JULY 2018 | Jesús Echevarría: Suite Huasteca and Suite Tarasca | Quindecim

JULY 2018 | Jesús Echevarría: Suite Huasteca and Suite Tarasca | Quindecim

By RAY PICOT

Summer has arrived, and what better way of celebrating than to visit Mexico for the joyful exultations of folk culture and the golden era of Baroque New Spain, with Jesús Echevarría’s two suites for string quartet and jarana huasteca. A heady mixture, of traditional classical string quartet and folk instrumentation, but one that works very well, whilst offering good listening and foot-tapping pleasure too!

The instrumental combination expands the traditional ‘conjunto huasteco’ string trio of violin, jarana huasteca (a small guitar-like instrument with 5 strings), and quinta huapanguera (a larger deeper sounding version of the jarana). The composer has made a detailed study of Mexican folklore to achieve a very effective synthesis of styles and instruments, which has lead to considerable public and critical acclaim.

On this recording the jarana typically plays an accompanying role to the melodies which are carried by the quartet, where solos alternate within the ensemble, maintaining textural variety with rhythmic flexibility. It is clear that the composer is writing for an instrumental grouping that works very well in his expressive terms and on this recording he plays alongside the Cuarteto Ruso-Americano (now known as Cuarteto Carlos Chávez), who prove to be enthusiastic and responsive collaborative partners, in this most unconventional string ensemble music.

The album has two suites, titled Huasteca and Tarasca, which respectively reflect the areas of The Gulf and West Central Mexico. They are not dissimilar in style, though Tarasca seems to have a a freer melodic air, but both reflect the composer’s interest in Spanish and Italian Baroque, with a dash of Boccherini and flamenco. The suites each open with an overture, which sets the scene very effectively, followed by 4 movements; each of which is titled after names of places that acted as inspiration to the music, which is typically imbued with dance-like characteristics, further enhancing the connection with the Baroque suite. As the composer, in his detailed booklet notes explains, Tarasca is conceived as being complimentary, but unlike Huasteca, it is not based on traditional melody but rather being mestizo-inspired. However, both suites contain the same ebullient originality, with the composer taking a spark from the regions and their mestizo music that inspired him. This is colourful and inventive music with a smile, to enjoy perhaps whilst sipping a tequila!

Such was the initial success of Huasteca, in 1993 the composer was commissioned to expand this suite for choral and orchestral forces, followed by Tarasca in 2000. Yet it is the original, and for me the most mobile and exciting version that the composer has chosen to record, and with musicians who respond to all the technical challenges with enthusiasm, which is clearly conveyed in these superb performances. However, the hugely enjoyable orchestral version of Huasteca, complete with jarana and huapanguera soloists, can be seen on Youtube with OSIPN conducted by Alfredo Ibarra.

For further listening of this most interesting composer, Quindecim’s previous release was the song cycle Basket of Mexican Fruit (1995), where the more popular huapango style prevails. The Huastec connection is further explored in the song cycle Cantes Huastecos for soprano, tenor, jarana and string quartet, where more formal music and folk styles intertwine to beguiling effect. For something on a larger scale I warmly recommend Echevarría’s life-enhancing Misa mexicana (1998), where the composer achieves a natural blend between the traditional mass and folkloric influences - just sample the 'Credo'! All these albums mentioned are available either as discs or downloads from the usual places.

 

 

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