Brandenburg Concerto No. 3 in G Major, BWV 1048 Third movement
Johann Sebastian Bach (1685–1750)
Some of the earliest European music to arrive in Mexico during the Span- ish colonial period via the Catholic Church was the music of the Baroque and the Renaissance. This music blended with Indigenous and African elements producing some of the folk music traditions we still have today. This arrangement showcases an effortless blend between a well-known J.S. Bach concerto and the rhythm of “El Zapateado”, an Afro Mexican “son jarocho” from Mexico’s East coast, both pieces in G-major and 6/8 time and neither sacrificing its own integrity.
El Butaquito Traditional (son jarocho)
This traditional piece from the seaport of Veracruz sets the mood for the fiesta. The musicians of Sones de Mexico Ensemble arrive and join the music one by one, starting with a foot tapping solo by Lorena Iñiguez and a folk harp solo in the middle of the piece by Zacbe Pichardo.
La Rabia Traditional (son calentano)
The title of this folk piece translates as “passionate rage”. It hails from
the “tierra caliente” region of Western Mexico that spans the states of Michoacán and Guerrero. The piece features a percussive, hand tapping solo by Eric Hines.
Feria Chiapaneca Traditional (son de marimba)
This medley of traditional marimba tunes from the Southeastern Mexican state of Chiapas features multi-instrumentalist ensemble members Zacbe Pichardo and Eric Hines.
Encuentro: Suite de Danzas Yucatecas
Victor G. Pichardo (b. 1962) arr. Gustavo Leone
This is the first orchestral piece written by Sones de Mexico Ensemble’s founder Victor Pichardo, commissioned by the late Maestro Paul Freeman of the Chicago Sinfonietta, and premiered in Chicago’s Symphony Center on January 22, 2001. The piece references the first arrival of Spaniards in Mexico, Fr. Geronimo de Aguilar and Gonzalo Guerrero, two survivors of the shipwrecked caravel Santa María de la Barca in 1511, and the consequent blending of two cultures.
*All pieces arranged by Victor Pichardo, Sones de Mexico Ensemble’s music director.
Cielito Lindo
Quirino Mendoza y Cortés (1862–1957)
“Cielito Lindo” is one of the most iconic and beloved songs in the mariachi repertoire. This traditional Mexican song, often associated with mariachi bands, was written in 1882 by Quirino Mendoza y Cortés. The title, which translates to “Lovely Sweet One,” and its memorable chorus, “Ay, ay, ay, ay, canta y no llores,” have made it a symbol of Mexican culture and a favorite at celebrations and gatherings.
El Gustito Traditional
“El Gustito” is a traditional Mexican song famously performed by Mariachi Vargas de Tecalitlán, a renowned mariachi ensemble established in 1897 by Gaspar Vargas in Tecalitlán, Jalisco. The song is characterized by its lively tempo and vibrant melodies, typical of the son jalisciense style, a genre originating from the Jalisco region.
La Malagueña
Elpidio Ramírez (1882-1960) and Pedro Galindo (1906-1989
“La Malagueña” is a timeless Mexican song that has become a staple in the mariachi music tradition. Originating from the state of Veracruz, this song is part of the “son huasteco” genre, characterized by its intricate melodies and passionate delivery. The song was composed by Mexican songwriter Elpidio Ramírez and Pedro Galindo in the 1940s and has since been interpreted by numerous artists and ensembles.
Mariachi bands, with their vibrant and emotive style, have embraced “La Malagueña” for its dramatic flair and challenging vocal and instrumental demands.
Guantanamera
José Fernández Diaz (1908–1979)
Originally composed by José Fernández Diaz, also known as Joseíto Fernández, in the 1920s. Mariachi bands, known for their vibrant and dynamic performances, have adopted “Guantanamera” into their repertoires, bringing their unique instrumentation and style to the Cuban classic. Performing “Guantanamera” allows mariachi groups to showcase their versatility and connect with a broader Latin American audience, celebrating shared cultural roots. The song’s universal appeal and powerful message of unity and identity continue to make it a favorite at mariachi performances, preserving its legacy as a beloved classic across generations and borders.
El son de la Negra Traditional
“El Son de la Negra” is an iconic Mexican folk song that has become a cherished emblem of traditional Mexican music. The origins of the piece trace back to the state of Jalisco, Mexico, where it emerged as a lively son jalisciense, a regional musical style characterized by its rhythmic energy and joyful melodies. The lyrics of the song celebrate the beauty and allure of a woman known as “La Negra,” evoking images of love, passion, and the colorful culture of Mexico.
Márquez Danzón No. 2
Arturo Márquez (b. 1950)
Composed by Arturo Márquez in 1994, the Danzón No. 2 is one of the most popular pieces of Mexican contemporary classical music. Márquez studied both in Mexico and California, developing a compositional style informed by traditional Mexican music and modern classical music. It is worth noting that this second Danzón was a significant turning point for the composer where he turned away from his modernist impulses in order to explore established forms. In the composer’s words:
I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality
and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City.
