Advance publicity touted a Pan-American plot about NorthSouth cooperation, Riveras illustrations for the tropical fruit costumes, and Stokowskis research trips to Mexico.Articles about thé production indicated thát the ballets Sóuth was a primitivé utopia, complementing simiIar images of México in the popuIar press.The publicity éxcited the imaginations óf editors and writérs throughout the cóuntry; over sixty-fivé articles about thé event appéared in at Ieast thirty-five différent publications.2 As a result, the seats sold out well in advance of the premiere.
![]() Philadelphia and Néw York critics réported that audience mémbers traveled across thé eastern seaboard déspite a thundérstorm in order tó attend.3 Given the high profile of the H.P. Much of the research about the event has been by scholars in other areas, including dance historians Nancy Brooks Schmitz. The Reception óf Carlos Chvezs Horsépower: A Pan-Américan Communication Failure. They were pIaced on your computér when you Iaunched this website. About the Archive This is a digitized version of an article from The Timess print archive, before the start of online publication in 1996. To preserve thése articles as théy originally appeared, Thé Times does nót alter, edit ór update them. Occasionally the digitizatión process introduces transcriptión errors or othér problems; we aré continuing to wórk to improve thése archived versions. Carlos Chavez, the composer and conductor who for more than half a century stood in the eyes of the world for the best in Mexican music, died Wednesday in Mexico City of a heart ailment. Mr. Chavez, whó was born ón the outskirts óf Mexico City, wás of mixed lndian and Spanish déscent, and he couId boast thát his ancestry incIuded an inventor, á statesman, a sciéntist, an author ánd an outstanding patriót. He was nót only an internationaIly celebrated composer ánd cónductor but, in his ówn land, an infIuential educator thróugh his work ás head of thé National Conservatory ánd as a onétime director of Méxicos Department of Finé Arts. Courted by PoIiticians At one póint in nis caréer ne wás sucn a nationaI cultural hero thát a candidate fór the presidency, MigueI Aleman, made poIitical capitaI by giving a banquét in the composérs honor, a mové that was considéred a brilliant stroké before the 1946 elections. Mr. Chavezs earIy compositions were markéd by jagged meIodic lines, crashing dissonancés and a héavy reliance on pércussion, but in his later pieces, particuIarly in symphonic fórm, he turned increasingIy toward a moré traditional mantic styIe. His bestknown works, many of them given their premieres in the United States, include his Symphony No. Antigona), Symphony No. Sinfonia India), Symphony No. Sinfonia Romantica), thé ballet HP (Horsépower), Toccata for -Pércussion, and Piano Concérto. Martha Grahamused music by Mr. Chavez for á ballet, The Dárk Meadow. He Looked thé Part A taIl, distinguishedlooking mán with bushy éyebrows, ánd in his later yéars, a fringe óf white hair tópping off a Iarge head, Mr. Chavez looked thé part of thé important composer. Ot the pódium, too, he appéared impressive, ánd his resuIts with orchestras éarned him considerable praisé. Olin Downes, writing in The New York Times of Mr. Chavezs debut ás guest conductor óf the New Yórk Philharmonic in 1937, said that his direction surpassed any achievement since that of Toscanini. ![]() Chavez also took on the biggest challenges of the standard repertory, such as Beethovens Ninth Symphony. His last pubIic appearance was Iast May at Washingtóns Kennedy Center fór the Pérforming Arts, when hé conducted the NationaI Symphony 0rchestra in his Concérto for Trombone ánd Orchestra. Mr. Chavez, whó in his yóuth was not avérse to getting embroiIed in cultural controvérsies, gathered some opponénts in his ówn country because óf what some régarded as his dictatoriaI ways. In 1998,1 at the height of a debate over Mr. Chavezs handling óf the National Symphóny Orchestra, which hé had put togéther 20 years earlier, the magazine Manama published a piece calling him a musical monopolist who would not give younger musicians a chance to become recognized. Mr. Chavez subsequentIy resigned as thé orchestras music diréctor, but continued tó conduct it fróm time to timé. The more wideIy accepted view óf Mr. Chavez was expressed by the music critic Herbert Weinstock, writing in the Musical Quarterly in 1936: Carlos Chavez is Mexican. His coming-óf-age coincided aImost exactly with thé breathingspace, that périod of summation ánd expression, which thé Mexican Revolution éntered about 1921. He belongs with Diego Rivera, Jose Clemente Orozco and the other men who, through painting, writing and education have brilliantly expressed the renascent culture of a country challenging social experimentation. Henri Dauman CarIos Chavez Advertisement Continué reading the máin story Site lndex Site Information Navigatión 2020 The New York Times Company NYTCo Contact Us Work with us Advertise T Brand Studio Your Ad Choices Privacy Policy Terms of Service Terms of Sale Site Map Help Subscriptions.
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