ALEJANDRO
VEGA
&
Gabriela
Iznardo

 LES GUITARES SAVENT AUSSI DANSER · EVEN GUITARS CAN DANCE

presented by , Havana Sky guitar duo on tour with JM Canada.

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Marcelo Coronel est un guitariste et compositeur né en 1962 à Buenos Aires, en Argentine, et vivant aujourd’hui à Rosario. Sa Milongarrugada, littéralement «milonga ridée», fait référence à une danse et à un genre musical traditionnels populaires à la fin du XIXe siècle dans les faubourgs de Buenos Aires et de Montevideo, considérée comme une des sources principales du tango argentin. Sous la plume de Coronel, cette milonga voit se succéder plusieurs thèmes mélodiques d’une grande mélancolie. Guitariste et compositeur canadien, William Beauvais a écrit la pièce Amado pour le duo Havana Sky. On y retrouve des inflexions jazz teintées de musique brésilienne. Né à São Paulo en 1950, Paulo Bellinati a connu une grande renommée grâce à sa pièce Jongo, qui existe dans de nombreuses versions – celle pour deux guitares date de 1989. Le titre fait référence à une danse traditionnelle d’origine afro-brésilienne, communément accompagnée par des tambours. Né en 1952 à Mococa, près de São Paulo, Sergio Assad a arrangé un grand corpus d’œuvres pour deux guitares, des grands noms de la musique latino-américaine aux maîtres occidentaux du baroque à aujourd’hui, mais il a également apporté sa contribution personnelle à ce répertoire, en témoignent les Tres Cenas Brasileiras datant de 1984. Le Brésil a également vu s’épanouir l’œuvre du compositeur Radamés Gnattali (1906-1988), à mi-chemin entre tradition savante occidentale et racines brésiliennes. Il a nommé chaque mouvement de sa suite Retratos en l’honneur de maîtres de la musique brésilienne, notamment le compositeur Anacleto de Medeiros (1866-1907) et Chiquinha Gonzaga (1847-1935), pianiste et première femme cheffe d’orchestre au pays. Néstor Torres est un flûtiste de jazz né en 1957 à Porto Rico. Sa pièce Cafe cubano, originellement écrite pour flûte et section rythmique de jazz, distille une mélodie légère et ensoleillée sur des rythmes typiquement cubains. « Inga» est un chant traditionnel issu des groupes ethniques afro-péruviens, généralement accompagné de danses lors de cérémonies festives dont les origines remontent au XVIIe siècle. Jaime Llano Gonzalez (1932-2017) est un organiste colombien qui a contribué à faire rayonner la musique populaire de son pays sur la scène internationale. Il a notamment popularisé la composition Aires de mi tierra de son compatriote Gustavo Gómez Ardila (1913-2006), qui consiste en un pasillo, genre musical et danse particulièrement populaire en Colombie et en Équateur. La chanson Moliendo café d’Hugo Blanco (1940-2015) a elle aussi fait le tour du monde depuis son premier enregistrement en 1958. Avec ses accents mélancoliques, elle raconte la tristesse amoureuse de Manuel qui passe ses nuits à moudre du café inlassablement dans une plantation. NOTES DE PROGRAMME par Benjamin Goron Les traditions musicales d’Amérique latine sont issues de l’hybridation de trois grandes sources musicales : les musiques des peuples amérindiens, celles des colons venus d’Europe et celles des Afrodescendants. Couleurs, rythmes, mélodies, instruments et même danses provenant de ces trois sources se sont métissés pendant 500 ans, si bien que l’on regroupe sous le terme de «musique latine» des styles et des genres très différents d’une région à l’autre. Première preuve de cette nécessaire hybridation, la guitare présente lors de ce concert a été apportée par les colons espagnols en Amérique latine; les peuples amérindiens ne possédaient pas d’instruments de musique à cordes. La popularité de la guitare baroque espagnole a été telle qu’elle s’est ensuite déclinée en une multitude d’instruments régionaux. On retrouve notamment le charango au Pérou, le quirquincho en Bolivie, le tiple (prononcer tiplé) en Colombie et au Chili, le cavaquinho au Brésil, le tres à Cuba ou encore le guitarrón au Mexique et en Argentine. Le programme de ce soir couvre l’ensemble du territoire de l’Amérique latine, de Cuba à l’Argentine en passant par le Mexique, la Colombie, le Pérou ou encore le Brésil. Reflet de cette tradition musicale hybride, les œuvres au répertoire donnent à entendre des langages influencés par la guitare classique occidentale tout en nous plongeant dans le riche folklore latin, entre tango, choro, milonga et jongo, où musique et danse sont toujours intimement liées. Eduardo Martín est un compositeur et guitariste cubain né en 1956. Son œuvre témoigne de son profond attachement à sa ville natale de La Havane, dont il capte les rythmes et les sons à sa manière. Hasta Alicia Baila fait référence à la danseuse étoile Alicia Alonso, décédée en 2019, fondatrice du Ballet national de Cuba, tandis que Sones y Flores pourrait inviter à une promenade mélodique, rythmée et fleurie dans les rues de la capitale cubaine. La llorona, littéralement « la pleureuse», est une musique traditionnelle inspirée d’un personnage légendaire, une femme qui a noyé ou perdu ses enfants et hante les berges des rivières ou des lacs pendant la nuit. On rencontre des récits de fantômes hantant le bord des cours d’eau dans de nombreuses cultures précolombiennes, et l’une des interprétations de la légende est rattachée à la déesse aztèque Cihuacoatl, qui longe les rivières pour annoncer le désastre de la conquête espagnole à venir. Adrien Politi est un guitariste et compositeur argentin qui vit en France depuis 1986. Son Tango Duo date de 2006. À travers quatre mouvements aux atmosphères contrastées, on retrouve la vibrante nostalgie et les rythmes caractéristiques du tango. LES GUITARES SAVENT AUSSI DANSER 10 / 11 LES GUITARES SAVENT AUSSI DANSER · EVEN GUITARS CAN DANCE sources of Argentine tango. Under Coronel’s pen, this milonga is a succession of several highly melancholic, melodic themes. Canadian guitarist and composer William Beauvais wrote the piece Amado for the Havana Sky duo. We can hear its jazz inflections tinged with Brazilian music. Born in São Paulo in 1950, Paulo Bellinati became famous for his piece Jongo, which exists in many versions, the one for two guitars dating from 1989. The title refers to a traditional Afro-Brazilian dance, commonly accompanied by drums. Sergio Assad, born in 1952 in Mococa, near São Paulo, has arranged a large body of work for two guitars, including works by the great names in Latin American and Western music, from the Baroque to today. He has also added his personal contribution to this repertoire with Tres Cenas Brasileiras in 1984. Brazil has also seen the work of the composer Radamés Gnattali (1906-1988) flourish, combining the Western scholarly tradition with Brazilian roots. He named each movement of his suite Retratos after Brazilian music masters, including composer Anacleto de Medeiros (1866-1907) and Chiquinha Gonzaga (1847-1935), a pianist and the country’s first female conductor. Néstor Torres is a jazz flutist born in 1957 in Puerto Rico. His piece Cafe cubano, originally written for flute and jazz rhythm section, distills a light and sunny melody into typically Cuban rhythms. “Inga” is a traditional song from Afro-Peruvian ethnic groups, usually accompanied by dances during festive ceremonies, whose origins date back to the 17th century. Jaime Llano Gonzalez (1932-2017) was a Colombian organist who helped bring his country’s popular music to the international stage. In particular, he popularized the composition Aires de mi tierra by his compatriot Gustavo Gómez Ardila (1913-2006), which consists of a pasillo, a musical genre and dance particularly popular in Colombia and Ecuador. The song Moliendo café by Hugo Blanco (1940-2015) has also been around the world since it was first recorded in 1958. With its melancholic accents, it tells of the sadness of Manuel’s love as he spends tireless nights grinding coffee at a plantation. PROGRAM NOTES by Benjamin Goron Latin America’s musical traditions are the result of the hybridization of three major musical sources: the music of Indigenous peoples, that of European settlers and that of Afro-descendants. Colours, rhythms, melodies, instruments and even dances from these three sources have intermingled for 500 years, so that the term “Latin music” has come to encompass styles and genres that differ greatly from one region to another. The first proof of this necessary hybridization is the guitar present at this concert, which was brought to Latin America by the Spanish colonists; the Indigenous peoples did not possess stringed musical instruments. The popularity of the Spanish baroque guitar gave rise to a multitude of regional instruments. The charango in Peru, the quirquincho in Bolivia, the tiple (pronounced tiplay) in Colombia and Chile, the cavaquinho in Brazil, the tres in Cuba, and the guitarrón in Mexico and Argentina are just a few examples. Tonight’s programme covers the whole of Latin America, from Cuba to Argentina, through Mexico, Colombia, Peru and Brazil. Reflecting this hybrid musical tradition, the works in the programme invite us to hear musical languages influenced by the Western classical guitar while immersing us in the rich Latin folklore, between tango, choro, milonga and jongo, where music and dance are always intertwined. Eduardo Martín is a Cuban composer and guitarist born in 1956. His work reflects his deep love of his native Havana, whose rhythms and sounds he captures in his own way. Hasta Alicia Baila refers to star ballerina Alicia Alonso (d. 2019), who founded the National Ballet of Cuba, while Sones y Flores takes you on a melodic, rhythmic and flowery walk through the streets of the Cuban capital. La Llorona, literally “the wailing woman,” is a traditional music inspired by a legendary character, a woman who drowned or lost her children and haunts the banks of rivers or lakes at night. Many pre-Colombian cultures tell stories of ghosts haunting riversides. One interpretation of the legend is linked to the Aztec goddess Cihuacoatl, who walks along the rivers foreboding the disaster of the coming Spanish conquest. Adrien Politi is an Argentinean guitarist and composer who has been living in France since 1986. His Tango Duo dates from 2006. The vibrant nostalgia and the characteristic rhythms of tango shine through the four movements with contrasting atmospheres. Marcelo Coronel is a guitarist and composer born in 1962 in Buenos Aires, Argentina, and now living in Rosario. His Milongarrugada, literally “wrinkled milonga,” refers to the traditional dance and musical genre popular at the end of the 19th century in the suburbs of Buenos Aires and Montevideo that is considered to be one of the main sources of Argentine tango. Under Coronel’s pen, this milonga is a succession of several highly melancholic, melodic themes. Canadian guitarist and composer William Beauvais wrote the piece Amado for the Havana Sky duo. We can hear its jazz inflections tinged with Brazilian music. Born in São Paulo in 1950, Paulo Bellinati became famous for his piece Jongo, which exists in many versions, the one for two guitars dating from 1989. The title refers to a traditional Afro-Brazilian dance, commonly accompanied by drums. Sergio Assad, born in 1952 in Mococa, near São Paulo, has arranged a large body of work for two guitars, including works by the great names in Latin American and Western music, from the Baroque to today. He has also added his personal contribution to this repertoire with Tres Cenas Brasileiras in 1984. Brazil has also seen the work of the composer Radamés Gnattali (1906-1988) flourish, combining the Western scholarly tradition with Brazilian roots. He named each movement of his suite Retratos after Brazilian music masters, including composer Anacleto de Medeiros (1866-1907) and Chiquinha Gonzaga (1847-1935), a pianist and the country’s first female conductor. Néstor Torres is a jazz flutist born in 1957 in Puerto Rico. His piece Cafe cubano, originally written for flute and jazz rhythm section, distills a light and sunny melody into typically Cuban rhythms. “Inga” is a traditional song from Afro-Peruvian ethnic groups, usually accompanied by dances during festive ceremonies, whose origins date back to the 17th century. Jaime Llano Gonzalez (1932-2017) was a Colombian organist who helped bring his country’s popular music to the international stage. In particular, he popularized the composition Aires de mi tierra by his compatriot Gustavo Gómez Ardila (1913-2006), which consists of a pasillo, a musical genre and dance particularly popular in Colombia and Ecuador. The song Moliendo café by Hugo Blanco (1940-2015) has also been around the world since it was first recorded in 1958. With its melancholic accents, it tells of the sadness of Manuel’s love as he spends tireless nights grinding coffee at a plantation.