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·                 Danzas Latinoamericanas

·                           I.   Otoño en Buenos Aires (Autumn in Buenos Aires)

·                           II.  Pan de Azúcar (Sugar Loaf)

·                           III. Atardecer Tapatío (Sunset in Guadalajara)

Duration: 10 minutes total (each movement is approximately 3 minutes long)

All movements can be performed independently

Danzas Latinoamericanas (Latin American Dances) was originally commissioned by Mexican cellist Carlos Prieto. It is based on some of the national dances of Argentina, Brazil and Mexico respectively.

·        Otoño en Buenos Aires, is indebted to the concert-style tangos of Astor Piazzolla, as well as the extraordinary songs of Carlos Gardel. 

·       Pan de Azúcar is named after the famous mountain in Rio de Janeiro. It echoes the sensuous music of Antonio Carlos Jobim and the exuberant vitality of the works of Heitor Villa-Lobos.

·        Atardecer Tapatío is inspired by Mexican folk-dance music and the sound of “mariachi” bands. It is a tribute to the composer’s homeland. 

VERSION

SCORE AND PARTS

SAMPLE AUDIO

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String Orchestra + Cello soloist

score & parts (movements #1 & #2)

audio - movement #1

 

 

String Orchestra (with piano)

+ Cello soloist

score & parts - movement #1

 

 

 

String Quartet

score & parts (all 3 movements)

audio - movement #1

video - movement #1

audio - movement #2

video - movement #2

audio - movement #3

video - movement #3

 

8 Cellos

score & parts (all 3 movements)

audio - movement #1

video - movement #1

 

4 Cellos

score & parts (all 3 movements)

audio - movement #1

audio - movement #3

 

2 Cellos

score & parts (all 3 movements)

audio - movement #1

video - movement #1

audio - movement #2

video - movement #2

audio - movement #3

video - movement #3

 

Cello Solo

score & parts (all 3 movements)

audio - movement #1

video - movement #1

 

Cello + Viola

score & parts (all 3 movements)

 

 

 

Cello + Violin

score & parts (all 3 movements)

audio - movement #1

 

 

 

 

 

3

Cello + Violin + Piano

score & parts (movements #1 & #2)

 

 

 

Cello + Violin + Guitar

score & parts – movement #1

 

 

3

Cello + Piano

score & parts (all 3 movements)

audio - movement #1

video - movement #1

 

Cello + Guitar

score & parts - movement #1

audio - movement #1

video - movement #1

score & parts - movement #2

 

 

 

Cello + Accordion

score & parts – movement #1

 

 

3

Cello + Alto Saxophone

score & parts (all 3 movements)

 

 

 

Cello + Piano + Alto Saxophone

score & parts (all 3 movements)

 

 

 

Cello + Piano + Tenor Saxophone

score & parts - movement #2

 

 

 

Cello + Piano + Clarinet

score & parts (all 3 movements)

 

 

 

 

La Alborada de la Esperanza (The Dawn of Hope)

Duration: 4 minutes

The inspiration for this composition is the journey from darkness to light that happens when someone faces a challenging situation and is able to turn around and focus on a more positive future to come. Even though there is some struggle and melancholy in this journey, it gets transformed into hope. The result is a surprisingly luminous composition. It's a very tonal and lyrical and it is dedicated to French cellist Sébastien Hurtaud. The piano and cello version was premiered by Sébastien Hurtaud and Pamela Hurtado as part of the celebrations of the 100th anniversary of the end of World War I on November 11th, 2018. The version for cello and string orchestra was premiered during the World Youth Days in Panama on January 24th, 2019. 

VERSION

SCORE AND PARTS

SAMPLE AUDIO

YOUTUBE VIDEO

Cello + Piano

score & parts

audio

 

 

Cello soloist + String Orchestra

score & parts

 

 

 

Cello + Guitar

score & parts

 

 

 

Cello Solo

score & parts

audio

video

 

Cello Ensemble (4 cello parts,

can be played by 4, 8, 12, etc)

score & parts

 

 

 

Cello + Violin + Guitar

score & parts

 

 

 

Cello + Violin

score & parts

 

 

 

String Quartet

score & parts

audio

video

 

Alto Saxophone + Cello + Piano

score & parts

 

 

 

Voice + Piano + Cello (in G)

ITALIAN VERSION

score & parts

 

 

 

 

Unter dem Sternenhimmel des Rheins

(Under the starry sky of the Rhein) (Bajo el cielo estrellado del Rín)

Duration: 4 minutes

Unter dem Sternenhimmel des Rheins was commissioned by German cellist Benedict Klöckner as a companion piece for Bach’s Cello Suites. The composer was particularly inspired by Mr. Klöckner’s performance of the Gigue in Bach’s Cello Suite #6, and even incorporates some quotes from that piece in his composition. In his attempt to include other elements that referenced Mr. Klöckner’s homeland in Rhineland-Palatinate, he was captivated by the evocative landscapes and medieval castles of the region. The cello solo version of this piece imagines a medieval knight riding a horse through these epic landscapes under the starry sky of the river Rhine. The gallant gallop is sometimes punctuated by moments in which the knight is moved by the beauty of nature into halting his ride to engage in contemplation. The setting for this composition’s world premiere perfectly suited this imagery: performed masterfully by Benedict Klöckner in a concert at night, under the starry sky of the Rhein, at the magnificent castle Schloss Burg Namedy on the banks of the Rhein.

VERSION

SCORE AND PARTS

SAMPLE AUDIO

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Cello solo

score & parts

audio

video

 

Cello & Violin

score & parts

audio

video

 

 

Die Nachtblume (The Night Flower) (La Flor Nocturna)

Duration: 2 minutes and 40 seconds

The composer was inspired by the poems of Baron Joseph von Eichendorff, and in particular, with the idea of the delicate and elusive “blue flower” that represents the balance of humanity with nature and spirituality. This piece attempts to provide a musical commentary about the ephemeral beauty and significance of The Night Flower (Die Nachtblume).

VERSION

SCORE AND PARTS

SAMPLE AUDIO

YOUTUBE VIDEO

Cello & Violin

score & parts

audio

video

 

Cello & Oboe

score & parts

 

 

 

Cello & Guitar

score & parts

 

 

 

 

Die Legende des edlen Ritters (The Legend of the Noble Knight) (La Leyenda del Noble Caballero)

Duration: 12 minutes

 

The first movement of this piece, Unter dem Sternenhimmel des Rheins (Under the starry sky of the Rhine), was commissioned by German cellist Benedict Klöckner as a companion piece for Bach’s Cello Suites. The composer was particularly inspired by Mr. Klöckner’s performance of the Gigue in Bach’s Cello Suite #6, and even incorporates some quotes from that piece in his composition. In his attempt to include other elements that referenced Mr. Klöckner’s homeland in Rhineland-Palatinate, he was captivated by the evocative landscapes and medieval castles of the region, as well as the legends associated with them. The cello solo version of this piece imagines a medieval knight riding a horse through these epic landscapes under the starry sky of the river Rhine. The gallant gallop is sometimes punctuated by moments in which the knight is moved by the beauty of nature into halting his ride to engage in contemplation.

 

Having completed that cello solo piece, the composer wanted to further explore some of the themes presented in that piece. His encounter with the poems of Baron Joseph von Eichendorff led him to becoming enamored with the idea of the delicate and elusive “blue flower” that represents the balance of humanity with nature and spirituality. The second movement, originally an independent piece also dedicated to Mr. Klöckner, attempts to provide a musical comment about the ephemeral beauty and significance of The Night Flower (Die Nachtblume). At this point, having castles, epic landscapes, a noble knight and a mystical flower in the mix as extra-musical elements of the composition, developing a fairy tale was almost inescapable.

 

The third movement uses the recognizable Gregorian Chant Dies Irae (Day of Wrath) and variations of it as the chant of the Lorelei, in an attempt to incorporate the legend of the unfortunate maiden-turned-enchantress associated with one of the geologic features of the banks of the Rhine. Having been betrayed by her beloved, she hurled herself to her death from the top of the rock where her restless soul would remain thereafter hunting passersby. At this point, the composer became aware of the possible involvement of Russian violinist Yury Revich in the world premiere performance of this piece and was inspired by the dramatic possibilities offered by pairing the famed virtuosity and expressivity of both Mr. Klöckner and Mr. Revich to round off the fairy tale. The third and fourth movements are thus dedicated to both of them. The first two movements were adapted for this instrument combination as well.

 

In the third movement, in an unusual twist of the legend of the Lorelei, the wandering noble knight does not get lured by the enchantress to his destruction, as did everyone else that encountered her. Instead, startled at first and then profoundly moved and transformed by the knight’s kindness and wisdom, evoked among other things by a quote from The Night Flower, the Lorelei is finally able to forgive and find peace. Having achieved such feat in The Triumph of the Noble Knight (Der Triumph des edlen Ritters), the knight continues his journey along the river Rhine. The fourth movement synthesizes the various musical and extra-musical themes introduced throughout the piece, bringing back, among other things, the melodies associated with the Bach Gigue from the Cello Suite #6. The fairy tale ends with the knight riding away into the distance as some of the other melodic motives from the suite are combined and transformed into gentler, more joyful versions of the original melodies.

VERSION

SCORE AND PARTS

SAMPLE AUDIO

YOUTUBE VIDEO

Cello & Violin

score & parts

audio

video

audio

audio

audio

 

 

 

Crepúsculos (Alpenglow)

Duration: 4 minutes

Alpenglow is a specific type of twilight, consisting of a magical pinkish or orange light that appears at the top of the Alps right before the sun goes down. The piece is sweet but melancholic, with some elements of minimalist and impressionist inspiration. The piano plays a "moto perpetuo" for most of the piece. The ethereal melodic line sometimes floats above the piano accompaniment and sometimes joins it in its perpetual motion. This composition is dedicated to Sefika Kutluer.

VERSION

SCORE AND PARTS

SAMPLE AUDIO

YOUTUBE VIDEO

Cello + Piano

score & parts

audio

video

 

Cello solo

score & parts

audio

 

 

 

Limoncello

Limoncello is a very sweet, peaceful, lyrical and tonal piece. It is dedicated to Carlos Prieto.

DURATION: 3:30 to 4 minutes

VERSION

SCORE AND PARTS

SAMPLE AUDIO

YOUTUBE VIDEO

String Orchestra + Cello soloist

score & parts

 

Cello + Piano

score & parts

audio

video

 

Cello + Accordion

score & parts

 

Cello solo

score & parts

 

 

Estampas Mexicanas

I.                           I.  Ferial (Parade)

II.                         II. Danza del Pájaro Sagrado (Dance of the sacred bird)

          III.Teotlalli (Land of Gods)

 

Duration: 10 minutes total (each movement is approximately 3 minutes long)

The first and third movements can be performed independently

 

Estampas Mexicanas (Mexican Vignettes) is a suite featuring Mexican folk elements. The composer was inspired by the rhythmic vitality of the music of Carlos Chávez, the ritualistic mysticism of the works of Silvestre Revueltas, and the lyrical melodies of Manuel M. Ponce.

 

·        Ferial is a festive parade of simple, colorful, folk-like tunes and rhythms. The opening of this movement pays homage to composer Carlos Chávez, paraphrasing the opening measures of his "Sinfonía India". But in contrast to Chávez’ work, Elizondo uses this rhythmic material in a lighter manner to propel his festive melodies and create a festive tapestry of sounds.

·        Danza del Pájaro Sagrado The second movement is an imagined Aztec ritual invocation of the sacred bird. The orchestration is sparse and symbolic. The heartbeat of the volcano is heard in the bass drum. The ritual dance steps of the priest are evoked by the rhythm of the congas. The layered musical in the strings creates a musical step-pyramid that the piccolo melody climbs to invoke the sacred bird.

·        Teotlalli includes a celebratory statement of this movement’s main theme in a symphonic version of the mariachi band.

 

VERSION

SCORE AND PARTS

SAMPLE AUDIO

YOUTUBE VIDEO

String Quartet

score & parts - movement #1

audio - movement #1

score & parts - movement #3

audio - movement #3

 

 

 

Chez

Duration: 3 to 3:30 minutes

Chez was named after a friend of Elizondo’s, a talented guitarist whose playing stirred his interest in Spanish guitar music and inspired this piece. Originally composed for flute and guitar, the arrangement for flute and string orchestra was made especially for Şefika Kutluer.

The melodies in this piece originally drew inspiration from the Mexican and Spanish folk traditions, and were later influenced by Elizondo’s listening to Venezuelan waltzes performed by the talented Orlando Cela. The “rondo” form provides an easy structure to the composer for featuring a musical conversation in which the flute and the orchestra take turns introducing melodic material and providing complementary countermelodies or ornamental commentary.

VERSION

SCORE AND PARTS

SAMPLE AUDIO

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Guitar + Cello

score & parts

 

 

Canción de Cuna (Lullaby)

Duration: 3:30 to 4 minutes

As the title indicates, Canción de Cuna is a tender lullaby, hence its simplicity and the composer’s choice of a tonal, lyrical and straight-forward musical language.

VERSION

SCORE AND PARTS

SAMPLE AUDIO

YOUTUBE VIDEO

Flute + Cello + Violin + Piano

score & parts

 

 

 

Flute + Cello + Viola + Piano

score & parts

 

 

 

Clarinet + Cello + Piano

score & parts

 

 

 

 

Princesa de Hadas (Fairy Tale Princess)

Duration: 3-4 minutes

Princesa de Hadas was commissioned by Argentine poet Patricio Méndez in 1996. The orchestral version was created for Şefika Kutluer, who has championed it around the world. The title of this piece refers to a verse from a poem by Méndez, where he describes his beloved as a “fairy tale princess.” The musical material is deliberately simple, tonal, and lyrical, in an attempt to evoke the innocence and romanticism of the world created by the poet for his fairy tale princess. 

The piece consists of alternating sections in minor and major modes. The former more nostalgic and evocative of romantic longing, the latter happier and playful. In the minor sections, the ¾ meter is offset just a touch, with melodic and harmonic ideas frequently coming in on the off-beat, giving the piece a rhythmic rocking quality. The melody in these sections is made out of small motives that seem almost hesitant. The trills in the flute help to paint the magical, almost mysterious setting. In the major sections, the rhythm is regular and steady in the background, which allows the melody to be more expansive, lyrical and romantic.

VERSION

SCORE AND PARTS

SAMPLE AUDIO

YOUTUBE VIDEO

Cello + Piano

score & parts

audio

video

 

Cello + Guitar

score & parts

 

 

 

Cello solo

score & parts

 

 

 

 

Excursión a la Montaña (Excursion to the Mountain)

Duration of the orchestra version: 6 minutes

Duration of the versions for flute solo, cello solo or alto sax solo: 3:30 minutes

 

Excursión a la Montaña tells the story of the first excursion of a child to the top of a little mountain.  Stylistically, the piece is inspired by the music of Debussy and Prokofiev. In addition to impressionistic harmonies, it incorporates elements of Mexican music and Spanish Flamenco music. This piece was originally written for a friend of the composer, flutist Kim Sopata. This piece has been championed, in particular, by the talented Orlando Cela, who has performed it extensively around the world.

 

For the orchestra version, prepared specially for Sefika Kutluer, the composer revisited the material in this piece and created a markedly different interpretation of it, in a more meditative mood. The orchestra version of this piece opens with tremolo strings evocative of a gentle breeze and the shimmer of the morning sun over the waters of a lake. As the flute appears, we hear delicate and cheerful bird sounds that announce the beginning of the day. The “excursion to the mountain” begins as we hear the flute’s climbing melodic lines and the offset pizzicatos and tremolos in the strings. At the point in the narrative where the traveler has reached the top of the mountain, we hear more serene music. Eventually the flute’s melody becomes more rhapsodic and capricious while the strings pause and even disappear completely at one point. The melodic lines are interjected by ornamentation that emulates the song of birds. The descent from the mountain is indicated by the appearance of the flute’s familiar climbing motive, this time with various strings in counterpoint, adding depth and harmonic interest to the flute’s journey.

VERSION

SCORE AND PARTS

SAMPLE AUDIO

YOUTUBE VIDEO

Cello Solo

score

audio

 

 

Baroque Dances

Duration: 7 minutes

Baroque Dances is a suite of 3 short dances in Baroque style, inspired by Bach’s cello suites.

VERSION

SCORE AND PARTS

SAMPLE AUDIO

YOUTUBE VIDEO

Cello solo

score