Taller Atlántico Contemporáneo will perform within the Crumb-Lorca Project at the Granada International Music and Dance Festival on its 70th anniversary edition. This series of three monographic concerts is the core of the Crumb-Lorca Project, in which groups such as the Bretón Quartet, NeoArs Sonora or United Instruments of Lucilin dedicate part of their programs to the works of this North American composer. It is a historic event because the 12 works that George Crumb composed over more than half a century under the inspiration of Federico García Lorca will be performed together for the first time by Taller Atlántico Contemporáneo in these concerts.
This is a production of ACM Concerts for the Granada Festival, supported by the Centro Nacional de Difusión Musical. Taller Atlántico Contemporáneo (TAC) consists of singers Carmen Gurriarán and Verónica Plata, sopranos, Susana Ferrero, mezzo, and Isidro Anaya, baritone; André Cebrián, flute; Eduardo Martínez, oboe; Kathleen Balfe, cello; Joaquín Arrabal, double bass; Alba Barreiro, harp; Pedro Mateo González, guitars and banjo; Fernando Bustamante, mandolin; Carolina Alcaraz, Alejandro Sanz and Juan Antonio Martín, percussion; Nicasio Gradaille, piano; and Diego García Rodríguez, conductor.
George Crumb (Charleston, West Virginia, October 24, 1929), is one of the most important living composers on the current international scene and a key figure in the evolution of North American music in the second half of the 20th century. His enormous devotion to another of the most necessary artists of the 20th century, Federico García Lorca, led him to put music to a large number of texts by the poet from Granada over a period of half a century. His first approaches to Lorca’s work date back to the early 1960s, a decade in which he composed up to five works on texts from Libro de Poemas (1921), Poema del Cante Jondo (1921), Bodas de Sangre (1931) or Yerma (1934), but especially of Canciones (1927) and El Diván del Tamarit (1931). After a period of more than 15 years, he returned to Lorca in the mid-80s to put music to Canciones Infantiles, included in the poetry collection Canciones. And it is not until more than two decades later, and already at a very advanced age which hasn’t seen his passion for Federico diminished, that he faces his last three cycles so far, composed consecutively between 2008 and 2012.
Taller Atlántico Contemporáneo has a long history of dedication to the music of the 20th and 21st centuries, with special attention to Spanish and very particularly Galician composers, of whom it has premiered countless works, many of them dedicated to the ensemble. This Crumb-Lorca Project is an idea on which the TAC has been working for some years and that acquires a special significance for being carried out at the Federico Garcia Lorca Center in Granada. The TAC made his presentation at the Granada Festival in 2014 with a very interesting proposal that included Morton Feldman’s Rothko Chapel, along with the absolute premiere of Cinco Guerreros by Sebastian Mariné, commissioned by the festival. On that occasion, the link between the two works was painting, through the work of Mark Rothko and José Guerrero, who was from Granada and was influenced by Rothko after meeting him in New York.
Pacho Flores and Hernández-Silva will offer a concert with the Nord Czech Philharmonic as part of the Beethoven Festival in Teplice, in the Czech Republic, next Thursday, June 17. Due to the restrictions still in force in the Central European country, the concert will be held without an audience and will later be broadcasted on June 27 on the orchestra’s YouTube channel and other platforms. The Nord Czech Philharmonic, Severočeská Filharmonie or Nordböhmische Philharmonie, in Teplice, is an orchestra that has been continuously active since 1838, and since 1964 it has been responsible for organizing the Beethoven Festival. Hernández-Silva has already conducted the Nord Czech Philharmonic on previous occasions, not so Pacho Flores, for whom this concert means his debut with the ensemble. The programme consists of two concerts for trumpet—the Concerto for Corno da Caccia, by Czech composer Neruda, and the Czech premiere of the Concierto de Otoño by Arturo Márquez—together with Beethoven’s Symphony No. 5.
This collaboration with the Nord Czech Philharmonic is not the first between both artists; on the contrary, Pacho Flores and Hernández-Silva have a long history of joint presence with Spanish orchestras such as the Navarra Symphony Orchestra, the Orquesta Sinfónica de la Región de Murcia, the Malaga Philharmonic, the Simfònica de les Illes Balears and especially the Real Filharmonía de Galicia, with which they have performed several premieres and recorded the album Cantos y Revueltas for Deutsche Grammophon. New collaborations in Spain for the 2021/22 and 2022/23 seasons will be announced in due course, and new premieres are also planned with the Arctic Philharmonic in Norway or the Orchestre National de Bordeaux-Aquitaine in France. Recently, they have also been together with the Philharmonic Orchestra of Bogota (Colombia).
Arturo Márquez’s Concierto de Otoño is the result of the project of shared commissions for new trumpet concerts that Pacho himself has started. The concert was commissioned and premiered by the Mexico National Orquestra (Carlos Miguel Prieto), Tucson Symphony Orchestra (José Luis Gómez), Hyogo PAC Orchestra of Japan (Michiyoshi Inoue) and the Oviedo Filarmonía (Lucas Macías). This Czech premiere with the Nord Czech Philharmonie is the twenty-third performance since the first premiere in September 2018—the fourth under the baton of Hernández-Silva—, after having been performed in Mexico, USA, Japan, Spain, France, United Kingdom, Poland and Colombia.
Marina Heredia will participate as a guest artist with Pablo Heras-Casado, Solidarity Ambassador of the NGO, in the VII Gran Concierto de Ayuda en Acción at the Teatro Real in Madrid where she will sing El Amor Brujo by Manuel de Falla together and the Madrid Symphony Orchestra, on 15 June. Apart from this debut at the Teatro Real, Marina Heredia has performed El Amor Brujo with Pablo Heras-Casado and some of the most important orchestras in the world, such as the Chicago Symphony and the San Francisco Symphony. Together with the Orchestra of St Luke they performed this work at the Carnegie Hall in New York, and they will do it again next season with the Berlin Radio Orchestra in two mythical halls of the German capital such as the Philharmonie and the Konzerthaus.
In addition to Heras-Casado, Marina Heredia has often worked with some other important conductors on various occasions: Josep Vicent, at the Rouen Opera and the Lille Orchestra in France, and at the Palacio de Festivales de Cantabria; Manuel Hernández-Silva, in the spectacular production of La Fura del Baus at the Granada Festival with the Andalusian Youth Orchestra, and in a new collaboration with an important Spanish orchestra and festival that will be announced soon; or Antoni Ros Marbá, with the orchestra Ciudad de Granada at the Bilbao Musika-Música Festival. Marina Heredia became the most internationally demanded flamenco singer to afford the Falla’s El Amor Brujo.
On the other hand, Marina Heredia continues her brilliant career as a flamenco singer. On June 18 and 19 she will present her show Lorca y la Pasión. Un mar de sueños at the Teatros del Canal in Madrid, and on June 25 she will launch her fifth album with Universal, Capricho, whose single ‘Se nos perdió el amor‘, recently released, has the participation of the amazing trumpet player Pacho Flores as a guest artist.
Pacho Flores premieres Caballos mágicos, the new concerto for trumpet and orchestra by Christian Lindberg, next Thursday, May 27 with the Real Filharmonía de Galicia. The orchestra commissioned this piece together with the Swedish Chamber Orchestra, the Bilkent Symphony Orchestra in Turkey, and another ensemble yet to be determined. This is the third absolute premiere by Pacho Flores with the Real Filharmonía de Galicia (RFG), and the second within the Project of Shared Commissions for New Trumpet Concertos. Pacho Flores and the RFG premiered in January 2018, under Manuel Hernández-Silva, Pacho’s composition Cantos y Revueltas, in a concert tour that included Santiago, Vigo and A Coruña. The concerts were recorded and gave rise to the eponymous double CD / DVD for Deutsche Grammophon. In November 2019 and with the same conductor, Pacho and the RFG premiered Danzas Latinas, by Efraín Oscher. On this occasion, Paul Daniel, Principal Conductor of the orchestra, will be in charge of the new premiere.
Lindberg is also the author of Akban Bunka, one of the concerts that are part of Pacho Flores’ usual repertoire and that he has played all over the world, as well as of Un Sueño Morisco, a double concerto for trumpet and trombone that was commissioned and premiered by the RTVE Orchestra in March 2019, with Ximo Vicedo on the trombone and Lindberg himself on the podium, and that Pacho and Ximo have played this past 1 May at the ADDA in Alicante. Caballos mágicos will be the fifth concert premiered by Pacho Flores within this project of shared commissions after those by Arturo Márquez, Paquito D’Rivera, Roberto Sierra and the aforementioned Efraín Oscher. These two first rounds of commissions will be closed with the premiere of a sixth concert by Daniel Freiberg, and the project will soon be completed with a third round by three new composers.
Orchestras from all over the world participate in this project of commissions, and despite all the delays and inconveniences caused by the pandemic, many of the premieres, since the first one in September 2018, have already been carried out. What’s more important, these concerts become then part of Pacho Flores’ usual repertoire. This is the sequence of premieres by composer: Arturo Márquez: Orquesta Nacional de México, Carlos Miguel Prieto, September 2018; Tucson Symphony Orchestra (USA), José L. Gómez, January 2019; Hyogo PAC Orchestra (Japan), Michiyoshi Inoue, May 2019; and Oviedo Filarmonía, Lucas Macías, August 2019; Paquito D’Rivera: Orchesta de Minería (Mexico), Carlos Miguel Prieto, September 2019; Liverpool Philharmonic Orchestra (UK), Domingo Hindoyan, November 2021; Orquesta de Valencia, Manuel Hernández-Silva, February 2022; San Diego Symphony (USA), Rafael Payare, February 2022; Efraín Oscher: Real Filharmonía de Galicia (RFG), Hernández-Silva; November 2019; Roberto Sierra: Liverpool Philharmonic Orchestra (United Kingdom), Domingo Hindoyan, January 2020; Symphony of the Region of Murcia, Hernández-Silva, December 2020; Simfònica do Estado São Paulo (Brazil), conductor to be determined, March-April 2022: Orchestre National de Bordeaux Aquitaine (France), Manuel Hernández-Silva, June 2022; and some Daniel Freiberg premieres are also planned: Oviedo Filarmonía, Lucas Macías, October 2021; Arctic Philharmonic (Norway), Manuel Hernández-Silva and Orquesta de Minería (Mexico), Carlos Miguel Prieto, on dates to be determined.
Christian Lindberg has also been the director of Fractales, Pacho Flores’ third album for Deutsche Grammophon, and they recently recorded duets by Mozart and Bach’s inventions in an arrangement for trumpet and trombone for the European Grammophon label.
Marina Heredia will sing El Amor Brujo by Manuel de Falla next April 28 at the Palacio de Festivales de Cantabria in Santander, together with the ADDA Symphony Orchestra of Alicante and its principal conductor, Josep Vicent. Marina Heredia has become the most demanded flamenco artist internationally to perform Manuel de Falla’s El Amor Brujo. In addition to her performances with the Chicago Symphony Orchestra or the Orchestra of Saint Luke at the Carnegie Hall in New York, both times under Pablo Heras-Casado, with whom she has also recorded this work for Harmonia Mundi, she has also appeared with other orchestras such as the Orchestre National de Lille last year, together with Josep Vicent.
Marina’s next engagements include the Orchestre de l’Opéra de Rouen, again with Josep Vicent, the Rundfunk Sinfonieorchester Berlin under Pablo Heras-Casado at the Philharmonie and the Konzerthaus in Berlin, or the Orquestra da Casa da Música de Porto under the direction of Stefan Blunier. Back in Spain and again with Heras-Casado, she will sing El Amor Brujo at the Teatro Real in Madrid next June.
Marina Heredia has recently performed El Amor Brujo at the Auditorio Manuel de Falla with the Orquesta Ciudad de Granada, a city that still remembers the fabulous stage production of La Fura dels Baus at the bullring of Granada with the Youth Orchestra of Andalusia conducted by Manuel Hernández-Silva.
Pacho Flores and Hernández-Silva return together to the Bogotá Philharmonic Orchestra for a program that includes the Concerto for corno da caccia, by J. B. G. Neruda, the Colombian premiere of Cantos y Revueltas by Pacho Flores himself, which both artists recorded for the Deutsche Grammophon label, and Mendelssohn’s Symphony No. 4. It will be on Friday, April 26. Previously, Pacho Flores will be the only protagonist in a concert in which he will appear as player and conductor of the Brass Ensemble of the Bogotá Philharmonic. The program will present, together with works by Copland and Dukas and arrangements of works by Gershwin, Sarasate, Piazzolla and Pacho Flores himself, the absolute premiere of Musas y Resuello, Symphonic movement for brass ensemble and percussion, a piece commissioned by the Bogotá Philharmonic to the Spanish-Venezuelan trumpeter. This concert will take place on Friday, April 17, after a week in which Pacho Flores will participate in various educational activities and a masterclasses.
Pacho Flores and Hernández-Silva have just recently presented Cantos y Revueltas together with the Orquesta de Extremadura, a concert that the Scherzo magazine collaborator Justo Romero defined as overwhelming, luminous and radiant: “The confluence of three Venezuelan talents such as conductor Manuel Hernández- Silva (…), trumpet player Pacho Flores (can someone play better?) and the virtuoso of the Venezuelan cuatro Leo Rondón (eighth notes and rhythm in vein) turned the tenth subscription program of the Extremadura Orchestra into a feast for the senses in which music was happiness and emotion. Overwhelming, yes, but, above all, joyous and brimming with art, inspiration, talent and fine quality.”
Both artists have a dense history of collaborations full of memorable evenings, such as the premiere of Cantos y Revueltas with the Real Filharmonía de Galicia, whose live recording was later published as an album and led to further presentations with the orchestras of Malaga, Navarre, Murcia or the above mentioned Extremadura, but also the premieres of Danzas Latinas by Efraín Oscher (RFG) and Salseando by Roberto Sierra (OSRM), or the memorable version of the Concierto de otoño by Arturo Márquez (RFG). Still ahead are new premieres of works by composers such as Daniel Freiberg with the Arctic Philharmonic, Roberto Sierra with the Orchestra National de Bordeaux Aquitaine, and the Concerto Venezolano by Paquito D’Rivera with a Spanish orchestra to be soon announced.