Hilda Paredes’s music for strings achieves a rare airy balance. the image could be that of a kite- a string instrument in itself, one might say- is tehtered, but nevertheless tugs and swoops. So does this music.
In Papalote the vocal melody is at once ingenious and natural – and relatively simple because Paredes was writing here for her stepson as a boy treble. But it is also fascinatingly ambiguous, not least in how that opening A–E, which embeds the voice in the instrumental music, also springs open a vista back to folk song, rather as Rocio González (one of the most admired Mexican poets of Paredes’s generation) does in her poem.