Cline / Cuestas Duo | Facets

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Classical: Twentieth Century Latin: Tango Moods: Type: Acoustic
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Facets

by Cline / Cuestas Duo

The debut album of flutist Jenny Cline and guitarist Carlos Cuestas includes music from the past 125 years, from Argentina, Spain, Romania, Italy, France, and the U.S., and features the world premiere recording of a new work by Gary Schocker.
Genre: Classical: Twentieth Century
Release Date: 

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  Song Share Time Download
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1. Suite Buenos Aires: I. Pompeya
4:00 $0.99
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2. Suite Buenos Aires: II. Palermo
4:21 $0.99
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3. Suite Buenos Aires: III. San Telmo
3:21 $0.99
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4. Suite Buenos Aires: IV. Microcentro
3:41 $0.99
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5. Aria Antigua
3:31 $0.99
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6. Romanian Dances, Sz. 56: I. Joc cu bata (Stick Dance)
1:12 $0.99
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7. Romanian Dances, Sz. 56: II. Braul (Sash Dance)
0:34 $0.99
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8. Romanian Dances, Sz. 56: III. Pe loc (In One Spot)
0:47 $0.99
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9. Romanian Dances, Sz. 56: IV. Buciumeana (Dance from Bucsum)
1:23 $0.99
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10. Romanian Dances, Sz. 56: V. Poarga Romaneasca (Romanian Polka)
0:33 $0.99
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11. Romanian Dances, Sz. 56: VI. Maruntel (Fast Dance)
0:54 $0.99
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12. Serenade to Eve, After Rodin
10:15 $0.99
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13. Sonatina for Flute and Guitar, Op. 205: I. Allegretto grazioso
4:17 $0.99
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14. Sonatina for Flute and Guitar, Op. 205: II. Tempo di Siciliana
4:09 $0.99
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15. Sonatina for Flute and Guitar, Op. 205: III. Scherzo rondo
4:06 $0.99
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16. Silkworms: I. Andante
2:04 $0.99
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17. Silkworms: II. Freely
3:46 $0.99
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18. Quatre Facettes: I. Allegretto
2:41 $0.99
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19. Quatre Facettes: II. Andante
3:16 $0.99
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20. Quatre Facettes: III. Allegro scherzando
2:53 $0.99
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21. Quatre Facettes: IV. Presto
1:59 $0.99
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22. Danza Espanola: V. Andaluza
4:28 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Colombian-born guitarist Carlos Cuestas is an active performer based in New York City. Mr. Cuestas’s curiosity around the social implications of music and its relationship with history has driven him towards the study of the ways music might have been performed in past eras, leading him to expand his skills on different kinds of plucked instruments and to explore, in sound, past musical practices. As a performer, Carlos’s engagements include performing solo and chamber recitals, improvising in the style of the nineteenth century, and taking part in continuo sections of baroque orchestras, taking him to such venues as Avery Fisher Hall, Whitman Hall (Brooklyn, NY), Cornish College (Seattle), Hollywood Fringe Festival (Los Angeles), the Kennedy Center (Washington, D.C.) and Teatro Colón (Bogotá, Colombia). He is a member of the music faculty at both Nyack College and Brooklyn College, teaching guitar, music history, and world music. Mr. Cuestas is currently pursuing a Ph.D. in ethnomusicology at The Graduate Center at the City University of New York.

Jenny Cline is a flourishing orchestral flutist and chamber musician whose teachers include Mary Ann Archer, Walfrid Kujala, and Gary Schocker. She is the principal flutist of the Monmouth Symphony (New Jersey), and performs frequently as a flutist and piccoloist with other orchestras around the state. She has performed with the Uptown Flutes, toured Europe with the Metropolitan Flute Orchestra, and was a member of the 2013 National Flute Association Professional Flute Choir. Her woodwind quintet, the Monmouth Winds, has a busy concert schedule, and they are actively commissioning new works to expand the repertoire. The quintet performed at the 2013 and 2015 NFA conventions in New Orleans and Washington, D.C., and at the 2016 International Horn Symposium in Ithaca, NY. Cline and her guitarist colleague, Carlos Cuestas, have performed up and down the East Coast, in Bogotá, Colombia, and at the NFA conventions in Washington, DC and San Diego in 2015 and 2016. She has been on the faculty of the New Jersey Workshop for the Arts since 1996, and her flute students regularly achieve honors at the local, regional, state, and national level. She recently completed a two-year term on the board of the National Flute Association.

Cline and Cuestas formed their flute/guitar duo in 2012 and have rapidly developed an eclectic and engaging repertoire of music from three continents and seven centuries. They have performed together up and down the East Coast, and performed at the 2015 and 2016 National Flute Association conventions in Washington, D. C. and San Diego, CA, and at the Museo Nacional de Colombia in Bogotá, Colombia in July, 2016. This is their first CD.

The four movements of Suite Buenos Aires, composed in 1995 by Argentinian guitarist and composer Máximo Diego Pujol (1957- ), derive their names from four distinct neighborhoods in the capital city of Argentina. The first movement, Pompeya, reflects a district with close ties to the origin of Argentinian tango. The striking contrasts found in tango--brisk and energetic, as well as sultry and slow—are featured here. The introspective and leisurely second movement, Palermo, refers to neighborhoods filled with mansions, parks, gardens, shops and restaurants. The light-hearted and joyous third movement, San Telmo, is named after the oldest neighborhood in Buenos Aires, home to churches, antique shops, art galleries, and tango parlors, and is based on the candombe, a traditional Urugayan musical genre of African origin. The obsessive fourth movement captures the urban, gritty feel of Microcentro, the financial and commercial heart of the city. The driving ostinatos and polyrhythms reflect the fast pace of life in a place where the buildings are tall and the population is dense. The action is briefly interrupted by the reprise of a languid theme from the second movement, before returning to its frantic pace, leading the movement to its inexorable conclusion.

Joaquin Rodrigo (1901-1999) was one of the most influential Spanish composers of the second half of the 20th century. Many of his works, including Aria Antigua, demonstrate his keen interest in the music of earlier eras. Originally written for flute and piano in 1960, it was transcribed for flute and guitar by the composer that same year. Paying homage to compositional and performance conventions of the early 17th century, the piece is in simple binary form. The notated rhythms suggest notes inégales, and the flute line, written simply in the first half, contains much written-out ornamentation in the second half.

20th century Hungarian composer Béla Bartók (1881-1945), together with his colleague Zoltán Kodály, greatly contributed to the then nascent discipline of ethnomusicology with their archiving efforts in Eastern Europe. Traveling extensively through remote villages, they collected over 10,000 folk tunes from Hungary, Slovakia and Romania with the use of a cumbersome magnetic cylinder. Declared medically unfit for service at the onset of World War I, Bartók spent the war years composing. He seems to have been especially disposed to Romanian themes in 1915, writing BB67, Romanian Christmas Songs, BB68, Romanian Folk Dances, and BB69, Sonatina, all for solo piano. The Romanian Folk Dances, which he orchestrated in 1917 (BB76), became one of his most popular works. Bartók’s friend, Hungarian violinist and composer, Zoltán Székely, arranged it for violin and piano in 1926. Since then, these dances have been transcribed for many other instruments. The arrangement for flute and guitar, which appears on this recording, was created by Arthur Levering in 1988.

Of Serenade to Eve, After Rodin, composer Daniel Dorff (1956 - ) says “The idea [for the piece] came from a multimedia performance. In October 1998, dancer/choreographer Anne-Marie Mulgrew invited me to perform as an improvising solo clarinetist to accompany her and 3 other performers . . . at Philadelphia's Rodin Museum. . . . Rain forced us inside, in front of Rodin's imposing Adam and Eve sculptures. . . . [The] larger-than-life sculptures of Adam and Eve being banished from Paradise added a bold dimension to our semi-improvised event. I found Eve's grief, terror, and shame overwhelming. I couldn't resist playing to Eve . . . in an almost courtly way, progressing from empathy to solace, trying to make the bronze sculpture smile. . . . This challenge of trying to cheer up the tragic Eve stayed with me vividly. Soon after, when [flutist] Eileen Grycky and [guitarist] Christiaan Taggart asked me to compose a flute and guitar duo, I quickly decided to write a serenade to Rodin's Eve. The actual music of this duo is different from what was played at the museum, but the mood and progression capture the original improvisation.”

Italian composer Mario Castelnuovo-Tedesco (1895-1968) fled pre-WW II Italy when performances of his music began to be canceled due to his Jewish heritage, and eventually settled in Hollywood. He is considered one of the major contributors to guitar literature in the 20th century, having written over 100 works for the instrument, including solo pieces, chamber music, and concertos. His Sonatina for Flute and Guitar, Op. 205, was written in 1965, during his time in sunny Southern California. It has a secure place in the flute and guitar repertoire due to its alluring melodies and the exquisite interplay between the two instruments as equal partners.

Gary Schocker, (1959 - ) flutist and composer, is no stranger to flute and guitar repertoire. He has performed frequently with guitarist Jason Vieaux, and has written several works that their duo has performed and recorded. Silkworms was commissioned for the Cline/Cuestas Duo by Jenny Cline and her sister, Sonjia Smith, in celebration of the 75th birthday of their mother, Sylvia Stroud Smith. The work was premiered at the Watchung Arts Center (NJ) on April 5, 2014, and this is the first recording. Of the music, Mr. Schocker writes, “The first movement is warm and springlike. The second movement sounds like a cocoon, life inside but gestating.”

Pianist and composer Jean-Michel Damase (1928-2013) wrote music that is accessible, elegant, and indicative of 20th century French musical traditions. He made use of frequent, fluid meter changes, unexpected, complex harmonies, and melodies that are well suited to the instruments for which they are written. The four movements of Quatre Facettes, which Damase composed in 1998, are contrasting in mood and tempo, representing different facets of musical material found throughout the piece. These ideas are passed back and forth between the flute and guitar. The first movement, an Allegretto, displays the persistent repetition of several short musical ideas. The stately second movement, marked Andante, begins simply in D major, venturing harmonically far afield before returning satisfactorily to the original key for the final measures. A playful, petulant Allegro scherzando follows, with a staccato first theme alternating with a lyrical second theme. The final movement is a joyous Presto, in the style of a gigue, with duple and triple rhythms sharing the spotlight in a grand race to the finish.

Spanish composer and pianist Enrique Granados (1867-1916) made frequent use of Spanish and Catalan folk music in his compositions. His twelve Danzas Españolas were composed in the early 1890s and were among his first published works. The title of Danza No. 5, Andaluza, is a reflection of Andalusian rhythms and melodies. In ABA (binary) form, the outer E minor quasi allegretto sections frame a central adagio in E major. The seductive melodic lines along with the driving rhythms work perfectly for flute and guitar, making it easy to forget that Granados originally wrote the Andaluza for solo piano.



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