MONTERO Piano Concerto No.1, ‘Latin' Concerto RAVEL Piano Concerto in G major

Carlos Miguel Prieto The Orchestra of the Americas GABRIELA MONTERO Gabriela Montero (b.1970) Piano Concerto No.1, ‘Latin’ Concerto 1 Mambo 11.42 2 Andante moderato 11.24 3 Allegro venezolano 6.50

Maurice Ravel (1875 - 1937) Piano Concerto in G major 4 Allegramente 8.50 5 Adagio assai 8.53 6 Presto 4.06

Total time 51.47

Gabriela Montero The Orchestra of the Americas Carlos Miguel Prieto

2 3 A Pan-American Story My story is a modern one, in many ways. I was born and raised in until the age of 8, at which point my family moved with me to the United States for a decade. I landed at the Royal Academy of Music in in my early twenties. I am a globalized, Latin- American woman raised on a diet of European classical music with multiple, circumstantial side-dishes of Pan-American folklore.

I also consider myself to be a musician whose primary role is to tell stories that reflect the wide gamut of human experience across both time and geography. Every era and continent has its story to tell, however joyful or troubling, from Renaissance Europe to the contemporary Americas, and composers are well positioned not only to tell it, but to provide a unique form of social commentary.

The piano is my chosen instrument as a performer, but not my only narrative tool as a composer and communicator. It should come as no surprise, then, that my first concerto should be written for the piano as solo instrument, and that it should employ traditional, European musical structures to tell my contemporary story as a well-travelled Latin-American woman.

In a process of musical osmosis - a natural consequence of the globalized, interconnected world in which we now live - my Piano Concerto No.1, the ‘Latin’ Concerto, honours the musical traditions that have shaped me, while inviting the cultural idioms of my native continent to the concert halls of Europe and the wider world. European formalism and the informality of Latin-America’s rich, rhythmical identity merge in a complementary dance of both the joyful and macabre.

Writing my concerto, I set out to describe the complex and often contradictory character of Latin America, from the rhythmically exuberant to the forebodingly 4 demonic. Unlike my previous work for piano and orchestra - the specifically Venezuelan polemic ‘Ex Patria’ (2011), a musical portrait of a country in collapse - the ‘Latin’ Concerto draws upon the spirit of the broader South American continent. For every suggestion of surface celebration, in the first-movement Mambo, for instance, there are undercurrents of disruption. The third-movement Allegro venezolano, which cites the well known Venezuelan Pajarillo, is interrupted at times by the dark arts of black magic, a symbolic reminder of the malevolent forces that, too often, hold our continent hostage to tyranny in its multiple guises.

Ravel’s Piano Concerto No.1 in G major invites the North American idiom of jazz to the musical feast. I can only begin to imagine how exciting it must have been for Ravel to embark on a four-month tour of North America in 1928, and to hear Gershwin in the jazz clubs of New York. The story goes that Ravel was so eager to learn the language of jazz that he enlisted Gershwin himself to teach him. “Better you be a first-rate Ravel than a second-rate Gershwin”, came the apocryphal response. Needless to say, Ravel learned plenty of somethin’ on that tour, and returned to Paris determined to fuse his love of the new American jazz and Basque folklore with his own disciplined, exquisitely-crafted, classical expressionism. The result is a piece that delights and moves me every time I play it, a pianist-composer’s bold exploration of multiple musical idioms and structures that I am thrilled to pair with my own South American offering on this recording.

I hope this creative project brings pleasure to all lovers of piano and orchestral music who hold the musical culture of the Americas - North and South - close to their hearts. Gabriela Montero

5 Una Historia Pan-Americana Mi relato es muy de nuestros tiempos, por muchas razones. Nací y me crié en Venezuela hasta los ocho años de edad, cuando mi familia se mudó conmigo a los Estados Unidos durante una década. Aterricé en el Royal Academy de Londres poco después de cumplir los veinte años. Soy una mujer latinoamericana y global, criada con una dieta de música clásica europea, en la cual no podían faltar los múltiples y circunstanciales platillos de contorno del “folklore” pan-americano.

También me considero un músico cuyo papel principal es el de contar las historias que logran transmitir toda la gama de experiencias y emociones humanas cruzando el tiempo y la geografía. No hay lugar ni tiempo que no hayan parido una historia que contar, por más alegres o inquietantes que sean, de la Europa renacentista a las Américas de hoy.

El piano es mi instrumento elegido cuando soy la ejecutante, pero no es mi única herramienta narrativa cuando soy compositora y comunicadora. No debería sorprender entonces que mi primer concierto sea para piano y orquesta, y que utilice formas tradicionales del concierto europeo para narrar mi historia de mujer latinoamericana que conoce a fondo el mundo.

Como en un proceso de osmosis musical, consecuencia natural de la interconexión global en la que vivimos, mi Primer Concierto para piano y orquesta, ‘Latin’ Concerto, quiere honrar las tradiciones que me han formado, invitando a los idiomas musicales de mi continente a participar y ser apreciados en las salas de concierto de Europa y el mundo. El formalismo europeo y la informalidad rítmica desbordante de la identidad latinoamericana se funden y se complementan en una danza alegre y macabra.

Escribiendo mi concierto la meta que me propuse fue hacer una descripción 6 musical del carácter complejo y muchas veces contradictorio de América Latina, que va de rítmicamente exuberante a ominosamente demoníaca. A diferencia de mi obra anterior para piano y orquesta, específicamente venezolana, la polémica ‘Ex Patria’ (2011), el ‘Latin’ Concerto se nutre de la savia del continente entero. Bajo cada sugerencia superficialmente festiva o celebratoria, hay soterradas corrientes de trastorno y transformación. El tercer movimiento, Allegro venezolano, por ejemplo, se ve interrumpido por tenebrosas artes de magia negra, recordatorio de las maléficas fuerzas que con demasiada frecuencia secuestran al continente en tiranías de múltiples caras.

El Concierto No.1 para piano y orquesta de Ravel invita al jazz norteamericano al festín orquestal. Apenas puedo empezar a imaginar la emoción que sintió Ravel al embarcarse en la travesía que lo llevaría por cuatro meses a los Estados Unidos en 1928, donde escuchó a Gershwin en los jazz clubs de New York. Cuentan que Ravel tenía tantos deseos de aprender el lenguaje del jazz que le pidió al propio Gershwin que le enseñara. “Es mejor que sea un Ravel de primera clase que un Gershwin de segunda”, fue la respuesta del norteamericano, apócrifa por cierto. Sobra decir que Ravel aprendió tanto en su gira que regresó a Paris determinado a lograr la fusion del nuevo jazz americano y el folklore vasco con su propio clasicismo expresivo exquisitamente trabajado. El resultado es una obra que me deleita y me conmueve cada vez que la interpreto; la audaz exploración de estructuras e idiomas musicales muy diversos, por un pianista compositor, que me emociona presentar junto a mi ofrenda Latinoamericana en esta grabación.

Espero que este proyecto creativo les brinde placer a todos los amantes del piano y de la música orquestal, así como a todos los que mantienen la cultura musical de las Américas, Norte y Sur, muy cerca del corazón. Gabriela Montero

7 Une Histoire Pan-Américaine Par bien des côtes, mon aventure est une aventure de notre temps. Je suis nee au Venezuela, où j’ai grandi jusqu’à l’âge de huit ans, quand mes parents decidèrent de s’expatrier aux Etats-Unis, m’emmenant avec eux pour un sejour qui durera dix ans. Peu après mes vingt ans, j’atterris au Royal Academy de Londres. Je suis une femme Latino Americaine globalisee, nourrie de musique classique depuis ma plus tendre enfance, fortement arrosee de musiques pan- americaines. Je me vois aussi comme une musicienne dont le rôle primordial est de raconter des histoires qui reflètent toute la gamme des experiences humaines à travers les âges, traversant toute la geographie. Point d’epoque ni de continent qui n’ait sa propre histoire, ses propres drames ou ses propres joies à raconter, de la Renaissance en Europe, aux Ameriques d’aujourd’hui. Le piano est sans aucun doute mon instrument, mais il n’est pas mon seul outil en tant que compositrice ou communicatrice. Cela ne doit pas surprendre, que mon premier concerto soit pour le piano, et qu’il emploie certaines structures, ainsi que des formes musicales europeennes pour raconter mon histoire, contemporaine, de femme latino americaine qui a connu le monde. Par des procedes d’osmose musicale qui sont au fond des consequences naturelles du monde globalise dans lequel nous vivons, mon Premier Concerto pour piano et orchestre, le « Latin » Concerto honore les traditions qui m’ont formee en faisant sonner, dans les grandes salles de concert du monde entier, les langages musicaux de mon continent natal. Le formalisme europeen et l’informalite presque sauvage, parfois, de la riche culture rythmique latino americaine, se mêlent dans une dance où la joie et le macabre se complètent l’un l’autre. En abordant mon ouvrage, je me traçai le projet de decrire le caractère 8 souvent complexe et contradictoire de l’Amerique Latine, du rythme exuberant à l’apprehension demonique. Contrairement à mon œuvre precedente pour piano et orchestre « Ex Patria » (2011), le ‘Latin’ Concerto tire sa substance de l’esprit du continent sud americain tout entier; À chaque envol de fête son contrecourant souterrain, sournois, de perturbations, de distorsions. Le troisième mouvement,Allegro venezolano, par exemple, est interrompu par les arts obscurs de la magie noire, rappel symbolique des forces malefiques de la tyrannie qui trop souvent tient notre continent en otage sous une variete de visages.

Le Concerto No.1 de Maurice Ravel en Sol majeur invite le jazz americain au festin. Je peux à peine concevoir la joie immense de Ravel alors qu’il s’embarque pour un voyage de quatre mois aux Etats-Unis en 1928, où il ira voir Gershwin jouer dans les jazz clubs de New York. On raconte que Ravel desirait tant apprendre le jazz qu’il pria Gershwin de le lui enseigner. L’americain lui aurait repondu : « il vaut mieux être le premier Ravel que le deuxième Gershwin ». On sait aujourd’hui que cette belle reponse est apocryphe. Inutile de remarquer que Ravel ramena en effet avec lui beaucoup de jazz dans ses valises, et rentra à Paris decide d’operer la fusion entre le jazz, son folklore basque et son propre expressionnisme classique, travaille à sa manière exquise avec une discipline unique. Le resultat est une œuvre qui me charme, qui m’emeut à chaque fois que je la joue; une exploration audacieuse de pianiste- compositeur dans de multiples langages musicaux ; œuvre que je suis ravie de joindre à ma propre offrande sud americaine dans cet enregistrement.

J’espère que ce projet de creation apportera de la joie à tous les ferus de piano et de musique orchestrale qui ont la musique des Ameriques, Nord et Sud, très près de leur cœur. Gabriela Montero

9 Eine Pan-Amerikanische Geschichte Meine Geschichte ist in vielerlei Hinsicht eine moderne Geschichte. Ich wurde in Venezuela geboren, wo ich aufwuchs, bis ich acht Jahre alt war. Mit acht zog ich mit meiner Familie für ein Jahrzehnt in die USA. In meinen frühen Zwanzigern fand ich an der Royal Academy of Music in London wieder. Ich bin eine globalisierte, lateinamerikanische Frau, aufgewachsen mit den Köstlichkeiten Europäischer klassischer Musik, gespickt mit oft zufälligen Zwischengängen amerikanischer Folklore. Ich sehe mich selbst als Musikerin, deren erste Rolle es ist, Geschichten zu erzählen. Geschichten, die die Weite der Tonleitern menschlicher Erfahrungen über Zeit und Geographie hinweg reflektieren. Keine Ära, kein Kontinent, der nicht seine Geschichte zu erzählen hat, unabhängig davon, wie freudvoll oder schwierig, von der europäischen Renaissance bis zum amerikanischen Kontinent der heutigen Zeit. Das Klavier ist das von mir gewählte Instrument als Musikerin, aber es ist nicht mein einziges Werkzeug als Komponistin und Erzählerin. Daher wird es keine Überraschung sein, dass ich mein erstes Konzert für Klavier geschrieben habe und dass es sich traditioneller, europäischer Strukturen bedient, um meine heutige Geschichte als weitgereiste Latein-Amerikanerin zu erzählen. In einem Prozess musikalischer Osmose – eine natürliche Konsequenz der globalisierten, verbundenen Welt, in der wir heute leben – erkennt mein Klavierkonzert Nr. 1, das „Latin“ Concerto, die musikalischen Traditionen an, die mich geformt haben. Zugleich lädt es die kulturellen Idiome meines Heimatkontinents in die Konzerthallen Europas und der weiten Welt ein. Europäischer Formalismus vermischt sich mit der Informalität der reichen, rhythmischen Identität Latein-Amerikas in einen sich ergänzenden Freuden- und Totentanz.

10 Als ich mein Konzert schrieb, begann ich den komplexen und oft widersprüchlichen Charakter Lateinamerikas zu beschreiben, vom rhythmischen Überschwang bis zur Vorahnung des Dämonischen. Im Unterschied zu meinem vorhergehenden Werk für Klavier und Orchester - die spezifisch venezolanische Polemik „Ex Patria“ (2011) - greift das „Latin“ Concerto den Geist der Vielfältigkeit Südamerikas auf. Jedem Hinweis oberflächlicher Feiern sind unterschwellige Ströme von Spaltung und Verzerrung entgegengesetzt. Der dritte Satz, Allegro venezolano, ist zum Beispiel von der dunklen Kunst der schwarzen Magie, einer symbolischen Erinnerung an übelwollende Kräfte die, viel zu oft, unseren Kontinent zur Geisel der Tyrannei in seinen vielen Facetten macht, unterbrochen. Ravels erstes Klavierkonzert in G-Dur ladet die Nord-Amerikanischen Jazzidiome zum musikalischen Mahl. Ich kann nur erahnen, wie aufregend es für Ravel gewesen sein muss, 1928 zu einer vier-monatigen Reise nach Nord-Amerika aufzubrechen, auf der er Gershwin in den Jazz Clubs New Yorks gehört hat. Man sagt, dass Ravel unbedingt die Sprache des Jazz lernen wollte und dass er niemanden geringeren als Gershwin als Lehrer engagiert wollte. „Besser Sie sind ein erstklassiger Ravel als ein zweitklassiger Gershwin“ kam die postwendende Antwort. Natürlich lernte Ravel viel auf der Reise und kehrte mit dem Willen zurück, seine Liebe zum neuen amerikanischen Jazz und der baskischen Folklore mit seinem eigenen, disziplinierten, perfekt verarbeiteten, klassischen Expressionismus zu vereinen. Das Resultat ist ein Stück, das mich jedes Mal, wenn ich es spiele, erfreut und bewegt. Es ist die kühne Entdeckungsreise zu verschiedensten musikalischen Idiomen und Strukturen eines Pianisten und Komponisten, die ich mit Begeisterung mit meiner eigenen, südamerikanischen Reise auf dieser Aufnahme zusammenbringe. Ich hoffe, dass dieses kreative Projekt allen Liebhabern von Klavier- und Orchestermusik, die die musikalischen Kulturen Amerikas - Nord und Süd - im Herzen tragen, Freude bereitet. 11 Gabriela Montero Uma história pan-americana Minha historia e moderna, em muitos sentidos. Nasci e cresci na Venezuela ate os oito anos de idade, momento em que minha familia se mudou comigo para os Estados Unidos por uma decada. Eu aterrei na Royal Academy of Music, em Londres, aos meus vinte e poucos anos. Sou uma mulher latino- americana globalizada criada com uma dieta de musica classica com multiplos acompanhamentos circunstanciais do folclore pan-americano.

Eu tambem me considero uma musica cujo papel principal e contar historias que refletem a ampla gama de experiência humana em ambos os tempo e geografia. Nenhuma epoca ou continente não tem sua historia para contar, por mais alegre ou perturbadora que seja, desde Europa renascentista ate as Americas contemporâneas.

O piano e o instrumento que escolhi como interprete, mas não so como minha ferramenta narrativa como compositora e comunicadora. Não e surpresa, então, que meu primeiro concerto tinha que ser escrito para piano como instrumento solista, e que deveria empregar estruturas musicais para contar a minha historia contemporânea como uma mulher latino-americana viajada e experiente.

Em um processo de osmose musical - uma consequência natural do mundo globalizado e interconectado em que vivemos agora - meu Concerto para Piano No.1, o Concerto ‘Latino’, homenageia as tradições musicais que me moldaram, enquanto convidavam os idiomas culturais do meu continente nativo para as salas de concerto da Europa e do resto do mundo. O formalismo europeu e a informalidade dos ricos ritmos da America Latina se fundem em uma dança complementaria do alegre e o macabro. Escrevendo meu concerto, me propus a descrever o complexo e muitas vezes contraditorio caráter da America Latina, a partir do ritmo exuberante ate o 12 pressentido demoniaco. Ao contrario do meu trabalho anterior para piano e orquestra - a especificamente polêmica venezuelana‘Ex Patria’ (2011) - o Concerto ‘Latino’ baseia-se no espirito do mais amplo Continente sul- americano. Para cada sugestão de superficie de celebração, há subcorrentes de ruptura e distorção. O terceiro movimentoAllegro venezolano, por exemplo, e interrompido pelas artes das trevas da magia negra, um lembrete simbolico das forças malevolas que, muitas vezes, mantêm nosso continente refem da tirania em seus multiplos disfarces. O Concerto No.1 em Sol maior de Ravel convida o idioma norte- americano do jazz a um banquete musical. Eu so posso imaginar quão emocionante deve ter sido para Ravel embarcar em uma turnê de quatro meses por America do Norte em 1928, e ouvir Gershwin nos clubes de jazz de Nova Iorque. Diz a historia que Ravel estava tão ansioso por aprender a linguagem do jazz que convocou o proprio Gershwin para ensina-lo. “Melhor você ser um Ravel de primeira categoria do que um Gershwin de segunda categoria”, foi a resposta apocrifa. Não e necessário dizer que Ravel aprendeuplenty of somethin’ ou muito de algo nessa turnê, e voltou para Paris determinado a fundir seu amor pelo novo jazz americano e o folclore basco com o seu proprio expressionismo clássico disciplinado, requintadamente trabalhado. O resultado e uma peça que me encanta e me emociona toda vez que eu a interpreto, uma exploração corajosa de multiplos idiomas musicais e estruturas que eu estou emocionada em emparelhar com a minha, uma oferenda sul-americana nesta gravação. Espero que este projeto criativo agrade a todos os amantes de piano e musica orquestral que detem a cultura musical das Americas - Norte e Sul - perto de seus corações. Gabriela Montero

13 Gabriela Montero was born in Venezuela, where she made her solo debut at the age of five, and her concerto debut aged 8. After studying at the Royal Academy of Music in London and winning the bronze medal at the 1995 International Chopin Competition, Gabriela came to international prominence, playing with the world’s most prestigious orchestras and in the most celebrated concert halls, including the New York, Los Angeles and London Philharmonic Orchestras, the Chicago, Boston, Pittsburgh, Cleveland, Houston, Detroit and San Francisco Symphony Orchestras, the Philadelphia Orchestra, the Gewandhaus Orchestra, The Academy of St. Martin-in-the-Fields, the Zurich Kammerorchester, Wigmore Hall, the Berlin Philharmonie, Elbphilharmonie Hamburg, and Carnegie Hall.

Celebrated not only for her interpretations of the classical repertoire, Gabriela is a prolific improviser, composer and activist in the field of Human Rights, a portfolio of diverse disciplines that has led to a variety of appointments and awards. She has won a Latin Grammy for “Best Classical Album” (Orchid Classics) as pianist and composer for Ex Patria (2011), her composition protesting the collapse of Venezuela; two ECHO awards; two Grammy nominations; the Heidelberger Frühling Prize; a Rockefeller Award, and the Beethoven Prize for Music and Activism. Gabriela was invited to participate in the 2013 Women of the World Festival at London’s Southbank Centre, and was named the first Honorary Consul of Amnesty International in 2015. She has spoken and performed twice at the World Economic Forum in Davos, and has been recognised for Outstanding Work in the Field of Human Rights by the Human Rights Foundation for her ongoing commitment to human rights advocacy in Venezuela. In 2009, Gabriela was invited to play at the inauguration of US President . Her solo discography includes four solo albums on the EMI/Warner label, and two orchestral albums on the Orchid Classics label.

gabrielamontero.com 14 Musical America’s 2019 Conductor of the Year, Carlos Miguel Prieto is known for his charismatic conducting and dynamic, expressive interpretations, which have led to major engagements and popular acclaim throughout North America, Europe and beyond.

A passionate proponent of music education, Prieto has served as Principal Conductor of The Orchestra of the Americas from its inception in 2002, and was named Music Director in 2011. Prieto also works with Carnegie Hall’s NYO2, leading musicians aged 14-17 from across the United States.

A graduate of Princeton University and Harvard Business School, Prieto is a highly influential cultural leader as well as the foremost Mexican conductor of his generation. He has been Music Director of the Orquesta Sinfónica Nacional de Mexico since 2007. In 2008, he was appointed Music Director of the Orquesta Sinfónica de Minería. Having conducted over 100 world premieres of works by Mexican and American composers, Prieto is renowned for championing and commissioning the music of Latin American composers.

Since 2006, Prieto has been Music Director of the Louisiana Philharmonic Orchestra. On 27 February 2018, he led the orchestra in its Carnegie Hall debut in a concert celebrating the 80th birthday of Philip Glass. Prieto has also conducted the Chicago Symphony Orchestra, Boston Symphony Orchestra, , London Philharmonic Orchestra, Royal Liverpool Philharmonic, Beijing Symphony Orchestra, the Hallé, NDR Elbphilharmonie Orchestra, Frankfurt Radio Symphony, BBC National Orchestra of Wales and the Bilbao Orkestra Sinfonikoa.

15 Prieto’s recordings include works by Bruch, Beethoven and Mendelssohn with violinist Philippe Quint and the Orquesta Sinfónica de Minería (Avanticlassic), and Korngold’s Violin Concerto, which was nominated for two GRAMMY Awards (Naxos).

In April 2018 Prieto was awarded an honorary Doctor of Music by Loyola University New Orleans. carlosmiguelprieto.com 

Led by Music Director Carlos Miguel Prieto and Artistic Advisor Plácido Domingo, The Orchestra of the Americas is a pan-American symphony orchestra made of top musicians under the age of 30, representing 25 countries in the western hemisphere. The voice of a continent, 6000 prodigious musical contenders enter the orchestra’s annual audition process from Patagonia to Alaska, ranking it among the world’s most competitive academies. The orchestra’s mission is to empower rising musical leaders to transform lives and communities across the Americas and beyond.

The season centerpiece is a July-August residency and concert tour held each year in different regions of the world. Since its 2002 inaugural tour, the orchestra has performed more than 350 concerts across four continents, including at Symphony Center Chicago, Palacio de Bellas Artes Mexico, The

16 Kennedy Center Washington DC, Teatro Colón Argentina, Sala São Paulo, The Oriental Arts Centre Shanghai, The Edinburgh Festival, Basilica di San Pietro and other landmark venues throughout more than 40 countries. Hailed by Hamburger Abendblatt for ‘the most unforgettable performance in the history of the Elbphilarmonie’, the orchestra brings renowned artists - Yo-Yo Ma, Valery Gergiev, Philip Glass, Gabriela Montero and many more - into the lives of a new generation of musical leaders and diverse audiences from Carnegie Hall to the favelas of Rio de Janeiro, reaching millions through live performances, broadcasts, recordings and documentary films.

Gabriela Montero’s Orchid Classics recording with the orchestra of the Rachmaninov Piano Concerto No.2 and her own Ex Patria won the 2015 Latin Grammy Award for Best Classical Album. orchestraoftheamericas.org

17 2017 ROSTER THE ORCHESTRA OF THE AMERICAS

VIOLIN Mariel Constanza Godoy Fuentes, Chile Blake Pouliot, Canada, Concertmaster Roberto Carlos Henriquez Martinez, Honduras Ana Andrea Aparicio Coronado, Venezuela Yang Li, United States Zuriel Bermúdez Cisne, Nicaragua Jesus Eduardo Mujica Parra, Venezuela Cindy Burgos, Belize Gabriel Polycarpo, Brazil Faridde Caparo, Peru Johan Rondon, Venezuela Marcela Cerna Alcántara, Peru Hannah Ross, United States Victor Daniel Diaz Sanchez, Colombia Daluz Sepúlveda Aqueveque, Chile Francisco Dourthé Orrego, Chile Darren Young, Jamaica Oscar Albert Garcia Delgadillo, Bolivia CELLO Leah Latorraca, United States Candela Cuevas Djamgossian, Argentina Alba Layana Izurieta, Ecuador Konstantin Evmenkin, Mexico Sarah Martin, United States Kevin José Guerra Rondón, Venezuela Lyrit Milgram, Canada José Paredes Suárez, Ecuador Fernando Muñoz, Cuba Tatiana Marcela Pérez Hernández, Colombia Lucia Ocaranza Piñones, Chile Hermann Schreiner, Argentina Ariana Soledad Oroño Guillén, Venezuela Eduardo Simpson, Chile Jonathan Perodin, Haiti Bruno Tobon, Canada Juan Pablo Ramirez Ortiz, Guatemala Diana Ramírez Rosales, Costa Rica DOUBLE BASS Manuel Simpson, Chile Guillermo Salvador Caminos López, El Patricio Velásquez Cárdenas, Chile Salvador Rosalyn Weiss, United States Talia Hatcher, Canada Nelson Camilo Hernandez Ardila, Colombia VIOLA Davi Ciriaco Moreira, Brazil Orlando Javier Barajas Soria, Mexico Luis Primera, Venezuela Alejandro Cárcamo, Chile Carmen Liseth Rodríguez, Panama

18 FLUTE TRUMPET Damian Barnett, Chile Matías Díaz-Alfaro, Chile William David Cedeño Torres, Venezuela Carlos Gilberto Gómez González, Mexico Marina Pierucci, Brazil Kevin Karabell, Venezuela

OBOE TROMBONE Itzel Mendez Martinez, Mexico Kalun Leung, Canada Alan Morris, United States Alexander Walden, United States Belinda Rosen, United States Sebastian Cifuentes Zuluaga, Colombia (Bass)

TUBA CLARINET Andrés Felipe Sánchez Acevedo, Argentina Silvio Guitian, United States Juan Esteban Martinez, Dominican Republic PERCUSSION Hector Noriega Othon, Mexico Tomás Moreno Vivanco, Chile Roy Park, United States Guillermo Andres Ospina Martinez, Colombia Maximiliano Polo, Venezuela BASSOON Fábio Santos, Brazil Ananta Diaz, Venezuela Andrea Yáñez Centeno Villalobos, Mexico Kara LaMoure, United States Abner Silva Pinto, Brazil TIMPANI Vallentina Nobizelli , Chile FRENCH HORN Luis Ignacio Barbe Espinosa, Uruguay PIANO Anthony Calderon, Puerto Rico Lisa Maria Blanco Muiño, Cuba Israel Macedo, Peru HARP Jessica Vicente, Brazil Ian McVoy, United States Nathan Yohan, Brazil

19 20 Special Thanks This is my second orchestral recording on the Orchid Classics label in collaboration with The Orchestra of the Americas and Maestro Carlos Miguel Prieto. I would especially like to thank: Maestro Carlos Miguel Prieto, not only for his involvement in this recording, but for his invaluable part in commissioning the ‘Latin’ Concerto in partnership with the Orquesta Sinfonica Nacional de Mexico, MDR Leipzig and Klavier Festival Ruhr; the excellent and diligent musicians of The Orchestra of the Americas for their untiring commitment; The Orchestra of the America founders, Hilda Ochoa-Brillembourg and Arturo Brillembourg; Mark Gillespie, Nina Weir and all The Orchestra of the Americas staff whom I hold in great affection; the visionary Nicola Schiess and her staff at Teatro del Lago, Frutillar, Chile; Jonathan Allen, engineer, producer, friend; Georg Obermayer and Accentus Music GmbH; my team at IMG Artists; Matthew Trusler and the team at Orchid Classics; photographer Anders Brogaard and post-production colourist Jinny Zola; Jorquera Pianos, Barcelona; and finally, to the person who wishes to remain anonymous, who has changed my life forever with her love, friendship and support – I can never thank you enough.

21 Executive Producer: Hilda Ochoa-Brillembourg Executive Producer: Nicola Schiess Executive Producer: Sam McElroy Associate Producer: Mark Gillespie Associate Producer: Nina Weir Associate Producer: Carmen Gloria Larenas Associate Producer: Veronique Mondini Produced, Recorded and Mixed by Jonathan Allen Mixed at Ollewood Mix Room, UK Photography: Anders Brogaard Photography Post-Production: Jinny Zola Translation (GR): Bernhard Kerres Recorded LIVE at Teatro del Lago, Frutillar, Chile, July 2017

22 For more information on Orchid Classics please visit www.orchidclassics.com You can also find us on Facebook, Twitter, Instagram and our YouTube channel 23 Made in the EU ℗ and © 2019 Orchid Music Limited ORC100104 ORC100104