Crossroads of Traditions Concert
| Secreto eterno (oriental dance) | José Perches (1882-1939) |
| Mazurka No. 3 in e minor Adiós (dance) |
Alfredo Carrasco (1875-1945) |
| Mazurka No. 3 in Db major | Felipe Villanueva (1862-1893) |
| Tropicales (3 dances) María Luisa (Salon Mazurka) |
Ernesto Elorduy (1855-1913) |
| Barcarolle Valse Bluette |
Ricardo Castro (1864-1907) |
| Elodia | Luis G. Jorda (1869-1951) |
| Intermezzo Gavota Guateque (Tempo di Danzón) |
Manuel Ponce (1882-1948) |
Caracteres
|
Miguel Lerdo de Tejada (1869-1941) |
| Mazurka No. 4 in a minor | Alfredo Carrasco |
| Vals Poético | Felipe Villanueva |
| Vals Caprice | Ricardo Castro |
Presented by The Latin American Music Center with the support of the School of Music and the Office of Creative Arts Exchange Program of the United States Information Agency. | |
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| Recital Hall 4:00 p.m. July 13 | |
Program Notes
MEXICAN PIANO MUSIC FROM THE PERIOD 1880-1910
Salon pieces were composed specifically for the enjoyment of society's middle and upper classes, and were meant to be easy to listen to. Their distinguishing features are a strong European, mostly French, influence, sometimes with a touch of Mexican folk elements, simplicity, immediate appeal, and refinement; they are sometimes humorous and frequently moving. In general the composers were conservative; even the most daring and ambitious among them stayed in contact with the taste of contemporary society. For historical reasons, Mexican music of the period was old fashioned with respect to contemporary European music.
The works of Ernesto Elorduy (1855-1913) represent the ideal of salon music: their titles, language, size, emotional content, and degree of difficulty are tailored to the exact size of the contemporary salons. Discrete, elegant, and imaginative, they are almost utilitarian: most of them were meant to be listened to and then discarded to make way for the newer ones.
Ricardo Castro (1864-1907) was the most important composer of the time. Although he was a distinguished concert pianist, his prestige is due to his work as a composer. His output includes a symphony, two operas, chamber music, a concerto for piano and orchestra, a concerto for cello and orchestra, some chamber music, and many piano pieces.Among the most inspired musicians of the period was Felipe Villanueva (1862-1893), who died at the young age of 31. Unfortunately, a considerable part of his works has been lost. His catalog consists mostly of piano pieces.
The name of Manuel María Ponce (1882-1948) has acquired international renown mostly due to his works for the guitar. Although Ponce belonged to the generation that followed Elorduy, Castro and Villanueva, his roots lay deep in the style of the nineteenth century. The extensive catalog of Ponce's works also includes works for orchestra, solo instruments, voice, and chamber music. His development is representative of his time: the changes brought about by the Mexican Revolution and his studies in Europe made him thoroughly modify his concepts and style. His pieces included in this program belong to his early, romantic period.
Although he lived far into the twentieth century, composer, pianist and organist Alfredo Carrasco (1875-1945) conservatively adhered to the nineteenth-century style. He was trained as a church musician-he was principal organist at the Guadalajara cathedral, and his output consists of religious and secular music.
Miguel Lerdo de Tejada (1869-1941) developed mostly in the field of popular music. Formal training came late in his life, and for a long time others had to write down what he composed. Logically, the pieces he composed for the salons have a strong folk flavor.
The world for which this music was created was destroyed by the outburst of the Mexican Revolution in 1910, which was characterized by nationalist and socialist ideals. Styles in art changed with the political and social changes. Most of the pieces of the period gradually went into oblivion, and only a few remained in the repertoire. The names of many of the composers were almost forgotten; the scores went out of print and can only be found in old family albums or in collectors' libraries. Only recently pianists, researchers, record producers, institutions and audiences have rediscovered this period of Mexico's cultural past and recognized its importance, and therefore the music has come back to life.
Notes by Raúl Herrera
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