TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS MORE

BERNSTEIN GERSHWIN REVUELTAS PIAZZOLL A

MUSIC of
the
AMERICAS
Houston Symphony
Andrés
Orozco-Estrada
 TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS MORE

Silvestre Revueltas (1899-1940)

1 Sensemayá (1938) 6. 27

Leonard Bernstein (1918-1990)

Symphonic Dances from West Side Story (1961)
2 Prologue 4. 39
3 Somewhere 4. 17
4 Scherzo 1. 27
5 Mambo 2. 28

Music of the 6
7
Cha-Cha
Meeting Scene
0. 58
0. 50

← Americas 8 Cool
9 Fugue
0. 41
3. 01
←
10 Rumble 1. 57
Houston Symphony 11 Finale 3. 20
Andrés Orozco-Estrada
Ástor Piazzolla (1921-1992)
12 Tangazo (1970) 15. 16

George Gershwin (1898-1937)

13 An American in Paris (1928) 19. 58

Total playing time: 65. 42

BERNSTEIN GERSHWIN REVUELTAS PIAZZOLLA Silvestre Revueltas (1899-1940) Listening to “The Pan- ideal of “The Pan-American dream”. The The main style of the work reflects the and Irwin Kostal, though Bernstein was During the 1920s he organized several strictly Mexican, but Afro-Cuban. is Gershwin’s second-most famous was included in a fully classical program, His 1970 piece is not just a “tango” but Although Piazzolla is well-known as a Houston Symphony performances each year, reaching Born in Medellín, Colombia, Andrés de France, the Chicago Symphony
1 Sensemayá (1938) 6. 27 For this new recording of ‘Music of the Americas’ we decided American Dream” works that have been brought together characteristics of the gangs: a jazz- closely involved in the process. musical events in Mexico with other Based on a poem by Cuban writer composition. After his first symphonic consisting of César Franck’s Symphony a “tangazo” (grand tango). The title tango composer who revolutionized thousands of people in Greater began his musical studies on the violin Orchestra, Philadelphia Orchestra and
to feature four contrasting works - two of which are very here could be thought of as a humble blues ‘American’ idiom, and a more composers, such as Carlos Chávez Nicolás Guillén originally called work, Rhapsody in Blue, Gershwin in D minor, Guillaume Lekeu’s Adagio might be suggesting the leap from the the genre with his “Nuevo Tango” (New During the 2017-18 season, the Houston Houston. and started conducting at age 15. the Cleveland Orchestra. In addition
Leonard Bernstein (1918-1990) well known - Bernstein’s Symphonic Dances from West Side Moving chronologically from George contribution towards that utopia. ‘Latin American’ Puerto Rican sound. The recording of this piece is being (from whom he would distance himself Sensemayá o canto para matar una wrote An American in Paris, which for Strings and Richard Wagner’s Magic small ensemble – on which Piazzolla Tango), he was eager to be treated as a Symphony celebrates its fourth season At 19, he entered the Vienna Music to his post in Houston, Andrés is chief
Symphonic Dances from West Side Story (1961) Story and Gershwin’s An American in Paris. The other two Gershwin’s 1928 piece An American This Puerto Rican sound, however, was released at a very special moment, some years later) to present the works culebra (Sensemayá or song to kill a premiered at New York’s Carnegie Hall Fire Scene from Die Walküre. In this had been focused at the time – to a “serious” composer, that is, he wanted with Music Director Andrés Orozco- For more information, please visit Academy, where he studied with conductor of the Frankfurt Radio
2 Prologue 4. 39 works are perhaps much less familiar - these being Tangazo in Paris, through Silvestre Revueltas’s Symphonic Dances from West Side not based exclusively on Puerto Rican since 2018 marks Leonard Bernstein’s of contemporary composers such as snake), the composer starts building on 13 December 1928. This piece was context, Gershwin’s work was thought large-scale orchestral piece. Tangazo to transcend the realm of popular music. Estrada and continues its second www.houstonsymphony.org Uroš Lajovic (pupil of the legendary Symphony Orchestra and principal
3 Somewhere 4. 17 by the Argentinian composer Ástor Piazzolla and Sensemayá Sensemayá (1938) and Leonard Story (1961) – Leonard Bernstein genres, but in the Cuban mambo and centenary. Stravinsky, Schoenberg, and Varèse, up a juxtaposition of short rhythmical meant to illustrate the impressions of an too humorous in comparison with those was premiered in Washington D.C. by For this reason, he studied with classical century as one of America’s leading Hans Swarowsky), and completed his guest conductor of the London
4 Scherzo 1. 27 by the Mexican composer Silvestre Revueltas. In choosing Bernstein’s Symphonic Dances from cha-cha, and the Mexican huapango. as well as their own compositions. and melodic patterns that repeat American tourist strolling around Paris, of the European composers with which Argentine conductor Pedro Ignacio composers such as Nadia Boulanger, orchestras with a full complement degree with distinction conducting Philharmonic Orchestra.
5 Mambo 2. 28 these particular works, we have tried not to cover the entire West Side Story (1961), before concluding This piece comprises dances from the Thus, the sound of Puerto Rico is Sensemayá (1938) – Silvestre Revueltas’s political ideology made him and recombine throughout the piece, based on Gershwin’s own experience it was surrounded. Yet, Gershwin’s Calderón in February 1970. The European who was one of his most famous of concert, community, education, Andrés Orozco-Estrada the Vienna Radio Symphony Orchestra

Music of the 6 Cha-Cha

7 Meeting Scene
0. 58
0. 50
continent but rather to provide ‘impressions’ of America and to
‘illuminate’ as many colours in the music as possible.
with Ástor Piazzolla’s Tangazo from
the 1970, this recording brings together
famous 1957 Broadway Show West
Side Story. A contemporary version
actually the sound of the Caribbean
Spanish-American region. Bernstein’s
Revueltas close to the Soviet cause, advocating for
a Stalinist communism.
to reproduce a series of “primitive”
Afro-Cuban sounds with the harmonic
during his trips to the city throughout
the 1920s. Gershwin even incorporated
work came to be understood as a clear
example of American modern music.
premiere of Tangazo took place more
than ten years later in Antwerp in 1982,
teachers. Less well known, however,
is that in the 1940s Piazzolla studied
touring and recording activities. The
Houston Symphony, one of the oldest Houston Symphony Music Director
at the Musikverein. Andrés burst
on the international scene with
For more information, please visit
www.orozcoestrada.com

Americas 8 Cool
9 Fugue
0. 41
3. 01 The common denominator in all of these works is the rhythm
composers from across the twentieth
century, all connected by their belonging
of William Shakespeare’s Romeo and
Juliet set in New York in the 1950s, the
own personal background also affected
the style of the music and, according
Mexican composer Silvestre Revueltas
(1899-1940) began his music education Revueltas’s music can be labeled as both
“complexities” of European modern
techniques. The words of the poem
French taxi horns into the piece in order
to evoke the sounds of the city. The first Tangazo (1970) – Ástor Piazzolla
conducted by the Argentine Alicia
Farace.
composition with Argentine composer
Alberto Ginastera who – according to
performing arts organizations in
Texas, held its inaugural performance
Andrés Orozco-Estrada began his tenure
in the 2014–15 season. He immediately
two substitutions with the Vienna
Philharmonic Orchestra: the first, his
10 Rumble 1. 57 which is highly articulated, flexible and energised. These to the Americas. Moreover, all of these musical presented two rivaling gangs: to some experts, traces of synagogue with violin lessons from the age of 6. In nationalist and modernist. The composer resonate with these musical patterns, part of the work reflects the impressions Piazzolla expert Omar García Brunelli at The Majestic Theater in downtown established a dynamic presence on debut in 2010, standing in for Esa-

MUSIC of
Houston Symphony 11 Finale 3. 20 ‘American’ rhythms actually have their roots in Africa - composers reconfigured the barriers one American, the other Puerto Rican. music and Yiddish secular songs can be 1913 his father sent him to Mexico City usually combines native elements – not reaching a climax at the end that of the American visitor in Paris. In a During Ástor Piazzolla’s childhood The piece starts in a slow tempo, mainly – was his most important teacher. Houston June 21, 1913. Today, with the podium and a deep bond with the Pekka Salonen, and then in 2012,
Andrés Orozco-Estrada therefore the richness of this repertoire lies very much in its between classical and popular music, The story could well have been very heard. to study at the National Conservatory. those of colonial-period America, but reflects musically the “killing of the second section, the music slows down in New York, he used to play George led by the strings. At the opening of Studying with Ginastera allowed an annual operating budget of $33.9 musicians of the orchestra. Andrés substituting for Riccardo Muti at the
Ástor Piazzolla (1921-1992) connection to so many musical traditions. combining them to produce a sound different, had the authors (writer Arthur He continued his music studies at Saint ones that illustrate the pre-colonial snake”. into a sorrowful blues, as nostalgia and Gershwin’s music on the bandoneon, the second section (in a much faster Piazzolla to explore a more neoclassical million, the full-time ensemble of 88 carefully curates his programs to feature Musikverein. Orozco-Estrada now

AMERICAS
12 Tangazo (1970) 15. 16 that illustrates their home region. Laurents, composer Leonard Bernstein The orchestration of Broadway shows Edward’s College in Austin (Texas), and indigenous past – with avant-garde homesickness strike the tourist, reflected Piazzolla’s instrument, and the signature tempo than the previous one), the oboe style influenced by the composers he professional musicians presents nearly engaging combinations of classical regularly appears with many of the

the George Gershwin (1898-1937)

Andrés Orozco-Estrada Throughout the twentieth century many
politicians, artists and intellectuals
and choreographer Jerome Robbins)
followed preliminary ideas to focus on
was customarily entrusted to specialists,
particularly due to the reduced
in 1918 moved to Chicago to study at
the Chicago Musical College, where he
techniques, developing his own musical
discourse.
An American in Paris (1928) – George
Gershwin
through an “American” sound. But at
the end it returns to the cheerful views of
instrument of tango music. For Piazzolla,
Gershwin’s music represented the
starts playing a melody that sounds
typical of Piazzolla’s tangos. The fugue
admired, such as Igor Stravinsky and
Béla Bartók. Tangazo allows us to hear
170 concerts annually, making it the
largest performing arts organization
masterworks paired with the music of
today, significant artistic collaborations
world’s leading orchestras, including
the Vienna Philharmonic, Munich
13 An American in Paris (1928) 19. 58 expressed their intention to build a Jewish vs. a Catholic gang, under the time they had between writing the obtained a degree in Violin, Harmony Paris posed at the beginning of the work. soundscape of New York, while his own style developed in this section, although how Piazzolla combined these two in Houston. Additionally, musicians with composers and guest artists, and Philharmonic, and Leipzig Gewandhaus
an alliance (cultural, political, and potential title of East Side Story. orchestration and the premiere of the and Composition. In the case of Sensemayá (1938), Taking elements from both jazz and music reflected the ambience of Buenos not completely new in Piazzolla’s worlds of the classical and the popular. of the orchestra and the Symphony’s innovative use of multimedia and visual orchestras, the Mahler Chamber
Houston Symphony Total playing time: 65. 42 economic) between the North and the show. In accordance with this practice, Revueltas’s most performed work, classical music, An American in Paris The reception of the work after its Aires. compositions at this time, would later
Andrés Orozco-Estrada
four Community-Embedded Musicians effects. Orchestra, the Santa Cecilia Orchestra

Orozco-Estrada
South, which can be reduced to the the orchestration was done by Sid Ramin however, the key influences are not – subtitled “Tone poem for orchestra”– premiere was mixed. Gershwin’s piece become a trademark of his music. offer over 900 community-based in Rome, the Orchestre National
Andrés Andrés Orozco-Estrada Houston Symphony
© Werner Kmetitsch © Anthony Rathbun
English

Orchestra Second Violin Fay Shapiro Donald Howey Clarinet Horn Timpani Drum Set Acknowledgments
members Rebecca Reale, Daniel Strba Michael McMurray Mark Nuccio, Principal William VerMeulen, Principal Ronald Holdman, Brian Del Signore ^
Associate Principal Jarita Ng Andrew Pedersen +x^ Thomas LeGrand, Brian Thomas Principal +^* PRODUCTION TEAM Premium Sound
First Violin
Igor Yuzefovich,
Hitai Lee
Mihaela Frusina
Phyllis Herdliska
Flute
Associate Principal
Christian Schubert
Nancy Goodearl +^*
Ian Mayton +^* Percussion
Executive Producer Renaud Loranger | Producer Dirk Sobotka
Balance engineer Mark Donahue
and Outstanding
Guest Concertmaster +x^ Annie Chen Cello Aralee Dorough, Principal Jesse Clevenger +^* Brian Del Signore, Artists
Marc Rovetti, Jing Zheng Brinton Smith, Principal Matthew Roitstein, E-flat Clarinet Principal +x* Liner notes Vera Wolkowicz | Design Joost de Boo
Guest Concertmaster * Martha Chapman Christopher French, Associate Principal Thomas LeGrand +^ Trumpet Mark Griffith Product management Kasper van Kooten
Eric Halen, Tianjie Lu Associate Principal Judith Dines +^* Mark Hughes, Principal +^* Matthew Strauss
Co-Concertmaster Lisa Ji Eun Kim Anthony Kitai Kathryn Ladner x^ Bass Clarinet John Parker, Associate Terry McKinney This album was recorded at the Jesse H. Jones Hall for the Performing Arts, Houston, PENTATONE. Today’s music is evolving Together with our talented artists,
Qi Ming, Tina Zhang Jeffrey Butler Sasha Potiomkin +^* Principal +^* Lindsey Höhn +^ Texas in January and February 2017. and forever changing, but classical we take pride in our work, providing
Assistant Concertmaster Evgenia Zharzhavskaya Kevin Dvorak Piccolo Caroline Schafer +^* music remains true in creating harmony an impeccable means of experiencing
Marina Brubaker Jenna Barghouti Xiao Wong Kathryn Ladner +x^ Bassoon Charlie Geyer +^ Harp among the instruments. Classical music classical music. For all their diversity,
Tong Yan Jordan Koransky Myung Soon Lee Matthew Roitstein + Rian Craypo, Principal Megan Conley, Principal ^ is as time-honoured as it is timeless. our artists have one thing in common.
MiHee Chung Louis-Marie Fardet Eric Arbiter, Associate Trombone And so also should the experience be. They all put their heart and soul into
Sophia Silivos Viola Yewon Ahn Oboe Principal + Allen Barnhill, Principal +^* Keyboard We take listening to classical music the music, drawing on every last drop
Sit back and enjoy
Rodica Gonzalez Wayne Brooks, Principal Jonathan Fischer, Principal Elise Wagner Bradley White, Associate Scott Holshouser, Principal to a whole new level, using the best of creativity, skill, and determination
Ferenc Illenyi Joan DerHovsepian, Double Bass Colin Gatwood Principal +^* Key: technology to produce a high-quality to perfect their contribution.
Si-Yang Lao Associate Principal Robin Kesselman, Principal * Contrabassoon Phillip Freeman +^* Saxophone + = Revueltas recording, in whichever format it may
Kurt Johnson George Pascal, David Malone, Associate English Horn Micah Doherty +^ Nathan Nabb ^ X = Piazzolla come, in whichever format it may be Find out more:
Christopher Neal Assistant Principal Principal Adam Dinitz +^* Tuba Masahito Sugihara * ^ = Bernstein released. www.pentatonemusic.com
Sergei Galperin Wei Jiang Mark Shapiro Dave Kirk, Principal +^* Woody Witt * * = Gershwin PENTATONE TEAM
Anastasia Sukhopara Linda Goldstein Eric Larson Graham Tobin * Musicians with no symbols Vice President A&R Renaud Loranger | Director Simon M. Eder | A&R Manager
Andrés Orozco-Estrada
Katrina Bobbs Savitsky +x^ Sheldon Person Burke Shaw are featured on all pieces. Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo
© Dave Rosmann
 TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS MORE

For this new recording of ‘Music of the Americas’ we decided

to feature four contrasting works - two of which are very
well known - Bernstein’s Symphonic Dances from West Side
Story and Gershwin’s An American in Paris. The other two
works are perhaps much less familiar - these being Tangazo
by the Argentinian composer Ástor Piazzolla and Sensemayá
by the Mexican composer Silvestre Revueltas. In choosing
these particular works, we have tried not to cover the entire
continent but rather to provide ‘impressions’ of America and to
‘illuminate’ as many colours in the music as possible.

← The common denominator in all of these works is the rhythm

←
which is highly articulated, flexible and energised. These
‘American’ rhythms actually have their roots in Africa -
therefore the richness of this repertoire lies very much in its
connection to so many musical traditions.

Andrés Orozco-Estrada

Andrés Orozco-Estrada
© Werner Kmetitsch

BERNSTEIN GERSHWIN REVUELTAS PIAZZOLLA Silvestre Revueltas (1899-1940) Listening to “The Pan- ideal of “The Pan-American dream”. The The main style of the work reflects the and Irwin Kostal, though Bernstein was During the 1920s he organized several strictly Mexican, but Afro-Cuban. is Gershwin’s second-most famous was included in a fully classical program, His 1970 piece is not just a “tango” but Although Piazzolla is well-known as a Houston Symphony performances each year, reaching Born in Medellín, Colombia, Andrés de France, the Chicago Symphony
1 Sensemayá (1938) 6. 27 For this new recording of ‘Music of the Americas’ we decided American Dream” works that have been brought together characteristics of the gangs: a jazz- closely involved in the process. musical events in Mexico with other Based on a poem by Cuban writer composition. After his first symphonic consisting of César Franck’s Symphony a “tangazo” (grand tango). The title tango composer who revolutionized thousands of people in Greater began his musical studies on the violin Orchestra, Philadelphia Orchestra and
to feature four contrasting works - two of which are very here could be thought of as a humble blues ‘American’ idiom, and a more composers, such as Carlos Chávez Nicolás Guillén originally called work, Rhapsody in Blue, Gershwin in D minor, Guillaume Lekeu’s Adagio might be suggesting the leap from the the genre with his “Nuevo Tango” (New During the 2017-18 season, the Houston Houston. and started conducting at age 15. the Cleveland Orchestra. In addition
Leonard Bernstein (1918-1990) well known - Bernstein’s Symphonic Dances from West Side Moving chronologically from George contribution towards that utopia. ‘Latin American’ Puerto Rican sound. The recording of this piece is being (from whom he would distance himself Sensemayá o canto para matar una wrote An American in Paris, which for Strings and Richard Wagner’s Magic small ensemble – on which Piazzolla Tango), he was eager to be treated as a Symphony celebrates its fourth season At 19, he entered the Vienna Music to his post in Houston, Andrés is chief
Symphonic Dances from West Side Story (1961) Story and Gershwin’s An American in Paris. The other two Gershwin’s 1928 piece An American This Puerto Rican sound, however, was released at a very special moment, some years later) to present the works culebra (Sensemayá or song to kill a premiered at New York’s Carnegie Hall Fire Scene from Die Walküre. In this had been focused at the time – to a “serious” composer, that is, he wanted with Music Director Andrés Orozco- For more information, please visit Academy, where he studied with conductor of the Frankfurt Radio
2 Prologue 4. 39 works are perhaps much less familiar - these being Tangazo in Paris, through Silvestre Revueltas’s Symphonic Dances from West Side not based exclusively on Puerto Rican since 2018 marks Leonard Bernstein’s of contemporary composers such as snake), the composer starts building on 13 December 1928. This piece was context, Gershwin’s work was thought large-scale orchestral piece. Tangazo to transcend the realm of popular music. Estrada and continues its second www.houstonsymphony.org Uroš Lajovic (pupil of the legendary Symphony Orchestra and principal
3 Somewhere 4. 17 by the Argentinian composer Ástor Piazzolla and Sensemayá Sensemayá (1938) and Leonard Story (1961) – Leonard Bernstein genres, but in the Cuban mambo and centenary. Stravinsky, Schoenberg, and Varèse, up a juxtaposition of short rhythmical meant to illustrate the impressions of an too humorous in comparison with those was premiered in Washington D.C. by For this reason, he studied with classical century as one of America’s leading Hans Swarowsky), and completed his guest conductor of the London
4 Scherzo 1. 27 by the Mexican composer Silvestre Revueltas. In choosing Bernstein’s Symphonic Dances from cha-cha, and the Mexican huapango. as well as their own compositions. and melodic patterns that repeat American tourist strolling around Paris, of the European composers with which Argentine conductor Pedro Ignacio composers such as Nadia Boulanger, orchestras with a full complement degree with distinction conducting Philharmonic Orchestra.
5 Mambo 2. 28 these particular works, we have tried not to cover the entire West Side Story (1961), before concluding This piece comprises dances from the Thus, the sound of Puerto Rico is Sensemayá (1938) – Silvestre Revueltas’s political ideology made him and recombine throughout the piece, based on Gershwin’s own experience it was surrounded. Yet, Gershwin’s Calderón in February 1970. The European who was one of his most famous of concert, community, education, Andrés Orozco-Estrada the Vienna Radio Symphony Orchestra

Music of the 6 Cha-Cha

7 Meeting Scene
0. 58
0. 50
continent but rather to provide ‘impressions’ of America and to
‘illuminate’ as many colours in the music as possible.
with Ástor Piazzolla’s Tangazo from
the 1970, this recording brings together
famous 1957 Broadway Show West
Side Story. A contemporary version
actually the sound of the Caribbean
Spanish-American region. Bernstein’s
Revueltas close to the Soviet cause, advocating for
a Stalinist communism.
to reproduce a series of “primitive”
Afro-Cuban sounds with the harmonic
during his trips to the city throughout
the 1920s. Gershwin even incorporated
work came to be understood as a clear
example of American modern music.
premiere of Tangazo took place more
than ten years later in Antwerp in 1982,
teachers. Less well known, however,
is that in the 1940s Piazzolla studied
touring and recording activities. The
Houston Symphony, one of the oldest Houston Symphony Music Director
at the Musikverein. Andrés burst
on the international scene with
For more information, please visit
www.orozcoestrada.com

Americas 8 Cool
9 Fugue
0. 41
3. 01 The common denominator in all of these works is the rhythm
composers from across the twentieth
century, all connected by their belonging
of William Shakespeare’s Romeo and
Juliet set in New York in the 1950s, the
own personal background also affected
the style of the music and, according
Mexican composer Silvestre Revueltas
(1899-1940) began his music education Revueltas’s music can be labeled as both
“complexities” of European modern
techniques. The words of the poem
French taxi horns into the piece in order
to evoke the sounds of the city. The first Tangazo (1970) – Ástor Piazzolla
conducted by the Argentine Alicia
Farace.
composition with Argentine composer
Alberto Ginastera who – according to
performing arts organizations in
Texas, held its inaugural performance
Andrés Orozco-Estrada began his tenure
in the 2014–15 season. He immediately
two substitutions with the Vienna
Philharmonic Orchestra: the first, his
10 Rumble 1. 57 which is highly articulated, flexible and energised. These to the Americas. Moreover, all of these musical presented two rivaling gangs: to some experts, traces of synagogue with violin lessons from the age of 6. In nationalist and modernist. The composer resonate with these musical patterns, part of the work reflects the impressions Piazzolla expert Omar García Brunelli at The Majestic Theater in downtown established a dynamic presence on debut in 2010, standing in for Esa-

MUSIC of
Houston Symphony 11 Finale 3. 20 ‘American’ rhythms actually have their roots in Africa - composers reconfigured the barriers one American, the other Puerto Rican. music and Yiddish secular songs can be 1913 his father sent him to Mexico City usually combines native elements – not reaching a climax at the end that of the American visitor in Paris. In a During Ástor Piazzolla’s childhood The piece starts in a slow tempo, mainly – was his most important teacher. Houston June 21, 1913. Today, with the podium and a deep bond with the Pekka Salonen, and then in 2012,
Andrés Orozco-Estrada therefore the richness of this repertoire lies very much in its between classical and popular music, The story could well have been very heard. to study at the National Conservatory. those of colonial-period America, but reflects musically the “killing of the second section, the music slows down in New York, he used to play George led by the strings. At the opening of Studying with Ginastera allowed an annual operating budget of $33.9 musicians of the orchestra. Andrés substituting for Riccardo Muti at the
Ástor Piazzolla (1921-1992) connection to so many musical traditions. combining them to produce a sound different, had the authors (writer Arthur He continued his music studies at Saint ones that illustrate the pre-colonial snake”. into a sorrowful blues, as nostalgia and Gershwin’s music on the bandoneon, the second section (in a much faster Piazzolla to explore a more neoclassical million, the full-time ensemble of 88 carefully curates his programs to feature Musikverein. Orozco-Estrada now

AMERICAS
12 Tangazo (1970) 15. 16 that illustrates their home region. Laurents, composer Leonard Bernstein The orchestration of Broadway shows Edward’s College in Austin (Texas), and indigenous past – with avant-garde homesickness strike the tourist, reflected Piazzolla’s instrument, and the signature tempo than the previous one), the oboe style influenced by the composers he professional musicians presents nearly engaging combinations of classical regularly appears with many of the

the George Gershwin (1898-1937)

Andrés Orozco-Estrada Throughout the twentieth century many
politicians, artists and intellectuals
and choreographer Jerome Robbins)
followed preliminary ideas to focus on
was customarily entrusted to specialists,
particularly due to the reduced
in 1918 moved to Chicago to study at
the Chicago Musical College, where he
techniques, developing his own musical
discourse.
An American in Paris (1928) – George
Gershwin
through an “American” sound. But at
the end it returns to the cheerful views of
instrument of tango music. For Piazzolla,
Gershwin’s music represented the
starts playing a melody that sounds
typical of Piazzolla’s tangos. The fugue
admired, such as Igor Stravinsky and
Béla Bartók. Tangazo allows us to hear
170 concerts annually, making it the
largest performing arts organization
masterworks paired with the music of
today, significant artistic collaborations
world’s leading orchestras, including
the Vienna Philharmonic, Munich
13 An American in Paris (1928) 19. 58 expressed their intention to build a Jewish vs. a Catholic gang, under the time they had between writing the obtained a degree in Violin, Harmony Paris posed at the beginning of the work. soundscape of New York, while his own style developed in this section, although how Piazzolla combined these two in Houston. Additionally, musicians with composers and guest artists, and Philharmonic, and Leipzig Gewandhaus
an alliance (cultural, political, and potential title of East Side Story. orchestration and the premiere of the and Composition. In the case of Sensemayá (1938), Taking elements from both jazz and music reflected the ambience of Buenos not completely new in Piazzolla’s worlds of the classical and the popular. of the orchestra and the Symphony’s innovative use of multimedia and visual orchestras, the Mahler Chamber
Houston Symphony Total playing time: 65. 42 economic) between the North and the show. In accordance with this practice, Revueltas’s most performed work, classical music, An American in Paris The reception of the work after its Aires. compositions at this time, would later
Andrés Orozco-Estrada
four Community-Embedded Musicians effects. Orchestra, the Santa Cecilia Orchestra

Orozco-Estrada
South, which can be reduced to the the orchestration was done by Sid Ramin however, the key influences are not – subtitled “Tone poem for orchestra”– premiere was mixed. Gershwin’s piece become a trademark of his music. offer over 900 community-based in Rome, the Orchestre National
Andrés Andrés Orozco-Estrada Houston Symphony
© Werner Kmetitsch © Anthony Rathbun
English

Orchestra Second Violin Fay Shapiro Donald Howey Clarinet Horn Timpani Drum Set Acknowledgments
members Rebecca Reale, Daniel Strba Michael McMurray Mark Nuccio, Principal William VerMeulen, Principal Ronald Holdman, Brian Del Signore ^
Associate Principal Jarita Ng Andrew Pedersen +x^ Thomas LeGrand, Brian Thomas Principal +^* PRODUCTION TEAM Premium Sound
First Violin
Igor Yuzefovich,
Hitai Lee
Mihaela Frusina
Phyllis Herdliska
Flute
Associate Principal
Christian Schubert
Nancy Goodearl +^*
Ian Mayton +^* Percussion
Executive Producer Renaud Loranger | Producer Dirk Sobotka
Balance engineer Mark Donahue
and Outstanding
Guest Concertmaster +x^ Annie Chen Cello Aralee Dorough, Principal Jesse Clevenger +^* Brian Del Signore, Artists
Marc Rovetti, Jing Zheng Brinton Smith, Principal Matthew Roitstein, E-flat Clarinet Principal +x* Liner notes Vera Wolkowicz | Design Joost de Boo
Guest Concertmaster * Martha Chapman Christopher French, Associate Principal Thomas LeGrand +^ Trumpet Mark Griffith Product management Kasper van Kooten
Eric Halen, Tianjie Lu Associate Principal Judith Dines +^* Mark Hughes, Principal +^* Matthew Strauss
Co-Concertmaster Lisa Ji Eun Kim Anthony Kitai Kathryn Ladner x^ Bass Clarinet John Parker, Associate Terry McKinney This album was recorded at the Jesse H. Jones Hall for the Performing Arts, Houston, PENTATONE. Today’s music is evolving Together with our talented artists,
Qi Ming, Tina Zhang Jeffrey Butler Sasha Potiomkin +^* Principal +^* Lindsey Höhn +^ Texas in January and February 2017. and forever changing, but classical we take pride in our work, providing
Assistant Concertmaster Evgenia Zharzhavskaya Kevin Dvorak Piccolo Caroline Schafer +^* music remains true in creating harmony an impeccable means of experiencing
Marina Brubaker Jenna Barghouti Xiao Wong Kathryn Ladner +x^ Bassoon Charlie Geyer +^ Harp among the instruments. Classical music classical music. For all their diversity,
Tong Yan Jordan Koransky Myung Soon Lee Matthew Roitstein + Rian Craypo, Principal Megan Conley, Principal ^ is as time-honoured as it is timeless. our artists have one thing in common.
MiHee Chung Louis-Marie Fardet Eric Arbiter, Associate Trombone And so also should the experience be. They all put their heart and soul into
Sophia Silivos Viola Yewon Ahn Oboe Principal + Allen Barnhill, Principal +^* Keyboard We take listening to classical music the music, drawing on every last drop
Sit back and enjoy
Rodica Gonzalez Wayne Brooks, Principal Jonathan Fischer, Principal Elise Wagner Bradley White, Associate Scott Holshouser, Principal to a whole new level, using the best of creativity, skill, and determination
Ferenc Illenyi Joan DerHovsepian, Double Bass Colin Gatwood Principal +^* Key: technology to produce a high-quality to perfect their contribution.
Si-Yang Lao Associate Principal Robin Kesselman, Principal * Contrabassoon Phillip Freeman +^* Saxophone + = Revueltas recording, in whichever format it may
Kurt Johnson George Pascal, David Malone, Associate English Horn Micah Doherty +^ Nathan Nabb ^ X = Piazzolla come, in whichever format it may be Find out more:
Christopher Neal Assistant Principal Principal Adam Dinitz +^* Tuba Masahito Sugihara * ^ = Bernstein released. www.pentatonemusic.com
Sergei Galperin Wei Jiang Mark Shapiro Dave Kirk, Principal +^* Woody Witt * * = Gershwin PENTATONE TEAM
Anastasia Sukhopara Linda Goldstein Eric Larson Graham Tobin * Musicians with no symbols Vice President A&R Renaud Loranger | Director Simon M. Eder | A&R Manager
Andrés Orozco-Estrada
Katrina Bobbs Savitsky +x^ Sheldon Person Burke Shaw are featured on all pieces. Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo
© Dave Rosmann
 TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS MORE

Listening to “The Pan- ideal of “The Pan-American dream”. The The main style of the work reflects the and Irwin Kostal, though Bernstein was
American Dream” works that have been brought together characteristics of the gangs: a jazz- closely involved in the process.
here could be thought of as a humble blues ‘American’ idiom, and a more
Moving chronologically from George contribution towards that utopia. ‘Latin American’ Puerto Rican sound. The recording of this piece is being
Gershwin’s 1928 piece An American This Puerto Rican sound, however, was released at a very special moment,
in Paris, through Silvestre Revueltas’s Symphonic Dances from West Side not based exclusively on Puerto Rican since 2018 marks Leonard Bernstein’s
Sensemayá (1938) and Leonard Story (1961) – Leonard Bernstein genres, but in the Cuban mambo and centenary.
Bernstein’s Symphonic Dances from cha-cha, and the Mexican huapango.
West Side Story (1961), before concluding This piece comprises dances from the Thus, the sound of Puerto Rico is Sensemayá (1938) – Silvestre
with Ástor Piazzolla’s Tangazo from famous 1957 Broadway Show West actually the sound of the Caribbean Revueltas
the 1970, this recording brings together Side Story. A contemporary version Spanish-American region. Bernstein’s

←
composers from across the twentieth of William Shakespeare’s Romeo and own personal background also affected Mexican composer Silvestre Revueltas ←
century, all connected by their belonging Juliet set in New York in the 1950s, the the style of the music and, according (1899-1940) began his music education
to the Americas. Moreover, all of these musical presented two rivaling gangs: to some experts, traces of synagogue with violin lessons from the age of 6. In
composers reconfigured the barriers one American, the other Puerto Rican. music and Yiddish secular songs can be 1913 his father sent him to Mexico City
between classical and popular music, The story could well have been very heard. to study at the National Conservatory.
combining them to produce a sound different, had the authors (writer Arthur He continued his music studies at Saint
that illustrates their home region. Laurents, composer Leonard Bernstein The orchestration of Broadway shows Edward’s College in Austin (Texas), and
Throughout the twentieth century many and choreographer Jerome Robbins) was customarily entrusted to specialists, in 1918 moved to Chicago to study at
politicians, artists and intellectuals followed preliminary ideas to focus on particularly due to the reduced the Chicago Musical College, where he
expressed their intention to build a Jewish vs. a Catholic gang, under the time they had between writing the obtained a degree in Violin, Harmony
an alliance (cultural, political, and potential title of East Side Story. orchestration and the premiere of the and Composition.
economic) between the North and the show. In accordance with this practice,
South, which can be reduced to the the orchestration was done by Sid Ramin

English

BERNSTEIN GERSHWIN REVUELTAS PIAZZOLLA Silvestre Revueltas (1899-1940) Listening to “The Pan- ideal of “The Pan-American dream”. The The main style of the work reflects the and Irwin Kostal, though Bernstein was During the 1920s he organized several strictly Mexican, but Afro-Cuban. is Gershwin’s second-most famous was included in a fully classical program, His 1970 piece is not just a “tango” but Although Piazzolla is well-known as a Houston Symphony performances each year, reaching Born in Medellín, Colombia, Andrés de France, the Chicago Symphony
1 Sensemayá (1938) 6. 27 For this new recording of ‘Music of the Americas’ we decided American Dream” works that have been brought together characteristics of the gangs: a jazz- closely involved in the process. musical events in Mexico with other Based on a poem by Cuban writer composition. After his first symphonic consisting of César Franck’s Symphony a “tangazo” (grand tango). The title tango composer who revolutionized thousands of people in Greater began his musical studies on the violin Orchestra, Philadelphia Orchestra and
to feature four contrasting works - two of which are very here could be thought of as a humble blues ‘American’ idiom, and a more composers, such as Carlos Chávez Nicolás Guillén originally called work, Rhapsody in Blue, Gershwin in D minor, Guillaume Lekeu’s Adagio might be suggesting the leap from the the genre with his “Nuevo Tango” (New During the 2017-18 season, the Houston Houston. and started conducting at age 15. the Cleveland Orchestra. In addition
Leonard Bernstein (1918-1990) well known - Bernstein’s Symphonic Dances from West Side Moving chronologically from George contribution towards that utopia. ‘Latin American’ Puerto Rican sound. The recording of this piece is being (from whom he would distance himself Sensemayá o canto para matar una wrote An American in Paris, which for Strings and Richard Wagner’s Magic small ensemble – on which Piazzolla Tango), he was eager to be treated as a Symphony celebrates its fourth season At 19, he entered the Vienna Music to his post in Houston, Andrés is chief
Symphonic Dances from West Side Story (1961) Story and Gershwin’s An American in Paris. The other two Gershwin’s 1928 piece An American This Puerto Rican sound, however, was released at a very special moment, some years later) to present the works culebra (Sensemayá or song to kill a premiered at New York’s Carnegie Hall Fire Scene from Die Walküre. In this had been focused at the time – to a “serious” composer, that is, he wanted with Music Director Andrés Orozco- For more information, please visit Academy, where he studied with conductor of the Frankfurt Radio
2 Prologue 4. 39 works are perhaps much less familiar - these being Tangazo in Paris, through Silvestre Revueltas’s Symphonic Dances from West Side not based exclusively on Puerto Rican since 2018 marks Leonard Bernstein’s of contemporary composers such as snake), the composer starts building on 13 December 1928. This piece was context, Gershwin’s work was thought large-scale orchestral piece. Tangazo to transcend the realm of popular music. Estrada and continues its second www.houstonsymphony.org Uroš Lajovic (pupil of the legendary Symphony Orchestra and principal
3 Somewhere 4. 17 by the Argentinian composer Ástor Piazzolla and Sensemayá Sensemayá (1938) and Leonard Story (1961) – Leonard Bernstein genres, but in the Cuban mambo and centenary. Stravinsky, Schoenberg, and Varèse, up a juxtaposition of short rhythmical meant to illustrate the impressions of an too humorous in comparison with those was premiered in Washington D.C. by For this reason, he studied with classical century as one of America’s leading Hans Swarowsky), and completed his guest conductor of the London
4 Scherzo 1. 27 by the Mexican composer Silvestre Revueltas. In choosing Bernstein’s Symphonic Dances from cha-cha, and the Mexican huapango. as well as their own compositions. and melodic patterns that repeat American tourist strolling around Paris, of the European composers with which Argentine conductor Pedro Ignacio composers such as Nadia Boulanger, orchestras with a full complement degree with distinction conducting Philharmonic Orchestra.
5 Mambo 2. 28 these particular works, we have tried not to cover the entire West Side Story (1961), before concluding This piece comprises dances from the Thus, the sound of Puerto Rico is Sensemayá (1938) – Silvestre Revueltas’s political ideology made him and recombine throughout the piece, based on Gershwin’s own experience it was surrounded. Yet, Gershwin’s Calderón in February 1970. The European who was one of his most famous of concert, community, education, Andrés Orozco-Estrada the Vienna Radio Symphony Orchestra

Music of the 6 Cha-Cha

7 Meeting Scene
0. 58
0. 50
continent but rather to provide ‘impressions’ of America and to
‘illuminate’ as many colours in the music as possible.
with Ástor Piazzolla’s Tangazo from
the 1970, this recording brings together
famous 1957 Broadway Show West
Side Story. A contemporary version
actually the sound of the Caribbean
Spanish-American region. Bernstein’s
Revueltas close to the Soviet cause, advocating for
a Stalinist communism.
to reproduce a series of “primitive”
Afro-Cuban sounds with the harmonic
during his trips to the city throughout
the 1920s. Gershwin even incorporated
work came to be understood as a clear
example of American modern music.
premiere of Tangazo took place more
than ten years later in Antwerp in 1982,
teachers. Less well known, however,
is that in the 1940s Piazzolla studied
touring and recording activities. The
Houston Symphony, one of the oldest Houston Symphony Music Director
at the Musikverein. Andrés burst
on the international scene with
For more information, please visit
www.orozcoestrada.com

Americas 8 Cool
9 Fugue
0. 41
3. 01 The common denominator in all of these works is the rhythm
composers from across the twentieth
century, all connected by their belonging
of William Shakespeare’s Romeo and
Juliet set in New York in the 1950s, the
own personal background also affected
the style of the music and, according
Mexican composer Silvestre Revueltas
(1899-1940) began his music education Revueltas’s music can be labeled as both
“complexities” of European modern
techniques. The words of the poem
French taxi horns into the piece in order
to evoke the sounds of the city. The first Tangazo (1970) – Ástor Piazzolla
conducted by the Argentine Alicia
Farace.
composition with Argentine composer
Alberto Ginastera who – according to
performing arts organizations in
Texas, held its inaugural performance
Andrés Orozco-Estrada began his tenure
in the 2014–15 season. He immediately
two substitutions with the Vienna
Philharmonic Orchestra: the first, his
10 Rumble 1. 57 which is highly articulated, flexible and energised. These to the Americas. Moreover, all of these musical presented two rivaling gangs: to some experts, traces of synagogue with violin lessons from the age of 6. In nationalist and modernist. The composer resonate with these musical patterns, part of the work reflects the impressions Piazzolla expert Omar García Brunelli at The Majestic Theater in downtown established a dynamic presence on debut in 2010, standing in for Esa-

MUSIC of
Houston Symphony 11 Finale 3. 20 ‘American’ rhythms actually have their roots in Africa - composers reconfigured the barriers one American, the other Puerto Rican. music and Yiddish secular songs can be 1913 his father sent him to Mexico City usually combines native elements – not reaching a climax at the end that of the American visitor in Paris. In a During Ástor Piazzolla’s childhood The piece starts in a slow tempo, mainly – was his most important teacher. Houston June 21, 1913. Today, with the podium and a deep bond with the Pekka Salonen, and then in 2012,
Andrés Orozco-Estrada therefore the richness of this repertoire lies very much in its between classical and popular music, The story could well have been very heard. to study at the National Conservatory. those of colonial-period America, but reflects musically the “killing of the second section, the music slows down in New York, he used to play George led by the strings. At the opening of Studying with Ginastera allowed an annual operating budget of $33.9 musicians of the orchestra. Andrés substituting for Riccardo Muti at the
Ástor Piazzolla (1921-1992) connection to so many musical traditions. combining them to produce a sound different, had the authors (writer Arthur He continued his music studies at Saint ones that illustrate the pre-colonial snake”. into a sorrowful blues, as nostalgia and Gershwin’s music on the bandoneon, the second section (in a much faster Piazzolla to explore a more neoclassical million, the full-time ensemble of 88 carefully curates his programs to feature Musikverein. Orozco-Estrada now

AMERICAS
12 Tangazo (1970) 15. 16 that illustrates their home region. Laurents, composer Leonard Bernstein The orchestration of Broadway shows Edward’s College in Austin (Texas), and indigenous past – with avant-garde homesickness strike the tourist, reflected Piazzolla’s instrument, and the signature tempo than the previous one), the oboe style influenced by the composers he professional musicians presents nearly engaging combinations of classical regularly appears with many of the

the George Gershwin (1898-1937)

Andrés Orozco-Estrada Throughout the twentieth century many
politicians, artists and intellectuals
and choreographer Jerome Robbins)
followed preliminary ideas to focus on
was customarily entrusted to specialists,
particularly due to the reduced
in 1918 moved to Chicago to study at
the Chicago Musical College, where he
techniques, developing his own musical
discourse.
An American in Paris (1928) – George
Gershwin
through an “American” sound. But at
the end it returns to the cheerful views of
instrument of tango music. For Piazzolla,
Gershwin’s music represented the
starts playing a melody that sounds
typical of Piazzolla’s tangos. The fugue
admired, such as Igor Stravinsky and
Béla Bartók. Tangazo allows us to hear
170 concerts annually, making it the
largest performing arts organization
masterworks paired with the music of
today, significant artistic collaborations
world’s leading orchestras, including
the Vienna Philharmonic, Munich
13 An American in Paris (1928) 19. 58 expressed their intention to build a Jewish vs. a Catholic gang, under the time they had between writing the obtained a degree in Violin, Harmony Paris posed at the beginning of the work. soundscape of New York, while his own style developed in this section, although how Piazzolla combined these two in Houston. Additionally, musicians with composers and guest artists, and Philharmonic, and Leipzig Gewandhaus
an alliance (cultural, political, and potential title of East Side Story. orchestration and the premiere of the and Composition. In the case of Sensemayá (1938), Taking elements from both jazz and music reflected the ambience of Buenos not completely new in Piazzolla’s worlds of the classical and the popular. of the orchestra and the Symphony’s innovative use of multimedia and visual orchestras, the Mahler Chamber
Houston Symphony Total playing time: 65. 42 economic) between the North and the show. In accordance with this practice, Revueltas’s most performed work, classical music, An American in Paris The reception of the work after its Aires. compositions at this time, would later
Andrés Orozco-Estrada
four Community-Embedded Musicians effects. Orchestra, the Santa Cecilia Orchestra

Orozco-Estrada
South, which can be reduced to the the orchestration was done by Sid Ramin however, the key influences are not – subtitled “Tone poem for orchestra”– premiere was mixed. Gershwin’s piece become a trademark of his music. offer over 900 community-based in Rome, the Orchestre National
Andrés Andrés Orozco-Estrada Houston Symphony
© Werner Kmetitsch © Anthony Rathbun
English

Orchestra Second Violin Fay Shapiro Donald Howey Clarinet Horn Timpani Drum Set Acknowledgments
members Rebecca Reale, Daniel Strba Michael McMurray Mark Nuccio, Principal William VerMeulen, Principal Ronald Holdman, Brian Del Signore ^
Associate Principal Jarita Ng Andrew Pedersen +x^ Thomas LeGrand, Brian Thomas Principal +^* PRODUCTION TEAM Premium Sound
First Violin
Igor Yuzefovich,
Hitai Lee
Mihaela Frusina
Phyllis Herdliska
Flute
Associate Principal
Christian Schubert
Nancy Goodearl +^*
Ian Mayton +^* Percussion
Executive Producer Renaud Loranger | Producer Dirk Sobotka
Balance engineer Mark Donahue
and Outstanding
Guest Concertmaster +x^ Annie Chen Cello Aralee Dorough, Principal Jesse Clevenger +^* Brian Del Signore, Artists
Marc Rovetti, Jing Zheng Brinton Smith, Principal Matthew Roitstein, E-flat Clarinet Principal +x* Liner notes Vera Wolkowicz | Design Joost de Boo
Guest Concertmaster * Martha Chapman Christopher French, Associate Principal Thomas LeGrand +^ Trumpet Mark Griffith Product management Kasper van Kooten
Eric Halen, Tianjie Lu Associate Principal Judith Dines +^* Mark Hughes, Principal +^* Matthew Strauss
Co-Concertmaster Lisa Ji Eun Kim Anthony Kitai Kathryn Ladner x^ Bass Clarinet John Parker, Associate Terry McKinney This album was recorded at the Jesse H. Jones Hall for the Performing Arts, Houston, PENTATONE. Today’s music is evolving Together with our talented artists,
Qi Ming, Tina Zhang Jeffrey Butler Sasha Potiomkin +^* Principal +^* Lindsey Höhn +^ Texas in January and February 2017. and forever changing, but classical we take pride in our work, providing
Assistant Concertmaster Evgenia Zharzhavskaya Kevin Dvorak Piccolo Caroline Schafer +^* music remains true in creating harmony an impeccable means of experiencing
Marina Brubaker Jenna Barghouti Xiao Wong Kathryn Ladner +x^ Bassoon Charlie Geyer +^ Harp among the instruments. Classical music classical music. For all their diversity,
Tong Yan Jordan Koransky Myung Soon Lee Matthew Roitstein + Rian Craypo, Principal Megan Conley, Principal ^ is as time-honoured as it is timeless. our artists have one thing in common.
MiHee Chung Louis-Marie Fardet Eric Arbiter, Associate Trombone And so also should the experience be. They all put their heart and soul into
Sophia Silivos Viola Yewon Ahn Oboe Principal + Allen Barnhill, Principal +^* Keyboard We take listening to classical music the music, drawing on every last drop
Sit back and enjoy
Rodica Gonzalez Wayne Brooks, Principal Jonathan Fischer, Principal Elise Wagner Bradley White, Associate Scott Holshouser, Principal to a whole new level, using the best of creativity, skill, and determination
Ferenc Illenyi Joan DerHovsepian, Double Bass Colin Gatwood Principal +^* Key: technology to produce a high-quality to perfect their contribution.
Si-Yang Lao Associate Principal Robin Kesselman, Principal * Contrabassoon Phillip Freeman +^* Saxophone + = Revueltas recording, in whichever format it may
Kurt Johnson George Pascal, David Malone, Associate English Horn Micah Doherty +^ Nathan Nabb ^ X = Piazzolla come, in whichever format it may be Find out more:
Christopher Neal Assistant Principal Principal Adam Dinitz +^* Tuba Masahito Sugihara * ^ = Bernstein released. www.pentatonemusic.com
Sergei Galperin Wei Jiang Mark Shapiro Dave Kirk, Principal +^* Woody Witt * * = Gershwin PENTATONE TEAM
Anastasia Sukhopara Linda Goldstein Eric Larson Graham Tobin * Musicians with no symbols Vice President A&R Renaud Loranger | Director Simon M. Eder | A&R Manager
Andrés Orozco-Estrada
Katrina Bobbs Savitsky +x^ Sheldon Person Burke Shaw are featured on all pieces. Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo
© Dave Rosmann
 TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS MORE

During the 1920s he organized several strictly Mexican, but Afro-Cuban. is Gershwin’s second-most famous was included in a fully classical program,
musical events in Mexico with other Based on a poem by Cuban writer composition. After his first symphonic consisting of César Franck’s Symphony
composers, such as Carlos Chávez Nicolás Guillén originally called work, Rhapsody in Blue, Gershwin in D minor, Guillaume Lekeu’s Adagio
(from whom he would distance himself Sensemayá o canto para matar una wrote An American in Paris, which for Strings and Richard Wagner’s Magic
some years later) to present the works culebra (Sensemayá or song to kill a premiered at New York’s Carnegie Hall Fire Scene from Die Walküre. In this
of contemporary composers such as snake), the composer starts building on 13 December 1928. This piece was context, Gershwin’s work was thought
Stravinsky, Schoenberg, and Varèse, up a juxtaposition of short rhythmical meant to illustrate the impressions of an too humorous in comparison with those
as well as their own compositions. and melodic patterns that repeat American tourist strolling around Paris, of the European composers with which
Revueltas’s political ideology made him and recombine throughout the piece, based on Gershwin’s own experience it was surrounded. Yet, Gershwin’s
close to the Soviet cause, advocating for to reproduce a series of “primitive” during his trips to the city throughout work came to be understood as a clear
a Stalinist communism. Afro-Cuban sounds with the harmonic the 1920s. Gershwin even incorporated example of American modern music.

←
“complexities” of European modern French taxi horns into the piece in order ←
Revueltas’s music can be labeled as both techniques. The words of the poem to evoke the sounds of the city. The first Tangazo (1970) – Ástor Piazzolla
nationalist and modernist. The composer resonate with these musical patterns, part of the work reflects the impressions
usually combines native elements – not reaching a climax at the end that of the American visitor in Paris. In a During Ástor Piazzolla’s childhood
those of colonial-period America, but reflects musically the “killing of the second section, the music slows down in New York, he used to play George
ones that illustrate the pre-colonial snake”. into a sorrowful blues, as nostalgia and Gershwin’s music on the bandoneon,
indigenous past – with avant-garde homesickness strike the tourist, reflected Piazzolla’s instrument, and the signature
techniques, developing his own musical An American in Paris (1928) – George through an “American” sound. But at instrument of tango music. For Piazzolla,
discourse. Gershwin the end it returns to the cheerful views of Gershwin’s music represented the
Paris posed at the beginning of the work. soundscape of New York, while his own
In the case of Sensemayá (1938), Taking elements from both jazz and music reflected the ambience of Buenos
Revueltas’s most performed work, classical music, An American in Paris The reception of the work after its Aires.
however, the key influences are not – subtitled “Tone poem for orchestra”– premiere was mixed. Gershwin’s piece

BERNSTEIN GERSHWIN REVUELTAS PIAZZOLLA Silvestre Revueltas (1899-1940) Listening to “The Pan- ideal of “The Pan-American dream”. The The main style of the work reflects the and Irwin Kostal, though Bernstein was During the 1920s he organized several strictly Mexican, but Afro-Cuban. is Gershwin’s second-most famous was included in a fully classical program, His 1970 piece is not just a “tango” but Although Piazzolla is well-known as a Houston Symphony performances each year, reaching Born in Medellín, Colombia, Andrés de France, the Chicago Symphony
1 Sensemayá (1938) 6. 27 For this new recording of ‘Music of the Americas’ we decided American Dream” works that have been brought together characteristics of the gangs: a jazz- closely involved in the process. musical events in Mexico with other Based on a poem by Cuban writer composition. After his first symphonic consisting of César Franck’s Symphony a “tangazo” (grand tango). The title tango composer who revolutionized thousands of people in Greater began his musical studies on the violin Orchestra, Philadelphia Orchestra and
to feature four contrasting works - two of which are very here could be thought of as a humble blues ‘American’ idiom, and a more composers, such as Carlos Chávez Nicolás Guillén originally called work, Rhapsody in Blue, Gershwin in D minor, Guillaume Lekeu’s Adagio might be suggesting the leap from the the genre with his “Nuevo Tango” (New During the 2017-18 season, the Houston Houston. and started conducting at age 15. the Cleveland Orchestra. In addition
Leonard Bernstein (1918-1990) well known - Bernstein’s Symphonic Dances from West Side Moving chronologically from George contribution towards that utopia. ‘Latin American’ Puerto Rican sound. The recording of this piece is being (from whom he would distance himself Sensemayá o canto para matar una wrote An American in Paris, which for Strings and Richard Wagner’s Magic small ensemble – on which Piazzolla Tango), he was eager to be treated as a Symphony celebrates its fourth season At 19, he entered the Vienna Music to his post in Houston, Andrés is chief
Symphonic Dances from West Side Story (1961) Story and Gershwin’s An American in Paris. The other two Gershwin’s 1928 piece An American This Puerto Rican sound, however, was released at a very special moment, some years later) to present the works culebra (Sensemayá or song to kill a premiered at New York’s Carnegie Hall Fire Scene from Die Walküre. In this had been focused at the time – to a “serious” composer, that is, he wanted with Music Director Andrés Orozco- For more information, please visit Academy, where he studied with conductor of the Frankfurt Radio
2 Prologue 4. 39 works are perhaps much less familiar - these being Tangazo in Paris, through Silvestre Revueltas’s Symphonic Dances from West Side not based exclusively on Puerto Rican since 2018 marks Leonard Bernstein’s of contemporary composers such as snake), the composer starts building on 13 December 1928. This piece was context, Gershwin’s work was thought large-scale orchestral piece. Tangazo to transcend the realm of popular music. Estrada and continues its second www.houstonsymphony.org Uroš Lajovic (pupil of the legendary Symphony Orchestra and principal
3 Somewhere 4. 17 by the Argentinian composer Ástor Piazzolla and Sensemayá Sensemayá (1938) and Leonard Story (1961) – Leonard Bernstein genres, but in the Cuban mambo and centenary. Stravinsky, Schoenberg, and Varèse, up a juxtaposition of short rhythmical meant to illustrate the impressions of an too humorous in comparison with those was premiered in Washington D.C. by For this reason, he studied with classical century as one of America’s leading Hans Swarowsky), and completed his guest conductor of the London
4 Scherzo 1. 27 by the Mexican composer Silvestre Revueltas. In choosing Bernstein’s Symphonic Dances from cha-cha, and the Mexican huapango. as well as their own compositions. and melodic patterns that repeat American tourist strolling around Paris, of the European composers with which Argentine conductor Pedro Ignacio composers such as Nadia Boulanger, orchestras with a full complement degree with distinction conducting Philharmonic Orchestra.
5 Mambo 2. 28 these particular works, we have tried not to cover the entire West Side Story (1961), before concluding This piece comprises dances from the Thus, the sound of Puerto Rico is Sensemayá (1938) – Silvestre Revueltas’s political ideology made him and recombine throughout the piece, based on Gershwin’s own experience it was surrounded. Yet, Gershwin’s Calderón in February 1970. The European who was one of his most famous of concert, community, education, Andrés Orozco-Estrada the Vienna Radio Symphony Orchestra

Music of the 6 Cha-Cha

7 Meeting Scene
0. 58
0. 50
continent but rather to provide ‘impressions’ of America and to
‘illuminate’ as many colours in the music as possible.
with Ástor Piazzolla’s Tangazo from
the 1970, this recording brings together
famous 1957 Broadway Show West
Side Story. A contemporary version
actually the sound of the Caribbean
Spanish-American region. Bernstein’s
Revueltas close to the Soviet cause, advocating for
a Stalinist communism.
to reproduce a series of “primitive”
Afro-Cuban sounds with the harmonic
during his trips to the city throughout
the 1920s. Gershwin even incorporated
work came to be understood as a clear
example of American modern music.
premiere of Tangazo took place more
than ten years later in Antwerp in 1982,
teachers. Less well known, however,
is that in the 1940s Piazzolla studied
touring and recording activities. The
Houston Symphony, one of the oldest Houston Symphony Music Director
at the Musikverein. Andrés burst
on the international scene with
For more information, please visit
www.orozcoestrada.com

Americas 8 Cool
9 Fugue
0. 41
3. 01 The common denominator in all of these works is the rhythm
composers from across the twentieth
century, all connected by their belonging
of William Shakespeare’s Romeo and
Juliet set in New York in the 1950s, the
own personal background also affected
the style of the music and, according
Mexican composer Silvestre Revueltas
(1899-1940) began his music education Revueltas’s music can be labeled as both
“complexities” of European modern
techniques. The words of the poem
French taxi horns into the piece in order
to evoke the sounds of the city. The first Tangazo (1970) – Ástor Piazzolla
conducted by the Argentine Alicia
Farace.
composition with Argentine composer
Alberto Ginastera who – according to
performing arts organizations in
Texas, held its inaugural performance
Andrés Orozco-Estrada began his tenure
in the 2014–15 season. He immediately
two substitutions with the Vienna
Philharmonic Orchestra: the first, his
10 Rumble 1. 57 which is highly articulated, flexible and energised. These to the Americas. Moreover, all of these musical presented two rivaling gangs: to some experts, traces of synagogue with violin lessons from the age of 6. In nationalist and modernist. The composer resonate with these musical patterns, part of the work reflects the impressions Piazzolla expert Omar García Brunelli at The Majestic Theater in downtown established a dynamic presence on debut in 2010, standing in for Esa-

MUSIC of
Houston Symphony 11 Finale 3. 20 ‘American’ rhythms actually have their roots in Africa - composers reconfigured the barriers one American, the other Puerto Rican. music and Yiddish secular songs can be 1913 his father sent him to Mexico City usually combines native elements – not reaching a climax at the end that of the American visitor in Paris. In a During Ástor Piazzolla’s childhood The piece starts in a slow tempo, mainly – was his most important teacher. Houston June 21, 1913. Today, with the podium and a deep bond with the Pekka Salonen, and then in 2012,
Andrés Orozco-Estrada therefore the richness of this repertoire lies very much in its between classical and popular music, The story could well have been very heard. to study at the National Conservatory. those of colonial-period America, but reflects musically the “killing of the second section, the music slows down in New York, he used to play George led by the strings. At the opening of Studying with Ginastera allowed an annual operating budget of $33.9 musicians of the orchestra. Andrés substituting for Riccardo Muti at the
Ástor Piazzolla (1921-1992) connection to so many musical traditions. combining them to produce a sound different, had the authors (writer Arthur He continued his music studies at Saint ones that illustrate the pre-colonial snake”. into a sorrowful blues, as nostalgia and Gershwin’s music on the bandoneon, the second section (in a much faster Piazzolla to explore a more neoclassical million, the full-time ensemble of 88 carefully curates his programs to feature Musikverein. Orozco-Estrada now

AMERICAS
12 Tangazo (1970) 15. 16 that illustrates their home region. Laurents, composer Leonard Bernstein The orchestration of Broadway shows Edward’s College in Austin (Texas), and indigenous past – with avant-garde homesickness strike the tourist, reflected Piazzolla’s instrument, and the signature tempo than the previous one), the oboe style influenced by the composers he professional musicians presents nearly engaging combinations of classical regularly appears with many of the

the George Gershwin (1898-1937)

Andrés Orozco-Estrada Throughout the twentieth century many
politicians, artists and intellectuals
and choreographer Jerome Robbins)
followed preliminary ideas to focus on
was customarily entrusted to specialists,
particularly due to the reduced
in 1918 moved to Chicago to study at
the Chicago Musical College, where he
techniques, developing his own musical
discourse.
An American in Paris (1928) – George
Gershwin
through an “American” sound. But at
the end it returns to the cheerful views of
instrument of tango music. For Piazzolla,
Gershwin’s music represented the
starts playing a melody that sounds
typical of Piazzolla’s tangos. The fugue
admired, such as Igor Stravinsky and
Béla Bartók. Tangazo allows us to hear
170 concerts annually, making it the
largest performing arts organization
masterworks paired with the music of
today, significant artistic collaborations
world’s leading orchestras, including
the Vienna Philharmonic, Munich
13 An American in Paris (1928) 19. 58 expressed their intention to build a Jewish vs. a Catholic gang, under the time they had between writing the obtained a degree in Violin, Harmony Paris posed at the beginning of the work. soundscape of New York, while his own style developed in this section, although how Piazzolla combined these two in Houston. Additionally, musicians with composers and guest artists, and Philharmonic, and Leipzig Gewandhaus
an alliance (cultural, political, and potential title of East Side Story. orchestration and the premiere of the and Composition. In the case of Sensemayá (1938), Taking elements from both jazz and music reflected the ambience of Buenos not completely new in Piazzolla’s worlds of the classical and the popular. of the orchestra and the Symphony’s innovative use of multimedia and visual orchestras, the Mahler Chamber
Houston Symphony Total playing time: 65. 42 economic) between the North and the show. In accordance with this practice, Revueltas’s most performed work, classical music, An American in Paris The reception of the work after its Aires. compositions at this time, would later
Andrés Orozco-Estrada
four Community-Embedded Musicians effects. Orchestra, the Santa Cecilia Orchestra

Orozco-Estrada
South, which can be reduced to the the orchestration was done by Sid Ramin however, the key influences are not – subtitled “Tone poem for orchestra”– premiere was mixed. Gershwin’s piece become a trademark of his music. offer over 900 community-based in Rome, the Orchestre National
Andrés Andrés Orozco-Estrada Houston Symphony
© Werner Kmetitsch © Anthony Rathbun
English

Orchestra Second Violin Fay Shapiro Donald Howey Clarinet Horn Timpani Drum Set Acknowledgments
members Rebecca Reale, Daniel Strba Michael McMurray Mark Nuccio, Principal William VerMeulen, Principal Ronald Holdman, Brian Del Signore ^
Associate Principal Jarita Ng Andrew Pedersen +x^ Thomas LeGrand, Brian Thomas Principal +^* PRODUCTION TEAM Premium Sound
First Violin
Igor Yuzefovich,
Hitai Lee
Mihaela Frusina
Phyllis Herdliska
Flute
Associate Principal
Christian Schubert
Nancy Goodearl +^*
Ian Mayton +^* Percussion
Executive Producer Renaud Loranger | Producer Dirk Sobotka
Balance engineer Mark Donahue
and Outstanding
Guest Concertmaster +x^ Annie Chen Cello Aralee Dorough, Principal Jesse Clevenger +^* Brian Del Signore, Artists
Marc Rovetti, Jing Zheng Brinton Smith, Principal Matthew Roitstein, E-flat Clarinet Principal +x* Liner notes Vera Wolkowicz | Design Joost de Boo
Guest Concertmaster * Martha Chapman Christopher French, Associate Principal Thomas LeGrand +^ Trumpet Mark Griffith Product management Kasper van Kooten
Eric Halen, Tianjie Lu Associate Principal Judith Dines +^* Mark Hughes, Principal +^* Matthew Strauss
Co-Concertmaster Lisa Ji Eun Kim Anthony Kitai Kathryn Ladner x^ Bass Clarinet John Parker, Associate Terry McKinney This album was recorded at the Jesse H. Jones Hall for the Performing Arts, Houston, PENTATONE. Today’s music is evolving Together with our talented artists,
Qi Ming, Tina Zhang Jeffrey Butler Sasha Potiomkin +^* Principal +^* Lindsey Höhn +^ Texas in January and February 2017. and forever changing, but classical we take pride in our work, providing
Assistant Concertmaster Evgenia Zharzhavskaya Kevin Dvorak Piccolo Caroline Schafer +^* music remains true in creating harmony an impeccable means of experiencing
Marina Brubaker Jenna Barghouti Xiao Wong Kathryn Ladner +x^ Bassoon Charlie Geyer +^ Harp among the instruments. Classical music classical music. For all their diversity,
Tong Yan Jordan Koransky Myung Soon Lee Matthew Roitstein + Rian Craypo, Principal Megan Conley, Principal ^ is as time-honoured as it is timeless. our artists have one thing in common.
MiHee Chung Louis-Marie Fardet Eric Arbiter, Associate Trombone And so also should the experience be. They all put their heart and soul into
Sophia Silivos Viola Yewon Ahn Oboe Principal + Allen Barnhill, Principal +^* Keyboard We take listening to classical music the music, drawing on every last drop
Sit back and enjoy
Rodica Gonzalez Wayne Brooks, Principal Jonathan Fischer, Principal Elise Wagner Bradley White, Associate Scott Holshouser, Principal to a whole new level, using the best of creativity, skill, and determination
Ferenc Illenyi Joan DerHovsepian, Double Bass Colin Gatwood Principal +^* Key: technology to produce a high-quality to perfect their contribution.
Si-Yang Lao Associate Principal Robin Kesselman, Principal * Contrabassoon Phillip Freeman +^* Saxophone + = Revueltas recording, in whichever format it may
Kurt Johnson George Pascal, David Malone, Associate English Horn Micah Doherty +^ Nathan Nabb ^ X = Piazzolla come, in whichever format it may be Find out more:
Christopher Neal Assistant Principal Principal Adam Dinitz +^* Tuba Masahito Sugihara * ^ = Bernstein released. www.pentatonemusic.com
Sergei Galperin Wei Jiang Mark Shapiro Dave Kirk, Principal +^* Woody Witt * * = Gershwin PENTATONE TEAM
Anastasia Sukhopara Linda Goldstein Eric Larson Graham Tobin * Musicians with no symbols Vice President A&R Renaud Loranger | Director Simon M. Eder | A&R Manager
Andrés Orozco-Estrada
Katrina Bobbs Savitsky +x^ Sheldon Person Burke Shaw are featured on all pieces. Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo
© Dave Rosmann
 TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS MORE

His 1970 piece is not just a “tango” but Although Piazzolla is well-known as a
a “tangazo” (grand tango). The title tango composer who revolutionized
might be suggesting the leap from the the genre with his “Nuevo Tango” (New
small ensemble – on which Piazzolla Tango), he was eager to be treated as a
had been focused at the time – to a “serious” composer, that is, he wanted
large-scale orchestral piece. Tangazo to transcend the realm of popular music.
was premiered in Washington D.C. by For this reason, he studied with classical
Argentine conductor Pedro Ignacio composers such as Nadia Boulanger,
Calderón in February 1970. The European who was one of his most famous
premiere of Tangazo took place more teachers. Less well known, however,
than ten years later in Antwerp in 1982, is that in the 1940s Piazzolla studied

←
conducted by the Argentine Alicia composition with Argentine composer ←
Farace. Alberto Ginastera who – according to
Piazzolla expert Omar García Brunelli
The piece starts in a slow tempo, mainly – was his most important teacher.
led by the strings. At the opening of Studying with Ginastera allowed
the second section (in a much faster Piazzolla to explore a more neoclassical
tempo than the previous one), the oboe style influenced by the composers he
starts playing a melody that sounds admired, such as Igor Stravinsky and
typical of Piazzolla’s tangos. The fugue Béla Bartók. Tangazo allows us to hear
style developed in this section, although how Piazzolla combined these two
not completely new in Piazzolla’s worlds of the classical and the popular.
compositions at this time, would later
Andrés Orozco-Estrada
become a trademark of his music. Houston Symphony
© Anthony Rathbun

BERNSTEIN GERSHWIN REVUELTAS PIAZZOLLA Silvestre Revueltas (1899-1940) Listening to “The Pan- ideal of “The Pan-American dream”. The The main style of the work reflects the and Irwin Kostal, though Bernstein was During the 1920s he organized several strictly Mexican, but Afro-Cuban. is Gershwin’s second-most famous was included in a fully classical program, His 1970 piece is not just a “tango” but Although Piazzolla is well-known as a Houston Symphony performances each year, reaching Born in Medellín, Colombia, Andrés de France, the Chicago Symphony
1 Sensemayá (1938) 6. 27 For this new recording of ‘Music of the Americas’ we decided American Dream” works that have been brought together characteristics of the gangs: a jazz- closely involved in the process. musical events in Mexico with other Based on a poem by Cuban writer composition. After his first symphonic consisting of César Franck’s Symphony a “tangazo” (grand tango). The title tango composer who revolutionized thousands of people in Greater began his musical studies on the violin Orchestra, Philadelphia Orchestra and
to feature four contrasting works - two of which are very here could be thought of as a humble blues ‘American’ idiom, and a more composers, such as Carlos Chávez Nicolás Guillén originally called work, Rhapsody in Blue, Gershwin in D minor, Guillaume Lekeu’s Adagio might be suggesting the leap from the the genre with his “Nuevo Tango” (New During the 2017-18 season, the Houston Houston. and started conducting at age 15. the Cleveland Orchestra. In addition
Leonard Bernstein (1918-1990) well known - Bernstein’s Symphonic Dances from West Side Moving chronologically from George contribution towards that utopia. ‘Latin American’ Puerto Rican sound. The recording of this piece is being (from whom he would distance himself Sensemayá o canto para matar una wrote An American in Paris, which for Strings and Richard Wagner’s Magic small ensemble – on which Piazzolla Tango), he was eager to be treated as a Symphony celebrates its fourth season At 19, he entered the Vienna Music to his post in Houston, Andrés is chief
Symphonic Dances from West Side Story (1961) Story and Gershwin’s An American in Paris. The other two Gershwin’s 1928 piece An American This Puerto Rican sound, however, was released at a very special moment, some years later) to present the works culebra (Sensemayá or song to kill a premiered at New York’s Carnegie Hall Fire Scene from Die Walküre. In this had been focused at the time – to a “serious” composer, that is, he wanted with Music Director Andrés Orozco- For more information, please visit Academy, where he studied with conductor of the Frankfurt Radio
2 Prologue 4. 39 works are perhaps much less familiar - these being Tangazo in Paris, through Silvestre Revueltas’s Symphonic Dances from West Side not based exclusively on Puerto Rican since 2018 marks Leonard Bernstein’s of contemporary composers such as snake), the composer starts building on 13 December 1928. This piece was context, Gershwin’s work was thought large-scale orchestral piece. Tangazo to transcend the realm of popular music. Estrada and continues its second www.houstonsymphony.org Uroš Lajovic (pupil of the legendary Symphony Orchestra and principal
3 Somewhere 4. 17 by the Argentinian composer Ástor Piazzolla and Sensemayá Sensemayá (1938) and Leonard Story (1961) – Leonard Bernstein genres, but in the Cuban mambo and centenary. Stravinsky, Schoenberg, and Varèse, up a juxtaposition of short rhythmical meant to illustrate the impressions of an too humorous in comparison with those was premiered in Washington D.C. by For this reason, he studied with classical century as one of America’s leading Hans Swarowsky), and completed his guest conductor of the London
4 Scherzo 1. 27 by the Mexican composer Silvestre Revueltas. In choosing Bernstein’s Symphonic Dances from cha-cha, and the Mexican huapango. as well as their own compositions. and melodic patterns that repeat American tourist strolling around Paris, of the European composers with which Argentine conductor Pedro Ignacio composers such as Nadia Boulanger, orchestras with a full complement degree with distinction conducting Philharmonic Orchestra.
5 Mambo 2. 28 these particular works, we have tried not to cover the entire West Side Story (1961), before concluding This piece comprises dances from the Thus, the sound of Puerto Rico is Sensemayá (1938) – Silvestre Revueltas’s political ideology made him and recombine throughout the piece, based on Gershwin’s own experience it was surrounded. Yet, Gershwin’s Calderón in February 1970. The European who was one of his most famous of concert, community, education, Andrés Orozco-Estrada the Vienna Radio Symphony Orchestra

Music of the 6 Cha-Cha

7 Meeting Scene
0. 58
0. 50
continent but rather to provide ‘impressions’ of America and to
‘illuminate’ as many colours in the music as possible.
with Ástor Piazzolla’s Tangazo from
the 1970, this recording brings together
famous 1957 Broadway Show West
Side Story. A contemporary version
actually the sound of the Caribbean
Spanish-American region. Bernstein’s
Revueltas close to the Soviet cause, advocating for
a Stalinist communism.
to reproduce a series of “primitive”
Afro-Cuban sounds with the harmonic
during his trips to the city throughout
the 1920s. Gershwin even incorporated
work came to be understood as a clear
example of American modern music.
premiere of Tangazo took place more
than ten years later in Antwerp in 1982,
teachers. Less well known, however,
is that in the 1940s Piazzolla studied
touring and recording activities. The
Houston Symphony, one of the oldest Houston Symphony Music Director
at the Musikverein. Andrés burst
on the international scene with
For more information, please visit
www.orozcoestrada.com

Americas 8 Cool
9 Fugue
0. 41
3. 01 The common denominator in all of these works is the rhythm
composers from across the twentieth
century, all connected by their belonging
of William Shakespeare’s Romeo and
Juliet set in New York in the 1950s, the
own personal background also affected
the style of the music and, according
Mexican composer Silvestre Revueltas
(1899-1940) began his music education Revueltas’s music can be labeled as both
“complexities” of European modern
techniques. The words of the poem
French taxi horns into the piece in order
to evoke the sounds of the city. The first Tangazo (1970) – Ástor Piazzolla
conducted by the Argentine Alicia
Farace.
composition with Argentine composer
Alberto Ginastera who – according to
performing arts organizations in
Texas, held its inaugural performance
Andrés Orozco-Estrada began his tenure
in the 2014–15 season. He immediately
two substitutions with the Vienna
Philharmonic Orchestra: the first, his
10 Rumble 1. 57 which is highly articulated, flexible and energised. These to the Americas. Moreover, all of these musical presented two rivaling gangs: to some experts, traces of synagogue with violin lessons from the age of 6. In nationalist and modernist. The composer resonate with these musical patterns, part of the work reflects the impressions Piazzolla expert Omar García Brunelli at The Majestic Theater in downtown established a dynamic presence on debut in 2010, standing in for Esa-

MUSIC of
Houston Symphony 11 Finale 3. 20 ‘American’ rhythms actually have their roots in Africa - composers reconfigured the barriers one American, the other Puerto Rican. music and Yiddish secular songs can be 1913 his father sent him to Mexico City usually combines native elements – not reaching a climax at the end that of the American visitor in Paris. In a During Ástor Piazzolla’s childhood The piece starts in a slow tempo, mainly – was his most important teacher. Houston June 21, 1913. Today, with the podium and a deep bond with the Pekka Salonen, and then in 2012,
Andrés Orozco-Estrada therefore the richness of this repertoire lies very much in its between classical and popular music, The story could well have been very heard. to study at the National Conservatory. those of colonial-period America, but reflects musically the “killing of the second section, the music slows down in New York, he used to play George led by the strings. At the opening of Studying with Ginastera allowed an annual operating budget of $33.9 musicians of the orchestra. Andrés substituting for Riccardo Muti at the
Ástor Piazzolla (1921-1992) connection to so many musical traditions. combining them to produce a sound different, had the authors (writer Arthur He continued his music studies at Saint ones that illustrate the pre-colonial snake”. into a sorrowful blues, as nostalgia and Gershwin’s music on the bandoneon, the second section (in a much faster Piazzolla to explore a more neoclassical million, the full-time ensemble of 88 carefully curates his programs to feature Musikverein. Orozco-Estrada now

AMERICAS
12 Tangazo (1970) 15. 16 that illustrates their home region. Laurents, composer Leonard Bernstein The orchestration of Broadway shows Edward’s College in Austin (Texas), and indigenous past – with avant-garde homesickness strike the tourist, reflected Piazzolla’s instrument, and the signature tempo than the previous one), the oboe style influenced by the composers he professional musicians presents nearly engaging combinations of classical regularly appears with many of the

the George Gershwin (1898-1937)

Andrés Orozco-Estrada Throughout the twentieth century many
politicians, artists and intellectuals
and choreographer Jerome Robbins)
followed preliminary ideas to focus on
was customarily entrusted to specialists,
particularly due to the reduced
in 1918 moved to Chicago to study at
the Chicago Musical College, where he
techniques, developing his own musical
discourse.
An American in Paris (1928) – George
Gershwin
through an “American” sound. But at
the end it returns to the cheerful views of
instrument of tango music. For Piazzolla,
Gershwin’s music represented the
starts playing a melody that sounds
typical of Piazzolla’s tangos. The fugue
admired, such as Igor Stravinsky and
Béla Bartók. Tangazo allows us to hear
170 concerts annually, making it the
largest performing arts organization
masterworks paired with the music of
today, significant artistic collaborations
world’s leading orchestras, including
the Vienna Philharmonic, Munich
13 An American in Paris (1928) 19. 58 expressed their intention to build a Jewish vs. a Catholic gang, under the time they had between writing the obtained a degree in Violin, Harmony Paris posed at the beginning of the work. soundscape of New York, while his own style developed in this section, although how Piazzolla combined these two in Houston. Additionally, musicians with composers and guest artists, and Philharmonic, and Leipzig Gewandhaus
an alliance (cultural, political, and potential title of East Side Story. orchestration and the premiere of the and Composition. In the case of Sensemayá (1938), Taking elements from both jazz and music reflected the ambience of Buenos not completely new in Piazzolla’s worlds of the classical and the popular. of the orchestra and the Symphony’s innovative use of multimedia and visual orchestras, the Mahler Chamber
Houston Symphony Total playing time: 65. 42 economic) between the North and the show. In accordance with this practice, Revueltas’s most performed work, classical music, An American in Paris The reception of the work after its Aires. compositions at this time, would later
Andrés Orozco-Estrada
four Community-Embedded Musicians effects. Orchestra, the Santa Cecilia Orchestra

Orozco-Estrada
South, which can be reduced to the the orchestration was done by Sid Ramin however, the key influences are not – subtitled “Tone poem for orchestra”– premiere was mixed. Gershwin’s piece become a trademark of his music. offer over 900 community-based in Rome, the Orchestre National
Andrés Andrés Orozco-Estrada Houston Symphony
© Werner Kmetitsch © Anthony Rathbun
English

Orchestra Second Violin Fay Shapiro Donald Howey Clarinet Horn Timpani Drum Set Acknowledgments
members Rebecca Reale, Daniel Strba Michael McMurray Mark Nuccio, Principal William VerMeulen, Principal Ronald Holdman, Brian Del Signore ^
Associate Principal Jarita Ng Andrew Pedersen +x^ Thomas LeGrand, Brian Thomas Principal +^* PRODUCTION TEAM Premium Sound
First Violin
Igor Yuzefovich,
Hitai Lee
Mihaela Frusina
Phyllis Herdliska
Flute
Associate Principal
Christian Schubert
Nancy Goodearl +^*
Ian Mayton +^* Percussion
Executive Producer Renaud Loranger | Producer Dirk Sobotka
Balance engineer Mark Donahue
and Outstanding
Guest Concertmaster +x^ Annie Chen Cello Aralee Dorough, Principal Jesse Clevenger +^* Brian Del Signore, Artists
Marc Rovetti, Jing Zheng Brinton Smith, Principal Matthew Roitstein, E-flat Clarinet Principal +x* Liner notes Vera Wolkowicz | Design Joost de Boo
Guest Concertmaster * Martha Chapman Christopher French, Associate Principal Thomas LeGrand +^ Trumpet Mark Griffith Product management Kasper van Kooten
Eric Halen, Tianjie Lu Associate Principal Judith Dines +^* Mark Hughes, Principal +^* Matthew Strauss
Co-Concertmaster Lisa Ji Eun Kim Anthony Kitai Kathryn Ladner x^ Bass Clarinet John Parker, Associate Terry McKinney This album was recorded at the Jesse H. Jones Hall for the Performing Arts, Houston, PENTATONE. Today’s music is evolving Together with our talented artists,
Qi Ming, Tina Zhang Jeffrey Butler Sasha Potiomkin +^* Principal +^* Lindsey Höhn +^ Texas in January and February 2017. and forever changing, but classical we take pride in our work, providing
Assistant Concertmaster Evgenia Zharzhavskaya Kevin Dvorak Piccolo Caroline Schafer +^* music remains true in creating harmony an impeccable means of experiencing
Marina Brubaker Jenna Barghouti Xiao Wong Kathryn Ladner +x^ Bassoon Charlie Geyer +^ Harp among the instruments. Classical music classical music. For all their diversity,
Tong Yan Jordan Koransky Myung Soon Lee Matthew Roitstein + Rian Craypo, Principal Megan Conley, Principal ^ is as time-honoured as it is timeless. our artists have one thing in common.
MiHee Chung Louis-Marie Fardet Eric Arbiter, Associate Trombone And so also should the experience be. They all put their heart and soul into
Sophia Silivos Viola Yewon Ahn Oboe Principal + Allen Barnhill, Principal +^* Keyboard We take listening to classical music the music, drawing on every last drop
Sit back and enjoy
Rodica Gonzalez Wayne Brooks, Principal Jonathan Fischer, Principal Elise Wagner Bradley White, Associate Scott Holshouser, Principal to a whole new level, using the best of creativity, skill, and determination
Ferenc Illenyi Joan DerHovsepian, Double Bass Colin Gatwood Principal +^* Key: technology to produce a high-quality to perfect their contribution.
Si-Yang Lao Associate Principal Robin Kesselman, Principal * Contrabassoon Phillip Freeman +^* Saxophone + = Revueltas recording, in whichever format it may
Kurt Johnson George Pascal, David Malone, Associate English Horn Micah Doherty +^ Nathan Nabb ^ X = Piazzolla come, in whichever format it may be Find out more:
Christopher Neal Assistant Principal Principal Adam Dinitz +^* Tuba Masahito Sugihara * ^ = Bernstein released. www.pentatonemusic.com
Sergei Galperin Wei Jiang Mark Shapiro Dave Kirk, Principal +^* Woody Witt * * = Gershwin PENTATONE TEAM
Anastasia Sukhopara Linda Goldstein Eric Larson Graham Tobin * Musicians with no symbols Vice President A&R Renaud Loranger | Director Simon M. Eder | A&R Manager
Andrés Orozco-Estrada
Katrina Bobbs Savitsky +x^ Sheldon Person Burke Shaw are featured on all pieces. Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo
© Dave Rosmann
 TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS MORE

Houston Symphony performances each year, reaching Born in Medellín, Colombia, Andrés de France, the Chicago Symphony
thousands of people in Greater began his musical studies on the violin Orchestra, Philadelphia Orchestra and
During the 2017-18 season, the Houston Houston. and started conducting at age 15. the Cleveland Orchestra. In addition
Symphony celebrates its fourth season At 19, he entered the Vienna Music to his post in Houston, Andrés is chief
with Music Director Andrés Orozco- For more information, please visit Academy, where he studied with conductor of the Frankfurt Radio
Estrada and continues its second www.houstonsymphony.org Uroš Lajovic (pupil of the legendary Symphony Orchestra and principal
century as one of America’s leading Hans Swarowsky), and completed his guest conductor of the London
orchestras with a full complement degree with distinction conducting Philharmonic Orchestra.
of concert, community, education, Andrés Orozco-Estrada the Vienna Radio Symphony Orchestra
touring and recording activities. The at the Musikverein. Andrés burst For more information, please visit
Houston Symphony, one of the oldest Houston Symphony Music Director on the international scene with www.orozcoestrada.com

←
performing arts organizations in Andrés Orozco-Estrada began his tenure two substitutions with the Vienna ←
Texas, held its inaugural performance in the 2014–15 season. He immediately Philharmonic Orchestra: the first, his
at The Majestic Theater in downtown established a dynamic presence on debut in 2010, standing in for Esa-
Houston June 21, 1913. Today, with the podium and a deep bond with the Pekka Salonen, and then in 2012,
an annual operating budget of $33.9 musicians of the orchestra. Andrés substituting for Riccardo Muti at the
million, the full-time ensemble of 88 carefully curates his programs to feature Musikverein. Orozco-Estrada now
professional musicians presents nearly engaging combinations of classical regularly appears with many of the
170 concerts annually, making it the masterworks paired with the music of world’s leading orchestras, including
largest performing arts organization today, significant artistic collaborations the Vienna Philharmonic, Munich
in Houston. Additionally, musicians with composers and guest artists, and Philharmonic, and Leipzig Gewandhaus
of the orchestra and the Symphony’s innovative use of multimedia and visual orchestras, the Mahler Chamber
four Community-Embedded Musicians effects. Orchestra, the Santa Cecilia Orchestra
offer over 900 community-based in Rome, the Orchestre National

BERNSTEIN GERSHWIN REVUELTAS PIAZZOLLA Silvestre Revueltas (1899-1940) Listening to “The Pan- ideal of “The Pan-American dream”. The The main style of the work reflects the and Irwin Kostal, though Bernstein was During the 1920s he organized several strictly Mexican, but Afro-Cuban. is Gershwin’s second-most famous was included in a fully classical program, His 1970 piece is not just a “tango” but Although Piazzolla is well-known as a Houston Symphony performances each year, reaching Born in Medellín, Colombia, Andrés de France, the Chicago Symphony
1 Sensemayá (1938) 6. 27 For this new recording of ‘Music of the Americas’ we decided American Dream” works that have been brought together characteristics of the gangs: a jazz- closely involved in the process. musical events in Mexico with other Based on a poem by Cuban writer composition. After his first symphonic consisting of César Franck’s Symphony a “tangazo” (grand tango). The title tango composer who revolutionized thousands of people in Greater began his musical studies on the violin Orchestra, Philadelphia Orchestra and
to feature four contrasting works - two of which are very here could be thought of as a humble blues ‘American’ idiom, and a more composers, such as Carlos Chávez Nicolás Guillén originally called work, Rhapsody in Blue, Gershwin in D minor, Guillaume Lekeu’s Adagio might be suggesting the leap from the the genre with his “Nuevo Tango” (New During the 2017-18 season, the Houston Houston. and started conducting at age 15. the Cleveland Orchestra. In addition
Leonard Bernstein (1918-1990) well known - Bernstein’s Symphonic Dances from West Side Moving chronologically from George contribution towards that utopia. ‘Latin American’ Puerto Rican sound. The recording of this piece is being (from whom he would distance himself Sensemayá o canto para matar una wrote An American in Paris, which for Strings and Richard Wagner’s Magic small ensemble – on which Piazzolla Tango), he was eager to be treated as a Symphony celebrates its fourth season At 19, he entered the Vienna Music to his post in Houston, Andrés is chief
Symphonic Dances from West Side Story (1961) Story and Gershwin’s An American in Paris. The other two Gershwin’s 1928 piece An American This Puerto Rican sound, however, was released at a very special moment, some years later) to present the works culebra (Sensemayá or song to kill a premiered at New York’s Carnegie Hall Fire Scene from Die Walküre. In this had been focused at the time – to a “serious” composer, that is, he wanted with Music Director Andrés Orozco- For more information, please visit Academy, where he studied with conductor of the Frankfurt Radio
2 Prologue 4. 39 works are perhaps much less familiar - these being Tangazo in Paris, through Silvestre Revueltas’s Symphonic Dances from West Side not based exclusively on Puerto Rican since 2018 marks Leonard Bernstein’s of contemporary composers such as snake), the composer starts building on 13 December 1928. This piece was context, Gershwin’s work was thought large-scale orchestral piece. Tangazo to transcend the realm of popular music. Estrada and continues its second www.houstonsymphony.org Uroš Lajovic (pupil of the legendary Symphony Orchestra and principal
3 Somewhere 4. 17 by the Argentinian composer Ástor Piazzolla and Sensemayá Sensemayá (1938) and Leonard Story (1961) – Leonard Bernstein genres, but in the Cuban mambo and centenary. Stravinsky, Schoenberg, and Varèse, up a juxtaposition of short rhythmical meant to illustrate the impressions of an too humorous in comparison with those was premiered in Washington D.C. by For this reason, he studied with classical century as one of America’s leading Hans Swarowsky), and completed his guest conductor of the London
4 Scherzo 1. 27 by the Mexican composer Silvestre Revueltas. In choosing Bernstein’s Symphonic Dances from cha-cha, and the Mexican huapango. as well as their own compositions. and melodic patterns that repeat American tourist strolling around Paris, of the European composers with which Argentine conductor Pedro Ignacio composers such as Nadia Boulanger, orchestras with a full complement degree with distinction conducting Philharmonic Orchestra.
5 Mambo 2. 28 these particular works, we have tried not to cover the entire West Side Story (1961), before concluding This piece comprises dances from the Thus, the sound of Puerto Rico is Sensemayá (1938) – Silvestre Revueltas’s political ideology made him and recombine throughout the piece, based on Gershwin’s own experience it was surrounded. Yet, Gershwin’s Calderón in February 1970. The European who was one of his most famous of concert, community, education, Andrés Orozco-Estrada the Vienna Radio Symphony Orchestra

Music of the 6 Cha-Cha

7 Meeting Scene
0. 58
0. 50
continent but rather to provide ‘impressions’ of America and to
‘illuminate’ as many colours in the music as possible.
with Ástor Piazzolla’s Tangazo from
the 1970, this recording brings together
famous 1957 Broadway Show West
Side Story. A contemporary version
actually the sound of the Caribbean
Spanish-American region. Bernstein’s
Revueltas close to the Soviet cause, advocating for
a Stalinist communism.
to reproduce a series of “primitive”
Afro-Cuban sounds with the harmonic
during his trips to the city throughout
the 1920s. Gershwin even incorporated
work came to be understood as a clear
example of American modern music.
premiere of Tangazo took place more
than ten years later in Antwerp in 1982,
teachers. Less well known, however,
is that in the 1940s Piazzolla studied
touring and recording activities. The
Houston Symphony, one of the oldest Houston Symphony Music Director
at the Musikverein. Andrés burst
on the international scene with
For more information, please visit
www.orozcoestrada.com

Americas 8 Cool
9 Fugue
0. 41
3. 01 The common denominator in all of these works is the rhythm
composers from across the twentieth
century, all connected by their belonging
of William Shakespeare’s Romeo and
Juliet set in New York in the 1950s, the
own personal background also affected
the style of the music and, according
Mexican composer Silvestre Revueltas
(1899-1940) began his music education Revueltas’s music can be labeled as both
“complexities” of European modern
techniques. The words of the poem
French taxi horns into the piece in order
to evoke the sounds of the city. The first Tangazo (1970) – Ástor Piazzolla
conducted by the Argentine Alicia
Farace.
composition with Argentine composer
Alberto Ginastera who – according to
performing arts organizations in
Texas, held its inaugural performance
Andrés Orozco-Estrada began his tenure
in the 2014–15 season. He immediately
two substitutions with the Vienna
Philharmonic Orchestra: the first, his
10 Rumble 1. 57 which is highly articulated, flexible and energised. These to the Americas. Moreover, all of these musical presented two rivaling gangs: to some experts, traces of synagogue with violin lessons from the age of 6. In nationalist and modernist. The composer resonate with these musical patterns, part of the work reflects the impressions Piazzolla expert Omar García Brunelli at The Majestic Theater in downtown established a dynamic presence on debut in 2010, standing in for Esa-

MUSIC of
Houston Symphony 11 Finale 3. 20 ‘American’ rhythms actually have their roots in Africa - composers reconfigured the barriers one American, the other Puerto Rican. music and Yiddish secular songs can be 1913 his father sent him to Mexico City usually combines native elements – not reaching a climax at the end that of the American visitor in Paris. In a During Ástor Piazzolla’s childhood The piece starts in a slow tempo, mainly – was his most important teacher. Houston June 21, 1913. Today, with the podium and a deep bond with the Pekka Salonen, and then in 2012,
Andrés Orozco-Estrada therefore the richness of this repertoire lies very much in its between classical and popular music, The story could well have been very heard. to study at the National Conservatory. those of colonial-period America, but reflects musically the “killing of the second section, the music slows down in New York, he used to play George led by the strings. At the opening of Studying with Ginastera allowed an annual operating budget of $33.9 musicians of the orchestra. Andrés substituting for Riccardo Muti at the
Ástor Piazzolla (1921-1992) connection to so many musical traditions. combining them to produce a sound different, had the authors (writer Arthur He continued his music studies at Saint ones that illustrate the pre-colonial snake”. into a sorrowful blues, as nostalgia and Gershwin’s music on the bandoneon, the second section (in a much faster Piazzolla to explore a more neoclassical million, the full-time ensemble of 88 carefully curates his programs to feature Musikverein. Orozco-Estrada now

AMERICAS
12 Tangazo (1970) 15. 16 that illustrates their home region. Laurents, composer Leonard Bernstein The orchestration of Broadway shows Edward’s College in Austin (Texas), and indigenous past – with avant-garde homesickness strike the tourist, reflected Piazzolla’s instrument, and the signature tempo than the previous one), the oboe style influenced by the composers he professional musicians presents nearly engaging combinations of classical regularly appears with many of the

the George Gershwin (1898-1937)

Andrés Orozco-Estrada Throughout the twentieth century many
politicians, artists and intellectuals
and choreographer Jerome Robbins)
followed preliminary ideas to focus on
was customarily entrusted to specialists,
particularly due to the reduced
in 1918 moved to Chicago to study at
the Chicago Musical College, where he
techniques, developing his own musical
discourse.
An American in Paris (1928) – George
Gershwin
through an “American” sound. But at
the end it returns to the cheerful views of
instrument of tango music. For Piazzolla,
Gershwin’s music represented the
starts playing a melody that sounds
typical of Piazzolla’s tangos. The fugue
admired, such as Igor Stravinsky and
Béla Bartók. Tangazo allows us to hear
170 concerts annually, making it the
largest performing arts organization
masterworks paired with the music of
today, significant artistic collaborations
world’s leading orchestras, including
the Vienna Philharmonic, Munich
13 An American in Paris (1928) 19. 58 expressed their intention to build a Jewish vs. a Catholic gang, under the time they had between writing the obtained a degree in Violin, Harmony Paris posed at the beginning of the work. soundscape of New York, while his own style developed in this section, although how Piazzolla combined these two in Houston. Additionally, musicians with composers and guest artists, and Philharmonic, and Leipzig Gewandhaus
an alliance (cultural, political, and potential title of East Side Story. orchestration and the premiere of the and Composition. In the case of Sensemayá (1938), Taking elements from both jazz and music reflected the ambience of Buenos not completely new in Piazzolla’s worlds of the classical and the popular. of the orchestra and the Symphony’s innovative use of multimedia and visual orchestras, the Mahler Chamber
Houston Symphony Total playing time: 65. 42 economic) between the North and the show. In accordance with this practice, Revueltas’s most performed work, classical music, An American in Paris The reception of the work after its Aires. compositions at this time, would later
Andrés Orozco-Estrada
four Community-Embedded Musicians effects. Orchestra, the Santa Cecilia Orchestra

Orozco-Estrada
South, which can be reduced to the the orchestration was done by Sid Ramin however, the key influences are not – subtitled “Tone poem for orchestra”– premiere was mixed. Gershwin’s piece become a trademark of his music. offer over 900 community-based in Rome, the Orchestre National
Andrés Andrés Orozco-Estrada Houston Symphony
© Werner Kmetitsch © Anthony Rathbun
English

Orchestra Second Violin Fay Shapiro Donald Howey Clarinet Horn Timpani Drum Set Acknowledgments
members Rebecca Reale, Daniel Strba Michael McMurray Mark Nuccio, Principal William VerMeulen, Principal Ronald Holdman, Brian Del Signore ^
Associate Principal Jarita Ng Andrew Pedersen +x^ Thomas LeGrand, Brian Thomas Principal +^* PRODUCTION TEAM Premium Sound
First Violin
Igor Yuzefovich,
Hitai Lee
Mihaela Frusina
Phyllis Herdliska
Flute
Associate Principal
Christian Schubert
Nancy Goodearl +^*
Ian Mayton +^* Percussion
Executive Producer Renaud Loranger | Producer Dirk Sobotka
Balance engineer Mark Donahue
and Outstanding
Guest Concertmaster +x^ Annie Chen Cello Aralee Dorough, Principal Jesse Clevenger +^* Brian Del Signore, Artists
Marc Rovetti, Jing Zheng Brinton Smith, Principal Matthew Roitstein, E-flat Clarinet Principal +x* Liner notes Vera Wolkowicz | Design Joost de Boo
Guest Concertmaster * Martha Chapman Christopher French, Associate Principal Thomas LeGrand +^ Trumpet Mark Griffith Product management Kasper van Kooten
Eric Halen, Tianjie Lu Associate Principal Judith Dines +^* Mark Hughes, Principal +^* Matthew Strauss
Co-Concertmaster Lisa Ji Eun Kim Anthony Kitai Kathryn Ladner x^ Bass Clarinet John Parker, Associate Terry McKinney This album was recorded at the Jesse H. Jones Hall for the Performing Arts, Houston, PENTATONE. Today’s music is evolving Together with our talented artists,
Qi Ming, Tina Zhang Jeffrey Butler Sasha Potiomkin +^* Principal +^* Lindsey Höhn +^ Texas in January and February 2017. and forever changing, but classical we take pride in our work, providing
Assistant Concertmaster Evgenia Zharzhavskaya Kevin Dvorak Piccolo Caroline Schafer +^* music remains true in creating harmony an impeccable means of experiencing
Marina Brubaker Jenna Barghouti Xiao Wong Kathryn Ladner +x^ Bassoon Charlie Geyer +^ Harp among the instruments. Classical music classical music. For all their diversity,
Tong Yan Jordan Koransky Myung Soon Lee Matthew Roitstein + Rian Craypo, Principal Megan Conley, Principal ^ is as time-honoured as it is timeless. our artists have one thing in common.
MiHee Chung Louis-Marie Fardet Eric Arbiter, Associate Trombone And so also should the experience be. They all put their heart and soul into
Sophia Silivos Viola Yewon Ahn Oboe Principal + Allen Barnhill, Principal +^* Keyboard We take listening to classical music the music, drawing on every last drop
Sit back and enjoy
Rodica Gonzalez Wayne Brooks, Principal Jonathan Fischer, Principal Elise Wagner Bradley White, Associate Scott Holshouser, Principal to a whole new level, using the best of creativity, skill, and determination
Ferenc Illenyi Joan DerHovsepian, Double Bass Colin Gatwood Principal +^* Key: technology to produce a high-quality to perfect their contribution.
Si-Yang Lao Associate Principal Robin Kesselman, Principal * Contrabassoon Phillip Freeman +^* Saxophone + = Revueltas recording, in whichever format it may
Kurt Johnson George Pascal, David Malone, Associate English Horn Micah Doherty +^ Nathan Nabb ^ X = Piazzolla come, in whichever format it may be Find out more:
Christopher Neal Assistant Principal Principal Adam Dinitz +^* Tuba Masahito Sugihara * ^ = Bernstein released. www.pentatonemusic.com
Sergei Galperin Wei Jiang Mark Shapiro Dave Kirk, Principal +^* Woody Witt * * = Gershwin PENTATONE TEAM
Anastasia Sukhopara Linda Goldstein Eric Larson Graham Tobin * Musicians with no symbols Vice President A&R Renaud Loranger | Director Simon M. Eder | A&R Manager
Andrés Orozco-Estrada
Katrina Bobbs Savitsky +x^ Sheldon Person Burke Shaw are featured on all pieces. Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo
© Dave Rosmann
 TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS MORE

Orchestra Second Violin Fay Shapiro

members Rebecca Reale, Daniel Strba
Associate Principal Jarita Ng
First Violin Hitai Lee Phyllis Herdliska
Igor Yuzefovich, Mihaela Frusina
Guest Concertmaster +x^ Annie Chen Cello
Marc Rovetti, Jing Zheng Brinton Smith, Principal
Guest Concertmaster * Martha Chapman Christopher French,
Eric Halen, Tianjie Lu Associate Principal
Co-Concertmaster Lisa Ji Eun Kim Anthony Kitai
Qi Ming, Tina Zhang Jeffrey Butler

←
Assistant Concertmaster Evgenia Zharzhavskaya Kevin Dvorak ←
Marina Brubaker Jenna Barghouti Xiao Wong
Tong Yan Jordan Koransky Myung Soon Lee
MiHee Chung Louis-Marie Fardet
Sophia Silivos Viola Yewon Ahn
Rodica Gonzalez Wayne Brooks, Principal
Ferenc Illenyi Joan DerHovsepian, Double Bass
Si-Yang Lao Associate Principal Robin Kesselman, Principal *
Kurt Johnson George Pascal, David Malone, Associate
Christopher Neal Assistant Principal Principal
Sergei Galperin Wei Jiang Mark Shapiro
Anastasia Sukhopara Linda Goldstein Eric Larson
Katrina Bobbs Savitsky +x^ Sheldon Person Burke Shaw
Andrés Orozco-Estrada
© Dave Rosmann

BERNSTEIN GERSHWIN REVUELTAS PIAZZOLLA Silvestre Revueltas (1899-1940) Listening to “The Pan- ideal of “The Pan-American dream”. The The main style of the work reflects the and Irwin Kostal, though Bernstein was During the 1920s he organized several strictly Mexican, but Afro-Cuban. is Gershwin’s second-most famous was included in a fully classical program, His 1970 piece is not just a “tango” but Although Piazzolla is well-known as a Houston Symphony performances each year, reaching Born in Medellín, Colombia, Andrés de France, the Chicago Symphony
1 Sensemayá (1938) 6. 27 For this new recording of ‘Music of the Americas’ we decided American Dream” works that have been brought together characteristics of the gangs: a jazz- closely involved in the process. musical events in Mexico with other Based on a poem by Cuban writer composition. After his first symphonic consisting of César Franck’s Symphony a “tangazo” (grand tango). The title tango composer who revolutionized thousands of people in Greater began his musical studies on the violin Orchestra, Philadelphia Orchestra and
to feature four contrasting works - two of which are very here could be thought of as a humble blues ‘American’ idiom, and a more composers, such as Carlos Chávez Nicolás Guillén originally called work, Rhapsody in Blue, Gershwin in D minor, Guillaume Lekeu’s Adagio might be suggesting the leap from the the genre with his “Nuevo Tango” (New During the 2017-18 season, the Houston Houston. and started conducting at age 15. the Cleveland Orchestra. In addition
Leonard Bernstein (1918-1990) well known - Bernstein’s Symphonic Dances from West Side Moving chronologically from George contribution towards that utopia. ‘Latin American’ Puerto Rican sound. The recording of this piece is being (from whom he would distance himself Sensemayá o canto para matar una wrote An American in Paris, which for Strings and Richard Wagner’s Magic small ensemble – on which Piazzolla Tango), he was eager to be treated as a Symphony celebrates its fourth season At 19, he entered the Vienna Music to his post in Houston, Andrés is chief
Symphonic Dances from West Side Story (1961) Story and Gershwin’s An American in Paris. The other two Gershwin’s 1928 piece An American This Puerto Rican sound, however, was released at a very special moment, some years later) to present the works culebra (Sensemayá or song to kill a premiered at New York’s Carnegie Hall Fire Scene from Die Walküre. In this had been focused at the time – to a “serious” composer, that is, he wanted with Music Director Andrés Orozco- For more information, please visit Academy, where he studied with conductor of the Frankfurt Radio
2 Prologue 4. 39 works are perhaps much less familiar - these being Tangazo in Paris, through Silvestre Revueltas’s Symphonic Dances from West Side not based exclusively on Puerto Rican since 2018 marks Leonard Bernstein’s of contemporary composers such as snake), the composer starts building on 13 December 1928. This piece was context, Gershwin’s work was thought large-scale orchestral piece. Tangazo to transcend the realm of popular music. Estrada and continues its second www.houstonsymphony.org Uroš Lajovic (pupil of the legendary Symphony Orchestra and principal
3 Somewhere 4. 17 by the Argentinian composer Ástor Piazzolla and Sensemayá Sensemayá (1938) and Leonard Story (1961) – Leonard Bernstein genres, but in the Cuban mambo and centenary. Stravinsky, Schoenberg, and Varèse, up a juxtaposition of short rhythmical meant to illustrate the impressions of an too humorous in comparison with those was premiered in Washington D.C. by For this reason, he studied with classical century as one of America’s leading Hans Swarowsky), and completed his guest conductor of the London
4 Scherzo 1. 27 by the Mexican composer Silvestre Revueltas. In choosing Bernstein’s Symphonic Dances from cha-cha, and the Mexican huapango. as well as their own compositions. and melodic patterns that repeat American tourist strolling around Paris, of the European composers with which Argentine conductor Pedro Ignacio composers such as Nadia Boulanger, orchestras with a full complement degree with distinction conducting Philharmonic Orchestra.
5 Mambo 2. 28 these particular works, we have tried not to cover the entire West Side Story (1961), before concluding This piece comprises dances from the Thus, the sound of Puerto Rico is Sensemayá (1938) – Silvestre Revueltas’s political ideology made him and recombine throughout the piece, based on Gershwin’s own experience it was surrounded. Yet, Gershwin’s Calderón in February 1970. The European who was one of his most famous of concert, community, education, Andrés Orozco-Estrada the Vienna Radio Symphony Orchestra

Music of the 6 Cha-Cha

7 Meeting Scene
0. 58
0. 50
continent but rather to provide ‘impressions’ of America and to
‘illuminate’ as many colours in the music as possible.
with Ástor Piazzolla’s Tangazo from
the 1970, this recording brings together
famous 1957 Broadway Show West
Side Story. A contemporary version
actually the sound of the Caribbean
Spanish-American region. Bernstein’s
Revueltas close to the Soviet cause, advocating for
a Stalinist communism.
to reproduce a series of “primitive”
Afro-Cuban sounds with the harmonic
during his trips to the city throughout
the 1920s. Gershwin even incorporated
work came to be understood as a clear
example of American modern music.
premiere of Tangazo took place more
than ten years later in Antwerp in 1982,
teachers. Less well known, however,
is that in the 1940s Piazzolla studied
touring and recording activities. The
Houston Symphony, one of the oldest Houston Symphony Music Director
at the Musikverein. Andrés burst
on the international scene with
For more information, please visit
www.orozcoestrada.com

Americas 8 Cool
9 Fugue
0. 41
3. 01 The common denominator in all of these works is the rhythm
composers from across the twentieth
century, all connected by their belonging
of William Shakespeare’s Romeo and
Juliet set in New York in the 1950s, the
own personal background also affected
the style of the music and, according
Mexican composer Silvestre Revueltas
(1899-1940) began his music education Revueltas’s music can be labeled as both
“complexities” of European modern
techniques. The words of the poem
French taxi horns into the piece in order
to evoke the sounds of the city. The first Tangazo (1970) – Ástor Piazzolla
conducted by the Argentine Alicia
Farace.
composition with Argentine composer
Alberto Ginastera who – according to
performing arts organizations in
Texas, held its inaugural performance
Andrés Orozco-Estrada began his tenure
in the 2014–15 season. He immediately
two substitutions with the Vienna
Philharmonic Orchestra: the first, his
10 Rumble 1. 57 which is highly articulated, flexible and energised. These to the Americas. Moreover, all of these musical presented two rivaling gangs: to some experts, traces of synagogue with violin lessons from the age of 6. In nationalist and modernist. The composer resonate with these musical patterns, part of the work reflects the impressions Piazzolla expert Omar García Brunelli at The Majestic Theater in downtown established a dynamic presence on debut in 2010, standing in for Esa-

MUSIC of
Houston Symphony 11 Finale 3. 20 ‘American’ rhythms actually have their roots in Africa - composers reconfigured the barriers one American, the other Puerto Rican. music and Yiddish secular songs can be 1913 his father sent him to Mexico City usually combines native elements – not reaching a climax at the end that of the American visitor in Paris. In a During Ástor Piazzolla’s childhood The piece starts in a slow tempo, mainly – was his most important teacher. Houston June 21, 1913. Today, with the podium and a deep bond with the Pekka Salonen, and then in 2012,
Andrés Orozco-Estrada therefore the richness of this repertoire lies very much in its between classical and popular music, The story could well have been very heard. to study at the National Conservatory. those of colonial-period America, but reflects musically the “killing of the second section, the music slows down in New York, he used to play George led by the strings. At the opening of Studying with Ginastera allowed an annual operating budget of $33.9 musicians of the orchestra. Andrés substituting for Riccardo Muti at the
Ástor Piazzolla (1921-1992) connection to so many musical traditions. combining them to produce a sound different, had the authors (writer Arthur He continued his music studies at Saint ones that illustrate the pre-colonial snake”. into a sorrowful blues, as nostalgia and Gershwin’s music on the bandoneon, the second section (in a much faster Piazzolla to explore a more neoclassical million, the full-time ensemble of 88 carefully curates his programs to feature Musikverein. Orozco-Estrada now

AMERICAS
12 Tangazo (1970) 15. 16 that illustrates their home region. Laurents, composer Leonard Bernstein The orchestration of Broadway shows Edward’s College in Austin (Texas), and indigenous past – with avant-garde homesickness strike the tourist, reflected Piazzolla’s instrument, and the signature tempo than the previous one), the oboe style influenced by the composers he professional musicians presents nearly engaging combinations of classical regularly appears with many of the

the George Gershwin (1898-1937)

Andrés Orozco-Estrada Throughout the twentieth century many
politicians, artists and intellectuals
and choreographer Jerome Robbins)
followed preliminary ideas to focus on
was customarily entrusted to specialists,
particularly due to the reduced
in 1918 moved to Chicago to study at
the Chicago Musical College, where he
techniques, developing his own musical
discourse.
An American in Paris (1928) – George
Gershwin
through an “American” sound. But at
the end it returns to the cheerful views of
instrument of tango music. For Piazzolla,
Gershwin’s music represented the
starts playing a melody that sounds
typical of Piazzolla’s tangos. The fugue
admired, such as Igor Stravinsky and
Béla Bartók. Tangazo allows us to hear
170 concerts annually, making it the
largest performing arts organization
masterworks paired with the music of
today, significant artistic collaborations
world’s leading orchestras, including
the Vienna Philharmonic, Munich
13 An American in Paris (1928) 19. 58 expressed their intention to build a Jewish vs. a Catholic gang, under the time they had between writing the obtained a degree in Violin, Harmony Paris posed at the beginning of the work. soundscape of New York, while his own style developed in this section, although how Piazzolla combined these two in Houston. Additionally, musicians with composers and guest artists, and Philharmonic, and Leipzig Gewandhaus
an alliance (cultural, political, and potential title of East Side Story. orchestration and the premiere of the and Composition. In the case of Sensemayá (1938), Taking elements from both jazz and music reflected the ambience of Buenos not completely new in Piazzolla’s worlds of the classical and the popular. of the orchestra and the Symphony’s innovative use of multimedia and visual orchestras, the Mahler Chamber
Houston Symphony Total playing time: 65. 42 economic) between the North and the show. In accordance with this practice, Revueltas’s most performed work, classical music, An American in Paris The reception of the work after its Aires. compositions at this time, would later
Andrés Orozco-Estrada
four Community-Embedded Musicians effects. Orchestra, the Santa Cecilia Orchestra

Orozco-Estrada
South, which can be reduced to the the orchestration was done by Sid Ramin however, the key influences are not – subtitled “Tone poem for orchestra”– premiere was mixed. Gershwin’s piece become a trademark of his music. offer over 900 community-based in Rome, the Orchestre National
Andrés Andrés Orozco-Estrada Houston Symphony
© Werner Kmetitsch © Anthony Rathbun
English

Orchestra Second Violin Fay Shapiro Donald Howey Clarinet Horn Timpani Drum Set Acknowledgments
members Rebecca Reale, Daniel Strba Michael McMurray Mark Nuccio, Principal William VerMeulen, Principal Ronald Holdman, Brian Del Signore ^
Associate Principal Jarita Ng Andrew Pedersen +x^ Thomas LeGrand, Brian Thomas Principal +^* PRODUCTION TEAM Premium Sound
First Violin
Igor Yuzefovich,
Hitai Lee
Mihaela Frusina
Phyllis Herdliska
Flute
Associate Principal
Christian Schubert
Nancy Goodearl +^*
Ian Mayton +^* Percussion
Executive Producer Renaud Loranger | Producer Dirk Sobotka
Balance engineer Mark Donahue
and Outstanding
Guest Concertmaster +x^ Annie Chen Cello Aralee Dorough, Principal Jesse Clevenger +^* Brian Del Signore, Artists
Marc Rovetti, Jing Zheng Brinton Smith, Principal Matthew Roitstein, E-flat Clarinet Principal +x* Liner notes Vera Wolkowicz | Design Joost de Boo
Guest Concertmaster * Martha Chapman Christopher French, Associate Principal Thomas LeGrand +^ Trumpet Mark Griffith Product management Kasper van Kooten
Eric Halen, Tianjie Lu Associate Principal Judith Dines +^* Mark Hughes, Principal +^* Matthew Strauss
Co-Concertmaster Lisa Ji Eun Kim Anthony Kitai Kathryn Ladner x^ Bass Clarinet John Parker, Associate Terry McKinney This album was recorded at the Jesse H. Jones Hall for the Performing Arts, Houston, PENTATONE. Today’s music is evolving Together with our talented artists,
Qi Ming, Tina Zhang Jeffrey Butler Sasha Potiomkin +^* Principal +^* Lindsey Höhn +^ Texas in January and February 2017. and forever changing, but classical we take pride in our work, providing
Assistant Concertmaster Evgenia Zharzhavskaya Kevin Dvorak Piccolo Caroline Schafer +^* music remains true in creating harmony an impeccable means of experiencing
Marina Brubaker Jenna Barghouti Xiao Wong Kathryn Ladner +x^ Bassoon Charlie Geyer +^ Harp among the instruments. Classical music classical music. For all their diversity,
Tong Yan Jordan Koransky Myung Soon Lee Matthew Roitstein + Rian Craypo, Principal Megan Conley, Principal ^ is as time-honoured as it is timeless. our artists have one thing in common.
MiHee Chung Louis-Marie Fardet Eric Arbiter, Associate Trombone And so also should the experience be. They all put their heart and soul into
Sophia Silivos Viola Yewon Ahn Oboe Principal + Allen Barnhill, Principal +^* Keyboard We take listening to classical music the music, drawing on every last drop
Sit back and enjoy
Rodica Gonzalez Wayne Brooks, Principal Jonathan Fischer, Principal Elise Wagner Bradley White, Associate Scott Holshouser, Principal to a whole new level, using the best of creativity, skill, and determination
Ferenc Illenyi Joan DerHovsepian, Double Bass Colin Gatwood Principal +^* Key: technology to produce a high-quality to perfect their contribution.
Si-Yang Lao Associate Principal Robin Kesselman, Principal * Contrabassoon Phillip Freeman +^* Saxophone + = Revueltas recording, in whichever format it may
Kurt Johnson George Pascal, David Malone, Associate English Horn Micah Doherty +^ Nathan Nabb ^ X = Piazzolla come, in whichever format it may be Find out more:
Christopher Neal Assistant Principal Principal Adam Dinitz +^* Tuba Masahito Sugihara * ^ = Bernstein released. www.pentatonemusic.com
Sergei Galperin Wei Jiang Mark Shapiro Dave Kirk, Principal +^* Woody Witt * * = Gershwin PENTATONE TEAM
Anastasia Sukhopara Linda Goldstein Eric Larson Graham Tobin * Musicians with no symbols Vice President A&R Renaud Loranger | Director Simon M. Eder | A&R Manager
Andrés Orozco-Estrada
Katrina Bobbs Savitsky +x^ Sheldon Person Burke Shaw are featured on all pieces. Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo
© Dave Rosmann
 TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS MORE

Donald Howey Clarinet Horn Timpani Drum Set

Michael McMurray Mark Nuccio, Principal William VerMeulen, Principal Ronald Holdman, Brian Del Signore ^
Andrew Pedersen +x^ Thomas LeGrand, Brian Thomas Principal +^*
Associate Principal Nancy Goodearl +^*
Flute Christian Schubert Ian Mayton +^* Percussion
Aralee Dorough, Principal Jesse Clevenger +^* Brian Del Signore,
Matthew Roitstein, E-flat Clarinet Principal +x*
Associate Principal Thomas LeGrand +^ Trumpet Mark Griffith
Judith Dines +^* Mark Hughes, Principal +^* Matthew Strauss
Kathryn Ladner x^ Bass Clarinet John Parker, Associate Terry McKinney
Sasha Potiomkin +^* Principal +^* Lindsey Höhn +^

←
Piccolo Caroline Schafer +^* ←
Kathryn Ladner +x^ Bassoon Charlie Geyer +^ Harp
Matthew Roitstein + Rian Craypo, Principal Megan Conley, Principal ^
Eric Arbiter, Associate Trombone
Oboe Principal + Allen Barnhill, Principal +^* Keyboard
Jonathan Fischer, Principal Elise Wagner Bradley White, Associate Scott Holshouser, Principal
Colin Gatwood Principal +^* Key:
Contrabassoon Phillip Freeman +^* Saxophone + = Revueltas
English Horn Micah Doherty +^ Nathan Nabb ^ X = Piazzolla
Adam Dinitz +^* Tuba Masahito Sugihara * ^ = Bernstein
Dave Kirk, Principal +^* Woody Witt * * = Gershwin
Graham Tobin * Musicians with no symbols
are featured on all pieces.

BERNSTEIN GERSHWIN REVUELTAS PIAZZOLLA Silvestre Revueltas (1899-1940) Listening to “The Pan- ideal of “The Pan-American dream”. The The main style of the work reflects the and Irwin Kostal, though Bernstein was During the 1920s he organized several strictly Mexican, but Afro-Cuban. is Gershwin’s second-most famous was included in a fully classical program, His 1970 piece is not just a “tango” but Although Piazzolla is well-known as a Houston Symphony performances each year, reaching Born in Medellín, Colombia, Andrés de France, the Chicago Symphony
1 Sensemayá (1938) 6. 27 For this new recording of ‘Music of the Americas’ we decided American Dream” works that have been brought together characteristics of the gangs: a jazz- closely involved in the process. musical events in Mexico with other Based on a poem by Cuban writer composition. After his first symphonic consisting of César Franck’s Symphony a “tangazo” (grand tango). The title tango composer who revolutionized thousands of people in Greater began his musical studies on the violin Orchestra, Philadelphia Orchestra and
to feature four contrasting works - two of which are very here could be thought of as a humble blues ‘American’ idiom, and a more composers, such as Carlos Chávez Nicolás Guillén originally called work, Rhapsody in Blue, Gershwin in D minor, Guillaume Lekeu’s Adagio might be suggesting the leap from the the genre with his “Nuevo Tango” (New During the 2017-18 season, the Houston Houston. and started conducting at age 15. the Cleveland Orchestra. In addition
Leonard Bernstein (1918-1990) well known - Bernstein’s Symphonic Dances from West Side Moving chronologically from George contribution towards that utopia. ‘Latin American’ Puerto Rican sound. The recording of this piece is being (from whom he would distance himself Sensemayá o canto para matar una wrote An American in Paris, which for Strings and Richard Wagner’s Magic small ensemble – on which Piazzolla Tango), he was eager to be treated as a Symphony celebrates its fourth season At 19, he entered the Vienna Music to his post in Houston, Andrés is chief
Symphonic Dances from West Side Story (1961) Story and Gershwin’s An American in Paris. The other two Gershwin’s 1928 piece An American This Puerto Rican sound, however, was released at a very special moment, some years later) to present the works culebra (Sensemayá or song to kill a premiered at New York’s Carnegie Hall Fire Scene from Die Walküre. In this had been focused at the time – to a “serious” composer, that is, he wanted with Music Director Andrés Orozco- For more information, please visit Academy, where he studied with conductor of the Frankfurt Radio
2 Prologue 4. 39 works are perhaps much less familiar - these being Tangazo in Paris, through Silvestre Revueltas’s Symphonic Dances from West Side not based exclusively on Puerto Rican since 2018 marks Leonard Bernstein’s of contemporary composers such as snake), the composer starts building on 13 December 1928. This piece was context, Gershwin’s work was thought large-scale orchestral piece. Tangazo to transcend the realm of popular music. Estrada and continues its second www.houstonsymphony.org Uroš Lajovic (pupil of the legendary Symphony Orchestra and principal
3 Somewhere 4. 17 by the Argentinian composer Ástor Piazzolla and Sensemayá Sensemayá (1938) and Leonard Story (1961) – Leonard Bernstein genres, but in the Cuban mambo and centenary. Stravinsky, Schoenberg, and Varèse, up a juxtaposition of short rhythmical meant to illustrate the impressions of an too humorous in comparison with those was premiered in Washington D.C. by For this reason, he studied with classical century as one of America’s leading Hans Swarowsky), and completed his guest conductor of the London
4 Scherzo 1. 27 by the Mexican composer Silvestre Revueltas. In choosing Bernstein’s Symphonic Dances from cha-cha, and the Mexican huapango. as well as their own compositions. and melodic patterns that repeat American tourist strolling around Paris, of the European composers with which Argentine conductor Pedro Ignacio composers such as Nadia Boulanger, orchestras with a full complement degree with distinction conducting Philharmonic Orchestra.
5 Mambo 2. 28 these particular works, we have tried not to cover the entire West Side Story (1961), before concluding This piece comprises dances from the Thus, the sound of Puerto Rico is Sensemayá (1938) – Silvestre Revueltas’s political ideology made him and recombine throughout the piece, based on Gershwin’s own experience it was surrounded. Yet, Gershwin’s Calderón in February 1970. The European who was one of his most famous of concert, community, education, Andrés Orozco-Estrada the Vienna Radio Symphony Orchestra

Music of the 6 Cha-Cha

7 Meeting Scene
0. 58
0. 50
continent but rather to provide ‘impressions’ of America and to
‘illuminate’ as many colours in the music as possible.
with Ástor Piazzolla’s Tangazo from
the 1970, this recording brings together
famous 1957 Broadway Show West
Side Story. A contemporary version
actually the sound of the Caribbean
Spanish-American region. Bernstein’s
Revueltas close to the Soviet cause, advocating for
a Stalinist communism.
to reproduce a series of “primitive”
Afro-Cuban sounds with the harmonic
during his trips to the city throughout
the 1920s. Gershwin even incorporated
work came to be understood as a clear
example of American modern music.
premiere of Tangazo took place more
than ten years later in Antwerp in 1982,
teachers. Less well known, however,
is that in the 1940s Piazzolla studied
touring and recording activities. The
Houston Symphony, one of the oldest Houston Symphony Music Director
at the Musikverein. Andrés burst
on the international scene with
For more information, please visit
www.orozcoestrada.com

Americas 8 Cool
9 Fugue
0. 41
3. 01 The common denominator in all of these works is the rhythm
composers from across the twentieth
century, all connected by their belonging
of William Shakespeare’s Romeo and
Juliet set in New York in the 1950s, the
own personal background also affected
the style of the music and, according
Mexican composer Silvestre Revueltas
(1899-1940) began his music education Revueltas’s music can be labeled as both
“complexities” of European modern
techniques. The words of the poem
French taxi horns into the piece in order
to evoke the sounds of the city. The first Tangazo (1970) – Ástor Piazzolla
conducted by the Argentine Alicia
Farace.
composition with Argentine composer
Alberto Ginastera who – according to
performing arts organizations in
Texas, held its inaugural performance
Andrés Orozco-Estrada began his tenure
in the 2014–15 season. He immediately
two substitutions with the Vienna
Philharmonic Orchestra: the first, his
10 Rumble 1. 57 which is highly articulated, flexible and energised. These to the Americas. Moreover, all of these musical presented two rivaling gangs: to some experts, traces of synagogue with violin lessons from the age of 6. In nationalist and modernist. The composer resonate with these musical patterns, part of the work reflects the impressions Piazzolla expert Omar García Brunelli at The Majestic Theater in downtown established a dynamic presence on debut in 2010, standing in for Esa-

MUSIC of
Houston Symphony 11 Finale 3. 20 ‘American’ rhythms actually have their roots in Africa - composers reconfigured the barriers one American, the other Puerto Rican. music and Yiddish secular songs can be 1913 his father sent him to Mexico City usually combines native elements – not reaching a climax at the end that of the American visitor in Paris. In a During Ástor Piazzolla’s childhood The piece starts in a slow tempo, mainly – was his most important teacher. Houston June 21, 1913. Today, with the podium and a deep bond with the Pekka Salonen, and then in 2012,
Andrés Orozco-Estrada therefore the richness of this repertoire lies very much in its between classical and popular music, The story could well have been very heard. to study at the National Conservatory. those of colonial-period America, but reflects musically the “killing of the second section, the music slows down in New York, he used to play George led by the strings. At the opening of Studying with Ginastera allowed an annual operating budget of $33.9 musicians of the orchestra. Andrés substituting for Riccardo Muti at the
Ástor Piazzolla (1921-1992) connection to so many musical traditions. combining them to produce a sound different, had the authors (writer Arthur He continued his music studies at Saint ones that illustrate the pre-colonial snake”. into a sorrowful blues, as nostalgia and Gershwin’s music on the bandoneon, the second section (in a much faster Piazzolla to explore a more neoclassical million, the full-time ensemble of 88 carefully curates his programs to feature Musikverein. Orozco-Estrada now

AMERICAS
12 Tangazo (1970) 15. 16 that illustrates their home region. Laurents, composer Leonard Bernstein The orchestration of Broadway shows Edward’s College in Austin (Texas), and indigenous past – with avant-garde homesickness strike the tourist, reflected Piazzolla’s instrument, and the signature tempo than the previous one), the oboe style influenced by the composers he professional musicians presents nearly engaging combinations of classical regularly appears with many of the

the George Gershwin (1898-1937)

Andrés Orozco-Estrada Throughout the twentieth century many
politicians, artists and intellectuals
and choreographer Jerome Robbins)
followed preliminary ideas to focus on
was customarily entrusted to specialists,
particularly due to the reduced
in 1918 moved to Chicago to study at
the Chicago Musical College, where he
techniques, developing his own musical
discourse.
An American in Paris (1928) – George
Gershwin
through an “American” sound. But at
the end it returns to the cheerful views of
instrument of tango music. For Piazzolla,
Gershwin’s music represented the
starts playing a melody that sounds
typical of Piazzolla’s tangos. The fugue
admired, such as Igor Stravinsky and
Béla Bartók. Tangazo allows us to hear
170 concerts annually, making it the
largest performing arts organization
masterworks paired with the music of
today, significant artistic collaborations
world’s leading orchestras, including
the Vienna Philharmonic, Munich
13 An American in Paris (1928) 19. 58 expressed their intention to build a Jewish vs. a Catholic gang, under the time they had between writing the obtained a degree in Violin, Harmony Paris posed at the beginning of the work. soundscape of New York, while his own style developed in this section, although how Piazzolla combined these two in Houston. Additionally, musicians with composers and guest artists, and Philharmonic, and Leipzig Gewandhaus
an alliance (cultural, political, and potential title of East Side Story. orchestration and the premiere of the and Composition. In the case of Sensemayá (1938), Taking elements from both jazz and music reflected the ambience of Buenos not completely new in Piazzolla’s worlds of the classical and the popular. of the orchestra and the Symphony’s innovative use of multimedia and visual orchestras, the Mahler Chamber
Houston Symphony Total playing time: 65. 42 economic) between the North and the show. In accordance with this practice, Revueltas’s most performed work, classical music, An American in Paris The reception of the work after its Aires. compositions at this time, would later
Andrés Orozco-Estrada
four Community-Embedded Musicians effects. Orchestra, the Santa Cecilia Orchestra

Orozco-Estrada
South, which can be reduced to the the orchestration was done by Sid Ramin however, the key influences are not – subtitled “Tone poem for orchestra”– premiere was mixed. Gershwin’s piece become a trademark of his music. offer over 900 community-based in Rome, the Orchestre National
Andrés Andrés Orozco-Estrada Houston Symphony
© Werner Kmetitsch © Anthony Rathbun
English

Orchestra Second Violin Fay Shapiro Donald Howey Clarinet Horn Timpani Drum Set Acknowledgments
members Rebecca Reale, Daniel Strba Michael McMurray Mark Nuccio, Principal William VerMeulen, Principal Ronald Holdman, Brian Del Signore ^
Associate Principal Jarita Ng Andrew Pedersen +x^ Thomas LeGrand, Brian Thomas Principal +^* PRODUCTION TEAM Premium Sound
First Violin
Igor Yuzefovich,
Hitai Lee
Mihaela Frusina
Phyllis Herdliska
Flute
Associate Principal
Christian Schubert
Nancy Goodearl +^*
Ian Mayton +^* Percussion
Executive Producer Renaud Loranger | Producer Dirk Sobotka
Balance engineer Mark Donahue
and Outstanding
Guest Concertmaster +x^ Annie Chen Cello Aralee Dorough, Principal Jesse Clevenger +^* Brian Del Signore, Artists
Marc Rovetti, Jing Zheng Brinton Smith, Principal Matthew Roitstein, E-flat Clarinet Principal +x* Liner notes Vera Wolkowicz | Design Joost de Boo
Guest Concertmaster * Martha Chapman Christopher French, Associate Principal Thomas LeGrand +^ Trumpet Mark Griffith Product management Kasper van Kooten
Eric Halen, Tianjie Lu Associate Principal Judith Dines +^* Mark Hughes, Principal +^* Matthew Strauss
Co-Concertmaster Lisa Ji Eun Kim Anthony Kitai Kathryn Ladner x^ Bass Clarinet John Parker, Associate Terry McKinney This album was recorded at the Jesse H. Jones Hall for the Performing Arts, Houston, PENTATONE. Today’s music is evolving Together with our talented artists,
Qi Ming, Tina Zhang Jeffrey Butler Sasha Potiomkin +^* Principal +^* Lindsey Höhn +^ Texas in January and February 2017. and forever changing, but classical we take pride in our work, providing
Assistant Concertmaster Evgenia Zharzhavskaya Kevin Dvorak Piccolo Caroline Schafer +^* music remains true in creating harmony an impeccable means of experiencing
Marina Brubaker Jenna Barghouti Xiao Wong Kathryn Ladner +x^ Bassoon Charlie Geyer +^ Harp among the instruments. Classical music classical music. For all their diversity,
Tong Yan Jordan Koransky Myung Soon Lee Matthew Roitstein + Rian Craypo, Principal Megan Conley, Principal ^ is as time-honoured as it is timeless. our artists have one thing in common.
MiHee Chung Louis-Marie Fardet Eric Arbiter, Associate Trombone And so also should the experience be. They all put their heart and soul into
Sophia Silivos Viola Yewon Ahn Oboe Principal + Allen Barnhill, Principal +^* Keyboard We take listening to classical music the music, drawing on every last drop
Sit back and enjoy
Rodica Gonzalez Wayne Brooks, Principal Jonathan Fischer, Principal Elise Wagner Bradley White, Associate Scott Holshouser, Principal to a whole new level, using the best of creativity, skill, and determination
Ferenc Illenyi Joan DerHovsepian, Double Bass Colin Gatwood Principal +^* Key: technology to produce a high-quality to perfect their contribution.
Si-Yang Lao Associate Principal Robin Kesselman, Principal * Contrabassoon Phillip Freeman +^* Saxophone + = Revueltas recording, in whichever format it may
Kurt Johnson George Pascal, David Malone, Associate English Horn Micah Doherty +^ Nathan Nabb ^ X = Piazzolla come, in whichever format it may be Find out more:
Christopher Neal Assistant Principal Principal Adam Dinitz +^* Tuba Masahito Sugihara * ^ = Bernstein released. www.pentatonemusic.com
Sergei Galperin Wei Jiang Mark Shapiro Dave Kirk, Principal +^* Woody Witt * * = Gershwin PENTATONE TEAM
Anastasia Sukhopara Linda Goldstein Eric Larson Graham Tobin * Musicians with no symbols Vice President A&R Renaud Loranger | Director Simon M. Eder | A&R Manager
Andrés Orozco-Estrada
Katrina Bobbs Savitsky +x^ Sheldon Person Burke Shaw are featured on all pieces. Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo
© Dave Rosmann
 TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS MORE

Acknowledgments

PRODUCTION TEAM Premium Sound

Executive Producer Renaud Loranger | Producer Dirk Sobotka
Balance engineer Mark Donahue
and Outstanding
Artists
Liner notes Vera Wolkowicz | Design Joost de Boo
Product management Kasper van Kooten

This album was recorded at the Jesse H. Jones Hall for the Performing Arts, Houston, PENTATONE. Today’s music is evolving Together with our talented artists,
Texas in January and February 2017. and forever changing, but classical we take pride in our work, providing

←
music remains true in creating harmony an impeccable means of experiencing ←
among the instruments. Classical music classical music. For all their diversity,
is as time-honoured as it is timeless. our artists have one thing in common.
And so also should the experience be. They all put their heart and soul into
We take listening to classical music the music, drawing on every last drop
to a whole new level, using the best of creativity, skill, and determination
technology to produce a high-quality to perfect their contribution.
recording, in whichever format it may
come, in whichever format it may be Find out more:
released. www.pentatonemusic.com
PENTATONE TEAM
Vice President A&R Renaud Loranger | Director Simon M. Eder | A&R Manager
Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

BERNSTEIN GERSHWIN REVUELTAS PIAZZOLLA Silvestre Revueltas (1899-1940) Listening to “The Pan- ideal of “The Pan-American dream”. The The main style of the work reflects the and Irwin Kostal, though Bernstein was During the 1920s he organized several strictly Mexican, but Afro-Cuban. is Gershwin’s second-most famous was included in a fully classical program, His 1970 piece is not just a “tango” but Although Piazzolla is well-known as a Houston Symphony performances each year, reaching Born in Medellín, Colombia, Andrés de France, the Chicago Symphony
1 Sensemayá (1938) 6. 27 For this new recording of ‘Music of the Americas’ we decided American Dream” works that have been brought together characteristics of the gangs: a jazz- closely involved in the process. musical events in Mexico with other Based on a poem by Cuban writer composition. After his first symphonic consisting of César Franck’s Symphony a “tangazo” (grand tango). The title tango composer who revolutionized thousands of people in Greater began his musical studies on the violin Orchestra, Philadelphia Orchestra and
to feature four contrasting works - two of which are very here could be thought of as a humble blues ‘American’ idiom, and a more composers, such as Carlos Chávez Nicolás Guillén originally called work, Rhapsody in Blue, Gershwin in D minor, Guillaume Lekeu’s Adagio might be suggesting the leap from the the genre with his “Nuevo Tango” (New During the 2017-18 season, the Houston Houston. and started conducting at age 15. the Cleveland Orchestra. In addition
Leonard Bernstein (1918-1990) well known - Bernstein’s Symphonic Dances from West Side Moving chronologically from George contribution towards that utopia. ‘Latin American’ Puerto Rican sound. The recording of this piece is being (from whom he would distance himself Sensemayá o canto para matar una wrote An American in Paris, which for Strings and Richard Wagner’s Magic small ensemble – on which Piazzolla Tango), he was eager to be treated as a Symphony celebrates its fourth season At 19, he entered the Vienna Music to his post in Houston, Andrés is chief
Symphonic Dances from West Side Story (1961) Story and Gershwin’s An American in Paris. The other two Gershwin’s 1928 piece An American This Puerto Rican sound, however, was released at a very special moment, some years later) to present the works culebra (Sensemayá or song to kill a premiered at New York’s Carnegie Hall Fire Scene from Die Walküre. In this had been focused at the time – to a “serious” composer, that is, he wanted with Music Director Andrés Orozco- For more information, please visit Academy, where he studied with conductor of the Frankfurt Radio
2 Prologue 4. 39 works are perhaps much less familiar - these being Tangazo in Paris, through Silvestre Revueltas’s Symphonic Dances from West Side not based exclusively on Puerto Rican since 2018 marks Leonard Bernstein’s of contemporary composers such as snake), the composer starts building on 13 December 1928. This piece was context, Gershwin’s work was thought large-scale orchestral piece. Tangazo to transcend the realm of popular music. Estrada and continues its second www.houstonsymphony.org Uroš Lajovic (pupil of the legendary Symphony Orchestra and principal
3 Somewhere 4. 17 by the Argentinian composer Ástor Piazzolla and Sensemayá Sensemayá (1938) and Leonard Story (1961) – Leonard Bernstein genres, but in the Cuban mambo and centenary. Stravinsky, Schoenberg, and Varèse, up a juxtaposition of short rhythmical meant to illustrate the impressions of an too humorous in comparison with those was premiered in Washington D.C. by For this reason, he studied with classical century as one of America’s leading Hans Swarowsky), and completed his guest conductor of the London
4 Scherzo 1. 27 by the Mexican composer Silvestre Revueltas. In choosing Bernstein’s Symphonic Dances from cha-cha, and the Mexican huapango. as well as their own compositions. and melodic patterns that repeat American tourist strolling around Paris, of the European composers with which Argentine conductor Pedro Ignacio composers such as Nadia Boulanger, orchestras with a full complement degree with distinction conducting Philharmonic Orchestra.
5 Mambo 2. 28 these particular works, we have tried not to cover the entire West Side Story (1961), before concluding This piece comprises dances from the Thus, the sound of Puerto Rico is Sensemayá (1938) – Silvestre Revueltas’s political ideology made him and recombine throughout the piece, based on Gershwin’s own experience it was surrounded. Yet, Gershwin’s Calderón in February 1970. The European who was one of his most famous of concert, community, education, Andrés Orozco-Estrada the Vienna Radio Symphony Orchestra

Music of the 6 Cha-Cha

7 Meeting Scene
0. 58
0. 50
continent but rather to provide ‘impressions’ of America and to
‘illuminate’ as many colours in the music as possible.
with Ástor Piazzolla’s Tangazo from
the 1970, this recording brings together
famous 1957 Broadway Show West
Side Story. A contemporary version
actually the sound of the Caribbean
Spanish-American region. Bernstein’s
Revueltas close to the Soviet cause, advocating for
a Stalinist communism.
to reproduce a series of “primitive”
Afro-Cuban sounds with the harmonic
during his trips to the city throughout
the 1920s. Gershwin even incorporated
work came to be understood as a clear
example of American modern music.
premiere of Tangazo took place more
than ten years later in Antwerp in 1982,
teachers. Less well known, however,
is that in the 1940s Piazzolla studied
touring and recording activities. The
Houston Symphony, one of the oldest Houston Symphony Music Director
at the Musikverein. Andrés burst
on the international scene with
For more information, please visit
www.orozcoestrada.com

Americas 8 Cool
9 Fugue
0. 41
3. 01 The common denominator in all of these works is the rhythm
composers from across the twentieth
century, all connected by their belonging
of William Shakespeare’s Romeo and
Juliet set in New York in the 1950s, the
own personal background also affected
the style of the music and, according
Mexican composer Silvestre Revueltas
(1899-1940) began his music education Revueltas’s music can be labeled as both
“complexities” of European modern
techniques. The words of the poem
French taxi horns into the piece in order
to evoke the sounds of the city. The first Tangazo (1970) – Ástor Piazzolla
conducted by the Argentine Alicia
Farace.
composition with Argentine composer
Alberto Ginastera who – according to
performing arts organizations in
Texas, held its inaugural performance
Andrés Orozco-Estrada began his tenure
in the 2014–15 season. He immediately
two substitutions with the Vienna
Philharmonic Orchestra: the first, his
10 Rumble 1. 57 which is highly articulated, flexible and energised. These to the Americas. Moreover, all of these musical presented two rivaling gangs: to some experts, traces of synagogue with violin lessons from the age of 6. In nationalist and modernist. The composer resonate with these musical patterns, part of the work reflects the impressions Piazzolla expert Omar García Brunelli at The Majestic Theater in downtown established a dynamic presence on debut in 2010, standing in for Esa-

MUSIC of
Houston Symphony 11 Finale 3. 20 ‘American’ rhythms actually have their roots in Africa - composers reconfigured the barriers one American, the other Puerto Rican. music and Yiddish secular songs can be 1913 his father sent him to Mexico City usually combines native elements – not reaching a climax at the end that of the American visitor in Paris. In a During Ástor Piazzolla’s childhood The piece starts in a slow tempo, mainly – was his most important teacher. Houston June 21, 1913. Today, with the podium and a deep bond with the Pekka Salonen, and then in 2012,
Andrés Orozco-Estrada therefore the richness of this repertoire lies very much in its between classical and popular music, The story could well have been very heard. to study at the National Conservatory. those of colonial-period America, but reflects musically the “killing of the second section, the music slows down in New York, he used to play George led by the strings. At the opening of Studying with Ginastera allowed an annual operating budget of $33.9 musicians of the orchestra. Andrés substituting for Riccardo Muti at the
Ástor Piazzolla (1921-1992) connection to so many musical traditions. combining them to produce a sound different, had the authors (writer Arthur He continued his music studies at Saint ones that illustrate the pre-colonial snake”. into a sorrowful blues, as nostalgia and Gershwin’s music on the bandoneon, the second section (in a much faster Piazzolla to explore a more neoclassical million, the full-time ensemble of 88 carefully curates his programs to feature Musikverein. Orozco-Estrada now

AMERICAS
12 Tangazo (1970) 15. 16 that illustrates their home region. Laurents, composer Leonard Bernstein The orchestration of Broadway shows Edward’s College in Austin (Texas), and indigenous past – with avant-garde homesickness strike the tourist, reflected Piazzolla’s instrument, and the signature tempo than the previous one), the oboe style influenced by the composers he professional musicians presents nearly engaging combinations of classical regularly appears with many of the

the George Gershwin (1898-1937)

Andrés Orozco-Estrada Throughout the twentieth century many
politicians, artists and intellectuals
and choreographer Jerome Robbins)
followed preliminary ideas to focus on
was customarily entrusted to specialists,
particularly due to the reduced
in 1918 moved to Chicago to study at
the Chicago Musical College, where he
techniques, developing his own musical
discourse.
An American in Paris (1928) – George
Gershwin
through an “American” sound. But at
the end it returns to the cheerful views of
instrument of tango music. For Piazzolla,
Gershwin’s music represented the
starts playing a melody that sounds
typical of Piazzolla’s tangos. The fugue
admired, such as Igor Stravinsky and
Béla Bartók. Tangazo allows us to hear
170 concerts annually, making it the
largest performing arts organization
masterworks paired with the music of
today, significant artistic collaborations
world’s leading orchestras, including
the Vienna Philharmonic, Munich
13 An American in Paris (1928) 19. 58 expressed their intention to build a Jewish vs. a Catholic gang, under the time they had between writing the obtained a degree in Violin, Harmony Paris posed at the beginning of the work. soundscape of New York, while his own style developed in this section, although how Piazzolla combined these two in Houston. Additionally, musicians with composers and guest artists, and Philharmonic, and Leipzig Gewandhaus
an alliance (cultural, political, and potential title of East Side Story. orchestration and the premiere of the and Composition. In the case of Sensemayá (1938), Taking elements from both jazz and music reflected the ambience of Buenos not completely new in Piazzolla’s worlds of the classical and the popular. of the orchestra and the Symphony’s innovative use of multimedia and visual orchestras, the Mahler Chamber
Houston Symphony Total playing time: 65. 42 economic) between the North and the show. In accordance with this practice, Revueltas’s most performed work, classical music, An American in Paris The reception of the work after its Aires. compositions at this time, would later
Andrés Orozco-Estrada
four Community-Embedded Musicians effects. Orchestra, the Santa Cecilia Orchestra

Orozco-Estrada
South, which can be reduced to the the orchestration was done by Sid Ramin however, the key influences are not – subtitled “Tone poem for orchestra”– premiere was mixed. Gershwin’s piece become a trademark of his music. offer over 900 community-based in Rome, the Orchestre National
Andrés Andrés Orozco-Estrada Houston Symphony
© Werner Kmetitsch © Anthony Rathbun
English

Orchestra Second Violin Fay Shapiro Donald Howey Clarinet Horn Timpani Drum Set Acknowledgments
members Rebecca Reale, Daniel Strba Michael McMurray Mark Nuccio, Principal William VerMeulen, Principal Ronald Holdman, Brian Del Signore ^
Associate Principal Jarita Ng Andrew Pedersen +x^ Thomas LeGrand, Brian Thomas Principal +^* PRODUCTION TEAM Premium Sound
First Violin
Igor Yuzefovich,
Hitai Lee
Mihaela Frusina
Phyllis Herdliska
Flute
Associate Principal
Christian Schubert
Nancy Goodearl +^*
Ian Mayton +^* Percussion
Executive Producer Renaud Loranger | Producer Dirk Sobotka
Balance engineer Mark Donahue
and Outstanding
Guest Concertmaster +x^ Annie Chen Cello Aralee Dorough, Principal Jesse Clevenger +^* Brian Del Signore, Artists
Marc Rovetti, Jing Zheng Brinton Smith, Principal Matthew Roitstein, E-flat Clarinet Principal +x* Liner notes Vera Wolkowicz | Design Joost de Boo
Guest Concertmaster * Martha Chapman Christopher French, Associate Principal Thomas LeGrand +^ Trumpet Mark Griffith Product management Kasper van Kooten
Eric Halen, Tianjie Lu Associate Principal Judith Dines +^* Mark Hughes, Principal +^* Matthew Strauss
Co-Concertmaster Lisa Ji Eun Kim Anthony Kitai Kathryn Ladner x^ Bass Clarinet John Parker, Associate Terry McKinney This album was recorded at the Jesse H. Jones Hall for the Performing Arts, Houston, PENTATONE. Today’s music is evolving Together with our talented artists,
Qi Ming, Tina Zhang Jeffrey Butler Sasha Potiomkin +^* Principal +^* Lindsey Höhn +^ Texas in January and February 2017. and forever changing, but classical we take pride in our work, providing
Assistant Concertmaster Evgenia Zharzhavskaya Kevin Dvorak Piccolo Caroline Schafer +^* music remains true in creating harmony an impeccable means of experiencing
Marina Brubaker Jenna Barghouti Xiao Wong Kathryn Ladner +x^ Bassoon Charlie Geyer +^ Harp among the instruments. Classical music classical music. For all their diversity,
Tong Yan Jordan Koransky Myung Soon Lee Matthew Roitstein + Rian Craypo, Principal Megan Conley, Principal ^ is as time-honoured as it is timeless. our artists have one thing in common.
MiHee Chung Louis-Marie Fardet Eric Arbiter, Associate Trombone And so also should the experience be. They all put their heart and soul into
Sophia Silivos Viola Yewon Ahn Oboe Principal + Allen Barnhill, Principal +^* Keyboard We take listening to classical music the music, drawing on every last drop
Sit back and enjoy
Rodica Gonzalez Wayne Brooks, Principal Jonathan Fischer, Principal Elise Wagner Bradley White, Associate Scott Holshouser, Principal to a whole new level, using the best of creativity, skill, and determination
Ferenc Illenyi Joan DerHovsepian, Double Bass Colin Gatwood Principal +^* Key: technology to produce a high-quality to perfect their contribution.
Si-Yang Lao Associate Principal Robin Kesselman, Principal * Contrabassoon Phillip Freeman +^* Saxophone + = Revueltas recording, in whichever format it may
Kurt Johnson George Pascal, David Malone, Associate English Horn Micah Doherty +^ Nathan Nabb ^ X = Piazzolla come, in whichever format it may be Find out more:
Christopher Neal Assistant Principal Principal Adam Dinitz +^* Tuba Masahito Sugihara * ^ = Bernstein released. www.pentatonemusic.com
Sergei Galperin Wei Jiang Mark Shapiro Dave Kirk, Principal +^* Woody Witt * * = Gershwin PENTATONE TEAM
Anastasia Sukhopara Linda Goldstein Eric Larson Graham Tobin * Musicians with no symbols Vice President A&R Renaud Loranger | Director Simon M. Eder | A&R Manager
Andrés Orozco-Estrada
Katrina Bobbs Savitsky +x^ Sheldon Person Burke Shaw are featured on all pieces. Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo
© Dave Rosmann
 TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS MORE

Sit back and enjoy

BERNSTEIN GERSHWIN REVUELTAS PIAZZOLLA Silvestre Revueltas (1899-1940) Listening to “The Pan- ideal of “The Pan-American dream”. The The main style of the work reflects the and Irwin Kostal, though Bernstein was During the 1920s he organized several strictly Mexican, but Afro-Cuban. is Gershwin’s second-most famous was included in a fully classical program, His 1970 piece is not just a “tango” but Although Piazzolla is well-known as a Houston Symphony performances each year, reaching Born in Medellín, Colombia, Andrés de France, the Chicago Symphony
1 Sensemayá (1938) 6. 27 For this new recording of ‘Music of the Americas’ we decided American Dream” works that have been brought together characteristics of the gangs: a jazz- closely involved in the process. musical events in Mexico with other Based on a poem by Cuban writer composition. After his first symphonic consisting of César Franck’s Symphony a “tangazo” (grand tango). The title tango composer who revolutionized thousands of people in Greater began his musical studies on the violin Orchestra, Philadelphia Orchestra and
to feature four contrasting works - two of which are very here could be thought of as a humble blues ‘American’ idiom, and a more composers, such as Carlos Chávez Nicolás Guillén originally called work, Rhapsody in Blue, Gershwin in D minor, Guillaume Lekeu’s Adagio might be suggesting the leap from the the genre with his “Nuevo Tango” (New During the 2017-18 season, the Houston Houston. and started conducting at age 15. the Cleveland Orchestra. In addition
Leonard Bernstein (1918-1990) well known - Bernstein’s Symphonic Dances from West Side Moving chronologically from George contribution towards that utopia. ‘Latin American’ Puerto Rican sound. The recording of this piece is being (from whom he would distance himself Sensemayá o canto para matar una wrote An American in Paris, which for Strings and Richard Wagner’s Magic small ensemble – on which Piazzolla Tango), he was eager to be treated as a Symphony celebrates its fourth season At 19, he entered the Vienna Music to his post in Houston, Andrés is chief
Symphonic Dances from West Side Story (1961) Story and Gershwin’s An American in Paris. The other two Gershwin’s 1928 piece An American This Puerto Rican sound, however, was released at a very special moment, some years later) to present the works culebra (Sensemayá or song to kill a premiered at New York’s Carnegie Hall Fire Scene from Die Walküre. In this had been focused at the time – to a “serious” composer, that is, he wanted with Music Director Andrés Orozco- For more information, please visit Academy, where he studied with conductor of the Frankfurt Radio
2 Prologue 4. 39 works are perhaps much less familiar - these being Tangazo in Paris, through Silvestre Revueltas’s Symphonic Dances from West Side not based exclusively on Puerto Rican since 2018 marks Leonard Bernstein’s of contemporary composers such as snake), the composer starts building on 13 December 1928. This piece was context, Gershwin’s work was thought large-scale orchestral piece. Tangazo to transcend the realm of popular music. Estrada and continues its second www.houstonsymphony.org Uroš Lajovic (pupil of the legendary Symphony Orchestra and principal
3 Somewhere 4. 17 by the Argentinian composer Ástor Piazzolla and Sensemayá Sensemayá (1938) and Leonard Story (1961) – Leonard Bernstein genres, but in the Cuban mambo and centenary. Stravinsky, Schoenberg, and Varèse, up a juxtaposition of short rhythmical meant to illustrate the impressions of an too humorous in comparison with those was premiered in Washington D.C. by For this reason, he studied with classical century as one of America’s leading Hans Swarowsky), and completed his guest conductor of the London
4 Scherzo 1. 27 by the Mexican composer Silvestre Revueltas. In choosing Bernstein’s Symphonic Dances from cha-cha, and the Mexican huapango. as well as their own compositions. and melodic patterns that repeat American tourist strolling around Paris, of the European composers with which Argentine conductor Pedro Ignacio composers such as Nadia Boulanger, orchestras with a full complement degree with distinction conducting Philharmonic Orchestra.
5 Mambo 2. 28 these particular works, we have tried not to cover the entire West Side Story (1961), before concluding This piece comprises dances from the Thus, the sound of Puerto Rico is Sensemayá (1938) – Silvestre Revueltas’s political ideology made him and recombine throughout the piece, based on Gershwin’s own experience it was surrounded. Yet, Gershwin’s Calderón in February 1970. The European who was one of his most famous of concert, community, education, Andrés Orozco-Estrada the Vienna Radio Symphony Orchestra

Music of the 6 Cha-Cha

7 Meeting Scene
0. 58
0. 50
continent but rather to provide ‘impressions’ of America and to
‘illuminate’ as many colours in the music as possible.
with Ástor Piazzolla’s Tangazo from
the 1970, this recording brings together
famous 1957 Broadway Show West
Side Story. A contemporary version
actually the sound of the Caribbean
Spanish-American region. Bernstein’s
Revueltas close to the Soviet cause, advocating for
a Stalinist communism.
to reproduce a series of “primitive”
Afro-Cuban sounds with the harmonic
during his trips to the city throughout
the 1920s. Gershwin even incorporated
work came to be understood as a clear
example of American modern music.
premiere of Tangazo took place more
than ten years later in Antwerp in 1982,
teachers. Less well known, however,
is that in the 1940s Piazzolla studied
touring and recording activities. The
Houston Symphony, one of the oldest Houston Symphony Music Director
at the Musikverein. Andrés burst
on the international scene with
For more information, please visit
www.orozcoestrada.com

Americas 8 Cool
9 Fugue
0. 41
3. 01 The common denominator in all of these works is the rhythm
composers from across the twentieth
century, all connected by their belonging
of William Shakespeare’s Romeo and
Juliet set in New York in the 1950s, the
own personal background also affected
the style of the music and, according
Mexican composer Silvestre Revueltas
(1899-1940) began his music education Revueltas’s music can be labeled as both
“complexities” of European modern
techniques. The words of the poem
French taxi horns into the piece in order
to evoke the sounds of the city. The first Tangazo (1970) – Ástor Piazzolla
conducted by the Argentine Alicia
Farace.
composition with Argentine composer
Alberto Ginastera who – according to
performing arts organizations in
Texas, held its inaugural performance
Andrés Orozco-Estrada began his tenure
in the 2014–15 season. He immediately
two substitutions with the Vienna
Philharmonic Orchestra: the first, his
10 Rumble 1. 57 which is highly articulated, flexible and energised. These to the Americas. Moreover, all of these musical presented two rivaling gangs: to some experts, traces of synagogue with violin lessons from the age of 6. In nationalist and modernist. The composer resonate with these musical patterns, part of the work reflects the impressions Piazzolla expert Omar García Brunelli at The Majestic Theater in downtown established a dynamic presence on debut in 2010, standing in for Esa-

MUSIC of
Houston Symphony 11 Finale 3. 20 ‘American’ rhythms actually have their roots in Africa - composers reconfigured the barriers one American, the other Puerto Rican. music and Yiddish secular songs can be 1913 his father sent him to Mexico City usually combines native elements – not reaching a climax at the end that of the American visitor in Paris. In a During Ástor Piazzolla’s childhood The piece starts in a slow tempo, mainly – was his most important teacher. Houston June 21, 1913. Today, with the podium and a deep bond with the Pekka Salonen, and then in 2012,
Andrés Orozco-Estrada therefore the richness of this repertoire lies very much in its between classical and popular music, The story could well have been very heard. to study at the National Conservatory. those of colonial-period America, but reflects musically the “killing of the second section, the music slows down in New York, he used to play George led by the strings. At the opening of Studying with Ginastera allowed an annual operating budget of $33.9 musicians of the orchestra. Andrés substituting for Riccardo Muti at the
Ástor Piazzolla (1921-1992) connection to so many musical traditions. combining them to produce a sound different, had the authors (writer Arthur He continued his music studies at Saint ones that illustrate the pre-colonial snake”. into a sorrowful blues, as nostalgia and Gershwin’s music on the bandoneon, the second section (in a much faster Piazzolla to explore a more neoclassical million, the full-time ensemble of 88 carefully curates his programs to feature Musikverein. Orozco-Estrada now

AMERICAS
12 Tangazo (1970) 15. 16 that illustrates their home region. Laurents, composer Leonard Bernstein The orchestration of Broadway shows Edward’s College in Austin (Texas), and indigenous past – with avant-garde homesickness strike the tourist, reflected Piazzolla’s instrument, and the signature tempo than the previous one), the oboe style influenced by the composers he professional musicians presents nearly engaging combinations of classical regularly appears with many of the

the George Gershwin (1898-1937)

Andrés Orozco-Estrada Throughout the twentieth century many
politicians, artists and intellectuals
and choreographer Jerome Robbins)
followed preliminary ideas to focus on
was customarily entrusted to specialists,
particularly due to the reduced
in 1918 moved to Chicago to study at
the Chicago Musical College, where he
techniques, developing his own musical
discourse.
An American in Paris (1928) – George
Gershwin
through an “American” sound. But at
the end it returns to the cheerful views of
instrument of tango music. For Piazzolla,
Gershwin’s music represented the
starts playing a melody that sounds
typical of Piazzolla’s tangos. The fugue
admired, such as Igor Stravinsky and
Béla Bartók. Tangazo allows us to hear
170 concerts annually, making it the
largest performing arts organization
masterworks paired with the music of
today, significant artistic collaborations
world’s leading orchestras, including
the Vienna Philharmonic, Munich
13 An American in Paris (1928) 19. 58 expressed their intention to build a Jewish vs. a Catholic gang, under the time they had between writing the obtained a degree in Violin, Harmony Paris posed at the beginning of the work. soundscape of New York, while his own style developed in this section, although how Piazzolla combined these two in Houston. Additionally, musicians with composers and guest artists, and Philharmonic, and Leipzig Gewandhaus
an alliance (cultural, political, and potential title of East Side Story. orchestration and the premiere of the and Composition. In the case of Sensemayá (1938), Taking elements from both jazz and music reflected the ambience of Buenos not completely new in Piazzolla’s worlds of the classical and the popular. of the orchestra and the Symphony’s innovative use of multimedia and visual orchestras, the Mahler Chamber
Houston Symphony Total playing time: 65. 42 economic) between the North and the show. In accordance with this practice, Revueltas’s most performed work, classical music, An American in Paris The reception of the work after its Aires. compositions at this time, would later
Andrés Orozco-Estrada
four Community-Embedded Musicians effects. Orchestra, the Santa Cecilia Orchestra

Orozco-Estrada
South, which can be reduced to the the orchestration was done by Sid Ramin however, the key influences are not – subtitled “Tone poem for orchestra”– premiere was mixed. Gershwin’s piece become a trademark of his music. offer over 900 community-based in Rome, the Orchestre National
Andrés Andrés Orozco-Estrada Houston Symphony
© Werner Kmetitsch © Anthony Rathbun
English

Orchestra Second Violin Fay Shapiro Donald Howey Clarinet Horn Timpani Drum Set Acknowledgments
members Rebecca Reale, Daniel Strba Michael McMurray Mark Nuccio, Principal William VerMeulen, Principal Ronald Holdman, Brian Del Signore ^
Associate Principal Jarita Ng Andrew Pedersen +x^ Thomas LeGrand, Brian Thomas Principal +^* PRODUCTION TEAM Premium Sound
First Violin
Igor Yuzefovich,
Hitai Lee
Mihaela Frusina
Phyllis Herdliska
Flute
Associate Principal
Christian Schubert
Nancy Goodearl +^*
Ian Mayton +^* Percussion
Executive Producer Renaud Loranger | Producer Dirk Sobotka
Balance engineer Mark Donahue
and Outstanding
Guest Concertmaster +x^ Annie Chen Cello Aralee Dorough, Principal Jesse Clevenger +^* Brian Del Signore, Artists
Marc Rovetti, Jing Zheng Brinton Smith, Principal Matthew Roitstein, E-flat Clarinet Principal +x* Liner notes Vera Wolkowicz | Design Joost de Boo
Guest Concertmaster * Martha Chapman Christopher French, Associate Principal Thomas LeGrand +^ Trumpet Mark Griffith Product management Kasper van Kooten
Eric Halen, Tianjie Lu Associate Principal Judith Dines +^* Mark Hughes, Principal +^* Matthew Strauss
Co-Concertmaster Lisa Ji Eun Kim Anthony Kitai Kathryn Ladner x^ Bass Clarinet John Parker, Associate Terry McKinney This album was recorded at the Jesse H. Jones Hall for the Performing Arts, Houston, PENTATONE. Today’s music is evolving Together with our talented artists,
Qi Ming, Tina Zhang Jeffrey Butler Sasha Potiomkin +^* Principal +^* Lindsey Höhn +^ Texas in January and February 2017. and forever changing, but classical we take pride in our work, providing
Assistant Concertmaster Evgenia Zharzhavskaya Kevin Dvorak Piccolo Caroline Schafer +^* music remains true in creating harmony an impeccable means of experiencing
Marina Brubaker Jenna Barghouti Xiao Wong Kathryn Ladner +x^ Bassoon Charlie Geyer +^ Harp among the instruments. Classical music classical music. For all their diversity,
Tong Yan Jordan Koransky Myung Soon Lee Matthew Roitstein + Rian Craypo, Principal Megan Conley, Principal ^ is as time-honoured as it is timeless. our artists have one thing in common.
MiHee Chung Louis-Marie Fardet Eric Arbiter, Associate Trombone And so also should the experience be. They all put their heart and soul into
Sophia Silivos Viola Yewon Ahn Oboe Principal + Allen Barnhill, Principal +^* Keyboard We take listening to classical music the music, drawing on every last drop
Sit back and enjoy
Rodica Gonzalez Wayne Brooks, Principal Jonathan Fischer, Principal Elise Wagner Bradley White, Associate Scott Holshouser, Principal to a whole new level, using the best of creativity, skill, and determination
Ferenc Illenyi Joan DerHovsepian, Double Bass Colin Gatwood Principal +^* Key: technology to produce a high-quality to perfect their contribution.
Si-Yang Lao Associate Principal Robin Kesselman, Principal * Contrabassoon Phillip Freeman +^* Saxophone + = Revueltas recording, in whichever format it may
Kurt Johnson George Pascal, David Malone, Associate English Horn Micah Doherty +^ Nathan Nabb ^ X = Piazzolla come, in whichever format it may be Find out more:
Christopher Neal Assistant Principal Principal Adam Dinitz +^* Tuba Masahito Sugihara * ^ = Bernstein released. www.pentatonemusic.com
Sergei Galperin Wei Jiang Mark Shapiro Dave Kirk, Principal +^* Woody Witt * * = Gershwin PENTATONE TEAM
Anastasia Sukhopara Linda Goldstein Eric Larson Graham Tobin * Musicians with no symbols Vice President A&R Renaud Loranger | Director Simon M. Eder | A&R Manager
Andrés Orozco-Estrada
Katrina Bobbs Savitsky +x^ Sheldon Person Burke Shaw are featured on all pieces. Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo
© Dave Rosmann
 TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS MORE

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