The Suite

The pieces in this suite were written for three extraordinary musicians who have been very important in my life: Carlos Prieto, Sefika Kutluer, and Orlando Cela. They have been an inspiration because of their artistic excellence. They have encouraged me to go beyond what I believed was possible and they have asked me to create new music that helped me grow as a composer. It is a privilege to be their friend. Writing the orchestra version of these compositions was also an opportunity to work together with another great musician that has also been a key figure in my life—maestro Wayne Toews—as an inspiration, a mentor and one of my closest friends. The advice of maestros Toews and Cela was invaluable during various phases of the creative process that resulted in the orchestra version of these compositions. I’m deeply grateful to them.

I. Limoncello is a light-hearted composition that was inspired by the beauty of a simple sunny moment that warms up our hearts and makes us smile. This piece is very lyrical, light, sweet, and playful, as the reference in the title to the Italian liquor of the same name indicates. The composer’s love for the cello is another reason for the title. This piece was written for and dedicated to Mexican cellist Carlos Prieto. The composer created a special version of this piece for Orlando Cela and the Lowell Chamber Orchestra.

II. Crepúsculos Alpinos (Alpine Twilight) draws inspiration from the feeling of peace and serenity that is experienced when observing the beautiful type of twilight called Alpenglow. Alpenglow is an optical phenomenon that can typically be experienced in the summit of high mountains and consists of pinkish, reddish, violet light. This piece is very sweet but a little bit melancholic. The piano plays a “moto perpetuo” for most of the piece that sometimes includes references to the Gregorian Chant Dies Irae to signify life, death and the inexorable passing of time. The ethereal melodic line of the flute floats above the texture created by the piano and the orchestra, like a bird that gently flies over a river following its course. The character of this melody is warm and uplifting to signify optimism and hope in spite of life’s ups and downs. The strings play various roles throughout the piece: sometimes they support the melodies of the flute while providing textural interest, sometimes they join the perpetual motion of the piano complementing its sense of flow, like a light breeze or gentle waves in a river, and sometimes they present a warm and lush countermelody to the piano’s Dies Irae. This piece was written for and dedicated to Şefika Kutluer, and the version featured in this recording was transcribed specially by the composer for Orlando Cela and the Lowell Chamber Orchestra.

III. Despapaye is a very playful and colorful word used in Mexican Spanish to refer to something that is a bit messy but in a fun and endearing sort of way. This composition is intended to be lighthearted and fun. With this piece, the composer wanted to celebrate the virtuosic performances and the wonderful sense of humor of maestro Orlando Cela, to whom this piece is dedicated. The composer took elements from an earlier work, his Baroque Dance #2, and transformed it into a new composition that begins as what seems to be a simple and straight-forward Baroque piece for flute, string orchestra, and piano. However, after the first theme is presented, the piece introduces some slightly less standardly-Baroque elements (seemingly out-of-place glissandos, pizzicatos, etc) that announce the introduction of Latin elements into the mix. Gradually, this piece transforms itself into a playful and joyful blend of Baroque music with Latin American salsa music.

— José Elizondo

The composer would like to acknowledge and thank Orlando Cela, Wayne Toews, and Şefika Kutluer for their valuable advice that made the creation of the orchestra version of these compositions possible.