By Eugenio Amézquita Velasco
Translation: Metro News Mx
-Cultural coordinator Alondra Barquera highlights the impact of Master Roberto Arellano as a central figure in Tecozautla.
-Originally from Comonfort, the musician is compared to the famous Juventino Rosas for his genius and artistic transcendence.
-Since 2017, Arellano has sown a cultural seed in Hidalgo, founding three orchestras in the region.
-The master is internationally identified as the "miracle of composition" for unifying musicians of various nationalities.
-Tecozautla, a "Pueblo Mágico" (Magic Town) since 2015, celebrates ten years of distinction with Arellano's art as a driver for social change.
-Arellano's work has reached stages in Europe and the Americas, including countries such as Austria, Spain, Italy, and Cuba.
-In Huichapan, the master managed the erection of a statue in honor of the Otomí composer Abundio Martínez.
-Arellano's pedagogy allows children and young people to approach academic music formally and with enthusiasm.
-Alondra Barquera emphasizes that the state of Hidalgo has embraced Guanajuato’s talent with total openness and admiration.
-The "Orchestras United for Peace" project linked musicians from Venezuela, Cuba, and Mexico under the master’s direction.
-Cuban television used fragments of Arellano's works for social harmony and addiction prevention campaigns.
-In just one year in Tecozautla, the master and his students have performed a total of 52 concerts in various forums.
-The youth orchestras founded by the musician have performed at the Cuban Embassy and in Mexico City’s Zócalo.
-The interview reflected on the importance of valuing local talent before it has to migrate to other states.
-The master's work has been key in reconstructing the social fabric, steering youth away from idleness and negative influences.
-Arellano teaches his classes in a historic barrel vault, an architectural space of great value in Tecozautla.
-The connection between Guanajuato and Hidalgo is strengthened through the exchange of traditions, history, and musical excellence.
-The composer always proudly proclaims his Guanajuato origin on every national or international stage he steps on.
-Arellano’s students have taken their talent to the Chamber of Deputies, both at the federal level and in the state of Hidalgo.
-Arellano’s music is described as a universal language that connects directly with the beats of the human heart.
-Arellano's importance is joined with the work of other Guanajuato figures like José Alfredo Jiménez, Jorge Negrete, and Flor Silvestre.
-Tecozautla offers attractions such as its volcanic geyser and archaeological zones that are now nurtured by academic music.
-The master is recognized during his lifetime, breaking the stigma that artists are only valued posthumously.
-Civil society and parents in Hidalgo are the pillar that sustains and supports the musician's projects.
A media commitment is made to spread the legacy of this artist who unites two Magic Towns.
The Roberto Arellano, phenomenon and the mapping of talent
The interview between Eugenio Amézquita Velasco and Alondra Barquera Martínez is not just a formal dialogue between a journalist and a cultural official; it is an X-ray of a sociological and artistic phenomenon that transcends Mexico's geographical borders.
At the center of this narrative is Master Roberto Arellano, a musician from Comonfort, Guanajuato, who has found in the "yellow land" of Tecozautla, Hidalgo, the fertile ground for a cultural revolution that many states would envy.
The analysis must begin with a critical premise posed by Guanajuato Desconocido: why does Guanajuato, being a cradle of talent, allow its artistic jewels to shine more brightly in other latitudes? Barquera's response, though diplomatic, is revealing. Arellano's success in Hidalgo does not depend solely on his technical virtuosity or that "divine gift" attributed to him, but on an institutional and social symbiosis. In Hidalgo, Arellano is not just a music teacher; he is a peace manager and an architect of the social fabric.
The comparison with Juventino Rosas and Abundio Martínez is not incidental. By evoking these names, the interview establishes a historical bridge between the 19th century and the present, suggesting that academic music remains the engine that drives historical transitions. The fact that Arellano prompted a monument for Abundio Martínez in Huichapan demonstrates a rare artistic generosity: the artist who, far from seeking absolute protagonism, uses his influence to rescue the identity of the people who welcome him.
From a cultural policy perspective, Arellano’s impact is quantifiable and astounding: 52 concerts in one year and the formation of orchestras integrating 70 students in Tecozautla. These figures are not mere statistics; they represent 70 families that have changed their daily dynamics through the study of Beethoven or Mozart, steering young people away from idleness and risky behaviors. It is, in essence, a public safety policy executed through art.
Internationally, Arellano has become an ambassador for the true face of Mexico. In a global context where news about the country is often grim, his music in Austria, Italy, or Cuba projects a nation of discipline, color, and intellectual sophistication. The fact that Cuban television uses his work for social coexistence messages speaks of an aesthetic transcendence that moves beyond entertainment to become a public utility.
Finally, the lesson of humility and openness that Tecozautla offers the rest of the country is highlighted. While Master Arellano carries Guanajuato tattooed on his soul, Hidalgo has registered him as their own in its heart. This fraternity between states, mediated by the excellence of one man, is a reminder that talent has no borders and that culture, when managed with love and respect, is the most powerful tool to unify a fragmented nation. The tribute to Master Arellano is, therefore, a tribute to the human capacity to create beauty in the midst of adversity.
The full interview with Alondra Barquera Martínez, cultural coordinator of Tecozautla, state of Hidalgo
Eugenio Amézquita Velasco:
On the phone line, we have Alondra Barquera Martínez, the cultural coordinator in the Magic Town of Tecozautla in the state of Hidalgo. We are discovering that among the team collaborating with her is a great musician and pianist, Master Roberto Arellano, originally from Comonfort. Well, how did Master Arellano's arrival come about? I don't want to get into too many details because I know there are very pleasant surprises, but how did this encounter happen, and what has it meant for you that someone from Comonfort is in another Magic Town called Tecozautla? Thank you very much, Alondra.
Alondra Barquera Martínez:
Of course, good morning, greetings to all the listeners. Let me tell you that Guanajuato made its presence felt in the state of Hidalgo very strongly through the composer, Master Roberto Arellano. Wherever he goes, he always states that he is from Guanajuato and that he feels proud. Through the work he does, he has spread the artistic capacity of his people and all the talent in our country. Hidalgo has embraced him in a successful and wonderful way because the Master has been close to many people, civil society, and people in communities where he has also been part of forming children's and youth orchestras. He has also linked his compositional work so that people can have the opportunity for a very important cultural approach through music.
And well, I truly believe that, as they say, that divine gift of composition has allowed him to win the hearts of the people and the state of Hidalgo, which has projected him because we value his work and its great quality. His work in academic music has been very relevant and has drawn a lot of attention. Since 2017, when the Master has been more on this path in the state of Hidalgo, he has passed through different municipalities where he has sown part of this great seed. Also, considering that in the state of Hidalgo we have the first municipality named a Magic Town, which is Huasca de Ocampo—the Master composed a work for this municipality—but in reality, we all embrace him. Municipalities like Huichapan and Tecozautla, which are also Magic Towns in Hidalgo, feel part of this; part of the importance of spreading the work of genius. Even though, as we mention and reinforce, he is from Guanajuato and represents the state of Guanajuato.
We feel honored that a person recognizes the wonder of our people, our traditions, and our culture, and that through music and art, our country can be known internationally. The Master has done very important work abroad, say in Europe, in the Americas, in Costa Rica, Cuba, Colombia... in some places he has been identified as the "miracle of composition" because he has unified musicians from various parts of the world to interpret his music, in addition to integrating civil society into these projects. I think he allows us all to enjoy this music that makes us feel proud and happy, along with this great fraternity between states as brotherly towns, as humans who share the value of appreciating...
Eugenio Amézquita Velasco:
Alondra, I hear a lot of enthusiasm, affection, respect, and recognition toward the Master. Guanajuato is a state with a vast musical history—we have José Alfredo Jiménez from Dolores Hidalgo, Flor Silvestre from Salamanca, Jorge Negrete from Guanajuato capital—but we have a 19th-century musician and composer named Juventino Rosas, from Santa Cruz, the author of waltzes, the most recognized being "Over the Waves" (Sobre las Olas), but he has other beautiful waltzes in his history. Given the enthusiasm I hear, could we think—keeping due distance and respect—that we are talking about a new Juventino Rosas, but originally from Comonfort?
Alondra Barquera Martínez:
I believe so. Interestingly, regarding these historical themes, a composer named Abundio Martínez was also born in the state of Hidalgo, living during the Porfiriato era. From available information, it is known that he met the Guanajuato composer Juventino Rosas, and they had a friendship. Although there was an age difference, stories are told of them sharing pulques and talking about their composition work. In this case, our composer is from Huichapan, Abundio Martínez, an Otomí, who faced the hardships of his time regarding being part of an indigenous group, but his composition was beautiful; he also wrote waltzes, schottisches, and polkas. This allowed him to have a bond with other composers, including Juventino Rosas. In fact, they said one of Abundio Martínez’s works competed with Juventino’s—the work was "En Altamar," dedicated to the wife of President Porfirio Díaz...
Eugenio Amézquita Velasco:
Carmelita Romero Rubio de Díaz...
Alondra Barquera Martínez:
Exactly. That was the music in vogue, the music where composers shared as bohemians, as people building art through the history of events happening in Mexico. In the end, they left us wonderful works. I believe the Master today appreciates and values these types of compositions and composers for the history behind them, which corresponds to a very high level of artistic work. Academic music moves historical transitions and civil society; it gives us a message that builds a historical position. I don't know if he could be a "new Juventino Rosas," but in the end, given the spirit, soul, and work done, I think it’s worth highlighting him so he is recognized throughout Guanajuato. You have talented, brilliant people, and we are happy to receive such people everywhere. We are glad there are people working in composition and that music continues to be a message of peace that unifies us and fosters fraternity between countries, states, and towns.
Eugenio Amézquita Velasco:
Alondra, thank you for your words. Honestly, I am speechless at the affection and love you show for the people of Guanajuato. Speaking a bit about Tecozautla, the "place where yellow earth abounds" or "constant harvest"—which I believe is an original name—we are talking about a place with a very deep indigenous history, possibly inhabited since the 8th century. But also, in more modern times, a place of agricultural boom, with its monumental clock—similar to the one in Pachuca—and its spas and thermal waters. It’s a municipality with history dating back to the 19th century (1862) and a Magic Town since 2015, meaning you are reaching 10 years as a Magic Town. What can you tell me about Tecozautla?
Alondra Barquera Martínez:
Well, Tecozautla is like part of a very nourished heart in the state of Hidalgo. Here in Tecozautla, we have a geyser, a volcanic vent that receives thousands of tourists from all over the world. These thermal waters contain minerals considered a privilege for health. We have the archaeological zone I mentioned, which has in its history that people from Guanajuato were there at its founding. These are very important attractions. We also have the Fruit Fair. We still have indigenous communities and a mix of imagery—rooted traditions and customs alongside modernity ready to receive tourists. They are safe, family-oriented spaces. I should mention that Tecozautla is part of a corridor of nearby municipalities like Nopala, with its rich charrería and wonderful cheeses, and Huichapan with composer Abundio Martínez. All of this society integrates, and the State of Hidalgo receives everyone with great warmth and enthusiasm.
Eugenio Amézquita Velasco:
I can personally attest to the warmth and quality of the people of Hidalgo; I don't doubt it for a second. The warmth of the people of Hidalgo is indisputable. I was seeing here that Abundio Martínez's most famous work, "Arpa de Oro," was dedicated to President Porfirio Díaz. He is buried in the Panteón de Dolores (died in 1914). His father was a carpenter and director of the local band. There is a lot in common between Guanajuato and Hidalgo. But this detail about the Master collaborating has caught our attention. What activities does Master Roberto Arellano develop in the municipality's cultural area?
Alondra Barquera Martínez:
The Master has been the founder of several orchestras—three orchestras in this region. Everyone loves the man from Guanajuato; they "fight" over him; everyone wants to collaborate with him. The Master is founding children's and youth orchestras. He makes arrangements so that children and young people can approach academic music in a very pedagogical and formal way. The kids have achieved great things; they recently performed at the Cuban Embassy and in the Zócalo of Mexico City. The Master has not only great human quality but wonderful work quality. In fact, some presidents jokingly say we’ll have to register him as a citizen of Hidalgo too.
Eugenio Amézquita Velasco:
Well, we Guanajuatenses are born wherever we want! It’s beautiful to hear this spirit of brotherhood. In the cultural area, is there a specific "center of operations" for Master Arellano, perhaps a House of Culture or a special space in Tecozautla?
Alondra Barquera Martínez:
Yes, in Tecozautla there is a space that is part of the church’s architectural structure, a wonderful barrel vault. There, the Master teaches classes, prepares the kids, and motivates them. It serves as a center of operations right there in Tecozautla. Other municipalities also have designated spaces like Houses of Culture. The Master is very well known. I should mention something very distinctive he did through his management in Huichapan, in the historic center at "El Chapitel." That is where the Cry of Independence is commemorated after Miguel Hidalgo’s in Dolores. It’s the second Cry of Independence. In that town, the Master managed to have a statue erected to composer Abundio Martínez, giving him that weight and relevance, featuring a grand piano in the historic center. The piano statue even bears the Master's name on a musical score arrangement. He was recognized as the manager of this activity. It’s wonderful to see families and children at the piano with the composer. Sometimes they put a Christmas hat or a scarf on the statue... we have great appreciation and respect for Master Arellano.
Eugenio Amézquita Velasco:
From what I hear, you share the Master's abilities; he doesn't just stay in Tecozautla but goes to other municipalities. Which ones, and how long has he been working with Tecozautla?
Alondra Barquera Martínez:
In Tecozautla, one year. They have an orchestra of 70 students. He has also visited Huasca de Ocampo, Huichapan, Nopala, and has had important interactions with Tepeji del Río.
Eugenio Amézquita Velasco:
A year is a very short time, yet you speak as if he had been there for years. This has moved very fast.
Alondra Barquera Martínez:
Yes. Since the Master has been very present in the Hidalgo region since 2017, there have been different moments of collaboration. It has been very favorable; nothing like this had ever been seen in the region before. It has been a turning point—a "before and after" culturally, artistically, and socially. He has given relevance to the arts and the potential of youth. As you said, there are no geographical limits; children from other regions come to take classes; everyone wants to be with the Master.
Eugenio Amézquita Velasco:
Why do you think it is that sometimes we don't know how to "get the most" out of our own valuable people in their home state, as you are doing in Hidalgo?
Alondra Barquera Martínez:
I don't have a specific answer for that. But here, civil society has embraced the Master. Parents are with him and push their children. The children have such a desire to learn; they are marveled by his stories of Beethoven and Mozart. In Tecozautla, he has given 52 concerts in one year. The kids are super active and involved. They have performed at the Federal and State Chamber of Deputies. We are amazed that people from neighboring states or anywhere in the world visit us and help us develop. If someone arrived like a sun and we can all see it and want to be part of it, we rescue that. The Master, wherever he stands, says "I am from Guanajuato"—he carries it like a tattoo. And we think: Guanajuato has jewels in every sense—architecture, history—and that we can enjoy a part of what you have built as a society is a message that must be shared. We must not stop believing, dreaming, and working for what we love. The Master lives and shares composition; he emanates it; it's a marvel.
Eugenio Amézquita Velasco:
Governments come and go, but civil society marks the path. You talk a lot about the youth and children. Does this mean Master Arellano has become an important element in helping rebuild the social fabric of Tecozautla?
Alondra Barquera Martínez:
Absolutely. I can attest to that. Many of these children had never held an instrument—not even remotely. The Master arrives like a force of nature: "Instruments, instruments, let's move this!" And he starts playing. Listening to a concert by his students is wonderful. It’s not just what he is as an individual, but what he has managed to project onto the children, giving them worth and self-esteem. He gives them a path, a possibility to know they are valuable, regardless of their social circumstances. Music is a universal language that shows our human capacity. It links with our heartbeats. Thanks to him, the fine arts are taken seriously as something that contributes to social reconstruction. Instead of negative idleness, these kids say: "Now I want to train to play a rock concert, or Tchaikovsky." It’s wonderful to see that our adolescents now say their aspiration is to make music because someone showed them they could. He isn't just the protagonist; he is a person building and contributing. It is a marvel that we can share this with Guanajuato.
Eugenio Amézquita Velasco:
I think the gratitude shouldn't come from you, but from us. We are opening our eyes to the fact that we sometimes waste or even despise what we have right next to us, while other places recognize the virtues and get these results. We are talking about a figure with national and international projection. You mentioned some places they have visited?
Alondra Barquera Martínez:
Yes, collaborations in Cuba, Vienna (Austria)... places that know of this talent. Interestingly, abroad, in Europe or elsewhere, they say "this is Mexican." He becomes an emblem that says: "Mexico has something else; Mexico has this capacity." I understand they have been impressed by the quality of work. The Master's work represents Mexico. In sports, you have the medalist; in this case, he is the artist of Mexico.
Eugenio Amézquita Velasco:
Our gold medalist! To be specific, he has visited Austria?
Alondra Barquera Martínez:
Yes. And Spain, Costa Rica, Italy, Cuba, Colombia, Argentina.
Eugenio Amézquita Velasco:
Individually or with the kids from Tecozautla?
Alondra Barquera Martínez:
A combination. In Tecozautla, a project arose called "Orchestras United for Peace," which involved musicians from Venezuela, Cuba, and Mexico in Camagüey, Cuba. One of the Master's works was chosen by Cuban television for its commercials and public service announcements regarding social harmony and avoiding drugs. The "Orchestras United for Peace" concert was headlined by the Master's work.
Eugenio Amézquita Velasco:
Is there anything else you’d like to add, Alondra?
Alondra Barquera Martínez:
Just the joy and pride of sharing with these people. Often, composers are recognized only after they are gone.
Eugenio Amézquita Velasco:
Fortunately, we are talking about someone who is alive, strong, and young, who deserves all the recognition. They say "no one is a prophet in their own land," but we are going to change that by paying tribute to the Master. Thank you, Alondra. We will stay in touch. I am Eugenio Amézquita, and this is Guanajuato Desconocido and Metro News, with Alondra Barquera, Cultural Coordinator in Tecozautla, State of Hidalgo.
Alondra Barquera Martínez:
Thank you, see you soon.
