Pacho Flores debuts with the Orchestre Philharmonique de Strasbourg next Friday, September the 27th, at the KKL of Lucerne, with the Concerto for trumpet and orchestra by Henri Tomasi, conducted by Kirill Karabits. Pacho has just arrived from Cracow, where he played works by Lindberg, Piazzolla and Arturo Márquez with the Beethoven Academy Orchestra conducted by Lee Reynolds; and after Lucerne Pacho is going to Fort Worth, Texas, to participate in the Latin American Music Festival, organised by the Texas Christian University, where Pacho will teach, play recitals, chamber music and concert con orchestra .
Pacho Flores is a first-prize winner of the Maurice André International Competition, the world’s most important trumpet contest, as well as the first prize at the International Competition Philip Jones and First Prize at the International Competition Citta di Porcia. Recently he was awarded with the Gold Medal by the Global Music Awards for ENTROPÍA, his last recording for Deutsche Grammophon with guitar player Jesús ‘Pingüino’ González. A product of the ground-breaking ‘El Sistema’, he is becoming increasingly recognized for his outstanding performing and recording activity that spans the solo, chamber, and orchestral media. Equally at home in the classical and folk styles, Pacho captivates audiences with his energetic delivery and colourful tone.
D. Freiberg, A. Márquez, P. D’Rivera, P. Flores and C. M. Prieto during the recording of Mestizo for Deutsche Grammophon
His solo performances include appearances with orchestras such as Turku Philharmonic, Arctic Philharmonic, Norrköping Symphony, Norddeutschen Philharmonie Rostock, Salzburger Philharmoniker, Kiev Philharmonic, St. Petersburg Camerata, Ensemble Orchestral de Paris, NHK Symphony, Tokyo Symphony, Osaka Philharmonic, Kymi Sinfonietta, Het Gelders Orchestra, Tucson Symphony, Royal Liverpool Philharmonic, Louisiana Philharmonic Orchestra, , Orquesta de RTVE, Hyogo PAC Orchestra, Sinfónica Nacional de México, Sinfónica Nacional de Puerto Rico, Filarmónica de Málaga, Sinfónica de Baleares, Real Filharmonía de Galicia, Sinfónica de Bilbao, Sinfónica de Tenerife, Stavanger Orchestra, Filarmónica de Gran Canaria, Orquesta del Teatro Colón de Buenos Aires, Oviedo Filarmonía or Simón Bolívar Orchestra of Venezuela. In recital, he has performed in venues such as the New York Carnegie Hall, the Paris Salle Pleyel and the Tokyo Opera City. Next engagements include the, Strasbourg Philharmonic Orchestra, Basel Symphonieorchester, Orchestre National de Lille, Sinfónica de Navarra, San Diego Symphony, National Orchestra of the Polish Radio, Sinfónica do Estado de São Paulo or Swedish Chamber Orchestra.
Pacho Flores and Paquito D’Rivera recording S’Rivera’s Concerto Venezolano
A founding member of the Venezuelan Simón Bolívar Brass Quintet, he has toured with the quintet extensively in Europe, South America, the United States, and Japan. An experienced orchestral musician, Mr. Flores has played first trumpet in the Simón Bolívar Orchestra of Venezuela, the Saito Kinen Orchestra, and the Miami Symphony, under the direction of Claudio Abbado, Sir Simon Rattle, Seiji Ozawa, Giusseppe Sinopoli, Rafael Frühbeck de Burgos, and Gustavo Dudamel, among others. A founding director of the Latin American Trumpet Academy in Caracas, he mentors a promising generation of budding musicians and is a frequent guest at conservatories in Finland, Spain, France, Japan, and Latin America, as permanent jury member in prestigious international competitions. Pacho Flores is an avid champion of new music and is bringing about important innovations to trumpet performance and fabrication. His repertoire includes commissions and premieres of works by composers such as Roger Boutry, Efraín Oscher, Giancarlo Castro, Santiago Báez, Juan Carlos Nuñez, Sergio Bernal, Arturo Márquez, Roberto Sierra or Paquito D’Rivera. His first album La trompeta Venezolana has been released by the label GUATACA Producciones.
A Stomvi artist, he performs with instruments tailored specially for him by this prestigious firm and actively participates in the development and innovation of their instruments. Pacho Flores is a Deutsche Grammophon exclusive artist with already three recordings, Cantar, with Konzerthaus Orchester Berlin and Christian Vásquez; Entropía, Gold Medal of the Global Music Awards 2017 and Melómano de Oro; and Fractales, with the Arctic Philharmonic Orchestra and Christian Lindberg, Gold Medal of the Global Music Awards 2019. Next releases are Cantos y Revueltas, with the Real Filharmonía de Galicia and Manuel Hernández-Silva, and Mestizo, with the Sinfónica de Minería and Carlos MIguel Prieto.
Hernández-Silva has recently achieved a great success at Teatro Colón after conducting two programs with the Buenos Aires Philharmonic Orchestra. Several reviews from Argentine and international media such as Clarín, Olyrix or De Paraíso para Usted highlight his detailed knowledge of the scores, technique, musicality, attention to detail and ability to accompany the soloists and get the best out of this prestigious ensemble. Here you can read some excerpts.
The orchestra accompanied the pianist perfectly, under the masterful conducting of Hernández Silva. In the second of the three movements (Allegro scherzando), Filjak’s scherzo was masterful, with a depth and sound balance between orchestra and soloist as had not been heard at Teatro Colón for a while.
For the second part of the concert, Manuel Hernández Silva chose Dvorák’s Symphony No. 8 in G major, a piece within the usual repertoire of the Philharmonic, that has performed it on countless occasions. However, few performances have achieved the level of perfection and luminosity as last night’s under Hernández-Silva, which excelled for its outstanding interpretative quality and pure sound.
When there is rehearsal, discipline and effort, the Philharmonic shows its quality, sounding like a European orchestra. Manuel Hernández-Silva was an additional ingredient, contributing with his personality and talent to bring brightness and luminosity on a night worthy of the Colón. An authentic revelation on the stage of our biggest coliseum.
The five pieces in Ma Mère l’Oye offer in their symphonic version a delicate, smooth and quilted panorama of this French garden, which promised to be rich in colors and nuances, and that the Buenos Aires orchestra managed to transmit under the beats of the sometimes magic baton of Hernández-Silva, who was very inspired and precise in his direction. The management of volumes and tempi is particularly careful (III, Laideronnette), with Manuel Hernández-Silva remaining very attentive to the execution of his gestural, flexible and precise indications. The fade-in of the harp, the triangle and then the violins in Les Entretiens de la Belle et de la Bête (IV) is a good example of coordination to create this impression of wonder that is the aesthetic link of Ma Mère l’Oye and finds in Le Jardin féérique (V) an enchanting conclusion.
Au Cimetière (V) gives us the opportunity to see text and melody intermingling in a piece that evokes a song “on the wings of music”, while the iridescent nuances of the orchestra, under the instructions on its conductor, manage effects that echo those of the verses.
The second part of the concert opens to this French garden a new horizon from across the Rhine: the performance of Schumann’s Symphony No. 2 further reinforces the already existing impression. The Buenos Aires Philharmonic Orchestra follows Manuel Hernández-Silva’s requests exactly, earning them all a big applause.
Conducted by Venezuelan Manuel Hernández-Silva, the orchestra excelled itself with works by Ravel, Schumann and Berlioz.
The conductor was also a success. Venezuelan Manuel Hernández-Silva replaced French Lionel Bringuier, absent for health reasons. Hernández-Silva was born in Caracas, graduated in Vienna and is currently principal conductor of the Malaga and Navarra orchestras. In Ravel’s suite and Berlioz’s songs he managed the orchestra to sound expressive and detailed even in the most surprising pianissimos. The ravelian goldsmithing counted in addition on impeccable soloist interventions, especially Pablo Saraví in the brief but significant violin solo at the end of the fourth movement, Les entretiens de la Belle et de la Bête.
And another success was the soloist Berlioz songs, the Irish mezzosoprano Tara Erraught, of beautiful timbre, fair intonation and an expresiveness at the same time nuanced and reserved. Hernández-Silva maintained a seamless balance between orchestra and soloist.
If conductor Hernández-Silva had been extremely reserved in the first two pieces of the program, in Schumann he reached peaks of great emotional intensity, without neglecting the continuity of form and details at the same time. The great performance of the soloists, especially the oboe, the clarinet and the bassoon, must also be here underlined.
Pacho Flores will premiere Arturo Sandoval’s Concerto for Trumpet No. 1 with the Buenos Aires Philharmonic Orchestra under maestro Enrique Diemecke on July 11 at Teatro Colón. This concert has a peculiar history: Sandoval himself recorded it with the London Symphony for RCA-Victor in 1994; however, due to some problems with the location of the materials, he never performed it live. Years later, after meeting Pacho Flores and recovering some fragments of notes and other various materials, he decided to give them to Pacho so that he could revise them —practically reconstruct the concert— and premiere it. This gesture shows the excellence of a living legend of the trumpet by ackknowledge the talent of a young artist, thus recalling the great Dizzi Gillespie when he gave young Sandoval a trumpet with the inscription “To my son”. Arturo Sandoval is also the author of a second concert for trumpet and orchestra that he and Rubén Simeó, another great Spanish trumpet player, usually perform around the world.
This Concerto No. 1 by Arturo Sandoval that Pacho now adds to his repertoire enlarges the impressive list of new concerts that Pacho himself is promoting through his project of shared commissions for trumpet concerts, which is causing the greatest increase of the soloist repertoire for this instrument in all its history. Composers such as Arturo Márquez, Roberto Sierra, Paquito D’Rivera, Christian Lindberg, Daniel Freiberg and Efraín Oscher participate in this project, and others like Giancarlo Castro, Alain Trudel and Igmar Alderete are also composing new concerts dedicated to Pacho Flores.
After this, the European premiere of Arturo Márquez’s Concierto de Otoño will take place on August 14 at Teatro Campoamor in Oviedo, with the Oviedo Filarmonía and Lucas Macías. This will be the fourth and last premiere after Mexico, USA and Japan with the National Symphonic Orchestra of Mexico under Carlos Miguel Prieto, Tucson Symphony Orchestra under José Luis Gómez, and Hyogo PAC Orchestra led by Michiyoshi Inoue, the four orchestras that commissioned this work. Only two weeks later, on September 1, will follow the premiere in Mexico of Paquito D’Rivera’s Concierto Venezolano by the Orquesta de Minería, again under Carlos Miguel Prieto, who has a great presence in this project by also scheduling Márquez’s Concierto de Otoño at the Opening Gala of the Louisiana Philharmonic Orchestra, of which he is principal conductor. D’Rivera’s Concierto Venezolano already has a second scheduled premiere with the San Diego Symphony under Rafael Payare in March 2020. For his part, Manuel Hernández-Silva will conduct the premiere of the new trumpet concert by Efraín Oscher next November with the Real Filharmonía de Galicia, and we will not have to wait long for the premiere of Roberto Sierra’s Salseando by the Royal Liverpool Philharmonic and Domingo Hindoyan in January 2020.
Manuel Hernández-Silva returns to Teatro Colón to conduct the Philharmonic Orchestra of Buenos Aires in the absolute premiere of Ave Fénix by Argentinian composer Claudia Montero, winner of four Grammy awards. In addition, maestro Hernández-Silva will accompany Croatian pianist Martina Filjak by Saint-Säens Concert No. 2, op. 22 in G minor and conduct Dvořak’s Symphony No. 8 in G major. This concert will take place on next Thursday, June the 27th at 20:00 hrs.
This trip to Argentina is a prelude to the upcoming debut of Hernández-Silva with the Tucson Symphony Orchestra in the US at the 2019/20 season, as well as to future visits to Norway, France, Germany or Australia. The album Cantos y Revueltas by Pacho Flores with cuatro player Leo Rondón and the Real Filharmonía de Galicia under Hernández-Silva will be released next July by Deutsche Grammophon. This album contains the homonymous work by Pacho Flores, Cantos y revueltas, that was premiered in January 2018 and recorded live for this double CD / DVD, together with other highlights by Pacho, Neruda, Villalobos or Piazzolla. Hernández-Silva is also going to premiere on next November Efraín Oscher’s Danzas Latinas for trumpet and orchestra, a commission of the Real Filharmonía, withPacho Flores.
Hernández-Silva will complete this month his first and fifth season as Principal and Artistic Director of the Navarra Symphony Orchestra and the Malaga Philharmonic Orchestra respectively, but an intense summer awaits him. After returning from Buenos Aires, he will continue with one of the activities he’s most passionate about: working with young people; on the one hand with a series of concerts with the Young Baroque Orchestra of Andalusia; and on the other hand with the Masterclass in Orchestral Conducting organised by the Malaga Philharmonic Orchestra. Hernández-Silva will then make his debut at Pollença Festival in Mallorca, along with Pacho Flores and the Symphony Orchestra of the Balearic Islands, and conduct a Homage to Gayarre with the Navarra Symphony Orchestra.
The American premiere of Pacho Flores’ work Cantos y Revueltas. Fantasia Concertante for trumpets, Venezuelan cuatro and strings with the Bolívar Phil and cuatro player Héctor Molina under maestro Carlos Riazuelo will take place next June 30 at 11:00 am at the Herbert and Nicole Wertheim Performing Arts Center in Miami. Cantos y Revueltas was premiered on January 11, 2018 at the Auditorio de Galicia in Santiago de Compostela with the Royal Philharmonic of Galicia and two other Venezuelans —conductor Manuel Hernández-Silva and cuatro player Leo Rondón—, to great success from both audience and critics. This premiere was recorded in audio and video and will be the central piece of the next album by Pacho Flores, a double CD/DVD for Deutsche Grammophon that will be coming soon. However, this isn’t Pacho’s first composition, since other works such as Morocota or Labios Vermelhos were already part of his album ENTROPÍA.
Image of the premiere of Cantos y Revueltas, Flores, Rondón, Hernández-Silva and the RFG. Copyright: RFG
Pacho Flores is playing this week with the Philharmonic Orchestra of Gran Canaria, a program that includes Akban Bunka by Christian Lindberg —appearing in FRACTALES, his last album for DG so far— and Concierto Mestizo by Efraín Oscher. He will perform the same repertoire the following week at the 11º Conference of the Brazilian Association of Trumpeters in Campinas.
Flores will then return to Europe to perform Haydn’s Trumpet Concerto and Lindberg’s Akban Bunka with the Sinfonieorchester Basel led by Michal Nesterowicz. After this American premiere in Florida, Cantos y Revueltas will then head for the Southern Cone for another historical premiere in Argentina: the performance by the Buenos Aires Philharmonic Orchestra under Enrique Diemecke of Arturo Sandoval’s Trumpet Concerto No. 1 for the first time since its composition 25 years ago. It will take place on July 11 at Teatro Colón.