picc.2.2.corA.2.bcl.2.dbn-4.4.2.btrbn.1-timp.perc(4):seed pod rattle/claves/jawbone/tamb/metal güiro/sistrum/tam-t/susp.cym/xyl/glsp/BD/SD/shaker/log drum/bongos-harp-strings
Boosey & Hawkes (Hendon Music)
Walt Disney Concert Hall, Los Angeles, CA
Los Angeles Philharmonic / Gustavo Dudamel
Among the Huichol people of Mexico, Kauyumari means "blue deer." The blue deer represents a spiritual guide, one that is transformed through an extended pilgrimage into a hallucinogenic cactus called peyote. It allows the Huichol to communicate with their ancestors, do their bidding, and take on their role as guardians of the planet. Each year, these Native Mexicans embark on a symbolic journey to "hunt" the blue deer, making offerings in gratitude for having been granted access to the invisible world, through which they also are able to heal the wounds of the soul.
When I received the commission from the Los Angeles Philharmonic to compose a piece that would reflect on our return to the stage following the pandemic, I immediately thought of the blue deer and its power to enter the world of the intangible as akin to a celebration of the reopening of live music. Specifically, I thought of a Huichol melody sung by the De La Cruz family —dedicated to recording ancestral folklore— that I used for the final movement of my piece, Altar de Muertos (Altar of the Dead), commissioned by the Kronos String Quartet in 1997. I used this material within the orchestral context and elaborated on the construction and progressive development of the melody and its accompaniment in such a way that it would symbolize the blue deer. This in turn was transformed into an orchestral texture which gradually evolves into a complex rhythm pattern, to such a degree that the melody itself becomes unrecognizable (the imaginary effect of peyote and our awareness of the invisible realm), giving rise to a choral wind section while maintaining an incisive rhythmic accompaniment as a form of reassurance that the world will naturally follow its course.
While composing this piece, I noted once again how music has the power to grant us access to the intangible; healing our wounds and binding us to what can only be expressed through sound. Although life is filled with interruptions, Kauyumari is a comprehension and celebration of the fact that each of these rifts is also a new beginning.
— Gabriela Ortiz