"The Sad Night" Symphonic Poem No.6 of "The New Spain" - Lorenzo Ferrero

Ukraine National Symphony Orchestra conducted by Takuo Yuasa.
I - Moderato (𝅘𝅥 = 96): 0:00
Ferrero's "The Sad Night" (La Noche Triste) was composed sometime between 1992-9, being the fifth in a set of six symphonic poems describing events during the Spanish conquest of Hernán Cortés against the Aztec civilization. The series can be considered a symphonic study for Ferrero's 2005 opera "La Conquista", which tackles the same subject. The whole series is written in a neorromantic, tonal style. The poems can be performed individually or together. The compositional concept that underlines the cycle confirms the theatrical nature of Ferrero; each piece has its own colour, a specific character, but at the same time subtle thematic links hold the parts together, according to a well-calculated interplay of rhythmic, melodic and harmonic references.
With the arrival of the Spanish conquistadors in the American continent from 1492 onwards, began an extraordinary event that would radically change the American and European civilizations. Mayans, Aztecs and Incas were conquered with a mixture of violence and peaceful alliances that culminated in the fusion between the Spanish and the natives as the creation of the first global empire. The conquest of Mexico and the Aztec civilization as "New Spain" (la Nueva España), proved to be the most impressive event: five hundred men, for the most part soldiers of fortune led by Hernán Cortés, conquered a large empire in just a few months.
The piece describes the rebellion of the Aztecs in what would be the only defeat of Cortés' expedition. When he returned to Tenochtitlan in late May, he found that Alvarado and his men had attacked and killed many of the Aztec nobility in the Massacre in the Great Temple, that happened during a religious festival organized by the Aztecs. Alvarado's explanation to Cortés was that the Spaniards had learned that the Aztecs planned to attack the Spanish garrison in the city once the festival was complete, so he had launched a preemptive attack. The population of the city rose en masse after the massacre. Fierce fighting ensued, and the Aztec troops besieged the palace housing the Spaniards and Moctezuma. Alvarado and the rest of the Spanish were held hostage by the Aztecs for a month. The nobility of Tenochtitlan chose Cuitláhuac as Huey Tlatoani (Emperor).
Cortés ordered Moctezuma to speak to his people from a palace balcony and persuade them to let the Spanish return to the coast in peace. Moctezuma was jeered and stones were thrown at him, mortally wounding him, Aztec sources state the Spaniards killed him. The Spanish and their allies, including the Tlaxcala, had to flee the city in dire situations. Because the Aztecs had removed the bridges that linked the city to the surrounding lands, Cortés' men constructed a portable bridge to cross the water of the lake. On the rainy night of July 10 of 1520, the Spaniards and their allies set out for the mainland via the causeway to Tlacopan. They placed the portable bridge in the first gap, but at that moment their movement was detected and Aztec forces attacked, both along the causeway and by means of canoes on the lake. The Spanish were thus caught on a narrow road with water or buildings on both sides.
The retreat quickly turned into a rout. The bulk of the Spanish infantry, left behind by Cortés and the other horsemen, had to cut their way through the masses of Aztec warriors opposing them. Many of the Spaniards, weighed down by their armour and booty, drowned in the causeway gaps or were killed by the Aztecs. Much of the wealth the Spaniards had acquired in Tenochtitlan was lost. It is said that Cortés, upon reaching the mainland at Tlacopan, wept over their losses, and the old tree where Cortés allegedly cried, is still a monument in Mexico City. Despite this great defeat, Cortés found refuge in Tlaxcala after heavy losses. He reorganized his army with reinforcements from Cuba and his Tlaxcala allies, and would reconquer most Aztec territory, with Tenochtitlan falling on August 13 of 1521, after eight months of siege.
The piece begins with a vigorous main theme in form of a march, which is followed by the main part of the symphonic poem; the juxtaposition of different rhythms and motives in a chaotic manner. The main theme is subtle present in the background, as the music continuously unfolds in waves: with continuous peaks and valleys. A more spectral section opens in the middle section with a bitter variation of the main theme, taking the form of an expressive lament on strings. However, we find some consolation in the final, more uplifting coda.
Picture: "Expulsion of Cortés Troops from Tenochtitlan" (1888)
Musical analysis written by myself.
Unfortunately, the score is not available.

[@fransmeersman2334]

These six poems are not overwhelming, but interesting and still pleasant to listen to. Thanks !

[@fransmeersman2334]

Maybe not overwhelming, but still very attractive, honest romantic and at places beautiful and captivating music. I have several times listened with pleasure to the whole cycle. The performance deserves also much appreciation. Thanks !

[@DavidA-ps1qr]

The last in the series I believe. Whilst not setting the world on fire, thank you for posting all of The New Spain. Works that otherwise I would have bypassed.

[@nav662007]

I detect an echo of Michael Jackson's "Smooth Criminal" around 6:00... It seems Lorenzo has a penchant for quoting 80's pop...

[@Santi-eg7mq]

Also earlier, at around minute 2

[@steveh7866]

Yeah, I found it quite painful. Couldn't rid myself of images of a messed up short arse grabbing his crotch.

[@nav662007]

@@Santi-eg7mq aha! Good catch.