The Concerto is in A minor and D minor and features the predominant use of pentatonic scales. The harmonies, however, are quite contemporary, making use of the full range of chords, from the simple triad to more “jazzy” chord extensions. The modal influence is notable throughout, especially the Dorian and Ionic modes in the melodies of many passages.

Several traditional Peruvian folkloric styles are incorporated throughout the piece. In the first movement, the second theme introduces the Harawi, a slow 3/4 with the accent on the third beat. The third theme incorporates a variation on the Huayno, normally a fast 2/4 tempo although Diaz Orihuela's melody here is 6/8. The tempo is Vivace. The ending Coda presents the Festejo, an Afro-Peruvian rhythm characterized by a driving 12/8. Afro-Peruvian rhythms also influence the orchestra’s rhythm throughout the theme. The second movement again utilizes the Harawi style. The third movement features the typical Huayno in 3/4 as well as the Sikuriada rhythm of the Lake Titicaca/Altiplano region (usually played on pan flutes).

The first movement: Andante Allegro Maestoso, fifteen minutes in length, introduces us to the grandeur and majesty of Machu Picchu as well as evoking its meditative and expressive aspects. The movement presents three musical themes and a cadenza, and the mood is Andante Moderato.
This is the most technically challenging section for the Kena, requiring the use of the full scale available to the instrument including overtones. Also challenging is the multi-rhythmic aspect, combining 6/8 and 2/4-3/4 tempos.

The second movement: Moderato Rubato, lasting ten minutes, presents two musical themes, including a recitative section for the Kena. This movement can be described as a procession, a pilgrimage searching for communion with the ancestors and with nature. The mood is Adagio Rubato.
Although deceptively simple in terms of scales and fingering, the second movement demands great breath control for the soloist, and long legato phrases.

The third movement: Allegro, twelve minutes in length, contains three new themes and a new cadenza, as well as several variations recalling themes from the first movement and making use of a melodic flatted fifth. The mood is Andante-Allegro. This last movement can be felt as a celebration of the legacy of the Incas in modern times, combined with the Spanish influence represented by the tolling of church bells at the end; a synthesis of pre-Colombian, colonial, and contemporary life.
Several virtuosic passages of great technical difficulty for the Kena are the cornerstone of this movement, especially because of the use of many chromatic notes. Many long runs, scales, trills, and warbles evoke the sounds of birds and crickets.

Jaime Diaz Orihuela begins his study of the piano at an early age under the direction of his father, Aurelio Diaz Espinosa, founder and then director of the Arequipa Conservatory of Music. Diaz Orihuela later enters the Peruvian National Conservatory of Music in Lima where he studies Composition and Orchestra Conducting with Andres Sas and Jean Costantinescu. At the age of 21, he composes his first symphonic work, “Arequipa Rhapsody” for orchestra, winning the Peruvian National Award.

In 1958, he is named Director of the Huanaco Regional School of Music. In gratitude for his unceasing labor in the teaching and composition of music, the Peruvian government awards him a scholarship to continue his musical studies in Europe.

In Spain Diaz Orihuela studies Counterpoint and Fugue with Francisco Calos, former director of the Madrid Royal Conservatory of Music. In the area of Composition, he studies with Cristobal Halfftor and Americo Caramulta.

In Italy he studies with Virgilio Mortari, Hermann Scherchen and Miguel Angel Benedetti while attending a course on Composition and Orchestra Conducting at the Chiglana Academy in Sienna.

Upon returning to Peru, Diaz Orihuela holds a variety of teaching posts, as well as performing in recitals in different areas of the country.

Diaz Orihuela has performed on many occasions with the Peruvian National Symphony Orchestra and the Arequipa Symphony Orchestra, under the direction of Theo Buchwald, Alejandro Koselef, Rocco Guadagno, Hans Mommer, Leopoldo la Rosa, Jose Santos, and others.

He has composed a variety of symphonic works, such as the “Rhapsody” for piano and orchestra (winning National Prize); the MISA JUBILAR (Jubilee Mass), written for choir and orchestra; CANTATA A LA CIUDAD CAUDILLO (A symphonic choral cantata in 4 movements for choir, winds, percussion, and vocal soloists); SECUENCIAS, a work commissioned by Peruvian National Radio and Television; and most recently the MACCHU PICCHU CONCERTO FOR KENA AND SYMPHONY ORCHESTRA, in which the ancient and historic indigenous Andean flute (Kena) plays the role of protagonist in a complex classical work.

Diaz Orihuela is also the author of several works such as the ESTUDIO PENTAFONICO and SUITE GEOMETRICA. Other compositions include songs for voice and piano, including a series inspired by famous Peruvian poems. Diaz Orihuela has also composed many Anthems and Military Marches, including the Huanaco Anthems, the official Anthem of the Chorrillos Military School (both winning the National Prize), the Sesquicentennial March (winning the National Prize for a work celebrating the Sesquicentennial of Peruvian Independence), the Journalists’ Anthem, March of the Victors of ’41, etc.

Recordings: Diaz Orihuela has produced and directed several recordings of his own music and has also recorded popular music, winning several prizes as composer, director, and arranger at different Peruvian national music festivals.

Diaz Orihuela’s music is currently being performed in Brazil and other South American countries. Dubbed musica expresiva, his compositions have become known for incorporating a uniquely South American expressiveness into the contemporary classical genre. His piano recitals, given in various countries, have incorporated traditional themes from the Arequipa region, previously largely unknown in the classical world.

In recent years he has performed with the Latin American Orchestra in Miami, been awarded the City of Arequipa’s Medal of Honor, and been honored by the Performing Arts Journalists’ Organization in Lima.

He has also earned several other awards, diplomas, and trophies, holds a degree in Music

Education and is a member of the professional journalists’ association.

BIOGRAPHY
Born in Arequipa, Peru and raised in Arequipa and Lima. Currently residing in Lima, Peru.

MUSIC EDUCATION
As a child studies music with his father, Aurelio Diaz Espinosa, founder and director of the Arequipa Conservatory of Music.
Continues his music education in the National Conservatory of Music located in Lima, where he studies Composition and Orchestra Conducting with Andres Sas and Jean Constantinescu.
Awarded Peruvian government scholarship and travels to Spain (1958) to study Counterpoint and Fugue with Francisco Calos and Composition with Cristobal Hafftor and Americo Caramulta.
Travels to Italy and studies with Virgilio Mortari, Hermann Scherschen and Miguel Angel Benedeti.

POSTS HELD
Director, Peruvian National Symphony Orchestra.
Director, Huanaco Regional School of Music.
Director General, Peruvian National Radio.

COMPOSITIONS OF NOTE
1) MISA JUBILAR (Jubilee Mass) for Orchestra and Choir. Winner of Peruvian national prize.
2) RAPSODIA AREQUIPENA (Arequipa Rhapsody) for Piano and Orchestra
3) CANTATA A LA CIUDAD CAUDILLO (Cantata for Choir and Orchestra)
4) SEQUENCIAS (Work commissioned by Peruvian radio and television)
5) ESTUDIO PENTAFONICO (Work for Piano)
6) SUITE GEOMETRICA (Work for Piano)
7) COMMEMORATIVE ANTHEM, PROVINCE OF HUANACO, PERU
8) SESQUICENTENNIAL MARCH (Winner of Peruvian national prize)
10) MARCH OF THE “CHORRILLOS” MILITARY SCHOOL.
11.) MACCHU PICCHU CONCERTO FOR KENA AND SYMPHONY ORCHESTRA (2006)

Soloist

Nayo Ulloa
(b. 1958)

BIOGRAPHY
Born in Trujillo, Peru and raised in Lima.
Nayo studied music in Peru with master musicians and composers Jaime Díaz Orihuela, Alejandro Vivanco and Fredy Flores. Between the years 1979-1981, Nayo was a member of the following groups:

1. Kena player, official university group at the Universidad e San Marcos
   
2. Kena player with the music and dance troupe at the Universidad Federico Villarreal under the direction of Alejandro Vivanco.
   
3. Kena and zampoña player for Conjunto Tiempo Nuevo
   
4. Special guest musician for several concerts performing works by composer Jaime Diaz Orihuela
   

Nayo participated as a soloist and member of several groups performing at the ubiquitous “peñas” which thrived in Perú during that time: Wifala, Cuerdas de Lago, Hatuchay, etc.
In 1982 Nayo is brought to the United States as the guest of a group of ethnomusicologists from the University of California at Berkeley. He immediately began to give concerts throughout California and the nation, sponsored by the Consulate General of Peru in San Francisco. During the intervening years he has continued to perform in folkloric and classical music concerts as a kenista.

EDUCATION
1978-81: Universidad Nacional Mayor de San Marcos: Language and Literature
1985-90: San Francisco State University/National University: BS Computer Science
1985-90: Private studies in voice and opera with David Tigner.
2004-present: San Jose State University: currently studying for Masters in music.

SELECTED PRESENTATIONS
1984:International Olympic Games, Los Angeles, California –Peruvian delegation-
1988: European tour and concerts at the International Festival of the Pyrenees in France and Spain.
1991: Bicentennial concert presenting music of Wolfgang Amadeus Mozart on Andean instruments. Nayo arranges four Mozart pieces for Andean instruments, including the kena.
1995: Concert with the Sacramento Symphony Orchestra for the premiere of “Cotopaxy”, work for Zampoña and orchestra.
2000: Concert with the renowned North American Mezzo-Soprano Frederika Von Stade. This concert includes music by Spanish and South American composers Manuel de Falla and Ginasteras.
2002: Lima-Perú: Concert at the Hotel Sheraton at the annual convention of the Organization of Peruvian Associations in the United States and Canada
2004: Special guest artist with Latin American folk ensemble “Grupo Germinal” at “Music of the Americas” concert in Ciudad Juarez, Mexico.
2006: Invited soloist, “Misa Criolla”, San Jose State University Concert Choir.

Machu Picchu Cocerto,

Woodwinds
2 flutes in C
2 oboes in C
2 clarinets in B flat
2 bassoons in C

Brass
4 French horns in F
1st &3rd horn
2nd &4th horn

2 trumpets in B flat
2 trombones in B flat
1 tuba in B flat

Percussion
1 snare drum
1 timpani
1 triangle
1 template block
2 cymbals
1 w/stand
1 hand-held
1 set large bells in C

Strings
12 First violins
10 Second violins
8 violas
6 cellos
2-3 double bass

Soloist
Andean flute (Kena) amplified with condenser microphone

Machu Picchu Concerto, Technical/Hospitality Rider for Soloist

Sound:
-Stage may be discreetly amplified if required for larger halls.
-Soloist will provide own cordless microphone, a Seenheisen 5000 Series, for the Kena (Andean flute). House to provide transmitter and receiver and any other needed tech support.

Lighting:
-General illumination. No special or follow spots required.
-If desired, more subdued general lighting could be used during the 2nd Movement.

On-stage:
-One small table or high bench approximately 18" x 18" and 30" to 36" high for Kena and large glass or bottle of water.

Backstage:
-One private, secure dressing room with toilet facility nearby, mirror, 2 chairs.
-Room temperature not to exceed 70 degrees F., please
-Steam iron and ironing board made available.

Backstage Catering:
-8 bottles (16 oz. size) of clear water, light snacks (fresh fruit, vegetables, whole grains).
-Dinner available 2-3 hours before call time. Soloist requests a healthy meal: nothing fried or spicy, no pizza, no cheese. Preference for chicken or fish, pasta, green salad, fresh vegetables, plain water.

For any additional questions, please contact Prince/SF Productions: Ken@Princesf.com / 650.550.0062