Performance

Pacho Flores, Héctor Molina & Luis Manuel Sánchez

with the Dartmouth College Wind Ensemble

November 01, 2022

This event occurred as part of the 22/23 Hop Ensemble season. This is an archived view.

The ensemble welcomes four captivating guest artists for a program of Latin American composers, including three premieres.

22/23 Hop Ensemble

Written by preeminent Mexican composer Arturo Márquez and transcribed for wind band by Flores, Concierto de Otoño para trompeta is a showcase of Pacho's virtuosic talent and sensitive musicality, with Luis Manuel Sánchez conducting, as together they perform the US premiere. Molina and Flores then join the DCWE to bring their energetic flair to the premiere of Flores' Cantos y Revueltas: Flores on trumpet, Molina on Venezuelan cuatro, with Brian Messier conducting. Luis Manuel Sánchez, appears as part of a conductor exchange program that continues with DCWE director Brian Messier guest conducting the UNAM wind ensemble on December 4. This spring their ensembles will perform together on tour in Mexico City in support of the Mexican Repertoire Initiative at Dartmouth.

Generously supported by the Deborah E. and Arthur E. Allen, Jr. 1932 Fund, the Richard F. Mattern 1970 Fund and Friends of the Dartmouth College Wind Ensemble.

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Pacho Flores
Pacho Flores was awarded First Prize in the Maurice André International Contest, the most renowned trumpet contest in the world, as well as First Prize in the Philip Jones international contest and First Prize in the Cittá di Porcia international contest. Trained in the marvelous Orchestra System for Youth and Children in Venezuela, he received top recognition for his performances, recitals and recordings as a soloist. Capable of managing classical or popular styles indistinctively, Flores adds to his captivating interpretations a great deal of energy tinged with the most beautiful instrumental colors. Founding Director of the Latin-American Trumpet Academy in Venezuela, he fosters a promising generation of young talents. As an artist from the Stomvi family, he plays instruments that have been exclusively manufactured for him by this renowned firm, and is actively involved in the developments and innovations of his instruments. Pacho Flores is a Deutsche Grammophon exclusive artist with already five recordings, Cantar with Konzerthaus Orchester Berlin and Christian Vásquez; Entropía with guitarist and cuatrista Jesús 'Pingüino' González, Gold Medal of the Global Music Awards; Fractales with Arctic Philharmonic and Christian Lindberg; the double CD-DVD Cantos y Revueltas with Real Filharmonía de Galicia and Manuel Hernández-Silva; and Estirpe with Orquesta de Minería y Carlos Miguel Prieto.

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Héctor Molina
Héctor Molina is an exceptional Venezuelan composer, cuatro and guitar player with a Bachelor of Music Degree in Composition from UNEARTE (Experimental University of the Arts) Venezuela. He has shared the stage with many acclaimed musicians. In 2010 he won the second prize at the Composition Competition "José Fernandez Rojas" in Spain, with his work Suite Latinoamericana for Plectrum Orchestra. He is a founding member (2000) of the Venezuelan music ensemble Los Sinvergüenzas whose work includes five recording productions. Hector is a member of the C4 Trío (2005) along with Jorge Glem, Edward Ramirez and Rodner Padilla. Together they have recorded six albums and a DVD. They are five-time nominees and two-time winners of the Latin Grammys; in 2014 as Best Recording Engineering for an Album for De Repente and in 2019 as Best Folkloric Album for Tiempo al tiempo. The ensemble was also nominated for the Grammy Awards twice; in 2018 with the album Pa Fuera and in 2020 with Tiempo al tiempo. With C4 Trío he maintains an intense concert schedule in the most important theaters and festivals in North, Central, South America and Europe. In 2018 Héctor release his first album called Giros, where some of the most important Venezuelan musicians participate and where he shows more of his role as a composer. In 2022, he releases Travesía, an album of Cuatro soloists.

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Luis Manuel Sánchez
Sanchez graduated with honors from the Faculty of Music of the UNAM (Universidad Nacional
Autónoma de México) as a tuba player under the guidance of Mtro. Dwight Sullinger. From 2007 to 2015 he was Chief Conductor of the Federal Police Wind Symphony, and from 2017 to 2020 he was Chief Conductor of the Mexico City Typical Orchestra. He has nine record productions as the head of various ensembles and in 2019 he was nominated for a Latin Grammy for his participation as the Conductor of the Symphonic Band of the UNAM Faculty of Music on the album "Vereda Tropical", alongside Spanish singer Olga Cerpa. In 2012 he was awarded with the "Social Merit" medal by the Federal Police of Mexico for offering free concerts in more than 25 states of Mexico. In January 2019 he won first place at the "III Meetings of Orchestral Conducting" organized by Bilbao-Musika, Spain. He is currently Chief Conductor of the Symphonic Band of the UNAM School of Music and Assistant Music Director of the National Opera House.

Program

The Project

Hopkins Center for the Arts
presents

Pacho Flores, Héctor Molina, Luis Manuel Sánchez & Eric Berlin

with the Dartmouth College Wind Ensemble
Brian Messier, director

Tuesday, November 1, 7:30 pm

Spaulding Auditorium • Dartmouth College • 2022

Generously supported by the Deborah E. and Arthur E. Allen, Jr. 1932 Fund, the Richard F. Mattern 1970 Fund and Friends of the Dartmouth College Wind Ensemble.

Program

Approximate duration: 90 minutes

Fanfare for a New Theatre - Igor Stravinsky
Pacho Flores and Eric Berlin, trumpets

Kauyumari - Gabriela Ortiz
World Premiere: Version for Wind Ensemble; Michael Brignolo, transcriber

De Juárez a Maximiliano - Arturo Márquez
Luis Manuel Sánchez, guest conductor

Concierto de Otoño para trompeta - Arturo Márquez
   I. Son de luz
   II. Balada de Floripondios
   III. Conga de Flores
Pacho Flores, trumpet; Luis Manuel Sánchez, guest conductor
American Premiere: Version for Wind Ensemble; Pacho Flores, transcriber

Cantos y Revueltas - Pacho Flores
Pacho Flores, trumpet; Héctor Molina, cuatro
World Premiere: Version for Wind Ensemble

Program and Director Notes

Director Notes

Greetings!

I am thrilled to welcome you to this evening’s performance. The individual elements—the star power of Pacho Flores, Hécor Molina and Eric Berlin, an exciting guest conductor, a large student ensemble at the top of their game playing exceptionally challenging music, and three premieres—are made even more impactful for their synergy. This concert is the continued work of the Mexican Repertoire Initiative at Dartmouth, which was launched this past Spring. Tonight, on Día de los Muertos (Day of the Dead), we feature new works by the matriarch and patriarch of contemporary Mexican Music, Gabriela Ortiz and Arturo Márquez. Márquez is best known in the United States for his composition Danzón No. 2, made famous by Gustavo Dudamel and the Venezuelan Simón Bolívar orchestra where Flores served as principal trumpet. Márquez composed his Concierto de Otoño (Autumn Concerto) specifically for Flores, requiring his unique virtuosity, the use of four different trumpets and including a less than subtle nod in the title of the third movement: Conga de las Flores (Conga of the Flowers/Flores). Dudamel, now famously the director of the Los Angeles Philharmonic, commissioned and premiered Gabriela Ortiz’s Kauyumari last year, and while it is still under LA Philharmonic control, they have granted us special permission to transcribe and perform the work tonight. Finally, we have our guest conductor, Luis Manuel Sánchez, director of the Banda Sinfónica FaM UNAM in México City. Sánchez’s appearance tonight is the first half of a conductor exchange—I will guest conduct his ensemble in México City on December 3, 2022—leading up to a student exchange. On March 24, 2023, the Dartmouth College Wind Ensemble will share a concert with the UNAM Banda Sinfónica at the Sala Nezahualcoyotl concert hall in México City, the premiere venue in Mexico, with Gabriela Ortiz and Arturo Márquez in attendance.

This will be a night to remember.

Brian Messier

Program Notes

Fanfare for a New Theatre

Dedicated to Lincoln Kirstein and George Balanchine, this fanfare was composed for the New York State Theater at Lincoln Center, new home of the New York City Ballet. Eric Walter White: “The effect of the two trumpets is like that of two pennants flying and crackling in a brisk wind.”

Here, the fanfare is presented in celebration of the Hopkins Center renovation and expansion, which begins this winter.

Brian Messier

Kauyumari

Kauyumari significa para el pueblo Huichol de México “venado azul” y representa su guía espiritual, que en un largo camino de peregrinaje se transforma en peyote, cacto alucinógeno que le permite a los huicholes comunicarse con sus ancestros y cumplir su voluntad, a sumiéndose así como guardianes del planeta. Cada año estos indígenas mexicanos emprenden un peregrinaje simbólico para “cazar” al venado azul, al cual le hacen ofrendas como agradecimiento por permitirles el acceso al mundo de lo invisible, desde donde logran además curar las heridas de su alma.

Cuando recibí el encargo por parte de la Filarmónica de los Ángeles para escribir una pieza que reflejara el regreso a los escenarios después de la pandemia, inmediatamente pensé en el venado azul y en su poder para acceder al mundo de lo intangible y celebrar la reapertura de la música en vivo. Concretamente pensé en una melodía Huichol cantada por la familia De La Cruz,—dedicada a grabar folklore ancestral, y que utilicé en el último movimiento de mi cuarteto de cuerdas “Altar de Muertos” comisionado por el Kronos String Quartet en 1 997.

Utilicé este material dentro del contexto de la orquesta y trabajé en la construcción y desarrollo progresivo de la melodía y su acompañamiento de tal manera, que la melodía simbolizara el venado azul. Ésta se transforma en textura orquestal, la cual a su vez se convierte gradualmente en una rítmica compleja a tal grado, que la propia melodía se vuelve irreconocible (efecto imaginario del peyote y el reconocimiento del mundo de lo invisible), dando paso a una sección coral con los metales, sin dejar de lado un incisivo acompañamiento rítmico que nos reafirma que el mundo seguirá su curso naturalmente.

Al escribir esta obra, una vez más, afirmé cómo el poder de la música es capaz de permitirnos acceder al mundo de lo intangible, de curar heridas, de vincularnos con aquello que no puede más que expresarse a través de los sonidos.

Kauyumari es entender y celebrar que si bien la vida está llena de interrupciones, cada una de estas rupturas es también un nuevo comienzo.

Gabriela Ortiz

Among the Huichol people of Mexico, Kauyumari means “blue deer”. The blue deer represents a spiritual guide, one that is transformed through an extended pilgrimage into a hallucinogenic cactus called peyote. It allows the Huichol to communicate with their ancestors, do their bidding, and take on their role as guardians of the planet. Each year, these Native Mexicans embark on a symbolic journey to “hunt” the blue deer, making offerings in gratitude for having been granted access to the invisible world, through which they also are able to heal the wounds of the soul.

When I received the commission from the Los Angeles Philharmonic to compose a piece that would reflect on our return to the stage following the pandemic, I immediately thought of the blue deer and its power to enter the world of the intangible as akin to a celebration of the reopening of live music. Specifically, I thought of a Huichol melody sung by the De La Cruz family—dedicated to recording ancestral folklore—that I used for the final movement of my piece, Altar de Muertos (Altar of the Dead), commissioned by the Kronos String Quartet in 1997.

I used this material within the orchestral context and elaborated on the construction and progressive development of the melody and its accompaniment in such a way that it would symbolize the blue deer. This in turn was transformed into an orchestral texture which gradually evolves into a complex rhythm pattern, to such a degree that the melody itself becomes unrecognizable (the imaginary effect of peyote and our awareness of the invisible realm), giving rise to a choral wind section while maintaining an incisive rhythmic accompaniment as a form of reassurance that the world will naturally follow its course.

While composing this piece, I noted once again how music has the power to grant us access to the intangible, healing our wounds and binding us to what can only be expressed through sound.

Although life is filled with interruptions, Kauyumari is a comprehension and celebration of the fact that each of these rifts is also a new beginning.

Gabriela Ortiz

De Juárez a Maximiliano

En entrevista con La Jornada, el músico sonorense—quien goza de gran popularidad por su serie de danzones—explica que la suya es una pieza de corte narrativo con duración de siete minutos, en la que se sigue de forma musical los pormenores que Juárez desarrolló en el mencionado texto. “Es una especie de poema sinfónico”, describe, y señala que entre los motivos que aparecen en el desarrollo de la obra se encuentra en tres ocasiones el famoso apotegma juarista: “El respeto al derecho ajeno es la paz”. En la primera parte el autor retomó la leyenda de cuando Benito Juárez, en su niñez, estuvo solo en una isla tocando la flauta. Otro de los motivos es la referencia musical que hace de la obertura de Guillermo Tell, de Rossini, por ser aquél un personaje por quien el presidente oaxaqueño mostraba una fascinación especial. “También reflejo el gusto de Juárez por la danza; pongo al inicio de la obra un vals que hace referencia a Oaxaca y al final una especie de polka. Hay, entonces, varias cuestiones descriptivas que son las que dan forma a la obra, que narran musicalmente”, agrega. Tres semanas fue el tiempo que Márquez requirió para escribir esta partitura, que, dice, en términos técnicos resulta sencilla para la orquesta.

Angel Vargas

In an interview with La Jornada, Márquez—who enjoys great popularity for his series of danzones—explains that his is a narrative piece lasting seven minutes, in which the details that Juárez developed in the aforementioned text follow in a musical way. “It’s a kind of symphonic poem,” he describes, and points out that among the motifs that appear in the development of the work is the famous Juarist apothegm on three occasions: “Respect for the rights of others is peace.” In the first part, the author took up the legend of when Benito Juárez, in his childhood, was alone on an island playing the flute. Another reason is the musical reference he makes to the overture of Rossini’s William Tell, since that was a character for whom the Oaxacan president showed a special fascination. “I also reflect Juárez’s taste for dance; at the beginning of the work I put a waltz that refers to Oaxaca and at the end a kind of polka. There are, then, several descriptive questions that are what shape the work, that they narrate musically,” he adds. Three weeks was the time that Márquez required to write this score, which, he says, in technical terms is simple for the orchestra.

Angel Vargas, Translation by Emma Ratchford ’25

Concierto de Otoño para trompeta

Antes de ceder la palabra a Arturo Márquez, declaro la extrañeza que me produce la escasísima producción (y divulgación) de conciertos mexicanos para trompeta a lo largo de la historia de nuestra música, considerando la presencia destacaba que este instrumento tiene y ha tenido en nuestro ámbito sonoro; sin ir más lejos, el mariachi y la banda son prueba fehaciente de ello. El compositor lo expresa con estas palabras:

La trompeta es reina en el alma de México; la encontramos prácticamente en todas las expresiones musicales populares, es el grito mexicano de alegría y de tristeza. Es también fundamental en la música latinoamericana de concierto y mi Concierto de otoño es una recopilación de todo estos sentires, colores y quitapesares.

De manera específica, el concierto para trompeta de Arturo Márquez es fruto (uno de muchos) de un singular proyecto del gran trompetista venezolano Pacho Flores, quien con la intención de ampliar el repertorio de música nueva para trompeta se ha embarcado en una extensa serie de encargos de música para su instrumento, hechos a compositores como Roberto Sierra, Paquito D’Rivera, Efrain Oscher, Christian Lindberg y el propio Márquez.

No es casualidad que Arturo Márquez haya sido una de los compositores elegidos para participar en esta serie de encargos, porque el compositor sonorense no sólo ha establecido una cercana relación con el legendario Sistema venezolano de orquestas y coros juveniles (del que Pacho Flores es uno de los egresados más ilustres) sino que ha dedicado tiempo, esfuerzo y recursos a la promoción de la educación musical en México, a través de diversos proyectos y acciones. No hay que olvidar, tampoco, que otro alumno ilustre del Sistema, el famoso director Gustavo Dudamel, ha llevado el delicioso Danzon No. 2 de Arturo Márquez literalmente por todo el mundo.

A petición expresa mía, el compositor envia estas breves pero significativas líneas sobre su Concierto de otoño para trompeta y orquesta:

Primer movimiento: Son de luz. Explora el encuentro con nuevos horizontes de paz y reconciliación. Ritmo mestizo, diálogo de trompeta con la orquesta, forma sonata clásica.

Segundo movimiento: Balada de floripondios. Canción sin palabras tributo al amor brujo. Variaciones en forma de chacona, casi.

Tercer movimiento: Conga de flores. Con el corazón en Rafael Mendez, Joseph Haydn y Federico Chopin. Homenaje a Pacho Flores. Intento absurdo de un rondò monotematico.

Sin duda, el lector atento percibirá el juego de palabras que anima el título del último movimiento del Concierto de otoño de Artuto Márquez. Como colofón de los datos que me envía, el compositor comenta que para la interpretación del concierto han de utilizarse cuatro trompetas Stomvi especialmente adaptadas para la ocasión. Para quiénes no son especialistas en asuntos de trompeta, he aquí que Stomvi es una casa española fabricante de instrumentos de metal de alta calidad, que tiene en Pacho Flores a un asesor y consultor de la misma alta calidad. Cabe señalar, por ejemplo, que en ocasiones Pacho Flores se presenta a sus conciertos y recitales con su arsenal completo de once trompetas distintas de las case Stomvi. Las orquestas copartícipes en el encargo de esta obra son la Orquesta Sinfónica Nacional de México, la Orquesta Sinfónica de Tucson (Estados Unidos), la orquesta del Centro de Artes Escénicas Hyogo (Japón), y la Oviedo Filarmonía (España). El Concierto de otoño para trompeta y orquesta de Arturo Márquez recibe su estreno absoluto el 7 de septiembre de 2018, con Pacho Flores (a quien, por supuesto está dedicada la partitura) a la trompeta y Orquesta Sinfónica Nacional, dirigida por Carlos Miguel Prieto. Los estrenos sucesivos con las tres orquestas, siempre con Pacho Flores como solista, ocurren en enero de 2019 (Tucson), mayo de 2019 (Hyogo) y agosto de
2019 (Oviedo).

John Arthur Brennan, Translation Emma Ratchford ’25

Before giving the floor to Arturo Márquez, I’m declaring my amazement/surprise at the very low production (and dissemination) of Mexican concertos for trumpet throughout the history of our music, considering the outstanding presence that this instrument has and has had in our sound field; without going any further, the mariachi and the band are irrefutable proof of this. The composer expresses it in these words:

The trumpet is queen in the soul of Mexico; we find it in practically all popular musical expressions, it is the Mexican cry of joy and sadness. It is also fundamental in Latin American concert music and my Autumn Concerto is a compilation of all these feelings, colors and sorrows.

Specifically, the Arturo Márquez trumpet concerto is the result (one of many) of a unique project by the great Venezuelan trumpeter Pacho Flores, who, with the intention of expanding the repertoire of new music for trumpet, has embarked on an extensive series of music commissions for his instrument, made to composers such as Roberto Sierra, Paquito D’Rivera, Efrain Oscher, Christrian Lindberg and Márquez himself.

It is no coincidence that Arturo Márquez has been one of the composers chosen to participate in this series of commissions, because the composer from Sonora has not only established a close relationship with the legendary Venezuelan system of youth orchestras and choirs (of which Pacho Flores is one of the most illustrious graduates) but has dedicated time, effort and resources to the promotion of music education in Mexico, through various projects and actions. We must not forget, either, that another illustrious student of the System, the famous director Gustavo Dudamel, has taken Arturo Márquez’s delightful Danzon No. 2 literally all over the world.

At my expressed request, the composer sends these brief but significant lines about his Autumn Concerto for trumpet and orchestra:

First movement: Sound of light. Explore the encounter with new horizons of peace and reconciliation. Mestizo rhythm, trumpet dialogue with the orchestra, classical sonata form.

Second movement: Ballad of floripondios. Song without words tribute to witch love. Chaconne-shaped variations, almost.

Third movement: Conga of flowers. With my heart in Rafael Mendez, Joseph Haydn and Frederic Chopin. Tribute to Pacho Flores. Absurd attempt at a monothematic rondò.

Without a doubt, the attentive reader will notice the play on words that animates the title of the last movement of Artuto Márquez’s Autumn Concerto. As a culmination of the material that he sends me, the composer comments that four Stomvi trumpets specially adapted for the occasion must be used for the performance of the concert. For those who are not specialists in trumpet matters, Stomvi is a Spanish manufacturer of high-quality brass instruments, which has Pacho Flores as an adviser and consultant of the same high quality. It should be noted, for example, that sometimes Pacho Flores shows up at his concerts and recitals with his full arsenal of eleven different Stomvi trumpets. The orchestras participating in the commission for this work are the National Symphony Orchestra of Mexico, the Tucson Symphony Orchestra (United States), the Orchestra of the Hyogo Performing Arts Center (Japan), and the Oviedo Filarmonía (Spain). The Autumn Concerto for trumpet and orchestra by Arturo Márquez received its absolute premiere on September 7, 2018, with Pacho Flores (to whom, of course, the score is dedicated) on trumpet and the National Symphony Orchestra, conducted by Carlos Miguel Prieto. Successive premieres with the three orchestras, always with Pacho Flores as soloist, took place in January 2019 (Tucson), May 2019 (Hyogo) and August 2019 (Oviedo).

John Arthur Brennan, Translation Emma Ratchford ’25

Cantos y Revueltas

Patrimonio universal heredado gracias al mestizaje

Cuando hablamos de música tan aceptada y arraigada en la cultura popular de los pueblos quizás no debemos pensar que la mayoría de ellas están ahí porque así es y ya está. Posiblemente debemos aceptar que hoy por hoy somos lo que somos y hacemos lo que hacemos porque alguna vez alguien ya lo fue, o simplemente ha sido el eslabón para poder desarrollar lo que hoy conocemos. Yo me decanto por la idea de varios o muchos eslabones que han contribuido para alcanzar estados que antes eran impensables.

Los cantos de trabajo son tan antiguos que ya los camelleros beduinos proyectaban al viento melodías para derrotar al aislamiento y nostalgia de los desiertos, de esa forma pedían la protección de Ala. Estos cantos traídos por los cabestreros espanoles fueron heredados de los pastores árabes, quienes le imprimieron un carácter melismático a estas melodías pesadas en la recolecta de aceitunas, naranjas, y otros frutos.

En nuestro llano heredamos estas aires musicales utilizándolos en el arreo y el orden, poco a poco moduladas hasta llegar a nuestras inconfundibles tonadas. La incorporación del cuatro venezolano en la Tonadas nos recuerda el ritmo del paso de los caballos. Esta adaptación ha sido muy significativa ya que se han creado canciones dulces, amables y con brío basadas en la copla hispana, haciendo de guía a todo el rebaño. En la madrugada, el ordenador canta ardorosas coplas “a capella” a su ganado guiando a las vacas hasta el corral de ordeño.

Revueltas, Joropo y Fandango gaditano

La palabra Joropo proviene de la voz Arabe Xarop, que se traduce Jarabe. Esta danza tan popular en Venezuela proviene del Fandango gaditano, de hecho actualmente en bailes campesinos de Lara y Yaracuy se le llama Fananguillo a una especie de Joropo donde esta danza intercambia las parejas, demostrando con esto cierto galanteo.

En un famoso Fandango del padre Soler, compuesto para clavecín a principios del siglo XVIII, se descubrieron registros melódicos, armónicos y rítmicos similares a nuestro Pajarillo.

Las fiestas organizadas por los Mantuanos, élite social más poderosa de Venezuela, también eran conocidas como “los grandes cacaos”, ya que ellos se dedicaban a la comercialización y cultivo del mismo. Vuestros campesinos, negros y mulatos apredian de guataca (de oidas) esta musica tan llamativa, y en sus ratos libes, toda la persona iba descubrinedo todos los secretos guardados en esta musica, con la particularidad que la imprimieron todo esa fuerza del negro adaptando el arpa rustica hecha de bambu, o la bandola construida de taparo, todas estas florituras, ornamentaciones y giros virtuosos del clavecin. Como curiosidad esta danza fue sancionada por el Real Consulado de Caracas Espanol y la Iglesia Catolica ya que generaba conqueteos y lazos se sexo por el contacto de la manos y los movimientos extremos del cuerpo, asegurando dos anos de carcel para los ejcurtores y dos meses de prisión para los mirones.

De todas estas influencias nacen muchas variaciones de Joropos y una de ellas son las Revueltas, Hoy día es impresionante ver y escuchar a estos campesinos sin una formación musical académica, ni siquiera académica, ni siquiera básica, que son capaces de tocar con tantos recursos tan complejos estos Joropos. Podríamos decir que el padre de esta música es el Clavecín y la madre el Fandango.

Inspirando en estos dos géneros tan fuertes y presentes en nuestra cultura, he querido expresar un pico la esencia y el perfume de estos cantos y bailes populares, eso sí, sin necesidad de desprenderme de mi propia realidad artística y sin desmerecer el juego actual de la sociedad en este siglo XXI. Es por ello que estos cantos o coplas de trabajo y estas suertes de fugas, o porque no, “guas revoltosas”, tienen un toque de modernidad en la propuesta armónica y en la inclusión de ritmos actuales de Jazz y Salsa, tanto así que hasta nuestro famoso Pajarillo es en “Pajarillo Salsero”.

Pacho Flores

Cantos y Revueltas

Universal heritage inherited thanks to those of mixed race/“mestizos”

When we talk about music that is so accepted and rooted in the popular culture of the people, perhaps we should not think that most of it is there because that is the way it is and that’s it. Possibly we should accept that today we are what we are and we do what we do because someone once was, or has simply been the link to be able to develop what we know today. I prefer the idea of several or many links that have contributed to reaching states that were previously unthinkable.

The work songs are so old that the Bedouin camel riders projected melodies to the wind to defeat the isolation and nostalgia of the deserts, thus asking for Allah’s protection. These songs brought by the Spanish herdsmen were inherited from the Arab shepherds, who imprinted a melismatic character on these heavy melodies in the harvest of olives, oranges and other fruits.

In our plain we inherit these musical airs using them in the herd and order, little by little modulated until we reach our unmistakable tunes. The incorporation of the Venezuelan cuatro in the Tonadas reminds us of the rhythm of the horses’ pace. This adaptation has been very significant since sweet, kind and energetic songs based on the Hispanic couplet have been created, acting as a guide for the entire herd. In the early morning, the milker sings ardent couplets “a cappella” to its cattle, guiding the cows to the milking pen.

Revueltas, Joropo and Fandango gaditano

The word Joropo comes from the Arabic word Xarop, which translates as Jarabe. This popular dance in Venezuela comes from the Fandango gaditano, in fact currently in peasant dances of Lara and Yaracuy it is called Fananguillo to a type of Joropo where this dance exchanges partners, demonstrating with this a certain courtship.

In a famous Fandango by Father Soler, composed for harpsichord at the beginning of the 18th century, melodic, harmonic and rhythmic registers similar to our Pajarillo were discovered.

The festivities organized by the Mantuanos, the most powerful social elite in Venezuela, were also known as “the great cacaos,” since they were dedicated to the commercialization and cultivation of the same. Our peasants, Blacks, and those of mixed race learned of guataca through hearing this striking music, and in their free time, they discovered all the secrets kept in this music, with the particularity that all their strength was imprinted on it by adapting the rustic harp made of bamboo, or the bandola built of taparo, all these flourishes, ornamentations and virtuoso turns of the harpsichord.

As a curiosity, this dance was sanctioned by the Royal Spanish Consulate of Caracas and the Catholic Church since it sparked flirtations and sexual relations, warranting two years in prison for the offenders and two months of prison for onlookers.

From all these influences many variations of Joropos are born and one of them is the Revueltas. Today it is impressive to see and listen to these peasants without academic musical training, not even basic training, who are capable of playing these complex Joropos with so many resources. We could say that the father of this music is the Clavecín and the mother is the Fandango.

Taking inspiration from these two genres that are so strong and present in our culture, I wanted to express the essence of these popular songs and dances, albeit without the need to let go of my own artistic reality and without detracting from the current societal movement in this 21st century. That is why these work songs and these sorts of fugues have a touch of modernity in the harmonic proposal and in the inclusion of current Jazz and Salsa rhythms, so much so that even our famous Pajarillo is in “Pajarillo Salsero.”

Pacho Flores, Translated by Emma Ratchford ’25

About the Artists

Pacho Flores was awarded First Prize in the Maurice André International Contest, the most renowned trumpet contest in the world, as well as First Prize in the Philip Jones international contest and First Prize in the Cittá di Porcia international contest. Trained in the marvelous Orchestra System for Youth and Children in Venezuela, he received top recognition for his performances, recitals and recordings as a soloist. Capable of managing classical or popular styles instinctively, Flores adds to his captivating interpretations a great deal of energy tinged with the most beautiful instrumental colors. Founding Director of the Latin American Trumpet Academy in Venezuela, he fosters a promising generation of young talents. As an artist from the Stomvi family, he plays instruments that have been exclusively manufactured for him by this renowned firm, and is actively involved in the developments and innovations of his instruments. Pacho Flores is a Deutsche Grammophon exclusive artist with already five recordings, Cantar with Konzerthaus Orchester Berlin and Christian Vásquez; Entropía with guitarist and cuatrista Jesús ‘Pingüino’ González, Gold Medal of the Global Music Awards; Fractales with Arctic Philharmonic and Christian Lindberg; the double CD-DVD Cantos y Revueltas with Real Filharmonía de Galicia and Manuel Hernández-Silva; and Estirpe with Orquesta de Minería y Carlos Miguel Prieto.

Héctor Molina is an exceptional Venezuelan composer, cuatro and guitar player with a Bachelor of Music Degree in Composition from UNEARTE (Experimental University of the Arts) Venezuela. He has shared the stage with many acclaimed musicians. In 2010 he won the second prize at the Composition Competition “José Fernandez Rojas” in Spain, with his work Suite Latinoamericana for Plectrum Orchestra. He is a founding member (2000) of the Venezuelan music ensemble Los Sinvergüenzas whose work includes five recording productions. Hector is a member of the C4 Trío (2005) along with Jorge Glem, Edward Ramirez and Rodner Padilla. Together they have recorded six albums and a DVD. They are five-time nominees and two-time winners of the Latin Grammys; in 2014 as Best Recording Engineering for an Album for De Repente and in 2019 as Best Folkloric Album for Tiempo al tiempo. The ensemble was also nominated for the Grammy Awards twice; in 2018 with the album Pa Fuera and in 2020 with Tiempo al tiempo. With C4 Trío he maintains an intense concert schedule in the most important theaters and festivals in North, Central, South America and Europe. In 2018 Héctor released his first album called Giros, where some of the most important Venezuelan musicians participate and where he shows more of his role as a composer. In 2022, he releases Travesía, an album of Cuatro soloists.

Luis Manuel Sánchez graduated with honors from the Faculty of Music of the UNAM (Universidad Nacional Autónoma de México) as a tuba player under the guidance of Mtro. Dwight Sullinger. From 2007 to 2015 he was Chief Conductor of the Federal Police Wind Symphony, and from 2017 to 2020 he was Chief Conductor of the Mexico City Typical Orchestra. He has nine record productions as the head of various ensembles and in 2019 he was nominated for a Latin Grammy for his participation as the Conductor of the Symphonic Band of the UNAM Faculty of Music on the album “Vereda Tropical”, alongside Spanish singer Olga Cerpa. In 2012 he was awarded with the “Social Merit” medal by the Federal Police of Mexico for offering free concerts in more than 25 states of Mexico. In January 2019 he won first place at the “III Meetings of Orchestral Conducting” organized by Bilbao-Musika, Spain. He is currently Chief Conductor of the Symphonic Band of the UNAM School of Music and Assistant Music Director of the National Opera House.

Trumpeter Eric Berlin has made the music of our time the focus of his career. As a soloist, he has commissioned, premiered and recorded new works for trumpet from some of today’s most exciting composers, including George Tsontakis, Stephen Paulus, Joseph Turrin, Anthony Plog, Eric Ewazen and James Stephenson. Much of this work has been documented on his solo releases on MSR Classics—End of the Matter, Calls and Echoes and Fantastique.

Fantastique documents works Berlin commissioned and premiered for trumpet and wind ensemble including Stephen Paulus’ Concerto for Two Trumpets, which received a Grammy Nomination in 2014 for Best Contemporary Classical Composition.

In March 2012 Mr. Berlin premiered and recorded True Colors for Trumpet and Orchestra by George Tsontakis which was commissioned for him by the Albany Symphony Orchestra. This recording was released on NAXOS and was named one of the “Top Ten Classical Recordings of 2017” by National Public Radio.

Dr. Brian Messier is Director of Bands at Dartmouth College, where he conducts the Wind Ensemble, Marching Band, Pep Band and Youth Wind Ensemble. He also teaches courses in applied conducting, musical leadership, and entrepreneurship in the arts. After arriving at Dartmouth in 2019, Messier launched a Mexican Composition Competition, which he has since stewarded into the Mexican Repertoire Initiative at Dartmouth: an ongoing commitment to bringing Mexican repertoire to the international stage, providing opportunities for Mexican composers and combating institutionalized racism in educational and professional performing ensembles.

In addition to his work at Dartmouth, Messier is founder and Artistic Director of the 2016 American Prize winning Valley Winds based in the Pioneer Valley of Massachusetts. Prior to his position at Dartmouth, Messier served as Artist in Residence and Director of the Wind Ensemble at Williams College and was Director of Bands at Belchertown High School, where his ensembles consistently received highest ratings at state and national levels, including being awarded the American Prize for High School ensembles in 2016. Lauded for his work with youth instrumental groups, Messier is in high demand as a clinician and guest conductor.

Messier received his bachelor’s degree in music education from Ithaca College, his master’s degree in wind conducting from the University of Massachusetts, and his doctoral degree in conducting from the University of Minnesota where he studied with Craig Kirchhoff.

Dartmouth College Wind Ensemble Fall 2022 Roster

Dartmouth College Wind Ensemble
Brian Messier, director

Flute
Brendilou Armstrong ’26
Timothy Bonis ’26
Emma Dereskewicz ’23
Emma Hileman C (+ piccolo)
Brin Jaffe ’25 (+ piccolo)

Oboe
Nathaniel Chen ’25 (+ English horn)
Anika Larson ’26
Beatrice Sears ’26
Sophia Sulimirski ’23
Miranda Yu ’24

Bassoon
Sarnika Ali ’26
Lucy Langenberg ’22
Monica Schwartz C (+ contrabassoon)

Eb Clarinet
Dwight Aspinwall C

Baritone Saxophone
Grace Payne ’26

Trumpet
Julia D’Antico C
Katelyn Hadley ’24
Karsten Kleyensteuber ’23
Bradyn Quintard ’25

Horn
Nathaniel Alden ’23
Jack Duranceau ’23
Amelia Evans ’24
Patrick Kennelly C
Shannon O’Leary C
Janet Proctor C
Sophia Scull ’25
Sean Xie GR

Trombone
Tyler Lucca ’26
Chloe Park ’24

Bass Trombone
Will Wright C

Bb Clarinet
Ramsey Ash’24
Sunny Chen ’25
Sophie Cho ’24
Conor Joyce C
Catherine Liao ’25
Georgiana McReynolds C
Emma Ratchford ’25
Morgan Reik GR (+ bass)
Abigail Schaefer ’23
Julia Spigai ’26

Bass Clarinet
Anna Roodnitsky ’25
Elias Rosenberg ’22 (+ contrabass)

Alto Saxophone
Devon Chen’22
Mateo Oyola ’24
Tracy Weener ’26

Tenor Saxophone
Michael Zsoldos C

Baritone Saxophone
Grace Payne ’26

Euphonium
Margaret Frazier ’25
John Rieling ’26

Tuba
Dominick DeFrancisco C
Chase Harvey ’25

String Bass
Soham Maiti ’23

Harp
Greta Richardson ’26

Timpani
Nicola Cannizzaro C

Percussion
Braydon Baxter ’25
Grace Chen ’24
Rafael Godinho ’24
Nate Kim ’25
Abigail Pak ’26
Christian Terry C

C = Community Member
GR = Graduate Student

Mexican Repertoire Collection at Dartmouth

Don Carlos: "De quels transports poignants et doux" Video of Sahuaro Virtual Score This is an open-source collection of authentically Mexican repertoire. With regards to this collection, authenticity...

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