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MUSICAL GROUPS

EL PIANO LLANERO

A new Vision of the Traditional Joropo Music from Venezuela and Colombia

Featuring pianist: CLAUDIA CALDERÓN
and the Piano Llanero Ensemble

__	Guest Artists: RAFAEL BRITO: Cuatro (Venezuelan guitar) & Tiple (Colombian Lute) LUIS PINO: Cuatro HENRY LINAREZ: Cuatro JACKELINE RAGO: Cuatro ROBERTO KOCH: Double Bass GONZALO TEPPA: Double Bass JOSÉ ALBERTO PÉREZ: Maracas LUIS MIGUEL EMMANUELLI: Bandola (Venezuelan lute)

General Description:

After years of research into the roots of Colombian and Venezuelan Music, pianist Claudia Calderón has produced a collection of the best pieces of traditional harp and bandola folklore from los Llanos, the great plains of the Orinoco Basin and the Valley of the Tuy River. This music, traditionally known as "Joropo", combined with other genres from the Colombian Andes, creates an exquisite piano repertoire, revealing an unexpectedly high degree of musical discourse. This repertoire of brilliant pieces is full of
delightful hints of Spanish Baroque harpsichord music, set in the most powerful rhythmic context.

Claudia Calderón has carefully transcribed the original Andean and Llanero pieces for her instrument and her ensemble, seeking the highest musical fidelity to achieve a perfect rendering of these fascinating sources of unique world music onstage, worldwide.
The Chamber Music combination of piano and traditional Colombian and Venezuelan instruments is a breakthrough, bringing the sounds from los Llanos, the great plains and mountains north of the Amazon Basin to a universal concert format.

This show, in which Claudia Calderón and her amazing guests make us discover a variety of music, is also a strong cultural statement. By combining the familiar voices of Piano and Double Bass with the surprisingly colorful performance of the Maracas, the Venezuelan Cuatro (small four-stringed guitar) and the Colombian Tiple (metal twelve-stringed guitar), the group reveals the profound musical and cultural universe spanning from the the Eastern tip of the Venezuelan Coast to the Southernmost parts of the colossal Colombian Andes; a great geographical arc which is full of musical surprises for world audiences.

The Andean ingredient gives an appropriate stylistic complement to the fiery music of the Llanos, introducing the fresh and relaxing sounds of the mountain guitar, the tiple, gently strumming the delicate forms of Colombian melodies. It is the realm of Bambuco, Pasillo, Joropo and Vals; a deep cultural unity and an ancient musical tradition shared by Colombia and Venezuela.
Piano Llanero brings these powerful forces together, and helps us gather a deeper sense of these relatively unknown but incredibly expressive families of Latin American music.

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_____	RAFAEL BRITO One of the most renowned cuatro players in Venezuela. His playing is innovative and sharp, and has brought him the greatest success in our country. He is currently director of the National Cuatro Department of the Simon Bolivar Conservatory in Caracas. Mr. Brito has played and recorded with the most prominent groups and solo performers of modern Venezuelan music: Arcano, Claudia Calderón's Piano Llanero, María Eugenia Méndez Ensemble, Cheo Hurtado and many others. He is also a very prominent singer of the modern Venezuelan vocal movement; a renowned and prized bandleader and arranger. His playing brings audiences a truly intense and gratifying musical experience.
____	LUIS MIGUEL EMMANUELLI A brilliant young bandola player (a plucked melodic Venezuelan and Colombian lute), Mr. Emanuelli created "Bandola Recia", a youthful Venezuelan ensemble dedicated to playing this special music. He has been awarded several prizes such as the Caracas Gold Button, the National Venezuelan Artist's Prize 2000, the Two Eagles of Venezuela special award, the Gold Mara prize and the Tourist Star prize 2000. He has recorded two CD's with his group and has toured in Venezuela, England and the U.S.A. He currently composes and produces television and documentary film music.
_____	ROBERTO KOCH Mr. Koch, is one of the country's most versatile and refined bassists. His exceptional talent and wide range of musical interests has taken him around the world, playing in a great number of styles, from Venezuelan traditional music to salsa, jazz, flamenco, tango and other Latin American genres. He has recorded with many Venezuelan artists: Onkora, Cecilia Todd, Simón Díaz, Aquiles Báez and Claudia Calderón. He has accompanied Latin singers such as the Argentinian María Marta Serra Lima and the Mexican David Haro. He has also played on the jazz stage with artists such as Steve Khan, Mario Canonge and Luis Perdomo.
______	JOSE ALBERTO PEREZ Maracas player and percussionist, born in San Fernando de Apure, in the heart of the great Venezuelan plains. Coming from this land of great harpists has made him an expert in the high traditional magic of maracas playing, one of the most amazing musical experiences. He has performed and recorded with acclaimed Venezuelan harpists such as Joseíto Romero, Omar Moreno, Eudes Alvarez, Cándido Herrera, Henry Rubio, José Archila, Carlos Orozco, Carlos Tapia, Alexis Ojeda and Gustavo Sánchez, with singers Simón Díaz, Reyna Lucero, Cristóbal Jiménez, El Catire Carpio and El Carrao de Palmarito; only the best and highest masters of Venezuelan traditional art music. He has also toured with Claudia Calderón in England, France, Colombia, Venezuela, México and the U.S.A.
_	LUIS PINO Born in Caracas, studied under David de los Reyes and Mariangela Romero.At age twelve he entered the Estudiantina Juvenil. In 1995 he was introduced to Cheo Hurtado by Raul Estévez with whom he continued his studies. At the moment he integrates the Group Carey and makes formal studies at the Music School "José Reyna". He has made numerous solo recitals and accompanied several vocal and instrumental groups, in most concert halls in Caracas and appeared in prestigious international scenes like the Palacio de Bellas Artes in México and Teatro Jorge Eliécer Gaitán in Bogotá.
	JACKELINE RAGO Multi-instrumentalist and composer specialized in Venezuelan and Caribbean folk music. After percussion studies in Venezuela under folklorists Héctor Pacheco and Alexander Livinalli, she graduated in Mandolin at the Music & Arts Institute of San Francisco, CA. Artistic director of the "Venezuelan Music Project" and of "The Snake Trio", she founded also “Altazor”,” Wild Mango”, “Keith Terry & Crosspulse” and “Trio Altamira”. Guest artist on recordings and performances by prominent artists such as John Santos and the Machete Ensemble, Andy Narell, Mike Marshall, Holly Near, Linda Tillery and the Cultural Heritage Choir, Isay Barwell (Sweet Honey in the Rock), Marco Granados, Aquiles Báez, Alexander Livinalli, Rebeca Mauleón, Omar Sosa, the Oakland Youth Chorus and various Windam Hill recording artists.
	HENRY LINAREZ Young cuatro player standing out by its brilliant execution and dominion of several Venezuelan styles. Born in the middle of a musicians family, he began singing in folk group Oe Bangue, sharing stage with the Golperos de Don Pío Alvarado in Quíbor, Lara State, Venezuela. Member of the Manoroz Ensamble, has played and recorded with outstanding harpist Carlos Orozco. "Entre Querubines", his first CD, was released 2006 during a concert tour with Cristiano Marcos Whit and Daniel Calvetti. He has also accompanied artists like Luis Silva, Ignacio Rondón, Rogelio Ortíz, Juan of the Contreras Saints (el Carrao de Palmarito), Reyna Lucero, Castilian Mayra, Aquiles Machado, Simón Diaz, Aquilles Báez, Reynaldo Arms, Stolen Cheo, Jose Antonio Naranjo, Rafael Brito, Gonzalo Teppa, Carlos Orozco, Tico Páez, Andy Nevala, Tyler Hhornby, Argenis Sanchez and Guillermo Carrasco, among others. In addition to his Cultural Managemen t studies, he makes research and offers workshops and didactic concerts on the venezuelan cuatro.
	GONZALO TEPPA After years at the Lara and the Simon Bolívar Symphony Orchestras in Venezuela, he graduated in classical and jazz performance at the Colorado University under Paul Erhard and Mark Simon. Awarded with the Colorado University “Best Instrumentalist” and the Downbeat Magazine “Best Jazz Soloist" grants, he has played with such Jazz stars as trumpeter Wynton Marsalis, trombonist Slide Hampton, saxophonist John Gunther, percussionist John Hadfield, drummer John Von Ohlen, pianists Dave and Don Grusin, saxophonist, flutist and trumpeter Ira Sullivan, pianists Chip Stephens and Pat Bianchi, trumpeter and director John Davis, pianist Michael Pagan, trombonist Conrad Herwig, trumpeter Tom Harrell, saxophonist Chris Potter, trombonist Jiggs Whigham, flutist and saxophonist Nelson Rangel, vibraphonist Doug Walter and guitarist Bill Kopper among others. An active composer, Mr. Teppa has released three CD’s: “Designios”, “Travesías” and “Serpentinas", blending Venezuelan music with other styles.

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Chamber Music for Violoncello and Piano Paul Desenne, Violoncello Claudia Calderón, Piano

Paul Desenne and Claudia Calderón have played the classical cello and piano repertoire together since 1989. Recital tours in Colombia, Venezuela, France and England, playing Marais, Bach, Beethoven, Schubert, Brahms, Debussy, Poulenc and Strawinsky. Examples from live concert in Bogotá, Sala Luis Angel Arango, 1992: Sonata Regenlied, Opus 78 en Re mayor - Johannes Brahms (1833-1897) - Allegro molto moderato* (fragmento: mp3...0.8Mb) Sonata en re menor - Claude Debussy (1862-1918) - Sérénade* (fragmento: mp3...1Mb) Sonata - Francis Poulenc (1899-1963) - Ballabile* (fragmento: mp3...1Mb) ***

 

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AN ENCOUNTER OF MUSICAL TRADITIONS:
VENEZUELA-COLOMBIA-VERACRUZ (MEXICO):

A New Look at the musical traditions deriving from the Early Spanish Fandango in Latin-America.
The Mexican Son Jarocho and the Joropo from Venezuela and Colombia.
Chuchumbé and Claudia Calderón's Piano Llanero.





THE PROJECT

Joropo, the great musical tradition of the Colombian and Venezuelan Orinoco Basin, and the the Son Jarocho Music from Veracruz, in the coastal plains of Southern Mexico, both share some very strong common Hispanic roots. The common ancestors left their cultural offspring in most countries on the Caribbean rim.These diverse Latin-American traditions are linked to the early Spanish Fandangos, Folías, Malagueñas and Peteneras, as well as to some contemporary forms of modern Flamenco. Son Jarocho and Joropo are cross-breeds of the three main cultures which met in the Caribbean melting pot: Amerindian, Spanish and African. (The word "Jarocho" originally designated a child born of African father and Mexican-Indian mother).

"Joropo" also designates a popular feast with music, dance, poetry and song. In the same way, Mexican Son Jarocho expresses itself through verse, songs, Zapateado dances and Fandangos that keep the tradition alive. The common traits are unquestionable, but each
one of these communities keeps its strong local flavor and identity.In the rural communities of the great Orinoco Basin Joropo is still seen as a village feast; in cities, what mostly counts is the musical content, an aspect which has evolved remarkably in the past five decades due to massive radio broadcast, record production, and a proliferation of festivals, contests and groups.Joropo music is a national emblem of Venezuela, but it only reaches that status in a quarter of Colombian territory, in the Central Eastern Colombian states.

Technically, Joropo music has become a genre for great solo performances on the leading melodic instruments, harp or bandola (the venezuelan four-string lute). The classical accompaniment is held by the cuatro (four-string strummed guitar) and the maracas. The
acoustic double-bass or, instead, the recently introduced electric bass, are also extremely important in the modern ensemble. The forms can be vocal or purely instrumental, but the real Joropo classic is the vocal joust, an improvised rhymed duel between two
singers. The groups are compact and the performers are extremely specialized in their different musical functions.

Son Jarocho, on the other hand, presents itself quite differently. The musical feast of southern Mexico is much more collective, its dynamics are inclusive and the audience often becomes part of the musical group. The number of simultaneously active players and
singers can increase during the show; the added singers and dancers may take turns in the song and on the stage without disrupting the general form of the piece and without damaging the order of things: both songs and groups are open structures which can change
as the crowd demands. This is not showcase music for soloists. The interest and charm of these forms lies in their collective force. In many cases professional performers might end up playing along with non professionals, children or entire families.

The Fandango Jarocho has a ritual character, a feeling of borderless, endless music, with a peculiar spirit of communion and sharing. A recent surge of groups, recordings and festivals of this traditional music has strengthened it to the point of extending its presence well beyond the borders of the state of Veracruz, and up North beyond the Rio Grande. The simplicity of its harmonies and the archaism of its forms is quite suitable for making variations on the lyrics of songs, a practice more frequent than the display of instrumental virtuosity. The ancient original songlines are kept to launch the song, andthen variations are added on by the singers, extending the length of each piece with improvised verse.

In its musical aspects, Mexican Son Jarocho is quite similar to Venezuelan or Colombian Joropo; this is also true for the instruments, which are surprisingly alike. The Venezuelan cuatro (a small four string guitar) has almost the same shape, size and musical role as the Mexican Jarana, which is just a few inches bigger; both instruments are strummed, and both play short repetitive harmonic cycles with a strong rhythmic profile. The "requinto Jarocho" and the "leona" often remind us of their Venezuelan and Colombian equivalent, the "bandola". The harp is also extremely important in both traditions. The Orinoquian harp is lighter and perhaps a bit sharper in sound, the Mexican harp is nevertheless identical to its cousin in shape and musical importance; they both play similar rhythmic patterns and comparable harmonic cycles.

The difference lies in details such as tempo and character: Jarocho music is more relaxed; its character is sweeter, broader. The lyrics remind us of the gallantly austere style of the Spanish Siglo de Oro, and the music is crafted to serve this poetic, vocal predominance, leaving the instruments to their complementary roles in the background.
In a totally different way, the Joropo of the great plains of the Orinoco basin was born at full gallop; it is a form practically shouted out at the inmense savannahs. In spite of having clearly consolidated forms, it is quite accurately named the "Untamed"Joropo.
It is brisk, often frantic and seemingly indomitable in its character. The Llanero musician strums and plucks his instrument in a fierce and percussive manner, and prefers lyrics which are strongly rooted in the poetic elements of his province, often in a proud nationalist gesture. The instrumental aspect of this music can be quite elaborate, and is often predominant. Individual virtuosity is frequently displayed over longer cyclical harmonic structures which allow a great range of colors and styles of instrumental improvisation.

In spite of their differences, like two sisters, these two traditions share many common points; one finds echoes of the Mexican Siquisirí in the Seis Por Derecho, the Buscapiés relates to the Seis Numerao,the Peteneras remind us of the Polo Margariteño, and
the Cascabel is like the Gabán or the Pajarillo.
Following these echoes and other forgotten connections between these two marvelously rich traditions, we have taken the initiative of proposing a cultural project integrating Venezuela and Veracruz to nurture creative processes and to strengthen our ties.
Following our project of broadening the specific area we work on towards other related cultures in the Caribbean, and as the founder and leader of the ensemble Piano Llanero I propose to invite the renowned Son Jarocho group "Chuchumbé" to start integrating these two traditions onstage.
This group of performers consisting of one Bailadora (Zapateado dancer) and six players, two of which are singers of traditional improvised verse, wishes to join forces with our Piano Llanero, to offer a concert showing the best of Son Jarocho as well as the great similarities existing between their art and the fascinating forms of Joropo music from Venezuela and Colombia.
Chuchumbé and Piano Llanero together onstage will reveal the surprising common roots in a historic counterpoint of traditions.

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