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Andres Segovia Julian Bream Stratford Yepes Lukas Foss George Crumb Montgomery McGuire Rubio Aeolian Chamber Players American Symphony Orchestra Carnegie Hall 1968 1969 1975
(http•••) Esteban Bello has studied the guitar intensely since childhood. He attended Mannes Conservatory of Music and majored in classical guitar under Leonid Bolotine. He was one of 15 accepted as a performer in the 1968 Andres Segovia master class held in Santiago de Compostela, Spain. In 1969, Esteban Bello was one of 10 performers selected for the Julian Bream master class held in Stratford-0n-Avon, Ontario, Canada. He won entrance as one of 5 performers in the Narcisco Yepes master class held in New York City in 1975. In addition to having performed over 400 solo concerts throughout the United States, Mr. Bello has toured internationally as a member of the Lukas Foss Creative Associates. Esteban Bello has also been guest soloist with the Contemporary Chamber Players, New York City, the Columbia Group for New Music, New York City, the Aeolian Chamber Players, New York City, the American Symphony Orchestra at Carnegie Hall, the Hofstra State Symphony, the Berkeley Contemporary Chamber Players, Berkeley, California, the Alaska State Symphony, and the Washington State Symphony. He has recorded new music on Nonesuch Records (Paradigm, Lukas Foss) and Deutschegramophone (Ancient Voices of Children, George Crumb) and has released three CD's: one of traditional flamenco and two of romantic boleros. Mr. Bello has also been guitar instructor on the faculty of Manhattan College of Music, Mannes College of Music, the New School for Social Research, and the Jersey City State Teachers College. Esteban has performed with many jazz luminaries including Buddy Montgomery, Hubert Laws and Chuck Israels. Also, Esteban has studied flamenco extensively with the great American flamenco guitarist, Jason McGuire, "El Rubio," as well as with Anzonini Del Puerto and Augustin Rios, both world renowned and beloved gypsy master flamencos.
Patterson Newman Schoenberg Aeolian Chamber Players 1992
This wonderful recording by my chamber ensemble Antares unfortunately never found a home on CD so I am posting here so that it may be listened to by all! This is the first complete recording of the work. Clarinet - Garrick Zoeter Violin - Vesselin Gellev Cello - Rebecca Patterson Piano - Eric Huebner Program Notes: Spiral VI is the sixth work in succession that follows a metaphorical spiral through a multiple series of manipulations if the two versions of Grand Spiral (for symphonic band and later for orchestra) are counted as two separate pieces. It is scored for violin, clarinet, cello, and piano, and was commissioned by Harold Newman for the Aeolian Chamber Players in 1992. It had its world premiere that same year by this group in Strasbourg, Germany. Each of Ung's spiral pieces is similar in that they all have individual notes or phrases that are constantly being reworked, but each is unique and, according to where they fall in the color spectrum (blue-yellow), display different shades of "green." Both Asian and Western elements are readily discernible in Spiral VI, probably one of Ung's best examples of achieving a true integration of these ideas. Spiral VI begins with a rapid series of intervals outlining a diminished seventh, establishing a firm ground on C-sharp. This pattern is heard once more toward the end with a softer perfect fifth interval and a cadence on G. From the initial C-sharp the piece moves forward through a progression of pitches, enunciated by the piano, that function as harmonic spheres. It is no accident that this progression outlines a diminished fifth, an interval used repeatedly in Spiral VI. A soulful violin solo that briefly recalls pre-atonal Schoenberg (Verklärte Nacht comes to mind) winds sinuously over a veiled heterophonic texture and is eventually picked up by both the clarinet and cello. There are just enough exotic sonorities to add an interesting contrast to the traditional Western notation. Most of these effects occur in the violin and piano. For example, the piano player is directed to "scrape" the ground string on several occasions. Playing near or over the bridge, occasional note bending, and the use of high harmonic glissandos are part of this exotic mix. Spiral VI is constantly changing, expanding, or contracting, and has been described as having a "floating" feeling despite its precise rhythmic notation.
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