Both of these suites by Jesús Echevarría constitute a veritable hommage to the baroque music of New Spain, a spledorous period which gave the 17th Century world talents such as those of Sor Juana Inés de la Cruz and Juan Ruíz de Alarcón in the field of literature, and those of Antonio de Salazar and Manuel de Sumaya in music.
The concerto grossi and trio sonatas of the Neapolitan and Venetian schools descended upon the shores of the New World via the Kingdom of Naples, which was under Spanish rule during the 17th Century. The influence of these genres is felt in both of the Echevarría suites recorded here; passages evoking an Andalucian origin are also denoted in the mixture of Flamenco resources with polyphony, in which the composer's skill is more than evident, and which he proves himself a worthy successor of Corelli and Vivaldi.
As with Mexican colonial architecture - in which the Baroque's more formal elements coexist with more popular influences (witness the Franciscan missions in the Sierra Gorda) - Jesús Echevarría's music represents a melange of popular and "cultured" music, inspired by masters of the concertante style. Thus is the concept of nationalism reinforced, whereby the recognition and rescue of Novohispanic music becomes an essential part of today's Mexican music.
The cultural heritage of New Spain - as evidenced by a plethora of architectural monuments (both civic and religious) from California to Yucatán and all points between - is no less valuable than Mexico's indigenous past, nor less valuable than its more recent history.
With the particular treatment that Echevarría has given to Mexican folkloric music, the "Mester de Juglaría" and the "Mester de Clerecía" go hand in hand , revealing yet another intriguing aspect of Mexican identity. (Aurelio León Ptacnik)
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