Nuyoricano Tango CD

Wolfgang Amadeus Mozart (1756-1791) · This recording of the Mozart variations scrupulously follows the Traeg edition of the music, providing a unique window on the com modification of music for domestic purposes at the turn of the 19th Century, making it then an authentic rendering of something itself quite inauthentic. The sources were the first and last movements of the piano Sonata now known as KJ31, and the slow movement of Mozart's KJ32 Sonata. These Sonatas were long thought to have been written in Paris in the late 1770's, but the examination of watermarks and graphic styles, as well as epistolatory evidence, have enabled musicologists to pinpoint the exact date as being 1783. The opening movement, a set of variations, is the only one of the three that is structurally intact from the modern point of view. The melodic prerogative is divided elegantly between the two instruments, and passages that are somewhat unwieldy on the original piano (such as the climax of the variation in minor, or some of the crossed-hands effects) sound as natural as can be. Traeg used as much of the middle movement of KJ32 as was suitable. The music is much more amenable to adaptation for flute and guitar than the corresponding one in KJ31 (although this has been assayed in later eras), and his decision to leave out Mozart's repeated variant is understandable, inasmuch as we have just had a full movement of variations. The final movement, back to KJ31, is the famous Rondo alla turca, where guitar does perhaps a better job at mimicking Janissary music than the left hand of the piano can do.

(Mozart & Frost program notes written by Victor frost All other program notes written by Laurel Zucker).

Jacque Ibert (1890-1962) composed En'tracte in 1935 for Pedro Calderon's French production of"EI Medico de su houra:' The first publication of En'tracte in 1935 was scored for flute (or violin) and guitar (or harp). This popular instrumental flute melody is accompanied by the Flamenco strummings of the guitar accompaniment.

Astor Piazzolla (1921-1992) born in Mar del Plata, Argentina, spent his early years studying muSIC and the bandeon in Buenos Aires, Europe and New York City. In 1952 Piazzolla studied composition with Nadia Boulanger who encouraged him to pursue his love of the tango form. By 1952 his studies resulted in Piazzolla's experimentation of tango arrangements, orchestration and form with various musicians. Controversy followed him into the 1960's because traditional tango artists did not accept Piazzolla's music as "the tango". Libertango comes from hiS most well-known recording (Libertango) produced in Italy in 1974. In the tradition of his other (more than 50) records, Piazzolla searches for a new direction in the traditional tango form. The Latin word for freedom, liber, is often associated with the god Bacchus. In fact Liber, the Roman god of wine also stood for fertility. Piazzolla's music, now accepted throughout the world, certainly was a symbol of "liberation" and the composition heard on this CD is a fast tango that builds to a frenetic climax.

Enrique Granados (1867-1916) was born in Lerida, Spain and is considered one of Spain's foremost composers. Granados was also an excellent pianist performing with the great Pablo Casals, Isaac Albeniz and Camille Saint-Saens. Regarded as an excellent teacher Granados was the founder of the Academia Granados. The composition heard on this recording comes from his 10 Danza espanoles (Spanish dances) originally scored for piano. However during Granados's lifetime he orchestrated these dances for orchestra and other instrumental arrangements. Enrique Granados's nationalistic Spanish style in this dance no. 5 creates a gorgeous, romantic mood.

Heitor Villa-Lobos (1887-1959) born in Buenos Aires from wealthy Spanish parents is Brasil's and probably South American's most important classical composer. Villa-Lobos played the cello, clarinet and guitar, but he had little formal training. Beginning in 1905, according to Villa-Lobos, he began exploring Brasil's native musical culture by living in what he called the "dark interior." Spending over 10 years in "dangerous" triballife in Brasil Villa-Lobos came out with many amazing guitar improvisations mirroring his travels. In the 1920's guitarist Andres Segovia commissioned one guitar study and Villa-Lobos instead, from 1924-29, composed 12 guitar studies that musically described 12 different Brazilian street musicians or choroes. In 1932 Villa-Lobos became the Director of the Superindendcia de Educacao Miscuale Artistica or SEMA. This Job included organizing concerts and composing. It was during htis time he composed mostly nationalistic and patriotic Brazilian music. However his set of nine Bachianas brasileiras, composed between 1930-1945 was an exception. Each of the nine pieces follow the native Brasllian mood of his Choros, but additionally include the composer's love of the Baroque music of J.S. Bach (1685-1750). Between 1938-1945 he composed is most popular Bachianas braslleiras No.5, an Aria scored for Soprano and 8 cellos. Andres Segovia arranged this piece for Soprano and guitar. A new arrangement of Aria for flute and guitar is heard on this recording.

Darius Milhaud (1892-1974) was born in Aix-en-Provence, France. In 1917 Milhaud was a student at the Paris Conservatoire. One of his literary fiends, Claudel, took Milhaud to Rio de Janeiro as a staff member of the ambassador. His contact with the colorful Brazilian music inspired many of his excellent works, La Creation du monde, Le Train bleu, and saudades Do Brasil. Corcovado is the 7th movement from the 1920-21 dance suite of twelve movements for piano, saudades Do Brasil, Opus 67. Milhaud eventually scored this piece for orchestra, which he conducted and recorded. The translation of saudades Do Brasil means fond memories of Brasil. Within Corcovado Milhaud uses the rhythms of South America and his own unique sense of poly tonality. In this recording's arrangement the flute has the slow melodic line and the guitar plays the Brasilian dance rhythm in a completely different key creating a unique colorful harmony throughout the composition. Milhaud explained his constant use of poly tonality in his compositions, which fused Latin, jazz, classical and popular styled music into one, as one solution to the end of harmony.

Fernando Sor (1778-1839) born in Barcelona was known as "the Beethoven of the Guitar" in Spain. In addition to being an excellent guitarist Sor also wrote a Method for Spanish Guitar in 1830, which is used by guitarists today. When Napoleon invaded Spain in 1808 Fernando Sor began to compose patriotic music. However when the Spanish army was defeated by Napoleon Sor held an administrative job in the French occupied government in Spain. In 1813 when Spain was able to kick the French occupied government out, Sor left Spain and permanently moved to Paris, France until his death. During this time in Paris he toured frequently as a guitarist and developed a fine reputation as a composer. By 1827 Sor retired from touring and began to compose most of his well-known compositions. Romanze and L'encouragement were composed during the latter portion of his life. From 1828-1839 Sor composed 12 sets of guitar duets. L'encouragement, Opus 34, was composed during this period in Paris and was originally scored for two guitars. In this recording both of Sor's works have been arranged for flute and guitar. Both of these compositions have beautiful melodies, lush harmonies and hold a beautiful balance between the contrapuntal nature of the flute and guitar lines.

Victor Frost Tango nuyoricano for flute and guitar, op. 74 I worked on this piece during the spring and summer of 1999. After finishing my Spanish Rhapsody for clarinet and piano (op. 65) in the summer of 1986, I wrote that"! offer it as a simple, tuneful evocation of the Spanish rhythms I have lived around most of my life, and have to a large extent internalized. Having also internalized certain 'foreign' elements, I do at times engage in formal development...of this material."The main theme of the flute and guitar piece in fact undergoes extensive development before it is even heard fully; that is the best way to describe the function of the long intra. When the main melody has at last had its say, a guitar solo (with obbligato flute, at least at first) turns out to be derived from that melody, a consequent phrase shifting into antecedent position. In the course of the tango, two new melodies emerge, each of which is immediately varied idiomatically by the flute. The coda represents one last development/variation of the main tune.

Regarding the title, let me write for the sake of out-of-towners: quite a few members of New York City's Latino community refer to themselves as nuyoricanos, which usage is I believe somewhat tongue-In-cheek. It's still true that I live in a heavily Latino community (at this writing New York's East Village or, as the politically correct prefer to call it, Loisaida. I like to feel that the Hispanic flavor to the music in this pot is owing in part to spices supplied by some of my neighbors, who are very generous in sharing their music with the greater world (sometimes one could say, too generous!) My Tango nuyoricano is dedicated to my dear friend Joan Bauerly.

Victor Frost 20 VIII 99 New York City

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