The presence of a vocal part in the first version, however, suggests "In a direct and very natural way, the evocation of the sung street cry leads to the interpretation of two other cries of Esquinas, which call attention to themselves because, among other reasons, they are enunciated by a female voice. The unusual way of incorporating the voice (since she is neither a soloist, nor is part of the orchestra, and her participation is brief and sporadic) appears to be explained by its communicative function serving the composer to highlight or underline certain musical elements he considered significant" . It has been proposed that the musical construction of Esquinas is based on the cries of Mexican street vendors who once populated the urban landscape . Revueltas does not quote actual street cries, but rather imitates certain of their stereotypical aspects. The incorporation of these characteristic features merely suggests a semantic marking, enabling or enhancing their identification as a musical sign of cultural origin . Reception
As an instance of Revueltas's harsher, more abstract, and modernist style, Esquinas was poorly received by audiences initially, in contrast to his more lyrical and tonal works, such as Colorines and Janitzio . Esquinas, in either of its two versions, has remained one of Revueltas's least-performed works, and the first recording was released only in 2004

Discography
 Silvestre Revueltas: Obra orquestal inédita/Unknown Orchestral Works. Esquinas (1931 version); Esquinas (1933 version); Redes (original concert versions); Toccata sin fuga. Encarnación Vázquez, mezzo-soprano; Román Revueltas, violin; Orquesta Sinfónica de la Universidad de Guanajuato, José Luis Castillo, cond. Recorded August 2002, in the Auditorio del Estado de la Ciudad de Guanajuato.
The presence of a vocal part in the first version, however, suggests "In a direct and very natural way, the evocation of the sung street cry leads to the interpretation of two other cries of Esquinas, which call attention to themselves because, among other reasons, they are enunciated by a male voice. The unusual way of incorporating the voice (since he is neither a soloist, nor is part of the orchestra, and his participation is brief and sporadic) appears to be explained by its communicative function serving the composer to highlight or underline certain musical elements he considered significant". It has been proposed that the musical construction of Esquinas is based on the cries of Mexican street vendors who once populated the urban landscape. Revueltas does not quote actual street cries, but rather imitates certain of their stereotypical aspects. The incorporation of these characteristic features merely suggests a semantic marking, enabling or enhancing their identification as a musical sign of cultural origin. Reception: As an instance of Revueltas's harsher, more abstract, and modernist style, Esquinas was poorly received by audiences initially, in contrast to his more lyrical and tonal works, such as Colorines and Janitzio. Esquinas, in either of its two versions, has remained one of Revueltas's least-performed works, and the first recording was released only in 2004. Discography: Silvestre Revueltas: Obra orquestal inédita/Unknown Orchestral Works-Esquinas (1931 version); Esquinas (1933 version); Redes (original concert versions); Toccata sin fuga-Encarnación Vázquez, mezzo-soprano; Román Revueltas, violin; Orquesta Sinfónica de la Universidad de Guanajuato, José Luis Castillo, cond.; Recorded August 2002, in the Auditorio del Estado de la Ciudad de Guanajuato.