Symphony Orchestra presents Fiesta Mexicana

UTRGV SYMPHONY ORCHESTRA Third Program ~ 2023 • 2024 Concert Season

HCISD Performing Arts Center, Harlingen Tuesday, February 20, 2024 at 7:00 pm UTRGV Performing Arts Complex, Edinburg Wednesday, February 21, 2024 at 7:00 pm Vidal M. Trevino School of Communications and Fine Arts, Laredo Thursday, February 22, 2024 at 7:00 pm Norman Gamboa, Conductor Hector Rodriguez, Guitar

Sensemayá. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Silvestre Revueltas (1899-1940)

Concierto Mexicano. . . . . . . . . . . . . . . . . . . . . . . .Guillermo Diego (1958-) Episodio Mexicano Serenata al Pie de la Rotonda Floreo

INTERMISSION La Fiesta Mexicana. . . . . . . . . . . . . . . . . . . . . .Herbert Owen Reed (1910-2014) Preludio y Danza Azteca Misa Carnaval

For a better concert experience, we kindly ask you to turn off cellular phones, pagers, and all types of noise makers. Thank you!

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PROGRAM NOTES Sensemayá Silvestre Revueltas

as the piece comes to an exhilarating conclusion.

Originally written in 1937 for voice and small orchestra, Sensemayá was premiered a year later in its full orchestra version by the Orquesta Sinfónica de México at the Teatro del Palacio de Bellas Artes in Mexico City under the direction of the composer himself. It is Revueltas’ most widely performed and recorded composition. With extremely complex rhythms and primitive sounds, the work includes numerous meter changes of 7/8, 5/8, 5½/8,9/8, 5/16 and 7/16; like many of his other compositions, Sensemayá contains a series of melodic ideas that are interlaced into a vibrant texture of dissonant counterpoint and free polyrhythms. Leonard Bernstein once said: “it is the work of a sophisticated composer with a very advanced technique handling an idea of savage primitiveness." Even though the piece was inspired by a poem by Cuban poet Nicholas Guillén, Revueltas left little explanation about his music and its relationship to the poem; in fact, the title Sensemayá has no actual meaning, the poet used it solely as an idiomatic rhythm, it is a combination of sensa or providence and Yemaya, an Afro-Cuban Goddess of the Seas and Mother of Earth, goddesses of the Palo Monte Mayombe religion. The poem tells the story of a ritual sacrifice of the snake, a sacred entity, symbolizing renewal, fertility and wisdom. Because of its programmatic nature, the debate centers on the idea if Revueltas musically depicted a literal translation through his music, or if it was a general design for the composition. Regardless, Sensemayá is without question one of the most important works in the orchestral repertoire by a Mexican composer. Each rhythmic pattern is layered upon the previous, culminating in six patterns all operating simultaneously. Even the plunge of the knife that kills the snake in the final musical statement can be heard

Concierto Mexicano Guillermo Diego

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The Concierto Mexicano (2018-2020) for guitar and orchestra was written as homage to composer Manuel M. Ponce, who is considered the leading figure of Mexican musical nationalism. The concerto incorporates diverse elements of Mexican music such as the Son from the central region as well as the energetic rhythmic forms that permeate Indian and creole music. Its orchestration suggests an ensemble capable of achieving balance with the soloist, particularly the use of clarinets in A, the presence of the English horn in the second movement, trumpets changing from B-flat to C in the third movement, and the appearance of a rather unusual percussion section. At times, the guitar is subduedly infused with Ponce’s own musical language, though it is always intertwined with a personal flair. The first movement, Episodio Mexicano, is an expanded version in 15/8 meter of the traditional 6/8 rhythm of the Son; it portrays a joyful theme that is contrasted by a cantabile secondary motive in 3/4 that suggests a more discreet “Ponce” style. It is in this section where elements take a rather freer approach to the sonata form. The ensemble assumes a festive air while the guitar becomes idiomatic, adhering to a creole style of great expression that is in coexistence with the orchestra’s great energy, dramatics and color, thus adding to the overall guitar effect. Lyrical in character, the second movement Serenata al Pie de la Rotonda is filled of emotion and contemplation. It was inspired after a visit to Ponce’s final resting place. This section pays homage to the late composer’s many contributions to the guitar and to Mexican music overall. In the solo cadenza and as in memoriam, the guitar makes reference to his Concierto del Sur. The movement has lush melodic material of Indian style with 2023 - 2024 Concert Season

great drama and color. Despite its lyricism, there are many abrupt bursts of energetic sonorities, alternating between Andante and Allegro generating multiple very interesting moments. The third movement, Floreo, is an homage to the Mariachi. It represents the legacy and the national spirit that started with Ponce. Its style is always gallant and stylized; it depicts the splendor of the mariachi music with the use of trumpets and the genre’s own verve. Guitar and orchestra engage in diverse flourishes of contrasting moods and climatic elements. Despite its festive Allegro character, the movement maintains a somewhat somber but spirited tone, concluding in an entirely Mexican style.

Floreo is also dedicated to Mexican musician Rubén Fuentes, who without a doubt, infused new life to the mariachi style in the XX century. Tonight’s performance is the US premiere of Diego’s Concierto Mexicano.

La Fiesta Mexicana Herbert Owen Reed Undoubtedly, La Fiesta Mexicana stands out as Herbert Owen Reed’s true masterpiece. After studying for a period of time in Mexico, he experienced music from the many different cultures that make up the country’s heritage, including Aztec, Roman Catholic, and mariachi. He then incorporated all these various ideas, often quoting them nearly verbatim, and stitched them together with elements of his own contemporary style. When referring to his own composition, Reed provided the following description: “The Mexican, as a result of his religious heritage, feels an inner desire to express love and honor for his

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Virgin. The Mexican fiesta, which is an integral part of this social structure, is a study in contrasts: it is both serious and comical, festive and solemn, devout and pagan, boisterous and tender. La Fiesta Mexicana, which attempts to portray musically one of these fiestas, is divided into three movements.

I. Prelude and Aztec Dance: The tolling of the church bells and the bold noise of fireworks at midnight officially announce the opening of the fiesta.

Groups of Mexicans from near and far slowly descend upon the huge court surrounding the old cathedral–some on foot, some by burro, and still others on bleeding knees, suffering out of homage to a past miracle. After a brave effort at gaiety, the celebrators settle down on their serapes to a restless night until the church bells and fireworks again intrude upon the early quiet of the Mexican morn. At midday a parade is announced by the blatant blare of trumpets. A band is heard in the distance. The attention is focused on the Aztec dancers, brilliantly plumed and masked, who dance in ever-increasing frenzy to a dramatic climax.

II. Mass: The tolling of the bells is now a reminder that the fiesta is, after all, a religious celebration. The rich and poor slowly gather within the walls of the old cathedral for contemplation and worship.

III. Carnival: Mexico is at its best on the days of the fiesta, a day on which passion governs the love, hate and joy of the Mestizo and the Indio. There is entertainment for both young and old– the itinerant circus, the market, the bull fight, the town band, and always the cantinas with their band of mariachis– on the day of days: fiesta.”

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Dr. HECTOR RODRIGUEZ Guitar Dr. Rodriguez has premiered new works

by Julio Cesar Oliva. Simone Ianarelli, Guillermo Diego, and Cutberto Cordova.

As an arranger, he has done music for solo guitar, chamber and guitar ensembles. His arrangements are published by Bergmann Editions and ALRY Music. In 2021 he produced and released Colores Latinos, highlighting modern music for flute and guitar, including compositions dedicated to Duo Aldebaran.

Dr. Rodriguez joined the University of Texas-Rio Grande Valley faculty in the fall of 2014 as Director of the Guitar Ensemble and Lecturer of Applied Guitar.

Dr. Hector Javier Rodriguez Santos enjoys Before his appointment at UTRGV, he taught at Escuela Preparatoria an active career as a soloist, chamber (Conservatory of Music of Puerto Rico) musician, and teacher, having given performances and masterclasses in Puerto and South Texas College. He holds a Rico, Canada, Trinidad and Tobago, Peru, Bachelor of Music in Classical Guitar Performance from the Escuela Superior Mexico, as well as in the United States.

He has received several awards including de Música Universidad Autónoma de Coahuila (México), where his primary first-place at the University of Texas-Pan teacher was Martín Madrigal; a Master of American Guitar Competition (2009), Music from the Conservatory of Music of second-place in the Houston Guitar Puerto Rico where he studied guitar with Competition (2010), The Leo Brouwer Ivan Rijos and Manuel Barrueco; and a Prize at the Festival Internacional de Doctor of Musical Arts degree with a Guitarra del Noreste in Saltillo, Mexico secondary emphasis in early music from (2014), second prize at the Dallas the University of North Texas, where he International Guitar Competition (2018) studied guitar with Thomas Johnson, he and the Ocelotl Award by Universidad also studied the theorbo and early Autonoma de Coahuila (2010) for Best instruments with Daniel Swenberg and Artistic Project.

Arash Noori.

APRIL 16 & 17, 2024 at 7 pm 5 - UTRGV Symphony Orchestra

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Dr. NORMAN GAMBOA Conductor Rica, Panama, Guatemala, Nicaragua and Honduras.

Norman has led numerous joint ventures such as fully choreographed productions of Ravel's Ma mère l'Oye with Ballet Midwest, The Nutcracker Ballet with Aurora Dance Arts, Rio Grande Valley Ballet, and Santa Rosa Dance Theater, Fiesta Mexicana with Fiesta Colorado Dance Company, Peter and the Wolf with Edinburg Dance Theatre and numerous operas with the Topeka Opera Society and Opera on Tap Colorado.

Festival appearances include Plzeň 2015, FOSJA-Casals Festival, Central American Festival of Chamber Music, International Music Festival of Medellín, Villarrica Arts Festival, Costa Rica International Festival of Arts, Blue Lake Fine Arts Camp, Norman Gamboa is the Music Director Bregenzer Festspiele, Las Vegas Music of the Sonoma County Philharmonic in Festival, OSESP Orchestra Conductors California. He also serves as Director of Orchestral Activities at The University of Competition, the New York Brass Conference and Regina Music Texas Rio Grande Valley and conductor Conference. In 2015 he led the Youth of the Rio Grande Youth Symphony Orchestra. Gamboa is considered one of Symphony Orchestra of Europe, a project that gathered some of the most the most prominent Central American conductors, with an active schedule that distinguished students from music conservatories all over Europe. includes appearances with the Kansas Previously, he served as Music Director of City Philharmonia, Bemidji Symphony the Powder River Symphony Orchestra in Orchestra, Kearney Symphony Orchestra, Topeka Symphony Orchestra, Wyoming and the Aurora Symphony Idaho State Civic Symphony, Winchester Orchestra in Colorado, Director of Orchestra, Bay Area Rainbow Symphony Orchestral Studies at Washburn Orchestra, Newton Symphony Orchestra, University in Kansas, Cover Conductor of the Topeka Symphony Orchestra, San Francisco Civic Symphony, and Associate Conductor of the Las Vegas Salina Symphony Orchestra among others. Worldwide engagements include Music Festival, Assistant Conductor of the Waco Symphony Orchestra and renowned orchestras such as Orquesta Music Director of the Waco Symphony Sinfónica de Cuenca (Ecuador), Youth Orchestra in Texas.

Západočeský Symfonický (Czech Republic), Orchestra Filarmonicii Ploieşti Gamboa has served as conductor and (Romania), Orquesta Filarmónica de Medellín (Colombia), Orquestra Sinfônica clinician with honor student orchestras throughout the Midwest and western de Ribeirão Preto and Orquestra United States as well as abroad, he holds Sinfônica Estado de São Paulo (Brazil), Orquesta Sinfónica Juvenil Municipal de orchestral conducting degrees from the University of Nevada Las Vegas and Guatemala, Orquesta Sinfónica del Louisiana State University. Born and Estado Mérida and Orquesta Sinfónica de Los Llanos (Venezuela), as well as the raised in Costa Rica, he currently resides National Symphony Orchestras of Costa in McAllen, Texas.

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Symphony Orchestra VIOLIN

Angela Llanes, Concertmaster Leah Loera, Assistant concertmaster

Cristian Contreras, Principal Faith Nava, Assistant principal Vicente Camacho Isabel Estrada# Lily Guerra Astrid Herrera Natasha Oteromuniz Rafael Ramirez* Joel Sanchez Daniel Santiago VIOLA José Salinas, Principal Melanie Cantu Katia Luna Jacob Martinez Cytlaly Coronado Harley Massey CELLO Sebastian Garcia, Principal Jayda Garcia Jairo Garza Isaac Islas Clarissa Martinez Judith Recio Marco Vasquez

DOUBLE BASS Maximiliano Lopez, Principal Vianeth Bernardo-Pinon Marisol Mejia FLUTE & PICCOLO Laura Barba2,3 Stephanie Hernandez Caden Karr Ramiro Raya1

TRUMPET Victor Fortuna1,3 Jacob Morales Isaiah Murillo2 Daniel Vela TROMBONE Luis Viveros1,2,3 Alejandro Salinas Alexandro Soliz

OBOE & ENGLISH HORN TUBA Azdruball Montemayor1,3 Lorena Coronado2,3 1 Carlos Cantu* TIMPANI Paul Gutierrez2 CLARINET Slaton Meador1 1,2 Joel Cardenas Noemi Sosa3 Karolina Leal3 Alejandro Moreno PERCUSSION Diogo Perales, bass clarinet Paul Gutierrez Caleb Martinez BASSOON Slaton Meador Norma Barrientos# Oscar Mendez Aracely Garcia1,2,3 Jose Salinas Ashley Perez, contrabassoon Noemi Sosa HORN Brittany Cruz Samuel Garcia Daniel Garza3 David Gutierrez1 Juan Romero2 Roberto Salas

KEYBOARD Sven Jeppesen1,3 ASSISTANT CONDUCTOR Raymon Correa 1

Principal in Revueltas Principal in Diego 3 Principal in Reed 2

#STC student

*Guest musician

Holst's The Planets Suite conjures vivid mythological images associated with our celestial bodies, from Mars' drums of war and the enchanting romanticism of Venus to Neptune's ethereal mysticism.

UTRGV Performing Arts Complex, Edinburg APRIL 29, 2024 at 7 pm 7 - UTRGV Symphony Orchestra

2023 - 2024 Concert Season

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