'Copland and Mexico'

Five-day concert series highlights this composer and orchestral music south of the border

'Copland and Mexico'

The name "Aaron Copland" conjures misty Appalachian valleys and broad Midwestern prairies, but this composer whose music is so identified with the American heartland was also deeply inspired by our neighbor to the south, and, in fact, his first major success was with a work based on its music. El Salón México – named for a raucous dance hall that Copland visited with his fellow composer and friend Carlos Chávez – includes themes drawn from a handful of Mexican folk tunes that Copland found in published anthologies, and so captivated audiences that within a couple of years of its 1937 premiere by the Orquesta Sinfónica de Mexico (with Chávez conducting), the piece had been performed by 21 orchestras – more than any of Copland's other works to that date.

El Salón México has remained popular ever since, and you can hear for yourself why when it's revived by the Austin Symphony Orchestra this weekend, along with Copland's Two Mexican Pieces ("Paisaje Mexicano" and "Danza de Jalisco") and Chávez's Chapultepec (Three Famous Mexican Pieces). But you won't just be hearing performances of these works; as the music plays, you'll be seeing projected images of murals, paintings, and photographs associated with the Mexican Revolution. Then, in the second half of the program, you'll see a full movie – the 1936 film Redes, about the fishing community near Veracruz – while the ASO plays live the score by noted Mexican composer Silvestre Revueltas. And before the concert, you can listen to a lecture about Revueltas' time in Austin in 1917-18 by musicologist Lorenzo Candelaria, while after it, Candelaria will take part in a Q&A with ASO Music Director Peter Bay and cultural historian and curator Joseph Horowitz.

Horowitz is the mastermind behind the program, which is part of a larger interdisciplinary investigation into Mexican and American culture using Copland as a lens. In addition to the ASO concert, "Copland and Mexico" includes a Monday concert by Danzonera SierraMadre, the leading danzón orchestra in northern Mexico, and a joint concert by the UT Symphony Orchestra, UT Percussion Group, and UT New Music Ensemble featuring more music by Revueltas, Chavéz, and Copland, including the much-beloved Appalachian Spring, which, granted, isn't Mexican, but by the time you hear it Tuesday, you might understand how his work with those folk tunes in El Salón México influenced his treatment of the Shaker hymn "Simple Gifts" later. Horowitz developed "Copland and Mexico" through a project he calls "Music Unwound," the purpose of which is to integrate humanities content into live concert performances. With support from the National Endowment for the Humanities, Music Unwound allows orchestras to supplement their musical offerings with multimedia visuals, lectures, recitals, museum exhibitions, and the like, typically in partnership with universities, to further educational goals. For the current phase of the project, which launched in 2011 with "Dvorák and America," ASO and UT received funding as part of a consortium that includes the Pacific Symphony, Buffalo Philharmonic, North Carolina Symphony, South Dakota Symphony, and Louisville Orchestra. "Copland and Mexico" will be followed by "Charles Ives' America," which will spread over multiple weeks and involve orchestra, chorus, wind ensemble, and scholars of music and history.


"Copland and Mexico": Austin Symphony Orchestra, March 21-22, Friday & Saturday, 8pm, Dell Hall at the Long Center, 701 W. Riverside, www.austinsymphony.org; Danzonera SierraMadre, Monday, March 24, 7:30pm, Bates Recital Hall, 2406 Robert Dedman, www.utexas.edu/cola; UT Symphony Orchestra, Percussion Ensemble, and New Music Ensemble, Tuesday, March 25, 7:30pm, Bates Recital Hall, 2406 Robert Dedman, www.music.utexas.edu.

A note to readers: Bold and uncensored, The Austin Chronicle has been Austin’s independent news source for almost 40 years, expressing the community’s political and environmental concerns and supporting its active cultural scene. Now more than ever, we need your support to continue supplying Austin with independent, free press. If real news is important to you, please consider making a donation of $5, $10 or whatever you can afford, to help keep our journalism on stands.

Support the Chronicle  

READ MORE
More Austin classical music
A Guide to Austin Classical Music
A Guide to Austin Classical Music
The virtuosi who know the score and make beautiful music happen here

Robert Faires, April 26, 2019

Exhibitionism
The Creation
Texas Choral Consort's performance of Haydn's masterwork reawakened one's sense of life in all its immense variety

Robert Faires, Aug. 22, 2014

More by Robert Faires
<i>The Bird Boys</i> Brings Crime to 1970s Beaumont
The Bird Boys Brings Crime to 1970s Beaumont
Lisa Sandlin's characters try to solve the mysteries of themselves

July 19, 2019

<i>A Risky Undertaking for Loretta Singletary</i> by Terry Shames
A Risky Undertaking for Loretta Singletary by Terry Shames
Police chief Samuel Craddock searches for a missing friend while on a visit to Jarrett Creek, Texas

July 19, 2019

KEYWORDS FOR THIS STORY

Copland and Mexico, Austin classical music, Austin Symphony Orchestra, Peter Bay, Music Unwound, Joseph Horowitz, Lorenzo Candelaria, Aaron Copland, Carlos Chávez, Silvestre Revueltas

MORE IN THE ARCHIVES
NEWSLETTERS
One click gets you all the newsletters listed below

Breaking news, arts coverage, and daily events

Can't keep up with happenings around town? We can help.

Austin's queerest news and events

Updates for SXSW 2019

All questions answered (satisfaction not guaranteed)

Information is power. Support the free press, so we can support Austin.   Support the Chronicle