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present…
SHARON ISBIN | Guitar ROMERO LUBAMBO | Guitar
Saturday, October 13, 2018 | 7:30pmHerbst Theatre
Isbin & Lubambo:
SÁVIO Batucada
DE FALLA Miller’s Dance
Isbin solo:
GRANADOS Spanish Dance No. 5 (Andaluza)(transcr. Llobet)
ALBÉNIZ Asturias(arr. Segovia)
Lubambo solo:
To be announced from stage
Isbin & Lubambo:
LAURO Waltz No. 3 (Natalia)
JOBIM Chovendo na Roseira
MANGORÉ Allegro (from La Catedral)
INTERMISSION
415.392.2545 | 2
Isbin solo:
YORK Andecy
MANGORÉ Waltz Opus 8, No. 4
Lubambo solo:
To be announced from stage Isbin and Lubambo:
MONTAÑA/ Porro (from Suite Colombiana No. 2) 2nd guitar GUSTAVO COLINA
RODRIGO Adagio (from Concierto de Aranjuez)(arr. Laurindo Almeida)
Sharon Isbin is represented by Columbia Artists Management, Inc.1790 Broadway, New York, NY 10019-1412 | columbia-artists.com
Sharon Isbin sharonisbin.com
Romero Lubambo romerolubambo.com
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ARTIST PROFILES
San Francisco Performances presents Sharon Isbin for the seventh time; she made her SF Performances debut in 1986. Romero Lubambo returns for a fifth engagement; he first appeared in 2004 with jazz vocalist Luciana Souza.
Acclaimed as “the pre-eminent gui-tarist of our time,” multiple GRAMMY Award winner Sharon Isbin has been soloist with nearly 200 orchestras and has given sold-out performances in the world’s finest halls including New York’s Carnegie and Geffen Halls, Boston’s Symphony Hall, the Ken-nedy Center, London’s Barbican and Wigmore Halls, Amsterdam’s Con-certgebouw, Paris’ Châtelet, Vienna’s Musikverein, Munich’s Herkulessaal, Madrid’s Teatro Real and many others.
Winner of the Toronto, Madrid and Munich Competitions, Germany’s Echo Klassik and Guitar Player’s Best Classi-cal Guitarist awards, she created fes-
tivals for Carnegie Hall and NPR, and has appeared on All Things Considered, A Prairie Home Companion, CBS Sunday and the cover of over 45 magazines. She performed in Scorsese’s Oscar-winning The Departed, at Ground Zero for the first internationally televised 9/11 me-morial, the White House by invitation of President Obama, and as the only classical artist in the 2010 GRAMMY Awards. Recent PBS performances in-clude Tavis Smiley, the Billy Joel Gershwin Prize with Josh Groban, and the acclaimed documentary Sharon Isbin: Troubadour seen by millions on over 200 PBS stations across the U.S., and abroad including Europe, Japan and Mexico. Winner of the 2015 ASCAP Television Broadcast Award, the film is available on DVD/Blu-ray. Watch the trailer at: sharonisbintroubadour.com.
Other recent highlights include a work by Richard Danielpour commis-sioned for her by Carnegie Hall for its 125th anniversary and by Chica-go’s Harris Theater, Affinity: Concerto for Guitar & Orchestra composed for her by Chris Brubeck, a 21-city Guitar Passions tour with jazz greats Stanley Jordan and Romero Lubambo, collabo-rations with Sting, tours with Pacifica String Quartet, performances with the Detroit, National and Montreal Sym-phonies, and sold-out performances at the Kennedy Center and Carnegie Hall.
Isbin’s latest recording, Alma Española with Argentinian-American opera star Isabel Leonard, is the first Spanish art-song album of its kind in over 40 years, and includes 12 world premiere arrangements by Isbin. It was honored by a 2018 GRAMMY Award for Producer of the Year, Classical in recordings (Da-vid Frost). Other recent #1 bestsellers among her more than 25 recordings include Sharon Isbin: 5 Classic Albums
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and Guitar Passions with guests Steve Vai and Heart’s Nancy Wilson, among others. Her 2010 GRAMMY-winning Journey to the New World with guests Joan Baez and Mark O’Connor spent 63 consecutive weeks on top Billboard charts, and her Latin GRAMMY nom-inated disc of Rodrigo/Ponce/Vil-la-Lobos concerti with the New York Philharmonic is their only recording with guitar. Many of the worlds finest composers have written for her, includ-ing Corigliano, Tan Dun, Rouse, Foss, Kernis, Tower, Shore, Schwantner, Ro-rem, Danielpour and Brouwer.
Isbin began her guitar studies at nine in Italy, later studying with An-drés Segovia, Oscar Ghiglia and Rosa-lyn Tureck with whom she collaborat-ed on landmark editions/recordings of the Bach lute suites. She authored the Classical Guitar Answer Book, and directs guitar departments at the As-pen Music Festival and the Juilliard School, which she created in 1989. Please visit her on Facebook, Twitter and sharonisbin.com
In 1985, Romero Lubambo came to the United States, and brought with him a new sound in Brazilian jazz guitar.
Romero’s guitar playing unites the styles and rhythms of his native Bra-zilian musical heritage with his flu-ency in the American jazz tradition to form a distinctive new sound.
From the cool, sophisticated rhythms of his native Brazil to hard bop, Romero is a guitarist who is comfortable in any musical setting. He is an uncommonly gifted soloist and musical improviser with a steady stream of unpredictably creative mu-sical thoughts and the virtuosity to deliver them.
After arriving in New York City, Rome-ro quickly established himself as a “first
call” session and touring guitarist who was in demand not only for his authen-tic Brazilian sound, but also for his com-mand with a variety of styles.
Lubambo has performed and recorded with many outstanding artists, includ-ing Dianne Reeves, Michael Brecker, Yo-Yo Ma, Kathleen Battle, Diana Krall, Herbie Mann, Wynton Marsalis, Gal Costa, Kurt Elling, Kenny Barron, Lu-ciana Souza, Cyro Baptista, Sergio and Odair Assad, Ivan Lins, Grover Wash-ington Jr., Vernon Reid, Flora Purim and Airto, Paquito D’Rivera, Harry Belafon-te, Larry Coryell, Gato Barbieri, Leny An-drade, James Carter, Paula Robison, Dave Weckl, Jason Miles, and Cesar Camargo Mariano... among many others.
He has also established himself as a composer and performer on his own critically acclaimed recording projects as well as on those of Trio Da Paz, a Bra-zilian jazz trio Lubambo formed with Nilson Matta and Duduka da Fonseca.
Lubambo is considered by critics to be “the best practitioner of his craft in
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the world today... the guitarist’s facili-ty, creativity and energy are in a class all their own.”
PROGRAM NOTES
BatucadaISAÍAS SÁVIO(1900–1977)
Isaías Sávio was a Uruguayan com-poser, performer and pedagogue who toured South America in his twenties, settled in Brazil, and joined the faculty of the Sao Paulo Conservatory where he taught Luiz Bonfa, Carlos Barbosa Lima, Marco Pereira and many others. Batucada is a movement from his Scenas Brasileiras (Brazilian Scenes). It is a samba and based on an African dance.
Miller’s DanceMANUEL DE FALLA(1876–1946)
Manuel de Falla was, with Joaquin Rodrigo, one of the most important Spanish musicians of the 20th cen-tury. His music ranges from medita-tive repose to intense passion and is marked by painstaking attention to detail and disciplined striving for per-fection. Originally inspired by Span-ish folk music, he went on to write music influenced by Stravinsky’s neoclassicism. His solemn, intense Miller’s Dance, from a ballet by Falla, is from a scene in which neighbors gath-er around the miller and spur him on with their clapping and shouts of olé. Tempo, volume and excitement rise constantly to the end as the dance be-comes more and more frenzied.
Spanish Dance No. 5 (Andaluza)ENRIQUE GRANADOS(1867–1916)
AsturiasISAAC ALBÉNIZ (1860–1909)
In the late 19th century Spanish mu-sical taste was conservative and under the influence of foreign composers. The principal public musical enter-tainment was Italian opera while in-strumental recitals featured the works of Chopin and Schumann. The musical nationalism that swept across Europe in the last decades of the 19th century led to the creation of a characteristical-ly Spanish opera and to an interest in the historical and folk roots of Spanish music. Enrique Granados and Isaac Al-béniz were the greatest figures of this renaissance of indigenous music.
Granados was also inspired by the grace, elegance and sense of propor-tion of Spanish courtly life in the 18th century as depicted by Francisco Goya. His Danzas Españolas were among his first important works and Danzas Españolas No. 5 is the most celebrated piece in the set. The archetypal Span-ish melody with subtle shifts between minor and major creates dramatic tension without ever losing a sense of courtly elegance.
Albéniz’s Asturias, named for the province in northeastern Spain, is a portrait of a legendary 8th century battle between Spanish and Moor-ish forces with a strikingly dramatic frame and a sad, introspective, Moor-ish middle section.
TICKETS + INFO omniconcerts.com(415) 242-4500
Sharon Isbin andRomero Lubambo 10/13 *Yamandu Costa andGuto Wirtti 10/23Paul Galbraith, guitar andAntonio Meneses, cello 11/3*Kazuhito Yamashita 3/17Ana Vidovic 12/8*Tommy Emmanuel, CGP 1/8With Very Special GuestJohn Knowles, CGP
Sergio & Odair Assad 2/9*Internat’l Guitar Night 2/24
Pablo Sainz-Villegas 3/2*Kyuhee Park 3/1650 Oak Street 4/13 SPECIAL EVENT “Aloha España” featuring Pepe Romero and Daniel Ho 4/27 * In association with San Francisco Performances
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Waltz No. 3 (Natalia)ANTONIO LAURO (1917–1986)
In the late 19th century, Venezuela began to develop a distinctly national repertoire of classical music that was a synthesis of indigenous, African and European roots. One of its most char-acteristic forms was the Venezuelan Waltz, an organic blend of dance mu-sic created by 18th century slaves, and the 19th century Waltz as interpreted by Chopin. The Valses Venezolanos of Antonio Lauro are filled with charm, metrical fluidity and rhythmic energy. Vals No. 3 is dedicated to the compos-er’s daughter Natalia.
Chovendo na RoseiraANTONIO CARLOS JOBIM (1927–1994)
Antonio Carlos Jobim established the popularity of bossa nova and con-tributed to its development along with fellow Brazilians Garoto, Joao Gilberto, Luis Bonfa and Laurindo Almeida. After the success of The Girl from Ipanema, Jobim became a famous name in North America. He appeared on American TV specials, recorded solo albums and appeared on two LPs with Frank Sinatra. His music had a profound effect on fans all over the world. The first theme of Chovendo na Roseira (Raining on the Rosebush) was inspired by Debussy’s Reverie, the sec-ond by his Le plus que lente, valse.
Allegro (from La Catedral)
Waltz Opus 8, No. 4AGUSTÍN BARRIOS MANGORÉ(1885–1944)
The Paraguayan guitar virtuo-so Agustin Barrios saw himself as a brother of the medieval trouba-dours—undergoing an artistic jour-ney through life, suffering a romantic madness, but inspired by destiny. He once wrote:
I am dancing in a mad whirlwindto the four corners of the planet!I carry in my blood a restless life,and in my pilgrimage, uncertain and wandering,Art lights up my pathas if it were a fantastic comet!
Barrios wrote much music that was rich in romantic charm and rhythmic complexity derived from the indige-nous culture of South America, but he was also influenced by J. S. Bach, whose music he heard in the Montevi-deo Cathedral, probably the site of the original inspiration for La Catedral. It is a three-movement work consisting of an ethereal Preludio, an Andante Religioso evoking the grandeur of Bach’s organ music heard in the magnificent cathedral, and an Allegro Solemne, which seems to depict Barrios “dancing in a mad whirlwind” as he leaves the church on his wandering pilgrimage.
The Waltz Opus 8, No. 4 feels like it was inspired by Chopin’s great waltzes for piano. Barrios creates the swirling dance rhythms of a grand 19th century Ball.
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AndecyANDREW YORK (b. 1958)
Andrew York is a contemporary com-poser and guitarist who has gained an international audience through his own recordings as well as recordings by John Williams, Christopher Parken-ing, Sharon Isbin and the Los Angeles Guitar Quartet, among others. He has created a musical style that accommo-dates a large range of influences in-cluding medieval, classical, jazz, blue-grass, Irish, rock, African drumming and minimalism. Andecy began as an improvisation done in a French village that gave the piece its name.
Porro (from Suite Co-lombiana No. 2)
GENTÍL MONTAÑA (1942–2011)
Gentíl Montaña was a guitarist and composer from Colombia. In 1976, after winning third prize in the Alir-io Díaz Competition in Venezuela, he moved to Madrid and performed in Spain and Greece. Colombia was plagued by political violence, but in
1981 Montaña returned and opened a music school to “exchange weapons of destruction for musical instruments and develop a tradition of the guitar in Colombia.”
Adagio (from Concierto de Aranjuez)
JOAQUÍN RODRIGO (1901–1999)
Joaquín Rodrigo was born in 1901 on the Feast Day of Saint Cecilia, the patron saint of music, and lost his sight at the age of three. No other Spanish composer has drawn on so many different aspects of his country’s spirit as sources of inspiration, from the history of Roman Spain to the work of contemporary poets. His music is refined, luminous, and fundamentally optimistic, with a particular gift for melo-dy, and original harmonies. The Concierto de Aranjuez for guitar and orchestra is the definitive example of his musical per-sonality and the work that brought him worldwide fame. Written in three move-ments, the slow, elegiac Adagio is a pas-sionate evocation of the happy early days of Rodrigo’s marriage and his devastation at the miscarriage of his first child.
—Program notes by Scott Cmiel
