At the end of May 2002, Clave spoke with renowned Mexican composer Arturo Márquez, who was then visiting Washington, D.C. Born in Sonora, México, in 1950, Márquez studied in México, France, and the U.S., garnering grants and awards in all three countries, including a Fullbright Scholarship. He now works at the National University of México (UNAM), Superior School of Music, and at the CENIDIM, the National Center of Research, Documentation, and Information of Mexican Music. The following conversation took place at Trinity College, while the Pan American Orchestra was preparing to practice.
Clave: How did you come to be in Washington?
I came for the world premiere of Danzón No. 7. It was commissioned by the Pan American Orchestra which is directed by Sergio Buslje. The Orchestra previously played the Danzones No. 2 and No. 3—I think No. 2 more regularly—and, from some time back, Sergio had asked me to write a new danzón, for a premiere in Washington. He found the resources to make it possible. The danzón is a genre that I’ve addressed not solely in, let’s say, its form, but in its spirit, which I include in many of my works, sometimes as a movement in a concert. For example, in both the Harp Concerto and the Cello Concerto, one of the movements is a danzón. In other chamber works, as in one called Sarabandeo and another, Danza de Medio Día, not all is danzón, but somewhere, some theme, some moment refers to the genre of the danzón. What I do is to take up the spirit of the rhythm and the harmony and the melody, and transport it to the concert hall. It’s a kind of tribute to the danzón, I would say. Curiously, the danzón is today still very popular in Mexico. In Veracruz, there are special town squares where it is still danced two or three times a week. It’s a very strong tradition. In Mexico City, there are special dance halls where only danzón is danced.
