Bogotá Piano Trio
The Bogotá Piano Trio is comprised of musicians Mauricio Arias-Esguerra (piano), Juan Carlos Higuita (violin), and Ivan León (cello). All three are prominent figures on the Colombian music scene. In addition to performing the classical repertoire for this ensemble, they have also explored Colombian music. Since its founding, the Bogotá Piano Trio has premiered several works. They have performed in various venues, including the Teatro Mayor Julio Mario Santo Domingo, the National Theater of Peru, the University of the Arts of Guayaquil (Ecuador), the Teatro Colón in Bogotá, the Fabio Lozano Auditorium, the Mario Laserna Auditorium (Uniandes), the National Museum of Colombia, the Cartagena International Music Festival, the Barranquilla International Chamber Music Festival, and the National Chamber Music Encounter at the University of Antioquia. In 2022, they undertook their first international tour in Peru and Ecuador.
The composer Alejandro del Valle Lattanzio dedicated his Trio to them. The complete chamber music of Antonio María Valencia will soon be released by the Egea Suramérica record label.
Bogotana Records
Bogotana Records was born from a passion for innovative and cutting-edge music, as well as a desire to provide a vital space for talented local artists who are pushing boundaries and exploring new sonic territories. Bogotana Records specializes in genres such as drone, noise, free improvisation, post-rock, ambient, and contemporary concert music. By embracing these diverse styles, it cultivates a platform for experimentation and exploring boundaries within Bogotá’s music scene. Through innovative models of economic sustainability, it empowers an artistic community that departs from prevailing commercial norms.
Repertoire for solo violin in Colombia
Knowledge of Colombian-made repertoire for bowed string instruments within the context of classical music is scarce. Although some works have been recognized and cataloged, particularly those composed during the first half of the 20th century, much analysis and critical review remains to be done.
If we narrow the scope to violin music, the picture becomes even more barren. This situation has led to Colombian composers’ music not being considered as a teaching tool in professional training programs and artistic initiatives featuring bowed string instruments, particularly the violin. Instead, the methods and tools used by European conservatories continue to be emulated.
Similarly, there is a clear and discouraging disconnect with the music and aesthetic experiences produced in our region, and specifically in Colombia. In addition to the above, it has been recognized that these training programs lack exploration of contemporary repertoire, creating significant gaps in the education of today’s violinists. In particular, instruction in new performance techniques, which are inherent to the aesthetic approaches of the 21st century, is being overlooked.
Throughout my academic career and as a performer, soloist, and member of various chamber ensembles, I have advocated for researching and promoting the music of composers from our country. Evidence of this can be seen in the two recordings I have made to date focused on this repertoire.
