“José Ángel Méndez debuts Guatoporí in Texas — a powerful tribute to Indigenous resistance and Venezuelan roots.”

Maestro Méndez’s musical writing is rooted in his Venezuelan heritage, full of folkloric language, rhythmic vitality, and lyrical depth.”
— Ashley Alarcon

GREENVILLE, TX, UNITED STATES, December 17, 2025 /EINPresswire.com/ -- Venezuelan composer José Ángel Méndez, a proud native of Barquisimeto, celebrated a successful international premiere in Greenville, Texas with his work “Tríptico Fantástico op. 3: Guatoporí.” The piece, dedicated to the figure of the brave Cacique Guaicaipuro—an enduring symbol of the resistance of Native American peoples—was performed by the Greenville Chamber Music Society Ensemble under the direction of Maestro Ashley Alarcón. Written for a seven-instrument ensemble including flute, bass clarinet, violin, cello, piano, and percussion, the work unfolds in three powerful movements: The Fury of the Warrior, Meditation, and Final Victory.

Musically, Guatoporí stands out for its fusion of contemporary academic syncretism with rhythms deeply rooted in Venezuelan folk traditions, creating a profound sonic experience that honors the memory and valor of the nation’s indigenous peoples. Méndez, trained at the Simón Bolívar Conservatory within Venezuela’s El Sistema, expressed that with this composition he offers “a heartfelt tribute to the Native Americans, whose courage and sacrifice have forever enriched our collective memory.”

Conducting the U.S. premiere, Maestro Ashley Alarcón described the work as a cultural medium through which audiences can understand the importance and value of indigenous peoples. She emphasized their immense contribution to traditions and values, their bravery, and their respect for the land. According to Alarcón, Guatoporí deserves to be experienced on world stages, as Méndez’s musical writing is rooted in Venezuelan heritage, full of folkloric language, rhythmic vitality, and lyrical depth. The work takes both performer and listener to a reflective awareness of history, the warrior spirit, and the impact of human actions. She highlighted that the premiere was possible thanks to the commitment and vision of the Greenville Chamber Music Society and praised the collaboration between Méndez and the musicians, whose dedication brought the piece to life.

Flutist Marcos Jerez also shared his impressions, noting that performing Méndez’s music was deeply gratifying. As a Venezuelan, he recognized the rhythms of his homeland woven throughout Guatoporí. He explained that the repetition of melodic motifs created a state of agitation, representing the strength and pressure felt by Guaicaipuro during battle. Jerez praised the integration of all instruments and highlighted the demanding writing for flute, which uses its full range and diverse articulations. He described the central waltz as both beautiful and challenging, requiring intensity and elegance, while aggressive rhythms added complexity. He concluded that the work had a strong impact on the audience and expressed gratitude for performing a piece by his friend José Méndez, whose creativity promises many more excellent works.

It is worth remembering that Maestro Méndez deepened his studies at the Latin American Chair of Composition under the tutelage of Maestro Blas Emilio Atehortúa. In addition to the recently premiered piece, his catalog includes both academic and popular Venezuelan repertoire, with works such as Elegy Op. 6 for double bass and piano, as well as the Symphonic Poem Para el que partió. His pedagogical work has also been significant; he was a full professor at the Lino Gallardo and José Reyna music schools in Caracas. He currently serves as an orchestra teacher in the Dallas Independent School District and collaborates with the Dallas Symphony Orchestra as a pedagogue in the Kim Noltemy Young Musicians Program.

The Greenville Chamber Music Society presented this important event, Rhythms of Belonging, a concert that celebrates cultural diversity and the strength of identity through music. In addition to Méndez’s work, the program included Starburst by Jessie Montgomery, Afro-Cuban Concerto by Valerie Coleman for wind quintet, and Pictures at an Exhibition by Modest Mussorgsky, arranged for wind quintet. The premiere of Guatoporí was met with enthusiasm and admiration, not only for its musical richness but also for its cultural resonance. By bringing Venezuelan folk idioms into dialogue with contemporary chamber music, Méndez created a work that bridges past and present, local and global, personal and collective. The Greenville audience experienced a performance that was both artistically compelling and historically meaningful, reminding us of the enduring power of indigenous voices and the importance of cultural diversity in today’s world.

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