and then attended Oberlin Conservatory of Music where she majored in harp and minored in piano. Her harp teachers also include Lucy Lewis, Lucille Lawrence and Susann McDonald. Having served on the faculties of Duke University and the University of North Carolina, Ms. Bartlett currently is a member of the Artist Faculties of the University of North Carolina School of the Arts, Appalachian State University, and the University of North Carolina at Greensboro. A dedicated and passionate educator, Ms. Bartlett is much sought after as a teacher, chamber music coach and presenter for master classes and seminars A champion of chamber music, Ms. Bartlett has worked with some of this generation’s most well-known composers such as Aaron Copeland, George Crumb, Alberto Ginastera, Dan Locklair, George Rochberg and John Rutter and she continues to bring new compositions to the concert stage as a soloist and chamber musician. Ms. Bartlett is a founding member of FIRE PINK TRIO and a long-time member of Mallarmé Chamber Players. Ms. Bartlett has written and published articles in professional journals, has edited music for publication and is a recorded artist on the ALBANY, CAPSTONE and NAXOS labels. Nathan Leyland, born in Butler, Pennsylvania, later moved to Lynchburg, Virginia and began his cello studies in the public schools at the age of nine. After moving to Ohio he began studies with Richard Bell, associate principal cellist with the Columbus Symphony Orchestra and in Connecticut studied with Laura Kane, former principal cellist of the Hartford Symphony Orchestra. Nathan attended the Manhattan School of Music where he studied with Tchaikovsky Competition gold medalist Nathaniel Rosen, a former student and teaching assistant to the late Gregor Piatigorsky. Nathan began his professional career at the age of 20 by becoming the cellist of the Pioneer String Quartet. In addition to that appointment, he was Principal cellist of The Des Moines Symphony Orchestra. Mr. Leyland moved to North Carolina in 2001 and began performing regularly with some of the areas’ professional ensembles such as the North Carolina Symphony, Carolina Ballet, North Carolina Opera, North Carolina Master Chorale, and the Choral

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Society of Durham. He is the principal cellist of the Fayetteville Symphony Orchestra and teaches at the Ravenscroft School, St Mary’s School and the Community Music School. Along with these positions, Leyland is an avid chamber musician and recitalist, performing across much of the United States. In his spare-time he enjoys time with his family and playing golf. PROGRAM NOTES AND TEXT TRANSLATIONS, provided by Salomé Sandoval except where noted Antonio Lauro (1917-1986) was a Venezuelan musician, considered to be one of the foremost South American composers for the classical guitar in the 20th century. El Negrito (the little dark-one) and Natalia are some of his most well-known waltzes in the style of saloon dances of the turn of the century; the first one is dedicated to his son and the second is one of the Venezuelan pieces performed the most around the world and was dedicated to his daughter Natalia. Fernando Sor (1778-1839) Fernando Sor was best known as a guitarist, composing and arranging numerous works for voice and guitar. He developed a modern method of guitar playing, in which music was played in parts, not in chords. His Méthod pour la Guitare (1830), a collection of studies, is considered an extraordinary contribution to the art of guitar playing. These two songs are from Seguidillas for voice and guitar or piano, a set of twelve songs composed between 1802 and 1804. These songs are placed in a specific order to illustrate the progression of a young and heated relationship. The first song is about a young lover thinking about the first time that they ever laid eyes on their true love. In the second song, a woman tells her lover to go to church so they can see each other once more.

Mis descuidados ojos vieron tu cara, ¡Oh qué cara me ha sido esa mirada! Me cautivaste, y encontrar no he podido quien me rescate. De mi parte a tus ojos di les que callen, Porque si les respondo quieren matarme. Y es fuerte cosa que ha de callar un hombre, si le provocas.

My careless eyes saw your face. Oh, how costly that gaze was! You captivated me and now no one has been able to rescue me. On my behalf, tell your eyes to remain silent because if I reply to them, they want to kill me. And it is a strong thing for a man to be quiet about, if he is provoked by her.

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Si dices que mis ojos te dan la muerte Confiésate y comulga, que voy a verte. Porque yo creo me suceda lo mismo si no te veo.

If you say that my eyes kill you, then confess and receive the Sacrament; For I am coming to see you (at church). Because I believe the same will happen to me if I do not see you.

Manuel de Falla (1876-1946) was a Spanish composer and award-winning pianist. Along with Isaac Albéniz, Francisco Tárrega, and Enrique Granados, he is considered one of Spain's most important musicians of the first half of the 20th century. In addition to chamber music, Falla composed stage and vocal music with strong Andalusian influence, which can be clearly heard in the following two selections from his Siete Canciones Populares Españolas (Seven Spanish popular songs).

Nana Duérmete, niño, duerme, Duerme, mi alma, Duérmete, lucerito De la mañana. Nanita, nana, Nanita, nana. Duérmete, lucerito De la mañana.

Lullaby Go to sleep, Child, sleep, Sleep, my soul, Go to sleep, little star Of the morning. Lulla-lullaby, Lulla-lullaby, Sleep, little star of the morning.

El Paño Moruno Al paño fino, en la tienda, una mancha le cayó; Por menos precio se vende, Porque perdió su valor. ¡Ay!

The Moorish cloth On the fine cloth in the store a stain has fallen; It sells at a lesser price, because it has lost its value. Alas!

Born in Florence Italy, Castelnuovo-Tedesco (1895-1968) studied at the Cherubini Institute and was quite a scholar, being fluent in six languages. Much of his music was based on classic literature and other high art forms. He was first introduced to the USA by great musicians like Toscanini, Heifetz, Segovia and Piatigorsky for whom he wrote compositions. When in 1939, as a person of Jewish heritage his works were banned by the Italian government, he moved to Los Angeles, CA where he lived for the rest of his life.

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Harpist Pearl Chertok asked him to write more for the harp after she just performed his “Sephardic Songs” for soprano and harp at Carnegie Hall. She told him the work “caused the audience to swoon.” Castelnuovo-Tedesco wrote a solo harp piece dedicated to Ms. Chertok called “Arabesque” but wanted to write something for harp and another instrument, and in 1966 he composed the Sonata for Cello and Harp, which he dedicated to Ms. Chernok. Mallarmé first performed this work in 2002 with Jacquelyn Bartlett on harp and Dr. Jonathan Kramer on cello, who suggested looking for this previously unpublished composition at the Library of Congress. Anna Wilson, founder and then artistic director of Mallarmé Chamber Players went to Washington, D.C. to retrieve the manuscript. Jacquelyn Bartlett located the publisher and edited the harp part for publication. Dr. Kramer and Ms. Bartlett premiered this freshly published composition at the Library of Congress’ Concert series and at the 2002 World Harp Congress in Geneva, Switzerland. (ALW/SR) Heitor Villa-Lobos (1887-1959) was one of the most significant Brazilian composers, who was also a conductor, cellist, pianist, and guitarist. He wrote numerous orchestral, chamber, instrumental and vocal works, totaling over 2000 works by his death in 1959. His music was influenced by both Brazilian folk music and by stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bachian-pieces). “O canto do cisne negro” (Song of the Black Swan) is extracted from Villa-Lobos' symphonic poem Naufragio de Kleônicos. It is a flowing, impressionistic duet for cello and piano that reveals Villa-Lobos' affection for the string instrument his father taught him as a child and which he lavished with attention throughout his life; the piece occupies a fittingly melancholy space, given its swan-song title. “O canto” was excerpted from Naufragio in 1917, a year after the source work's composition, along with a version for violin and piano; it has since become a concert favorite for cellist/pianist duos. (Allen Schrott from AllMusic) The Bachianas Brasileiras, are a series of nine suites written for various combinations of instruments and voices between 1930 and 1945. They represent a fusion of Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an attempt freely to adapt a number of Baroque harmonic and contrapuntal techniques to Brazilian music.

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Ária (Cantilena) (lyrics by Ruth V. Corrêa) from Bachianas Brasileiras no. 5 Tarde uma nuvem rósea lenta e transparente. Sobre o espaço, sonhadora e bela! Surge no infinito a lua docemente, Enfeitando a tarde, qual meiga donzela Que se apresta e a linda sonhadoramente,Em anseios d’alma para ficar bela Grita ao céu e a terra toda a Natureza! Cala a passarada aos seus tristes queixumes E reflete o mar toda a Sua riqueza… Suave a luz da lua desperta agora A cruel saudade que ri e chora! Tarde uma nuvem rósea lenta e transparente Sobre o espaço, sonhadora e bela!

Evening, a rosy, translucent cloud, slowly crosses the drowsy, beautiful firmament! The moon gently rises into infinity, adorning the evening, like a sweet maiden dreamily getting ready, making herself beautiful, desiring her soul to be beautiful. She calls to the heavens, the earth, to all of Nature. She silences the birds’ melancholy laments, and the sea reflects all her treasures… Softly the moon awakens, a cruel yearning which laughs and weeps! Evening, a rosy, translucent cloud, slowly crosses the drowsy, beautiful firmament!

Gaspar Cassadó was one of the great cellists of the twentieth century, active as a performer, composer and transcriber for his instrument. Born in Barcelona in 1897, he was discovered at the age of nine by a young Catalan cellist just starting out on his career, the 21-year-old Pablo Casals, and Gaspar was accepted to study with him in Paris on a scholarship from his native city.

Among the strongest influences on him came from Casals’ championing of the Bach suites for solo cello, which certainly influenced the composition of his own Suite for Solo Cello, composed in 1926. Cassadó’s student Marçal Cervera, who studied the piece with him, says that it represents in its three movements three important cultural regions of Spain: Castilla-La Mancha, Catalonia and Andalusia.

Like the Bach suites, Cassadó’s suite is a collection of dances, introduced by a Preludio, which in the first movement of his suite turns into a zarabanda, related to the baroque sarabande. But other associations run through the

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movement as well, including quotations from Ravel’s Daphnis & Chloe and from Zoltan Kodaly’s Sonata for Solo Cello.

The second movement is a sardana, the folk dance most closely associated with the Catalonian nationalist revival of the 19th century. The sardana is a round dance accompanied by a cobla wind band comprising a high-whistling flaviol (wooden fipple flute), double-reed shawms and various brass instruments. The opening, played entirely in harmonics, imitates the high whistling sound of the flaviol summoning the dancers to the town square.

The last movement is the one in which the spirit of the dance is most evident, with the snap of castanets imitated in sharp, abrupt rhythms, the strumming of the guitar in flamboyant arpeggio patterns, and the harmonies of Spanish folk music in the distinctive pattern of the four-note descending bass line. (Vancouver Recital Society)

Joaquín Nin y Castellanos (1879-1949) was a Cuban pianist and composer. Nin was the father of Anaïs Nin, with whom he had an incestuous relationship. Nin studied piano with Moritz Moszkowski and composition at the Schola Cantorum (where he taught from 1906 to 1908). He toured as a pianist and was known as a composer and arranger of popular Spanish folk music. Nin was a member of the Spanish Academy and the French Legion of Honor. (Wikipedia) Granadina (Andalusia) Las fatigas del querer son las fatigas mas grandes, porque se lloran cantando y las lágrimas no salen. Dame con ese puñal y dirás que yo me mate y en el color de la sangre verás si bien te quiero.

Little woman of Granada The aches of love Are the biggest aches Because crying you sing And your tears don’t come out. Hurt me with your dagger And you will say I killed myself And in my blood’s color You will see how much I love you

UPCOMING EVENTS FAMILY CONCERT No. 3 – DJEMBE FIRE April 21, 2019 2:00 PM Kirby Horton Hall, Sarah P. Duke Gardens in Durham FREE! Teli, Mabiniti and Aya Shabu will demonstrate the fundamentals of African drumming and its origins.

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SERIES CONCERT No. 5 – BRITISH BAROQUE-ISH Thursday, May 30, 2019 – 7:30 PM St. Matthew’s Episcopal Church, Hillsborough Tickets: $25/ $5 children and students at the door. Mallarmemusic.org

MANY THANKS

TO MALLARMÉ’S 2018-19 SUPPORTERS 7/1/18 –3/1/19

BENEFACTOR North Carolina Arts Council SEASON CO-PRODUCER Durham Arts Council

FAMILY SERIES SPONSOR Mark and Cindy Kuhn CONCERT SPONSOR Martha Hsu, in memory of John Hsu

PATRONS

Anonymous, in memory of Dr. Barbara Newborg Sylvia and Edward Arnett

Margareta Claesson Susan Coon and Conrad Weiser Jennifer Creadick Violins, Inc.

Thomas Kenan III Florence Nash

Anne Parks Kathy and Lex Silbiger

ADOPT-A-MUSICIAN Kayla and Dale Briggs Ruth and Sidney Cox

Celia Dickerson Sylvianne Roberge

Sarah and Mike Woodard DONORS Anne and Richard Berkley Steve Channing and Nancy Clapp-Channing Barbara Freedman and Mary Nelson Katie and Ed Gerhardt Lynn Goodpasture Laura and Robert Gutman

Maidi Hall Kathleen Holt and Stephen Lurie Barbara Hulka Stephen Jaffe and Mindy Oshrain Charles Lohr Sam Marion Rebecca Munro

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DONORS, cont Jacqueline Nappi Salvatore Pizzo Barbara and Jerry Porter Deborah Roth Harilyn Rousso Suzanne Rousso Elizabeth and Michael Schoenfeld

William Slechta Triangle Community Foundation, in honor of Michael Schoenfeld Ann Woodward and Howard Smither Frances Steele Andrew Stewart

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Mallarmé Chamber Players 120 Morris Street

Durham, NC 27701 Mallarmemusic.org

office@mallarmemusic.org 919-560-2788