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Wednesday, August 7 / 10.00 pm

Orquestra Simfònica Illes Balears

Manuel Hernández Silva,Director
Pacho Flores,Trompeta
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Program

I

Akbank Bunka Christian Lindberg (1968)

Escualo Ástor Piazzolla (1921 – 1992)

Morocota Pacho Flores (1981)

La Fleur de Cayenne Paquito D’Rivera (1948)

Solista: Pacho FLORES

II

Simfonia núm. 4 en fa menor, op. 36 P. I. Txaikovski (1840 – 1893)

  • 1. Andante sostenuto — Moderato con anima — Moderato assai, quasi Andante — Allegro vivo
  • 2. Andantino in modo di canzona
  • 3. Scherzo: Pizzicato ostinato — Allegro
  • 4. Finale: Allegro con fuoco

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Antoni Pizà, escritor y musicólogo

Under the Sign of Eclecticism and Hybridity

Eclectic and multicultural, the program presented by the Balearic Islands Symphony Orchestra is a journey through different musical traditions. The first part is characterized by the world of virtuosic trumpet and the sounds of Latin America; the second is an immersion in the Russian symphonic tradition and the colors of the great European orchestral tradition.

Pacho Flores (Venezuela, 1981) is one of the great virtuosos of the contemporary trumpet. Trained in the prestigious Venezuelan System, he has lived and worked in Europe for years. As a performer he has received unanimous praise and as a composer he has incorporated the traditional music forms of his country – especially the jopopo, - into contemporary languages that include jazz and avant-garde music. One of his compositions, Morocota, supposedly refers to one of the ancient coins of the Americas and is based on the joropo. The history of music - and it has already been said many times - is a chain of hybrids, mixtures and criollisms. This statement is especially accurate when it comes to American music. For example, the old fandango, a musical genre of Spanish aristocratic salon, which should be danced with moderation, elegance and noble coldness, in America it is “creolized”, it incorporates African and elements native of the American continent and is transformed, among other things, into the joropo. In Venezuela, although it retains some European elements, it is above all a playful and sensual genre, party music that leaves aside the aristocratic prejudices to accept the pleasures of entertainment.

Paquito D'Rivera (Cuba, 1948) is one of the great chameleons of modern music. He is a virtuoso on the clarinet and sax, a composer of rock, jazz and classical genres. La Fleur de la Cayenne is also a tribute to the joropo of Venezuela and reveals its hybridism in syncopated and fast rhythms that invite the listener to party and dance. There are versions of this popular composition for various solo instruments (such as flute or trumpet) and various orchestral accompaniment formations that range from the classical chamber orchestra to the jazz big band. Astor Piazzolla (Argentina, 1921-92), like D'Rivera, was also a chameleon, eclectic and hybrid musician. First trained as a classical composer, he soon returned to his origins in the world of tango, but transformed it into what would be called a new tango, that is, a tango genre of concert (to listen to and not to dance to) that hybridizes traditional tango with classic elements such as counterpoint, the fugue and forms of variations such as the passacaglia. Both Escualo and Oblivion, two examples of this new tango, are works that have made Piazzolla’s name immortal.

Like Pacho Flores, Christian Lindberg (Sweden, 1958) is a virtuoso of his own instrument, the trombone, and a famous composer, having received commissions from the main European musical institutions. This is the case with Akbank Bunka (with three movements: Akolebank, Japabunka, Turkjazz), commissioned by the Scottish Chamber Orchestra of 2004. The title mixes incongruously, as with a wink, the name of a bank and the Japanese word bunka (culture). Musically it is a concerto for trumpet and orchestra in which, on the one hand, the great virtuosity of the soloist stands out who has to make a thousand watermarks with the instrument and, on the other, the influences of Asian music through the incorporation of pentatonic scales, among other things, as well as touches of the world of jazz and avant-garde cult music. The composer has explained that his eclecticism can sometimes include both the influence of Miles Davis and his iconic Sketches of Spain and the soundtracks of Sergio Leone's westerns, among many other sources of inspiration.

Piotr I. Tchaikovsky (Russia, 1840-93) dedicated his Symphony No. 4 in F minor, op. 36 (the movements are: Andante sostenuto, Andantino, Scherzo: Pizzicato ostinato, and Finale: allegro with fuoco) to Nadezhda von Meck, the eccentric patron who would earn an immense fortune with the creation of the railway network of Russia to subsequently lose it due to several administrative oversights and long, hedonistic summers at Cannes and Monte Carlo. The work begins and ends with a fanfare reminiscent of the famous four initial notes of Beethoven's Fifth. That is why, sometimes, this work has been called “Destiny”. In any case, here the coincidences with Beethoven end. Tchaikovsky is above all a great “melodist”. This element of music is paramount to him and to his expressive intentions; Beethoven, on the other hand, is an “architect” whose main concern is the organization and syntax of his speech. Consequently, Tchaikovsky adapts the sonata form (the almost perfect architecture or musical structure) to the symphonic poem (a string of narrative melodies) and the result is neither a Beethovenian symphony nor a symphonic poem in the style of Liszt, but a hybrid of both of them. This formal hybridity surely explains why the work was not well received at the beginning; neither the public nor the critics understood that Tchaikovsky moved between two genres without being defined by any. However, time has done him justice and right now his work is performed by all the great orchestras of the world. Even Pink Floyd adapted it to the song “Wish You Were Here”, and a film a few years ago, Birdman, incorporates it into his soundtrack. Something must be special, then, about his work – possibly its eclecticism and hybridity.

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La Orquesta Sinfónica Islas Baleares

La Orquesta Sinfónica Islas Baleares

The Orquesta Sinfónica Islas Baleares is considered one of the leading symphonies in Spain. It was created in 1988 under the institution called Fundació Pública de les Balears per a la Música, which formed a part of the Gobierno Balear (Balearic government), the Ayuntamiento de Palma (Palma’s local government) and the Consell de Mallorca (Mallorca council).

Although the symphonic history of the Balearic Islands dates back to the ‘40s, the formation of the orchestra as we know it today is down to the maestro Luís Remartínez, who was its conductor and artistic director from 1988 to 1994. The maestros following him were: Philippe Bender (1994-1997 and 2005-2009), Salvador Brotons (1997-2000 and 2009-2013), Geo„rey Simon (2001-2002), Edmon Colomer (2002-2005) and Josep Vicent (2013-2014). Currently the maestro Pablo Mieglo is its conductor, sharing artistic direction with Joji Hattori, principal guest conductor.

The orchestra performs its regular season symphonically (season ticket period in the Auditorium de Palma, symphonic concerts in Menorca, Ibiza and Formentera, season ticket period in the Auditorium de Manacor, special concerts in Mallorca), as well as lyrically (opera season of the Fundación Teatro Principal de Palma and the Fundació Menorquina de l’Òpera). In its summer season, the OSIB carries out the ‘Veranos Sinfónicos’ festival with the Castillo de Bellver as its headquarters and collaborating with other festivals such as Pollença or Formentor Sunset Classics. In addition to its artistic schedule, there are extensive teaching efforts made through programmes such as ‘Sinfónica en Familia’ and ‘Sinfónica en Sociedad’ which brings music to groups facing social exclusion, amongst others.

Over the last 25 years, the orchestra has accompanied internationally renowned soloists such as Juan Diego Flórez, Kiri Te Kanawa, Teresa Berganza, Joaquín Achúcarro, Piotr Anderszewski, María Bayo, Simón Orfila, Katia and Marielle Labèque and the young Francisco Fullana.

The OSIB has performed outside of the Balearic Islands on numerous occasions, with their recent trip to Madrid’s Teatro Real together with the tenor Juan Diego Flórez, their trip to Zurich for a concert with the mezzo Kate Lindsey, the concert in Paris’ Radio Hall France with Khayia Buniatishvili and the concert in the UN’s Human Rights Room as particular highlights.

Manuel Hernández-Silva

Manuel Hernández-Silva

Manuel Hernández-Silva earned his degree from Vienna’s Superior Conservatory (Konservatorium der Stadt Wien) with honors, under Professors Reinhard Schwarz and Georg Mark. In his senior year, he won the Forum Jünger Künstler Conducting Competition, convened by the Vienna Chamber Orchestra (Das Wiener Kammer Orchester), which he conducted in the Austrian capital’s Konzerthaus.

He has conducted in several great international festivals, and he is a frequent guest of Spanish and foreign orchestras. He has been the principal conductor of la Orquesta Sinfónica de la Región de Murcia and la Orquesta de Córdoba in Spain and the principal guest conductor of la Orquesta Sinfónica Simón Bolívar of Caracas in Venezuela, with which he worked intensively for over five years. He is currently chief conductor and artistic director of la Orquesta Filarmónica de Málaga and la Orquesta Sinfónica de Navarra.

He has worked with the Vienna Symphony Orchestra (Wiener Symphoniker), WDR Rundfunkorchester Köln, Israel Symphony Orchestra, Prague Radio Symphony Orchestra (Symfonický orchestr Českého rozhlasu), Janacek Philharmonic (Janáčkova filharmonie Ostrava), Nord Czech Philharmonic, Olomouc Philharmonic, Biel Symphony Orchestra (Orchestre Symphonique Bienne Soleure), Mulhouse Symphony (Orchestre symphonique de Mulhouse), Rheinische Philharmonie, Wuppertal Symphony Orchestra (Sinfonieorchester Wuppertal), Seoul Philharmonic, Sinfónica Nacional de México, Sinfónica de Puerto Rico, Filarmónica de Buenos Aires, Sinfónica Nacional de Chile, Sinfónica de Venezuela, Sinfónica de Caracas and Orquesta Simón Bolívar, as well as the major orchestras in Spain like la Orquesta Nacional de España, la Orquesta Sinfónica de Barcelona, la Real Filharmonía de Galicia, la Orquesta Sinfónica de Tenerife, etc.

Some recent highlights are a celebrated Cosí fan tutte at el Teatro Cervantes in Málaga or the premiere of Pacho Flores with la Real Filharmonía de Galicia that will be released as a recording for the Deutsche Grammophon label. Some upcoming important debuts are with the Tucson Symphony Orchestra, the Bohuslav Martinů Philharmonic and the Hradec Králové Philharmonic in his return to the Cesi Krumlov Festival.

As an opera conductor, he received excellent reviews for his conducting of Mozart titles, such as Die Zauberflöte, Cosí fan tutte or Don Giovanni, and some future engagements include two productions of Fidelio in Málaga, Jerez and Navarra. Maestro Hernández-Silva has undertaken intense teaching activity, teaching conducting and performing internationally, as well as numerous conferences.

Pacho Flores

Pacho Flores, trompeta

Francisco ‘Pacho’ Flores has won first prize at the Maurice André International Competition, the world’s most important trumpet contest, as well as first prize at the Philip Jones International Competition and first prize at the International Competition Citta di Porcia. Recently the Global Music Awards awarded him with the Gold Medal for Entropía, his last recording for Deutsche Grammophon with guitar player Jesús ‘Pingüino’ González.

Thanks to his ground-breaking ‘El Sistema’, he is becoming increasingly recognized for his outstanding performing and recording activity that spans solo, chamber and orchestral media. Equally at home in classical and folk styles, Pacho captivates audiences with his energetic delivery and colorful tone.

His solo performances include appearances with orchestras such as the Turku Philharmonic, Arctic Philharmonic, Norrköping Symphony, Norddeutschen Philharmonie Rostock, Salzburge Philharmoniker, Kiev Philharmonic, St. Petersburg Camerata, Ensemble Orchestral de Paris, NHK Symphony, Tokyo Symphony, Osaka Philharmonic, Hyogo PAC Orchestra, Sinfónica Nacional de México, Sinfónica Nacional de Puerto Rico, Filarmónica de Málaga, Simfònica de Balears, Real Filharmonía de Galicia, Sinfónica de Bilbao, Sinfónica de Tenerife or Orquesta Sinfónica Simón Bolívar de Venezuela. He has performed in venues such as the New York Carnegie Hall, the Paris Salle Pleyel and the Tokyo Opera City.

His next engagements include the Kymi Sinfonietta, Het Gelders Orchestra, Tucson Symphony, Royal Liverpool Philharmonic, Orquesta de RTVE, Stavanger Orchestra, Filarmónica de Gran Canaria, Orquesta del Teatro Colón de Buenos Aires, Oviedo Filarmonía, Louisiana Philharmonic Orchestra, Orchestre Philarmonique de Strasbourg, Orchestre National de Lille, Sinfónica de Navarra, San Diego Symphony, National Orchestra of the Polish Radio, Sinfónica do Estado de São Paulo, Swedish Chamber Orchestra or Nacional de Puerto Rico.

A founding member of the Venezuelan Simón Bolívar Brass Quintet, he has toured with the quintet extensively in Europe, South America, the United States and Japan. An experienced orchestral musician, Mr. Flores has played first trumpet in the Venezuelan Orquesta Sinfónica Simón Bolívar, the Saito Kinen Orchestra and the Miami Symphony, under the direction of Claudio Abbado, Sir Simon Rattle, Seiji Ozawa, Giusseppe Sinopoli, Rafael Frühbeck de Burgos, and Gustavo Dudamel, among others. A founding director of the Latin American Trumpet Academy in Caracas, he mentors a promising generation of budding musicians and is a frequent guest at conservatories in Finland, Spain, France, Japan and Latin America as a permanent jury member in prestigious international competitions.

Pacho Flores is an avid champion of new music and is bringing about important innovations to trumpet performance. His repertoire includes commissions and premieres of works by composers such as Roger Boutry, Efraín Oscher, Giancarlo Castro, Santiago Báez, Juan Carlos Nuñez, Sergio Bernal, Arturo Márquez, Roberto Sierra or Paquito D’Rivera. His first album, La trompeta Venezolana, has been released by the label GUATACA Producciones.

A Stomvi artist, he performs with instruments tailored specially for him by this prestigious firm and actively participates in the development and innovation of their instruments. Pacho Flores is a Deutsche Grammophon exclusive artist with three recordings: Cantar, with Konzerthaus Orchester Berlin and Christian Vásquez; Entropía, Gold Medal-winner of the Global Music Awards, and Fractales, with the Arctic Philharmonic Orchestra and Christian Lindberg.

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