Sunday, October 14, 2018, at 4:00 pm
Join us on a journey from the rhythms of Spain to the melodies of Argentina with a brilliant program featuring Alberto Ginastera’s Variaciones concertantes, de Falla’s “The Three-Cornered Hat,” and the New Mexico premiere of Mariano Morales’s Concerto for Flute and Orchestra featuring Latin GRAMMY® Award-winner Nestor Torres. This collaborative work—brought to life by three Puerto Rican artists: Mariano Morales, Nestor Torres, and Guillermo Figueroa—showcases the flute in a mixture of Western European music traditions. It is a tribute to the people of Puerto Rico who, although devastated by Hurricane María, are resilient and hopeful. Musical devices, such as the song of the Coquí (autochthonous small toad) and the use of the Bomba rhythm, serve as reminders of the sense of Puerto Rican pride on the island and abroad.
Variaciones concertantes, op. 23
Concerto for Flute and Orchestra, a New Mexico premiere
Nestor Torres, Flute
El sombrero de tres picos (“The Three Cornered Hat”) Suite No. 2
Concerto for Flute and Orchestra
The concerto was commissioned by Maestro Guillermo Figueroa and the Lynn University Conservatory of Music. The world premiere of the piece was performed on April 21, 2018, by the Lynn Philharmonia in Florida. Written in one uninterrupted movement, the concerto has three main sections (Fast, Slow, Fast). The concerto uses the Puerto Rican Bomba Sicá rhythm to generate both melodic and rhythmic ideas that are woven into the composition.
The piece begins with an unaccompanied introductory melody by the soloist. Then, the main theme is presented and developed by the soloist and the orchestra. The slow middle section showcases the lyrical aspects of the soloist and leads into the cadenza. The percussion section begins an extended exchange which showcases the different sections of the orchestra. This passage is followed by some improvisation by the soloist and culminates with a tutti by the orchestra and soloist. In the finale of the piece, the bassoon brings back the melody originally played in the Intro by the flute. This is followed by a last commentary by the soloist and orchestra thus, bringing the composition full circle.
The composition is a tribute to the Puerto Rican people, who although devastated by Hurricane María, are resilient, hopeful, and strong of spirit. Musical devices such as the song of the Coquí (authochthonous small toad), and the use of the Bomba rhythm, serve as reminders of the sense of pride of the Puerto Rican people on the island and those abroad.