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| Programa general | Teatro Degollado | Sunday 23 Venue: Teatro Degollado Salas Mobili de Juan Orrego (1919- ) Sonata for viola y piano, Op. 78, en D by I -Vivace non troppo [11'] Intermission Sonata for viola and piano, Op. 147, in C Minor by Dimitri Shostakovich (1906-1975) I -Vivace non troppo [11' 20"] Admission: from $50.00 to $100.00 pesos Roberto Díaz, viola
Recent performances include the Kansas City Symphony with Michael Stern, New World Symphony with Michael Tilson Thomas, Netherlands Philharmonic with Yakov Kreizberg, Philadelphia Orchestra with Gilbert Varga and the Bilbao Symphony with Juanjo Mena. In 2007, Roberto Díaz performed the Penderecki concerto at Carnegie Hall with Christoph Eschenbach and the Curtis Symphony Orchestra. Other orchestral engagements include the National Symphony, Philadelphia Orchestra, Boston Pops, Bavarian Radio Orchestra, Gulbenkian Orchestra, Orquesta Nacional de España, Russian State Symphony, Saarbrücken Radio Orchestra, and the Orquesta Simón Bolivar. He has collaborated with conductors such as Roberto Abbado, Rafael Frühbeck de Burgos, Riccardo Chailly, Charles Dutoit, Richard Hickox, Christopher Hogwood, Peter Oundjian, Wolfgang Sawallisch, Gilbert Varga, Hugh Wolff and David Zinman. Mr. Díaz has also worked with important 20th and 21st Century composers including Edison Denisov, Krzysztof Penderecki, and Roberto Sierra.His recording of transcriptions by William Primrose with pianist Robert Koenig (Naxos, 2006) received a Grammy nomination for Best Instrumental Soloist Performance without Orchestra. Other critically acclaimed releases include a live recording of Jacob Druckman’s Viola Concerto with the Philadelphia Orchestra conducted by Mr. Sawallisch (New World Records, 2001) and works by Henri Vieuxtemps for viola and piano (Naxos, 2004).An active chamber musician, Roberto Díaz has performed with artists such as the Emerson String Quartet, Emanuel Ax, Yefim Bronfman, Christoph Eschenbach, Yo-Yo Ma, Wolfgang Sawallisch, and Isaac Stern. His festival appearances include Kuhmo, Marlboro, Mostly Mozart at Lincoln Center, Spoleto, and Verbier, among many others. As a member of the Díaz Trio, with violinist Andrés Cárdenes and cellist Andrés Díaz, he has performed throughout the United States, Canada, Europe, Mexico, and Chile. The trio was one of two ensembles invited by Isaac Stern to participate in a special concert celebrating the next one hundred years of music-making at Carnegie Hall. The Díaz Trio is currently an ensemble in-residence at the Brevard Music Festival.Roberto Díaz was principal violist of the National Symphony under Mstislav Rostropovich, a member of the Boston Symphony under Seiji Ozawa, and a member of the Minnesota Orchestra under Sir Neville Marriner. He has received numerous awards, including prizes at the Naumburg and Munich international viola competitions, and was featured on the cover of the January 2003 issue of The Strad. Andrew Tyson, piano
In 2008, Mr. Tyson attended the Taos School of Music, where he worked closely with Robert McDonald as well as the Borromeo, Brentano and St. Lawrence String Quartets. Since then, he has become an active chamber player, performing this season at Bowdoin College, in the Bay Chamber Concert Series in Rockport, Maine, at the Brevard Music Festival, in collaboration with Roberto Díaz and Joseph Silverstein, and at Festival de Sintra in Portugal with violinist Ray Chen. In September of 2009, Andrew collaborated again with Ray Chen in recitals at Festival de Bourlingster in Luxembourg, at the Lions Club in Sint-Niklaas, Belgium and at the Royal Conservatory in Brussels. In December he performed Ernest Bloch’s 1919 Suite for Viola and Piano with Roberto Díaz at the Coolidge Auditorium at the Library of Congress, as part of a celebration of the composer's life on the 50thAnniversary of his death. Andrew has performed in masterclasses with Robert McDonald, Garrick Olssohn, Jonathan Biss, Lambert Orkis and Krzysztof Penderecki. February 2010
Program notes Juan Orrego, composer
Johannes Brahms, composer
From 1857 to 1859 he was music director at Detmold. The two Serenades, his first two plays for single orchestra, are dated 1858 and 1860. Since he was unable to find a stable job in his native city, Brahms settles in Vienna in 1862 and never abandons that city again, save for his tours or rest periods. Wagner, whom he met in 1864, immediately chases him with his malevolence. Brahms benefits all his life of the unconditional –though not very effective- support offered by the famous critic Hanslick. During the sixties he devotes himself to composing some of his great piano works: Variations on both a theme by Handel and one by Paganini; he also writes chamber music and a German Requiem. It is not until 1873 that he starts again composing for orchestra: Variations on a theme by Haydn, immediately followed by his First Symphony for which he had some notes dating from 1850 and which was finished in 1876. The Second Symphony is dated 1877, immediately followed by the Violin Concerto, still one of his best known works. Brahms is director of the Vienna Society of Music Friends from 1872 to 1875. He met Dvořák in 1878, becoming his admirer and supporter. In 1879 he goes on tour with Joachim. His Second Piano Concerto, one of his masterpieces, was finished in 1881, followed immediately by his Third and Fourth Symphonies, not returning to orchestral music until 1888 when he wrote his original and beautiful Double Concerto for Violin and Violoncello. Being Beethoven’s heir for the conflictive contents of his music, he also succeeds Schubert in his love for popular themes, and Schumann because of his lyricism and heroically chivalrous sense, though also being close to the classic and preclassic masters and models. Reluctant to accept operatic and programmatic music throughout his life, he exalted pure romantic music by nature, but classically structured in its architecture and traditional style. His symphonies are density and balance models, above all in the Variations over a Haydn Theme and in his concert pieces, where he best shows his qualities for structuring without losing the touch for reaching deep emotions. Dimitri Shostakovich, composer
But, in spite of being considered the most representative composer of the now disappeared Soviet Union, together with Prokofiev, his career was not easy: awards and condecorations –among which State and Lenin Prizes were obtained, as well as the distinction of being named Artist of the People- alternated with constant persecutions and condemns originated by the same regime awarding him, under the accusation of creating anti-popular and extremely modern music. All that left its imprint in the style of his last compositions, characterized by a bitter and somber tone, paired with a crudity contrasting with the jovial careless style of his first works. Born in the midst of a family caring enormously for culture, his mother took charge of his first music lessons and he became a professional pianist at the relatively late age of nine. Looking at his great progress, he enters the Leningrad Conservatoire in 1919and his most important teacher there was Alexander Glazunov. Without a father since 1922, Shostakovich supported his family as accompanying pianist at cinema houses continuing with his studies at the same time. Written as a graduation piece at the Conservatoire, his Symphony No. 1 was premiered in 1926, calling immediately the attention of the musical world over him. The works that immediately following it, his opera The Nose or the ballet The Golden Age, only confirmed the talent of this young composer specially gifted for satire. Shostakovich’s upgoing career suffered an unexpected blow when his second opera, Lady Macbeth of Mtsensk was premiered in 1934. It was enthusiastically received by the public, both at Leningrad and later in Moscow, but it was withdrawn from the stage after the official newspaper Pravda published a critique titled Chaos instead of music, accusing the composer of having written “a concert of howls”, completely alien to socialist music proposals for music: it should be clear and accessible. A long and contradictory relationship with the Stalinist regime had started: considered in the West as the official Soviet composer, in his own country Shostakovich had to suffer the intromission of his cultural authorities. In spite of this, though he apparently accepted quietly the precepts of the socialist realism, he always kept his creative independence. The premieres of the classic Symphony No. 5 and, above all, the most patriotic Seventh Symphony, “Leningrad”, became a symbol of the Russian people fight against the Nazi invader, rehabilitating a composer who, in 1948, saw his work prohibited again under the stigma of formalism. After Stalin died in 1953, Shostakovich’s music became more personal, transforming itself into a series of long partitures presided by the idea of death. Such is the case of his last three symphonies and his string quartets, genres which the composer transformed into the most adequate way to express his worries and fears in a private manner, without resorting to masques or disguises. His music, above all the one of these later years, has greatly influenced his younger countrymen, Alfred Schnittke or Edison Denisov among others.
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A violist of international reputation and President of the Curtis Institute of Music, Roberto Díaz follows in the footsteps of previous soloists/directors such as Rudolf Serkin, Gary Graffman, Efrem Zimbalist and Josef Hofmann. As a professor of viola at Curtis and former principal violist of the Philadelphia Orchestra, Mr. Díaz has already had a significant impact on American musical life and will continue to do so in his dual roles as performer and educator.
At the age of 23, pianist Andrew Tyson is already the recipient of many awards and prizes, including Second Prize at the Kosciuszko Foundation Chopin Piano Competition and a Silver Award from the National Foundation for the Advancement of the Arts. Now in his final year of studies with Claude Frank at the Curtis Institute of Music, Mr. Tyson has performed at a number of prestigious venues, including the National Chopin Foundation in Miami and the Baryshnikov Arts Center in New York, with his playing heard in radio broadcast on WQXR New York. Mr. Tyson has performed as a concert soloist with the Guilford Symphony Orchestra at the Eastern Music Festival, the Durham Symphony, the Raleigh Symphony, the Chapel Hill Philharmonia, and the Old York Road Symphony.
Born in Santiago de Chile, 1919, Juan Orrego is a prolific composer who studied in his native city, and later went to the United States to perfect under Randall Thompson and Aaron Copland. He has been director of the Revista Musical Chilena since 1949 and teaches History of Music. He set up a Latin American Music Center at the University of Indiana, U.S.A. Among his more popular works, there is symphonic, vocal, chamber music; instrumental and stage music: Cantata de Navidad for soprano and orchestra (1945); Escenas de Cortes y Pastores (1946); Obertura Festiva for orchestra (1947); the ballet Juventud (1948); a ballet-opera El retablo del rey pobre (1952); an oratory Los días de Dios (1976); Bolívar (1982), Balada para violonchelo y piano (1983) and Concierto para violín y orquesta (1983). 
Born in Hamburg on May 7, 1833; died in Vienna on April 3, 1897, Brahms started studying music with his father, who played the trumpet and the bass; studied piano with Kossel and Composition with Marxen. In his early youth he was a cabaret piano player and gave lessons but, starting 1848 he began to give recitals. He made a tour with the Hungarian violinist Edouard Remenyi who taught him the most popular Hungarian (gypsy) tunes, but they soon parted. During the same year He met Joachim and Schumann, who always encouraged him. Brahms always maintained a close friendship with Clara Schumann. He wrote his first First Piano Concerto between 1854 and 1859, thus ending his first composition period in his life, known as “Sturm und Drang”.
This Soviet composer was born in Saint Petersburg in 1906 and died in Moscow in 1975. His musical production encompasses all genres: opera, musical comedy, symphonies, piano miniatures; concertante music, cantatas, string quartets and music for the cinema. Prolific author, his registered pieces add to 147, many of them among the most interpreted and recorded repertoire pieces.