The Tribute to Federico García Lorca is a work for instrumental ensemble of 1936 in three movements of the Mexican composer Silvestre Revueltas. The complete audition of the work is around 10 minutes. It is published in Peermusic. Federico García Lorca in 1934 History and general aspects
The international cultural world was deeply shocked by the assassination of Federico García Lorca in 1936. Some sources cite that Revueltas had already composed the first and third movements before that tragic event and added the slow movement during his stay in Spain in the Spanish Civil War carrying the title that currently holds. The composition was slow and laborious as the remaining movement solved it amid the riots of the war. Revueltas was a great admirer of Lorca and liked to recite his poems. Several of his works are inspired by Lorca's poems as the 5 profane songs. For the information that is told, it seems that it was the only or one of the few works published by the composer in life. A large number of students of Revueltas agree that it is the best work written by the author. Wild Revueltas directing Analysis
Although the work is subdivided into three parts each related to a folkloric influence, they all have a symphonic or free poem treatment in the absence of a rigid form. The work shines by the great treatment of the ostinato that generates very clear textures, which acquires more importance than the other musical elements. The work is the closest thing in its catalog to a sonata in three movements without being so. The instrumentation consists of a chamber orchestra with piccolo, clarinet in Mib, two trumpets, trombone, tuba, tamtam, xylophone, piano, two violins and double bass. The absence of grave woods, violas and cellos evokes a band of Mexican people or the sound of indigenous music. The composition consists of three movements:
In the dance the piano performs an ostinato in sun while the sixteenths are in the contrabass. In this texture the wind instruments perform the thematic material. The second movement, Duelo, is written in a style close to the martinetes of Andalusia that the miners and prisoners sang who waited for a sentence imitating the characteristic accompaniment of the hammer and anvil. Revueltas wrote a separate ostinato for the xylophone from where the trumpet breaks into tears in a melody in do # minor (Sanchez-Gutierrez 1996, 102-103). In Son, Revueltas superimposes several ostinatos (Dean 1992, 76-77).
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