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Silvestre Revueltas

 
Music Encyclopedia: Silvestre Revueltas

(b Santiago Papasquiaro, 31 Dec 1899; d Mexico City, 5 Oct 1940). Mexican composer. He studied in Mexico City, Austin and Chicago, his teachers including Tella and Borowski. From 1929 to 1935 he was assistant conductor of the Mexico SO, for which he composed rhythmically vigorous, boldly coloured pieces, most famously Sensemayá; (1938).



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Artist: Silvestre Revueltas
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Silvestre Revueltas
  • Period: Modern (1910-1949)
  • Born: December 31, 1899 in Santiago Papasquiaro, Mexico
  • Died: October 05, 1940 in Mexico City, Mexico
  • Genres: Ballet, Chamber Music, Choral Music, Film Music, Orchestral Music, Music Theater, Vocal Music

Biography

Silvestre Revueltas' music -- most of it written during the last decade of his short life -- bursts with energy, instrumental color, and mocking humor. Revueltas began violin studies at age eight; the years 1913-16 found him in Mexico City studying composition and violin. From there Revueltas headed north to Texas to study at St. Edward College in Austin (1916-1918) and then to the Chicago Musical College (1918-1920). Revueltas returned to Mexico to give violin recitals in the capital and several states. But Chicago drew him back in 1922 for a four-year course of violin study. In the mid-1920s Revueltas made trips down to Mexico for several series of recitals of modern music; his piano accompanist was the young Carlos Chávez.

Ultimately, Chávez persuaded him to return to Mexico City to teach violin and chamber music at the National Conservatory and to serve as assistant conductor of Chávez's newly formed Orquesta Sinfónica de México, a position he held from 1929-1935. During this time, Revueltas also became active in the cause of artists' and workers' rights.

Between 1931 and 1934, Revueltas wrote six "picture-postcard" pieces for orchestra, ten-minute tone poems usually inspired by Mexican scenes, although when asked what such compositions as Ventanas or Caminos were about, he would say only, "It all depends on the good or bad will of the listener."

After a rupture with Chávez, Revueltas quit the Orquesta Sinfónica de México and, in the spring of 1936, formed the rival and short-lived Orquesta Sinfónica Nacionál. The failure of that ensemble left him free to tour Spain in 1937. He traveled there in his capacity as secretary general of the League of Revolutionary Writers and Artists, supporting the cultural activities of the Loyalist government, directing various concerts and presenting some of his own music. Revueltas returned to Mexico the following year; he took up teaching again, and wrote a half-dozen scores for Mexican films. His first such effort, Redes (Nets), had come in 1935 for a social protest movie set in a poor fishing village. It became his most frequently played score, after the short, hypnotically brutal Sensemayá (1938). Revueltas was hard-living and self-destructive; although he officially succumbed to pneumonia at age 40, the long-term truth is that he drank himself to death. What survives is a decade's worth of arresting, concentrated works of differing character that shares a single, forceful voice. ~ James Reel, All Music Guide

Discography

The Night of the Mayas: Music of Silvestre Revueltas

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Wikipedia: Silvestre Revueltas
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Silvestre Revueltas

Silvestre Revueltas Sánchez (December 31, 1899 - October 5, 1940) was a Mexican composer of classical music, violinist and conductor.

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Life

He was born in Santiago Papasquiaro in Durango, and studied at the National Conservatory in Mexico City, St. Edward's University in Austin, Texas and the Chicago College of Music. He gave violin recitals and in 1929 was invited by Carlos Chávez to become assistant conductor of the National Symphony Orchestra (Mexico), a post he held until 1935. He and Chávez did much to promote contemporary Mexican music. It was around this time that Revueltas began to compose in earnest.

He was part of a family of artists, a number of whom were also famous and recognized in Mexico; his brother Fermín (1901–1935) and sister Consuelo (b. before 1908, d. before 1999) were painters, sister Rosaura (ca. 1909–1996) was an actress and dancer, younger brother José Revueltas (1914–1976), was a noted writer. His daughter from his second marriage, Eugenia (born November 15, 1934), is an essayist. His nephew Román Revueltas Retes, son of José, is a violinist, journalist, painter and conductor of the OSA ("Orquesta Sinfónica de Aguascalientes" in spanish). His daughter from his first marriage to Jules Klarecy (orig: Hlavacek), Romano Carmen (later Montoya and Peers), enjoyed a successful career as a dancer, taught ballet and flamenco in New York, and died on November 13, 1995, at age 73, in Athens, Greece. She is survived by three sons, and two kindred creative female heirs in Oceanside, CA.

He went to Spain and worked for the Republicans during the Spanish Civil War, but upon Francisco Franco's victory, returned to Mexico to teach.[citation needed] He earned little, and fell into poverty and alcoholism. He died in Mexico City on the day his ballet El renacuajo paseador, written four years earlier, was premièred.

He wrote film music, chamber music, songs and a number of other works. Among his orchestral music are a number of symphonic poems with Sensemayá: Chant for the Killing of a Snake (1938), based on a poem by Nicolás Guillén, the most famous. His music is often vigorous, rhythmically vital, and frequently has a distinctly Mexican flavour.[citation needed]

He appeared briefly as a bar piano player in the movie ¡Vámonos con Pancho Villa! (Mexico, 1935), for which he composed the music. When shooting breaks out in the bar while he is playing "La cucaracha", he holds up a sign reading "Se suplica no tirarle al pianista" (Please don't shoot at the piano player!).[1]

Revueltas died of pneumonia (complicated by alcoholism) in Mexico City on October 5, 1940, at the age of 40. His remains are kept at the Rotonda de los Hombres Ilustres in Mexico City.

Music

Chamber Works

  • El afilador, 1924
  • Batik, 1926
  • Four Little Pieces for String Trio, 1929
  • Homenaje a Federico García Lorca, 1936
  • Ocho x radio, 1933
  • Planos, 1934
  • String Quartet No. 1, 1930
  • String Quartet No. 2, 1931
  • String Quartet No. 3, 1931
  • String Quartet No. 4, Música de feria, 1932
  • Tres piezas, for violin and piano, 1932
  • Éste era un rey 1940
  • First Little Serious Piece, for chamber ensemble, 1940
  • Second Little Serious Piece, for chamber ensemble, 1940

Orchestral Works

  • Pieza para Orquesta, 1929
  • Alcancías, 1932
  • Caminos, 1934
  • Colorines, 1932
  • La coronela (orch. by Moncayo and arr. by Limantour)
  • Cuauhnáhuac, for string orchestra, 1930; revised for full orchestra, 1932
  • Danza geométrica (orchestral version of Planos), 1934
  • Esquinas, 1930
  • Itinerarios, 1938
  • Janitzio, 1933 (rev. 1936)
  • Música para charlar, 1938 (from the film score of Ferrocarriles de Baja California)
  • El renacuajo paseador, 1933
  • Sensemayá, 1938
  • Toccata (sin fuga), for violin and chamber orchestra 1933
  • Troka, 1933
  • Ventanas, 1931

Ballets

  • La coronela, 1940 (unfinished; a completion by Blas Galindo and Candelario Huízar lost)
  • El renacuajo paseador, 1936

Film Scores

  • Bajo el signo de la muerte, 1939
  • Ferrocarriles de Baja California, 1938
    • selections reworked as Música para charlar
  • El indio, 1938
  • La noche de los mayas, 1939
  • Redes, 1935
  • ¡Vámonos con Pancho Villa!, 1936

Songs

  • "Canto a una muchacha negra" (words: Langston Hughes), voice and piano 1938
  • Cinco canciones para niños y dos canciones profanas, 1938-1939
  • Duo para pato y canario, voice and chamber orchestra, 1931
  • "Ranas" (Frogs) and "El tecolote" (The Owl), voice and piano, 1931
  • Caminando, 1937

Piano

  • Allegro
  • Canción (a passage used also in Cuauhnáhuac)

Sources

  • Avila, Jacqueline A. 2007."The Influence of the Cinematic in the Music of Silvestre Revueltas". DMA thesis. University of California (Riverside).
  • Barnard Baca, Roberto. 2008. "The String Quartets of Silvestre Revueltas." DMA diss. New York: CUNY GC.
  • Barnard Baca, Roberto. 2008. "Análisis de transformaciones en el cuarteto núm. 1 de Revueltas". Artículo. Guadalajara, MX
  • Contreras Soto, Eduardo. 2000. Silvestre Revueltas: baile, duelo y son. Teoría y práctica del arte [México, D.F.]: Consejo Nacional para la Cultura y las Artes, Dirección General de Publicaciones, Instituto Nacional de Bellas Artes. ISBN 9701837622
  • Dean, Jack Lee. 1992. "Silvestre Revueltas: A Discussion of the Background and Influences Affecting His Compositional Style". Ph.D thesis. University of Texas at Austin.
  • Espinosa, Sergio. 2001. "Silvestre Revuelta's Film for Redes". Ph.D. diss. University of Iowa.
  • Garland, Peter. 1991. In Search of Silvestre Revueltas. Essays 1978-1990. Soundings Press.
  • Hyslop, ,J. R. 1982. "An Analysis of Silvestre Revueltas's Sensemayá". DMA thesis. Bloomington: University of Indiana.
  • Kaufman, Christopher. 1991. "Sensemayá: The Layer Procedures of Silvestre Revueltas". DMA thesis. Ithaca, New York: Cornell University.
  • Kolb Neuhaus, Roberto. 2007. "El vanguardismo de Silvestre Revueltas:una perspectiva semiótica." Ph.D. diss. Facultad de Filosofía y Letras, UNAM.
  • Kolb Neuhaus, Roberto. 1998. Silvestre Revueltas. Catálogo de sus obras. Coyoacán, D.F.: Universidad Nacional Autónoma de México, Escuela Nacional de Música. ISBN 9683669093
  • Kolb Neuhaus, Roberto, and José Wolffer (eds.). 2007. Silvestre Revueltas: sonidos en rebelión. México: UNAM, Escuela Nacional de Música. ISBN 9703231721
  • Hoag, Charles K. 1987. "Sensemayá: A Chant for Killing a Snake." Latin American Music Review / Revista de Música Latinoamericana 8, no. 2 (Autumn): 172–84.
  • Leclair, Charmaine Francoise. 1995. "The Solo and Chamber Music of Silvestre Revueltas." Ph.D. diss. Eugene: University of Oregon.
  • Mayer-Serra, Otto. 1941. "Silvestre Revueltas and Musical Nationalism in Mexico." Musical Quarterly 27:123–45.
  • Moreno Rivas, Yolanda. 1995. Rostros del Nacionalismo en la música mexicana: un ensayo de interpretación, 2nd edition. [México, D.F.]: Universidad Nacional Autónoma de México, Escuela Nacional de Música. ISBN 9683645569
  • Palencia Alonso, Héctor. 2000. "Voces magistrales: Silvestre Revueltas". In Conservatorianos: Revista de información, reflexión y divulgación culturales 6 (November-December): 25–29.
  • Porrit, Peter. 1983. "Nationalism in Twentieth Century Mexican Music". DMA thesis. Berkeley: University of California.
  • Revueltas, Silvestre. 1989. Silvestre Revueltas por él mismo: apuntes autobiográficos, diarios, correspondencia y otros escritos de un gran músico, compiled by Rosaura Revueltas. México, D.F.: Ediciones Era. ISBN 9684112874
  • Sanchez, Gutiérrez, Carlos. 1996. ¨The Cooked and the Raw: Syncretism in the music of Silvestre Revueltas". Ph.D. thesis. Princeton: University of Princeton [sic].
  • Velazco, Jorge. 1986. "The Original Version of Janitzio, by Silvestre Revueltas." Latin American Music Review / Revista de Música Latinoamericana 7, no. 2 (Autumn): 341–46.
  • Vondrak, Antonia. 2000. "Silvestre Revueltas (1899-1940)". DMA thesis. University of Vienna.
  • Wilson-Spinalle, Katheleen L. 1983. "Selected Solo Songs of Carlos Chávez and Silvestre Revueltas. DMA thesis. University of Arizona.
  • Zohn-Muldoon, Ricardo. 1998. "The Song of the Snake: Silvestre Revueltas' Sensemayá." Latin American Music Review / Revista de Música Latinoamericana 19, no. 2 (Autumn): 133–59.

External links

References

  1. ^ In Palencia 2000, 26. Palencia cites Revueltas' appearance in this scene as an example of his sense of humor.

 
 

 

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