The V Edition of the Urtext Festival closed its programming this Sunday at the Kaluz museum and this Monday at UNAM Faculty of Music; at the Kaluz, headquarters of the Festival, wiht a solid program that included the presentation of the famous Manchurian guitarist norio Sato, with members of his Ensemble Nomadfounded by him in Japan; The concert was given in collaboration with Pablo garibay and Vórtice Ensamble, performing music by Herbert Vázquez, who was grateful for being able to premiere works of his authorship in Mexico, after doing so for 20 years in Japan.
As a guitarist and as a director, he has performed the premieres of a large number of works both in the eastern country and abroad. He has performed and given master classes in various countries. In addition to his role as a guitarist, in 1997 he founded the NOMAD Ensemble and has served as its artistic and musical director since then.
In a recount of what the festival was like over the weekend, on Saturday the Piano, Voice, Strings and Breaths Cycle was celebrated with a recital clinic offered by maestro Arturo Nieto-Dorantes, to which was added the singing of the renowned soprano Rosario Dávila, accompanied by Juan Antonio Santoyo on piano, and in this aspect of urtext of generating musical mixtures Rodrigo Garibay, on saxophone and Edith Ruiz on piano They projected a repertoire that maintained the enthusiasm of the public who went from one space to another in the museum to see the artists in this visual arts venue that became the home of music as Friday, November 21st.
Regarding the programming of pianos and operatic voices, Benjamín Juárez Echenique, artistic director of the festival and co-founder of Urtext Digital Classics, said that “we have research, we have classical music, national authors. I think it has been a very enriching program as it puts us in the context of music. The beginning was an approach to the work of Manuel M.Ponce and informing us how his pieces, which were misplaced or lost, have been rescued; which has required an effort to get into the soul of Ponce. What maestro Arturo Nieto Dorantes did, who is the director of the piano department at Haval University in Canada and an extraordinary performer, is very valuable. it is indeed very relevant for Urtext that Mexicans who are succeeding abroad and who do not always have the opportunity to return come to the festival.”
The V edition of the festival had been inaugurated with the world premiere of Gabriel Rojas’ work “Three Brief Dances”, which was performed by the Urtext Orchestra, under the direction of the Uruguayan maestro Diego Naser, thus opening the series of presentations by composers. and performers of both classical, contemporary and experimental music, in addition to first-rate jazz players, in an edition dedicated to this genre, which was showcased this sunday with the concert.
Gabriel Rojas expressed in an interview that he admired that in two rehearsals the Urtext orchestra achieved such a level of interpretation of its work “Three short dances”, and stated that the Urtext Festival is already a benchmark in Latin America.
The founder and CEO of Urtext Digital Classics, Marisa Canalesstated that “over the course of 29 years,Benjamín Juárez Echenique and I have gone through the entire paradigm of music commercialization,and we have reaffirmed year after year our conviction that music touches people’s souls in a profound way,and that that we manage to make a festival possible is a great privilege,and it is also a great privilege that we are,with our musical editions in all formats,the custodians of Latin American musical production,and also present the V Urtext Festival in “A great museum like the Kaluz,directed by Miguel Fernández,is a great privilege,it is a dream come true.”
was the national premiere of “Maso Ye’ Eme”, by Nubia Melina Jaime Donjuan, which is the ancestral Dance of the deer that becomes danzón rhythms, a mixture that aroused the enthusiasm of the public.
Among the highlights of the event was the versatile interpretation of another national premiere,the composition “Lucha Libre” by Juan Pablo Contreras,which,under the direction of Diego naser,managed to combine six rhythms that were the allegory of six wrestlers in the arena fighting for victory. This musical innovation demonstrates the versatility of the Urtext house by presenting both repertoire music and launching composers who are experimenting with new forms.
Another of the most relevant moments of the Urtext Festival was the Cris Lobo gala, the legendary jazz player whose pieces were performed such as “Multiverse of the intangible”, Symphonic Jazz; being soloists: Cris lobo and Kin López, guitar, with the grand performer Marisa Canales on flute, and César Olguín, on bandoneon, among other fantastic performers.
At the end of the concert, Marisa Canales and Benjamín juárez Echenique They gave him the “Ángela Peralta” award for Musical Merit to Cris Lobo,who was moved by this emblematic recognition that Urtext gives year after year to the great musical creators of the world.
Christmas Matins
The classic concert that closes the festival every year was carried out with Benjamín Juarez at the baton, who along with explaining each work in an erudite and colloquial manner simultaneously occurring, directed the Urtext Orchestra with 10 instrumentalists plus 12 voices, performing the Matins Christmas of 1653, authored by juan Gutiérrez Padilla, Angelicum of Puebla.
This Monday the last performance of the V Festival Urtext will be held at the UNAM Faculty of Music with an educational concert of traditional Japanese pieces with Reison Kuroda, shakuhachi, Hidejiro Honjo, shamisen and Maya Kimura, koto.
On the terrace of the Kaluz Museum, the magnificent exhibition “Ecos del jazz” is offered in a Graphic Tribute to Mexican Jazz, which presents 56 posters selected from 308 proposals from 9 countries, creating a unique multisensory experience with sound posters by Urtext artists.
“in this feeling of guardian of the heritage that is the poster, we have the fourth edition of posters, and now with a tribute to jazz, with all its complexity,” said the artist Led Ramírez, curator of the exhibition that will remain at the Kaluz Museum until January 2025.
I especially draw attention to the montage of “NAKÚ
A trip to the heart”, which was based on an adaptation of the novel “Christmas in the Mountains” by Ignacio Manuel Altamirano, made by Alexandrina Carballido, who starred in it alongside her daughter Sophie Carballido, under the splendid direction of Eduardo López Vera .
Alexandrina Carballido stated about the adaptation:
An attempt was made to bring to mind this type of ancient authors. It was the teacher Benjamín Juárez and Marisa Canales, who suggested that we adapt the text by Ignacio Manuel altamirano with a feminist vision, because at the end of the day we are two women on stage, unlike the novel, where two men are the protagonists. But what I respected, let’s say, is the religious issue, but carried towards a general message to humanity. We talk in general about the universe, about everything that human beings are and represent on this planet.
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How does the Urtext Festival incorporate Mexican composers into its programming?
Time.news Interview with Music Festival Expert
Editor: Good morning, and welcome to Time.news. Today, we have the pleasure of speaking with Maestro Benjamín juárez Echenique, the artistic director and co-founder of the Urtext Festival, which just concluded its V Edition at the Kaluz Museum and the UNAM Faculty of Music. Thank you for joining us, Maestro.
Benjamín Juárez Echenique: Thank you for having me! It’s a pleasure to be here and to discuss our festival.
Editor: The V Edition of the Urtext Festival showcased a remarkable variety of performances and compositions. Can you tell us about the highlights?
benjamín: absolutely! One of the most exciting moments was the world premiere of Gabriel Rojas’ “Three Brief Dances,” performed by the Urtext Orchestra under maestro Diego Naser. It’s inspiring to see such rapid mastery in the interpretation of contemporary works. Rojas himself expressed his admiration for the orchestra’s skill, which speaks volumes about the talent we have in Latin America.
Editor: That certainly sounds astonishing! I also noted that your festival included renowned international artists, including the famous Manchurian guitarist Norio Sato. How significant is it to have such a diverse array of performers?
Benjamín: Diversity in our performances is crucial. It allows us to explore different musical contexts and influences. Norio Sato and his Ensemble Nomad brought a unique flavor to the festival, collaborating with local talent like Pablo Garibay and showcasing works by Herbert Vázquez. this kind of fusion not only enriches the festival experience but also strengthens cultural ties.
Editor: You mentioned the inclusion of national authors and the context of Mexican music throughout the festival. Can you elaborate on that?
Benjamín: Of course! We’ve made a concerted effort to highlight the works of Mexican composers, such as the pieces of Manuel M.Ponce that have been rescued from obscurity. Festivals like ours serve as platforms for these composers, allowing them to be celebrated and recognized.Conducting a deep exploration of their works helps us connect with our musical roots and heritage.
Editor: Speaking of heritage, it’s remarkable that the festival took place in a visual arts venue like the Kaluz Museum. How does this setting enhance the overall experience for attendees?
Benjamín: The Kaluz Museum provides a stunning backdrop that merges visual and musical art forms. It invites attendees to experience art in various dimensions. People moved seamlessly between spaces, experiencing different genres and styles, whether it was the Piano, Voice, Strings and breaths Cycle, or the engaging performances by artists like soprano Rosario Dávila and pianist Juan Antonio santoyo.
Editor: It sounds like a feast for the senses! how has the response been from both the audience and the artists participating?
Benjamín: The response has been overwhelmingly positive. Audiences have expressed their excitement and appreciation for the chance to experience such a diverse array of performances. Artists,too,have found the atmosphere invigorating,with opportunities to collaborate and present their work to a passionate audience.
Editor: Being in your position for 29 years, how do you envision the future of the Urtext Festival?
Benjamín: I envision it continuing to grow as a benchmark for contemporary music in Latin America. Our mission remains to serve as custodians of musical production in the region while bringing together talent from around the world. Each year, we strive to make the festival more inclusive, innovative, and impactful.
Editor: That’s a commendable vision! Lastly,Maestro,is there a message you woudl like to share with those who may have missed this year’s festival?
Benjamín: Absolutely! I would encourage everyone to keep an eye on our upcoming events and to immerse themselves in the beauty of music,whether it’s classical,contemporary,or even experimental. Art has an incredible ability to touch our souls, and we’re committed to making remarkable music accessible across all fronts.
Editor: Thank you, Maestro Juárez Echenique, for sharing your insights and passion for music with us. We look forward to what the next edition of the Urtext Festival will bring!
Benjamín: Thank you! It’s been a pleasure discussing our festival, and we can’t wait to welcome everyone back next year!