{"id":29930,"date":"2026-02-26T09:59:00","date_gmt":"2026-02-26T15:59:00","guid":{"rendered":"https:\/\/www.dallassymphony.org\/?post_type=dso_prod_season&#038;p=29930"},"modified":"2026-09-29T11:19:47","modified_gmt":"2026-09-29T16:19:47","slug":"scheherazade-pablo-sainz-villegas","status":"publish","type":"dso_prod_season","link":"https:\/\/www.dallassymphony.org\/es\/productions\/scheherazade-pablo-sainz-villegas\/","title":{"rendered":"Scheherazade y Pablo Sainz-Villegas"},"content":{"rendered":"\n\n\n\n\n<div class=\"richtext m-spacer\">\n\t<div class=\"container\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-10\">\n\t\t\t\t<div class=\"acf-innerblocks-container\">\n\n<p class=\"wp-block-paragraph\"><strong>From ancient Persia to Mexico and the grasslands of Argentina, embark on a globe-trotting adventure of glittering orchestral colors.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Jaime Mart\u00edn<\/strong> Conducts<br><strong>Pablo Sainz-Villegas<\/strong> Guitar<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>GINASTERA&nbsp;<\/strong>Four Dances from&nbsp;<em>Estancia&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/em>&nbsp;<br><strong>ARTURO&nbsp;M\u00c1RQUEZ<\/strong>&nbsp;Concierto&nbsp;<em>M\u00edstico&nbsp;y&nbsp;Profano <\/em>(DSO Premiere)&nbsp;<br><strong>RIMSKY-KORSAKOV&nbsp;<\/strong><em>Scheherazade<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Journey to the fairy-tale world of&nbsp;<em>The Arabian Nights<\/em>&nbsp;in Rimsky-Korsakov\u2019s cinematic&nbsp;<em>Scheherazade<\/em>. Spinning stories of young love and&nbsp;thrilling adventures at sea with glittering orchestral colors,&nbsp;<em>Scheherazade<\/em>&nbsp;conjures the fabled Persian queen who staves off her own execution through 1,001 nights of captivating storytelling.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In&nbsp;<em>M\u00edstico&nbsp;y&nbsp;Profano<\/em>&nbsp;(Mystical and Profane), Arturo M\u00e1rquez marries the musical traditions of Mexico and Spain in a cross-cultural celebration for guitar and orchestra. Pablo&nbsp;Sainz-Villegas, \u201cthe global ambassador of the Spanish guitar\u201d (<em>Billboard<\/em>), joins the DSO for a musical&nbsp;tapestry&nbsp;of passionate dances, fiery&nbsp;rhythms&nbsp;and intimate prayer.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Opening&nbsp;this&nbsp;program&nbsp;conducted&nbsp;by&nbsp;Jaime Mart\u00edn, Ginastera\u2019s Four Dances from&nbsp;<em>Estancia<\/em>&nbsp;brings to life the lush grasslands of the Argentine&nbsp;<em>pampa<\/em>, where cowboys and cattle ranchers face off in a dramatic dance competition.<\/p>\n\n\n<div class=\"dso__accordion m-spacer\">\n    <div class=\"container\">\n        <div class=\"row\">\n            <div class=\"col-lg-12\">\n                <div class=\"accordion__intro-wrapper\">\n                    <h1>Program Notes<\/h1>\n                    <p>Written by Ren\u00e9 Spencer Saller<\/p>\n                <\/div>\n            <\/div>\n        <\/div>\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-md-10 offset-md-1\">\n\t\t\t\t<div class=\"accordion\" id=\"accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t\t\t\t<div class=\"card\">\n\t<button id=\"heading4468c1b6422d6aeea0933069332ccd6c\" class=\"dso__accordion-toggle\" type=\"button\" data-toggle=\"collapse\" data-target=\"#collapse4468c1b6422d6aeea0933069332ccd6c\" aria-expanded=\"false\" aria-controls=\"collapse4468c1b6422d6aeea0933069332ccd6c\">\n\t\tGINASTERA (1916\u20131983) Four Dances from Estancia\t\t<span class=\"plus-sign\">\n            <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"25\" height=\"25\" viewbox=\"0 0 25 25\">\n                <g transform=\"translate(211.054 -145.186) rotate(135)\"><rect width=\"25\" height=\"3\" transform=\"translate(242.001 36.678) rotate(-45)\"\/><rect width=\"25\" height=\"3\" transform=\"translate(244.12 19) rotate(45)\"\/><\/g>\n            <\/svg>\n        <\/span>\n\t<\/button>\n\n\t<div id=\"collapse4468c1b6422d6aeea0933069332ccd6c\" class=\"collapse\" aria-labelledby=\"heading4468c1b6422d6aeea0933069332ccd6c\" data-parent=\"#accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t<div class=\"card-body\">\n\t\t\t<p><span style=\"text-decoration: underline\"><strong>Performance History<\/strong><\/span><br \/>\n<strong>Premiere Performance: <\/strong>1943 | Buenos Aires, Argentina<br \/>\nTeaotro Coloacuten<\/p>\n<p><strong>Last DSO Performance:<\/strong> June 7, 2022 | Maurice Cohn, Conductor<\/p>\n<p>Born in Buenos Aires to a Spanish father and an Italian mother, Ginastera (he pronounced it the Catalan way: JEE-nah-STAIR-uh) began his conservatory training at age 12. In 1942 he won a Guggenheim Foundation grant, which he used a few years later to study with Aaron Copland in the United States.<\/p>\n<p>Idealistic and outspoken, Ginastera made many political enemies in his native Argentina. In 1952 he lost his position at Argentina&#8217;s leading music conservatory, Conservatorio de M\u00fasica y Arte Esc\u00e9nico in La Plata, which he had founded and directed since 1948. He offended the all-powerful Per\u00f3ns by refusing to rename the conservatory after Eva, the president&#8217;s wife. Deprived of his academic post (at least until Juan Per\u00f3n was deposed in a military coup), Ginastera survived by scoring films and accepting random commissions. He spent the last dozen years of his life in Geneva, Switzerland, where he died of cancer.<\/p>\n<p>A meticulous craftsman, Ginastera routinely destroyed any efforts that he deemed unsatisfactory \u2014 and he was seldom satisfied. What passed through his filter was pure gold. Although he left only 54 numbered opuses, most remain in the active repertoire.<\/p>\n<p>Late in life, Ginastera categorized his works into three general periods, which he helpfully identified as objective nationalist (1934\u20131948), subjective nationalist (1948\u20131958), and neo-expressionist (1958\u20131983). <em>Estancia<\/em>, completed in 1941, was commissioned by Lincoln Kirstein for the American Ballet Caravan. The title refers to a cattle ranch on the vast pampas (grassy plains) of the South American lowlands, where the guitar-wielding, quick-stepping gaucho of Argentine folk-legend evolved. After the ballet production was delayed, Ginastera prepared a concert suite, Opus 8a, which received its premiere in 1943, in Buenos Aires.<\/p>\n<p><strong>A Closer Listen<\/strong><br \/>\nThe <em>Estancia<\/em> suite comprises four parts. First, Ginastera offers a &#8220;morning section,&#8221; <em>Los trabajadores agricolas<\/em> (Agricultural workers), based on a fast and macho competitive folk dance, the malambo (meant for gaucho dancers \u2014 tap-dancing Argentine cowboys). Next, the mellow <em>Danza del trigo<\/em> (Wheat Dance) offers lyrical flute melodies and lustrous violins. <em>Los peones de hacienda<\/em> (The Cattlemen) is rhythmically volatile, spiked with syncopated brass and timpani. <em>Danza final<\/em> (Final Dance) reprises the malambo for a final showdown among the gauchos.<\/p>\n<p>From the composer&#8217;s preface to the published score: &#8220;The deep and bare beauty of the land, its richness and natural strength, constitutes the basis of Argentine life. This ballet presents various daily aspects of the activities of an <em>estancia<\/em>, from dawn to dusk, with a symbolic sense of continuity. The plot of the ballet shows a country girl who at first despises the man of the city. She finally admires him when he proves that he can perform the most rough and difficult tasks of the country.&#8221;<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><div class=\"card\">\n\t<button id=\"headingceb90cc765973ab0da2443ebd7bad24b\" class=\"dso__accordion-toggle\" type=\"button\" data-toggle=\"collapse\" data-target=\"#collapseceb90cc765973ab0da2443ebd7bad24b\" aria-expanded=\"false\" aria-controls=\"collapseceb90cc765973ab0da2443ebd7bad24b\">\n\t\tARTURO M\u00c1RQUEZ (b. 1950): Concierto M\u00edstico y Profano\t\t<span class=\"plus-sign\">\n            <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"25\" height=\"25\" viewbox=\"0 0 25 25\">\n                <g transform=\"translate(211.054 -145.186) rotate(135)\"><rect width=\"25\" height=\"3\" transform=\"translate(242.001 36.678) rotate(-45)\"\/><rect width=\"25\" height=\"3\" transform=\"translate(244.12 19) rotate(45)\"\/><\/g>\n            <\/svg>\n        <\/span>\n\t<\/button>\n\n\t<div id=\"collapseceb90cc765973ab0da2443ebd7bad24b\" class=\"collapse\" aria-labelledby=\"headingceb90cc765973ab0da2443ebd7bad24b\" data-parent=\"#accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t<div class=\"card-body\">\n\t\t\t<p><span style=\"text-decoration: underline\"><strong>Performance History<\/strong><\/span><br \/>\n<strong>Premiere Performance: <\/strong>July 5, 2025 | Mexico City, Mexico<br \/>\nOrquesta Sinf\u00f3nica de Miner\u00eda<br \/>\nCarlos Migues Prieto, Conductor<br \/>\nPablo Sainz Villegas, Guitar<\/p>\n<p><b><span data-contrast=\"none\">This is a DSO premiere.<\/span><\/b><\/p>\n<p>Born in \u00c1lamos, Sonora, Mexico, and now based in Mexico City, M\u00e1rquez ranks among his country&#8217;s foremost living composers. His father was a violinist and mariachi musician; his mother was a singer; his paternal grandfather was a Mexican folk musician in Sonora and Chihuahua. Arturo was the firstborn of nine children and the only one to become a professional musician. When he was 12, his large family moved to La Puente, California, where the future composer benefited from the excellent band and vocal programs at his middle and high schools. He went on to study composition and piano at the National Conservatory of Music and the National Institute of Fine Arts in Mexico, supplementing his training with private lessons in France, and eventually completing a Master of Fine Arts degree at the California Institute of the Arts.<\/p>\n<p>M\u00e1rquez started composing in his mid-teens and began to attract serious notice in the 1980s. The recipient of many international awards and honors, including a Fulbright Scholarship, he is particularly popular in Latin America, where music festivals are named in his honor. In the United States he is best known for his <em>Danzones<\/em>, which pay loving tribute to the distinctive dance forms and styles of the Veracruz region of Mexico. Several are popular choices among choreographers and band leaders.<\/p>\n<p>M\u00e1rquez wrote his <em>Concierto Mistico y Profano<\/em> (Mystical and Profane Concerto) in 2025 for the Spanish guitarist Pablo Sainz-Villegas, one of the composer&#8217;s most eloquent advocates and the work&#8217;s dedicatee. In an online interview with the Orquesta Sinf\u00f3nica de Miner\u00eda published before the July 5 world premiere, Sainz-Villegas, who collaborated closely with M\u00e1rquez, predicted that the debut performance, at the Sala Nezahualc\u00f3yotl in Mexico City, under Carlos Miguel Prieto&#8217;s baton, would &#8220;go down in history.&#8221; M\u00e1rquez, he explained, &#8220;explores the dualities of the human soul with moving depth. And to do so he also explores the expressive limits of the guitar with great sensitivity.&#8221;<\/p>\n<p>In the same interview Sainz-Villegas recalled that while discussing the orchestration the two men revisited several examples from the repertoire, spanning the famous and the all but forgotten: &#8220;I would say that M\u00e1rquez&#8217;s orchestration is very careful, very colorful, very pointillist. He also achieves an extraordinary thing: that after listening to this music, the listener returns home humming it.&#8221;<\/p>\n<p><strong>A Closer Listen<\/strong><\/p>\n<p>Cast in the conventional three movements, the concerto brings folk and popular music styles from Mexico, Spain, and points beyond into forms and genres long associated with the more Eurocentric concert music tradition, which is to say what most people mean when they say &#8220;classical music&#8221; and aren&#8217;t referring to the specific historical period. The point ought to be moot by now anyway. From Gershwin to Copland to M\u00e1rquez, the composer is a natural syncretist, someone who scoffs at snobs and nativists, someone who loves radically. Sound knows no borders.<\/p>\n<p>Sainz-Villegas describes the first movement, Encuentro (Encounter), as \u201ctwo cultures shak[ing] hands through this concerto. Celebrating the peoples and the concord between peoples. Music as an expression of union. Transcending dualisms.\u201d<\/p>\n<p>Structurally, it combines a pair of contrasting themes: a passionate and dramatic idea that involves \u201ca lot of strumming\u201d and a gentler, more bittersweet melody that the guitarist compares to a &#8220;caress.\u201d<\/p>\n<p>The central Serenata Piadosa (Pious Serenade) showcases a luminous solo clarinet, one of Marquez&#8217;s favorite instruments and a natural timbral ally of the guitar. &#8220;When the clarinet enters, in the second movement, you are floating,&#8221; Sainz-Villegas notes. He calls the overall movement &#8220;a wonderful prayer of a mystical depth that takes you to places of introspection.&#8221;<\/p>\n<p>The celebratory finale, Diferencias sobre la Romanesca (Variations on the Romanesca), uses a 16th-century Spanish dance form in triple meter as the foundation for a set of colorful and often virtuosic variations.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><div class=\"card\">\n\t<button id=\"heading8d33589e669c2254235fc30b6d497914\" class=\"dso__accordion-toggle\" type=\"button\" data-toggle=\"collapse\" data-target=\"#collapse8d33589e669c2254235fc30b6d497914\" aria-expanded=\"false\" aria-controls=\"collapse8d33589e669c2254235fc30b6d497914\">\n\t\tRIMSKY-KORSAKOV (1844-1908): Scheherazade Op. 35\t\t<span class=\"plus-sign\">\n            <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"25\" height=\"25\" viewbox=\"0 0 25 25\">\n                <g transform=\"translate(211.054 -145.186) rotate(135)\"><rect width=\"25\" height=\"3\" transform=\"translate(242.001 36.678) rotate(-45)\"\/><rect width=\"25\" height=\"3\" transform=\"translate(244.12 19) rotate(45)\"\/><\/g>\n            <\/svg>\n        <\/span>\n\t<\/button>\n\n\t<div id=\"collapse8d33589e669c2254235fc30b6d497914\" class=\"collapse\" aria-labelledby=\"heading8d33589e669c2254235fc30b6d497914\" data-parent=\"#accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t<div class=\"card-body\">\n\t\t\t<p><span style=\"text-decoration: underline\"><strong>Performance History<\/strong><\/span><br \/>\n<strong>Premiere Performance: <\/strong>October 28, 1888 | St. Petersburg, Russia<br \/>\nRimsky-Korsakov, Conductor<\/p>\n<p><strong>Last DSO Performance:<\/strong> February 25, 2023 | Marin Alsop, Conductor<\/p>\n<p>&#8220;We tell ourselves stories in order to live,&#8221; Joan Didion famously observed. In Scheherazade&#8217;s case, the maxim is literal: her survival depends on a gift for the gab. The stories she uses to captivate her murderous sultan-spouse aren&#8217;t her own inventions, but they don&#8217;t need to be. Her voice compels. It keeps her alive in the story, in every possible sense.<\/p>\n<p>Rimsky-Korsakov based his 1888 symphonic suite <em>Scheherazade<\/em> on a translation of <em>The Thousand and One Nights<\/em>, a collection of tales so ancient they might as well be encoded in our DNA. He named the work for the heroine whose dilemma frames the tales: Scheherazade, who keeps herself safe from her homicidal husband by hooking him on her fiction. After each new cliffhanger, the story-loving sultan postpones her execution, night after night, until he finally decides to spare her.<\/p>\n<p>Although Rimsky-Korsakov acknowledged that <em>Scheherazade<\/em> consisted of \u201cseparate, unconnected episodes and pictures from <em>The Arabian Nights<\/em>,\u201d with a unifying theme representing Scheherazade herself, he tried not to get bogged down in too much extramusical detail. In his memoir he described his artistic goals: \u201cAll I had desired was that the listener, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairy-tale marvels and not merely four pieces played one after another and composed on the basis of themes common to all four movements.\u201d<\/p>\n<p><strong>A Closer Listen<\/strong><\/p>\n<p>Rimsky-Korsakov\u2019s descriptive titles refer to famous scenes in the collection, not to specific stories. The opening movement, \u201cThe Sea and Sinbad\u2019s Ship,\u201d juxtaposes a harsh, articulated theme, which may represent the Sultan or possibly Sinbad, and a sinuous legato motif, sung by solo violin, that suggests the beguiling voice of Scheherazade herself.<\/p>\n<p>The concerto-like second movement, \u201cThe Story of the Kalender Prince,\u201d highlights various solo instruments and instrumental groupings as it enacts the many transformations of a masquerading prince. \u201cThe Prince and the Princess\u201d is a rapturous romp that wouldn\u2019t sound out of place on the soundtrack of a late-1940s Hollywood melodrama.<\/p>\n<p>The finale contains three parts: \u201cFestival at Baghdad,\u201d \u201cThe Sea\u201d and \u201cThe Ship Is Dashed Against a Rock Surmounted by a Bronze Warrior.\u201d Like the first movement, it opens with dramatic elaborations of the contrasting Sultan and Scheherazade themes. The mood is lively, almost manic in its profuse variations. Strings scurry, brass stutters and as the hysteria mounts, in come the lordly trombones intoning their grim message against a maelstrom of strings, winds and percussion. An even more ominous passage ensues, pierced by the doomy clash of a gong. Then, accompanied by gentle winds and delicate harp, Scheherazade sashays back with an acutely seductive take on her by now familiar violin theme. She has saved her own life and maybe the soul of a despot, too. As the suite closes, the violin holds one long, impossibly sweet and sustaining high note.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div>\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"cta-content-highlight cta__text-overlay has-white-color has-text-color has-background has-link-color wp-elements-1 wp-block-paragraph\" style=\"background-color:#1c3172\"><strong>Performance Preludes<\/strong><br>Join us for an in-depth and unique pre-concert talk with LeAnn Binford! The talks will take place from Horchow Hall starting at 6:30pm each concert evening and 1:00pm on Sunday. <a href=\"https:\/\/www.dallassymphony.org\/community-education\/dso-music-programs\/adult-programs\/\" data-type=\"page\" data-id=\"5221\">Learn More<\/a><\/p>\n\n\n\n<p class=\"cta-content-highlight cta__text-overlay has-white-color has-text-color has-background has-link-color wp-elements-2 wp-block-paragraph\" style=\"background-color:#1c3172\"><strong>Getting to the Meyerson<\/strong><br>The Meyerson opens two hours before each concert. We suggest arriving at least 30 minutes early to park and find your seat. Visit our Directions &amp; Parking page for more details! <a href=\"https:\/\/www.dallassymphony.org\/plan-your-visit\/directions-parking\/\" data-type=\"page\" data-id=\"561\">Learn More<\/a><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"cta-content-highlight cta__text-overlay has-white-color has-text-color has-background has-link-color wp-elements-3 wp-block-paragraph\" style=\"background-color:#1c3172\"><strong>Bundle &amp; Save<\/strong><br>Curate your own personalized season of unforgettable concerts! Unlock up to 20% savings, enjoy free ticket exchanges, and gain early access to newly announced concerts simply by bundling 3+ concerts! <a href=\"https:\/\/www.dallassymphony.org\/ticket-packages\/\" data-type=\"page\" data-id=\"17376\">Learn More<\/a><\/p>\n\n\n\n<p class=\"cta-content-highlight cta__text-overlay has-white-color has-text-color has-background has-link-color wp-elements-4 wp-block-paragraph\" style=\"background-color:#1c3172\"><strong>Got 10 or More People?<\/strong><br>Planning a night out or looking for a unique way to celebrate? With world-class music, exclusive group perks and savings, a night at the DSO is perfect for creating memories. <a href=\"https:\/\/www.dallassymphony.org\/concerts-and-events\/group-sales\/\" data-type=\"page\" data-id=\"550\">Learn More<\/a><\/p>\n<\/div>\n<\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1346\" height=\"508\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/08\/TI-Classical-Feb-2026-Update-FIN_Primary-Black-e1786467118841.png\" alt=\"\" class=\"wp-image-32243\" style=\"width:418px;height:auto\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/08\/TI-Classical-Feb-2026-Update-FIN_Primary-Black-e1786467118841.png 1346w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/08\/TI-Classical-Feb-2026-Update-FIN_Primary-Black-e1786467118841-300x113.png 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/08\/TI-Classical-Feb-2026-Update-FIN_Primary-Black-e1786467118841-1024x386.png 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/08\/TI-Classical-Feb-2026-Update-FIN_Primary-Black-e1786467118841-768x290.png 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/08\/TI-Classical-Feb-2026-Update-FIN_Primary-Black-e1786467118841-18x7.png 18w\" sizes=\"auto, (max-width: 1346px) 100vw, 1346px\" \/><\/figure>\n<\/div>\n\n\n<hr class=\"wp-block-separator has-text-color has-cyan-bluish-gray-color has-alpha-channel-opacity has-cyan-bluish-gray-background-color has-background is-style-default\"\/>\n\n\n<div class=\"edp-musician-grid m-spacer grad-to-right\">\n\t<div class=\"container\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-12\">\n\t\t\t\t<h1>Featuring<\/h1>\n\t\t\t\t<h2><\/h2>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-lg-6\">\n\t<div class=\"edp__musician-card\">\n\t\t<img loading=\"lazy\" decoding=\"async\" width=\"262\" height=\"262\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jaime-Martin-262x262.jpg\" class=\"attachment-262x262 size-262x262 wp-post-image\" alt=\"Jaime Mart\u00edn, conductor\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jaime-Martin-262x262.jpg 262w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jaime-Martin-300x300.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jaime-Martin-1024x1024.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jaime-Martin-150x150.jpg 150w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jaime-Martin-768x768.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jaime-Martin-12x12.jpg 12w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jaime-Martin-350x350.jpg 350w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jaime-Martin-445x445.jpg 445w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jaime-Martin.jpg 1200w\" sizes=\"auto, (max-width: 262px) 100vw, 262px\" \/>\t\t<div class=\"content__wrapper\">\n\t\t\t<h4>Jaime Mart\u00edn<\/h4>\n\n\t\t\t<p>Conductor<\/p>\n\n                            <a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/people\/jaime-martin\/\">Read More<\/a>\n            \t\t<\/div>\n\t<\/div>\n<\/div><div class=\"col-lg-6\">\n\t<div class=\"edp__musician-card\">\n\t\t<img loading=\"lazy\" decoding=\"async\" width=\"262\" height=\"262\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/02\/Pablo-Sainz-Villegas-262x262.png\" class=\"attachment-262x262 size-262x262 wp-post-image\" alt=\"\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/02\/Pablo-Sainz-Villegas-262x262.png 262w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/02\/Pablo-Sainz-Villegas-300x300.png 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/02\/Pablo-Sainz-Villegas-1024x1024.png 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/02\/Pablo-Sainz-Villegas-150x150.png 150w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/02\/Pablo-Sainz-Villegas-768x768.png 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/02\/Pablo-Sainz-Villegas-12x12.png 12w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/02\/Pablo-Sainz-Villegas-350x350.png 350w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/02\/Pablo-Sainz-Villegas-445x445.png 445w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/02\/Pablo-Sainz-Villegas.png 1200w\" sizes=\"auto, (max-width: 262px) 100vw, 262px\" \/>\t\t<div class=\"content__wrapper\">\n\t\t\t<h4>Pablo Sainz-Villegas<\/h4>\n\n\t\t\t<p>Guitar<\/p>\n\n                            <a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/people\/pablo-sainz-villegas\/\">Read More<\/a>\n            \t\t<\/div>\n\t<\/div>\n<\/div>\t\t<\/div>\n\t<\/div>\n<\/div>\n\n<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n<\/div>\n\n\n    <div class=\"featured-concerts grad-to-left m-spacer\">\n        <div class=\"container-fluid\">\n            <div class=\"row\">\n                <div class=\"col-md-7 col-7 offset-md-1\">\n                    <h1 class=\"serif__elight-58-italic\">You May Also Be Interested In <\/h1>\n                <\/div>\n                <div class=\"col-md-4 col-5\">\n                    <div class=\"controls__wrapper\">\n                        <div class=\"slideshow__controls d-none d-lg-block\">\n                            <button class=\"controls__prev\"  data-button-id=\"e51e7c5126b9cad1f56bb5a5043d3846\">\n                                <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" enable-background=\"new 0 0 24 24\" 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M13,12l0-4h-2l0,4H8l4,4l4-4H13z\"\/><\/g>\n                                <\/svg>\n                            <\/button>\n                        <\/div>\n\n\t                                        <\/div>\n                <\/div>\n            <\/div>\n            <div class=\"row\">\n                <div class=\"col-md-11 offset-md-1\">\n                    <div class=\"slideshow\">\n                        <div class=\"dso__slides\" data-button-id=\"e51e7c5126b9cad1f56bb5a5043d3846\">\n                            <div class=\"concert__card\" style=\"margin-right: 15px\">\n    <a href=\"https:\/\/www.dallassymphony.org\/es\/productions\/ravel-gershwin\/\">\n        <div class=\"img__wrapper\">\n\t        <img loading=\"lazy\" decoding=\"async\" width=\"388\" height=\"218\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2026\/02\/CLA05_Ravel-and-Gershwin-388x218.jpg\" class=\"attachment-388x218 size-388x218 wp-post-image\" alt=\"\" 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