Flute Concerto with Tango

I. Jose Serebrier (2008)

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Jose Serebrier established himself as a significant composer very early in his career. He was just 17 when LeopoldStokowski gave the world premiere of his Symphony No.1, and soon after started to gain notoriety also as aconductor. His dual career has been honored with 36 Grammy Award nominations, and the Latin Grammy awardfor Best Classical Recording as conductor.

Born in Montevideo, Uruguay of Russian and Polish parents, Serebrier was awarded a Koussevitzky FoundationAward at Tanglewood and a BMI Young Composers Award for his Symphony No.1 and Saxophone Quartet. Hereceived a U.S. State Department Fellowship to study composition at the Curtis Institute of Music with VittorioGiannini and with Aaron Copland at Tanglewood. Awarded two consecutive Guggenheim Fellowships at 19 and20, he remains the youngest to have ever obtained these awards in any field. Following graduation from Curtis,Serebrier studied at the University of Minnesota, where he received his M.A. in composition. He was awardedtwo Dorati Fellowships, a Pan American Union Publication Award (for Elegy for Strings), and the FordFoundation American Conductors Project Award. Subsequent awards for his compositions include a RockefellerFoundation award (for an extended residency with the Cleveland Orchestra); a Harvard Musical AssociationCommission Award (for Fantasia for string quartet); and a National Endowment for the Arts Commission(Orpheus x Light, a ballet for the Joffrey Ballet).

Serebrier was 22 years old when Leopold Stokowski named him Associate Conductor of the newly formedAmerican Symphony Orchestra in New York, a post he held for four years. Stokowski conducted the first NewYork performance of Serebrier's Elegy for Strings at Carnegie Hall, and he opened the American SymphonyOrchestra season at Carnegie Hall with the premiere of Serebrier's Poema Elegiaco, the second movement ofSymphony No.2: Partita. For two consecutive seasons, George Szell named Jose Serebrier Composer-in­Residence of the Cleveland Orchestra. While in that position, he brought new elements to his compositions. Hisharp concerto Colores Magicos for the Inter-American Music Festival in Washington D.C. and Nueve, a concertofor double bass and orchestra commissioned for the double bass virtuoso Gary Karr, both incorporatedimaginative staging. Serebrier has conducted Karr in performances of Nueve all over the world. Also from thisperiod is the dramatic Symphony for Percussion, which was recorded by John Eliot Gardiner.

Serebrier's Violin Concerto: Winter was premiered by Michael Guttman in New York in 1995 and recorded onASV. His Symphony No.3 for string orchestra and soprano vocalise, nominated for a Grammy in 2004 as BestComposition of the Year, has been released on Naxos along with a number of his other works for strings. Morerecently, he has revisited his Uruguayan youth by writing Tango in Blue and Almost a Tango for orchestra (bothrecorded on BIS) - lighter works using rhythms and melodic turns of Latin American popular music. Tango inBlue, in fact, comes full circle: its first four notes quote the last four from his early Partita.

Flute Concerto with Tango was commissioned by the BIS record label for Sharon Bezaly, who perfonned it ontour in Australia and recorded it with the Australian Chamber Orchestra, directed by Richard Tognetti andproduced by Robert Suff.

The first movement establishes itself without introduction, with a rhythmic punch similar in character to the firstmovement of my Symphony No.3. The technical fireworks are interrupted by a highly lyrical section, providing ashort-lived respite before the movement ends in a flurry. The second movement opens with a cadenza - a long,quasi-improvisational dissertation - followed by a fast, virtuoso section for the flute, with the orchestra providingpunctuation. Fantasia, the rhapsodic third movement, features the wann, wonderful low register of the alto flutein long, singing lines. After becoming more intense and dramatic, the movement concludes with a quiet coda.

The fourth movement justifies the title of the work. Traditionally, tangos end with a strong dominant chordfollowed by a brief, barely audible tonic chord. I take this idea further, leaving my tango up in the air in themiddle of a phrase, so that the listener can make his own conclusion. The tango's interlude of slow, lyricalpassages gives way to the final Allegro movement, when soloist and orchestra are again off to the races. Avirtuosic Presto section ends the work with a flourish of pyrotechnics.

- Jose Serebrier

Flute Concerto with Tango, Sharon Bezaly, flute, and the Australian Chamber Orchestra, Richard Tognetti,Leader and Artistic Director, is recorded on BIS-CD-1789.