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Jose Serebrier established himself as a significant composer very early in his career. He was just 17 when Leopold Stokowski gave the world premiere of his Symphony No.1, and soon after started to gain notoriety also as a conductor. His dual career has been honored with 36 Grammy Award nominations, and the Latin Grammy award for Best Classical Recording as conductor. Born in Montevideo, ruguay of Russian and Polish parents, Serebrier was awarded a Koussevitzky Foundation Award at Tanglewood and a BMI Young Composers Award for his Symphony No.1 and Saxophone Quartet. He received a.s. State Department Fellowship to study composition at the Curtis Institute of Music with Vittorio Giannini and with Aaron Copland at Tanglewood. Awarded two consecutive Guggenheim Fellowships at 19 and 20, he remains the youngest to have ever obtained these awards in any field. Following graduation from Curtis, Serebrier studied at the niversity of Minnesota, where he received his M.A. in composition. He was awarded two Dorati Fellowships, a Pan American nion Publication Award (for Elegy for Strings), and the Ford Foundation American Conductors Project Award. Subsequent awards for his compositions include a Rockefeller Foundation award (for an extended residency with the Cleveland Orchestra); a Harvard Musical Association Commission Award (for Fantasia for string quarte; and a National Endowment for the Arts Commission (Orpheus x Light, a ballet for the Joffrey Balle. Serebrier was 22 years old when Leopold Stokowski named him Associate Conductor of the newly formed American Symphony Orchestra in New York, a post he held for four years. Stokowski conducted the first New York performance of Serebrier's Elegy for Strings at Carnegie Hall, and he opened the American Symphony Orchestra season at Carnegie Hall with the premiere of Serebrier's Poema Elegiaco, the second movement of Symphony No.2: Partita. For two consecutive seasons, George Szell named Jose Serebrier Composerin Residence ofthe Cleveland Orchestra. While in that position, he brought new elements to his compositions. His harp concerto Colores Magicos for the InterAmerican Music Festival in Washington D.C. and Nueve, a concerto for double bass and orchestra commissioned for the double bass virtuoso Gary Karr, both incorporated imaginative staging. Serebrier has conducted Karr in performances ofnueve all over the world. Also from this period 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 on ASV. His Symphony No.3 for string orchestra and soprano vocalise, nominated for a Grammy in 2004 as Best Composition of the Year, has been released on Naxos along with a number of his other works for strings. More recently, he has revisited his ruguayan youth by writing Tango in Blue and Almost a Tango for orchestra (both recorded on BIS) lighter works using rhythms and melodic turns of Latin American popular music. Tango in Blue, 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 on tour in Australia and recorded it with the Australian Chamber Orchestra, directed by Richard Tognetti and produced by Robert Suff. The first movement establishes itself without introduction, with a rhythmic punch similar in character to the first movement ofmy SymphonyNo.3. The technical fireworks are interruptedby a highly lyrical section, providing a shortlived respite before the movement ends in a urry. The second movement opens with a cadenza a long, quasiimprovisational dissertation followed by a fast, virtuoso section for the ute, with the orchestra providing punctuation. Fantasia, the rhapsodic third movement, features the wann, wonderful low register of the alto ute in 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 chord followed by a brief, barely audible tonic chord. I take this idea further, leaving my tango up in the air in the middle of a phrase, so that the listener can make his own conclusion. The tango's interlude of slow, lyrical passages gives way to the final Allegro movement, when soloist and orchestra are again off to the races. A virtuosic Presto section ends the work with a ourish of pyrotechnics. Jose Serebrier Flute Concerto with Tango, Sharon Bezaly, ute, and the Australian Chamber Orchestra, Richard Tognetti, Leader and Artistic Director, is recorded on BISCD1789.