August 29, 2016.

A considerable audience attended the Sixth Symphony Concert, entirely devoted to composers from the Americas. Under the guidance of Israeli maestro Doron Salomon, the Concepción Symphony Orchestra was bursting with power and rhythmic precision in a long and demanding program full of allusions to dances from our continent. The concert began with the “malambos” of Alberto Ginastera’s “Overture to the Creole Faust” and ended in the samba-like uproar of Villa-Lobos’ Choros n° 10, after going through the North American “square dance” from Copland’s ballet “Rodeo”, and the Mexican rhythms of Arturo Márquez’s “Máscaras” (“Masques”), a harp concerto.

The technical demands weren’t lower in “Glass Beads II”, particularly in its agitated final section. Written by Rancagua’s native Rocío Reyes, this was one of the pieces selected in the Concepción Symphony’s 5th Call for the Premiere of Works by Chilean Composers, supported by the Chilean Society for Author’s Rights (SCD).

Outstanding performances were given by the UdeC Choir in the Villa-Lobos, and by the Concepción Symphony harpist, Patricia Reyes, in the local premiere of “Masques”, an extraordinarily appealing score – its rich and colorful orchestration cleverly designed in order not to cover the soloist. This concerto was going to be played by Manuel Jiménez, a plan thwarted by his sudden demise in April. For this reason, the Concepción premiere of “Masques” was dedicated to the memory of this renowned Chilean musician.