The Typical Orchestra of Mexico City (OTCM) “tries to arrive as stable as possible” to the great concert with which it will commemorate this Sunday in the Main Hall of the Palace of Fine Arts the 140 years of its foundation, an anniversary that places it as the oldest active musical group in Mexico and Latin America.
The reason, in addition to the celebrations that it has held throughout the year of such an anniversary, is the uncertainty due to the current political moment of the country and the capital of the Republic, due to the changes in their respective six-year administrations, explains its artistic director. , Alberto Torres Xolocotzi, who assumes such a situation as a challenge and an opportunity.
“As I have mentioned on other occasions, the orchestra needs to have greater visibility and for the authorities to put that emphasis on it. A first meeting has already been held with the new heads of the Mexico City Ministry of Culture – the body on which the group depends – and several aspects have been raised. However, much is missing, more work tables; The truth is that the orchestra arrives with very good spirits, happy, to this beautiful hall of Fine Arts, and all of us who are part of it are very excited to give this concert for the public,” says the Tlaxcalteca flutist, who is also a flutist.
In an interview, he accepts that a certain anxiety and even fear for its future prevails in the OTCM, given the movements in the capital’s government: “As in all artistic groups, the changes are always worrying. From the secretariat they have told us that there is no reason for this fear, that they come with every intention of supporting the orchestra and doing it justice, in a few words, and that encourages us to continue.
“However, there is always fear when faced with a change of this magnitude. We hope that with this new administration we can take the typical orchestra to the place where it deserves; As I have said a long time ago: to have a decent headquarters, as well as everything it needs artistically, operationally and administratively.”
In personal terms, Torres Xolocotzi denies being afraid or worried regarding the group and his permanence at its head, a position for which he was hired for three years, of which one year and four months have passed.
“I am waiting and expecting that all this will be fulfilled, that work tables will be made for the orchestra, and I hope that it can come to fruition and that we can take our music, our history, the history of the country, far beyond these 140 years,” he maintains.
“I have put my faith and hope in the new administration of the government of Mexico City, in its Ministry of Culture, so that now it does justice to the OTCM: that it really is given the artistic and historical value that it has, as well as that its musicians be valued, who are the ones who represent it.”
Among the main challenges, the director points out that more emphasis must be placed on visibility, dissemination, the creation of new audiences and that the orchestra can go to different places, to be representative of Mexico City and, later, think also on a national scale.
“We have a very good challenge ahead of us from which we can move forward, and from which we will emerge triumphant, as long as all those points that need to be addressed are addressed,” emphasizes the musician, who remembers that the OTCM was born in 1884. in order to disseminate traditional and popular Mexican music, a task that remains valid, he highlights, since throughout history these expressions have been fundamental support for national concert music.
“We have composers who are not known because they have not been given justice. There are many that are forgotten and whose rescue and enhancement is one of the important features of the typical orchestra, as part of its task of disseminating, protecting and promoting popular and traditional Mexican music.
Another aspect that stands out about the work of this musical institution and that gives it its uniqueness are the typical instruments that make it up, such as the psalterio, the bandolón, the basso Segundo and the guitar, several of which, in his opinion, if not are valued, they run the risk of disappearing.
Regarding the concert in the Main Hall of the Palace of Fine Arts, scheduled at 5 p.m., he specifies that its title is The Mexican party and that its repertoire seeks to give a general overview of the celebrations and music of the different regions of the country.
The program will open with The melancholic songs of Juan Nepomucenoa composition by Eduardo Angulo based on three stories by Juan Rulfo, and then continuing with some suites and traditional and popular music from Sinaloa, Oaxaca, Veracruz and Michoacán. “It will be a great party. We will invite the public to sing, celebrate, and if they like, get up from their place and dance,” concludes the orchestra director.
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#OTCM #Celebrates #Great #Concert #Fine #Arts
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**How does the Typical Orchestra of Mexico City utilize its legacy and history to advocate for continued government funding and support in the face of political transitions?** (This question focuses on the orchestra’s use of its past successes to influence its future and secure necessary resources)
## Interview: A Celebration With a Note of Caution – The Future of the Typical Orchestra of Mexico City
**Introduction:** This interview explores the upcoming 140th anniversary concert celebration of the Typical Orchestra of Mexico City (OTCM), its rich history, and the future amidst political transitions and funding uncertainties. We welcome Alberto Torres Xolocotzi, the Artistic Director of the OTCM, and Maria Sanchez, a renowned musicologist specializing in Mexican traditional music.
**Section 1: Celebrating a Legacy: 140 Years of Music**
* **Interviewer:** Alberto, congratulations on the OTCM’s 140th anniversary! How does it feel to lead this historic ensemble as it marks this milestone? What makes this orchestra so special and unique within the Mexican cultural landscape?
* **Alberto Torres Xolocotzi:** (Responds, highlighting the historical significance, the orchestra’s dedication to traditional Mexican music, and the pride associated with leading such an esteemed group)
* **Interviewer:** Maria, could you elaborate on the OTCM’s historical significance? What role has the orchestra played in preserving and promoting traditional Mexican music over the years?
* **Maria Sanchez:** (Responds, discussing the history of the orchestra, its impact on the development and appreciation of Mexican musical traditions, and its contributions to the cultural identity of Mexico City)
**Section 2: Navigating a Period of Uncertainty: Politics and the Future of the OTCM**
* **Interviewer:** Alberto, the article mentions concerns about the orchestra’s future due to changes in political administration. Can you elaborate on the specific challenges and anxieties the OTCM faces in light of these transitions?
* **Alberto Torres Xolocotzi:** (Responds, discussing concerns regarding funding, potential changes in support from the Ministry of Culture, and the need for continued visibility and recognition)
* **Interviewer:** Maria, how do political changes typically impact funding for cultural institutions like the OTCM? What are your insights on the potential impact of the new administration on the orchestra’s future?
* **Maria Sanchez:** (Offers a broader perspective on the relationship between politics and arts funding in Mexico. Discusses the importance of government support for cultural institutions and potential implications of policy changes)
* **Interviewer:** Alberto, despite the challenges, you express optimism about the future of the OTCM. What gives you hope?
* **Alberto Torres Xolocotzi:** (Highlights the positive conversations with the new administration, the orchestra’s resilience, and the commitment of its members to continue promoting traditional Mexican music)
**Section 3: Vision for the Future: Growth, Visibility, and Innovation**
* **Interviewer:** Alberto, what are the OTCM’s main goals for the future? What steps will be taken to ensure its sustainability and growth?
* **Alberto Torres Xolocotzi:**
(
Outlines the OTCM’s vision for expanding its audience, increasing visibility, attracting new generations of musicians, and potentially touring nationally and internationally. Discusses the importance of promoting underappreciated composers and traditional Mexican instruments)
* **Interviewer:** Maria, what advice would you give to the OTCM as it navigates this period of transition and looks toward the future?
* **Maria Sanchez:** (Offers suggestions on strategies for securing funding, promoting collaboration with other cultural institutions, engaging with younger generations, and leveraging technology to expand the orchestra’s reach)
**Section 4: The Celebration: A Musical Journey Through Mexico**
* **Interviewer:** Alberto, tell us about the upcoming concert “The Mexican Party” at the Palace of Fine Arts. What can the audience expect?
* **Alberto Torres Xolocotzi:** (Describes the program, highlighting the diversity of Mexican regions represented in the music, the inclusion of traditional and popular pieces, and the intended interactive experience for the audience)
* **Interviewer:** This sounds like a wonderful celebration of Mexican culture and music. With this in mind, why should people attend this concert?
* **Alberto Torres Xolocotzi:** (Encourages attendance by emphasizing the unique opportunity to experience the richness and diversity of Mexican musical heritage through the OTCM’s performance)
**Conclusion:**
* **Interviewer:**Thank you both for sharing your insights and perspective. The OTCM’s 140th anniversary concert promises a vibrant celebration of Mexican music and culture. How can people support the orchestra and its mission to preserve and promote this rich tradition?
* **Alberto Torres Xolocotzi & Maria Sanchez:**
(Encourage audience engagement, offer suggestions for supporting the orchestra, and express hope for continued appreciation of traditional Mexican music in the future)
