Arturo Márquez’s “Concierto de Otoño” (“Autumn Concerto”)
Notes by TŌN violist Chia-Mei (Lily) Li
Arturo Márquez, born in 1950, is one of the most remarkable living Mexican composers. His musical training began in Mexico, continued in Paris, and later at the California Institute of the Arts in the United States. Márquez is well known for blending classical orchestral techniques with Mexican rhythms, popular-dance genres, and local musical languages. His iconic series of orchestral works titled Danzones adapts Latin dance idioms into symphonic form, creating a vibrant fusion that has gained international recognition.
Concierto de Otoño (Autumn Concerto) continues this approach but on a more personal scale, centered around the trumpet—a symbolically important instrument in Mexican musical culture. Márquez considers the trumpet the “queen in the heart of Mexico”, embodying both joy and sorrow across regional traditions. Composed for Venezuelan trumpeter Pacho Flores and premiered by him in 2018, the concerto pays homage to this expressive heritage. Its three movements draw on Latin dance forms and natural imagery, and the soloist alternates among trumpet in C, flugelhorn, soprano cornet, and trumpet in D, giving each movement a distinct color.
I. Son de luz
The concerto opens brightly and confidently. “Son” refers to an Afro-Cuban–influenced song or dance, while “luz” means light, reflecting the movement’s radiant character. Though loosely sonata-like, the music is driven primarily by rhythm: off-beat patterns, sharp accents, and active percussion. The trumpet enters assertively, like a storyteller stepping forward, and the dance elements feel natural, folksy, and lively.
II. Balada de floripondios
Here the atmosphere softens. “Floripondios” are flowers shaped like trumpets, an image Márquez evokes by featuring the warmer timbre of the flugelhorn. This lyrical ballad unfolds gently, almost like a quiet love song. More introspective than the first movement, it functions as a “song without words,” shaped by long, flowing lines and subtle variations rather than sharply divided sections.
III. Conga de flores
The finale bursts into vibrant motion. Drawing on the Afro-Cuban conga rhythm, it sustains the floral imagery of the preceding movement. A dance-like rondo drives the music forward with recurring themes, and an improvisatory cadenza allows the soloist expressive freedom, echoing the spontaneity of folk traditions. The result feels celebratory—like a street festival full of color, energy, and movement.