Composers as diverse as Aaron Copland, Duke Ellington and John Adams have paid homage to the music and arts of Mexico. But the many fine composers from that country have not always received the attention they deserve.

The Portland Symphony Orchestra, under the leadership of Eckart Preu, has taken a step toward righting that imbalance by presenting a program of works by three contemporary Mexican composers. As reviewed at the first performance of the program at Merrill Auditorium on Sunday afternoon, the results provided a rich and stirring look at music deserving wider recognition.

“Eckart Conducts Márquez,” which is scheduled to be repeated on Tuesday evening, includes works by Arturo Márquez (b. 1950), Enrico Chapela (b. 1974), and Ana Lara (b. 1959). The latter two composers traveled to Maine to be in attendance for the performances and each spoke briefly before their creations were played on Sunday.

First up was Chapela’s “Rotor,” a work named after a “thrash metal” rock band in which the composer played years ago. They were like “early Metallica,” Chapela noted.

Indeed, there was lots of thrashing and, especially, thumping during the brief piece. But the PSO was up to the task of bringing out the structural sophistication beneath the clattering tumult. Wildly expressive, yet with a controlled sense of shape and color, the piece made one curious to hear more from Chapela.

“Máscaras for Harp Solo and Chamber Orchestra” by Márquez is both a somber and spirited work created in response to tragic events that also celebrates ongoing strengths within Mexican culture. Its Spanish tinge and Indigenous influences encompassed moments of gentleness and mystery. At other times, animated flourishes amid enticingly sensual rhythms were summoned.

PSO harpist Ina Zdorovetchi obviously felt the music as she swayed, nodded and gestured while employing her large instrument in articulating melodic detail, occasionally strumming vigorously as the orchestra reached expressive peaks. Oboe, piccolo and trumpet also added flavors as did a strong dose of percussion (a persistent presence throughout the entire program).

The concert closed with Lara’s “Ángeles de llama y hielo (Angels of Fire and Ice),” a symphonic tone poem inspired by poetry that establishes a sonic environment, coloring its four sections with different combinations of instruments (percussionists in the balcony was a nice, final touch).

With its expanded orchestra, one might think of several works from musical history on a similar grand scale when experiencing this piece. But “Ángeles” develops its own thoughtful character and moving undercurrent, as did each of the pieces in this excellent program of music from the PSO and composers from Mexico.

Not only will the program be streamed digitally from April 12 to May 12, but an audio CD of it (the first commercial recording by the PSO) will be available by early 2024.

Steve Feeney is a freelance writer who lives in Portland.

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