Conductors

In Order of Appearance:

Ricardo Averbach

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Director of Orchestral Studies at Miami University and Past President of the College Orchestra Directors Association (CODA), is the winner of the 2010 American Prize in Conducting. He also received the 1st Honor Diploma at the 2010 Masterplayers International Music Competition in Lugano, Switzerland. His discography includes several world premiere recordings, which have sold more than half a million copies around the globe. Averbach conducts regularly in South and North America, Europe and Asia, having performed as guest conductor in Bulgaria, Russia, Portugal, Italy, Luxembourg, France, China, Brazil, Azerbaijan, Ecuador, Argentina, Japan, Dominican Republic and the United States.

Eduardo García Barrios

El director de orquesta mexicano Eduardo García Barrios. Foto: Musical Arts Foundation

Eduardo García Barrios, guest conductor, was born in México city on November 12th, 1960. He studied at the National Conservatory of Music of Mexico, with the teachers José Suárez, Ana María Báez and Gela Dubrova.  

Motivated by Gela Dubrova, one of his most inspiring teachers, he continued his formal education in the Soviet Union where he was deeply influenced by Mikhail Voskresensky and Dimitri Kitayenko, Moscow Philharmonic Chief Conductor.

During his permanence at Soviet Union, Barrios founded the Moscow Sinfonietta and graduated with honors from Tchaikovsky Conservator in Moscow in 1990 as Symphonic and Opera Conductor. That year, he returned to Mexico and among a group of Russian musicians founded  the Baja California Orchestra, acting as Chief Conductor and Musical  Director until 1998.  

From 1998 to 2002 Barrios acted as a Chief Conductor for the Lima University Philharmonic in Peru, chief conductor of Symphonic Orchestra of National Conservatory of Music of Mexico, chief conductor of Carlos Chávez Symphonic Orchestra (today, School Orchestra Carlos Chávez) and associate conductor for the San Antonio Texas Symphonic Orchestra.

In 2010, Barrios returned to Baja California and co­founded the Center of Musical Arts (CAM), an institution that developed REDES 2025, a state program of musical communitary groups.  

Aside from his trajectory as a conductor, Barrios believes that the musical work is not only an art, but also an opportunity of life, a way to build community and social organization, to strengthen the identity and create collective consciousness.

Barrios acted as member of the Academic Council of School Orchestra Carlos Chávez, a model of alternative and musical education that today is the center of musical development of the School Orchestra Carlos Chávez, one of the most important artistic groups of the National  System of Musical Development (SNFM) of the Secretary of Culture.  Since April 2013, Eduardo García Barrios has been the national coordinator of SNFM.

 

Arturo Marquez


Arturo Márquez, guest conductor, was born deep in the Sonoran desert in the colonial town of Alamos, Mexico on December 20, 1950. His mother, Aurora Navarro, says “her womb cried” when describing his birth. He was named after his father, Arturo Márquez, who was of Mexican descent from Arizona. Arturo’s father was a man of many talents. He played the violin, was a mariachi, and worked as a carpenter when the family needed to make ends meet. He introduced his first born son to music. Arturo’s father often played with a quartet, so his first music lessons consisted of listening to the traditional music, waltzes, and polkas they performed.

The Márquez family moved to Los Angeles, California in 1962 where Arturo began to study violin and several other instruments at his junior high school. He also began to compose. Márquez said, “My adolescence was spent listening to Javier Solis, sounds of mariachi, the Beatles, Doors, Carlos Santana and Chopin.” At 17 he returned to Sonora, and the following year he was named director of Municipal Band Director in Navojoa.

Márquez he entered the Mexican Music Conservatory in 1970 where he studied with Joaquin Gutierrez Heras and Federico Ibarra. Later he received a scholarship from the French government to study composition with Jacques Casterede in Paris. After studying in France he received a prestigious Fulbright Scholarship in the US, where he used it to obtain a MFA degree from the California Institute of the Arts.

Until the early 1990s Márquez’ music was largely unknown outside his native country. That changed when he was introduced to the world of Latin ballroom dancing. The movement and rhythms led him to compose a series of pulsating Danzones. The Danzones are a fusion of dance music from Cuba and the Veracruz region of Mexico. The most popular of the Danzones is the Danzón No. 2. It thrills audiences with its entrancing, seductive rhythms. The Danzón No. 2 was commissioned by the National Autonomous University of Mexico (UNAM), and because of its popularity, it is often called the second national anthem of Mexico.

Arturo Márquez works at the National University of Mexico, Superior School of Music and the National Center of Research, Documentation and Information of Mexican Music. He and his family live in Mexico City.

(from http://www.concierto.org)

 

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