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2019 MAY4 0 th s e a s o nV I L L E G AS : M ASTE R O F G U I TA R2018-19 HAL & JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIESCarlos Izcaray, conductorPablo Sáinz-Villegas, guitarRavelRAPSODIE ESPAGNOLEPrélude a la nuitMalagueñaHabaneraFeriaRodrigoCONCIERTO DE ARANJUEZAllegro con spiritoAdagioAllegro gentilePablo Sáinz-VillegasIntermissionThursday, May 2, 2019 @ 8 p.m.Friday, May 3, 2019 @ 8 p.m.Saturday, May 4, 2019 @ 8 p.m.Segerstrom Center for the ArtsRenée and Henry Segerstrom Concert HallOfficial HotelPacificSymphony.orgOfficial TV StationPiazzollaLIBERTANGO FOR GUITAR AND STRINGSPablo Sáinz-VillegasAbreu“TICO-TICO NO FUBÁ” FOR GUITAR AND STRINGSPablo Sáinz-VillegasUnknown“ROMANCE” FROM JEUX INTERDITSPablo Sáinz-VillegasPiazzollaSINFONÍA BUENOS AIRESModerato - AllegrettoLento, con animaPresto marcatoThe Thursday night performance is generously sponsored byAvenue of the Arts Costa Mesa, a Tribute Portfolio Hotel.The Friday night performance is generously sponsored by Symphony 100.The Saturday night performance is generously sponsored by ourBoard of Counselors.Official Music StationThis concert is beingrecorded for broadcast onSunday, July 14, 2019, at 7 p.m.on Classical KUSC.4 0 th S e a s o n M A Y 2 0 1 91

2019 MAY4 0 th s e a s o nP A B L O V I L L E G AS G U I TA R R E C I TA LSPECIAL CONCERTPablo Sáinz-Villegas, guitar & curatorAlbéniz“SEVILLA” FROM SUITE ESPAÑOLAGranadosSPANISH DANCE NO. 10 “MELANCÓLICA”GranadosSPANISH DANCE NO. 5 “ANDALUZA”Barrios“TANGO ZAPATEADO”Unknown“SPANISH ROMANCE”Albéniz“ASTURIAS” FROM SUITE ESPAÑOLATárrega“RECUERDOS DE LA ALHAMBRA“Tárrega“GRAN JOTA DE CONCIERTO”Saturday, May 4, 2019 @ 4 p.m.Segerstrom Center for the ArtsSamueli TheaterOfficial Hotel2Official TV StationM A Y 2 0 1 9 4 0 t h S e as o nOfficial Music StationPacificSymphony.org

PROGRAM NOTESMaurice Ravel:Rapsodie EspagnoleLiving andlistening in a warmclimate, it’s hardto imagine theallure that thewarmth of Spainheld for Frenchcomposers of thelate 19th and early20th centuries.Not that France is exactly polar—it hasthe Mediterranean, the Riviera, theCamargue—but its classical tradition isof cool understatement and rigorous,disciplined technique.For composers such as Chabrier,Lalo, Bizet, Massenet and Debussy,Spain represented something irresistiblydifferent: a place of magic andmagnetism, of bright sunshine and hotblood where sensuality took precedenceover elegance. These composers putall put their fascination to musicaldescriptions of Spain, and so did Ravel.But geography and circumstance gavehim a closer claim on Iberia. He wasborn in the Basses-Pyrenees, just a fewmiles from the Spanish border, and asa child was fascinated by his Basquemother’s exquisitely refined descriptionsof Spanish culture. His evocations of itsdance rhythms and expressive harmoniesare authentic. No less a Spaniard thanManuel de Falla, who greatly admiredRavel, was astonished by what he calledthe Rapsodie’s Spanish character and the“subtly genuine Spanishness of Ravel.”The Rapsodie is comprised of fourbrief, seductive movements. Like theAlborada del Gracioso, it was originallycomposed for piano (four hands), in 1907.(The Habanera movement dates back to1895.) The following year he orchestratedit, spending more time developing theorchestral score than on the originalcomposition. Despite limited initialsuccess, the Rapsodie became one ofRavel’s more popular orchestral works, aspectacular early example of his masteryof orchestral color.PacificSymphony.orgJoaquin Rodrigo:Concierto de AranjuezSo many ofclassical music’sgreat geniusesled tragicallyshort lives—Mozart, Schubert,Mendelssohnand Bizet all diedin their 30s—that when we encounter those blessedwith longevity, we rejoice. The Spanishcomposer Joaquin Rodrigo, though blindedby diphtheria at age 3, lived to be 98. Hecredited the apparent calamity of his illnessfor his lifelong involvement in music.Rodrigo made rapid progress at theconservatory in Valencia, graduating earlyand going on to Paris, where he studiedwith Paul Dukas at the École Normalede Musique. But while he absorbed theelements of French style and refinement,his music remains Spanish to its very core.With Manuel de Falla (b. 1876) and EnriqueGranados (b. 1867), Rodrigo was centralto the flowering of musical creativity thatraised the prominence of Spanish music inthe 20th century. These composers burstupon the music world like a new discovery,though their cultural lineage extendedback centuries. Musicians and audiencesgreeted them like long-lost brothers, buttheir distinctively Iberian sound, drenchedin folk melodies and in the traditions ofSpanish church music of the Baroqueperiod, was like nothing to be heard in therest of Europe.While Manuel de Falla gained renownfor ballet scores that traveled with SergeDiaghilev’s Ballets Russes, and Granados’orchestral and piano compositions earnedtheir standing as repertory staples (and hisopera Goyescas in opera houses includingNew York’s Metropolitan), Rodrigo becameknown for his remarkable concertos.They reflect the Spanish affinity for theguitar; the two best-known examples, hisFantasy for a Nobleman and the Conciertode Aranjuéz, are both for that instrument.But there are other notable examples,including a spectacularly original concertofor harp. Rodrigo composed the Fantasy fora Gentleman in 1954 for Andrés Segovia, andthough it is often mistakenly associatedwith Moliere’s Le Bourgeois Gentilhomme—inspiration for many musical adaptions—thegentleman of Rodrigo’s title is actuallySegovia himself. But the Concierto deAranjuéz remains his most popular andwidely performed composition.Inspired by the gardens at thePalacio Real de Aranjuéz, the concertoopens with two themes in alternation.As Rodrigo notes, the movement is“animated by a rhythmic spirit and vigorwithout either of the two themes interrupting its relentless pace.” Theirrhythmic impetus makes the slow hushof the second movement all the moredramatic, with a dialogue betweensolo instrument and ensemble thatis traditional in concertos. The lastmovement, as Rodrigo notes, “recalls acourtly dance in which the combinationof double and triple time maintains a tauttempo right to the closing bar.”The late George Jellinek—a perceptivemusicologist and commentator notinclined to exaggerate—called Rodrigo’sconcertos revolutionary, and assertedthat their freshness resulted from thecomposer’s use of the second interval.Even listeners with no musical backgroundare likely to have heard about otherharmonic intervals—thirds, fourths, fifths,and so on—but seconds, comprised oftwo notes that lie next to each other onthe piano keyboard, are rarely heard ormentioned. And, yes, we do hear themfrequently in this concerto. But are theyso fully responsible for the concerto’sdistinctive sound? Or do they functionmore like the rainfall on a streetscape inParis or at the Palacio Real de Aranjuez,adding a poetic dimension to a scene thatis already beautiful?Ástor Piazzolla:Libertango for Guitar andStrings, Sinfonía BuenosAiresÁstor Piazzollawas born inArgentina to Italianimmigrant parentswith whom hemoved to NewYork’s Little Italyneighborhood atage 4, staying forseveral years. But he returned to Argentinawhile still a child and fairly burned withlove for the music of his native country—most especially the tango, which he wouldlater revolutionize, treating it with therespect of form and the compositionaltechniques we associate with Europeanclassical forms.4 0 th S e a s o n M A Y 2 0 1 93

But first came study. Piazzolla returnedto New York, taking music lessons withthe Hungarian classical pianist Bela Wilda,a student of Rachmaninoff, who taughthim to play Bach on his bandoneón, atraditional Argentine form of accordionthat is the melancholy inner voice ofthe tango. In 1934 Piazzolla met CarlosGardel, a seminal figure in the history ofthe tango, who invited the young Piazzollato tour with him. This was a great honorand opportunity, and though the boy’sfather did not allow it, Piazzolla wasundeterred. He returned to Buenos Airesat age 17 and joined the orchestra ofbandoneónist Anibal Troilo—another tangoartist whose ensemble was destined tobecome a legend, one of the greatesttango orchestras of all time. Eventually,like American composers such as Copland,Gershwin and Bernstein, he made thepilgrimage to Paris to study compositionwith the great Nadia Boulanger. But unlikemany of her prominent students, whostruggled to find their “voice,” Piazzolabrought a strong sense of national andpersonal identity with him.With his classical training andArgentinian soul, Piazzolla embodiedthe tango, expanded it, and transcendedit. His tango-based compositions oftenspecifically reference European forms andeven quote themes from composers suchas Vivaldi. But he does so in a distinctivelyArgentinian way, transforming instrumentand instrumentalist into dance partners. Inhis music we hear the spirit of the tango,something we cannot hear in the musicof European composers. Even withoutclassical composition, this remarkabledance is a language unto itself thatspeaks with fiery eroticism tinged withmelancholy and introspection. Applying20th-century harmonic theory and his ownunique style, Piazzolla opens a world ofexpressiveness to listeners.Piazzolla published and recordedLibertango in 1974 in Milan; to nameit, he grafted the Spanish word forliberty onto the musical form for whichhe was famous. Critics tell us that thetitle expresses his liberation from theconstraints of classical tango form infavor of the freer Tango Nuevo style.Dating from 1951, the Sinfonia BuenosAires is considerably earlier and moreyouthful. Buenos Aires was the city wherePiazzolla had studied with composerAlberto Ginastera, and the Sinfonia isa compelling amalgam of Piazzolla’searly influences, especially Ginastera’sformal attachment to European classicaltraditions and Piazzolla’s to Argentinian4M A Y 2 0 1 9 4 0 t h S e as o ntango; his awareness of Stravinsky’saccomplishments can also be heard. Inhis instrumentation we hear the tang ofthe bandoneón—an inclusion that arousedcontroversy when the Sinfonia won theFabian Sevitzky Award in 1953.Zequinha de Abreu:“Tico-Tico no Fubá” forGuitar and Strings,Arr. RussThe song “TicoTico,” an enduringinternationalhit, passed thecentury marktwo years ago; itwas composed in1917 by Zequinhade Abreu, aPortuguese émigré to Brazil. But its globalpopularity, launched in Hollywood, camelater. Dating from a 1937 movie, EthelSmith’s performance of an arrangementfor theater organ sold more than twomillion worldwide. A decade later, inCopacabana, the “Brazilian Bombshell”Carmen Miranda sang it oppositeGroucho Marx and made a sensation withHollywood-ized lyrics about a hot dateand a cuckoo clock, spurring more than40 American-style covers. But in Brazilianmusic, which does not exile pop formsfrom classical traditions, “Tico-Tico” isactually a choro—a song form that typicallyshrugs off misfortune with good humor,good tunes and fast tempos. The titlerefers to a bird that got into the cornmeal,but we can imagine the same kind ofgrousing over morning coffee at the officesmoothly, together yet separate, liketwo beating hearts. This is no time forshyness.The name by which we know thispiece in the concert hall, “Jeux Interdits”(“Forbidden Games”), is deceptive. Itis taken from French director RenéClément’s 1952 film of that name, whichuses the music as counterpoint to theexperiences of two children caught inheartbreaking circumstances duringWorld War II. The cinematic connectionplaces this romance in the categoryof pieces that have been renamed bymoviegoers, such as Mozart’s “ElviraMadigan Concerto” (his Piano Concerto No.21) and Strauss’ Also Sprach Zarathustra(now better known as “the theme from2001”).Michael Clive is a cultural reporter livingin the Litchfield Hills of Connecticut.He is program annotator for PacificSymphony and Louisiana Philharmonic, andeditor‑in‑chief for The Santa Fe Opera.THANK YOU TO OUR SPONSORS:Avenue of the Arts Hotel:The Avenue of the Arts Hotel Costa Mesa is aTribute Portfolio property, breaking beyondthe typical hotel experience with eclecticarts-inspired design, inventive culinarycreations and an ideal location in the theaterand arts district. The hotel celebrates thevery best in human expression, and by doingso, creates a perfect space to be yourself.Beyond captivating design, the hotelfeatures a unique social scene with sincereservice, dedicated to helping patrons makethe most of every moment.“Romance” fromJeux InterditsSymphony 100:Symphony 100 is an exclusive membershipgroup that offers members adult musiceducation opportunities, lunches withartists, and several unique events or fieldtrips annually. Membership is limited to 100women, who support special projects of theSymphony through an annual contribution of 1,000.We don’t know who composed this brief,beguiling romance, but every note of itshaunting melody is familiar to lovers ofthe classical guitar. If it is not difficult tolearn, playing it well is another matter: itsapparent simplicity conceals technicalpitfalls and expressive challenges. Thetune wavers between major and minor,underlined by an ostinato accompanimentof broken chords. With one hand, theguitarist must articulate both contrastinglines to ardent effect. They proceed witha uniform pulse that must be maintainedBoard of Counselors:The Board of Counselors (BOC) is aSymphony support group of business andcommunity leaders who have a passion fororchestral music. Through privateluncheons, artist receptions and otherexclusive events, members expand theirknowledge of music and the inner workingsof the orchestra. BOC lunches have featuredAndré Watts, Pinchas Zuckerman, HilaryHahn, Pink Martini and Michael Feinstein.These unique events enrich the member’ssymphony experience and preparesmembers to be strong advocates for PacificSymphony.Unknown:PacificSymphony.org

Carlos IzcarayPablo Sáinz-VillegasCarlos Izcaray ismusic director of theAlabama SymphonyOrchestra andof the AmericanYouth Symphony.Praised by theinternational press,he won top prizesat the 2007 AspenMusic Festival and later at the 2008Toscanini International ConductingCompetition. Since then he has appearedwith numerous ensembles across fivecontinents and is now firmly establishedas one of the leading conductors of hisgeneration. Throughout his career, Izcarayhas shown special interest and prowessin tackling some of the most complexscores in the symphonic repertoire, whilealso championing the historically informedapproach to works from past eras.On the symphonic platform he is leadingensembles such as the St.Louis, NorthCarolina, Grand Rapids and KitchenerWaterloo symphonies, Los AngelesChamber Orchestra, Chamber Orchestraof San Antonio, Orchester der KomischenOper Berlin, Malmö Symfoniorkester,Filarmonica Arturo Toscanini, OrquestraSinfónica do Porto Casa da Música,Orchestra Regionale dell’Emilia-Romagna,Orchestre de Chambre de Lausanne,Macedonian Philharmonic, BangkokSymphony Orchestra, Kwazulu-NatalPhilharmonic, National SymphonyOrchestra of Colombia, Bahia SymphonyOrchestra, Salta Symphony Orchestra,Venezuela Symphony Orchestra,Orquesta Sinfónica Municipal de Caracasand Orquesta Filarmónica Nacionalde Venezuela, among others. For aforthcoming release on the Orchid Classicslabel, Izcaray recorded Max Richter’sRecomposed: Vivaldi’s Four Seasonswith the City of Birmingham SymphonyOrchestra and violinist Francisco Fullana.Izcaray is equally at home with operarepertoire, receiving rave reviews for hisperformances at the Opera Theatre of St.Louis, Utah Opera, International OperaFestival Alejandro Granda in Peru, and inparticular at the Wexford Festival Opera,where he has led many productions sincethe opening of Ireland’s National OperaHouse. His 2010 performances of Virginiaby Mercadante won the Best Opera prizeat the Irish Theatre Awards. In November2017, Izcaray joined Opera Omaha forPuccini’s Tosca, a new co-production withBoston Lyric Opera.Praised as “thesoul of the Spanishguitar”, PabloSáinz-Villegashas become aworldwide sensationknown as one ofthis generation’sgreat guitarists.He has beenacclaimed by the international press asthe successor of Andrés Segovia andan ambassador of Spanish culture inthe world. Since his early debut with theNew York Philharmonic under the batonof Rafael Frühbeck de Burgos at LincolnCenter, he has played in more than 40countries and with orchestras such asthe Israel Philharmonic, the Los AngelesPhilharmonic and the National Orchestraof Spain.Plácido Domingo hailed him as “themaster of the guitar” from the beginningof their multiple collaborations together.They most recently released “Volver,” aduo album with Sony Classical and theirperformances have taken place in uniquestages around the world such as theSantiago Bernabeu Stadium in Madridto an audience of over 85,000 people, atthe Hollywood Bowl in Los Angeles andon a floating stage on the Amazon Rivertelevised internationally for millions.Villegas’ “virtuosic playing characterizedby irresistible exuberance” (The NewYork Times) make him one of the mostacclaimed soloists by prestigiousconductors, orchestras and festivals.In 2019 he will make his debut with theChicago Symphony and will be a specialguest at the tribute concert for PlácidoDomingo at Guadalajara’s stadium inMexico. As a solo recitalist, he willperform for the first time at the HarrisTheater in Chicago, at San FranciscoPerformances and at Boston’s CelebritySeries. He will also continue touringwith his trio band along with a specialpresentation this year at the iconic BlueNote Jazz Club in New York.Villegas has appeared on some ofthe world’s most prominent stagesincluding the Carnegie Hall in New York,the Philharmonie in Berlin, TchaikovskyConcert Hall in Moscow, the Musikvereinin Vienna and the National Center for thePerforming Arts in Beijing. During hislast season he played at the Grant ParkMusic Festival in Chicago to an audienceof 11,000 people and highlights of hispast international tours with lude the Amsterdam Sinfonietta, theNational Orchestra of Spain and theNew Zealand Symphony. The successof his performances has translated intorepeated invitations from conductorssuch as Juanjo Mena, Miguel HarthBedoya, Carlos Kalmar and Alondra dela Parra. Regularly invited to performat corporate and governmental events,he has played at special events for theReal Madrid Foundation and on severaloccasions before members of theSpanish Royal Family, as well as otherheads of state and international leaderssuch as the Dalai Lama.DANIEL BINELLIbandoneonistaInternationallyrenowned composer,arranger andbandoneón master,ArgentineDaniel Binelli toursextensively inconcert and recital.Binelli is also widelyacclaimed as theforemost exponent and torchbearerof the music of Astor Piazzolla. In 1989Binelli joined Piazzolla s Sexteto TangoNuevo, touring internationally. He hasappeared as guest soloist with theorchestras of Philadelphia, Atlanta,Virginia, Sydney, Montreal, Ottawa,Saint Petersburg and Zurich’s TonhalleOrchestra, to name but a few. Some ofthe conductors Binelli has worked withinclude Charles Dutoit, Lalo Schifrin,Franz-Paul Decker, Robert Spano, JoAnnFaletta, Gisèle Ben-Dor, Isaiah Jackson,Michael Christie, Lior Shambadal andDaniel Schweitzer. Binelli conductedPiazzolla s operita, “María de BuenosAires” in Sicily with Italian singer, Milvain the title role. Binelli’s collaborationsinclude duo performances with pianistPolly Ferman and guitarist Eduardo Isaac,as well as with the Binelli-Ferman-IsaacTrio. Binelli is the musical director ofTango Metropolis Company, featured inthe PBS Documentary “Tango, the Spiritof Argentina” and in a BBC documentaryon Astor Piazzolla’s life. A seasonedcomposer in his own right, Binelli hascreated and arranged music for soloinstruments, quintet, chamber andsymphony orchestras, and has alsowritten dance and film music, includingsoundtracks for the Argentine films,“Tango Baile Nuestro” and “TangoShalom.”4 0 th S e a s o n M A Y 2 0 1 95

“Tico-Tico no Fubá” for Guitar and Strings, Arr. Russ The song “Tico-Tico,” an enduring international hit, passed the century mark two years ago; it was composed in 1917 by Zequinha de Abreu, a Portuguese émigré to Brazil. But its global popularity, launched in Hollywood, came later. Dating from a 1937 movie, Ethel

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