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El Salón México

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El Salón México El Salón México AARON COPLAND BORN November 14, 1900, in Brooklyn; died December 2, 1990, in Sleepy Hollow, New York PREMIERE Composed 1936; first performance August 27, 1937, Mexico Symphony Orchestra, Mexico City, Carlos Chávez conducting OVERVIEW Copland was uneasy about tampering with Mexican folk music. He wrote to Mexican composer César Chávez: “I am terribly afraid of what you will say of the Salón México — perhaps it is not Mexican at all, and I would feel so foolish. But in America del Norte it may sound Mexican.” But Chávez asked to conduct the piece once the orchestration was finished. El Salón México was premiered in Mexico City in 1937 to great critical and popular acclaim, one critic stating that “Copland had composed Mexican music... embodying the very elements of our folk song in the purest and most perfect form.” El Salón México incorporates a couple of authentic Mexican melodies as well as the atmosphere of a lively bar where the partying has been in progress for some time. INSTRUMENTATION Piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, E-flat clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, piano, strings Huapango JOSÉ PABLO MONCAYO BORN June 29, 1912, in Guadalajara; died June 16, 1958, in Mexico City PREMIERE Composed 1941; first performance August 15, 1941, Mexico Symphony Orchestra, Mexico City, Carlos Chávez conducting OVERVIEW Mexican composer and pianist José Pablo Moncayo studied composition at the Mexico City Conservatory with Carlos Chávez and with Aaron Copland in the United States. From 1949 to 1954, he conducted the Mexico Symphony Orchestra, but made most of his living as a jazz pianist in cabarets. He dedicated himself to promulgating both traditional and new Mexican music, and his compositions pay homage to native idiom. Moncayo composed Huapango in 1941. The origin of the word is obscure, but it denotes music originating in the mestizo (“mixed”) culture, which is a mix of pre- Hispanic indigenous music with Spanish fandangos and similar dances introduced from overseas in the 18th century. WHAT TO LISTEN FOR Huapango is a tribute to the Jalisco region, where Moncayo grew up, combining three dance tunes. The piece features two kinds of ostinato or repetitive patterns; periodic shifts in melody, rhythm, and key punctuate the monotony. Like Ravel’s Bolero, which it resembles to some extent, Huapango is first and foremost a vivid display of orchestral color. After a long introduction that builds up the listener’s tension, the real action begins with a boisterous trumpet solo in good mariachi style — accompanied by solo harp! The sophisticated second theme appears first on the oboe and the third, a gentle waltz, on the flute. Moncayo gradually mixes the melodies into a wild celebration involving pulsating percussive rhythm and insistent repetition of phrases. INSTRUMENTATION Piccolo, two flutes, two oboes, two clarinets, E-flat clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, strings Three Latin American Sketches AARON COPLAND PREMIERE Composed 1959 and 1971; first performance June 7, 1972, New York Philharmonic, Andre Kostelanetz conducting OVERVIEW Just as French composers of the 20th century were fascinated by Spanish music and rhythms, their American counterparts were fascinated by those from south of the border. In 1959, Aaron Copland promised composer Gian Carlo Menotti a piece for the Festival of Two Worlds in Spoleto, Italy. After a visit to Mexico, Copland was stimulated by his surroundings to compose Danza de Jalisco (“Dance from Jalisco”), which was performed at the festival, and Paisaje Mexicano (“Mexican countryside”), which was not. The two were performed together for the first time in 1965. In 1971, Copland composed Estribillo (“refrain”), derived from Venezuelan music, adding it to the two earlier pieces to create Three Latin American Sketches. WHAT TO LISTEN FOR The vigorous Estribillo is highly syncopated with complex cross rhythms, featuring trumpet and percussion. Copland spices up the Mexican folk tune with bitonal harmonies. In Paisaje Mexicano solo clarinet, oboe, and trumpet introduce a languid melody with a limping rhythm. The bouncy ascending and descending scales, sounding like a jazzy five-finger exercise, introduce Danza de Jalisco in alternating meters of 6/8 and 3/4. INSTRUMENTATION Flute, oboe, clarinet, bassoon, trumpet, percussion, piano, strings Last Round OSVALDO GOLIJOV BORN December 5, 1960, in La Plata, Argentina PREMIERE Composed 1996; first performance October 25, 1996, Birmingham, U.K., Birmingham Contemporary Music Group, Stefan Asbury conducting OVERVIEW Born into an Eastern European Jewish household in officially Catholic Argentina, Osvaldo Golijov has forged a musical style based on Western Classical music, the traditional Jewish and Christian liturgies, folk traditions of several countries, and Latin-American influences with particular attention to the tango as developed by Astor Piazzolla. Golijov transforms these materials into entirely new forms and sounds. Klezmer music has been an important source for many of his compositions, the best known being The Dreams and Prayers of Isaac the Blind, for string quartet and clarinet. Golijov composed Last Round as a threnody for his countryman, the tango composer Astor Piazzolla (1921-1992). The work is based on a sketch he had written upon hearing the news of Piazzolla’s untimely death. Piazzolla’s tango nuevo (“new tango”) style found in this work features the bandoneón, a small accordion-like instrument with a 38-button keyboard. Invented in Germany in the 19th century to serve as a portable church organ, the bandoneón ultimately found its true home in the bordellos of Buenos Aires’ slums in the 1920s. Golijov originally composed Last Round in 1996 as a nonet for two string quartets and double bass, conceiving the ensemble as “an idealized bandoneón.” Golijov writes: “Last Round is also a sublimated tango dance... The bows fly in the air as inverted legs in criss-crossed choreography, always attracting and repelling each other, always in danger of clashing, always avoiding it with the precision that can only be acquired by transforming hot passion into pure pattern.” He borrowed the title from a short story on boxing by Julio Cortázar, symbolizing Piazzolla’s pugilistic personality and his tendency to get into fistfights. WHAT TO LISTEN FOR The first movement is based on a single highly rhythmic — but virtually tuneless — tango theme, over a ground bass line much like those heard in Baroque music.The variations involve shifts in tempo and unusual techniques, from rhythmic beating to shrieking glissandos. Golijov breaks the pattern by slipping in a cameo quotation from Piazzolla. A “seemingly endless sigh” is a transition to the second movement dirge — a slow tango, a fantasy on the refrain of the song “My Beloved Buenos Aires” by Carlos Gardel. INSTRUMENTATION Strings Danzón No. 2 ARTURO MÁRQUEZ BORN December 20, 1950, in Alamos, Mexico PREMIERE Composed 1994; first performance 1994, the Orchestra Filarmonica de la UNAM, Mexico City, Francisco Savin conducting OVERVIEW The danzón, the official dance of Cuba, probably originated in Haiti and is popular throughout the Caribbean and all along the gulf coast of Mexico, especially in the state of Veracruz. It has been an inspiration for Mexican composer Arturo Márquez, the son of a mariachi musician, since his childhood. Márquez is best known for his interdisciplinary works, blending music with theater, dance, cinema, and photography. His series of eight Danzones, composed in the 1990s, explore popular 20th-century rhythms and melodies of urban music and social dance, incorporating them into classical structures. Márquez studied piano, violin, and trombone in Mexico, later adding composition in France. In California on a Fulbright Fellowship, he received a master’s degree in composition at the California Institute of the Arts. For ten years, he taught composition at Mexico’s Escuela Nacional de Música. Danzón No. 2 gained instant popularity and is sometimes referred to humorously as Mexico’s second national anthem. The inspiration for the work came to Márquez after a visit to a ballroom in Veracruz. The composer writes: “I discovered that the apparent lightness of the danzón hides a music full of sensuality and rigor,” and added: “…it is a personal way of expressing my admiration and feelings towards real popular music.” WHAT TO LISTEN FOR Like most Caribbean salsa and Afro-Cuban music, Danzón No. 2 is based on a clave, a repeated rhythmic figure that is maintained for the entire piece, even as it progresses through a variety of moods and melodic themes. INSTRUMENTATION Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, piano, strings. ©2019 Joseph & Elizabeth Kahnbeth Kahn .
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