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Symphony Orchestra

Ínguesu (2003) for symphony orchestra. When composing this work commissioned by the Sistema Nacional de Fomento Musical for its premiere by the Orquesta Sinfónica Carlos Chávez, I found it appropriate to pay a heartfelt tribute to the composer, who was a determined promoter of aesthetic patriotism, with the realization of a contemporary neo-nationalist score.

First I set myself the task of choosing an appropriate vernacular theme, both for the new times and for my own incarnations of the autochthonous, and in an act of plain honesty, I concluded that my greatest outbursts of nationalism occur without a doubt in the heat of a battle of the Mexican national soccer team, so I set out to compose an ode to the tricolor's greatest glory, which is the conquest of the FIFA Confederations Cup against Brazil on August 4, 1999 in the Azteca Stadium. I then looked for a report of the match containing the line-ups and other details, assigning the woodwinds as Mexico's starters, the brass as Brazil's starters, the percussion as the bench, the piano and the harp as the technical directors, the string as the public and the director as the referee. Then I plotted a graph with the most relevant data of the game, that is, with the minutes of the goals, of the substitutions, of the cautions, and of course, of the Brazilian defender sent off for accumulation of yellow cards, whom the director throws off the stage showing him the red card.

The musical themes that narrate the ups and downs of the match are: a couple of rhythmic ostinatos from the Mexican son and the Brazilian samba that symbolize the offensive of each team and the spontaneous singing of lero-leros, q-leros and mentadas that flow abundantly from the stands and inside the field in the heat of the dispute of national pride. The use of these famous themes, which are the heritage of every brawl, demonstration and traffic jam in Mexico, contains a semantic value, since every countryman pristinely understands the message contained in them, as well as an aesthetic value with national validity and identity that allows them to be classified as authentically popular and current themes. In fact, since people listen to them on a daily basis, it is easy to follow their exposition, development and interaction, being able to spin a narrative. Regarding their vulgarity, the notes are not to blame for the meaning people impose on them, it is in the ear of the layman that the expletives reverberate. You, gentle reader, will have nothing to worry about.

For the Antagónica album I recruited the most reputable performers in Mexico to record separately, instrument by instrument, and then edit and mix everything on the computer.


The result is a symphonic orchestra of dreams only assembled in the digital realm, which I will call the Silvestre Revueltas Virtual Symphony Orchestra, to complete my homage to the Mexican school of composition.



Enrico Chapela Barba
Consecuencias Discográficas
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Sony Music Entertainment


June 9, 2006

March 27, 2006

August 27, 2005

Work recommended at the 53rd UNESCO International Tribune of Composers in Paris, France.

Work selected at the TRIMME Mexican Music Tribune, Mexico City.

1st place in the 2nd Alexander Zemlinsky International Composition Competition in Cincinnati, Ohio.


Walt Disney Concert Hall. L.A. Philharmonic, Gustavo Dudamel, conductor.

Powerhouse Theatre, Brisbane, Australia. Queensland Symphony Orchestra, Alondra de la Parra, conductor.

Belgrano Auditorium, Buenos Aires, Argentina. National Symphony Orchestra, Luis Gorelik, conductor.

Theatro Municipal do Rio de Janeiro, Brazil, Brazilian Symphony Orchestra, Marcos Arakaki, conductor.

Martin Woldson Theater, Spokane, WA, USA, Spokane Symphony Orchestra, Eckart Preu, conductor.

Degollado Theater, Guadalajara, Mexico, Jalisco Philharmonic Orchestra, Leslie Dunner, conductor.

Sala São Paulo, Brazil. Campos do Jordão Festival Orchestra, Giancarlo Guerrero, conductor.

Claudio Santoro Auditorium, Campos do Jordão Festival Orchestra, Giancarlo Guerrero, conductor.

Jim Rouse Theatre, Columbia, MD, USA. Columbia Orchestra, conducted by Jason Love.

Arts Centre, Seoul, Korea. Seoul Philharmonic Orchestra, Pascal Rophé, conductor.

Tanglewood Festival, Boston, Massachusetts, USA, Stefan Asbury, conductor.

Cabrillo Festival of Contemporary Music, Santa Cruz, California, USA, Marin Alsop, conductor.

Jena Philharmonic Orchestra, Jena, Germany, Nicholas Milton, conductor.

Autumn Festival, Warsaw. Warsaw Philharmonic Orchestra, Krzysztof Urbański, conductor.

Kennedy Center, Washington DC. Philharmonic Orchestra of the Americas, Alondra De la Parra.

Nezahualcóyotl Hall, Mexico City. POA, Alondra De la Parra, conductor.

Palacio de Bellas Artes, Mexico City. POA, Alondra De la Parra, conductor.

Meyerson Symphony Center, Dallas. POA, Alondra De la Parra, conductor.

Skirball Center, New York. POA, Alondra De la Parra, conductor.

U.S. Premiere at The Town Hall, New York. POA, Alondra De la Parra, conductor.

World Premiere. Blas Galindo Auditorium National Center of the Arts, Mexico City. Carlos Chávez Symphony Orchestra, Teresa Rodríguez, conductor.

October 12 ,2017

April 29, 2017

June 13, 2014

June 08, 2014

January 26, 2014

February 17, 2013

July 15, 2012

July 14, 2012

October 6, 2012

October 20, 2010

August 10, 2009

August 8, 2009

May 10, 2009

September 19, 2008

November 28, 2007

November 25, 2007

November 24, 2007

November 20, 2007

November 15, 2007

November 30, 2004

November 9, 2003

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