This overture tells a part of the legendary but living history of this vigorous volcano that our ancestors called Popocatepetl (smoking mountain), located west of the cities of Cholula and Puebla. It is an eternal vigilant of this valley and has been source of inspiration for poets, painters and, in this case, a composer from Puebla."
 

POPOCATEPETL(Overture)

In the beginning of 2007, as part of its commitment to play new Mexican music, the Mexico City Philharmonic Orchestra and its conductor Enrique Barrios opened a contest for Mexican composers (academic, institutional or personal) to present their orchestral works. MCPO received 24 works which followed an interesting selection process: each work was read by MCPO, conducted by Enrique Barrios, in front of a group of advisors formed by Joaquín Gutiérrez Heras, Mario Lavista, Arturo Márquez, Eugenio Toussaint and Jorge Torres Sáenz. As a part of the process, the group of advisors, the conductor and members of the orchestra offered the composers advises about their works regarding form, orchestration, language, etc.

As a result of this series of readings, four of the scores presented were selected to be played in the 2007 season of the Mexico City Philharmonic Orchestra. The scores were selected not only on their orchestral solidity, but also by their content and, of course, their communicative capability. The first of these interpretations was Alejandro Momox’ work entitled Popocatepetl.

Alejando Mómox composed Popocatepetl as a pupil of Eugenio Toussaint in the symphonic analysis and instrumentation diploma course in 2006. The original version includes a chamber orchestra and a wind quintet. The essence and intention of this work (a concert overture) can be poured off of the composer’s words, which express his clear fondness of the folkloric element:

“There is nothing like listening to a good son huasteco in the morning and enjoying a yolixpa at sunset.”

The composer arranged the orchestral version in November 2006, a few months after writing the original version of the work. The narrative development associated to the work Popocatepetl by Alejandro Mómox represents not only a contemplation of the volcano, but also the history of its birth, activity and endurance. Hence the sonorous expressions of the orchestra which represent the split earth and the birth of the great volcano, as well as later episodes in which a relative calm is felt. The composer also proposes a series of ostinati (both rhythmic and melodic) that signify the continuous boiling of the Popocatepetl’s lava and its everlasting energy. The composer refers to his work more precisely with these words:

“This overture tells a part of the legendary but living history of this vigorous volcano that our ancestors called Popocatepetl (smoking mountain), located west of the cities of Cholula and Puebla. It is an eternal vigilant of this valley and has been source of inspiration for poets, painters and, in this case, a composer from Puebla.”

Popocatepetl was premiered in its original form for wind quintet and chamber orchestra on February 14th 2006, conducted by Jesús Medina for the conclusion of the aforementioned diploma course. The orchestral version of Popocatepetl had its absolute premiere on February 10th 2007 with the Mexico City Philharmonic Orchestra, conducted by Stefano Mazzoleni

Finally, as the strictly musical orientation of this text is no reason to deny appearance of an ethylic-cultural parenthesis, the yolixpa mentioned above by Alejandro Mómox as a source of singular pleasure is a beverage prepared with distilled liquor, herbs and fruits, traditional of the Sierra Norte of Puebla State

Notes by Arturo Brennan Hanson

IZTACCÍHUATL

The premiere of Alejandro Mómoxi orchestral work Popocatepetl with the Mexico City Philharmonic Orchestra in February 2007 resulted, firstly, in a success among the audience. This is reflected on the fact that on the same day, many music enthusiasts approached the composer to ask him a logical question: “When can we expect Iztaccíhuatl?” Thus the composer began developing ideas for the new composition devoted to the other legendary volcano; but these ideas did not take form until December 2009.

Once the decision of composing Iztaccihuatl was made, Alejandro Mómox visited various sites at the foot of the volcano with the purpose of assimilating images, sounds, ideas and perceptions for his new orchestral score. Among these were San Salvador el Verde, Domingo Arenas and Calpan. The composer states that when composing this work, he had in his mind the ancient legend of the volcano, as well as some images related to it: the Aztec princess who waits for his prince, but as he does not arrive, she sleeps and dreams. Thus, in a way, Alejandro Mómox’ symphonic work is an impression of the dreams of Iztaccíhuatl, the sleeping woman. That is why the score has a subtitle: Dreams of an Aztec princess.

Alejandro Mómox said the following words in relation to Iztaccihuatl:

“As opposed to Popocatepetl, Iztaccihuatl’s music is more tranquil and contemplative, like a sort of andante. I use a lot of harp and strings and I propose a smaller orchestral staff than in the first work. Even though there is no direct harmonic relationship between Popocatepetl and Iztaccihuatl, I believe they can function together and perhaps listening to them together in concert might give me an idea to make a suite, perhaps a third piece that will bond these two together and make a synthesis of both works.”

The piece Iztaccihuatl by Alejandro Mómox was premiered on April 17th 2010 with the Puebla Symphony Orchestra, conducted by Alfredo Ibarra. In accordance with the composer’s wish, it was played together with Popocatepetl, as an indivisible musical unity.

Upon this premiere, there are plans to record a CD dedicated to the concert works of composers from Puebla, as a part of a wide series of albums dedicated to the various genres and expressions of the music of Puebla

Notes by Arturo Brennan Hanson