Carlos Antonio de Padua Chávez y Ramírez (13 June 1899 – 2 August 1978) was a Mexicancomposer,conductor, music theorist, educator, journalist, and founder and director of theMexican Symphonic Orchestra. He was influenced by native Mexican cultures. Of his six symphonies, the second, orSinfonía india, which uses nativeYaqui percussion instruments, is probably the most popular.
The seventh child of acriollo family, Chávez was born on Tacuba Avenue in Mexico City, near the suburb of Popotla.[1] His paternal grandfather,José María Chávez Alonso, a former governor of the state ofAguascalientes, had been executed by the French Army in April 1864 during itssecond invasion of Mexico. His father, Augustín Chávez, who died when Carlos was barely three years old, invented aplough that was produced and used in the United States.[2]
Carlos had his first piano lessons from his brother Manuel, and later on he was taught piano by Asunción Parra,Manuel Ponce, and Pedro Luis Ozagón, and harmony by Juan Fuentes. His family often holidayed inTlaxcala,Michoacán,Guanajuato,Oaxaca, and other places where the cultural influence of the Mexican indigenous peoples was still very strong.[3]
In 1916, Chávez and friends started a cultural journal,Gladios, and this led to his joining the staff of the Mexico City newspaperEl Universal in 1924. In the succeeding 36 years he was to write over 500 items for this paper.[3][4]
After theMexican Revolution and the installation of a democratically elected president,Álvaro Obregón, Chávez became one of the first exponents of Mexican nationalist music with ballets onAztec themes.[3]
In September 1922, Chávez married Otilia Ortiz and they went on honeymoon to Europe, from October 1922 until April 1923, spending two weeks in Vienna, five months in Berlin, and eight or ten days in Paris.[5] During the latter visit he metPaul Dukas.[3] Some months later, in December 1923, Chávez visited the United States for the first time, returning in March 1924.[6] Chávez again went to New York City in September 1926 and stayed there until June 1928.[7] Upon his return to Mexico, Chávez became director of the Orquesta Sinfónica Mexicana (Mexican Symphonic Orchestra), later renamed Orquesta Sinfónica de México (Mexico's Symphonic Orchestra); the country's first permanent orchestra, started by a musicians'labor union. Chávez was instrumental in taking the orchestra on tour through Mexico's rural areas.[citation needed]
In December 1928, Chávez was appointed director of Mexico's National Conservatory of Music—a position he held for a total of five years (until March 1933, and again for eight months in 1934). In that capacity, Chávez spearheaded threeSpanish:academias de investigación, two concerned with collecting and cataloguing indigenous music and its literature, and the third to study the uses of old and new scales.[3]
In 1937, Chávez published a book,Toward a New Music, which is one of the first books in which a composer speaks aboutelectronic music. In 1938, he conducted a series of concerts with theNBC Symphony Orchestra, during a period of absence by the orchestra's regular conductor,Arturo Toscanini. In 1940 he produced concerts at New York'sMuseum of Modern Art, and by 1945, Chávez had come to be regarded as the foremost Mexican composer and conductor.[8]
From January 1947 until 1952, Chávez served as director-general of theNational Institute of Fine Arts. In his first year, he formed theNational Symphony Orchestra, which supplanted the older OSM as Mexico's premier orchestra and led to the disbanding of the older ensemble. Throughout all this time, Chávez maintained a busy international touring schedule.[3]
In May 1953 he was commissioned byLincoln Kirstein, director of the New York City center of Music and Drama, for a three-act opera to a libretto byChester Kallman based on a story byBoccaccio, to be titledThe Tuscan Players. Intended to be finished in August 1954, it was first postponed to April 1955, but only finally completed in 1956, by which time the title had been changed twice, first toPánfilo and Lauretta, then toEl amor propiciado. The City Center waived its rights to the first performance, which was given under the titlePanfilo and Lauretta in the Brander Matthews Theatre atColumbia University in New York on 9 May 1957, under the baton ofHoward Shanet. Stage direction was by Bill Butler, scenic design by Herbert Senn and Helen Pond, and costumes by Sylvia Wintle. The principal singers wereSylvia Stahlman, Frank Porretta,Craig Timberlake, Mary McMurray, Michael Kermoyan, andThomas Stewart.[9] The opera would be revised twice more and the title changed again toLos visitantes (The Visitors), for productions in 1968 and 1973, in Mexico City andAptos, California, respectively.([3][10]) From 1958 to 1959 he was the Charles Eliot Norton professor atHarvard University, and thepublic lectures he gave there were published as a book,Musical Thought.[11]
From 1970 to 1973, Chávez served as the music director of theCabrillo Festival of Contemporary Music. His orchestral compositionDiscovery (1969) had previously been commission by the Festival and was first performed there.[citation needed]
Failing health and financial setbacks forced Chávez to sell his house[when?] in theLomas de Chapultepec neighborhood of Mexico City and move in with his daughter Anita inCoyoacán, in the fringes of the Mexican capital, where he died quietly on 2 August 1978,[3] his wife having died in April.
Chávez's manuscripts and papers are housed in the Music Division of theNew York Public Library for the Performing Arts and in theNational Archive of Mexico, in Mexico City.
Chávez's music does not fall into clear stylistic periods, but rather cumulates elements in a process of continual synthesis. Thejuvenilia, up to 1921 and consisting primarily of piano compositions, is essentiallyRomantic, withRobert Schumann as the main influence. A period of nationalistic leanings was initiated in 1921 with theAztec-themed balletEl fuego nuevo (The New Fire), followed by a second ballet,Los cuatro soles (The Four Suns), in 1925.[3]
During his time in New York City between 1924 and 1928, Chávez acquired a taste for the then-fashionable abstract and quasi-scientific music, as is reflected in the titles of many of his compositions written between 1923 and 1934:Polígonos for piano (Polygons, 1923),Exágonos for voice and piano (Hexagons, 1924),36 for piano (1925),Energía for nine instruments (Energy, 1925),Espiral for violin and piano (Spiral, 1934), and an unfinished orchestral score titledPirámides (Pyramids).
The culmination of this period was the balletH. P. (i.e., Horse Power), also known by the Spanish titleCaballos de vapor (1926–31).[12]H. P. is a colorfully orchestrated score of ample dimensions and dense, compact atmosphere, notable for its dynamism and vitality, revealing the influence ofStravinsky and at the same time returning to folkloric and popular elements, with dances such as thesandunga,tango,huapango, andfoxtrot.[13] Such nationalisms would appear through the 1930s, notably in the Second Symphony (theSinfonía índia of 1935–36, one of the few works by Chávez to quote actual Native-American themes), but only sporadically in later compositions.[3]Diego Rivera designed the sets and costumes for the ballet's premiere in Philadelphia in 1932.[14]
Although this early period saw the creation of the Sonatina for violin and piano (1924), it was only in the 1930s that Chávez returned to another of the main musical interests of his maturity, prefigured in the juvenilia: the traditional genres of thesonata,quartet,symphony, andconcerto.[3] He composed six numbered symphonies. The first, titledSinfonía de Antígona (1933), was reworked from incidental music forJean Cocteau'sAntigone, an adaptation ofSophocles' tragedy. In it, Chávez sought to create an archaic ambiance through the use of modal polyphony, harmonies built on fourths and fifths, and a predominant use of wind instruments.[3]
In the fourth of his Norton lectures of 1958–59, titled "Repetition in Music",[15] he described a mode of composition already observable in many of his compositions since the 1920s, in which "The idea of repetition and variation can be replaced by the notion of constant rebirth, of true derivation: a stream that never comes back to its source; a stream in eternal development, like a spiral ..."[16] A notable early example of this method isSoli I (1933), the first work acknowledged by the composer to have been consciously organized according to this principle. It only became a regular feature, however, beginning withInvención I for piano (1958), and subsequently in most of his instrumental compositions of the 1960s and 1970s:Invención II for string trio (1965),Invención III for harp (1967),Soli II for wind quintet (1961),Soli III for bassoon, trumpet, viola, timpani, and orchestra (1969),Soli IV for brass trio (1966),Cinco Caprichos for piano (1975), and the late orchestral worksResonancias (1964),Elatio (1967),Discovery (1969),Clio (1969), andInitium (1970–72).[17]
Chávez made more than a handful of recordings, conducting his own music as well as that of other composers. One of the earliest was made in the 1930s forRCA Victor, containing Chávez'sSinfonía de Antígona andSinfonía India, together with his orchestration ofDieterich Buxtehude's Chaconne in E minor: 4-disc 78-rpm set, Victor Red Seal M 503. The best-known[citation needed] of his discs was theEverest Records stereophonic recording of hisSinfonía India,Sinfonía de Antígona, andSinfonía romántica, in which Chávez conducted the Stadium Symphony Orchestra, the name given to theNew York Philharmonic for its summer performances in theLewisohn Stadium. The album was originally issued in 1959 byEverest Records on LP SDBR 3029, and was reissued on CD in 1996 by Everest as EVC-9041, as well as at some point byPhilips Records. In 1963 Chávez conducted theVienna State Opera Orchestra in two recordings with pianistEugene List forWestminster Records, both released on LP: one of his own Concerto for Piano and Orchestra (Westminster WST 17030, reissued in 1976 as Westminster Gold WGS 8324) and one of the two piano concertos byEdward MacDowell (ABC Westminster Gold WGS 8156).
In the 1950s he released two recordings on USDecca Records, on which he conducted the Orquesta Sinfónica de México. In 1951 a 10-inch mono LP was issued (Decca Gold Label DL 7512, reissued 1978 byVarèse Sarabande on side 2 of 12-inch LP ), containing his Suite fromLa hija de Cólquide (originally recorded in 1947 for the Mexican label Anfión and issued as a 3-disc 78 rpm set Anfión AM 4), and in 1956 Decca released an anthology,Music of Mexico, on which he conducted three of his own works, plusJosé Pablo Moncayo'sHuapango (Decca Gold Label LP, DL9527).
He also made some recordings forColumbia Records which were issued on 78-rpm discs and on LP (Columbia 4-disc 78-rpm set M 414, reissued 1949 on Columbia 10-inch LP, Columbia ML 2080 and Mexican Columbia DCL 98, reissued on Columbia 12-inch LP, LL 1015; CBS Masterworks 3-LP set 32 31 0001 (mono)/ 32 31 002 (stereo); CBC Masterworks LP 32 11 0064; Columbia LP M32685; Odyssey LP Y 31534). In 1961 he recordedSergei Prokofiev'sPeter and the Wolf, with the Orquesta Sinfónica de México andCarlos Pellicer, narrator, released on Mexican Columbia MC 1360.
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