LA CATRINA QUARTETSUNDAY

OCTOBER 162pm

This event is sponsored, in part, by the Lied Performance Fund.

This performance was made possible through the generous support of the J. Anthony Burzle Chamber Music Fund.

Audio description services and recorded program notes are provided through a partnership between the Lied Center and Audio-Reader Network.

Please turn off or silence cellular phones and other electronic devices during performances. Food and drink are not allowed inside the hall.

Cameras and recording devices are strictly prohibited in the auditorium.

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Daniel Vega-Albela—1st violin • Blake Espy—2nd violin Jorge Martínez—viola • César Martínez-Bourguet—cello

Metro Chabacano (1991) ....................................................................... Javier Álvarez (b.1956)

Quartet No.4 Música de Feria (1932) ..............................Silvestre Revueltas (1889-1940) Allegro

Cuarteto para cuerdas No.2 (2010) .................................................Roberto Sierra (b.1953)Midwest Premiere Salseado Lento con gran expression Vivo Rápido

Commissioned for the La Catrina Quartet by Symphony Space, New York City

Four, For Tango (1989) .......................................................................Astor Piazzolla (1921-92)

INTERMISSION(20 Minutes)

Cañambú .............................................................................................Eduardo Gamboa (b.1960)

Quartet in F Major (1902-03) .......................................................Maurice Ravel (1875-1937) Allegro moderato – Très doux Assez vif — Très rythmé Très lent Vif et agité

The La Catrina Quartet appears by arrangement with Lisa Sapinkopf Artists, www.chambermuse.com

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ÁLVAREZOf all of the Mexican composers currently active today, Álvarez is widely recognized internationally. Most of his prolific works are characterized by a harmonious balance between his understanding of the medium for which he writes and a profound technical mastery of his musical language.

In American composer John Adams’ words, “the music of Javier Álvarez reveals popular culture influences that go beyond our bound-aries of time and space.”

Álvarez lives in Mérida, México, and is direc-tor of the music department of the Escuela Superior de Artes de Yucatán. From 1982 until 2005 he lived in London, where he was a professor teaching composition and technol-ogy at the Royal College of Music and at the Guildhall School of Music & Drama. He has composed large-scale works such as Mambo, an opera which combines the use of singers, instrumentalists and computers, for the Nexus Opera in London (premiered in 1991).

About Metro Chabacano, Álvarez writes: The seminal idea for Metro Chabacano came from an earlier piece for string orchestra, Canción de Tierra y Esperanza, which I had given my parents as a Christmas gift in 1986. Having heard a demo recording of that piece, my friends from the Cuarteto Latinoamericano insisted that I should do a version for a string quartet. But since none of us had a particular occasion in mind, the idea was somehow abandoned for a few years. In 1990, the Sculptor Marcos Limenez approached me with the idea of using Canción… to accompa-ny one of his astonishing kinetic installations. This was to be displayed in Mexico City’s—and the world’s—biggest and busiest subway station, Metro Chabacano. This provided the perfect motivation to revise the piece for the Cuarteto Latinoamericano, which gave the first performance there in 1991 as part of the inaugural ceremonies for the installation. The piece was subsequently performed on tape there for a period of three months.

Metro Chabacano has a continuous eighth-note movement of moderately driving speed

from which short melodic solos emerge from each instrument. The repeated notes give a false sense of simplicity: although the piece is brief and in a single movement, the rhythms, accents and melodic fragments that emerge from the moto perpetuo background are intricately playful.

REVUELTASSilvestre Revueltas’ life history reads like a screenplay awaiting production. One of the most startlingly individual and original com-posers of Latin America, he studied in his native Mexico, in New York and at Chicago’s American Conservatory and he conducted theater orchestras in Texas and Alabama. He returned to Mexico in 1929 to become the assistant conductor of the Mexico City Symphony Orchestra alongside Carlos Chávez, with whom he co-founded a series of chamber music programs devoted to new music. They performed frequently as violinist and pianist, respectively.

With almost no training in composition, Revueltas plunged into the field, much encouraged by Chávez. During the 1930s, he produced a string of orchestral works. Along with these came seven film scores, two string quartets, two ballets, songs and solo piano works. Besides his work as conductor, com-poser and violinist, Revueltas also served as promoter of cultural affairs for Spain’s loyalist government during the Spanish Revolution. The Symphonic Suite from his film Redes and his Homenaje a Federico Garcia Lorca were both premiered in Spain during 1937. He returned to Mexico, his health in ruins, and died in Mexico City at age 40.

Revueltas is considered to be somewhat of a nationalist composer, despite the fact that he did not care to label himself as such, having made extensive use of melodic and rhythmic ideas taken directly from the folk and native music of Mexico. At the same time, he used his knowledge of European harmony and orchestration (he was heavily influenced by the music of Ravel and Stravinsky) to create an unmistakable palette of colors and musical ideas.

PROGRAM NOTES

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Musica de Feria, or “Music of the Fair”, is Revueltas’ fourth and last string quartet. It is a very visual, one-movement work, which de-picts a typical Mexican scene at a fair. Using bitonality and polyrhythms, Revueltas creates a very complex four-voice texture in which one can easily imagine walking through the plaza of a small town in Mexico during a fiesta: three or four Mariachi bands playing at the same time, hoping to attract the richest customers; merchants selling their wares; fireworks; carnival rides and maybe even a few drunks enjoying the festivities. In the middle of the quartet, we witness an almost surreal, quiet intermezzo, where the compos-er hints at the traditional tune, Cocula, only to reawaken us in the middle of the fair for a brilliant, almost frantic finale.

SIERRAFor more than a decade, the works of Ameri-can Composer Roberto Sierra have been part of the repertoire of many of the leading orchestras, ensembles and festivals in the United States and Europe. At the inaugural concert of the 2002, at the world-renowned Proms in London, his Fandangos was per-formed by the BBC Symphony Orchestra in a concert that was broadcast by both the BBC Radio and Television throughout the United Kingdom and Europe. Sierra’s numerous commissions include works for many of the major American and European orchestras. International ensembles that have performed his works include the orchestras of Phila-delphia, Pittsburgh, Atlanta, New Mexico, Houston, Minnesota, Dallas, Detroit, San Antonio and Phoenix, as well as the Ameri-can Composers Orchestra, the New York Philharmonic, Los Angeles Philharmonic, Na-tional Symphony Orchestra, Royal Scottish National Orchestra, the Tonhalle-Orchestra of Zurich, the Spanish orchestras of Madrid, Galicia, Castilla y León and Barcelona, among others.

In 2003, Sierra was awarded the Academy Award in Music by the American Academy of Arts and Letters. The award states, “Roberto Sierra writes brilliant music, mixing fresh and personal melodic lines with sparkling harmo-nies and striking rhythms.” Sierra’s Sinfonía No. 1 won the 2004 Kenneth Davenport

National Competition for Orchestral Works. In 2007, the Serge and Olga Koussevitzky International Recording Award was awarded for the recording of his composition Sinfonía No. 3 “La Salsa.” Sierra served as composer-in-residence with the Milwaukee Symphony Orchestra, the Philadelphia Orchestra, the Puerto Rico Symphony Orchestra and the New Mexico Symphony.

Sierra’s Music can be heard on CDs on the Naxos, EMI, New World Records, Albany Records, Koch, New Albion, Koss Classics, BMG, Fleur de Son and other labels.

Sierra was born in Vega Baja, Puerto Rico, and studied composition in Puerto Rico and Europe, where one of his teachers was György Ligeti at the Hochschule für Musik in Hamburg, Germany.

Cuarteto No.2 was commissioned by New York’s Symphony Space for the La Catrina Quartet, who gave the world premiere on May 12, 2011. Sierra, writes about the work: Rhythmic and melodic gestures that breathe the air of my native Puerto Rico punctuate the first movement of this quartet—the tempo indication, salseado, provides a stylistic clue for the players. Virtuosity and dynamic contrasts are among the expressive devices that surface in a tightly constructed musical structure organized within a framework of simple melodic scales. A dance-like bass line and a melody evocative of slow Latin ballads, known as “boleros,” frame the second move-ment, which is followed by a wild scherzo. Instead of the traditional triple meter, I use an uneven pattern of 3+2. The quartet ends in a moto perpetuo in which the constant pulse of eighth notes is heard throughout and whose metaphor of continuity extends as well to the contrapuntal structure, a canon that stretches from beginning to end.

PIAZZOLLABorn in Argentina in 1921, Astor Piazzolla spent much of his first 25 years in New York City and also lived and studied in Paris. Be-sides being a noted composer, he was also a virtuoso performer on the bandoneón (a musical instrument similar to the accordion) and a sought-after orchestra leader, chamber musician and arranger. Over the span of his

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career he wrote more than 1,000 works rang-ing from orchestral suites to an electric octet. He studied with many famous musicians, including Bartók, Boulanger, Ginastera and Stravinsky and was also heavily influenced by jazz musicians such as Duke Ellington and Cab Calloway. This interest in such a wide variety of music is often cited as the reason for his distinctive style. He is particularly known for his tangos, which blend the dance form and the formal concert piece.

Four, for Tango is a full-fledged, idiomatic composition for the most traditional cham-ber music medium. By the time Piazzolla composed this string quartet work, he had overcome the critical battles that resulted from pursuing the path Boulanger advised, that of the tango. Except for a period of time in the United States when he tried to establish a jazz-tango format, he worked in what he came to call tango nuevo. Since tango is considered the music of the Argentine soul, many of its aficionados and traditional practi-tioners attacked Piazzolla on many fronts. This composition has elements that sum up most of what they objected to: Extreme dissonance and chromaticism in complex chords, rhyth-mic inventiveness within the basic tango beat, contrapuntal textures, some classical avant-garde techniques and the use of ensembles other than the traditional tango band.

This quartet abounds with strange instru-mental effects, including long, slow glissandi and the rapid, short, high glissando invented by film score composer Bernard Herrmann in the famous shower scene in the movie Psycho. Clicks of the wooden side of the bow on the strings and rapping the bodies of the instruments with the knuckles are also among the sound effects present here. It actually takes a good two minutes of this six-and-a-half-minute work before a grace-ful tango melody appears. When it does, it is predictably melancholy and has to assert itself against, often violent accompaniment. But the main musical ideas of Four, for Tango are a short string melody heard at the beginning, answered by rapid repeated notes, hammered out at the heavy end of the bow, sometimes with such force that they are more screeches than pitches. But all this has

a strongly communicative emotional effect. It somehow bespeaks tough determination and grit rather than despair. There is anger in the work, but somehow it is channeled into positive energy. The very ending of the work has a twist: it is the radical elements of Four, for Tango that make up the brief coda. There is that hammered repeated note figure, becoming more and more forced as the cello pounds out the basic beat on the body of the instrument. Then the work ends with some final Psycho shrieks on the violin. —Joseph Stevenson

GAMBOAEduardo Gamboa studied piano, folk music, guitar and composition in his native Mexico, in Cuba and in the United Kingdom, graduat-ing from London’s Trinity College of Music.

In 2008, the San Francisco Symphony gave the United States premiere of his Pasodoble Tenexac and the Philharmonic Orchestra of the Americas played his Fanfarria at Lincoln Center in New York City. His music has been performed in Germany, France, Japan, Canada, Uruguay, Norway, Slovenia, Italy, Venezuela, Cuba, Uruguay, Colombia and Mexico by prestigious soloists, ensembles and orchestras, including the Mexico City Philharmonic Orchestra, the National Symphony Orchestra of Mexico and by the legendary Cuban Trumpeter Arturo Sando-val. Gamboa is currently at work on a series of pieces to be premiered within the next two years, inspired by and dedicated to the culture of the Mexican state of Veracruz.

Gamboa has composed scores for more than two dozen films, including the Hollywood film The Legend of Zorro, starring Antonio Banderas and Catherine Zeta-Jones. His awards include both the Mexican Academy Award and the Guadalajara International Film Festival Award for best original film score.

Cañambú, one of Gamboa’s first concert pieces, is named for the bamboo cane, one of the varieties of cane that grow in Cuba. It can reach ten feet tall and grows in enormous bushes in the eastern part of the island. It has nothing to do with sugar cane.

Before the Cuban Revolution, music, always an essential part of life in Cuba, was

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difficult to access in the outlying communities because poverty didn’t allow the buying of instruments. In 1940, a cañambú cutter in a small town solved the perennial problem by discovering that by cutting the cane into different lengths with different size openings, he could create instruments that faithfully reproduced the sounds of bongo drums, bass, maracas and other instruments. Five brothers, sons of the same cane cutter, took up the instruments and began to play the popular music of the day, launching their career with a son (a Cuban musical style) called Cañambú Con Los Cinco Hermanos.

Gamboa’s Cañambú is based on the Cuban Danzón, a popular Cuban dance. It is loosely in rondo form: Theme – 1st episode – Theme – 2nd episode – Theme and montuno. The montuno is in the style of a son, with dialogues between a “caller” (the first violin) and the “responders.” The piece has become extremely successful, and has been arranged for string orchestra and for saxophone quartet.

RAVELFrench, of paternal Swiss and maternal Basque descent, Ravel combined skill in orchestration with meticulous technical com-mand of harmonic resources. He wrote in an attractive musical idiom that was entirely his own, despite contemporary comparisons with Debussy, a composer his senior by some 20 years.

Dedicated to his teacher Gabriel Fauré, Ravel’s Quartet in F Major was premiered in Paris in 1904. Although an early composition, it received praise and became one of the pin-nacles of chamber music literature.

“In the name of the gods of music, and in mine, do not touch a single note of what you have written,” wrote French Composer Claude Debussy.

The quartet starts unassumingly, produc-ing the mellifluously sweet main theme from the start. It contrasts with a more delicate Spanish-Arabian influenced melody in the de-velopment and goes back with a more yearn-ing version of the original theme to complete the first movement. The catchy scherzo is surely the quartet’s most innovative moment.

Here the entire quartet plays pizzicato from the start to form a cool syncopated motif, much like a percussion ensemble.

The following slow movement is almost like an attempt at depicting nightfall with its noc-turnal atmosphere and growing lethargy. The listener is violently awakened by the hurricane of the concluding movement. Interspersed with lyric themes of the first movement, the driving tremolo passages are all the more dangerous, flowing underneath like lava threatening to boil out of a volcano. Ravel’s interest in instrumental virtuosity is clearly exhibited here, pushing the performers to the limit in sustaining the drama and concluding with a blazing finale.

BIOGRAPHICAL NOTESLA CATRINA QUARTETPraised by Yo-Yo Ma as “wonderful ambassa-dors for music,” the Mexican-American La Ca-trina Quartet was founded in 2001 and takes its name from a popular Mexican folk icon.

One of the most unique chamber ensembles on tour today, their blend of Latin American and classical repertoire has proven enor-mously attractive to diverse audiences, cater-ing to the more traditional concertgoers while stimulating the next generation of listeners. Their infectious personalities infuse their play-ing, creating truly compelling performances. The La Catrina Quartet has a triple mission: to promote Mexican and Latin American art and music worldwide, to work closely with composers in order to promote the perfor-mance of new music and to perform master-works of string quartet repertoire.

In the spring of 2011, the La Catrina Quartet gave the world premiere, at New York City’s Symphony Space, of the distinguished Puerto Rican Composer Roberto Sierra’s Cuarteto para cuerdas No.2, a performance the New York Times called “compelling.” Other recent concert engagements have taken the quartet to Washington, D.C., Baltimore, Chicago, Los Angeles, La Jolla, and many other cities. Having been selected through the highly com-petitive Young Performers Career Advance-ment Program, the quartet was featured as one of the “next generation of classical stars”

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in a showcase performance at Carnegie Hall for hundreds of concert promoters from the around the world.

The Los Angeles Times wrote, “Mexico is known more for its mariachis than its string quartets, but the La Catrina Quartet [is help-ing] change some assumptions… youthful energy and mature artistry.”

The La Catrina Quartet has received many important awards, including the Bascom Little Fund Grant, the North Carolina Arts Council cARTwheels touring program in 2009 and 2010 and Western Michigan University’s All University Research and Creative Scholar Award. They have premiered works by Thomas Janson and John Ferrito at the Kent Blossom Music Festival and by Zae Munn at the Chicago College of Performing Arts.

Currently, the group is the faculty quartet-in-residence at New Mexico State University in Las Cruces, New Mexico. The La Catrina Quartet has also held residencies with the Western Piedmont Symphony in North Carolina, the Chamber Music Festival of San Miguel de Allende, Mexico, (where they col-laborated with the Brentano and Miami Quar-tets) and the Kent Blossom Music Festival.

MEMBERS OF THE LA CATRINA QUARTETDANIEL VEGA-ALBELADaniel Vega-Albela was born in Mexico City and started studying violin with Yuriko Kuronuma at an early age. At 15, he won the silver medal in the first National Violin Competition in Mexico City. At 16, he trav-eled to New York City and went on to receive his bachelor’s of music in violin performance from the Mannes College of Music, under the guidance of Sally Thomas. He has played with many ensembles in the United States and Mexico, such as the St. Cecilia Chamber Orchestra, the Western New York Chamber Players, the Orquesta de Cámara de Morelos and the Camerata de Torreón. He has toured Japan, Mexico and the United States and made appearances as soloist with different orchestras throughout Mexico and Japan. He has also worked with several symphony orchestras in Mexico and the United States,

such as the Orquesta Sinfónica de Minería and the Buffalo Philharmonic Orchestra.

From 1994 to 1997, he was an instructor of violin at the Academia Yuriko Kuronuma in Mexico City and in 1997, he joined the Conservatorio de las Rosas to teach violin performance and to play with their new music ensemble, the Ensamble de las Rosas. While with the Ensamble de las Rosas, he performed at the Festival Internacional Cervantino in Guanajuato, Mexico and played concertmaster for the recording of Luis Jaime Cortez’s opera Las Tentaciones de San Antonio. From 2001 to 2003, he was a violin instructor at the Interlochen Center for the Arts. His devotion to teaching has yielded some important results. He was featured in the 2004 and 2005 edition of Who’s Who Among America’s Teachers.

Vega-Albela holds a master’s of violin perfor-mance from Western Michigan University and a master’s of chamber music from Kent State University, where he studied with Renata Art-man Knific and Ivan Chan, respectively.

BLAKE ESPYBorn in Savannah, Georgia, Blake Espy started playing the violin at the age of six. He has been the associate concertmaster of the Baton Rouge Symphony Orchestra and a frequent performer with the Louisiana Phil-harmonic Orchestra. He also spent a summer in Mexico City performing with Orquesta Sinfónica de Minería.

In 2007, Espy was invited to become a member of the New World Symphony in Miami Beach, Florida, a professional studies orchestra whose alumni have gone on to join the ranks of professional orchestras all over the United States and the world. In this program, he was given the opportunity to act as a rotat-ing concertmaster, chamber musician and educator to young musicians in the Miami area.

In his hometown of Savannah, Espy created a nonprofit organization called MusicAlive, whose mission is to establish a healthy and sustainable environment for classical music throughout the area by means of community engagement, unique performance venues, innovative programming, as well as traditional performance practices.

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Espy holds a bachelor’s of music perfor-mance from Western Michigan University, a master’s of music performance from Louisi-ana State University and an artist’s diploma at SUNY Purchase.

JORGE MARTÍNEZBorn in Torreón, Mexico, Jorge Martínez studied viola at the Conservatorio de las Rosas under the tutelage of Professor Gela Dubrova, where he graduated with honors. In 2003, he completed his master’s of music in viola performance at Western Michigan University (WMU).

While at WMU, Martínez became a member of the Phi Kappa Lambda Music Honors Society. In addition to this, he was awarded, along with his colleagues of the La Catrina Quartet, one of the university’s most pres-tigious awards, the All University Graduate Research and Creative Scholar Award. It was the first time in the history of the university that the Graduate College bestowed such recognition upon an ensemble of the School of Music.

Martínez has taken master classes with such prominent players as Michael Kugel, Robert Vernon and Anita Pontremoli. As a chamber musician, he participated in master classes with the Tokyo and Miami String Quartets, the Triple Helix Trio, William Preucil, Stephen Rose and Robert Vernon.

As an orchestral musician, he was assistant principal of both the Camerata de Coahuila and the Orquesta de Cámara de Morelia. Martínez has appeared as soloist with several orchestras in Mexico and in December 2004, he was invited to give a recital and a series of master classes in London.

Martínez is a founding member of the La Ca-trina Quartet and holds a master’s of music in chamber music from Kent State University. He is a member of the Pi Kappa Lambda Music Honor Society-KSU chapter.

CÉSAR MARTÍNEZ-BOURGUETA native of Oaxaca, Mexico, César Bourguet was the first prize winner in the Schlern International Music Competition, Italy, and received top honors for his sonata perfor-mance at the Aram Khachaturian International Cello Competition, Armenia. He was also a laureate of the Cynthia Woods Mitchell Pa-vilion competition and the Moores Concerto Competition, both in Houston.

As cellist of the Martínez Bourguet Quar-tet, he toured and recorded the four string quartets of the Mexican composer Silvestre Revueltas. Bourguet has served as principal cellist of the Orchestra X, Galveston, and Brazosport Symphonies and has been a member of the Orquesta Sinfónica de Min-ería in Mexico City since 2002.

Bourguet studied in Mexico City, at the Moores School of Music at the University of Houston and Florida International University in Miami. His teachers have included such notable cellists as Gayane Mdoyan, David Nasidze, Vagram Saradjian, Vardges Stepan-ian and Javier Arias. He also attended master classes by Natalia Gutman, David Geringas, Nathaniel Rosen, Desmond Hoebig, Norman Fischer, Yehuda Hanani, William da Rosa and Álvaro Bitrán, among others.

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Herbie Hancock

SUN, OCT 30 7:30pm

An Evening with David Sedaris

WED, NOV 9 7:30pm

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2011-12 FRIENDS OF THE LIED UPDATE

BUSINESS FRIENDS

FELLOW ($2,500+)Bigg’s Barbecue

PATRON ($500+)The Janssen Clinic of Natural Medicine

INDIVIDUAL FRIENDS

BENEFACTOR ($1,000+)Venkata & Neeli BendapudiDon & Carol Hatton

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FRIENDS ($50+)Eva S. AlleyCara Nossaman AndersonKaren HallMary JonesBruce LevineEarl & Dee Anne Waters

2011-12 UPDATE

Friends of the LiedThis list includes individuals and businesses that have initiated or renewed their Friends of the Lied membership since the original list was published.

The Lied Center is grateful for gifts of all sizes. We apologize for any errors or omissions.

You can support the Lied, too!For more information or to join Friends of the Lied, contact the Lied Center Director of Development, Megan Poindexter, at 785-864-2788 or meganp@ku.edu or go to lied.ku.edu/donate.

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Lied Foundation TrustChristina M. Hixson, Trustee

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KU Facilities, Operations and PlanningDoug Riat

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The University of Kansas and Lied Center of Kansas wish to thank the following individuals and organizations for their generous gifts that made the Lied Center expansion project and Pavilion a reality. We would also like to acknowledge the outstanding work done by the architects, contractors and sub-contractors, whose planning and construction have made our hopes for a high-quality multi-purpose venue come true.

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A SALUTE TO OUR VIP SPONSORS

We proudly recognize our Very Important Partners. Not only do our VIP Sponsors offer essential financial contributions, they also provide valuable and enthusiastic promotion of Lied Center performances to their customers, employees and the community. Their commitment to the performing arts allows us to provide education activities, free school performances and high-quality events each year. We honor our VIP Sponsors throughout the season on our electronic sign and with onstage recognition at their selected performances. We hope you will also thank them when you visit their businesses. For more information regarding our sponsorship program, contact the Lied Center Director of Development, Megan Poindexter, at 785-864-2788.

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An Evening with David Sedaris

The Intergalactic Nemesis

Open House and

Community Arts Festival

The National Acrobats of China

The Intergalactic Nemesis & Chiara String Quartet

Herbie Hancock

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& Jing Xing Dance Theatre

An Evening with David Sedaris

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