Pacho Flores launches ESTIRPE, his new record for Deutsche Grammophon label and the fifth on the yellow label, available from July, 29th on. Taking advantage of its presence in the summer season of the Minería Symphony Orchestra and Carlos Miguel Prieto for the American premiere of Historias de Flores y Tangos, by Daniel Freiberg, he presents this recording, which was made with the same protagonists in September 2019 at the Churubusco studios in the Mexican capital. This album features two outstanding guest artists, the Cuban clarinetist and saxophonist, Paquito D’Rivera, and the Argentine pianist, arranger, and composer, Daniel Freiberg, and already includes some of the concerts resulting from the project of shared commissions for new concerts for trumpet to outstanding composers that Pacho and his agency ACM Concerts have been managing in recent years and that has already added six new concerts to the repertoire and with a seventh in the process of composition.
The album opens with the Concierto de Otoño by Arturo Márquez, the first concerto of the project, premiered in September 2018 by the National Symphony of Mexico under the baton of Carlos Miguel Prieto. Along with the OSNM, the other orchestras participating in the commission were the Tucson Symphony Orchestra, which premiered it with its head José Luis Gómez; the Orchestra of the Performing Arts Center of Hyogo, Japan, with maestro Michiyoshi Inoue, and the Oviedo Filarmonía, with Lucas Macías. Next we find Crónicas Latinoamericanas, by Daniel Freiberg, a commission from the WDR Sinfonieorchester of Cologne, originally conceived for clarinet, which Freiberg adapted for trumpet as soon as he saw Pacho on stage.
The third concert on the album is the Concerto Venezolano by Paquito D’Rivera, also resulting from the project of shared commissions. In this case, it was the Minería Symphony Orchestra itself, again under the direction of Prieto, who starred in the Mexican premiere and participated in the commission together with the Royal Liverpool Philharmonic orchestras, which premiered it with its current Music Director, Domingo Hindoyan, the Orchestra of Valencia, with Hernández-Silva, and the San Diego Symphony, with its head Rafael Payare. The last of the four concerts included on the album is Mestizo, by Efraín Oscher, which has a special meaning: Commissioned by the Children and Youth Orchestra System of Venezuela and premiered in Caracas in 2010 with the Simón Bolívar Orchestra and the direction of Domingo Hindoyan, it is the true antecedent of everything that came later with this project of shared commissions, as it was the very first concert composed for various instruments of the trumpet family, which later became a constant and a distinctive feature of Pacho Flores’s performances. The album ends with Morocota, a Venezuelan waltz by Pacho Flores originally composed for trumpet and guitar and included on ENTROPÍA, his second album for Deutsche Grammophon, with guitarist and cuatrista Jesús ‘Pingüino’ González, and later also orchestrated by Pacho himself.
After so an exciting summer that took him to Mexico with Alondra de la Parra’s Impossible Orchestra, to the Brass Festival Stuttgart, the Italian Brass Week, to Montreal as resident artist of La Virée Classique, where he played and conducted his own and other repertoire in three concerts with different formations; back to Mexico to Freiberg’s and to present ESTIRPE, Pacho Flores kicks off a sensational season with the Singapore Symphony with concerts by Haydn and Arturo Márquez. A 2022/23 season that brings important debuts for Pacho with orchestras such as the San Francisco Symphony, with Carlos Miguel Prieto; Los Angeles Philharmonic, with Gustavo Dudamel; Galicia Symphony, with Manuel Hernández-Silva; National Symphony of Colombia with Christian Vásquez; Quebec Symphony, with Anu Talli; Buffalo Philharmonic, with JoAnn Falletta, National of Cyprus, with Hernández-Silva; Belgrade Philharmonic, with Felix Mildenberger; as well as his return to the San Diego Symphony, with Rafael Payare; Royal Liverpool Philharmonic, with Domingo Hindoyan; or Tucson Symphony and Arctic Philharmonic, in both again with Hernández-Silva. In Liverpool and Galicia Flores will be artist-in-residence. He also continues with his project of commissions and premieres of new trumpet concertos, with the completion of the series of premieres by Daniel Freiberg with Arctic and with the Walla Walla Symphony; and the beginning of a new cycle with Altar de Bronce, by Gabriela Ortiz, which will premiere the orchestras of Galicia and Liverpool and whose premieres will continue in the 2023/24 season. In Liverpool he will also record a new album that will include, among others, the concerts Salseando, by Roberto Sierra, and the aforementioned Altar de Bronce by Gabriela Ortiz. He will also return to the Bogotá Philharmonic, National Philharmonic of Chile, and will maintain his presence in metal forums and meetings all over the world, as well as his didactic and pedagogical activities, among which his participation stands out, within their respective residences, with the Youth Orchestra of the Galician Symphony, and with the In Harmony program of the Liverpool Philharmonic.
Pacho Flores premieres the Concierto Mambí, trumpet concerto No. 1, by the Cuban composer Igmar Alderete with the Córdoba Orchestra and its Chief Conductor, Carlos Domínguez-Nieto. It will be at the Gran Teatro de Córdoba on June 16 and 17, 2022 and the program also includes the Concierto de Otoño by Arturo Márquez. Concerto No. 1, Mambí, for trumpet and orchestra, composed in 2010 for trumpet in B flat, revised between 2021 and 2022 and specially adapted for Pacho Flores and the variety of four-piston instruments he uses: trumpet in C, flugelhorn , high cornet in A, trumpet in B flat and piccolo trumpet in D. With a marked chamber character and reduced orchestration, its melodic and harmonic treatment is transparent, requiring great precision and balance. In the richness and rhythmic variety is where the author exposes with greater clarity the fundamentals of the concert, entitled Mambí (rebellious slave who fought against Spanish colonialism in the 19th century), it is a work of great virtuosity for the soloist, brilliant passages and difficulty technique, at the same time of deep expressiveness and lyricism in its second movement to the rhythm of Bolero in its central part, two cadenzas and moments of freedom for improvisation.
Igmar Alderete is a total musician, composer, classical and jazz violinist and arranger, born in Havana, Cuba, in 1969, he has been a violinist with the Córdoba Orchestra since 1994. His music gathers feelings and experiences that integrate new sonorities of great richness rhythmic, in a syncretism of resources that clearly reflects its roots: Afro-Cuban music, contemporary art music and popular music. Within its extensive catalog, his two concerts for marimba stand out, both premiered by Carolina Alcaraz, Concert No. 1 for clarinet, La Leyenda del Cimarrón, Nostalgia del Sur, Symphony No. 1 Influences, commissioned by the AEOS author foundation and the Córdoba Orchestra, directed by Manuel Hernández Silva, Esquemas Rotos or Bailando con arcos. His production of chamber music is also prolific with works such as Sones de America, for marimba, vibraphone and string quartet, Desafío concertante, for violin and saxophone quartet, the Suite Mosaico, for vibraphone, string quintet and piano, Introducción y Guajira for clarinet and string quartet, Aires del Sur, for solo clarinet, quartets, trios, etc. Soloists such as Paquito D’Rivera, Matthias Schorn, Vasko Vassiliev, Carolina Alcaraz, Katarzyna Mycka, Javier Nandayapa, Cuarteto de La Habana or the Trio Brouwer have premiered and recorded their works in forums such as the Mecklenburg-Vorpommern Festival, Lincoln Center in New York , Cycle of Contemporary Music of Córdoba, Poland or Mexico.
This is the last of the lavish series of premieres that Pacho Flores has carried out throughout the course that is ending. The season began with the London premiere of Invocation, by Eleanor Alberga; in Bilbao he offered the premieres of the concerts by Arturo Sandoval and Arturo Márquez in their version for band, whose arrangements he himself made; the first premiere of Historias de Flores y Tangos by Daniel Freiberg with the Oviedo Filarmonía and Lucas Macías took place in Oviedo; then he premiered the Concerto Venezolano by Paquito D’Rivera in the United Kingdom with the Royal Liverpool Philharmonic and Domingo Hindoyan, which shortly after had its Spanish premiere by Manuel Hernández-Silva and the Valencia Orchestra and later closed its cycle with the US premiere with the San Diego Symphony and Rafael Payare. Shortly after, the Brazilian premiere of Salseando, by Roberto Sierra, with the OSESP and Carlos Miguel Prieto took place, the cycle of which closed just a few days ago with the French premiere with the Orchestre National de Bordeaux and, once again, Manuel Hernández-Silva. Previously he had premiered his own flugelhorn concerto, Albares, with the Tenerife Symphony and Christian Vásquez; and, although on this occasion as a conductor and not as a soloist, he premiered with the Murcia Region Symphony the Concierto del Mar, for four Venezuelans and orchestra, by Leo Rondón, with the author in the solo part. In total, there are eleven premieres throughout the season, which continue this summer with the American premiere of Historias de Flores y Tangos, by Freiberg, with the Minería orchestra and Prieto, together with which he will also present his latest recording release in Deutsche Grammophon. Next season the two remaining premieres of Freiberg will take place, with the Arctic Philharmonic of Norway and Hernández-Silva, and the Walla Walla Symphony and Yaacov Bergman; and the process of premiering the new concert by Gabriela Ortiz begins, with the Spanish and British premieres, the Galician Symphony and Hernández-Silva and Royal Liverpool and Domingo Hindoyan respectively, orchestras for which he will be Artist-in-Residence throughout the season. This summer he will also be a resident artist at La Virée Classique, the festival of the Montreal Symphony Orchestra, where he will offer three concerts, two as a soloist under the baton of Rafael Payare and another as a soloist-conductor leading the brass and percussion ensemble of the festival.
Pacho Flores conducts the absolute premiere of Leo Rondón’s Concierto del mar for Venezuelan cuatro and orchestra, with the Orquesta Sinfónica de la Región de Murcia, on Sunday, April 24. This is probably the first or one of the first concerts for Venezuelan cuatro and orchestra ever written. The cuatro, a descendent of the guitar, smaller in size and with four strings (hence its name, cuatro), is an instrument of Venezuelan and Colombian popular music, although there are some differences between one and the other. In recent years and thanks to a brilliant generation of performers, among whom Leo Rondón stands out, this instrument has been gaining presence in the orchestral music scene. Pacho Flores himself gave it an important presence in his work Cantos y Revueltas, fantasia concertante for trumpet, Venezuelan cuatro and strings, in which Rondón was in charge of the cuatro solo part, and which both recorded together for Deutsche Grammophon with the Real Filharmonía de Galicia under Manuel Hernández-Silva.
Leo Rondón has a long history of collaborations and has worked with ensembles such as Quatuor Debussy, Christina Pluhar’s L’Arpeggiata or the Mexican tenor Rolando Villazón, as well as with orchestras such as the Real Filharmonía de Galicia, Royal Liverpool Philharmonic, Orchestre National de l’Ile de France, Orquesta Sinfónica de la Región de Murcia, Valencia Orchestra, Sinfónica de Castilla y León, Extremadura Symphony Orchestra, Navarre Symphony Orchestra, Tunisia Symphony Orchestra or the Malaga Philharmonic, and he will soon make his debut with the Gran Canaria Philharmonic, with future commitments in Sweden and Norway. Naturally, he also keeps one foot in traditional music, collaborating with the Alexis Cárdenas quartet and other ensembles. Concierto del mar is his first symphonic work.
Pacho, for his part, has already some experience as a conductor and he is increasingly delving deeper into this facet. He has conducted the International Trumpet Guild Festival Orchestra in San Antonio, Texas; the Kammerensemble Konsonanz of Bremen in the recording of trumpeter Fabio Brum’s album EGREGORE for Naxos, in which he also acts as musical producer; or the Brass Ensemble of the Bogotá Philharmonic. Pacho is also an active composer. In addition to the aforementioned Cantos y Revueltas, other compositions include Musas y Resuello, for brass ensemble and percussion and premiered in Bogotá; Heterónimos, for trumpet and small orchestra, included in the album by Fabio Brum and which, together with Preludio y Fuga for strings, will have its absolute premiere at this concert in Murcia; or Albares, the new concerto for flugelhorn that will be premiered next April with the Tenerife Symphony Orchestra under Christian Vásquez, in addition to other works recorded on his album ENTROPÍA such as Morocota,Labios vermelhos, etc.
Christian Vásquez is at the Opéra National de Paris assisting Gustavo Dudamel in the eleven performances of Mozart’s Le Nozze di Figaro that have been taking place at the Palais Garnier since last January 21. Immediately afterwards, Christian Vásquez will return to Spain to conduct the Navarre Symphony Orchestra in a program consisting of the Concierto-capriccio for harp and orchestra by Xavier Montsalvatge, featuring the Sevillian harpist Cristina Montes Mateo, and Brahms’s Symphony No. 3. Later this season he will return again to our country to conduct the Tenerife Symphony Orchestra and his good friend Pacho Flores, whom he will lead in the world premiere of the Concierto para fliscorno, by the trumpeter himself, and Danzas Latinas, by Efraín Oscher, as well as Tchaikovsky’s Symphony No. 5 in E minor, Op. 64.
Christian Vásquez was Music Director of the Teresa Carreño Symphony Orchestra of Venezuela and the and the Stavanger Symphony Orchestra, as well as Principal Guest Conductor of the Het Gelders Orkest and the Gävle Symfoniorkester. He has worked with the Philharmonia Orchestra, Residentie Orkest, Orchestre de la Suisse Romande, Vienna Radio Symphony, Camerata Salzburg, State Symphony of Russia, Tokyo Philharmonic, Singapore Symphony, Royal Northern Sinfonia, Orchestre National du Capitole de Toulouse, Sinfónica de Galicia, Berlin Konzerthausorchester, Warsaw Beethoven Festival, Turku Philharmonic, Orchestre Philharmonique du Luxembourg, Prague Radio Symphony Orchestra, Poznan Philharmonic, Rotterdam Philharmonic, New Jersey Symphony, Helsinki Philharmonic, Orquesta Nacional de México, Sinfonieorchester Basel, Münchner Philharmoniker, Filarmónica de Gran Canaria, Estonian National Symphony Orchestra, Royal Danish Orchestra, Norwegian Radio Orchestra or RTE National Symphony. Christian’s first opera engagement in Europe was at the Norwegian Opera with Carmen. In North America, he has conducted the National Arts Centre Orchestra (Ottawa) and Los Angeles Philharmonic, the latter during his participation in their Young Artist Fellowship Program.
Christian Vásquez began to study violin at the age of eight years in San Sebastián de los Reyes (Aragua State). In 2006 he started his studies in orchestra conducting under the direction of Jose Antonio Abreu and was appointed Musical Director of the Sinfónica Juvenil José Félix Ribas, at the Aragua State.
Pacho Flores keeps adding premieres to this vibrant start of the season, this time together with the Oviedo Filarmonía and Lucas Macías for the absolute premiere of Historias de Flores y Tangos by Daniel Freiberg, a new shared commission with the participation of the Oviedo Filarmonía, the Arctic Philharmonic led by Manuel Hernández-Silva, the Orquesta de Minería with Carlos Miguel Prieto, and the Walla Walla Symphony under its principal conductor Yaacob Bergman. The Oviedo Filarmonía already participated in the commission of Concierto de otoño by Arturo Márquez, together with the Orquesta Nacional de México (Prieto), the Tucson Symphony conducted by José Luis Gómez, and the Hyogo PAC Orchestra led by Michiyoshi Inoue.
The Asturian orchestra has thus been involved in the first and last commissions within the first of the six phases the project consists of. The project also includes Paquito D’Rivera’s Concierto Venezolano, which will close its round of premieres in Spain with the Orquesta de Valencia under Hernández-Silva after being premiered by the Royal Liverpool Philharmonic (Domingo Hindoyan) and the San Diego Symphony Orchestra (Rafael Payare); the concert Salseando by Roberto Sierra, which was already premiered in Liverpool (Hindoyan) and Murcia (Hernández-Silva) and will close its round of premieres this season with the Orquestra Sinfônica do Estado de São Paulo (Prieto) and the Orchestra National de Bordeaux -Aquitaine (Hernández-Silva); Danzas Latinas by Efraín Oscher, commissioned and premiered by the Real Filharmonía de Galicia with Hernández-Silva; and Christian Lindberg’s Caballos Mágicos, premiered by the Real Filharmonía de Galicia (Paul Daniel) and very recently by the Swedish Chamber Orchestra with Lindberg himself at the podium, with premieres in Turkey and the US in dates to be confirmed. Pacho Flores had previously premiered another concert by Daniel Freiberg, Crónicas Latinoamericanas, a transcription for trumpet of the original written for clarinet, with the Het Gelders Orkest under Christian Vásquez.
D. Freiberg, A. Márquez, P. D’Rivera, P. Flores and C. M. Prieto during the recording of Mestizo for Deutsche Grammophon
There is a double satisfaction for Pacho Flores in this project of shared commissions. On the one hand, it promotes an unprecedented expansion of the solo trumpet and orchestra repertoire. On the other hand, these new concerts, with enormous technical and musical demands that have fostered the great diversity of new four-piston prototypes in various keys that are being personally manufactured for Pacho by the house STOVI, have come to stay and are now being programmed on a regular basis. Márquez’s concert, whose round of premieres took place throughout the season 2018/19, has already been programmed almost thirty times after the last scheduled premiere; Oscher’s concert has already been performed in Mexico, France and Sweden and is scheduled this season with the Tenerife Symphony Orchestra under Christian Vásquez; and Paquito D’Rivera’s concert is scheduled, also this season, with the Gran Canaria Philharmonic under Hernández-Silva. Several of these concerts have already been recorded for a new Deutsche Grammophon album that will be presented in 2022, and others will be recorded along the coming months. At the same time, Pacho Flores has already composed two concerts as well, Cantos y Revueltas, for trumpet, Venezuelan cuatro and strings, which has already been performed around the world, and what will possibly be the first concert for flugelhorn, soon to be released and for which STOMVI has designed three new instruments.
