The initial time of the pandemic in the performing arts was characterized by the sudden cancellation of all activities, the incorporation of digital content, the appearance of virtual material in the social networks, followed by socially distanced  attempts at rehearsals and performances. The Symphony Orchestra of Guayaquil, under my guidance, offered the first live concert in the pandemic on July 23rd, 2020, at the  Sanctuary of the Divine Mercy (Santuario de la Divina Misericordia), located at 23km from the city of Guayaquil. The program was made of string orchestra pieces (Suk’s Serenade, Luis Humberto Salgado arrangements) and brass quintet music. The latter was programmed to be played in the atrium of the Church, whereas the string orchestra played from the front, by the altar.

The season proceeded with many logistical difficulties, overcome by the good work of musicians and administrative help. After half a dozen of concerts where I also included the orchestra’s chorus (founded and conducted by me), we returned to the Eloy Alfaro Civic Center, our theater in the city with capacity for almost 1500 seats. We then presented socially distanced concerts to our loyal audience – a creative strategy that allowed for live music while minimising the risk of virus transmission. We were very fortunate; nobody in the orchestra was ever infected.

Once we were back to concerts, I was able to call the remaining brass section: some players who went out of town in March (the vacation month in the coastal region of Ecuador) could not return before the lockdown.

On October 9, 2020 the city of Guayaquil was celebrating 200 years of Independence from the kingdom of Spain. Then I thought it would be nice to compose a Fanfare for Brass to commemorate the historic date. With reduced forces (3 horns, 3 trumpets, 2 trombones, 1 tuba and 3 percussionists) I delivered the premiere of the piece on the aforementioned date, at the only live concert celebrated in the entire country. The piece was very well received by a small audience of about 200 daring attendees.

After the concert I revised the piece so it could be orchestrated by the ideal number I had foreseen.

The personnel listed now is