Carlos Chávez (1899–1978), subject of this year’s Bard Music Festival, is the central figure in Mexican music of the twentieth century and among the most eminent of all Latin American modernist composers. The seventh child of a Creole family, his highly individual style—diatonic, dissonant, contrapuntal—addressed both modernity and Mexico’s indigenous past. Chávez was also an educator, journalist, music theorist, and conductor and founder of the Orquesta Sinfónica de México. He became an integral part of the emerging music scene in the United States in the 1920s.
This summer represents the Bard Music Festival’s first examination of a Latin American composer, focusing on one who, though little known today, may have shaped American music more than any other. Along with building an impressive oeuvre couched in an acerbic modernist idiom, Mr. Chávez almost single-handedly remolded Mexican culture through his official roles in national arts institutions after the Mexican Revolution.
Today, Princeton University Press is proud to release Chávez and His World, the volume to accompany the Bard Music Festival’s concerts and panels over the course of the next two weekends. Robin Writes in The New York Times:
“The idea that he was a quintessential ‘Mexican composer’ and that in his case it was not a picturesque, postcard folklore, but some sort of really internal, almost racial essence, marked him forever,” the musicologist Leonora Saavedra said recently. An associate professor at the University of California, Riverside, Ms. Saavedra serves as the Bard festival’s scholar in residence and has edited an insightful volume of accompanying essays published by Princeton University Press.
Read the rest here.
Bard Music Festival 2015:
Carlos Chávez and His World
August 7-9 and August 14-16, 2015
Leonora Saavedra, author of Chávez and His World, is associate professor of music at the University of California, Riverside.