Orchestral Ambar

Three classically trained Columbian musicians, Juan García, Nelson Gómez and Francisco González, all
immersed in their country’s traditional music, met the Russian violinist Sasha Rozhdestvensky in Paris
in 1998. This soloist of international renown, regularly invited by the world’s most prestigious
orchestras to interpret Tchaikovsky, Shostakovich, Brahms, Mendelssohn etc. also has a great love of
Latin American traditional music. Since that time, they have constantly travelled the world, arousing
the admiration and stirring the emotions of their audiences thanks to the virtuosity of their
interpretation of Latin American music. Their performances have been acclaimed from Moscow’s
Tchaikovsky Concert Hall to Paris’s Salle Gaveau to the Jorge Eliecer Gaitán Theatre in Bogotá, either
as a quartet or accompanied by classical orchestras as has been the case in Russia, Israel and
Switzerland.

Composer Francisco González, greatly appreciated in the world of classical guitar for his works
published by Éditions Henry Lemoine and Robert Martin, decided to write a new orchestral work
where the violin would be the protagonist of a musical voyage through Colombia and its adjacent
regions. The work is entitled Cinco Danzas Concertantes – for violin and orchestra.

Cinco Danzas Concertantes

(Length: 41’15”)

Danza I – Amazonas (Amazonia) – 08’30”
Danza II – La Gran Colombia (Greater Columbia) – 09’00”
Danza III – Caribe (Caribbean) – 08’00”
Danza IV – Andes (The Andes) – 07’45”
Danza V – Llanos (The Plain) – 08’00”

The first «Danza» evokes Amazonia, luxuriant and mysterious.
The second «Danza» is an invitation to discover the romantic world of the Colombian «pasillo», a descendant of
the European waltz, which was danced in the salons of 19th century Greater Columbia.
The «danza habanera», the «bolero» and the «puya vallenata» of the third «Danza» illustrate the
sensuality of the Caribbean.
With the fourth «Danza», we explore, to the sound of the «huayno» and «vidala», the Cordillera of the
Andes and its ancient southern trails where the imprint of the Inca civilisation is still present.
The fifth and final «Danza» pays tribute to the imposing immensity of the plains of the Orinoco with
the «joropo» and the «pasaje».

This work is dedicated to the violinist Sasha Rozhdestvensky.

Thanks to his orchestration, his musical discourse and the dialogue between violin and orchestra, the
composer has been able to express the accent and colours specific to traditional Columbian and
Latin American traditional music. Each movement is steeped in the characteristic melodies and
rhythms of each of these regions which extend beyond the frontiers of Columbia.

Orchestra

1 Flute
1 Oboe
1 Clarinet Bb
1 Bassoon
1 French horn in F
Choir of five barytones
Percussion: Bombo, Caja Vallenata, Clave, Congas and Cymbal
Violins I
Violins II
Violas
Cellos
Double basses

AMBAR Group

Sasha Rozhdestvensky – Violin soloist
Juan García – Flute soloist and Percussion (Güiro, Maracas caribeñas and Maracas llaneras)
Nelson Gómez – Guitarrón
Francisco González – Guitar

In addition to the Cinco Danzas Concertantes – for violin and orchestra, Ambar proposes other works that are part of his traditional repertoire, arranged for this same orchestral format, thus offering a complete program with symphony orchestra.

01- Como Pa’ Desenguayabar – bambuco (Jorge Olaya Muñoz) Colombia (02’40”)
02- Patasdilo – pasillo (Carlos Vieco) Colombia (04’00”)
03- Para Santa Marta + La Cumbiamba – cumbia (Adolfo Echavarría / Tradicional) Colombia (07’00”)
04- El Diablo Suelto – vals (Heraclio Fernández) Venezuela (04’18”)
05- El Tercio – joropo (Cristóbal Soto) Venezuela (02’50”)
06- Um A Zero – choro (Pixinguinha) Brazil (03’09”)
07- Oblivion – milonga (Astor Piazzolla) Argentina (03’44”)