South America has its own musical journey, unique and immense, with compositional ideas that mix academic and folk music from different regions, and even mix different music from different places, creating a single identity, out of many identities.

Venezuela has a surprising academic musical structure, with notable musicians from all over the world, with its Simón Bolívar Symphony Orchestra so respected by all of us, and its surprising National System of Youth and Children's Orchestras and Choirs, institutions that, in addition to performing the traditional classical repertoire, are in charge of recreating the country's popular repertoire.

A characteristic that stands out in Latin American academic music is the marked European influence, inevitable because the old continent is the creator of so many styles that ended up being universal and timeless.

That influence is felt in the beautiful album made by Marjory Serrano-Coyer on the violin and Hsin-Yi Chen on the piano, with works by Angel Sauce and Nelly Mele Lara, and it is a characteristic that not only does not take away from the identity of the music, but on the contrary, adds colors, nuances and mixtures that make the music heard a kind of journey through beautifully invented places. As I listened to this album, I felt invited on a walk, taken to new landscapes that look (or sound, rather) familiar, but in reality are not. Known and unknown harmonies interweave, and we encounter textures that feel soft, comfortable and surprising.

From the first movement of the Angel Sauce sonata, one sees landscapes through an imaginary window. One is in the middle of a walk that does not stop, and one surrenders as easily to the distance that this first movement offers, as to the nostalgia of the second and the dance of the third. We become a kind of musical tourist who meekly surrender to the pleasure of listening.

In the three movements of Nelly Mele Lara one immerses oneself more in the Venezuelan sound of her music. There are more folkloric reminiscences present, sometimes hidden and sometimes not so much. The experience is more rhythmic and frenetic (especially in its third movement), but at no point does it become tense. On the contrary, the sensation of being part of a beautiful, curious and natural event always reaches the ear, like those beautiful towns that appear by surprise out of the jungle, inexplicable and beautiful.

The way of encountering the works that Marjory and Hsin-Yi have provided is wise and impeccable, and it is precisely that way of giving us this music that makes this experience a beautiful journey of just over half an hour that one would like to see last much longer.

As an Argentine musician and a member of the Argentine National Symphony Orchestra for thirty years, I am grateful to find such beautiful and unique material, which values and makes Latin American music a common good, a gift for all of us. And I am also grateful that artists with so much experience and who are rising stars like Serrano and Chen dedicate themselves to addressing this repertoire, because it helps us all find ourselves in our music and in our art.

Javier Weintraub

South America has its own musical journey, unique and immense, with compositional ideas that mix academic and folk music from different regions, and even mix different music from different places, creating a single identity, out of many identities.

Venezuela has a surprising academic musical structure, with notable musicians from all over the world, with its Simón Bolívar Symphony Orchestra so respected by all of us, and its surprising National System of Youth and Children's Orchestras and Choirs, institutions that, in addition to performing the traditional classical repertoire, are in charge of recreating the country's popular repertoire.

A characteristic that stands out in Latin American academic music is the marked European influence, inevitable because the old continent is the creator of so many styles that ended up being universal and timeless.

That influence is felt in the beautiful album made by Marjory Serrano-Coyer on the violin and Hsin-Yi Chen on the piano, with works by Angel Sauce and Nelly Mele Lara, and it is a characteristic that not only does not take away from the identity of the music, but on the contrary, adds colors, nuances and mixtures that make the music heard a kind of journey through beautifully invented places. As I listened to this album, I felt invited on a walk, taken to new landscapes that look (or sound, rather) familiar, but in reality are not. Known and unknown harmonies interweave, and we encounter textures that feel soft, comfortable and surprising.

From the first movement of the Angel Sauce sonata, one sees landscapes through an imaginary window. One is in the middle of a walk that does not stop, and one surrenders as easily to the distance that this first movement offers, as to the nostalgia of the second and the dance of the third. We become a kind of musical tourist who meekly surrender to the pleasure of listening.

In the three movements of Nelly Mele Lara one immerses oneself more in the Venezuelan sound of her music. There are more folkloric reminiscences present, sometimes hidden and sometimes not so much. The experience is more rhythmic and frenetic (especially in its third movement), but at no point does it become tense. On the contrary, the sensation of being part of a beautiful, curious and natural event always reaches the ear, like those beautiful towns that appear by surprise out of the jungle, inexplicable and beautiful.

The way of encountering the works that Marjory and Hsin-Yi have provided is wise and impeccable, and it is precisely that way of giving us this music that makes this experience a beautiful journey of just over half an hour that one would like to see last much longer.

As an Argentine musician and a member of the Argentine National Symphony Orchestra for thirty years, I am grateful to find such beautiful and unique material, which values and makes Latin American music a common good, a gift for all of us. And I am also grateful that artists with so much experience and who are rising stars like Serrano and Chen dedicate themselves to addressing this repertoire, because it helps us all find ourselves in our music and in our art.

Javier Weintraub

South America has its own musical journey, unique and immense, with compositional ideas that mix academic and folk music from different regions, and even mix different music from different places, creating a single identity, out of many identities.

Venezuela has a surprising academic musical structure, with notable musicians from all over the world, with its Simón Bolívar Symphony Orchestra so respected by all of us, and its surprising National System of Youth and Children's Orchestras and Choirs, institutions that, in addition to performing the traditional classical repertoire, are in charge of recreating the country's popular repertoire.

A characteristic that stands out in Latin American academic music is the marked European influence, inevitable because the old continent is the creator of so many styles that ended up being universal and timeless.

That influence is felt in the beautiful album made by Marjory Serrano-Coyer on the violin and Hsin-Yi Chen on the piano, with works by Angel Sauce and Nelly Mele Lara, and it is a characteristic that not only does not take away from the identity of the music, but on the contrary, adds colors, nuances and mixtures that make the music heard a kind of journey through beautifully invented places. As I listened to this album, I felt invited on a walk, taken to new landscapes that look (or sound, rather) familiar, but in reality are not. Known and unknown harmonies interweave, and we encounter textures that feel soft, comfortable and surprising.

From the first movement of the Angel Sauce sonata, one sees landscapes through an imaginary window. One is in the middle of a walk that does not stop, and one surrenders as easily to the distance that this first movement offers, as to the nostalgia of the second and the dance of the third. We become a kind of musical tourist who meekly surrender to the pleasure of listening.

In the three movements of Nelly Mele Lara one immerses oneself more in the Venezuelan sound of her music. There are more folkloric reminiscences present, sometimes hidden and sometimes not so much. The experience is more rhythmic and frenetic (especially in its third movement), but at no point does it become tense. On the contrary, the sensation of being part of a beautiful, curious and natural event always reaches the ear, like those beautiful towns that appear by surprise out of the jungle, inexplicable and beautiful.

The way of encountering the works that Marjory and Hsin-Yi have provided is wise and impeccable, and it is precisely that way of giving us this music that makes this experience a beautiful journey of just over half an hour that one would like to see last much longer.

As an Argentine musician and a member of the Argentine National Symphony Orchestra for thirty years, I am grateful to find such beautiful and unique material, which values and makes Latin American music a common good, a gift for all of us. And I am also grateful that artists with so much experience and who are rising stars like Serrano and Chen dedicate themselves to addressing this repertoire, because it helps us all find ourselves in our music and in our art.

Javier Weintraub

South America has its own musical journey, unique and immense, with compositional ideas that mix academic and folk music from different regions, and even mix different music from different places, creating a single identity, out of many identities.

Venezuela has a surprising academic musical structure, with notable musicians from all over the world, with its Simón Bolívar Symphony Orchestra so respected by all of us, and its surprising National System of Youth and Children's Orchestras and Choirs, institutions that, in addition to performing the traditional classical repertoire, are in charge of recreating the country's popular repertoire.

A characteristic that stands out in Latin American academic music is the marked European influence, inevitable because the old continent is the creator of so many styles that ended up being universal and timeless.

That influence is felt in the beautiful album made by Marjory Serrano-Coyer on the violin and Hsin-Yi Chen on the piano, with works by Angel Sauce and Nelly Mele Lara, and it is a characteristic that not only does not take away from the identity of the music, but on the contrary, adds colors, nuances and mixtures that make the music heard a kind of journey through beautifully invented places. As I listened to this album, I felt invited on a walk, taken to new landscapes that look (or sound, rather) familiar, but in reality are not. Known and unknown harmonies interweave, and we encounter textures that feel soft, comfortable and surprising.

From the first movement of the Angel Sauce sonata, one sees landscapes through an imaginary window. One is in the middle of a walk that does not stop, and one surrenders as easily to the distance that this first movement offers, as to the nostalgia of the second and the dance of the third. We become a kind of musical tourist who meekly surrender to the pleasure of listening.

In the three movements of Nelly Mele Lara one immerses oneself more in the Venezuelan sound of her music. There are more folkloric reminiscences present, sometimes hidden and sometimes not so much. The experience is more rhythmic and frenetic (especially in its third movement), but at no point does it become tense. On the contrary, the sensation of being part of a beautiful, curious and natural event always reaches the ear, like those beautiful towns that appear by surprise out of the jungle, inexplicable and beautiful.

The way of encountering the works that Marjory and Hsin-Yi have provided is wise and impeccable, and it is precisely that way of giving us this music that makes this experience a beautiful journey of just over half an hour that one would like to see last much longer.

As an Argentine musician and a member of the Argentine National Symphony Orchestra for thirty years, I am grateful to find such beautiful and unique material, which values and makes Latin American music a common good, a gift for all of us. And I am also grateful that artists with so much experience and who are rising stars like Serrano and Chen dedicate themselves to addressing this repertoire, because it helps us all find ourselves in our music and in our art.

Javier Weintraub

South America has its own musical journey, unique and immense, with compositional ideas that mix academic and folk music from different regions, and even mix different music from different places, creating a single identity, out of many identities.

Venezuela has a surprising academic musical structure, with notable musicians from all over the world, with its Simón Bolívar Symphony Orchestra so respected by all of us, and its surprising National System of Youth and Children's Orchestras and Choirs, institutions that, in addition to performing the traditional classical repertoire, are in charge of recreating the country's popular repertoire.

A characteristic that stands out in Latin American academic music is the marked European influence, inevitable because the old continent is the creator of so many styles that ended up being universal and timeless.

That influence is felt in the beautiful album made by Marjory Serrano-Coyer on the violin and Hsin-Yi Chen on the piano, with works by Angel Sauce and Nelly Mele Lara, and it is a characteristic that not only does not take away from the identity of the music, but on the contrary, adds colors, nuances and mixtures that make the music heard a kind of journey through beautifully invented places. As I listened to this album, I felt invited on a walk, taken to new landscapes that look (or sound, rather) familiar, but in reality are not. Known and unknown harmonies interweave, and we encounter textures that feel soft, comfortable and surprising.

From the first movement of the Angel Sauce sonata, one sees landscapes through an imaginary window. One is in the middle of a walk that does not stop, and one surrenders as easily to the distance that this first movement offers, as to the nostalgia of the second and the dance of the third. We become a kind of musical tourist who meekly surrender to the pleasure of listening.

In the three movements of Nelly Mele Lara one immerses oneself more in the Venezuelan sound of her music. There are more folkloric reminiscences present, sometimes hidden and sometimes not so much. The experience is more rhythmic and frenetic (especially in its third movement), but at no point does it become tense. On the contrary, the sensation of being part of a beautiful, curious and natural event always reaches the ear, like those beautiful towns that appear by surprise out of the jungle, inexplicable and beautiful.

The way of encountering the works that Marjory and Hsin-Yi have provided is wise and impeccable, and it is precisely that way of giving us this music that makes this experience a beautiful journey of just over half an hour that one would like to see last much longer.

As an Argentine musician and a member of the Argentine National Symphony Orchestra for thirty years, I am grateful to find such beautiful and unique material, which values and makes Latin American music a common good, a gift for all of us. And I am also grateful that artists with so much experience and who are rising stars like Serrano and Chen dedicate themselves to addressing this repertoire, because it helps us all find ourselves in our music and in our art.

Javier Weintraub