Beethoven belongs to me as much as a German, says Gabriela Ortiz

New York., Mexican composer Gabriela Ortiz is this special guest season of Carnegie Hall in New York. Like many other great music temples in the United States, the centennial institution has committed to attract new talents around the world to capture new audiences.

Considered one of the most talented composers in the world By the director of the Los Angeles Philharmonic, the Venezuelan Gustavo Dudamel, Ortiz released a new composition on Saturday, Liquid City, In the New York enclosure.

In the context of his residence for the 2024-2025 season in that philharmonic, he invited new Latin American talents, including Colombian Carolina Noguera, which will premiere a work that the Carnegie requested.

For someone who does not live in the United States, who is a woman and Mexican, This residence has meant recognition of a great effort, because it has not been easy to open doors internationallysays Ortiz.

Las Orchestras in the United States are much more inclusivesays this teacher and composer who has made her training in the best European academies at the scholarship. He hopes that they remain in the new political context with the return of Donald Trump to the White House.

Music goes much further (of politics). It is a universal language that has a cultural context that makes it diversehe says. Beethoven belongs to me and a Germanillustrates.

Talk Of a single school today is impossible. The 21st century is defined by a diversity of languagesremark.

For the diversity of messages, My music has a very strong political burden; I am interested in talking about climate change, feminism, migration, racism, globalization and what happens in the world.

The 60 -year -old Mexican has even composed a ballet about violence against women in Mexico or a piece inspired by an African revolutionary leader.

Ortiz opened his collaboration with Carnegie in October with three pieces, a rope concert with the violinist Alisa Weilerstein, which inaugurated the program Celebrating Latin Culture in the US, and another with the violinist María Dueñas, a young Spanish prodigy, with whom he has collaborated several times.

Dudamel has been his great promoter. He has made eight orders to Ortiz and has taken his music for Los Angeles, New York, London, Paris or Berlin, where the philharmonic of the German capital performed music from a Latin American for the first time in 141 years of history.

A composer learns when he listens to his well -touched music. For me, it has been a fundamental to learn from the Los Angeles Philharmoniche refers.

With Dudamel he has also recorded an album that has four Grammy nominations, he recalls.

On the next June, another of the greats, the director of the New York Opera Orchestra, Yannick Nézet-Séguin, will direct another work of this daughter of Mexican folklore musicians in Carnegie.

The first time we heard a piece for violin and orchestra that (Ortiz) composed for the Philharmonic of Los Angeles and María Dueñas (…) We were struck by the original of their music and how it creates this unique worldpoints out Liz Mahler, of the Carnegie artistic team.

It was like finding a new planet (…) and that we were all discovering this togetherindicates. Mahler refers to Rope altar, Costing of the Angelina Philharmonic.

The challenge of contemporary music for the most familiar public with traditional classical music that responds to a predictable structure is that (…) it has to absorb the piece that he listens for the first time, without that structure or without knowing what the language will be musicaladd.

Ortiz has emerged as a prominent voice of change in classical music, A field centered for too long in European teachershe wrote from her New York Times last year.

A need made virtue, because before the aging of audience young people and society.