Mexican composer Gabriela Ortiz (Mexico City, 61 years) responds to the phone with enthusiasm. He has asked that the interview be that way due to his busy schedule, so he takes a break between his music classes at UNAM to talk and ask his students, privileged to receive tutoring from one of the great contemporary composers of Mexico. “They don’t leave me alone,” he laughs. Ortiz has won the Grammy for Best Contemporary Classical Composition in the 67th edition of the most important industry award for his work Dynamite revolutionrecorded live at the Walt Disney Concert Hall in October 2022 and November 2023 during the performances of the Los Angeles Philharmonic and its director Gustavo Dudamel. The artist, who has said that music chose her since childhood, talks about this award, which also considers a recognition for Latin American composers.
Ask. What does this Grammy represent for you?
Answer. It is a recognition of my work, but what seems very relevant to me is that it is the first time that the album of a Latin American composer competes and achieves four Grammy nominations. And of those four, we won three. It is the most Grammy album that has won the Los Angeles Philharmonic. This is important to mention it because I believe that in Latin America we have a hard time making our work known. I would like this to be a window to look towards the region.
P. Then see Grammy as recognition of Latin American music?
R. For me it is that. I want to think that this can be a watershed. On the other hand, it is very significant that this is not a normal disk of contemporary music, in which you work music in an abstract way. I have a ballet that is an exploration about feminism, which explores the different types of violence against women. The theme is quite strong and having won a Grammy with that is not something I would have imagined.
P. It plays this painful issue in Mexico, a country where 11 women a day murder. Is music a form of complaint?
R. I do not hope that my music will change the situation from one day to another, that would be impossible, but that does not prevent me from talking about these issues. I have never received physical aggression, fortunately, but that does not mean that it is not empathic. I have a daughter and you can’t leave at night because it’s dangerous. That is a deprivation of liberty. On the other hand, I nourish what happens in life itself, is the fuel to create. Music for me represents everything. This is the reason I am on this planet, it is the oxygen that allows you to be alive. I do not belong to a feminist collective, but that does not prevent me from talking about it and the best way I can do it is through music.
P. Should an artist have a political commitment?
R. Not necessarily. That is an absolutely personal decision. I have works that do not have a political commitment, which are much more abstract. My work is quite extensive to fit it and say that everything I produce has a political dye; But I do have works that talk about climate change, migration, femicides. I nourish my life and see these manifestations of women for me is very strong. To the recent march of Mexico were 200,000 women, I think a historical record was broken. Of course I am not oblivious to that.
P. We see more women directing orchestras. What situation are in music now? Have you broken barriers to women?
R. Yes, many opportunities have been opened, both for women directors and composers, but I don’t think it’s enough, I don’t think we are in true gender equity. In the last eight years I have seen more and more directors women and composers who have broken niches and open spaces that were dominated by men for years. I would like this to proliferate, but I think it is also very important to make a call to the artists to fight for those spaces, but with a genuine artistic quality, because I do not want it to be for quotas, because you are a woman and also Latin.
P. Do you think it’s more merits?
R. Of course. It has to be so. You are going to interpret me because I also have artistic quality. So serious is that they do not touch you because you are a woman, as they include you only for being a woman.
P. How do you see now the health of Mexican music?
R. It is a complex question. I think we have very good composers and composers. In the last 30 years an amount of assemblies dedicated to contemporary music has emerged, which seems fundamental to me, because the composers are going to depend on the interpreters. But I do believe that today more support is needed, especially independent groups. That is something that worries me a lot, because the support that is almost to the entire culture happens in the field of groups that have a subsidy by Fine Arts or a university. The groups that are independent, which are many and very good and have given so much to this country, are having a hard time.
P. Mexico comes from a six -year period with cuts to culture. Do you think there may be a change in this new administration?
R. I hope so. It is premature to say it. I hope this did change, because it was very hard between pandemic and cuts for scenic groups and, above all, for independent groups. I would expect many more incentives for these groups. Culture is a very broad issue, of course it has to do with native peoples, with crafts, but also with other artistic expressions and I think that left a little next to it.
P. Does this trend of identity art support are detrimental to other artistic expressions?
R. It seems wonderful to support crafts and it is very important to support the original peoples. I’m not a gram against that, but it’s not the only thing. The last six -year term was very focused on this and everything that had already been earned in other spaces was abandoned.
P. Part of her work is to train new musicians, how do you feel like a teacher?
R. I love it. It is a way to talk, because a composer’s work is very lonely, you spend hours and hours in your study. I really like to come to classes and listen to the new voices, see their interests. Talking about music with them is a delight.
P. Look passion in your students for music?
R. Yes. I have been lucky to have brilliant students throughout these 25 years that I have been doing. It fills me with pride when you see them walking and generating their own ideas. For me it is fascinating.
P. Is the future of Mexican music in good hands?
R. I think so, because we really have great teachers. I studied in England, but my best master of composition was Mario Lavista and I had it in Mexico. I didn’t need to go for that. He studied with Carlos Chávez, who is our other great Mexican musician. I am very lucky, because I feel part of that lineage.