Spanish Suites

Composer's Notes

The Trumpet Concerto was commissioned by Luis González, to whom it is dedicated. Luis has always been a key figure for Spanish trumpeters and, naturally, has also been a great inspiration to me as a trumpeter. I first met him at the Cadaqués International Conducting Competition, and since then, we have maintained a close connection. His warmth and kindness are truly remarkable. It has been an immense pleasure for me to compose this concerto and to perform it alongside him and the OSRM. I must also express my gratitude to him for reviving a piece I composed in my youth, Sueño de un trompeta, which has been included as an encore.

Both the Trumpet Concerto and the Spanish Suites carry a distinctively Spanish essence, blending classical forms and symphonic developments with jazz scales and subtle nods to the harmonic language of film scores. The first movement of the Trumpet Concerto evokes the inflections of a cantaor and the traditional folk songs of the region, transposed to the trumpet through various variations. The second movement is more evocative and richer in colour, creating an introspective atmosphere, while the third stands out for its strength and energy. The final coda revisits the main themes of the previous two movements, culminating in a cyclical conclusion that unifies the entire work.

Each movement of the Spanish Suites is inspired by a different palo of flamenco, which the composer transforms in unique ways. Some movements incorporate elements such as bitonality or atonal diatonicism—techniques used to create contrast or convey a particular effect—without becoming the predominant compositional resource.

Spanish Suite No. 1

Amor y yo is based on the rhythm of the alegrías of flamenco, beginning on the third beat of the twelve-count measure. The B section incorporates the characteristic bordón (bass line), harmonically modified to create a more contemporary sonority reminiscent of film music. The rhythm of the main theme playfully nods to Tirititrán.

De aquí y de allá draws inspiration from the Flamenco guajira style, beginning on the tonic rather than the dominant. Its tripartite structure follows a ternary lied form (ABA), with only the central section in the major mode—a subtle homage to the cantes de ida y vuelta, which often shifted from minor to major. Throughout the development, one can observe modulations by major thirds before returning to the minor mode.

Reales y pesetas is based on the tanguillo (a lively flamenco style from Cádiz) from Cádiz. Both its melody and title subtly reference the most famous tanguillos such as Aquellos duros antiguos. The piece is characterised by constant polyrhythms between binary and ternary metres and features a highly complex form. As the final movement of Suite No. 1, it concludes with a triumphant choral passage, joyful and concise.

Spanish Suite No. 2

Virgulilla takes its name from the small tilde-shaped diacritical mark associated with the letter “ñ,” a distinctive feature of the Spanish alphabet that symbolises the language’s cultural identity and richness. The piece references the fandango, one of the oldest palos, though it does not strictly follow the traditional abandolao rhythm, a variant of the fandango. A recurring motif, used as a leitmotif, weaves through the entire work.

La cocinera is based on tangos, a style that forms the rhythmic core of binary-compass flamenco styles. The piece largely preserves the characteristic harmonic structure of tangos, including their traditional introduction, rhythmic drive (soniquete), and section closures.

Vida is inspired by the bulerías, one of the fastest twelve-count flamenco forms. While traditionally counted in a unique asymmetric pattern, modern notation often represents it in 6/8. This work is a continuous process of variation and evolution, growing from minimalism to grandeur. Composed during the 2020 lockdown, it reflects how, even in the most difficult moments, life always finds a way forward.

For the Spanish Suites, we had the privilege of collaborating with Alejandro Solano on flamenco percussion.

Ginés Martínez Vera