Carlos Chávez’s Suite de “Caballos de Vapor” (“Horsepower” Suite)
Notes by TŌN percussionist Nick Goodson
Rev up your engines! But not so fast, hold your horses. This piece is no ordinary day at the races. It relies heavily on a collaboration with visual artist Diego Rivera, and is a definitive statement for both Chávez and modernism as a whole. The premiere would be seen by Rivera, Gershwin, and Chávez’s friend Aaron Copland, who championed Chávez as a unique voice. Our performance is a suite from a 1932 ballet which bears the same name. The ballet reflected the interest in the genre after landmark scores by Stravinsky and Ravel, and Chávez’s desire to break new ground in this genre for his own country.
The first movement depicts the hustle and bustle of the industrial north (the U.S.), but the atmosphere is dystopian. As the piece goes on, the percussion signals a return to the southern hemisphere, where the atmosphere is more relaxed, less mechanized. The simple arc of the plot is an exploration of how different cultures evoke different aural sensations that might be associated with them. Most simply, it is an indictment of the economic exploitation of Mexico and the negative feelings it might have inspired in Chávez. This is no surprise, considering the politically charged environment that he operated in. The piece was begun in the wake of the Mexican Revolution, when many were trying to decide how best to draft a vision for Mexico’s future, and what role the U.S. should play in that future. Another concept apt to this discussion, and a theme in classical music, is the concept of nationalism and the need for a “national music.” Chávez is no different than many composers in that he served to create a unique voice for his country’s classical repertoire.
This music and the composer himself could be compared to someone like Copland, and I believe there are some real similarities in concept, and sonically. However, I think it gives us a better perspective to compare Chávez to Bartók or Revueltas. All three composers are probably most remembered for their ability to incorporate the folk music of their countries into the orchestral scores.