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Opening Paths: Mexican Composer Ricardo Castro and Latin America’s First Cello Concerto Duerme, pobre alma sola, alma jamás amada que sin saber de amor vino y fuese a la nada, y en el temblor sagrado de tu vida infecunda diste sólo tu música que este recinto inunda. Rubén M. Campos. Berceuse a Ricardo Castro Ricardo Castro died too soon, on September 28, 1907, when he was 47 years old, from pneumonia complications. Four years later, on May 25, 1911, the dictatorship of Oaxacan Porfirio Díaz ended, opening the way to the consolidation of the Mexican Revolution that had started in 1910. Shortly before his unexpected death in 1907 and on the tails of a successful return from Europe, Ricardo Castro was appointed director of the Mexican Conservatorio Nacional de Música by Porfirio Díaz himself. Even though Castro didn’t have time to carry out an administrative trajectory that would have allowed him to develop and institutionalize his ideas at the Conservatorio Nacional de Música, he left his works, along with stories connected to a life devoted to art. As a man of his time, Castro developed an artistic activity that looked to Europe, particularly France, for models that shaped his musical ideas. As a man of his time, his works suffered a long silence caused by the Revolution and the accompanying sociopolitical and cultural change. Ricardo Rafael de la Santísima Trinidad Castro Herrera was born on February 7, 1864, the son of Licenciado Vicente Herrera Castro and doña María de Jesús Herrera. Castro had an early start in music. He began studying piano at age 6, under the tutelage of Pedro H. Ceniceros, and later started composing short parlour pieces that were well-received. Castro moved with his family to Mexico City in 1877, and there he continued his piano studies and composition at the Conservatorio Nacional de Música with Juan Pablo Salvatierra and Melesio Morales respectively, and later with the distinguished pianist Julio Ituarte. As a result of a policy on foreign affairs that had as a goal to internationally project a certain image of México, Castro’s career grew to the point where he was “the first Mexican pianist with an international trajectory and one of the most outstanding composers of his time.” Thus, his works Norma. Fantaisie de concert pour piano sur des motif de l’Opera de Bellini, Op. 8, Aires Nacionales Mexicanos. Capricho brillante para piano, Op. 10, and Enriqueta were sent to Venezuela for the commemoration of Simón Bolívar’s centenary in 1883. Castro also traveled to New Orleans for the World Cotton Centennial (1884-85), where the composer performed his Fantasía. National Hymn of Brazil y Fantasía. Elegant, followed by concerts in Philadelphia, Washington and New York. With the support of Díaz’s government, Ricardo Castro arrived in Paris at the end of December of 1902, and started working with pianists Teresa Carreño and Eugen D’Albert. He stayed in Paris until 1906, when he was appointed by Díaz director of the Conservatorio Nacional de Música upon his return to Mexico. As a part of the Grupo de los Seis, Ricardo Castro and composers Gustavo E. Campa, Juan Hernández Acevedo, Carlos J. Meneses, Ignacio Quesada and Felipe Villanueva “decanted for a search of stylistic alternatives to Italian bel canto style, moving towards the French and German schools.” More precisely, Ricardo Castro’s stylistic search was first identified with late-romanticism as it was displayed in parlour music that was “defined by its ornamental values, lightness in style, brevity and a modernism more in the attitude than in the concept.” Nevertheless, the composer’s later style moved towards an exploration of the “major forms of romanticism as the symphony, the concerto, the opera, and the string quartet.” The transitional nature of his life, one that was split between two centuries, that moved from the waltz to the symphony, from the parlour’s intimacy to the spacious concert hall, is also expressed in other aspects of Ricardo Castro’s music. Despite his clear European influences modeled on the interpreter-composer European tradition of figures such as Franz Liszt, Teresa Carreño and Eugen d’Albert, Castro’s music also showed national colors. However, it was not until the work of Manuel Ponce, Silvestre Revueltas and Carlos Chávez that nationalism became a relevant musical movement in Mexico. The Cello Concerto It is a mystery how Castro, who apart from being a composer was also a pianist of extraordinary ability, embarked on the composition of a cello concerto, the first written in Latin America. Although there had been associations between cellists and composers in important 19th century works for the instrument (e.g. Beethoven-Duport, Brahms-Hausmann, Chopin-Franchomme, Tchaikovsky-Fitzenhagen amongst others), Castro had no known personal association with any particular cellist who might have ignited his creative inspiration. Nevertheless, it is known that Castro was familiar with the work of the famous Russian virtuoso Karl Davydov (1838-1889), as he made and conducted an arrangement for cello and orchestra of a Lied composed by the Russian cellist. There are also documents in which Castro expresses his admiration for the great Catalonian cellist Pablo Casals, but no evidence has been found to suggest the two ever met. Even though there is no data that point towards a moment for the genesis of the cello concerto, it is presumed that Castro composed it Mexico before his trip to Europe in January 1903. However, there is a possibility that he wrote it in Europe between January and March, since it was first performed on April 6, 1903. This would have constituted an exceptional achievement for Castro. It would have naturally taken considerable effort to compose the work, look for a soloist willing to learn it in such a short time, and finally find an orchestra to accompany him, all within the stressful environment of new surroundings. Castro dedicated his concerto to the Belgian cellist Marix Loevensohn (1880-1943) who premiered the work at the Salle Erard in Paris. Loevensohn was a prominent cellist who was possibly a member of the Concertgebouw Orchestra in Amsterdam. Later, Loevensohn continued his friendship with Castro and was an important link between the Mexican composer and other teachers and composers of the time. Castro publicly showed his admiration for French music, particularly that of Camille Saint-Saens (1835-1921), as he stated in an interview with the newspaper El Diario (November 13, 1906): I have a very high opinion of it (French music)… although it has been scarce in symphonists....but they have one very great for me (Saint-Saens). He has not yet been fully appreciated, not even in France itself. This influence, in addition to that of German composer Richard Wagner (1813-1883), seems to be definitive in the composition of Castro’s cello concerto. Some scholars speculate that in some of his tours through Latin America and the United States, Castro heard Saint-Saens concerto No.1 for cello Op. 33, composed in 1872. This may have caused a great impression on him, perhaps sparking his creative muse. Castro's work shows many similarities to the Saint-Saens Concerto, not only in style, but also in form, theme, and texture. In these regards, we observe the following comparisons: 1. Uninterrupted movements: Saint-Saens links the three movements, while Castro links only the first two. Castro writes this transition as a cello cadenza accompanied at the end by the orchestra while Saint-Saens’ uses the same resource without the final accompaniment. 2. Comparing the opening of each concerto we observe a few stylistic coincidences: a) An initial strong chord followed by tremolos on the strings b) A first theme of a nervous character on the tremolando strings (in this respect the beginning of measure 17 is practically a copy of the beginning of the Saint-Saens). 3. In the second movement of Castro’s concerto, the chords in the orchestra followed by semi-formal passages by the soloist, emulate a similar passage in the third movement of the Saint-Saens Concerto (8 measures before the rehearsal letter N). 4. The cyclical nature of the work, an aspect widely used by French musicians, is reflected in both the use of the main theme of the first movement at the end of the concert, as a unifying element to the work and appearance of the transition theme in measure 48 in rehearsal number 48 in the second movement. Although the writing in his cello concerto reveals knowledge about the capabilities and resources of the instrument, Castro probably sketched the work from the piano. Therefore, the instrumental and orchestral resources belong more to the pianistic world. Notwithstanding the great advances in the construction of musical instruments, the cello could never compete with the powerful sound of the piano. The large orchestral forces used in the work and the dense orchestration are more appropriate for a piano concerto. The resulting solo part relies heavily on utilizing the high tessitura register with very few moments in the middle range and almost none on the lower strings, representing a challenge for the performer. The soloist must handle impeccable tuning within a musical narrative that demands sound clarity, as well as purity of phrasing. On the other hand, instrumental writing in octaves, idiomatic for the keyboard as a sound power resource, does not have the same musical effect on the cello, producing passages of virtuosity without the musical ease that occurs when interpreted on the piano. This edition proposes alternatives for some of these passages. Seventy-eight years after its premiere in Paris, Ricardo Castro's cello concerto was performed a second time on July 11, 1981, with the cellist Carlos Prieto and the Orquesta Sinfónica de Minería conducted by Jorge Velazco at the Sala Nezahualcóyotl in Mexico City. Prieto and Velazco later recorded it in 1985 with the Berlin Symphony Orchestra. Prieto also gave the North American premiere in 1987 under the baton of Sergio Cardenas in San Bernardino, California. Sources The present edition uses as its primary source a microfilmed copy of a handwritten score owned by the Edwin E. Fleisher Collection of Orchestral Music of the Free Library of Philadelphia. The Fleisher Collection acquired the score from Mexican scholar José María Luján in May of 1942, under the sponsorship of the Work Progress Administration Music Copying Project. A copy of the score was presumably sent back to Mexico in 1964, as a part of an interchange of scores with the Conservatorio Nacional de Música where the Fleisher Collection obtained microfilm images of works by Ricardo Castro, Blas Galindo, and Luis Sandi Meneses among other composers. Even though the origin of the source hasn’t yet been established, a comparison between Ricardo Castro’s handwriting as sampled in autograph documents and the handwriting of the Fleisher Collection’s score points towards the fact that the score was handwritten by the composer himself. Two of the other sources that exist for the Castro cello concerto are owned by Mexican institutions: a score owned by the Orquesta de Minerías; and a piano reduction authored by Eduardo Hernández Moncada published at the Heterofonía Magazine in 2007. There is a high probability that those two sources stem from Fleisher Collection’s score. A third source reviewed for this work is an edition based on the Fleisher Collection’s score that includes a piano reduction authored by Jorge Alejandro Mendoza Rojas as a part of his Doctoral Thesis at The University of Texas Austin: “The cello concerto by Mexican composer Ricardo Castro (1864-1607): A performance edition for cello and piano” (1994). This Edition The edition includes a solo part that is a literal transcription of its primary source without any editorial interventions, as well as a fully edited part that is meant to provide ideas to those that embark in the study of the concerto. The editorial work also included the preparation of an orchestral score as well as individual orchestral parts. It is important to mention that the Fleisher Collection’s score presents certain problematic areas in the writing of parameters such as markings on articulation, expression, and dynamics. For example, there is an occasional difference in the writing of slurs in the motives of sixteen-note-quintuplets plus an eight note in the first theme of the first movement. The motive is written with a slur for the quintuplet and another for the next two notes (mm. 18 and 20); a slur for the quintuplet and the next two notes without a slur (mm. 34, 48, 140); without any slurs (mm. 38, 141); and no slur for the quintuplet and a slur for the next two notes (measure. 106). These differences could be considered misprints or variety-related resources. Another example of differences in articulations are the seemingly inconsistent detached sixteen notes in measures 179 and 180 of the second movement, and the slurred sixteen notes in all of the other statements of the same motive in measures 181, 211, 212, 213, and 214. In this last case, it is possible to argue that the absence of slurs in measures 179 and 180 answers to the need of a full sound that would clearly project over the forte present on the second voice that strings and flutes play in these two measures. The standpoint of the edition of the solo part regarding slurs, including the resolution of apparent inconsistencies, has been dictated by a search for ways to fulfill the instrument’s needs in terms of sonority. The need of a full, ringing tone was the predominant aspect in the decision of adding slurs to all the quintuplets, and in general to shorter values -as in the octaves in measure 75 of the first movement and 674-76 of the third movement. In other cases -as in mm 179 and 180, and 212-214 of the second movement- what lead the decision on slurs was the need of an option that would avoid unintended accents due to a sharp lack of balance in duration of contiguous slurs - as happens in measure 212, where a single sixteen note is preceded by seven slurred sixteens and followed by three sixteens that are also slurred. A third aspect we considered when editing the slurs was the need of projecting a full, soloistic sound uniformly connected in sections where such kind of sound was relevant. A clear example is the first theme of the first movement (mm. 17-24), where Castro combines bowings of a duration in quarter-note beats of three and a half, two and a half, two, one, and a half of a beat. In these cases, we opted to balance the duration of bowings in order to facilitate the creation of a continuous phrase that could be executed with a full sound, and with an appropriate character. There are also occasional differences in expression and articulation markings. and dynamic markings that might seem ambiguous as well. Some examples are the differences in the patterns of written accents in measures 81 and 83 of the first movement, or the differences in the writing of dynamics of similar passages - as in mm. 39 and 40, with crescendi that look as if they were leading to the third beat, but that later are differently annotated in a different, more logical manner in the repetition of that motive in mm. 94 and 95 that however is still inconsistent in the annotation of dynamics with cresc. in measure 94 followed by < in 95. In those cases, we transcribed the information as it is on the source, leaving the decision to the player. In addition to being the first of its kind written by a Latin American composer, Ricardo Castro's Cello Concerto presents an interesting addition to the repertoire due to its refined musical language which successfully combines both French and German influences. It exhibits his deep knowledge of the instrument as well as a creative musical genius befitting his reputation as one of the most important pianists of the time. This edition seeks to bring this extraordinary work to the attention and delight of performers and connoisseurs alike. Moreover, this edition helps restore Ricardo Castro to his rightful place in the history of music. Natali Herrera Pacheco, Germán Marcano and Horacio Contreras, 2022 For more detailed information, including bibliographic sources and research methods, please refer to the foreword of the printed edition.

Strings of Latin America (SOLA) is an official partner to The Sphinx Organization with the purpose of social engagement through the promotion of diversity in the classical music world. We work to enhance the visibility of the repertoire for string instruments, including chamber music, such as trio and quartets, written by Latin American composers. SOLA CUERDAS DE AMÉRICA LATINA UNA INICIATIVA PARA LA INVESTIGACIÓN, PUBLICACIÓN E INTERPRETACIÓN DE MÚSICA PARA CUERDAS ORGULLOSOS SOCIOS DE LA ORGANIZATION STRINGS OF LATIN AMERICA Strings of Latin America (SOLA) es un socio oficial de la Sphinx Organization que tiene el propósito de ejercer una influencia social positiva a través de la promoción de la diversidad en el mundo de la música clásica. Nosotros trabajamos para potenciar la visibilidad del repertorio de instrumentos de cuerda, incluida la música de cámara -tríos y cuartetos- escrita por compositores latinoamericanos. Nuestro trabajo incluye la catalogación de obras, la producción de materiales pedagógicos y la promoción de dichas obras para que sean interpretadas en espacios donde la música europea y estadounidense es única y tradicionalmente presentada. About Our Mission NUESTRA MISIÓN La creación de catálogos que contribuyan a la difusión de información sobre el repertorio existente de obras para instrumentos de cuerda de América Latina; La creación de ediciones de obras para cuerdas escritas por compositores latinoamericanos; La creación de plataformas informativas que informarán a la comunidad en general sobre las obras, compositores e intérpretes latinoamericanos, y acerca de nuestro propio trabajo como promotores de la música clásica latinoamericana. Nuestra misión más amplia es contribuir positivamente a las identidades de la música latinoamericana que ya son conocidas internacionalmente, y especialmente en los EE. UU. Queremos lograr tal objetivo agregando otro vector positivo a tales identidades a través de la provisión de una ventana donde se realza la Música Clásica Latinoamericana y se la promociona para que llegue a las salas de conciertos. Con ese fin, trabajamos para empoderar a los artistas latinoamericanos a través del ofrecimiento de plataformas que ayudarán a conectar a un público más amplio con la música clásica de América Latina. Nuestra misión está dirigida a abordar el problema de la representación en la música artística occidental con un enfoque relacionado con: 3 2 1 We work to enhance the visibility of the repertoire for string instruments, including chamber music, such as trio and quartets, written by Latin American composers. We do so by cataloging works, creating pedagogic materials, and promoting such materials to be performed in spaces where European and American music is solely and traditionally presented. Que hacemos SOLA ofrece una plataforma para la investigación y promoción del repertorio latinoamericano escrito para violín, viola, violonchelo, tríos, cuartetos y arpa. Nuestras actividades de investigación incluyen catalogar trabajos, crear materiales pedagógicos y presentar conferencias en escuelas, festivales y universidades. Además, SOLA brinda un espacio que aumenta la visibilidad de artistas escénicos comprometidos con la diversificación de la música clásica a través de la programación de obras escritas por compositores latinoamericanos. El objetivo de SOLA es conectar las identidades latinoamericanas con los lugares de música para contribuir a la creación de espacios más plurales y diversos para la interpretación musical. Do you want to help SOLA? Strings of Latin America relies on donations from several collaborators to keep our mission alive. Want to take part? I WANT TO DONATE

Top of Page Qualifications Specific Competences Learning Outcomes Description of Activities Structure Required Materials Apply Top of Page PRÁCTICAS ¿ESTÁ INTERESADO EN PROMOVER LA DIVERSIDAD EN LA MÚSICA? El programa de pasantías de SOLA / The Sphinx Organization busca colaboraciones con estudiantes de campos relacionados con la música como interpretación musical, teoría musical, composición, educación musical, musicología y etnomusicología que estén interesados en trabajar con organizaciones líderes que promuevan la diversidad en el mundo de la música artística occidental. . Más específicamente, los estudiantes trabajarán en una investigación con el objetivo de agregar contenido a las bases de datos que alimentan los catálogos de obras Sphinx para violín, viola, violonchelo, trío de piano y cuarteto de cuerdas. Los estudiantes también trabajarán en la creación de contenido educativo que ayude a promover un repertorio diverso en las redes sociales y presentaciones educativas, incluidos materiales cortos de video / audio, entrevistas en video, conferencias y recitales de conferencias. El Programa de Pasantías de la Organización SOLA / Sphinx cuenta con el generoso apoyo de la Organización Sphinx y la Universidad de Lawrence. Estas instituciones otorgan plataformas de prestigio que dan relevancia al trabajo de SOLA. Si bien el programa de pasantías de organización SOLA / Sphinx proporciona los recursos para hacer que el trabajo de los pasantes sea altamente visible, no proporciona estipendios ni ningún otro tipo de fondos para pasantes individuales. Nuestro equipo puede proporcionar documentos para respaldar las solicitudes de fondos externos para aquellos estudiantes que estén interesados en pasantías remuneradas. Las pasantías pueden ser parte de un programa educativo. CALIFICACIONES Qualifications Specific Competences Estudiantes de pregrado y posgrado con especialización en interpretación musical, teoría musical, composición, educación musical, musicología y etnomusicología. COMPETENCIAS ESPECÍFICAS Nuestros pasantes desarrollan una comprensión profunda de los mecanismos para la promoción activa de la diversidad en el mundo de la música artística occidental. A través de sus contribuciones personales a las iniciativas SOLA / Sphinx, los estudiantes ganarán conciencia de la necesidad y el valor de la diversidad y representación en la música artística occidental; familiarizarse con el trabajo de las organizaciones que se dedican a la promoción de la diversidad en la música artística occidental; ser consciente de las múltiples facetas de la promoción de un repertorio diverso en el mundo de la música artística occidental; y adquirir experiencia en la investigación, promoción e interpretación activa de un repertorio diverso. Learning Outcomes Tiene un conocimiento profundo de los mecanismos para la promoción activa de la diversidad en el mundo de la música artística occidental. Es consciente del valor de la diversidad y la representación en el repertorio de música artística occidental. Está familiarizado con el trabajo de organizaciones que se dedican a la promoción de un repertorio diverso en el mundo de la música artística occidental. Está familiarizado con las múltiples facetas de la promoción de un repertorio diverso en el mundo de la música artística occidental. Tiene experiencia en la investigación, promoción e interpretación activa de un repertorio diverso. LOS RESULTADOS DEL APRENDIZAJE Description of Activities Desarrolla conocimientos sobre compositores y obras que están fuera del repertorio canónico. Aprende a apreciar el valor artístico de una obra musical más allá de su nivel de exposición actual o pasado. Toma contacto con una amplia gama de recursos para investigar el corpus existente de música artística occidental escrita por compositores latinoamericanos. Tiene conocimiento sobre las misiones y el trabajo de la Organización Esfinge y la Organización Cuerdas de América Latina. Tiene un conocimiento profundo de los catálogos Sphinx / SOLA. Tiene una fuerte conexión con una faceta específica de SOLA. Tiene una conexión personal con un compositor específico y / o obra (s) de América Latina a través del estudio instrumental y contextual, así como la interpretación. Tiene la capacidad de hablar sobre el trabajo de SOLA / Sphinx y su propia contribución a ese trabajo. DESCRIPCION DE ACTIVIDADES Structure Duración : 10 semanas Día de orientación: Descripción del programa y su funcionamiento; Aspectos técnicos y conceptuales del programa. Campos de actuación de la iniciativa: SOLA desarrolla sus actividades en torno a los temas que se enumeran a continuación. El trabajo de los pasantes se define a través de un examen de la intersección de sus áreas individuales de interés y las necesidades de SOLA. Investigar: Catálogos: Violonchelo: actualización constante Viola: escribir información en una hoja de Excel Tríos de piano: investigación para la creación del catálogo. Cuartetos de cuerda: investigación para alimentar la base de datos del Cuarteto Latinoamericano Identificar y conectarse con bibliotecas que estarían interesadas en incluir nuestros recursos en sus bases de datos. Páginas biográficas: Cree las páginas de biografía que coincidan con la mayoría de los catálogos, con la lista del Cuarteto Latinoamericano como prioridad principal. Videos educativos: Identificar compositores y / o instrumentistas latinoamericanos relevantes tanto conocidos como menos conocidos que tengan el potencial de brindar exposición a las iniciativas de SOLA para crear videos más largos (uno por mes) Identificar compositores latinoamericanos subrepresentados con interesantes trabajos grabados para crear retratos sonoros. Identificar grabaciones de video de alta calidad de destacadas interpretaciones del repertorio latinoamericano contenidas en los catálogos para compartir en las redes sociales. Ediciones: Identificar obras / compositores potenciales para ediciones SOLA. Relaciones públicas: Medios de comunicación social: Identificar contenido relevante que se pueda destacar en las redes sociales. Producir perfiles personales a través de las redes sociales de una semana de duración para mostrar el trabajo que realiza cada pasante durante la pasantía, subrayando el impacto que su trabajo está teniendo en la promoción de la música latinoamericana y sus creadores. Ediciones: Identificar editoriales para posibles colaboraciones. Envíe artículos sobre los trabajos que se están publicando. Colaboraciones: Diseñar una estrategia para publicitar la colaboración con el Reverón Piano Trio. Diseñar una estrategia para publicitar la colaboración con el Cuarteto Latinoamericano. Diseñar una estrategia para publicitar la colaboración con Jesús Alfonso. Trabajo de antecedentes institucional: Investigación sobre las diferentes posibilidades para el establecimiento de una base legal para nuestras iniciativas. ESTRUCTURA Required Materials Dra. Natali Herrera-Pacheco: Coordinadora de Pasantías y Difusión de la Lawrence University / Sphinx Organization Dr. Horacio Contreras: Asesor / Conservatorio Universitario Lawrence LOS MATERIALES REQUERIDOS Ordenador acceso a Internet Un espacio para trabajar Es posible que se necesiten fuentes primarias Acceso a una biblioteca Acceso preferente al préstamo interbibliotecario Apply SOLICITAR Para consultas, escriba a la Dra. Natali Herrera-Pacheco a natali.herrerapacheco@lawrence.edu .

CONTACTO CONSULTAS GENERALES horcon@umich.edu DIRECTOR ARTISTICO Horacio Contreras horcon@umich.edu DIRECTOR DE INVESTIGACION Natali Herrera-Pacheco horcon@umich.edu

Top of Page Main Team NUESTRO EQUIPO Main Team HORACIO CONTRERAS Artistic Director Profile NATALI HERRERA PACHECO Director of Research Profile MEGAN CHARTIER Graphic Artist Profile COLABORADORES JESÚS ALFONZO Collaborator, author of the Sphinx Catalog of Latin-American Viola Works Profile TRÍO REVERON Collaborator Profile SIMÓN GOLLO Violin Catalog Ambassador Profile GERMÁN MARCANO Collaborator, author of the Sphinx Catalog of Latin-American Cello Works Profile INSTITUCIONES ASOCIADAS Tienda CUARTETO LATINOAMERICANO Tienda

Top of Page Main Team Partnering Institutions Collaborators NUESTRO EQUIPO Main Team HORACIO CONTRERAS Artistic Director Profile NATALI HERRERA PACHECO Director of Research Profile Collaborators GERMÁN MARCANO Research Consultant Profile MEGAN CHARTIER Graphic Artist Profile COLABORADORES Partnering Institutions JESÚS ALFONZO Collaborator Profile TRÍO REVERON Collaborator Profile SIMÓN GOLLO Violin Catalog Ambassador Profile INSTITUCIONES ASOCIADAS Tienda CUARTETO LATINOAMERICANO Tienda Tienda

SOLA EDICIONES SOLA produce ediciones como una de las estrategias para cumplir con su objetivo de facilitar el acceso al repertorio latinoamericano. Para ello, SOLA trabaja en la creación de ediciones críticas del repertorio latinoamericano, así como en métodos y colecciones de estudios producidos por pedagogos latinoamericanos. RICARDO CASTRO Concierto para violonchelo y orquesta Encargado por Afa Dworkin y The Sphinx Organization Próximamente, en breve, pronto

SOLA CICLOS DE CONCIERTOS 2022: Celebración de la Música Latinoamericana Text from Broadway World Chicago , by A.A. Cristi Feb. 17, 2022 : "The Music Institute of Chicago has partnered with Strings of Latin America and the Reverón Piano Trio to produce Celebración de la Música Latinoamericana, a three-concert guest artist series featuring music by Latin-American composers in April and May at Nichols Concert Hall, 1490 Chicago Avenue, Evanston. The performances also will be available via livestream. Read more here. REVERÓN PIANO TRIO The program includes works by Ricardo Lorenz (Venezuela), Manuel Ponce (Mexico), and Joaquín Turina (España) TICKETS APRIL 1, 2022 KAIA STRING QUARTET The program includes works by José Bragato, Claudio Santoro, Silvestre Revueltas , Elbio Barilari, and Astor Piazzolla . TICKETS APRIL 22, 2022 PACHO FLORES & ELENA ABEND The program includes works by Pablo Sarasate, Astor Piazzolla , Antonio Sánchez Pedro, Pacho Flores, Santiago Báez Cervantes, Paquito D'Rivera, and Enrique Crespo. TICKETS MAY 13, 2022 Celebración de la Música Latinoamericana highlights the richness and diversity of classical repertoire written by Latin-American composers. By complementing the performances with community education activities focused on Latin-American music, Celebración de la Música Latinoamericana shines a spotlight on a group of composers and their music-classical repertoire that has long been under-represented or unheard. Music Institute President and CEO Dr. Mark George said, "We are honored to collaborate with the Reverón Piano Trio and Strings of Latin America to present world-class artists performing exciting, rarely heard repertoire in a landmark performance space. This is music that needs to be heard!" Strings of Latin America (SOLA) is an official partner of The Sphinx Organization with the purpose of generating social engagement through the promotion of diversity in the classical music world. The Music Institute hopes to make Celebración de la Música Latinoamericana an annual concert series at Nichols Concert Hall and include a robust education component, which will be available to K-12 schools and other organizations in the community. Opening the series on Friday, April 1 is the Reverón Piano Trio (above) featuring violinist Simón Gollo, Music Institute faculty cellist Horacio Contreras, and pianist Ana María Otamendi. Named after Venezuelan visual artist Armando Reverón, one of the earliest American modernists, the Trio's main goal is to introduce audiences to under-represented music from Latin America alongside contemporary and standard repertoire. The program includes works by Ricardo Lorenz (Venezuela), Manuel Ponce (Mexico), and Joaquín Turina (España). The series continues Friday, April 22 with KAIA String Quartet (above), featuring violinists Victoria Moreira and Naomi Culp, violist Amanda Grimm, and cellist Hope DeCelle. Devoted to promoting the rich and colorful music of Latin America, KAIA is active in the U.S. and abroad, as well as in the Chicago music scene, and is in residence at DePaul University's Community Music Division. The program includes works by José Bragato, Claudio Santoro, Silvestre Revueltas , Elbio Barilari, and Astor Piazzolla . Concluding the series on Friday, May 13 are Venezuelan musicians Pacho Flores on trumpet and Elena Abend on piano (below). Flores, who earned First Prize in the "Maurice André" International Competition, the most distinguished trumpet competition in the world, thrives in classical and popular music styles. Abend, who received the William Schuman Prize for outstanding achievement and leadership in music, has performed recitals and chamber concerts as well as toured and recorded with major orchestras of Venezuela. The program includes works by Pablo Sarasate, Astor Piazzolla , Antonio Sánchez Pedro, Pacho Flores, Santiago Báez Cervantes, Paquito D'Rivera, and Enrique Crespo. For concert updates, visit nicholsconcerthall.org . Nichols Concert Hall is currently operating at full capacity, subject to future changes mandated by the State of Illinois, CDC, or other applicable local authorities. To ensure the safety of all persons on site, the Music Institute of Chicago requires that, upon entry to an event, all visitors older than the age of five show proof of full COVID-19 vaccination status OR a negative COVID PCR test processed within 48 hours of the day of the event. Visitors who have recently traveled internationally are not permitted in Nichols Concert Hall unless they show proof of a negative COVID PCR test taken three to five days after returning to the United States. The Music Institute additionally requires all audience members ages two and older to wear a mask over their nose and mouth for the duration of the event. Masks will be provided to those who do not have them. If you are exhibiting any symptoms of COVID-19 the day of the performance, including fever, shortness of breath, or coughing, do not attend the event. Please note: All artists and staff on site are fully vaccinated. Vaccinated performers and presenters are not required to wear masks while on stage." Read More View Broadway World Article

SOLA VIDEOS EDUCATIVOS Ronald Chirinos, Perú "Felicidades por el trabajo de promocionar tanta música latinoamericana por descubrir para muchos.” La serie de videos educativos producidos por SOLA tiene como objetivo crear un registro audiovisual sobre los creadores, intérpretes y protagonistas de la música latinoamericana para ayudar a proyectar las identidades musicales latinoamericanas más allá de las fronteras de sus países. En esta serie de videos, es posible percibir la importancia y riqueza del panorama musical latinoamericano a través de las palabras de artistas como la compositora mexicana María Granillo, el compositor venezolano-estadounidense Ricardo Lorenz, el violonchelista colombiano Santiago Cañón Valencia, el violonchelista mexicano Álvaro Bitrán y American Christine Walevska, violonchelista y protegida de Ennio Bolognini. Venezuelan composer and cellist Paul Desenne shares his thoughts about his works for cello including Jaguar Songs and Pizziquitiplás. In a talk with cellists Germán Marcano and Tulio Rondón, Maestro Desenne discusses his vision of how Venezuelan and Latin American folk music interact in his own works, as well as how his process of composing for cello is different from composing for any other instrument. Mexican composer Horacio Fernández and American cellist and international soloist Zlatomir Fung speak about their collaboration for a new cello concerto inspired on Latin American Cumbia. They discuss the dynamics of the collaboration, including aspects of cello technique, cultural influences of urban popular Latin American genres and the mutual impact that this collaboration has had on them. World-renowned soloist American cellist Christine Walewska shares her experience as a lifelong friend and protege of Argentinean-American cellist Ennio Bolognini. Walevska speaks about her musical relationship with Argentina, including her relationships with composers José Bragato, Julian Aguirre, and Washington Castro; her family’s friendship with the Bologninis, the acclaim that Bolognini had from such distinguished cellists and Casals, Feuermann, and Piatigorksy, and her experience performing Bolognini’s works for cello solo. Join us as we pay homage to Juan Orrego-Salas, alongside two of his students: Ricardo Lorenz and Pablo Mahave-Veglia, in addition to our very own, Germán Marcano.

SOLA QUÉ ES CATÁLOGO SOLICITAR ADICIÓN SOLA es la organización líder en catalogar el repertorio escrito para instrumentos de cuerda por compositores latinoamericanos. Los catálogos de SOLA son gratuitos y están disponibles para su consulta gracias a las asociaciones con la Organización Sphinx y CelloBello.org en el caso del catálogo de violonchelo. DR. NATALI HERRERA-PACHECO First Author Profile About Catalog Page 1 of 51

Strings of Latin America (SOLA) is an official partner to The Sphinx Organization with the purpose of social engagement through the promotion of diversity in the classical music world. We work to enhance the visibility of the repertoire for string instruments, including chamber music, such as trio and quartets, written by Latin American composers. SOLA CUERDAS DE AMÉRICA LATINA UNA INICIATIVA PARA LA INVESTIGACIÓN, PUBLICACIÓN E INTERPRETACIÓN DE MÚSICA PARA CUERDAS ORGULLOSOS SOCIOS DE LA ORGANIZATION Strings of Latin America (SOLA) es un socio oficial de la Sphinx Organization que tiene el propósito de ejercer una influencia social positiva a través de la promoción de la diversidad en el mundo de la música clásica. Nosotros trabajamos para potenciar la visibilidad del repertorio de instrumentos de cuerda, incluida la música de cámara -tríos y cuartetos- escrita por compositores latinoamericanos. Nuestro trabajo incluye la catalogación de obras, la producción de materiales pedagógicos y la promoción de dichas obras para que sean interpretadas en espacios donde la música europea y estadounidense es única y tradicionalmente presentada. About Our Mission NUESTRA MISIÓN La creación de catálogos que contribuyan a la difusión de información sobre el repertorio existente de obras para instrumentos de cuerda de América Latina; La creación de ediciones de obras para cuerdas escritas por compositores latinoamericanos; La creación de plataformas informativas que informarán a la comunidad en general sobre las obras, compositores e intérpretes latinoamericanos, y acerca de nuestro propio trabajo como promotores de la música clásica latinoamericana. Nuestra misión más amplia es contribuir positivamente a las identidades de la música latinoamericana que ya son conocidas internacionalmente, y especialmente en los EE. UU. Queremos lograr tal objetivo agregando otro vector positivo a tales identidades a través de la provisión de una ventana donde se realza la Música Clásica Latinoamericana y se la promociona para que llegue a las salas de conciertos. Con ese fin, trabajamos para empoderar a los artistas latinoamericanos a través del ofrecimiento de plataformas que ayudarán a conectar a un público más amplio con la música clásica de América Latina. Nuestra misión está dirigida a abordar el problema de la representación en la música artística occidental con un enfoque relacionado con: 3 2 1 Estamos convencidos de que nuestro trabajo no solo traerá más exposición a los artistas de América Latina, sino que también ayudará a los latinoamericanos a encontrar una voz dentro de campos del arte que tradicionalmente han sido dominados por artistas europeos. What We Do Que hacemos SOLA ofrece una plataforma para la investigación y promoción del repertorio latinoamericano escrito para violín, viola, violonchelo, tríos, cuartetos y arpa. Nuestras actividades de investigación incluyen catalogar trabajos, crear materiales pedagógicos y presentar conferencias en escuelas, festivales y universidades. Además, SOLA brinda un espacio que aumenta la visibilidad de artistas escénicos comprometidos con la diversificación de la música clásica a través de la programación de obras escritas por compositores latinoamericanos. El objetivo de SOLA es conectar las identidades latinoamericanas con los lugares de música para contribuir a la creación de espacios más plurales y diversos para la interpretación musical.

SOLA QUÉ ES CATÁLOGO SOLICITAR ADICIÓN SOLA es la organización líder en catalogar el repertorio escrito para instrumentos de cuerda por compositores latinoamericanos. Los catálogos de SOLA son gratuitos y están disponibles para su consulta gracias a las asociaciones con la Organización Sphinx y CelloBello.org en el caso del catálogo de violonchelo. DR. JESÚS ALFONZO Author Profile About Catalog Composer Country Date of Birth Date of Death Gender Composition Date Duration Instrumentation Editions Abras, Juan Manuel Argentina 1975 Male Bossa nova scrabinosa 2014 6' Viola solo Abras, Juan Manuel Argentina 1975 Male Cueca wagneroide 2015 5' Viola solo Alonso-Crespo, Eduardo Argentina 1956 Male Concerto para viola, Op. 17 2006 20' Viola and string orchestra Self published Alsuyet, Claudio Argentina 1957 Male Trio 9' Viola, violin and piano Self published Alsuyet, Claudio Argentina 1957 Male Duo 1990 4' Viola and clarinet Self published Alsuyet, Claudio Argentina 1957 Male Concerto 2002-2003 Viola and orchestra Self published Alsuyet, Claudio Argentina 1957 Male Tremme 1994 5' Viola solo Self published Alsuyet, Claudio Argentina 1957 Male In Memoriam a Thomas Tichauer: Trio 1995 7' Viola, oboe and harpsichord Self published Arditto, Cecilia Argentina 1966 Female Circo Calder 2000 Viola, violin and cello Self published Arditto, Cecilia Argentina 1966 Female Palabras 2005 Viola, soprano, baritone sax and 1/16 tone piano Self published Arias, Luis Argentina 1940 Male Elegía a la memoria de Tirso de Olazábal 1963 Viola (or cello), clarinet and piano Buenos Aires, Argentina: Editorial Argentina de Compositores, 1985 Arízaga, Rodolfo Argentina 1926 1985 Male Ciaccona per viola 1969 Viola solo Editorial Argentina de Música, Buenos Aires, c. 1980 Baldini, Christian Argentina 1978 Male 465 Gange 2001 String trio Bandini, Bruno Argentina 1889 1969 Male Preludio Viola solo Ricordi, Buenos Aires Bauer, Martin Argentina 1962 Male Tiempo 30' Viola and 2 guitars Editorial CEAMC Bautista, Julián Argentina 1901 1961 Male Sonatina-Trio Op. 7 1924 Viola, violin and cello Consejo Central de la Música del Ministerio de Instrucción Pública y Bellas Artes de Barcelona, Spain Boeris, Sebastián Argentina 1985 Male Seis piezas 2004 10' Viola, violin and piano Gebrüder Stark-Musikverlag Leipzig, Germany Bronfman, Benjamín Argentina 1932 Male Concierto 1980 Viola and orchestra Bs. As., Editorial Argentina de Compositores (EAC) Bronfman, Benjamín Argentina 1932 Male Momento 1983 Viola solo Bs. As., Editorial Argentina de Compositores (EAC) Bértola, Eduardo Argentina 1939 1996 Male Duo: dos temperamentos e das cores 1984 Viola and violin Page 1 of 43