By Jared Morrison, Director of Performing Arts.Congratulations to Jorge Variego, this year’s Individual Artist Fellowship recipient in Music Composition. Growing up immersed in the music of Astor Piazzolla and Argentine folklore, Variego’s work resonates with characteristic rhythmic structures and harmonic colors that reflect his diverse musical upbringing. His compositions, as he describes, are “small sonic worlds” that defy categorization, seamlessly blending jazz, tango, rock, and experimental elements, creating music that exists “between the cracks” of conventional genre definitions.
Born in Rosario, Argentina, he is a former Fulbright Scholar and is currently on the Music Theory/Composition faculty at the University of Tennessee, Knoxville and is the composition program director at the Sewanee Summer Music Festival. Actively involved with technology in sound and music, Variego has been a pioneer in the field of interactive computer music, having created and performed a great deal of works for clarinet and electronics in the US, Europe and South America.
We commend Jorge Variego on this well-deserved recognition. His artistic journey continues to captivate and enrich the global music community, promising new realms of exploration and creativity in the years to come.
Resumen: Los Sonidos de la Naturaleza y la Meditación Budista
Este artículo examina la relación entre los sonidos de la naturaleza y la práctica de la meditación budista. Se centra en la integración de esos sonidos en entornos de meditación, explorando cómo contribuyen a la profundización de la experiencia meditativa y a la conexión con los principios fundamentales del budismo.
La investigación aborda la importancia histórica de los sonidos naturales en la tradición budista, destacando su papel en la creación de un ambiente propicio para la contemplación y la atención plena. Se explora cómo los sonidos de la naturaleza actúan como un elemento facilitador para alcanzar estados meditativos más profundos y la transmisión de esta práctica a lo largo de las diferentes escuelas budistas.
Asimismo, se examinan las percepciones contemporáneas y científicas de la influencia de los sonidos de la naturaleza en la mente durante la meditación. Se presentan estudios de caso y evidencia empírica que ilustran cómo la integración consciente de estos sonidos puede potenciar la concentración y mejorar la calidad general de la experiencia meditativa.
Según principios generales, el sonido en la meditación budista no es solo un estímulo externo, sino una puerta hacia la comprensión interna. A través de la escucha atenta, se busca la conexión con la realidad presente y la expansión de la conciencia. Este trabajo contribuye a la comprensión de la intersección entre la espiritualidad budista y la naturaleza, abogando por una aplicación más consciente de los sonidos naturales en entornos de meditación budista.
I am excited to announce the start of a new monographic recording project, featuring my original compositions. This collection includes works for piano, two pianos, and viola with piano, showcasing a variety of forms and textures.
Dr. Rosângela Yazbec Sebba is Professor of Piano at Mississippi State University, where she coordinates the piano area and the Community Music School. She is proud to have initiated the All-Steinway School, a 12-year initiative completed in 2024. She teaches applied lessons, piano literature, and theory. Her college and pre-college students have received numerous awards and honors for their performances and presentations in regional, national, and international competitions and conferences.
In demand as a clinician and adjudicator, she regularly presents workshops and lecture-recitals on repertoire and pedagogy throughout the country. She has also served as a guest artist and clinician for various associations in the US and abroad.
Her performances encompass solo, chamber music, one piano four-hands, and two pianos four-hands repertoire. Her CD album, Eight Sonatinas and the Sonata for Piano Solo by M. Camargo Guarnieri, was released in 2010 as the first and only recording of these works. The album has been featured on David Dubal’s classical piano programs: The Piano Matters on WWFM, Reflections from the Keyboard on WQXR, both New York City radio stations, and his lecture at the Cervantes Institute.
As a committed proponent of contemporary music, in 2017, Dr. Sebba released a chamber music CD on the Centaur Label – Millennia Musicae, featuring works by Stravinsky, Bill Douglas, and the premiere of a trio for piano, bassoon, and clarinet, as well as a quartet for piano, bassoon, clarinet, and violin by Mississippian composer Shandy Phillips. In addition to being the principal pianist of the Starkville/MSU Symphony Orchestra, she has been a soloist with other orchestras in Brazil and the United States, performing a wide repertoire from Mozart and Beethoven to Camargo Guarnieri and Saint-Saëns.
Currently, she is a reviewer for the American Music Teacher Magazineand has published arrangements of Brazilian music for various instruments.
As a sought-after chamber musician, she has collaborated in recitals and masterclasses with renowned artists and has given recitals, masterclasses, lectures, and lecture-recitals across the Americas, Europe, and Asia. She has participated in national and international conferences such as the College Music Society, International Villa-Lobos Conference, London International Piano Symposium, LIII Música en Compostela, International Double Reed Society, and National Association of College Wind and Percussion Instructors.
Dr. Sebba is an active member of local and state music teacher organizations, currently serving as the Golden Triangle Music Forum Secretary, District Audition Chair, and VP for Pre-College Evaluations for the Mississippi Music Teachers Association. She is also a member of several national and international associations, including the Music Teachers National Association, College Music Society, CARAVELAS – Núcleo de Estudos da História da Música Luso-Brasileira, National Federation of Music Clubs, World Piano Teachers Association, and National Association of College Wind and Percussion Instructors.
In 2013 Rosângela was recognized as a Steinway Artist, in 2022 and 2023 she received the Steinway Teacher of the Year and in 2023 she was inducted into the Steinway & Sons Teachers Hall of Fame as a member of the hall’s fifth induction class. Also, in 2023 she received the Mississippi Music Teachers Association Outstanding Teacher Award and in 2024 she was nominated the Mississippi representative for the 2025 Music Teachers National Association (MTNA) Teacher of the Year Award. In 2024 Dr. Sebba was named a Mississippi State John Grisham Master Teacher.
In the first recording session, Dr. Rosangela Sebba performed Zamba Después, a solo piano piece. The recording engineer at Mississippi State University was Dr. Richard Human, also from MSU!
Live version of Tango Blues by Jorge Variego
Recorded at the Bijou Theatre, in Knoxville, TN on September 26 2024. Audio engineer: Mischa Goldman.
Variego3
Jorge Variego (clarinet and composition)
Matías Pedrana (bandoneón)
Taber Gable (piano)
Rob Linton (bass)
Action shot of the UT Electroacoustic Ensemble at the CMS/ATMI National Conference last week in DC. Our topic was around Cornelius Cardew Treatise where each of the ensemble members is empowered to contribute to the sonic landscape, fostering an environment of mutual respect and creative autonomy. Music with students is better music! R to L Amanuel Day, Carrie Bass-Callahan, SIena Fulton, and yours truly. / Una foteli del Ensamble Electroacústico de UT en la Conferencia Nacional CMS/ATMI la semana pasada en DC. Nuestro tema fue el “Treatise” de Cornelius Cardew, donde cada uno de los miembros del ensamble contribuye al paisaje sonoro en un entorno de respeto mutuo y autonomía creativa. Música con alumnos es mucho mejor música! A seguir metiéndole.
Knoxville, TN. The Variego3 concert at the Bijou Theatre on September 26th was a notable performance blending jazz, tango, and contemporary chamber music. Jorge Variego (clarinet and compositions), Taber Gable (piano), Matías Pedrana (bandoneón), and Rob Linton (bass) delivered a compelling program inspired by the music of the Río de la Plata. The ensemble’s sound fused traditional tango elements with modern jazz harmonies, creating a unique blend that resonated with the audience.
The concert featured intricate improvisations and harmonic textures, showcasing the virtuosity of each musician while maintaining a cohesive group dynamic. The addition of the bandoneón brought an authentic Argentine flavor, further enhancing the concert’s thematic focus. One audience member described the performance as “a warm and organic experience with a modern edge,” reflecting the group’s ability to bridge past and present styles.
This concert, a collaboration with the Knoxville Chamber Music Society, was praised for its innovative approach to chamber music, combining classical, jazz, and folk traditions in a fresh, engaging way. – Nathan Greene
Join us this Thursday at the Bijou Theatre – 7PM for our first collaboration with the Knoxville Chamber Music Society. “Music from el Rio de la Plata” will include works by Astor Piazzolla, Gustavo Beitelmann, Miguel Del Aguila, Ariel Ramirez and Jorge Variego.An outstanding string quartet featuring Evie Chen and Sarah Ringer (violins), Hillary Herndon (viola), and Max Geissler (cello) will open the concert. The second part will include new music by the Variego3 with Jorge Variego (clarinet and compositions), Matías Pedrana (bandoneón). Taber Gable (piano) and Rob Linton bass.
Venite este jueves al Bijou Theatre a las 7:00 p. m. a nuestra primera colaboración con la Sociedad de Música de Cámara de Knoxville.“Música del Río de la Plata” incluirá obras de Astor Piazzolla, Gustavo Beitelmann, Miguel Del Aguila, Ariel Ramírez y Jorge Variego.Un cuarteto de cuerdas (que la rompe) con Evie Chen y Sarah Ringer (violines), Hillary Herndon (viola) y Max Geissler (cello) abrirá el show – entre otras cosas, van a tocar Four for Tango de Astor! La segunda parte incluirá música nueva de Variego3 con Jorge Variego (clarinete y composiciones), Matías Pedrana (bandoneón), Taber Gable (piano) y Rob Linton (bajo).
🎶 The Sewanee Summer Music Festival’s composition program has wrapped up with an impressive finale! We celebrated over 15 premieres, 3 orchestral miniatures, inspiring composition seminars, and much more. Our young composers thrived at the University of the South. 🌟
(only a selection of images here!)
Kudos to Sayer Gage, Wallace Vaughan, Kat Carpenter, James Gaudi, Luca Terrasi, Jacob de Roode, Claire Kwon, and Riley Hylkema for their amazing work!
A recent review of “Recompensa” in the latest edition of The Clarinet from June 2024. / Una linda reseña de “Recompensa” en la última edición de The Clarinet de junio de 2024. A seguir! 😊
Recompensa. Variego3: Jorge Variego, clarinets; Jack Roben, electric guitar; Rob Linton, double bass. J. Variego: Tango Blue; And the Trees; Recompensa; Susurro de Paris; Tema de Manuel; Reencuentro; Malambo; What is Home. Centaur Records, CRC 4074. Total Time: 44:33.
This album features the jazz trio Variego3 performing works written exclusively by clarinetist Jorge Variego. Variego was born in Rosario, Argentina. He is a former Fulbright Scholar and is currently on the music theory/composition faculty at the University of Tennessee–Knoxville, and the Sewannee Music Festival. Guitarist Jack Roben is based in Oakland, California, and previously served as lecturer of jazz guitar at the University of Tennessee–Knoxville. Double bassist Rob Linton is adjunct professor of music at the University of North Carolina–Charlotte, and performs professionally in Knoxville.
The first track on the disc, Tango Blues, is a pleasant, tuneful work featuring Variego primarily as soloist on BÌ clarinet. This piece seems to be an homage to Gershwin, particularly It Ain’t Necessarily So. The writing includes quite a bit of unison playing in the ensemble, exemplifying their excellent intonation and rhythmic precision. Here, clarinetist Variego aptly demonstrates his ability with multiphonics and jazz-riff playing.
The next work, And the Trees, is a mournful soliloquy performed beautifully on bass clarinet by Variego. He incorporates a “smokiness” to his sound, giving this piece a very seductive and mysterious quality. The color of this instrument combination is especially alluring and effective.
Recompensa, the album’s namesake, again features Variego playing bass clarinet. While the intonation and improvisation expertise exhibited in this performance are notable, the tessitura in which the bass clarinet frequently plays leaves the listener wishing it was written in a lower octave. The accompanying instrument writing, however, is brilliant and expertly played.
Susurro de Paris brings us to a smoky Parisian café with Variego’s smooth, melodic stylings on bass clarinet. Linton also provides a lyrical double bass solo and Roben adds elegant glissando-type gestures to this curious but delightful work which is a play on parallel tritones.
Tema de Manuel is a habanera of sorts with its characteristic bass line. Here, on clarinet, Variego demonstrates again his exquisite intonation and a natural, understated flair for improvisation. Also notable in this work is Variego’s seamlessly legato glissando work.
Reencuentro opens with a very soulful and colorful electric guitar solo by Roben which segues into a dialogue with Variego on bass clarinet. Again, unison accuracy of intonation is on full display in this performance. From an audio recording standpoint, perhaps more could have been done to clarify the texture within the ensemble. The guitar effects at certain moments are effective but a bit too prominent in the sound mix.
In Malambo, we truly hear Variego’s wailing jazz style and his prowess with improvisation. His growls on bass clarinet, used sparingly on this disc, were completely effective when employed. Here, also, Roben lets loose a bit with a very dynamic and expressive improvised solo. This work is the highlight of the disc.
What is Home, the final work on this disc, is a somewhat melancholic statement that may be a longing for one’s past. There’s an earthiness to this music with its minimalist elements and lack of exuberance compared to works that precede it.
The timing of this disc is 44 minutes, a bit shorter than standard album length. Nonetheless, Recompensa is a refreshing contribution to the clarinet recording canon with its uniqueness of genre and composer/performer conception.
Excited to back in Lima this week for the Sinapsis VII. Extremely thankful to share ideas and work with colleagues and young composers. Here we go again! / Muy contento de Volver a Lima esta semana para el Sinapsis VII. Con muchas ganas de reencontrarme con amigos y escuchar música nueva. Con la música a todas partes!
What a week last week! Time flew. Sinapsis VII was a blast – with lots of premieres, fueling workshops and hang time of the highest caliber. Miss you all. Until the next time! / ¡Qué semana la semana pasada! El tiempo voló. El Sinapsis VII fue un hit, con muchos estrenos, talleres y momentos de camaradería del más alto nivel. Increible experiencia, ya los extraño ¡Hasta la próxima!
VARIEGO Tango Blues. And the Trees, Recompensa. Susurro de Paris. Tema de Manuel. Reencuentro. Malambo. What ls Home. Variego . CENTAUR 4074 (44:30)
The jazz part of the Centaur catalogue seems to be the jewel in the label’s crown. I definitely en- joyed David Park’s Passion of the Soul disc (reviewed Fanfare 47:l); a review that ledto Fanfare’s first-ever live concert review (at London’s United Nations Ballroom: see the Fanfare Archive).
Entitled Recompensa, this disc finds Variego3 (Jorge Variego, clarinets; Jack Roben, electric guitar; Rob Linton, double-bass) presenting a sequence ofeight pieces by Variego himself. Recorded in Knoxville, Tennessee, in February 2023 (and all in one day), this disc presents highly sophisticat- ed jazz. While the first track, Tango Blues, might sound relatively traditional in the rhythmic slinkiness iness of its opening and cheeky clarinet solos, it soon moves into more modem territory. The lyricism of Variego’s clarinet is underpinned by the more rhyhmic guitar and bass. As the music fragments, and imitation between instruments creeps in, the soundscape becomes sparser and more exploratory as if striving to refind itself.
Altogether more elusive is And the Trees: slow,lyrical, dreamy but with an acidic tang to the harmonies, mirrored in the steely sound of Jack Roben’s electric guitar against the creamier strains of Variego’s clarinet. This music begins quietly and diminuendos to near inaudibility, at which point one seems invited to focus on the sheeq strange beauty of the sounds produced. A1l of this makes the fulI appearance of melody all the more cherishable in this lovely track, characteizedby a sort of modernistic nostalgia. The titular track and the third in running order, Recompensa, extdes a sort of sophisticated jollity. A duet between Variego and Ruben lifts the mood beautifully, with its slightly qll;izzica! ending usherin g in Susurro de Paris (Whisper of Paris), a gently wafting number in which Variego’s woody, plaintive sound speaks volumes.
I don’t know who Manuel is, but Tema de Manuel is deliciously haunting. The potent melody stays with the listener for a long time. As the longest track on the album, there is space for expansion, and for musings as well. The long solo by Roben is particularly impressive, both gentle at heart and gently rhythmic, ending with the tenderest of strummings to lead back into Variego’s liquid legato melody. Tema de Manuel seems linked to the next piece, Reencuentro (Reunion), but here the quietude carries an undercurrent of disquiet. If this is a reunion, neither party is sure of their feet.
Active rhythm retums with the slirlriy Malambo, as circular phrases allow for a sense of natural forward movement and the composed fade at the end is perfectly managed. Finally, there comes What is Home (no question mark). As the title might suggest, the effect here is ungrounded (homeless, one might say, possibly home keyless); Rob Linton’s double-bass makes its mark via its desolate pizzicato.It’s a powerful way to close. Shying away from any overt virtuosity, the players won- derfully ask us instead to enter a reflective space.
There is no documentation apart from a track listing and recording information: the space Centaur uses for notes is filled by one large black-and-white photograph of the musicians-not a bad thing, of cowse. It just means the music has to speak completely for itself, and it certainly does that. This is a great disc, and a treat for all jazz lovers. The range of styles is large; all three players are superb in their own right and even better together as one entity. A Want List candidate, for sure. Colin Clarke
