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The Gaggle Music Club: Carlos Chávez's Sinfonía India

This week's selection for The Gaggle Music Club is Carlos Chávez's Sinfonía India (Symphony No. 2).

Carlos Chávez (1899–1978), one of the leading figures of Mexican 20th-century classical music, composed Sinfonía India in 1936 while working as a guest conductor of the New York Philharmonic.

During the 1920s and 1930s, 30s, the Mexican government actively promoted a new national identity. Artists such as Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros glorified indigenous heritage in murals; composers such as Chávez and Silvestre Revueltas did the same in music.

Chávez, as conductor of the Orquesta Sinfónica de México, was at the center of this cultural nationalism, believing Mexican music must not only adopt modernist European styles but reflect indigenous and folk traditions. Chávez sought to integrate indigenous music, pre-Columbian rhythms, and Mexican folk material into modern classical forms.

Chavez conceived Sinfonía India as a single-movement symphony, as a musical emblem of Mexican identity for an international audience. The symphony premiered in 1936 in New York, with Chávez himself conducting.

Chávez avoided the traditional four-movement symphonic form, writing instead a compact, single-movement work that was highly rhythmic and colorful, designed to make a strong impression in a single hearing.

He wove in authentic indigenous melodies, and added an expanded percussion section with indigenous instruments. This gave the piece an exotic, raw energy — different from European modernism but still modern. Chávez wanted the symphony to be rooted in indigenous melodies and rhythms rather than European ones. He collected the material from ethnographic sources and oral traditions, then reworked them into a modern symphonic structure.

Chávez described the work as a “symphony written with Indian themes of Mexico”; hence the title Sinfonía India. It was a musical vision of mestizo Mexico--a modern orchestra channeling the ancient indigenous voices.

At the same time, it was a statement to international audiences: Mexico is modern and cosmopolitan, but proudly rooted in its native heritage. Chávez created a Mexican counterpart to Bartók’s folk modernism. To this day, it remains the most widely played Mexican symphonic work internationally.

In this performance from 2016, Andrés Valero-Castells conducts Banda Municipal de Música de A Coruña from Spain.

00:13:51
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I can't help thinking that this is all very bizarre and disgusting theatre.

Trump announcing the death. Kirk's wife "Addressing America" not 48 hours after her husband dies when he held no political office and was basically just a well known podcaster (no offense at all). Thanking Trump profusely at the beginning of her speech when Trump was laughing and old-man dancing at a baseball game 24 hours after the murder. Netanyahu repeatedly denying any involvement (very weird). Vance flying the body back on an official government plane, literally carrying the coffin and his wife comforting Erika Kirk for an amazing photo op, sealing the 2028 nomination. His body lying in state!!?!!

His wife uploading videos to Instagram sobbing over his dead body in the coffin, pointedly showing the hands. Stephen Miller claiming Kirk's last words to him were to "destroy the left". Vance's Palantir ties and the digital surveillance state. Social credit scores and the suppression of free speech.

Also a very huge ...

September 13, 2025

Piece of shit used-car snakeoil salesman Trump is torn by his grief, obviously, this killing being the pretext for the militarization of American cities, just like Alex 'Loudmouth Cheerleader for Everything Trump Does' Jones warned 18 years ago
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@ShannonJoyRadio
Are we being punked?
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·
16 h
A reporter asks President Trump how he’s holding up after his friend Charlie Kirk was assassinated.

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The voting was spearheaded by Macron's France and Saudi Arabia

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More Leftie Than Thou
"Jacobin" Magazine Celebrates A Strike Against Ol' Blue Eyes

Here at "The Gaggle" we have very little time for the "more Leftie than thou" school of thought--that's the approach to life according to which the only thing that matters is whether you take the right position on every issue under the sun from Abortion to Zelensky. No one in the world meets the exacting standards of this school of thought; any Leftie leader anywhere is always selling out to the bankers and the capitalists. The perfect exemplar of this is the unreadable Jacobin magazine. 

The other day I came across this article from 2021. It's a celebration of trade union power. And not simply trade union power, but the use of trade union power to secure political goals. Of course (and this is always the case with the "more Leftie than thou" crowd), this glorious, never-to-be-forgotten moment on the history of organized labor took place many years ago--in the summer of 1974 to be exact. Yes, almost half a century has gone by since that thrilling moment when the working-class movement of Australia mobilized and prepared to seize the means of production, distribution and exchange. 

Well, not quite. Organized labor went into action against...Ol' Blue Eyes, the Chairman of the Board, the Voice; yes, Frank Sinatra. Why? What had Sinatra done? Sinatra was certainly very rich, and he owned a variety of properties and businesses. But if the Australian trade union movement were, understandably, searching for the bright, incandescent spark that would finally awaken the working class from its slumber there were surely richer, greedier, more dishonest, more decadent, above all more Australian individuals it could have discovered. Australia was never short of them. Rupert Murdoch immediately springs to mind. Why Sinatra?

 

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