When the Orquesta Filarmonica de la Ciudad de Mexico rolled out in September, 1978, it was very generously underwritten, largely through the support of Mexico's First Lady, Madam Carmen Romano Portillo. When I first joined the OFCM in 1981, Jose Lopez Portillo was in the final year of his presidency. Madam Portillo was still heavily invested in the OFCM and would often attend the orchestra's concerts.
In the orchestra's first season, interest was at a peak, especially during the state visit of U.S. President Jimmy Carter and First Lady Rosalynn Carter. Thus, Leonard Bernstein's appearance was more than an ordinary guest-conducting engagement: it was part of the cultural program surrounding the presidential visit.
What occurred a few moments before Bernstein was to walk to the podium to open the program with Aaron Copland's “El Salón México” is part of the lore of the OFCM. When it was realized that President Portillo was in his box at the Teatro de la Ciudad, Fernando Lozano, the orchestra's founding music director elbowed his way onto the stage to lead the orchestra in the “Himno Nacional Mexicano.”
Perhaps some feathers were ruffled. Nevertheless, Bernstein then strode to the podium and conducted a program of Copland, Chávez, Barber and Beethoven.
Bernstein had previously performed in Mexico City in 1958 with the New York Philharmonic. This was one stop of many throughout Latin America, sponsored in part by ANTA, the American National Theatre and Academy, a private nonprofit organization. ANTA suggested that American music be included on each program of the tour. It is heartening to know that American was interpreted in its broader sense, meaning all of the Americas.
Bernstein took seriously his attention to music of Latin America. He learned Spanish and spoke it fluently. Then, he took his passion to the stage of Philharmonic Hall, Lincoln Center, for a March 8, 1963 episode of his Young People's Concerts. This, he called “The Latin American Spirit.” What a great teacher he was for so many of us.
Oscar Lorenzo Fernandez's "Batuque" is full-blown music of Brazil with playful and insistent rhythms, suggesting a samba, but not quite there. Fernandez's batuque is an insistent Afro-Brazilian batuque rhythm in 2/4, characterized by syncopation, displaced accents, and recurring 3+3+2 groupings. This is music that insists we get up and move.
And now the new era of the New York Philharmonic has begun with ample attention on music and musicians of Latin America. The Phil's new maestro, Gustavo Dudamel promises high octane performances, reminding many of Leonard Bernstein. Who knows? That may be so . . .
