PERFORMANCES

BIOGRAPHY

DISCOGRAPHY

YOUTUBE

AUDIO

SCORES

REVIEWS

CONTACT

CONCIERTOS

BIOGRAFIA

DISCOGRAFIA

VIDEO

AUDIO

PARTITURAS

RESEÑAS

CONTACTO

 

SCORES

PARTITURAS

 

Estampas Mexicanas

I.                        I.  Ferial

II.                      II. Danza del Pájaro Sagrado

III.                     III.Teotlalli

 

 

10-minute suite in three movements. Its movements can be performed independently.

 

Estampas Mexicanas (Mexican Vignettes) is a suite for orchestra featuring Mexican folk elements in a style akin to the nationalistic compositions of the beginning of the twentieth century in
Mexico. In particular, it is inspired by the rhythmic vitality of the music of Carlos Chávez, the ritualistic mysticism of the works of Silvestre Revueltas, and the lyrical melodies of Manuel M. Ponce. Each movement can be identified with a particular stage in the search for a national language, as experienced in Mexican music history.

 

·         Ferial (Parade) is a festive parade of simple, colorful, folk-like tunes and rhythms woven into a tapestry of European textures, like music written right after the Mexican Revolution of 1910. The opening of this movement pays homage to composer Carlos Chávez, paraphrasing the opening measures of his magnificent "Sinfonía India", which inspired Elizondo.

·         Danza del Pájaro Sagrado (Dance of the Sacred Bird) The second movement is an imagined Aztec ritual invocation of the sacred bird. The orchestration is sparse and symbolic. The heartbeat of the volcano is heard in the bass drum. The ritual dance steps of the priest are evoked by the rhythm of the congas. The layered musical in the strings creates a musical step-pyramid that the piccolo melody climbs to invoke the sacred bird.

·         Teotlalli (Land of Gods) celebrates the reconciliation of the pre-Hispanic, European and post-Revolutionary folk elements that eventually came about in Mexican music and art: a genuine musical idiom that better represents the mixed cultural heritage of the Mexican people. It includes a celebratory statement of this movement’s main theme in a symphonic version of the mariachi-band sound.

 

 

ORCHESTRA

--original version--

(strings, 1 picc, 2 fl, 2 ob, 2 cl,

1 bn, 2 tpt, 2 tbn, 2 hn, 3 perc)

FLUTE SOLO +

STRING ORCHESTRA

STRING ORCHESTRA

 

I. Ferial

score and parts

audio

score and parts

audio

score and parts

audio

 

II. Danza del Pájaro Sagrado

audio

 

 

 

 

III. Teotlalli

audio

score and parts

audio

 

IV.           

 

V.           Danzas Latinoamericanas

VI.                    I.   Otoño en Buenos Aires

VII.                   II.  Pan de Azúcar

VIII.                 III. Atardecer Tapatío

 

 

10-minute suite in three movements. Its movements can be performed independently.

 

Originally commissioned by the distinguished Mexican cellist Carlos Prieto, a devoted promoter of contemporary music, this piece was originally written as a suite for two cellos. The symphonic version was commissioned by Sergio Buslje for the Pan-American Symphony Orchestra, and the version for string orchestra and flute solo was prepared specially for Şefika Kutluer.

 

Danzas Latinoamericanas (Latin American Dances) is based on some of the national dances of Argentina, Brazil and Mexico respectively. The first movement, Otoño en Buenos Aires (Autumn in Buenos Aires), is indebted to the concert-style tango of Astor Piazzolla, as well as the extraordinary songs of Carlos Gardel. Pan de Azúcar (Sugar Loaf) is named after the famous mountain in Rio de Janeiro. It echoes the sensuous music of Antonio Carlos Jobim and the exuberant vitality of the works of Heitor Villa-Lobos. His synthesis of the Brazilian folk tradition and of late Romantic string writing provided a major inspiration for this movement. Elizondo’s creative use of pizzicato produces textures that are playful, delicate and dance-like, supporting the lyrical flute melodies. At other times, the syncopated motives in the flute and strings evoke a more sentimental mood. Atardecer Tapatío (Sunset in Guadalajara) is inspired by Mexican folk dance music and the sound of the “mariachi” bands. The material is straight-forward but effective. Elizondo doesn’t shy away from using simple, standard forms as his canvas for his joyful melodies. This music is a tribute to the composer’s homeland.

 

 

MOST PERFORMED  VERSIONS

ORCHESTRA

I. (strings + piano)

II. (strings)

III. (strings + 1 picc, 2 fl, 2 tpt)

FLUTE SOLO +

STRING ORCHESTRA

2 CELLOS

--original version--

 

I. Otoño en Buenos Aires

score and parts

audio

score and parts

audio

score and parts

audio

 

II. Pan de Azúcar

audio

score and parts

audio

audio

 

III. Atardecer Tapatío

audio

score and parts

audio

audio

 

OTHER VERSIONS

 

 

 

 

All 3 movements

8 CELLOS

CELLO + VIOLA

CELLO + VIOLIN

 

score and parts

score and parts

score and parts

 

I. Otoño en Buenos Aires

FLUTE + ALTO FLUTE

2 FLUTES + ALTO FLUTE

2 GUITARS

 

score and parts

audio

score and parts

score and parts

 

FLUTE + PIANO

CLARINET + PIANO

VOICE + PIANO

 

score and parts

audio

score and parts

score and parts

audio

 

II. Pan de Azúcar

ENGLISH HORN +STRINGS

 

 

 

score and parts

audio

 

IX.           

 

Leyenda del Quetzal y la Serpiente

 

5-minute atmospheric piece, a fantasy for orchestra that makes reference to an Aztec legend of the Quetzal bird and the snake.

 

Leyenda del Quetzal y la Serpiente

ORCHESTRA

--original version--

(strings, 1 picc, 2 fl, 2 ob, 2 cl, 1 bn, 2 tpt, 2 tbn, 2 hn, 3 perc)

score and parts

audio

 

X.            

 

Chez

 

Chez was named after a friend of Elizondo’s, a talented guitarist whose playing stirred his interest in Spanish guitar music and inspired this piece. Originally composed for flute and guitar, the arrangement for flute and string orchestra was made especially for Şefika Kutluer.

The melodies in this piece originally drew inspiration from the Mexican and Spanish folk traditions, and were later influenced by Elizondo’s listening to Venezuelan waltzes performed by the talented Orlando Cela. The “rondo” form provides an easy structure to the composer for featuring a musical conversation in which the flute and the orchestra take turns introducing melodic material and providing complementary countermelodies or ornamental commentary.

 

GUITAR

--original version--

FLUTE SOLO +

STRING ORCHESTRA

GUITAR + FLUTE

 

Chez

score and parts

score and parts

audio

score and parts

audio

 

XI.           

 

Canción de Cuna

 

As the title indicates, Canción de Cuna (Lullaby) is meant to be a tender lullaby, hence its simplicity and the composer’s choice of a tonal, lyrical and straight-forward musical language.

 

 

VOICE + GUITAR

--original version--

FLUTE SOLO + HARP +

STRING ORCHESTRA

VOICE + HARP +

STRING ORCHESTRA

 

Canción de Cuna

score and parts

score and parts

audio

score and parts

 

FLUTE + GUITAR

FLUTE + VIOLA + CELLO + PIANO

CHOIR

 

score and parts

audio

score and parts

score and parts

 

 

XII.          

 

Princesa de Hadas

 

Princesa de hadas (Fairy Tale Princess) was commissioned by Argentine poet Patricio Méndez in 1996. The orchestral version was created for Şefika Kutluer, who has championed it around the world. The title of this piece refers to a verse from a poem by Méndez, where he describes his beloved as a “fairy tale princess.” The musical material is deliberately simple, tonal, and lyrical, in an attempt to evoke the innocence and romanticism of the world created by the poet for his fairy tale princess. 

The piece consists of alternating sections in minor and major modes. The former more nostalgic and evocative of romantic longing, the latter happier and playful. In the minor sections, the ¾ meter is offset just a touch, with melodic and harmonic ideas frequently coming in on the off-beat, giving the piece a rhythmic rocking quality. The melody in these sections is made out of small motives that seem almost hesitant. The trills in the flute help to paint the magical, almost mysterious setting. In the major sections, the rhythm is more regular and steady in the background, which allows the melody to be more expansive, lyrical and romantic.  

 

FLUTE + PIANO

--original version--

FLUTE SOLO +

STRING ORCHESTRA

VIOLIN + PIANO

 

Princesa de Hadas

score and parts

audio

score and parts

audio

score and parts

audio

 

XIII.        

 

Set me as a seal upon thing heart

 

Originally written for organ, French horn and baritone, the piece is based on a biblical text from King Solomon’s “Song of Songs”, and was written on occasion of a wedding. The musical inspiration for the composition came from Mendelssohn’s choral piece, “Verleih uns Frieden”, and from the magnificent sound of the pipe organ in Trinity Church in Boston, which was eventually used for the premiere of this piece.

 

ORGAN + FRENCH HORN

+ VOICE (BARITONE)

FLUTE SOLO +

STRING ORCHESTRA

 

Set me as a seal upon thing heart

score and parts

audio

score and parts

audio

 

XIV.       

 

Feierlicher Festmarsch

 

 

Feierlicher Festmarsch (Celebratory March) A joyful processional for organ, brass quartet and timpani.

 

ORGAN + BRASS  QUARTET + TIMPANI

 

 

Feierlicher Festmarsch

score and parts

audio

 

 

XV.         

 

Sefika’s Menuetto

 

Şefika’s Menuetto is a sweet, lyrical piece for flute and string orchestra, dedicated to Şefika Kutluer. The composer chose musical material he had written during some of the most memorable moments of his life, revisiting and reinterpreting it to create an amalgamated canvas upon which he could present flute melodies that are at times playful and uplifting, and at times nostalgic and more meditative.

 

FLUTE SOLO +

STRING ORCHESTRA

FLUTE +

STRING QUARTET

 

Sefika's Menuetto

score and parts

audio

score and parts

 

XVI.       

 

Excursión a la Montaña

 

Excursión a la Montaña (Excursion to the Mountain) tells the story of the first excursion of a child to the top of a little mountain.  Stylistically, the piece is inspired by the music of Debussy and Prokofiev. In addition to impressionistic harmonies, it incorporates elements of Mexican music and Spanish Flamenco music. This piece was originally written for a friend of the composer, flutist Kim Sopata. This piece has been championed, in particular, by the talented Orlando Cela, who has performed it extensively around the world.

 

For the orchestra version, prepared specially for Sefika Kutluer, the composer revisited the material in this piece and created a markedly different interpretation of it, in a more meditative mood.

 

The piece opens with tremolo strings evocative of a gentle breeze and the shimmer of the morning sun over the waters of a lake. As the flute appears, we hear delicate and cheerful bird sounds that announce the beginning of the day. The “excursion to the mountain” begins as we hear the flute’s longer, climbing melodic lines and the offset pizzicatos and tremolos in the strings.

 

A more serene section follows, presumably corresponding to reaching the top of the mountain in the narrative. The flute’s melody becomes more rhapsodic and capricious while the strings pause and even disappear completely at one point. The melodic line is interjected by ornamentation that emulates the song of birds.

 

The return trip is indicated by the appearance of the flute’s familiar climbing lines, this time with various strings in counterpoint, adding depth and harmonic interest to the flute’s journey. The melodic lines get lower and the strings get softer, until at the end the whole ensemble gives a final triumphant shout.

 

FLUTE SOLO

--original version--

FLUTE SOLO +

STRING ORCHESTRA

 

Excursión a la Montaña

score and parts

audio

score and parts

audio

 

XVII.      

 

Imágenes en la Niebla

 

Imágenes en la Niebla (Images in the Fog) is a deeply personal composition evoking the emotional journey of the composer facing adversity and seemingly undefeatable illness. Through the clouds of pain and distress, he catches a glimpse of luminous images of hope in the distance. Though the path gets rougher and the obstacles more frequent, he emerges victorious from the cloud of fog and joins the luminous images in joyful celebration.

 

Imágenes en la Niebla

PIANO

score and parts

audio

 

XVIII.     

 

Frog Leaps

 

Frog Leaps was written in an improvisational outburst in response to a radio broadcast of “chance-music” composed by John Cage. At first, it creates the image of an energetic amphibian leaping back and forth joyously on the piano keyboard. However, recognizable rhythmic and melodic patterns soon emerge from this improvisational work, ironically validating the value of artificially constructed methods used to introduce “randomness” to music. Originally intended as a joke, Frog Leaps was submitted to a competition where it caught the attention of Italian pianist Giovanni Mancuso. He premiered it in a concert of the new music ensemble Laboratorio Novamusica in collaboration with the Romanian Culture Institute and the Youth Assessorship of Venice. The concert took place at La Fenice opera house.

 

Frog Leaps

PIANO

score and parts

audio