Peruvian composer and ethnomusicologist Daniel Alomía Robles (1871-1942) is best known for composing the popular song “El cóndor pasa.” Based on Andean folk songs, the tune is known worldwide since it was used by folk rock duo Simon & Garfunkle and arranged and played by Peruvian native instrument ensembles around the world. In 2024, Dr. Silas Huff composed this set of variations on the melody in order to explore the cross-cultural effect of setting an Andean folk song in a western European orchestral fashion. The piece quotes orchestral interludes from works by Johannes Brahms (1833-1897) and Antonín Dvořák (1841-1904) in support of Robles’ noble melody.

Featuring Jessica Arzate, Spanish & Hispanic Studies Graduate

Translation:

Caminante, son tus huellas
el camino y nada más;
Caminante, no hay camino,
se hace camino al andar.
Al andar se hace el camino,
y al volver la vista atrás
se ve la senda que nunca
se ha de volver a pisar.
Caminante, no hay camino
sino estelas en la mar.

Traveler, your footprints
are the only road, nothing else.
Traveler, there is no road;
you make your own path as you walk.
As you walk, you make your own road,
and when you look back
you see the path
you will never travel again.
Traveler, there is no road;
only a ship’s wake on the sea.

Alfonso Leng Haygu (1884-1974) was a Chilean dentist and composer of post-romantic music. A nationalist who was inspired by the music and art of his homeland, Leng’s first important symphonic work, “La Muerte de Alcino”, is a symphonic poem inspired by the novel of Pedro Prado. He composed art songs, piano pieces, and this delightful and expressive Andante for Strings.

Featuring Ivan Flores Velazquez, choreographer, and Iris Martinez

Ángel Gregorio Villoldo Arroyo (1861-1919) was an Argentinian lyricist, composer, instrumentalist, and singer of popular music. His most famous work, “El Choclo,” is a tango of enduring popularity, performed frequently by dance bands and orchestra around the globe.

Pequeño Sueño en Rojo (Small Dream in Red) is the first symphonic work written by Puerto Rican-born composer and multi-instrumentalist Angélica Negrón. Know for playing with the intersection of classical and electronic music, unusual instruments, and electronic music based on found sounds, Negrón’s music has been described as “wistfully idiosyncratic and contemplative” (WQXR/Q2) while The New York Times noted her “capacity to surprise.” She has been commissioned by the Bang on a Can All-Stars, Kronos Quartet, loadbang, Prototype Festival, Brooklyn Youth Chorus, Sō Percussion, the Dallas Symphony Orchestra, National Symphony Orchestra, Opera Philadelphia, the Louisville Orchestra and the New York Botanical Garden, among others. Pequeño Sueño en Rojo is an esoteric tone poem inspired by Russian abstract artist Wassily Kandinsky’s (1866-1944) painting by the same name (Small Dream in Red). Tonight’s performance of Pequeño Sueño en Rojo is only the second performance ever (the first being the world premiere in New York City in 2008 under Dr. Huff’s baton).

José Gomes de Abreu, better known as Zequinha de Abreu (1880-1935), was a Brazilian musician and composer born in São Paulo. Abreu composed mostly choro tunes—upbeat, happy instrumental popular music pieces that often feature virtuosity and improvisation by the players. His most famous choro is 1917’s “Tico-Tico no Fubá,” which was developed into a popular song with lyrics, performed and recorded by Ethel Smith, The Andrews Sisters (with English-language lyrics by Ervin Drake), Carmen Miranda, and others

I. Noche de los Mayas, Molto sostenuto
II. Noche de Jaranas, Scherzo
III. Noche de Yucatan, Andante espressivo
IV. Noche de Encantamiento, Teme y variaciones

Silvestre Revueltas Sánchez (1899-1940) was a Mexican classical music composer, a violinist, and conductor know for his film music, chamber music, songs, and other works. His most famous work is undoubtedly La Noche de Los Mayas, a four-movement suite derived from his film score from José Yves Limantour’s 1939 film by the same name. This epic tour de force features the most dramatic music Revueltas ever wrote, and the suite closes with a bombastic set of variations on a theme featuring 13 percussionists.

Dr. Huff and the NIU Philharmonic want to express special gratitude to Drs. Greg Beyer and Tom Bough for their collaboration on this project. Without their cooperation and assistance, and especially without Dr. Beyer’s coaching, it would not have been possible.