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Sinfónica de Minería Pacho Flores, trumpet - Héctor Molina, cuatro
Orchestral Series
Sunday, June 23, 2024 at 6pm Gerald R. Ford Amphitheater

Prieto and Sinfónica de Minería conclude their residency with a captivating Latin American program featuring Venezuelan cuatro player Héctor Molina and trumpet player Pacho Flores in performances of Paquito D’Rivera’s Concierto Venezolano and his own Cantos y Revueltas, alongside works by Ginastera, Gabriela Ortiz, and Arturo Márquez.

Did you know?

No passport is required as this concert touches down in Mexico, Argentina, Cuba, and Venezuela. In fact, the Sinfónica de Minería, based in Mexico City, turns to two of its nation’s most lauded composers, Gabriela Ortiz and Arturo Márquez.

Featured Artists

Carlos Miguel Prieto


Pacho Flores


Héctor Molina


Program Highlights

  • Carlos Miguel Prieto, conductor
  • Pacho Flores, trumpet
  • Héctor Molina, cuatro


GINASTERA Variaciones Concertantes

PAQUITO D’RIVERA Concierto Venezolano


PACHO FLORES Cantos y Revueltas

Meet the Artist Q&A - Maestro Carlos Miguel Prieto and Anne-Marie McDermott - Immediately following the performance

Program Notes

Clara (2022)

(17 minutes)


     My response
     Robert’s subconscious
     Always Clara
(Played without pause)

After earning a Ph.D. in electro-acoustic composition from the City University in London, Gabriela Ortiz returned to her native Mexico City, where she has taught at the Universidad Nacional Autónoma de México since 2000. In 2016 she was awarded the prestigious Premio Nacional de Ciencias y Artes, in 2019 was inducted into the Academía de Artes, and in 2022 became the first woman composer inducted into the Colegio Nacional. She will serve as Carnegie Hall’s composer-in-residence for the upcoming season. 

Clara is inspired by the relationship of composer Robert Schumann and Clara Wieck Schumann; Ortiz describes the latter as “in addition to being a splendid composer and one of the most important pianists of the 19th century, ... the editor of her husband’s complete works, as well as a teacher, mother, and wife.” The work’s five connected sections consider their partnership from different perspectives. “This piece,” writes Ortiz, “represents an acknowledgement of Clara, a tribute to her, and ... also signals my gratitude to all the women who, in their time, challenged the society they were raised in by manifesting their artistic oeuvre."

Variaciones concertantes, Op. 23 (1953)

(23 minutes)


Variaciones concertantes, Op. 23

Alberto Ginastera was entirely schooled in his native Argentina but spent portions of his career elsewhere due to his conflicts with the country’s repressive political regimes. He left definitively in 1969 and spent most of the rest of his life in Switzerland. He was always concerned about the gap that separated audiences from serious composition, proclaiming that the proper aspiration of a composer was “to be integrated into society, not stand apart from it."

The Variaciones concertantes turns the spotlight on a succession of the orchestra’s principal players. The presentation of the theme (featuring cello and harp) is followed by an interlude for strings and then seven connected variations of differing character: Variazione giocosa (flute), Variazione in modo di scherzo (clarinet), Variazione drammatica (viola), Variazione canonica (oboe and bassoon), Variazione ritmica (trumpet and trombone), Variazione in modo di Moto Perpetuo (violin), and Variazione pastorale (horn). An interlude for strings cleanses the palate before a revisitation of the principal theme (double bass) and the Variazione finale with the whole orchestra.


(18 minutes)

Concierto Venezolano for Trumpet and Orchestra (2019)

(16 minutes)


Concierto Venezolano for Trumpet and Orchestra

Paquito D’Rivera attended Havana Conservatory as a saxophonist and clarinetist, and with his friend Chucho Valdés co-founded the Orquesta Cubana de Música Moderna and the Irakere ensemble, which hybridized jazz, rock, classical, and traditional Cuban styles. Frustrated by government attacks on jazz, D’Rivera defected to the United States in 1980, earning acclaim as a soloist and as head of a Latin-jazz quintet.

Trumpeter Pacho Flores, a product of Venezuela’s El Sistema and now an exclusive Deutsche
Grammophon recording artist, is on a commissioning crusade to increase his instrument’s concerto repertoire. The musicians performing today introduced D’Rivera’s entry in Mexico City in 2019. “When he called me to write this concerto,” D’Rivera stated, “it entered my mind straightaway to write something that had to do with Venezuela, with the tragedy that they are going through, which is similar to the one we have been living in Cuba now for six decades, but with the same joy of life that Cubans and Venezuelans share. In the end, that is what life is—a combination of joy and sadness.”

Danzón No. 2 (1994)

(10 minutes)


Danzón No. 2

Arturo Márquez, a native of Sonora, Mexico, completed advanced composition study in Mexico, the United States, and France before joining the faculty of the Escuela Nacional de Música. In 2006 he was honored with the Medalla de Oro de Bellas Artes, one of Mexico’s most prestigious cultural awards. Some of his works pursue heady avantgarde explorations; others build on accessible folk models and convey an immediately identifiable Mexican flavor, as in his pieces in the form of the danzón. He observed: “I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. The Danzón No. 2 is a tribute to the environment that nourishes the genre.

Cantos y Revueltas (2018)

(19 minutes)


Cantos y Revueltas for Trumpet, Cuatro, and String Orchestra

As a child in western Venezuela, Pacho Flores began studying trumpet with his band-conductor father, progressed through Venezuela’s legendary El Sistema music education program, and won first prize in the 2006 Maurice André International Trumpet Competition, the world’s most prestigious competition for his instrument. Having served as principal trumpet of the Simón Bolívar Symphony Orchestra of Venezuela and the Saito Kinen Orchestra in Japan, he became much in demand as a recitalist and concerto soloist, appreciated for his skill in both classical and popular styles. His wideranging taste is evident in Cantos y Revueltas, which he subtitles a fantasía concertante for trumpet, Venezuelan cuatro, and string orchestra. “Cantos means songs from the workers with animals,” he says, “and revueltas is one particular style of Venezuelan joropo. Joropo is like a national dance, an adaptation of baroque music originally from Spain.” Descended from the fourstring Renaissance guitar of Spain, the cuatro somewhat resembles the modern ukulele and is effectively Venezuela’s national instrument. The trumpet soloist here plays on several instruments—a standard trumpet, a cornet, and the deep-voiced flugelhorn.