About the composers:
MANUEL M. PONCE (1882-1948) is considered the pioneer of musical nationalism in Mexico. He systematically investigated and used all types of mestizo folk music (corridor, jarabe, huapango, son etc). His first period of composition is considered Romantic, and the second, while he was living in Paris, represents a Modernist style. His later works evolved into Impressionism and Experimental harmonies, and Canción de Otoño is an example of this later style. He wrote many works for piano, guitar, and chamber music using elements of Mexican songs. Scherzino and other pieces have been recently released in a special Edition “Clema Ponce” by ENM- UNAM.
BLAS GALINDO (1910-1993) was a composer of a wide variety of music for voice, orchestra, ballet as well as chamber music. Sones de mariachi, a colourful medley of Mexican street serenades, remains his most widely played composition; Later in life wrote work with complex rhythms and dissonances. He taught composition and was director of the National Conservatorium from 1947-61. Lullaby, written in 1945, is in the style of Indigenist Nationalism. Other works include: Sinfonia breve and the Suite for ballet, La manda.
RICARDO CASTRO (1864-1907) was a pianist, composer and teacher, representative of late romantic style, and a musician who made a clear break with the Italian operatic styles popular in Mexico during most the 19th century. He wrote his composition for piano Aires nacionales mexicanos (subtitled Caprichos) while still a student, and performed internationally. He founded the Sociedad Filarmónica Mexicana for the promotion of chamber music. His other works include a concerto for violoncello, two symphonies and operas: La Leyenda de Rudel, Atzimba, Satán vencido and Roussalka. For violin a piano Melodia Op. 35
SILVESTRE REVUELTAS (1899-1940) studied composition and violin in Mexico City, Austin, Texas, and in Chicago. He collaborated with Carlos Chávez as assistant conductor of the Mexico Symphonic Orchestra (1929–35). Without quoting Mexican folksong, Revueltas’s mature works weave melodies of folk type into an instrumental fabric with vigorous rhythmic changes. His composition techniques were modernist with certain minimalist tendencies. The main melodies, no matter how encased in dissonant counterpoint, are always tuneful and repetitive. The Owl (1931) was originally written for voice and piano.
ALFONSO DE ELÍAS (1902-1984) studied at the National Conservatory of Mexico, where he received First Prize in the National Piano Competition. He continued thereafter as a very active concert pianist. He was also a gifted educator. From 1958 he taught at the National School of Music of the University of Mexico, National Conservatory of Music, and also taught at his own Academy of Music. He was perhaps the last composer of the Mexican Romantic tradition of his generation. His large catalogue of works includes commemorative masses for soloists, organ, and strings, motets, chamber music, songs, piano music and works for orchestra. Sad Waltz (1932)
JOSE SABRE MARROQUÍN (1909-1995) started writing songs in the 1930s and began to work in radio from 1932 until the 1960s. He showed great versatility in both popular music and concert music, writing also for cinema and television. He was musical director of the TV programme Revista Musical Nescafé during 23 years, and musical director for major sporting events, including the Olympic Games held in Mexico in 1968. He was a founding member of the Sociedad de Autores y Compositores de México. Sabre wrote and dedicated nine works to the violinist Henryk Szeryng, Polish born naturalised Mexican, who played these pieces in Europe and the USA. Of my homeland (1969), Longing (1971), Mexican Lullaby (1970) and Nostalgia (1952)
CARLOS R. SALOMÓN (1967) studied Composition at the National Conservatorium and Acoustics in Boston. In 1991 he specialised in digital music production in Japan. He has contributed to magazines, edited books and videos on music and technology and produced music for cine, television and commercials, and he continues to teach. His productions include works for orchestra, chamber music, incidental music and commissioned work. His work, described as “Música Neo-Típica”, is centred on renewing traditional music, mixing rhythms and sounds characteristic of Mexico. It has been performed by various orchestras and chamber music groups. Salomón, has received scholarships from the State of Oaxaca (FOESCA in 2007) and the federal government (FONCA 2008-2010). Braviata, El enredo and Los Danzoneros (2008)
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