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Special thanks to the Epiphany Angels for believing in the creation of a non-profit organization with the sole purpose of bringing the world of the arts to younger audiences.

This recording project would not have been possible without the incommensurable support and vision of Mercedes T. Bass, Anonymous and the invaluable support of Linda and Dennis Myers, Linda and Stuart Nelson, Michael Shawiak, Kenneth Hutchins and Teddy Dean Boys.

JIMMY LÓPEZ BELLIDO (b.1978)

SYMPHONY NO.1 – THE TRAVAILS OF PERSILES AND SIGISMUNDA (2016) [45:27]

1 I Libro Primero 15:29

2 II Libro Segundo 12:07

3 III Libro Tercero 6:37

4 IV Libro Cuarto 11:12

BEL CANTO – A SYMPHONIC CANVAS (2016) [30:20]

5 I Perú, Real and Unreal 8:30

6 II La Garúa 12:40

7 III The End of Utopia 9:10

Total Time 75:47 FORT WORTH SYMPHONY ORCHESTRA MIGUEL HARTH-BEDOYA conductor

Concertmaster: MICHAEL SHIH (1710 Davis Stradivarius) Associate Concertmaster: SWANG LIN (1685 Eugenie Stradivarius)

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Recorded at Bass Performance Hall on 6-7 April 2018 [5-7] and 11-13 January 2019 [1-4]. Executive Producer: Heleno Leitao. Producer: Brad Michel. Recording, editing and mastering engineer: Brad Michel. Product management: Robert LaPorta. Package design: Rumney Design UK. Cover art: Igor Studio, SL. Additional photography: Franciel Braga.P & C 2019 Fort Worth Symphony Orchestra. Warning: All Rights Reserved. Unauthorized duplication or use of this protected material in public performance is a violation of copyright laws. MSR Music LLC, Newtown CT 06470. Made in USA.

WORLD PREMIERE RECORDINGS

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NOTES FROM JIMMY LÓPEZ BELLIDO

It takes a village. Nothing could be truer of this album, which constitutes a milestone on many fronts, not only because composers only get to write one first symphony and one first opera, but also because it practically requires the stars to be aligned just so to have two works of this scale come to life – all the way from their inception, commissioning and programming, to their being performed and recorded by such an outstanding group of musicians. This has been a labor of love, and everyone involved in this project – from our sponsors, orchestra musicians, conductor, recording engineer, designers, photographers, videographers, administrative team, production team and record label – knows this. It is not enough for music to be commissioned; it must be performed. It is not enough for it to be performed; for it to be alive it must make its way to the repertoire; but we can’t stop there. Music must be available at all times, and the only way to ensure this is by recording it and making it available on multiple platforms, so that anyone anywhere may have access to it. It is this unshakeable conviction that kept driving us forward at the times of greatest difficulty and doubt. We are now proud to present Symphonic Canvas, a testament to our faith in the power of music, especially new music, and its ability to establish a direct channel of communication to new generations thirsty for change, new challenges, and innovation. The Epiphany Foundation, which my husband Heleno and I established in 2016, has been a catalyst through which all the generous, self-raised donations made this ambitious album a reality. My sincere thanks to every single person involved in this project. No contribution has been too small and no voice has remained unheard. And now, may the music speak for itself.

SYMPHONY NO.1 – The Travails of Persiles and Sigismunda

During my teenage years, Cervantes’ Don Quixote became a personal obsession of mine. The handling of the Spanish language, wit and sense of humor were irresistible to me. For this reason, I was overjoyed to be a part of the celebrations for the fourth centenary of the death of Cervantes in 2016. Coincidentally, that year also marked 400 years since the publication of The Travails of Persiles and Sigismunda, the last novel by the great Spanish writer, which he completed only a few days before his death and in whose prologue he writes prophetically: “Adieu to gaiety, adieu to wit, adieu my pleasant friends, for I am dying, yet hoping to see you all again happy in another world.” This novel has been the source of inspiration for my first symphony.

The four movements correspond to the four books that make up the novel, throughout which the two main protagonists encounter countless characters on their pilgrimage from the freezing Scandinavian lands to Rome. Persiles and Sigismunda, two Scandinavian nobles, pretend to be brothers throughout the novel, hiding their true identity and romance, which is only consummated when they join in marriage in Rome and kiss the feet of the Supreme Pontiff. A story of this magnitude needed an epic treatment, which is why I decided to write a symphony, a type of orchestral composition historically very ambitious and capable of accommodating within itself a whole universe of themes and musical motifs that become transformed over throughout its several movements.

Despite being based on Cervantes’ novel, this symphony is an abstract musical work that stands on its own; prior reading of the novel is not required to enjoy it. Moreover, I did not try at any time to describe the events that occur in the novel in strict chronological order. Instead, my intention was to convey the spirit, greatness and humor contained within each of its four books. Hence, this is not a symphonic poem, nor did I use musical elements from the countries referred to in the novel or musical styles contemporary to Cervantes’ time. It is, therefore, a personal expression by a composer who laughs, enjoys and grieves with Cervantes.

The symphony begins with its most extensive movement, one in which I have ventured to regions that had previously been unexplored by me. The second movement is calm in nature, where the woodwinds rise to prominence, leading the movement’s melodic paths. The third is festive and Latin American in character, employing rhythms and instruments from that region, including maracas and bongo. The fourth and last movement is born from an ominous theme that dominates the first half and which leads, eventually, to a brief recapitulation in which all preceding movements are cited, not literally, but rather under the veil of the fourth movement’s own musical aura. Towards the end, the main theme of

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The second movement depicts La Garúa, a mysterious fog as it is known locally, enshrouding the mansion and the entire city of Lima. Two weeks have elapsed since the beginning of the crisis, and it is in this second movement that one begins to sense the true passage of time. The house is in a calamitous state: sofas turned on their sides, chairs piled up and clothes hanging everywhere. Hostages and terrorists have found a daily routine, sharing chores and developing friendships; some even falling in love with one another, as is the case with the two leading couples: Roxane Coss and Katsumi Hosokawa, and Carmen and Gen Watanabe, Mr. Hosokawa’s interpreter. One by one, the main characters take center stage to express their innermost feelings, eventually leading to one of the most iconic moments in the opera: Carmen’s prayer to St. Rose of Lima. Her prayer, in her native Quechua, and loving exchange with Gen is interrupted by chants of “¡Libertad!” uttered by the women from outside the mansion calling for their husbands’ freedom. As each character exits, La Garúa makes itself felt by several brief instrumental interludes. Toward the end of this movement the fog clears, allowing for the first rays of light to be seen, piercing through the mansion’s windows.

The End of Utopia begins with the first notes of the opera’s sixth and last scene. After a brief interlude, fast figurations on the strings suggest impending danger as commandos surround the premises and blast into the house killing several terrorists, including Carmen and César, a young countertenor whose talent for singing had been nurtured in the last weeks of the crisis by Roxane Coss. As the hostages, now free, are escorted outside, a heartbroken Roxane enters the horrific scene. Inconsolable, and having witnessed first-hand the death of Carmen and her beloved Hosokawa, she sings her final aria, here mainly conveyed by the trumpet, rising above the scene of desolation.

Bel Canto – A Symphonic Canvas was co-commissioned by the Fort Worth Symphony Orchestra, Atlanta Symphony Orchestra and Bremen Philharmonic in Germany. The world premiere performances took place in Atlanta, with subsequent performances in Fort Worth, Washington D.C. and Bremen in March, April and May 2018.

Jimmy López BellidoJuly 2019

Music Publisher: Filarmonika Music Publishing

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the movement reaches its climax, which is, in turn, the climax of the whole symphony, after which the opening theme returns, at last with the whole orchestra, in full force and plenitude.

This work was commissioned by the National Orchestra of Spain on the initiative of Félix Alcaraz Vellisca. It premiered in Madrid, with subsequent performances in Mexico City and Guanajuato during the 2016 Festival Internacional Cervantino. All premiere performances were conducted by David Afkham.

BEL CANTO – A Symphonic Canvas (Orchestral Suite from the Opera)

Creating Bel Canto, the opera, was one of the most exhilarating experiences of my career. From its inception back in 2010, announcement in 2012 and subsequent premiere in 2015, culminating with its nationwide broadcast on PBS in 2017, it encompassed a period of my life which saw me grow professionally and personally, defining my 30s – as an artist and human being. Commissioned by the Lyric Opera of Chicago as part of the Renée Fleming initiative, Bel Canto is based on the eponymous, best-selling novel by Ann Patchett, which is, in turn, inspired by real events that took place in Lima, Peru, in 1996 and 1997. The creation of the libretto fell into the hands of Pulitzer Prize winner, Nilo Cruz.

Bel Canto – A Symphonic Canvas captures the essence of the opera upon which it is based, highlighting some of its most striking instrumental and vocal moments. Those who have seen the opera will recognize the overall arch of the story condensed into a compact 30 minutes, while those who have not will find this instrumental suite, with its traditional three-movement structure, entirely satisfying on its own.

Like the opera, the first movement, titled Perú, Real and Unreal, begins with the Overture. All the guests arrive at the Vice President’s mansion expecting the arrival of Katsumi Hosokawa, a Japanese mogul who has been invited by the Peruvian government. In order to lure him all the way to Peru, superstar diva Roxane Coss has been engaged to sing at his birthday celebration. Little does he (or anyone else) know that this marks the beginning of a four-month hostage crisis at the hands of guerillas from the Túpac Amaru Revolutionary Movement that would capture the world’s headlines. The movement concludes shortly after one of the most dramatic moments in the opera: the shooting of Roxane’s accompanist. The orchestra swells as his body is removed from the stage, leading to a heartfelt lament by Carmen, a young female guerrilla, and Father Arguedas, a Peruvian priest. In the final bars, the chorus chants the initial motif “Peru, Peru, Peru” as the sound of a pututo (a conch shell) emerges ominously from the orchestra. We are at the end of Act I, and only three days into the crisis.

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“one of the most interesting composers anywhere today”CHICAGO SUN-TIMES

“adventurous and winning”DENVER POST

Award-winning composer Jimmy López Bellido has created works performed by such renowned ensembles as the Chicago Symphony Orchestra, Philadelphia Orchestra, Boston Symphony Orchestra, Baltimore Symphony Orchestra, St. Paul Chamber Orchestra, Atlanta Symphony Orchestra and Fort Worth Symphony Orchestra. He currently serves as Composer-in-Residence with the Houston Symphony Orchestra through the 2019-2020 season. Internationally, his music has been performed by the Helsinki Philharmonic Orchestra, Philharmonic Orchestra of Radio France, Sydney Symphony Orchestra and the National Symphony Orchestras of Peru, Chile, Ecuador and Argentina, among many others. Further engagements include performances at Carnegie Hall; Germany’s Darmstadt and Donaueschingen music festivals; Nordic Music Days; the Aspen, Tanglewood and Grant Park music festivals; and the 2010 Youth Olympic Games in Singapore. López’s work Fiesta! has received more than 90 performances worldwide by several major orchestras, including those of Seattle, Colorado, Gothenburg, Leipzig, The Hague, Siberia and New Zealand, among others, making it one of today’s most performed contemporary orchestral works. Bel Canto, a full-length opera commissioned by the Lyric Opera of Chicago as part of the Renée Fleming initiative and based on the best-selling novel of the same name, premiered in December 2015 to widespread critical acclaim and was broadcast throughout the United States as part of PBS’ Great Performances series. In collaboration with Pulitzer Prize-winning playwright Nilo Cruz, López composed Dreamers, a 45-minute oratorio for Ana María Martínez and the Philharmonia Orchestra under Esa-Pekka Salonen, who gave the world premiere performance. A native of Lima, Peru, he studied at the city’s National Conservatory of Music with Enrique Iturriaga, and subsequently at the Sibelius Academy in Helsinki where he earned a Master of Music degree, studying with Veli-Matti Puumala and Eero Hämeenniemi. López completed his Doctorate in Music at the University of California-Berkeley with Edmund Campion. [ www.jimmylopez.com ]Mr. López’s hairstylist is Daniela Lorenz; his personal trainer is Steven Halstrom.

Celebrating 30 years on the podium, Miguel Harth-Bedoya is currently Chief Conductor of the Norwegian Radio Orchestra and is in his 20th season as Music Director of the Fort Worth Symphony Orchestra. A Grammy-nominated and Emmy Award-winning artist, he is also the Founder and Artistic Director of Caminos del Inka, a non-profit organization that performs and promotes the music of the Americas. Harth-Bedoya has conducted top North American orchestras, including the Chicago Symphony Orchestra, Boston Symphony Orchestra, Cleveland Orchestra, Philadelphia Orchestra, New York Philharmonic, Los Angeles Philharmonic Orchestra, Saint Louis Symphony Orchestra, Atlanta Symphony Orchestra, Baltimore Symphony Orchestra and Montreal Symphony Orchestra. In Europe, he has led the London Philharmonic Orchestra, BBC Symphony Orchestra, BBC Scottish Symphony Orchestra, Orchestre de Paris, Orchestre National de Lyon, Berlin Radio Symphony Orchestra, Frankfurt Radio Symphony, Munich Philharmonic, Helsinki Philharmonic Orchestra and Royal Stockholm Philharmonic Orchestra, among others. Engagements in Australasia have included the Sydney Symphony Orchestra, New Zealand Symphony Orchestra, Tokyo Metropolitan Symphony Orchestra, NHK Symphony Orchestra and Malaysian Symphony Orchestra. Harth-Bedoya led two world premiere performances at the Santa Fe Opera: Jennifer Higdon’s acclaimed Cold Mountain and Osvaldo Golijov’s Ainadamar. Other opera productions include La bohème at English National Opera and Rossini’s Barber of Seville with the Canadian National Opera. Harth-Bedoya’s discography features recordings on the Harmonia Mundi, Deutsche Grammophon, Decca, Sony and FWSO Live labels. Also a passionate environmental advocate, he co-founded Cowboy Compost, a business geared to achieve food waste reduction [ www.cowboycompost.com ]. He is a champion of living composers and has a passion for commissioning, performing and recording new works. Harth-Bedoya received his Bachelor of music from the Curtis Institute of Music and his Masters of Music from The Juilliard School. [www.miguelharth-bedoya.com ]

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The Fort Worth Symphony Orchestra is deeply committed to uniting its community through performance, education and outreach, reaching an audience of more than 200,000 annually. Since its beginnings in 1912, the FWSO has been an essential thread in the city’s cultural fabric and the very foundation of Fort Worth’s performing arts. Music Director Miguel Harth-Bedoya has led the orchestra into the 21st century and to new levels of excellence. Under his leadership, the FWSO has performed at Carnegie Hall and the John F. Kennedy Center for the Performing Arts as part of SHIFT: A Festival of American Orchestras. Throughout his tenure, the FWSO has released 13 recordings, several of which feature world premieres, garnering international acclaim. Miguel Harth-Bedoya and the FWSO have embraced creative collaborations through residencies, partnerships and commissions. As the principal resident company of the acoustically superb Nancy Lee and Perry R. Bass Performance Hall, the Orchestra performs a full season of concerts featuring internationally-acclaimed guest artists and works by great composers of the past and present. The Orchestra performs and partners with the Texas Ballet Theater, Fort Worth Opera, The Cliburn, and Performing Arts Fort Worth. Each summer at the Fort Worth Botanic Garden, the FWSO presents Concerts In The Garden, a series of family-friendly concerts that has become a beloved city-wide tradition. The FWSO keeps exceptional musical experiences at the heart of its community. After all—life is better with music!

VIOLIN IMichael Shih, Concertmaster

Mrs. Mercedes T. Bass ChairMr. Sid R. Bass Chair

Swang Lin, Associate Concertmaster

Ann Koonsman ChairEugene Cherkasov, Assistant Concertmaster

Mollie & Garland Lasater ChairJennifer Y. Betz Ordabek DuissenQiong HulseyIvo IvanovIzumi LundKe MaiAmela Koci *Oleg Larshin *Mark Miller *Delmar Pettys *Kurt Sprenger *Ertan Torgul *

VIOLIN IIAdriana Voirin DeCosta, PrincipalSteven Li, Associate PrincipalJanine Geisel, Assistant Principal

Symphony League of Fort Worth Chair

Molly BaerMarilyn d’AuteuilTatyana Dyer SmithSuzanne Jacobson°Matt MilewskiKathryn Perry Rosalyn StoryAndrea TullisCamilla WojciechowskaElizabeth Elsner *Rebecca Stern *

VIOLALaura Bruton, PrincipalSarah Kienle, Associate PrincipalHeeSun Yang, Assistant PrincipalJoni BaczewskiSorin GuttmanAleksandra HolowkaDmitry KustanovichDaniel SigaleColin Garner *Donna Hall *Kyong Kim *Hannah Martineau *Ute Miller *Imelda Tecson *

CELLOAllan Steele, Principal

Mrs. Mercedes T. Bass ChairMr. Sid R. Bass Chair

Leda Dawn Larson, Associate PrincipalKeira Fullerton, Assistant Principal

Burlington Northern Santa Fe Foundation Chair

Deborah BrooksLesley ClearyKaren HallShelley JessupSara Hood *Eric Forman *Craig Leffer *

BASSWilliam Clay, Principal

Mr. & Mrs. Edward P. Bass ChairPaul Unger, Assistant PrincipalJeffery HallJulie VinsantAaro Heinonen *Joe Ferris *William Gowen *Kibry Nunez *Jack Unzicker *

FLUTEJake Fridkis, Principal Shirley F. Garvey Chair Gabriel Fridkis, Assistant PrincipalPam Holland AdamsCobus du Toit *Mark Teplitsky *

PICCOLOPam Holland AdamsMark Teplitsky *

ALTO FLUTEGabriel Fridkis

OBOEJennifer Corning Lucio, Principal

Nancy L. & William P. Hallman, Jr., Chair

Tamer Edlebi, Assistant PrincipalNora Prener, Assistant Principal ̂Mary Kausek *Jane Owen *

ENGLISH HORNMary Kausek *Jane Owen *

CLARINETStanislav Chernyshev, Principal Rosalyn G. Rosenthal Chair**Ivan Petruzziello, Assistant Principal Gary Whitman

E-FLAT CLARINETIvan Petruzziello

BASSOONKevin Hall, Principal

Mr. & Mrs. Lee M. Bass Chair

Cara Owens, Assistant PrincipalLeslie Massenburg *

CONTRABASSOONLeslie Massenburg *

HORNMolly Norcross, Principal Elizabeth H. Ledyard ChairAlton F. Adkins, Associate PrincipalKelly Cornell, Associate PrincipalAaron PinoReese Farnell *Gerald Wood *Natalie Young *

TRUMPETKyle Sherman, PrincipalCody McClarty, Assistant Principal Dorothy Rhea ChairAdam Gordon, Assistant PrincipalOscar Garcia Noah Lambert ^

PICCOLO TRUMPET Kyle Sherman Adam Gordon

CONCH SHELL Noah Lambert ^

TROMBONEJohn Romero, Principal Mr. & Mrs. John Kleinheinz Chair Joseph Rodriguez *, Guest PrincipalJohn Michael Hayes, Assistant PrincipalSteve Peterson *

BASS AND CONTRABASS TROMBONEDennis Bubert Mr. & Mrs. Lee M. Bass Chair

TUBAEdward Jones, Principal

TIMPANISeth McConnell, Principal Madilyn Bass ChairPERCUSSIONKeith Williams, Principal Shirley F. Garvey Chair Nicholas Sakakeeny, Assistant Principal Adele Hart Chair Jim Benoit, Assistant PrincipalDeborah MashburnJoe Ferraro *Miles Salerni *

HARP Bayard H. Friedman Chair

Jill Levy *Naoko Nakamura *

KEYBOARDShields-Collins Bray, Principal

Rildia Bee O’Bryan Cliburn & Van Cliburn Chair

ORCHESTRA LIBRARIANSDouglas Adams James Andrewes, AssistantRobert Greer, Assistant

**In Memory of Manny Rosenthal * Extra Musician^2017-2018 Season Only°2018-2019 Season Only

FORT WORTH SYMPHONY ORCHESTRAMiguel Harth-Bedoya, Music Director | Nancy Lee and Perry R. Bass Chair

Robert Spano, Principal Guest ConductorAlejandro Gómez Guillén, Associate Conductor | Rae and Ed Schollmaier / Schollmaier Foundation Chair

John Giordano, Conductor Emeritus

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