Meet Arturo Márquez, the oldest of nine siblings, born December 20, 1950, in the pueblo mágico of Álamos, a historic silver-mining town now overrun with expats in the Mexican state of Sonora. His father’s father played folk music, and his father played mariachi fiddle both in Mexico and north of the border, but of the next generation, only Arturo inherited the melodic gene. Latin America has embraced his concert music enthusiastically, especially his Danzones, a lifelong project sprung from ballroom dances of Veracruz. Thanks to Gustavo Dudamel, Danzón No. 2 has brought audiences jumping to their feet with cheers of ¡Olé! as far afield as decorous Salzburg. No one, though, could have loved Danzón No. 2 more than Anne Akiko Myers, the trailblazing violin phenomenon hailed by The Strad as “the Wonder Woman of commissioning.” When she reached out to Márquez for a “mariachi concerto,” he got to work on the half-hour violin concerto Fandango, of which he has called Myers the “heart and soul.” Her maiden performance, backed up by Dudamel and the LA Phil, blew Hollywood Bowl audiences away. Now Giancarlo Guerrero, who as the maestro for Bad Bunny’s halftime show at Super Bowl LX has a tale or two to tell about mass euphoria, joins Myers to mix it up with the Chicago Symphony Orchestra in the Windy City. Has Márquez landed his very own Boléro? For a chaser, there’s Elgar’s Enigma Variations. —Matthew Gurewitsch