In the late 1950s, Orbón was emerging from an essentially Neoclassical phase and producing music that was more unashamedly expressive. Even so, his Concerto Grosso-as the title suggests-revolves around classical forms. There's nothing at all Hispanic about this score; it's a modern Romantic treatment of elements found in Medieval music and the works of Aaron Copland and Bohuslav Martin . The first movement, Moderato, might be mistaken for Martin outright; its syncopated proclamation (bringing in the quartet right from the start) evolves into a theme that soars, despite some hairpin turns, over a burbling accompaniment. Orbón frequently employs the wide-open harmonies, galloping brass narratives, and percussive interjections typical of the Western Americana scores of Copland and his followers. At the same time, Orbón's tendency to have the solo quartet play modal material in unison gives portions of the score a hyperactive Gothic feel; indeed, Orbón was a great scholar of Gregorian chant. The second movement, Lento, again suggests both Martin and Medievalism in its initial thematic progression of long-held woodwind chords. In this movement, the quartet members play as four soloists, exploring the theme individually or in small combinations as much as in full ensemble. Some commentators have noted an element of religious mysticism in this processional music, probably relating to its modal nature and a hymnlike passage for woodwinds toward the end; but the bitter, slashing central climax undercuts any supposed religious nature. The third movement, Allegro, grows out of the Lento's final utterance from the soloists on open strings. Following an outgoing statement from the full orchestra, the solo quartet takes up some busy, wiry material. Prominence is traded between the quartet and the orchestra for the rest of the movement in a series of contrasting episodes derived from the Allegro's opening material. Strong, irregular rhythms predominate, although at least one passage recalls the meditative religiosity of Vaughan Williams's Fantasia on a Theme of Thomas Tallis. Through most of this movement, the music is energetic, yet never boisterous; the loudest, most intense moments have already come in the first movement and the middle of the second.

© James Reel, Rovi