The Journey of Hojarasca
written by Carolina Calvache
Bahlest Eeble Readings Cycle 17 Fellow
The Journey of Hojarasca
In July 2024, during a visit to my hometown, Cali, Colombia, I was searching for inspiration to begin writing my first-ever orchestral commission. The piece, commissioned by the Jackson Symphony Orchestra, was to be a concerto for trombone and orchestra featuring trombonist Denis Jirón. I felt anxious about the outcome, unsure if I would find the right idea. I was stuck, lacking a concept.
Then, one afternoon, while helping my parents clean the front yard, I found it.
In front of my parents’ home stands a beautiful, towering tree. As I raked the fallen leaves, I picked one up and examined it as if it were something mysterious and precious. I reflected on its life cycle—starting vibrant and green, then turning golden before fading into brown. I began asking myself: why do we admire trees when they bear fruit and bloom but often overlook them when their leaves no longer flourish? I imagined trees as silent witnesses to human creation and destruction, holding whispered echoes of past seasons—stories of love, joy, and injustice. That day was a revelation. I started thinking metaphorically, and suddenly, I had my concept. The image of fallen leaves and their cycle of life became the foundation for my composition.
In Colombia, we call a large pile of dead leaves Hojarasca. I envisioned Hojarasca as my palette of colors for the piece. After choosing the title, I recalled La Hojarasca, a novel by the Colombian author Gabriel García Márquez, known in English as Leaf Storm. The next day, I began reading it, eager to understand Márquez’s perspective on hojarasca and to see if his story could inspire my music. As I read, I felt a deep connection between the novel and my composition. Márquez’s portrayal of war and its lasting impact on Colombia’s history resonated with me, and I wanted to express that in my music. At the same time, I wanted to highlight something very personal—the idea of resilience. Colombians, and Latin Americans as a whole, possess extraordinary strength in the face of hardship. My father is one of the greatest examples of resilience I know. Even in the most difficult situations, he finds a way to bring humor and optimism. As a professor of literature, he uses metaphors to help others see the beauty in life.
With these two themes—the leaves life cycle and the resilience of Latin American people—I had the foundation for my piece.
On August 16th, I began a new journey as a teaching artist in Boonville, California, dividing my time between teaching at the local high school and composing. I knew this was the perfect place to write Hojarasca. As the seasons changed, I found myself reflecting on the landscapes of my homeland and my present surroundings in Northern California. For the first time, I experienced true silence. After years of living in a noisy city like New York, silence was unsettling at first. But in that silence, my ideas blossomed. I took long walks between composing sessions, listening to music differently, appreciating nature with newfound respect.
This year I completed Hojarasca with deep gratitude —for God, for nature, and for the silence that allowed me to reflect and imagine freely. The piece became a metaphor for nature and human life—both in constant motion and transformation. Musically, it is divided into two sections: the trombone narrates the leaves' journey through vibrant and expressive melodies before they are carried away by the wind. The music also conveys the resilience of Latin Americans, who have endured generations of conflict yet continue to stand strong.
These last few months in Boonville have been a journey of growth and reconnection with my roots, my past, and my present. Though unexpected challenges arose, I gained a new perspective on life and even made new friends I met incredible people who will always have a place in my heart. To Antoinet and Thom, thank you for your kindness, your support, and for opening your home so I could practice piano and feel like Vernon Duke.
To Pilar from Mosswood, you also inspired the second section of the piece. You embody the Latin American spirit of resilience and strength, bringing the community together with your warmth and positivity.
To Shane Cook, my fellow composer, dear friend, and beautiful human being—thank you for everything you taught me and for making my time in Boonville fun and special.
And finally, to Gabriela and Jeremy, thank you for giving me the opportunity to experience the wonders of nature while teaching and composing Hojarasca.
This journey has been one of growth, reflection, and creation—one that will stay with me forever.
Carolina Calvache
Born in Cali Colombia, Carolina Calvache is a pianist and composer, winner of the 16th Independent Music Awards with her song “La última vez” featuring, Camila Meza. Since her selection for the 2011 Mary Lou Williams Woman in Jazz Festival for outstanding artists, Carolina brought attention at The Kennedy Center for Performing Arts in Washington, DC. Legendary pianist Toshiko Akiyoshi described her music as “Extraordinary and Marvelous”. Following her widely praised debut release Sotareño (Sunnyside, 2014) — that earned a spot among the Best 10 Albums of 2014 by Latin Jazz Network — Calvache unleashes the resonating extent of her talent as a composer, orchestrator and formidable songwriter on her sophomore album Vida Profunda (Sunnyside, 2020). Engaging a range of guest artists — including legendary multidisciplinary artist, multi GRAMMY-winning singer Rubén Blades; DownBeat Critics Poll Rising Star, vocalist Sara Serpa; and internationally celebrated singer and songwriter Marta Gómez.