A recording featuring two big works of Astor Piazzolla, 6 Tango Études (less known to the guitar world) for solo flute (transcribed and harmonized for guitar by Manuel Barrueco) and the famous Histoire du Tango for flute and guitar duo.
Guitar: Yuri Liberzon
Flute: Josué Casillas
RT @BelindaComposer: I’m so excited to be commissioned by @yuriliberzon for a solo guitar work! Time to add another title to this collectio…
Label: Soundset Recordings
Item Number: SR1100
Year Recorded: 2017
¡Acentuado!. Yuri Liberzon Plays Astor Piazzolla
Josué Casillas - Flute
Russian-born and Israeli-raised classical guitarist Yuri Liberzon has been recognized for his impressive technical ability and musicality. USCIS has granted Mr. Liberzon ‘Alien of Extraordinary Ability’ United States Permanent Residency based on his achievements in the music field.
Solo concerts appearances include:
Marlow Guitar Series in Maryland, Lesher Center in Walnut Creek, Legion of Honor in San Francisco and 92nd Street Y in New York. Chamber and Orchestra appearances as soloist include: Diablo Symphony Orchestra, Palo Alto Chamber Orchestra, Gold Coast Chamber Players and Quartet San Francisco.
Media appearances include: Voice of America International Radio Station, Kol HaMusica National Classical Music Radio Station of the Israel Broadcasting Authority, KUHF (NPR Houston), KUSF San Francisco, WDR German Television Network, San Francisco Chronicle and Classical Guitar Magazine.
Mr. Liberzon’s most influential teacher at a young age was Maestro Yaron Hasson with whom he studied for 6 years in Israel before coming to the United States. He has been a frequent recipient of scholarships from the America-Israel Cultural Foundation.
Motivated by a desire to realize his potential, Yuri was privileged to come to the United States as a student to study at the Peabody Conservatory of the Johns Hopkins University. He was awarded full scholarships to study with two of the world’s leading guitar masters: Manuel Barrueco and Benjamin Verdery. Yuri received his Bachelor’s degree and Graduate Performance Diploma from Peabody Conservatory as well as Master’s degree from Yale University.
In addition to his arrangements and transcriptions, his expertise has been called on to judge competitions in the United States, such as the Beatty Music Competition for the Classical Guitar in Washington D.C and San Francisco Conservatory of Music.
His arrangements of Domenico Scarlatti and J. S. Bach have been published in SoundBoard magazine, the official quarterly magazine of the Guitar Foundation of America. In 2015 he released a debut record ‘Ascension’ which was highly praised by respectable publications and critics including Classical Guitar Magazine, Fanfare and the Muse’s Muse.
Josué Casillas - Flute
Josué Casillas is the principal flutist of the Orquesta Sinfónica de Puerto Rico (OSPR) and the flute professor at the Conservatorio de Música de Puerto Rico (CMPR). Casillas won the Cleveland Institute of Music (CIM) and the National Flute Association Master Class Competitions in 1986. He has performed the Ibert Flute Concerto with the CIM Chamber Orchestra in Toledo, Ohio, and with the OSPR in San Juan. After winning the Festival de Orquestas Sinfónicas Juveniles de América Solo Competition in 1990, Josue Casillas was invited to be guest artist at the Festival Mayormente Mozart in San Juan, Puerto Rico for the following ten consecutive years. He has presented solo recitals at the Instituto de Cultura Puertorriqueña, the Universidad de Puerto Rico and the CMPR. Casillas appeared in the 2008 Casals Festival with Camerata Caribe, chamber music group in residence at the CMPR. Born in Bayamón, Puerto Rico, Casillas started his flute studies with family members, and at his hometown church. At the age of 15, Josué was already performing with relatives Nilda D. Betancourt Casillas, now professor of piano at the Interamerican University, San Germán, Puerto Rico, and David E. Betancourt Casillas, now in the first violin section of the OSPR. At that age, he became the youngest flutist hired by the Instituto de Cultura to perform with the Banda Estatal de Puerto Rico. He studied with Leslie López at the Escuela Libre de Música de San Juan, graduating from high school Summa Cum Laude, and then with Peter Kern (then-principal flutist of the OSPR) at the CMPR. Josué continued his university-level training at the Cleveland Institute of Music with Maurice Sharp, Cleveland Orchestra’s Principal Flutist and earned his Bachelors in Music, and his Artist Diploma just a year later. At CIM, Josue studied chamber music with harpist Alice Chalifoux and oboist John Mack. He performed in the CIM orchestras under conductors Carl Topilow, Louis Lane, Jahja Ling, Michael Stern, and Pierre Boulez. At CIM, Josué received scholarships from the National Endowment for the Arts and The Music Assistance Fund of The NY Philharmonic Orchestra. These grants enabled Josué to attend summer music festivals such as The Grand Teton and Blossom Music Festivals, where he worked with Philadelphia Orchestra’s solo flutist, Jeffrey Khaner. While at CIM, Josué Casillas also studied with Martha Aarons (flutist, Cleveland Orchestra) who encouraged Casillas to attend the Aspen Music Festival. At Aspen, Casillas worked with Mark Sparks (principal flutist, Saint Louis Symphony Orchestra). In 1991, he attended the Ecóle de Formation Musicale (Nice, France), where he studied with renowned flute masters Maxence Larrieu (professor, Géneva Conservartory) and Raymond Guiot (professor, Paris Conservatoire). In 1994, Casillas was awarded an internship with the Houston Symphony Orchestra, which enabled him to complete his M.M. at Rice University, where he studied with Aralee Dorough (principal flutist, Houston Symphony) and Carol Wincenc (solo concert artist). While in Houston, Casillas also organized his own chamber music group, The Keynote Chamber Players, presenting monthly recitals, some broadcasted on KUHF, Houston’s classical radio station. Josué Casillas has served as principal flutist with the Houston Grand Opera Orchestra during five consecutive seasons and with the Symphony of Southeast Texas for three years. In Houston, Josué performed under the direction of Christoph Eschenbach, Steven Stein, and Vjekoslav Sutej, among others. In 2006, Josué was invited to perform as soloist with TOCCATA, The Orchestra and Community Choral Artists of the Tahoe Area, in their Big Blue Summer Fest. He was received with such enthusiasm that he returned in 2007 and 2008 as principal guest artist, and looks forward to continuing the collaboration. Currently, Josué Casillas mantains a busy schedule performing and teaching in his beloved San Juan, Puerto Rico, as well as in the US and Latin America.
The six Tango-Études were written in 1987 for solo flute during the later years of Astor Piazzolla’s career. While not abandoning his connection to the tango, Piazzolla returned to a more “classical” style of composition.
Being familiar with Piazzolla’s more famous works (both originally written for guitar and arrangements), I was thrilled to discover the Tango- Études after listening to Manuel Barrueco’s recording of his own transcription for guitar. This work immediately grabbed my attention and I recognized Piazzolla’s familiar, yet unique compositional style. The tango rhythms and gorgeous melodic lines made me fall in love with this set of études. Each étude is based on a different musical idea and works very well as a set; similar in fashion to Johann Sebastian Bach’s sonatas and partitas for solo violin.
Barrueco’s transcription is superb, very demanding both technically and musically. With had implied voices, harmonies, and accompaniment figures, Barrueco manages to retain Piazzolla’s style; making it sound as if yet so I have written the words for the guitar.
I am infinitely grateful to Maestro Manuel Barrueco, my former teacher, for his mentorship and inspiration and in particular for this wonderful addition to the guitar repertoire.
Histoire du Tango
Written in 1986 for flute and guitar as a set of four movements, Histoire du Tango is one of Astor Piazzolla’s most famous works. It attempts to convey the history and evolution of tango. Below are excerpts from Piazzolla’s program notes describing each movement:
Bordel, 1900: The tango originated in Buenos Aires in 1882. First it was played on guitar and flute. Arrangements then came to include piano and concertina. This music is a high-spirited tango, full of grace and liveliness. It paints a picture of the good-natured chatter of the French, Italian and Spanish women who worked in the bordellos as they enticed the policemen, thieves, sailors and clientele who came to see them.
Café, 1930: This is another age of the tango. People started preferring to listen to tango rather than dance to it. This kind of tango underwent a total transformation: it became more musical and more romantic, the movements are slower, with new and often melancholic harmonies. The tango of this period is sometimes sung as well.
Night Club, 1960: During this period, a fusion of Brazilian bossa nova and Argentinian tango is occurring. This marked a revolution and a profound alteration in some of the original tango forms and became part of the popular culture.
Concert D’Aujourd’hui: Some concepts in tango music become intertwined with modern music. Bartok, Stravinsky and other composers reminisce to the tune of tango music. This is today’s tango, and the tango of the future as well.
Label: Soundset Recordings
Item Number: SR1100
Year Recorded: 2017
"...¡Acentuado! is wonderful on so many fronts, it’s hard to know where to begin. For starts, one gets the sense that there is nothing Yuri cannot do on the guitar. His virtuosity is understated and elegant and despite the way it serves the music, it is noticeably impressive. The Tango Études are not easy pieces, technically and emotionally, but in his hands they sound effortless and precise whether he is driving rhythms forward or sinking into a meditative cantabile. In a way, Piazzolla’s music with all of its intensity, accents, and precise rhythmic articulations is perfectly suited to a player like Yuri who plays in such an articulate manner..."
- Leonardo Garcia, Six String Journal
"...there must be that which the Spaniards call “duende.” Call it magic, passion, fire, expressiveness