Serbian pianist Misha Dacić joins ACM Concert’s roster for worldwide management. After his American debut at the Discovery Series of the Miami International Piano Festival, Misha Dacić quickly became a sought-after soloist who captured audiences throughout the United States performing in venues such as Ravinia’s Rising Stars Series in Chicago, Gilmore Keyboard Festival, Steinway Hall New York, Xavier Classical Piano Series in Cincinnati, Frederic Chopin Society’s Concert Series in Minneapolis, among numerous others.
Misha Dacić appeared in solo recitals as well as a guest soloist throughout Central and South America, Europe, Russia, Middle East and Japan. He performed at the Martha Argerich Project Festival in Lugano, at Mendelssohn’s house in Leipzig, at Sergiu Celibidache Festival in Bucharest, at the Festival Raritäten der Klaviermusik in Husum, at the International Piano Festival En Blanco & Negro in Mexico City, at the Oji Hall in Tokyo, and with the Brazilian Symphony Orchestra at Teatro Municipal in Rio de Janeiro. In 2009 Misha Dacić joined the legendary violinist Ida Haendel on a tour in Japan, performing with her all over the world ever since. One of their live performances was captured on a DVD released by VAI. Misha Dacić in Recital, featuring several live performances, was also released by VAI in 2009. Celebrating Franz Liszt’s 200th anniversary in 2011, Dacić’s Liszt album, released by Piano Classics, was greatly received by the critic worldwide. In 2018, Brilliant Classics released Dacić’s album featuring works by A. Scriabin.
In 2016 Misha Dacić gave a premier of his two-piano arrangement of Rachmaninoff Choral Symphony The Bells at Rachmaninoff estate museum in Ivanovka, Russia, and was appointed artistic director of the Rahmaninoff Festival at the same venue. Born into a family with musical tradition, and having taken first lessons from his father, Misha Dacić has been performing in public since the age of ten. Kemal Gekić, Lazar Berman, and Jorge Luis Prats are counted among his mentors. Misha Dacić holds his current posts as professor of piano at the Academia Galamian in Malaga, at Escuela Internacional de Musica Alberto Jonas in Valencia, and at Escuela de Alta Especialización Musical ‘Musikae’ in Madrid.
Delyana Lazarova is a young conductor with a quickly growing international career. She is the 2020 First-prize winner of Siemens-Hallé International Competition for Conductors, the newly-appointed Assistant Conductor to Sir Mark Elder at the Hallé Symphony Orchestra, and Music Director of the Hallé Youth Orchestra in Manchester, England. Ms. Lazarova is also the winner of the NRTA International Conducting Competition in Tirana, in 2019. Delyana has received James Conlon Conducting Award at the Aspen Music Festival, and has won the Bruno Walter Conducting Scholarship at the Cabrillo Festival, California in 2017 and 2018. Ms. Lazarova is one of the 12 selected candidates for the first edition of the International Conducting Competition for women La Maestra, that will take place in Paris in September, 2020.
Delyana Lazarova has worked with orchestras in Europe and North America. Among them are London Classical Soloists in England, Südwestdeutsch Philharmonie Konstanz and Meiningen Staatstheater Orchestra in Germany, the Janacek Philharmonia Ostrava and Hradec Philharmonic Orchestra in Czech Republic, St. Christofer Chamber Orchestra in Lithuania, Thessaloniki State Symphony Orchestra in Greece, Albanian Radio and Television Orchestra, Olten Philharmonic Orchestra in Turkey, Pazardjik Symphony Orchestra and Sofia Sinfonietta in Bulgaria, Estonian Festival Orchestra, Mahler Festival Orchestra, Colorado and Aspen Conducting Academy Orchestra in the States. Delyana’s future engagements for 2020/2021 season include concerts with Hallé Symphony Orchestra in England, Il Solisti Aquilani Orchestra in Italy, the Hungarian Radio Orchestra in Budapest, the Bulgarian National Radio Orchestra in Sofia, and Collegium Musicum Basel, in Switzerland. Ms. Lazarova will make her opera debut in a production of Verdi’s Nabucco, in Tyl theater in Plzeň, Czech Republic. Next summer Delyana will be returning as a conducting fellow at the Aspen Music Festival in USA.
Delyana Lazarova has a Master Degree in Conducting from Zürcher Hochschule der Künste (ZHdK), in the class of Prof. Johannes Schlaefli. Ms. Lazarova has also worked and studied in masterclasses with Bernard Haitink, Paavo Järvi, Leonard Slatkin, Mathias Pintscher, Robert Spano, Larry Rachleff, and Mark Stringer. She recently assisted Cristian Mâcelaru in a concert, featuring the cello concerto “Three Continents” by Nico Muhli/Sven Helbig/Zhou Long with the WDR Symphony Orchestra in Cologne, Germany. Delyana also has a Master degree in Violin Performance from the Jacobs School of Music, Indiana University, in the class of Prof. Mauricio Fuks, where she received a special scholarship for artistic excellence.
ACM Concerts is proud to announce the incorporation of flamenco singer Marina Heredia to its roster for engagements that involves Manuel de Falla’s repertoire such as El Amor Brujo (The Love Sorcerer), Siete canciones populares españolas (Seven Spanish Folksongs) and El Corregidor y la Molinera.
Born in Granada, Marina Heredia has been singing since childhood. At thirteen years old she had her first recording experience with Malgré la nuit, a flamenco album for children. She could then be heard singing in Granada tablaos accompanying dancers and guitarists, until she replaced Carmen Linares in a María Pagés show at the Granada Festival. Marina Heredia collaborates with renowned flamenco artists such as Arcángel and Eva Yerbabuena, as well as on other artistic projects, such as the opera De amore by Mauricio Sotelo, which premiered in the prestigious Carl Orff auditorium in Munich and Madrid’s Teatro de la Zarzuela. Since then, her ascending career has taken her to some of the most important music halls worldwide such as Teatro de la Maestranza in Seville, Teatro Albéniz and Auditorio Nacional in Madrid, Gran Teatro in Córdoba, Palau de la Música in Valencia, Carnegie Hall in New York, Palais de la Musique in Strasbourg, or Crystal Palace in Porto.
Marina Heredia is one of the most internationally requested artists to perform El Amor Brujo by Manuel de Falla. She has worked, among others, with the San Francisco and Chicago Symphony Orchestras, both under Spanish conductor Pablo Heras-Casado, who was also on the podium on her appearance with St. Luke’s Orchestra in the Carnegie Hall of New York, where she got long standing ovation; the Orchestre National de Lille with Josep Vicent; Orquesta Ciudad de Granada under Domingo Hindoyan, the same orchestra at the Musika-Música Festival in Bilbao under Antoni Ros Marbà, who also conducted her with the Orquesta Sinfónica de Castilla y León, etc. Marina premiered the new staging of El Amor Brujo by La Fura dels Baus at the closing concert of the 64th Granada Festival, under Manuel Hernández-Silva. She has performed in the most prestigious festivals of Spain, including Festival Grec in Barcelona, Bienal de Flamenco in Seville, Festival del Cante de las Minas, Festival de Otoño in Madrid, as well as Jerez, Ronda and Granada Festivals, among others, but also in international stages such as De Singel in Antwerp or Festival Flamenco Nîmes. She has traveled from Beijing to Uruguay, Paris, Portugal, Munich, London, Morocco, New York, and Washington.
In 2004 she was awarded the prize Andalucía Joven a las Artes (Andalusia Youth for the Arts) for her contribution to the spreading of Andalusian flamenco throughout the world. With two published works (Me duele, me duele in 2001 and La voz del agua in 2007), she released Marina in 2010, a flamenco album with new classic songs, which received in 2011 the award of Best Album of Cante Flamenco. In September 2012 she premiered A mi Tempo at the Teatro de la Maestranza during the XVII Bienal de Flamenco de Sevilla. Marina Heredia has obtained great success and critical acclaim with many of her shows, such as Contra las cuerdas or Tempo de Luz with Carmen Linares and Arcángel, which was toured in Europe and the United States.
Paquito D’Rivera’s Concerto Venezolano will be premiered in the USA on March 28 and 29 with Pacho Flores, Rafael Payare and the San Diego Symphony Orchestra at the Jacob Music Center. This Venezuelan Concerto by Paquito D’Rivera, which is part of the project of shared commissions that Pacho Flores is promoting, had its first premiere in Mexico in September last year with the Orquesta Sinfónica de Minería under Carlos Miguel Prieto and will be part of Pacho’s next recording for Deutsche Grammophon.
This second premiere of Paquito D’Rivera’s Concerto Venezolano in San Diego is also the seventh within the project of shared commissions of new concerts for trumpet, after the four premieres of Concierto de Otoño by Arturo Márquez (Orquesta Sinfónica Nacional de México under Carlos Miguel Prieto; Tucson Symphony Orchestra under José Luis Gómez; Hyogo PAC Orchestra of Japan under Michiyoshi Inoue; and Oviedo Filarmonía under Lucas Macías), the first premiere of Danzas Latinas by Efraín Oscher (Real Filharmonía de Galicia under Manuel Hernández-Silva), and the first premiere of Salseando by Roberto Sierra (Royal Liverpool Philharmonic under Domingo Hindoyan).
From L to R: Daniel Freiberg, Arturo Márquez, Paquito D’Rivera, Pacho Flores and Carlos Miguel Prieto
After this premiere of Concerto Venezolano in San Diego, a new premiere of Salseando (Orquestra Simfônica do Estado de São Paulo under Giancarlo Guerrero) and further premieres of these and other composers, such as Christian Lindberg and Daniel Freiberg, will soon take place in the 20/21 and 21/22 seasons in countries such as France, Spain, United Kingdom, Norway, USA or Turkey and will be announced in due course. The result of this project of shared commissions is that in a few years six new trumpet concerts dedicated to Pacho Flores will have been released throughout the world by orchestras from North and South America, Europe and Japan.
Pacho Flores with Vicente Honorato, STOMVI’s CEO, and some of the four valves instruments that Pacho uses in his concerts
These new concerts represent an expansion of the repertoire for solo trumpet unknown in the history of music. And another particularity of the concerts resulting from this project of commissions is that they are written for a wide variety of instruments of the trumpet family such as flugelhorns, cornets and trumpets, not only in different keys but with a special characteristic: they all have four valves and have been developed by Pacho Flores together with its manufacturer STOMVI. This means that, as well as the expansion of the repertoire that this project entails, technical advances in the instruments similar to the appearance of the valves in the 19th century are also being made.
Manuel Hernández-Silva will make his debut with the Tucson Symphony Orchestra next 13 and 15 March 2020 at the Tucson Music Hall. Hernández-Silva will conduct Barber’s Adagio for strings and the Violin concerto, with rising violinist Paul Huang as soloist, and Shostakovich’s Symphony nº 12 in D minor, ‘The Year 1917’.
Hernández-Silva visits Tucson at the end of a busy winter where he has conducted two programs with the Real Filharmonía de Galicia -the premiere with Pacho Flores of Danzas Latinas, last trumpet concerto by Efraín Oscher, in November, and the complete Beethoven piano concertos with Javier Perianes in January- and the Spanish Radio and Television Orchestra, conducting Martinu’s 4th Symphony. He now faces a no less busy spring where he will premiere Manuel Moreno Buendía’s Stabat Mater with the Murcia Symphony Orchestra, as well as come back to the Spanish Radio and Television Orchestra for an appearance at the Week of Religious Music of Cuenca, together with concerts with the Malaga Philharmonic and the Navarra Symphony, both orchestras where Hernández-Silva is Music & Artistic Director.
Hernández-Silva is facing more new debuts in the USA as well as in Norway and France, and has other engagements in Switzerland, Germany, Argentina, México, Puerto Rico, etc. He si also improving his career as an opera conductor with upcoming engagements to conduct Beethoven’s Fidelio or Puccini’s Manon Lescaut, after receiving excellent reviews for his last opera performances, Fidelio and Mozart’s Cosí fan tutte, both at Teatro Cervantes in Málaga. Hernández-Silva is the conductor of Cantos y Revueltas, Pacho Flores’ last recording for Deutsche Grammophon.
The Royal Liverpool Philharmonic, Pacho Flores and Domingo Hindoyan will offer the premiere of Roberto Sierra’s new trumpet concerto, Salseando, next Thursday, January the 9th of 2020 at the Liverpool Philharmonic Hall. Its next premiere will be about the summer by the São Paulo State Symphony Orchestra and Giancarlo Guerrero and it will have its Spanish and French premieres at the end of the year by two orchestras to announce. Salseando is composed in three movements: Salseado (tempo of Salsa), Tempo di Bolero, and Veloz (fast), and demands four different instruments, trumpets in C and Bb, piccolo in A and flugelhorn. Together with Roberto Sierra’s premiere, Pacho will also play the British premiere of Arturo Márquez’s Concierto de Otoño. Both concertos are part of a large and ambitious project of co-commissions of new trumpet concertos to outstanding composers as Sierra and Márquez themselves, Paquito D’Rivera, Efraín Oscher, Christian Lindberg and Daniel Freiberg, involving orchestras form all around the world.
Arturo Márquez’s Concierto de Otoño was commissioned and premiered by the National Orchestra of México and Carlos Miguel Prieto, the Tucson Symphony Orchestra and José Luis Gómez, the Hyogo PAC Orchestra of Japan and Michiyoshi Inoue, and the Oviedo Filarmonía in Spain and Lucas Macías; Paquito D’Rivera’s Concerto Venezolano was premiered by the Orquesta Sinfónica de Minería with Carlos Miguel Prieto and is going soon to have its USA and Spanish premieres by the San Diego Symphony Orchestra with Rafael Payare and Orquesta of Valencia in Spain with Vicent Alberola. Recently it was also premiered Efraín Oscher’s Danzas Latinas by the Real Filharmonía de Galicia with Manuel Hernández-Silva. Daniel Freiberg and Christian Lindberg commissions and premieres will be announced soon.
Besides this project os shared commissions of new trumpet concertos Pacho is also premiering new works dedicated to him as the double concerto for trumpet and trombone Un Sueño Morisco, by Christian Lindberg, premiered this year by the Spanish National Orchestra of Radio and TV conducted by Christian Lindberg himself and with Ximo Vicedo at the trombone; or its own piece Cantos y Revueltas, premiered by the Real Filharmonía de Galicia and Manuel Hernández-Silva in 2018, which is the main piece of Pacho’s last recording for Deutsche Grammophon launched recently.
Arturo Márquez’s Concierto de Otoño will be premiered in France by Pacho Flores and the Orchestre National de Lille under conductor Josep Vicent. Concerts will take place at the Auditorium du Nouveau Siècle, in Lille, on Thursday, 5, Boulogne-sur-Mer Théâtre on Friday, 6 and at L’Imaginaire in Douchy-les-Mines on Saturday, 7, December 2019. The program, entitled Eldorado, contains also works by Revueltas, Falla and Ravel. This Concierto de Otoño by Arturo Márquez was co-commissioned by four orchestras: National Symphony Orchestra of Mexico, Tucson Symphony Orchestra, Hyogo PAC Orchestra of Japan and Oviedo Philharmonia in Spain.
It was premiered along the 2018/19 season with conductors Carlos Miguel Prieto, José Luis Gómez, Michiyoshi Inoue and Lucas Macías respectively, and since then it was played by the Orquesta Sinfónica de Minería (Mexico) and the Opening Night Gala of the Louisiana Philharmonic Orchestra, both with C. M. Prieto; Filarmónica de Bogotá (Colombian premiere), Christian Vásquez; Colorado Springs Philharmonic, Josep Caballé Doménech; and Real Filharmonía de Galicia, with Manuel Hernández-Silva, together with the absolute premiere of Efraín Oscher’s Danzas Latinas; after Lille, the Concierto de Otoño is already programmed by the Winnipeg Symphony (Canadian premiere), José Luis Gómez; Liverpool Philharmonic (UK premiere), Domingo Hindoyan, together with the concerto Salseando by Roberto Sierra, UK premiere as well; Orquesta de Córdoba, Carlos Domínguez-Nieto, together with the absolute premiere of Concierto Mambí by Igmar Alderete; and some other orchestras to be announced.
D. Freiberg, A. Márquez, P. D’Rivera, P. Flores and C. M. Prieto during the recording of Mestizo for Deutsche Grammophon
Arturo Márquez’s Concierto de Otoño is the very first of a large and ambitious project of co-commissions of new trumpet concertos to outstanding composers as Paquito D’Rivera, Roberto Sierra, Efraín Oscher, Christian Lindberg and Daniel Freiberg involving orchestras form all around the world. Paquito D’Rivera’s Concerto Venezolano was premiered by the Orquesta Sinfónica de Minería with Carlos Miguel Prieto and is going to be premiered soon by the San Diego Symphony Orchestra with Rafael Payare and Orquesta of Valencia in Spain with Vicent Alberola; and Roberto Sierras’ Salseando will be premiered on next January by the Royal Liverpool Symphony Orchestra and Domingo Hindoyan and about the summer by the São Paulo State Symphony Orchestra and Giancarlo Guerrero.
Pacho Flores has just premiered Danzas Latinas by Efraín Oscher with the Real Filharmonía de Galicia and Manuel Hernández-Silva in a concert that also included Arturo Márquez’s Concierto de Otoño, the same week he launched his newest recording for Deutsche Grammophon, Cantos y Revueltas, with the same partners, Real Filharmonía and conductor Hernández-Silva. Cantos y Revueltas is also the title of the main work of the recording, a Fantasía Concertante for trumpet and Venezuelan cuatro, played in the premiere and the recording by the Venezuelan virtuoso Leo Rondón.
On November 21 at the Auditorio de Galicia, Pacho Flores and Manuel Hernández-Silva, together with the Royal Galician Philharmonia, will perform the absolute premiere of Danzas Latinas by Efraín Oscher, a new trumpet concert commissioned by the Royal Galician Philharmonia and dedicated to Pacho Flores. The same protagonists, Flores, Hernández-Silva and the RGP also with Leo Rondón, premiered at the same place in January 2018 Cantos y Revueltas, a ‘Fantasia concertante’ composed for trumpet, Venezuelan cuatro and strings, which will be presented these days in CD and DVD by Deutsche Grammophon, Pacho Flores’ label.
Danzas Latinas is a concert in five movements that, following its title, presents five corresponding dances of different origins: Bomba from Puerto Rico, an Argentinian Zamba, Samba brasileira, Bembé from Cuba and Milonga from Uruguay. For the performance of this concert Pacho will also use five different instruments: Soprano cornet in Eb (Bomba), Flugelhorn (Zamba), C Trumpet (Samba), D Trumpet (Bembé) and F cornet (Milonga). This work is part of the project of shared commissions for new trumpet concerts by important composers such as Arturo Márquez, Paquito D’Rivera, Roberto Sierra, Christian Lindberg, Daniel Freiberg and Oscher himself, that was launched by Pacho Flores with the aim of expanding the solo trumpet and orchestra repertoire and involves orchestras from around the world such as the Royal Liverpool Philharmonic, San Diego Symphony, Orquestra do Estado de São Paulo, Orquesta Nacional de México, Hyogo PAC in Japan, Royal Galician Philharmonia, Oviedo Filarmonia, Orchestra of Valencia, etc.
Efraín Oscher, Venezuelan flute player and composer of Uruguayan origins who currently lives in Bremen, knows very well what it means to compose for Pacho Flores’ trumpets, being the author of Concierto Mestizo, premiered in Caracas in 2010 by the Simón Bolívar Orchestra and Domingo Hindoyan -a work that Pacho has played more than thirty times all over the world-; of Barroqueana Venezolana nº 2, part of a series of four concerts in the style of Bach’s Brandenburg Concerts but from a Latin American point of view; or of Apex, double concert for clarinet and orchestra, premiered in August 2018 by Pacho together with clarinet player Matthias Schorn, the Norddeutsche Philharmonie Rostock and maestro Marcus Bosch.
Efraín Oscher on Danzas Latinas
Dances are generally associated with joy, happiness and merrymaking, just as dancing is synonymous with partying. The title Danzas Latinas instinctively evokes carnival scenes, couples dancing salsa, tango or merengue, but the reality is that dances and their respective dancing are an artistic medium to express a wide variety of feelings and emotions. In Latin America in particular, dances are present at all levels of society and associated with religious, political, romantic and intellectual aspects, thanks to the profound miscegenation that has taken place in the continent.
If we go back to the Baroque period we can find evidence of how dances, which have their roots in popular music, were developed by academic composers and taken to sublime levels, usually gathered in Suites. It is noticeable here that certain dances convey deep feelings, in contrast with those intended for the entertainment of the court: the sarabande or the pavane, for example, are used for funerary purposes.
Latin America has an enormous richness of dances. There is a great variety of folk dances that accompany the sumptuous and colorful dancing in processions, parades, parties, funerals as well as other dances intended for couples. Their ramifications according to the subject of their lyrics are incalculable and vary from the fiery political protest to the painful “resentment”, going through satire, romanticism and melancholy. A special mention must be made of the great influence that the music brought by the Africans during colonial times had in the development of dances throughout the continent.
Danzas Latinas for trumpet and orchestra was specially composed for Pacho Flores, who uses different instruments of the trumpet and cornet family, assigning a voice with a particular color to each of the pieces he plays. The work consists of five dances and each one of them is performed with a different instrument: Bomba de Puerto Rico with a cornet in Eb, Zamba de Argentina with the flugelhorn, Samba de Brasil with a C trumpet, Bembé de Cuba with a D trumpet and Milonga del Uruguay with an F cornet.
Bomba is one of the native rhythms of Puerto Rico whose origin dates back to colonial times and was created by slaves in sugarcane plantations. In its traditional form, this dance is characterized by the intricate conversation between the dancer, the drummer and the singer, which is reflected in the counterpoint of the first movement, Bomba de Puerto Rico. The chorus‑proclamation pattern can be heard towards the end, when the orchestra repeats a motif to which the soloist responds with an improvisation.
The gaucho is the protagonist of the second movement, Zamba de Argentina, whereas nostalgia is the predominant feeling. The immensity and loneliness of the pampas as well as the gaucho’s suffering expressed in the verses of Martín Fierro were the source of inspiration for this movement. The tempo of the Zamba is generally slow; it is an elegant dance for couples where both use a handkerchief. In this movement the beautiful sound of the four-piston flugelhorn, an instrument specially built for Pacho Flores with a wide and loud low range, can be fully appreciated.
One of the most internationally recognised Latin American musical genres is samba. Created in Brazil by African slaves, it is a syncopated rhythm accompanying a colorful dance that is the center of the biggest carnival celebrations in the world. Samba de Brasil, the third movement, offers the soloist not only the opportunity to show his technical skills but also his creativity by improvising on the harmonies.
The fourth movement, Bembé de Cuba, is a special tribute to Afro-Cuban music, which has had such an influence on the popular music of the Caribbean countries. The bembé encompasses ancestral African cultural elements that are still present in the Cuban culture nowadays, such as Santeria and the Yoruba language. The ostinato rhythm of bembé produces some sort of trance in the participants of Santeria rituals and this mystical element characterizes this movement. The improvisation on the choir‑proclamation pattern is also present in this dance, an expressive resource of which Pacho Flores knows how to take advantage.
Milonga de Uruguay closes the piece and provides the touch of humor that characterizes this native dance from Río de la Plata. A relative of tango and candombe, milonga shows the African influence in its rhythm, as well as the outgoing character of the Montevidean citizens in its playful melodies and virtuous passages. This movement offers a cheerful and festive ending, suitable for a work that travels with virtuosity through the emotions along the rich geography of Latin American dances.
On November 20 at the Auditorio de Galicia, Pacho Flores and Manuel Hernández-Silva will present, together with the Royal Galician Philharmonia, Cantos y Revueltas, Pacho Flores’ new album for Deutsche Grammophon with the Galician orchestra conducted by Hernández-Silva that includes, among other works and as a centerpiece, the homonymous concert for trumpet and Venezuelan cuatro by Pacho Flores himself.
Cantos y Revueltas
Cantos y Revueltas is a fantasia concertante for trumpet, Venezuelan cuatro and strings, premiered last January 2018 in Santiago, Vigo and A Coruña by the Royal Galician Philharmonia under Hernández-Silva, together with cuatro player Leo Rondón and, of course, Pacho Flores’ trumpets. It is a work rooted in old work songs and popular Venezuelan tunes, but also in modern Caribbean-like rhythms. The album begins with the Concerto para corno da caccia by Johann Baptist Georg Neruda, continues with the Aria from Bachiana Brasileira No. 5 by Villa-Lobos, Cantos y Revueltas, El Diablo suelto by Heraclio Fernández and Piazolla’s Winter in Buenos Aires, and was recorded live at the Palacio de la Ópera in A Coruña on January 13, 2018.
This is a double CD-DVD that includes a video recording of the concert and various extras, including interviews revealing the origin of Pacho’s work as well as curiosities about the process that led to its premiere in Santiago and its recording. Cantos y Revueltas is the fourth recording for Pacho Flores with Deutsche Grammophon after Cantar, with the Konzerthausorchester in Berlin conducted Christian Vásquez, Entropía, with guitar player Jesús ‘Pingüino’ González, and Fractales, with the Arctic Philharmonic conducted by Christian Lindberg. These concerts also counted on Pablo Barreiro for the audio recording and Antonio Cid and Joaquín Calderón for the video recording and production, which allowed to obtain a result that met Deutsche Grammophon’s highest artistic and technical standards.
Pacho Flores
Every so often, sometimes after several generations, some artists appear who are a milestone in their respective disciplines. This is the case with Pacho Flores, the great trumpet player of the 21st century so far, who is improving the performance technique and the expressive possibilities of the instrument to unknown levels. In collaboration with his brand, his STOMVI team, he is carrying out a formidable development and technical improvement of the trumpet, with new instruments in different keys and with four pistons that expand its register and palette. Many of these instruments are prototypes only available to Pacho, and only some, once tested, get produced for the market sale.
Pacho is also actively promoting an unprecedented expansion of the repertoire for solo trumpet and orchestra. After releasing some works dedicated to him by composers such as Efraín Oscher (Concierto Mestizo, 2010; Soledad, 2013, included in the album CANTAR; Barroqueana Venezolana nº 2, 2017; and Apex, double concert for trumpet and clarinet, 2018), Giancarlo Castro (Stunning trumpet, 2017), Alain Trudel (Preach pour trumpet et orchestre), etc., Pacho decided to take over and launch a project of shared commissions to some of the most relevant composers nowadays such as Arturo Márquez, Roberto Sierra, Paquito D’Rivera, Efraín Oscher, Christian Lindberg or Daniel Freiberg, which allows a systematic and scheduled update of new works with technical and musical requirements according to the possibilities offered by the new instruments. This program has already begun to bear fruit: Arturo Márquez and Paquito D’Rivera’s works have already been premiered, and the concerts by Roberto Sierra and Efraín Oscher’s will be presented this season. In addition, and in collaboration with his label, Deutsche Grammophon, Pacho is producing the most complete discography on the trumpet performed by the same artist, recording reference versions of the repertoire classics, as well as the new works that, by his own efforts, are joining the literature for this instrument.
Pacho Flores will make his debut with the Colorado Springs Philharmonic in two concerts with its principal conductor, Spanish Josep Caballé-Doménech. The concerts will take place on November 16 and 17 at the Pikes Peak Center with a program entitled “Free Spirit”, consisting of works by Gershwin and Ginastera, Concierto de Otoño by Arturo Márquez, the Aria de the Bachiana No. 5 by Villalobos, Morocota, a Venezuelan waltz by Pacho Flores himself, and Invierno, from the Cuatro Estaciones Porteñas by Astor Piazzolla.
Colorado Springs is already Pacho’s third visit to the US so far since the beginning of this intense season, which started with the premiere in Mexico of Concierto Venezolano by Paquito D’Rivera, with the Orquesta de Minería and Carlos Miguel Prieto, a historic evening during which Pacho played four trumpet concerts in the same program: Márquez’s Concierto de Otoño, which had been premiered a year earlier in the same country and with the same conductor but with the National Orchestra; the afore mentioned concert by D’Rivera; Crónicas Latinoamericanas by Daniel Freiberg; and Efraín Oscher’s Concierto Mestizo, a preamble of the album recorded with this same repertoire the following week.
Arturo Márquez, Paquito D’Rivera, Roberto Sierra, Christian Lindberg, Efraín Oscher and Daniel Freiberg
Pacho traveled afterwards to New Orleans to play with the Louisiana Philharmonic before visiting Poland to perform with the Beethoven Academy Orchestra, then to Switzerland to play with the Strasbourg Philharmonique and Kirill Karabits at the KKL in Lucerne, and then returned to the US to participate in the Latin American Festival of Fort Worth, Texas. After some master classes in Zurich, Pacho will travel to Bogota to perform with the Philharmonic Orchestra led by his friend, maestro Christian Vásquez, and from there he will head to Colorado Springs.
Pacho Flores and Paquito D’Rivera recording D’Rivera’s Concerto Venezolano
Pacho will after this return to the Royal Galician Philharmonia with Manuel Hernández-Silva for a double event, in which he will present Cantos y Revueltas, his fourth album for Deutsche Grammophon recorded live with this same orchestra and conductor, and also premiere Danzas Latinas, Efraín Oscher’s new concert dedicated to Pacho himself and which is part of the project of shared commissions for new trumpet concerts that Pacho is promoting.
Arturo Sandoval. Foto: Ocesa
From there on await Brazil, France, Spain and the Liverpool Philharmonic for the premiere of Salseando by Roberto Sierra; Spain, a new visit to the United States, Mexico and the San Diego Symphony for a new premiere by Paquito D’Rivera; afterwards Tokyo, again Poland to perform with the National Radio Symphony of Poland and back to the US; then the ADDA orchestra in Spain to play Un Sueño Morisco, double concert for trumpet and trombone that Christian Lindberg wrote for Pacho and Ximo Vicedo, premiered this 2019 with the RTVE Orchestra; Argentina and Chile; a return to Spain for the European premiere of Arturo Sandoval’s Concert No. 1 with the Oquesta Sinfónica de Galicia and the absolute premiere of the ConciertoMambí by Igmar Alderete with the Orchestra of Cordoba; and from there to Canada before returning to Spain again for the European premiere of Concierto venezolano by D’Rivera with the Orchestra of Valencia under Vicent Alberola. Finally, Pacho will premiere next summer in Brazil Roberto Sierra’s Salseando, with the Orquetra Simfònica do Estado de São Paulo and Giancarlo Guerrero.
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