Mexican Piano Music 1960-2014

JAVIER TORRES MALDONADO (b.1968): Orior, ANA LARA (b.1959): 2 estudios, GERHARD MUENCH (1907-1988)/MARIO LAVISTA (b.1943): Correspondencias, RODOLFO HALFFTER (1900-1987): Sonata No. 3, Op. 30, CARLOS VIDAURRI (b.1961): Foglio I, LUIS MONTOYA TISCAREÑO (b.1985): Conspiración, Ocaso, EMIL AWAD (b.1963): Sonatita, EDUARDO MATA (1942-1995): Sonata, MARIO LAVISTA (b.1943): Mujer pintando en cuarto azul.

Description: Now our imported Mexican piano music journey hits the avant-garde! This new relese is a trip through different densities of sound matter and different way of expressing it, including Neo-Impressionism , dodecaphony, integral serialism, aleatory techniques, minimalism and other expressions of a variety of musical poetics. Maldonado conceived his piece out of an acquaintance with the Preludes nom mesurés of Jean-Henri D’Anglebert; Muench and Lavista conducted a musical back-and-forth by mail which saw the latter adapting to and modifying serial material by the German composer; Halffter combines twelve-tone techniques with neoclassical elements. Other pieces can be described but not categorized but there is, perhaps, a miniature-size monument here too: the conductor Eduardo Mata’s sonata (1960-61) of which the note-writer says “I believe that it is the first piece which uses this system of integral serialism conscientiously. It is an extremely difficult piece to execute, which is why it is so seldom perfomed”. If you can believe it, th 19-year-old Mata wrote this while composing a big, Brahmsian symphony for Carlos Chávez’s workshop of which he was then a member. Alejandro Barrañón (piano).