Chavez was clearly the most significant musical personality in twentieth-century Mexico. In many ways his indefatigable energy, multiplicity of musical interests, and impressive, prolific creativity reminds us of Leonard Bernstein, who pretty much did it all, too. From an early age he and his family were surrounded by the cultures of Mexico’s indigenous peoples, and this became a lifelong interest of his, evidenced by his early composition of ballets with Aztec musical elements. He not only composed under native influences, he was also active as a leader in academic ethnic studies, music journalism, and administration.
While these elements were vital in his musical style, he widely explored other approaches as well. Very early on he was decidedly in the camp of European romantics, especially Robert Schumann, but then later composed under the influence of Igor Stravinsky, and explored quite modern techniques in melody, harmony, and formal development. Of his many compositions in various genres, he produced six symphonies, of which the second, Sinfonía india (1936), based upon native-American themes,is perhaps most performed. Baile, cuadro sinfónico (Dance, A Symphonic Picture) was originally the third (and final) movement in Chavez’ Symphony No. 4 (Sinfonía romántica). However, pleased though he was with the movement, he decided that it was really not suitable in that rôle, so he wrote another movement, and titled the original movement as a stand-alone work.
It’s a vigorous dance than careens along from beginning to end, which fundamentally explores a few motives that permeate the texture throughout. As it dances along, it constantly entertains and delights through its herky-jerky implication of two different meters—common in many native Mexican tunes. The listener is barraged with the constant, unpredictable rhythms that confuse the issue and pose the question: “Is this piece in three beats subdivided by two, or two beats subdivided by three?” It’s all in great fun, and makes for a scintillating, smoking dance in the keeping with Chavez’ mastery of Mexican musical traditions.
–Wm. E. Runyan
© 2026 William E. Runyan