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CLASSICS NI Lt Ne : CGABRIELA MONTERO _ @ SOLATINO I dedicate this recording to my dear father, Jorge, and te my country, Venezuela. My pather's love for Venezuela, its land, history and music is a passionate one. ‘They are one and the same in my mind. Gabriela Montero ERNESTO LECUONA 1896-1963 La comparsa (Carnival Procession) J ta negra bailaba! (... And the Negro woman danced!) A la Antigua Impromptu éPor qué te vas? (Why do you go?) GABRIELA MONTERO Sofiando Contigo (Improvisation) ERNESTO LECUONA Suite espanola No.4 Gitanerias No.6 Malaguenia No.1 COrdoba GABRIELA MONTERO Texturas de la Gran Sabana (improvisation) 1.58 2.06 2.14 1.33 2.44 3.08 1.43 3-57 3.28 4:02 ANTONIO ESTEVE 1916-1988 17 Piezas ingantiles No.12 Angelito negro No.2 Ancestro1 Ancestro 2 No.17 Toceatina GABRIELA MONTERO A la Argentina (Improvisation) ALBERTO GINASTERA 1916-1983 American Preludes No.10 Pastorale No.3 Danza eriolla ALBERTO GINASTERA Piano Sonata No.1 Op.22 1. Allegro mareato I, Presto misterioso Ill, Adagio motto appassionato IV. Ruvido ed ostinato 1.32 1.22 112 0.57 2.57 2.26 1.29 4.08 2.29 5-03 2.47 22 23 24 25 26 GABRIELA MONTERO GABRIELA MONTERO Sin Aire (Improvisation) 346 27 Mi Venezuela Llora (Improvisation) 2.53 ERNESTO NAZARETH 1863-1934 TERESA CARRENO 1353-1917 Odeon (Tango Brasileiro) 2.12 28 Kleiner Walzer (Mi Teresita) 427 Brejeiro (Tango Brasileiro) 1.47 Fon-fon (Toot-Toot) 25 MOISES MOLEIRO 1904-1979 Carioca 412 29 Joropo 3.12 78.10 GABRIELA MONTERO piano I'd like to thank my wonderful mother, my adored girls, my management, Opus 3 Artists and IMG Artists, my indispensable producer, David Groves, engineer Jonathan Allen, and everyone at EMI who has been a part of the process ob creating this record. This is a special record por me. It is a storybook of Latin sounds, emotions and even personal statements Gabriela Montero Recorded: 5-7.11.2010, Henry Wood Hall, London. Producer: David Groves Recorded & edited by Jonathan Allen. Executive producer: Stephen Johns Production manager: Kerry Brown Photography: Colin Bell Design: Georgina Curtis for WLP Ltd, = © 2010 The copyright in this sound recording is owned by EMI Records Ltd. © 2010 EMI Records Ltd. wwviemiclassics.com www.gabrielamontero.com DDD | make records because | want to share my own and others’ creativity, emotional world and personal souvenirs through sound. | believe everything we do and say is a testament to who We are. A fingerprint. A statement. Usually, the very recognisable EMI logo is red and white. You'll notice that in this record, the EMI logo is black and white. I've chosen to exclude any red in SOLATINO, except for the letter ‘0’, because in Venezuela, the colour red has been stripped of its passionate beauty and power, and is now associated with repression, fury and control. You'll also notice that the title is coloured by Yellow, Blue and Red. These are the colours of the Venezuelan flag. Red is the last colour on my flag and, coincidentally, ‘O” is my blood type. | find the symbolism in this quite beautiful. We all share that same source of life: blood. It is the red blood cells that carry oxygen through our bodies. Without them, we perish. With the right balance, we thrive. Vd like this ‘0’ to be coloured by @ peaceful shade of fed. The red that belongs to all of us. The red that is beautiful in its intensity, and not hurtful in its grip. The red that belongs in this world and not the type that separates and extinguishes us. There is no space for the wrong kind of red, and I choose to remove it from this record. It is my statement. Gabriela Montero $0 LATINO “Our part of the world is very young,’ notes Gabriela Montero, born in Caracas, Venezuela, in 1970. This may be one reason why there is little to offer the pianist by any South American composer born before the 1880s; also why the European influence on that early flowering was so marked, But just as musical nationalism had asserted itself in various European countries during the 19th century as a reaction to the dominance of German music, so it did in South America at the beginning of the last century. It is a treasure trove, much of it still waiting to be explored, and Montero’s personal selection ranges over six composers from four South American countries. The Cuban Ernesto Lecuona dominated his country's musical life for close on half a century, writing prolifically in every genre including 14 film scores (he was contracted to MGM, Warner Bros. and 20th Century Fox in the 1930s and '40s). His 1942 hit song Always in my heart (Siempre en mi Coraz6n) was nominated for an Oscar (and lost to Irving Berlin's White Christmas). His best-known piano piece is ‘Malaguefia’, the sixth and final number of his most important work for the instrument, Andalucia (Suite espajiola) composed in 1928 ('Cérdoba’ opens the suite, ‘Gitanerfas' is No.4). ‘This is more than piano!” Ravel is reported to have exclaimed on first hearing it. ‘I feel that “Malaguefia” is more melodic and beautiful than my own Boléro.” Many will recognise the tune from its popular song and big band arrangements. The other five short quite separate works by Lecuona, all written between 1929 and 1943, remind us of the composer's own prowess as a pianist and tone poet. The centrepiece of this recital is the First Sonata (of three) by the Argentine Alberto Ginastera. It was commissioned by the 1952 Pittsburgh International and Contemporary Music Festival, and betrays throughout its four concise movements the influence of Ginastera’s stay in the US from 1941 to 1947. Polytonal and twelve-tone techniques mark a departure from his earlier, more overtly nationalistic and picturesque idiom. A motoric Allegro marcato is succeeded by a Presto misterioso, full of cross-accents and hints of Latin-American dance rhythms. An elegiac slow movement opens with an evocation of the open strings of the guitar. This rises to a shattering climax before subsiding into a return of the questioning guitar strings. The toccata-like finale, marked ruvido ed ostinato (rough and determined), provides a thrilling conclusion to a work that makes enormous demands of the performer and uses to the full the rhythmical and tonal possibilities of the instrument. Ginastera’s 12 American Preludes date from 1944, towards the end of his nationalistic period. They include tributes to Villa-Lobos, Aaron Copland, and his fellow Argentine composers Juan José Castro (1895-1968) and Roberto Garcia Morillo (1911-2003). Morillo, whose own music was strongly influenced by Scriabin and Stravinsky, is portrayed in the Sixth Prelude by a brief furious outburst of rapidly alternating hands in presto semiquavers. A slow ‘Pastorale’ (No.10) conveys its bucolic character with open fifths in the bass; No.3. ‘N> za criolla’ (‘Creole Dance’) is marked ma violenta. Villa-Lobos Emesto Nazareth that he is ‘a true incarnation of the soul of musical Brazil’. Largely seittaught, Nazareth wrote more than 300 short works for the piano, including over 80 tangos and 40 waltzes, which blend the European salon style - especially Chopin — with Afro-Brazilian rhythms. Many have humorous titles or references to Rio de _ Janeiro, the city of his birth. Thus Oc (2926), perhaps his most famous piece, is 2 reminiscence of the cinema in Rio where he used to accompany silent films (it was there that Villa-Lobos first met him). Fon-Fon (Toot- Toot) (1930) is self-explanatory; Carioca (1913) is an inhabitant of Rio de Janeiro and also the