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Sarah Willis|Mozart y Mambo

Mozart y Mambo

Sarah Willis, José Antonio Méndez Padrón and Havana Lyceum Orchestra

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Fusions of classical music with Cuban styles have been done before, for example, on Tiempo Libre's fine Bach in Havana release of 2009. Anyone who has twirled a radio dial (even on AM) while driving the Overseas Highway to Key West will be conscious of the fact that the long years of Soviet influence in Cuba left the country with a thriving classical music scene. That's attested to on this recording by Berlin Philharmonic hornist Sarah Willis, which features the fine Havana Lyceum Orchestra in the Mozartian part of the program, along with Cuban mambo and jazz musicians. The Mozart-mambo mixture is a difficult one, more difficult than Bach and Cuban music, for the music of the Classical era depends on periods of shifting harmonic rhythm that are antithetical to the steady beats of Afro-Cuban popular styles. Willis has plainly thought the problem through, and her proposed solution is mostly to juxtapose rather than try to fuse Mozart and the mambo. Of the ten works on the album, just two, the Sarahnade mambo (based on the first movement of the serenade Eine kleine Nachtmusik, K. 525), and the looser Rondo alla Mambo ("inspired" by the finale of the Horn Concerto in E flat major, K. 447, heard immediately before) are mixtures of the two styles, and what Willis and composer/arrangers Edgar Olivero, Joshua Davis, and Yuniet Lombida Pietro do is to snatch tunes from Mozart rather than attempt a thoroughgoing fusion. Whether it works will be up to the individual listener, but Willis's deeper question is simply that she has put Mozart and mambo together on an album and asked, why not? The Cuban pieces, including the delightful Que rico el mambo of Pérez Prado, are all enthusiastically performed by some famed Cuban musicians, and whatever one's perspective on the experiment, it's unlikely that listeners will find the album anything less than enjoyable.
© James Manheim /TiVo

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Mozart y Mambo

Sarah Willis

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1
Concerto Movement for Horn in E-Flat Major, K. 370b
00:05:02

Wolfgang Amadeus Mozart, Composer - Copyright Control, MusicPublisher - Sarah Willis, MainArtist - Havana Lyceum Orchestra, MainArtist - José Antonio Méndez Padrón, MainArtist

2020 Alpha Classics / Outhere Music France 2020 Sarah Willis & Alpha Classics / Outhere Music France

2
Qué rico el mambo
00:02:35

Damaso Pérez Prado, Composer - Copyright Control, MusicPublisher - Sarah Willis, MainArtist - Havana Horns, MainArtist

2020 Alpha Classics / Outhere Music France 2020 Sarah Willis & Alpha Classics / Outhere Music France

3
Rondo in E-Flat Major, K. 371 for Horn and Orchestra
00:06:25

Wolfgang Amadeus Mozart, Composer - Copyright Control, MusicPublisher - Sarah Willis, MainArtist - Havana Lyceum Orchestra, MainArtist - José Antonio Méndez Padrón, MainArtist

2020 Alpha Classics / Outhere Music France 2020 Sarah Willis & Alpha Classics / Outhere Music France

4
Sarahnade mambo (Based on Eine Kleine Nachtmusik by W. A. Mozart, K. 525)
00:06:34

Copyright Control, MusicPublisher - Sarah Willis, MainArtist - Yuniet Lombida Prieto, MainArtist - The Sarahbanda, MainArtist - Edgar Olivero, Composer

2020 Alpha Classics / Outhere Music France 2020 Sarah Willis & Alpha Classics / Outhere Music France

Horn Concerto in E-Flat Major, K. 447 (Wolfgang Amadeus Mozart)

5
I. Allegro
00:07:07

Wolfgang Amadeus Mozart, Composer - Copyright Control, MusicPublisher - Sarah Willis, MainArtist - Havana Lyceum Orchestra, MainArtist - José Antonio Méndez Padrón, MainArtist

2020 Alpha Classics / Outhere Music France 2020 Sarah Willis & Alpha Classics / Outhere Music France

6
II. Romance - Larghetto
00:03:30

Wolfgang Amadeus Mozart, Composer - Copyright Control, MusicPublisher - Sarah Willis, MainArtist - Havana Lyceum Orchestra, MainArtist - José Antonio Méndez Padrón, MainArtist

2020 Alpha Classics / Outhere Music France 2020 Sarah Willis & Alpha Classics / Outhere Music France

7
III. Allegro
00:03:44

Wolfgang Amadeus Mozart, Composer - Copyright Control, MusicPublisher - Sarah Willis, MainArtist - Havana Lyceum Orchestra, MainArtist - José Antonio Méndez Padrón, MainArtist

2020 Alpha Classics / Outhere Music France 2020 Sarah Willis & Alpha Classics / Outhere Music France

8
Rondo alla Mambo (Inspired by the Third Movement of W. A. Mozart's Horn Concerto, K. 447)
00:06:03

Copyright Control, MusicPublisher - Sarah Willis, MainArtist - Joshua Davis, Composer - Yuniet Lombida Prieto, Composer - Havana Lyceum Orchestra, MainArtist - José Antonio Méndez Padrón, MainArtist

2020 Alpha Classics / Outhere Music France 2020 Sarah Willis & Alpha Classics / Outhere Music France

9
Dos gardenias
00:05:05

Copyright Control, MusicPublisher - Isolina Carrillo, Composer - Sarah Willis, MainArtist - Jorge Aragón, MainArtist - Havana Lyceum Orchestra, MainArtist - José Antonio Méndez Padrón, MainArtist - Harold Madrigal Frias, MainArtist

2020 Alpha Classics / Outhere Music France 2020 Sarah Willis & Alpha Classics / Outhere Music France

10
El manisero
00:08:33

Copyright Control, MusicPublisher - Sarah Willis, MainArtist - Moises Simons, Composer - Jorge Aragón, MainArtist - Havana Lyceum Orchestra, MainArtist - José Antonio Méndez Padrón, MainArtist - Harold Madrigal Frias, MainArtist

2020 Alpha Classics / Outhere Music France 2020 Sarah Willis & Alpha Classics / Outhere Music France

Presentación del Álbum

Fusions of classical music with Cuban styles have been done before, for example, on Tiempo Libre's fine Bach in Havana release of 2009. Anyone who has twirled a radio dial (even on AM) while driving the Overseas Highway to Key West will be conscious of the fact that the long years of Soviet influence in Cuba left the country with a thriving classical music scene. That's attested to on this recording by Berlin Philharmonic hornist Sarah Willis, which features the fine Havana Lyceum Orchestra in the Mozartian part of the program, along with Cuban mambo and jazz musicians. The Mozart-mambo mixture is a difficult one, more difficult than Bach and Cuban music, for the music of the Classical era depends on periods of shifting harmonic rhythm that are antithetical to the steady beats of Afro-Cuban popular styles. Willis has plainly thought the problem through, and her proposed solution is mostly to juxtapose rather than try to fuse Mozart and the mambo. Of the ten works on the album, just two, the Sarahnade mambo (based on the first movement of the serenade Eine kleine Nachtmusik, K. 525), and the looser Rondo alla Mambo ("inspired" by the finale of the Horn Concerto in E flat major, K. 447, heard immediately before) are mixtures of the two styles, and what Willis and composer/arrangers Edgar Olivero, Joshua Davis, and Yuniet Lombida Pietro do is to snatch tunes from Mozart rather than attempt a thoroughgoing fusion. Whether it works will be up to the individual listener, but Willis's deeper question is simply that she has put Mozart and mambo together on an album and asked, why not? The Cuban pieces, including the delightful Que rico el mambo of Pérez Prado, are all enthusiastically performed by some famed Cuban musicians, and whatever one's perspective on the experiment, it's unlikely that listeners will find the album anything less than enjoyable.
© James Manheim /TiVo

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