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Chile and Ecuador: musical contacts the people united will never be defeated

E l people united will never be defeated, Chile and Ecuador

Fidel Pablo Guerrero
http://soymusicaecuador.blogspot.com/

Following the coup of 1973 came to our private country ro many Chilean exiles, was the era of military dictatorship that overthrew democratic government of Socialist Salvador Allende (1908-1973), now ratified by do declassified was documented for both the stroke-like along the dictatorship advice and support of the U.S. Agency CIA. In these circumstances, which disappeared and tortured many people, was assassinated one of the great musicians who arose in that country: Victor Jara (1932-1973).

Victor Jara singing children. Photo courtesy of: http://listenrecovery.wordpress.com/2010/08/28/victor-jara-chile-

Since then through the Chileans (musicians) who settled temporarily or permanently in the country we approach more closely musical expressions and aspects of their culture. The chilenism or s, Chilean empanadas, a kiss on the cheek, the typical asshole (pronounced hueón ) and creations of Violeta Parra, Inti Illimani, Quilapayún, The crabs, Congress, Los Blops, and midnight sun, became part of musical knowledge regularly in our environment, especially in the city of Quito.

But contacts with the country Star So lita ria Ian are producing a long time.

A publication issued in Valparaiso in 1908 in honor of the centenary of the Independence of Chile and Ecuador.

In the nineteenth century began to dance in our country zamacueca. According to some researchers, or zamacueca zambacueca or just originated cueca in Peru, where he moved to Chile and Ecuador, but f ue in Chile where he or a constit UIRs in national dance. Alejand In 1851 French Holinski ro p pointed out that in his association of Guayaquil that "... if the traveler wants to find the banned sister of zamacueca of Lima and Sopuimpa Havana, is to be found in the open circle and nothing aristocratic. " For its part, the Englishman Ernest Charton on his visit to Quito in 1862 asserted that "it is not unusual to see a monk to forget his cassock or rolled up to the knee, to show with what grace and what flexibility you run the figures zamacueca "(Encyclopedia M usic Equator iana, v. 2, Quito , 2005).

Local versions qu and were created from that genre were soon ended up turning into another Chilean Ecuadorian denominating ana, for the parent co he kept to his earlier original.

zamacueca cover of Viva Chile, Guayaquil
composer Antonio Cabezas (XIX-ca. 1919)

Dar click
to view and print big. A Chilean sounded in Cuenca in 1909.

AUDIO midi: In the garden of flowers . Cuenca, 1909

If

While the Chilean was eventually absorbed by the Ecuadorian typical air in its early days, the Chilean - was a zamacueca that was played in a major key. When it became ecuatorianizó played in minor key and melodic line as, in the mountainous region were within frameworks pentatonic by the influx of musicians ca Indian and thus became part of Gender Ecuadorian Ecuadorian and Chilean . Some s original genre elements remained, such the case of rhythm and function were dance pieces, and for its registration scheduled, we have documented Chilean in compound duple (6 / 8) and ternary (three quarters), the latter he held.

To view and print large graphics to click on the scores. The monkey (Chile Ecuador) / Ezequiel Salgado.

AUDIO midi: The monkey (Chile Ecuador) / Ezequiel Salgado.

I we placed the music market here called mona The Ecuadorian composer Ezequiel Salgado, for she can fully realize the process of "ecuatorianización" of this genre. The first part is in tonal ness major and its sonority meets a Chilean of Chile, but in the second, which is in a minor key, he feels a "typical Ecuadorian accent" by features consist of a melodic pentaphony underlying harmonic sequence used in the popular musicians Ecuadorian ca. From this change, the Chilean Ecuadorian was taking its own route with your s features, however the same characterization, it seems, eventually earned him and his disappearance ended up looking for a typical air. His compass is framed in 3 / 4, kept his agile movement and dance function, its textual themes often included humorous situations as in the case of married Mal or Naides me hoarse. Today no longer up Chilean , partly I suppose because it is the gender was absorbed by the typical air also co-triad, which was making it harder the clearly identified as a different genre, as so many Chilean case If you can do forget the composer Armando Hidrobo or Ang Aldeanita love the Honorio Jiménez noted in the records as either typical air and some times as Chilean product of these genres began to merge. One of the last c Hilen created, and in the last third of the twentieth century, for the composer who made his career Messiah Chilean entitled Manzanita.

A disc or slate recorded around 1940: Mal married Chilean Manuel Mantilla. An example of when the Chilean was a genre of Ecuador.

slate disk AUDIO: Mal married (Ecuador Chile) / Manuel Mantilla Cerón.

Mal married
Chilean Manuel Mantilla Cerón

/ When he was in love with you
not think they should mourn, / (bis)
/ bitterness that would have to lose my bachelorhood
happy / (bis).

/ So when I look
so bad that I am married to you, / (bis)
/ my mom, my daddy with others,
families do not want to be / (bis).

From: Mal married (Chile) [record label, album board, 78 rpm.] / Manuel Mantilla Cerón. Benitez Ortiz with the typical group Castro. Victor 83561-B . Register compiled and digitized by Fidel Pablo Guerrero.

To view and print large graphics to click on the scores. Mal married / Manuel Mantilla.

AUDIO midi: Mal married (Ecuador Chile) / Manuel Mantilla Cerón.

other contacts in Chile can also be noted that in the first year of the twentieth century, from Chile came several Italian musicians who came to lead the music school founded by Eloy Alfaro, the National Conservatory of Music. Among them was Pedro Pablo Traversari Ecuadorian musical preparation of which was made in that country and stay in that country allowed him to do some research studies about music in Chile, with several transcripts of popular pieces (at the end of this article included an example.)

The sheet music of the valse Chile and Ecuador Emilio Banda.

For his part, Emilio Banda Ecuadorian composer created his waltz Chile and Ecuador, opus 20, dedicated to the presidents of both republics, Germain Riesco ( 1854 - December 8, 1916 ) and Leonidas Plaza (1865-1932), this work must be published between 1901-1905, years in which these agents were run their countries.

In the first half of the twentieth century there were many other contacts via artist presentations. The Sucre Theater presented some events related to this issue. For example, in the 30's were presented The Chilean Huasos of those included a graph of the program in his farewell hand, in the program were involved Duo Villavicencio Ecuadorian musicians and 2 Montuvio Paez, a duo who came from Guayaquil.

action program be undertaken by the Chilean group Los 4 Huasos, Teatro Sucre in 1934. Document courtesy of Ximena Páez.

introduced in 1936 in celebration Anniversary of the Republic of Chile presenting Soto Carvajal violinists with the participation of many other local musicians.

Theater Event in Sucre. In celebration of the anniversary of the Republic of Chile, organized by the Chilean concert Soto Carvajal and dedicated to His Excellency Mr. President, Engineer Don Federico Paez, Ministers of State, Diplomatic Corps, Army Aviation and Ecuadorians.
Today September 18, 1936. At 9 1 / 2 pm
The best program presented in the season. The Joint Radio Theatre. Al Meidine. Azucena Empire. Armando Gomez, Emilio Santos, Ecuadorian music, for a tremendous trio Iturralde-Guerrero Echeverría providing the contest tied tr Chilean Artists. Great Orchestra
Ecuadorian and foreign musicians, who have gallantly lent because it is Chile.
Sarrin Orchestra Cuban music. Release of a large Chilean popular music magazine. Opening of Casino of the Teatro Sucre. Dinner at L'Ermitage.

Passing another matter. One of the leading educators qu e has had on Ecuador is Emilio Uzcategui (1899-1986), author of a large amount of literature on education. Uzcátegui originally studied music in Chile and is author of an important historical musical about the composers and musicians Chileans, in Ecuador was appointed Director of the National Conservatory of Music .

way of a news story appeared in The Battle , in which Emilio Uzcategui not granted sufficient conditions to be director of the Conservatory, He answered to allusion gives us interesting information on its relationship with the Chilean music:

"Finally, no vanity, but because my friend ZB I denied any knowledge of music, I will to know the following facts. I am not a professional musician, but I have pride in loving and somewhat familiar with the m usic selected. I studied music for some years. Not only piano, but harmony and composition at the Conservatory of Chile. Two of my great teachers were two distinguished world-renowned musicians, Enrique Soro and Humberto Allende, who have honored me by dedicating his compositions, as have some other Chilean musicians. My first book is titled "Chilean Contemporary Musicians," which was well received and so far mentioned. In The Nation of Santiago (5 XII 54), due to the recent death of Soro, transcribe a review of my book. Gaston Talamona, notable Argentine critic in the magazine We (Year XIII No. 126), said it is "an excellent and useful book", he regretted that his country would not Biera hu written a similar book, and ended by saying I have done "a commendable and useful work, with reported art service and all those who in the continent are engaged in studies of art "[. ..] The magazine Events , Zigzag and many other accolades addressed Amente of my book and most of it has been reproduced in various publications as News, web art, and in Santiago a Chilean magazine "Music" Anibal Aracena, which collaborated on several times. In Chile there was a theatrical short work of mine, whose musical arrangement also belongs to me and for many years also took the stage at the Teatro Sucre, having executed the piano no less than former director of the Conservatory, Luis H. teacher Salgado, who when the Conservatory was attached to the Faculty of Philosophy, I said that was fine, because he consisted I NDIA body of music. Also in Ecuador have lectured and written articles sob re music and music education. In Volume IV of the great Latin American Music Journal of Music Research Institute of Montevideo, see my portrait with the legend "Axis Ecuadorian musical Americanism." And this is not all, Francisco Salgado, when he was Director of the Conservatory, sought and obtained my services willingly and without charge for Methodology lecturing applied to music, a fact that the record on page 42 of Newsletter published Conservatory on his anniversary.

Humberto Allende Chilean musician who is presented in our work Lavoz the streets.

"[...] I served Mr. Luis H. Salgado's score l Voice streets as "my property, giving opportunity for this wonderful and modern work of Allende was heard in Quito [...]

" [...] Last data: the Society of Composers of Chile honored me with the designation of Honorary Member. "

"Emilio Uzcategui.

(Uzcategui, Emilio. "Referred to the 'musicians' of 'Fighting'. In: [not recorded. Perhaps the newspaper El Combate ]. Quito, March, 1955. Library Sound Archive).

We found some items Uzcategui dating from 1920 and published in the Chilean magazine Music .

Photo Emilio Uzcategui and segment of one of his articles published in a Chilean magazine.

Ecuadorian
Among the musicians who went to Chile, and Uzcategui, we aim at the singer Alberto Valdivieso Alvarado "El Diablo Idle" (who already gave reason in another article of this blog), Pedro Pablo Traversari , to whom we owe a historical overview and some Chilean music transcriptions in his book Art in America , and Luis Aguilar, a violinist. Azuay In 1948 the composer Corsino Durán traveled to various South American countries including Chile, with the aim of monitoring the training experience "for symphony orchestra at that time the SEDAM and other musical organizations were promoting the creation of a National Symphony Orchestra in Ecuador. Duran contacted the Casa Amarilla, Chilean editorial published some of his works: Sad joys, Ñucanchicpac yarahui, Ecuador Romanza, etc. Both Duran and the composer was Juan Pablo Muñoz Sanz Socialist supporters, the first accounted for the opportunity to meet and be photographed with the president Salvador Allende when she visited Quito in 1971.


Chile's President Salvador Allende with Ecuadorian composer Corsino Durán. Photograph taken in the city of Quito, the Chilean president's visit, 1971.

Ecuador
Another famous member is former Chilean group Inti Illimani known, Max Berrú (Cariamanga, Loja, 1942) who is one of the founders of the group and their participation, published in the Chilean magazine bicycle , No. 35 - is narrated as follows: "The football fanaticism led me to Chile in 1962 and when in Guayaquil I was embarking on the Italian ship Marco Polo, I gathered all the money I had in my pockets and buy him a guitar to an old man. I studied mechanical engineering at the Technical University of the State. Later, when the practice was vacationing in the coal mines of Lota, I met Jorge Coulon. This chance meeting has marked our lives, empezamo sa singing together that day. Soon he was living at home where I met today is my partner. The garage of the house quickly became the Inti Illimani workshop. "

Dar click to see bigger.

also in the sixties for a few days, the Choir of the House of Ecuadorian Culture, led by Carlos Bonilla Chavez traveled in 1964 by Coral Invitation Chilean Association of Choirs Festival held in Talcahuano, Concepcion and Santiago. The choir consisted of 49 people. The repertoire was included: Dancing Gerardo Guevara, Lamparilla (hallway) by Miguel Angel Casares, Apamuy Shungu, Taita Quishpe, Poor heart (sanjuanito) Shadows (aisle), my destiny Romance (corridor), earthenware vessel (dancer), The Quito Chulla (parade), Mrs. tunday Tunday (sanjuanito) Like a child (corridor). The choir would be granted the nomination of Regalón Choir, the choir is designated the most popular event.

- Cut
press reports on the performance of the Choir of the House of Ecuadorian Culture in Chile.

To end this short overview we will appoint some Chilean musicians remember and were living in or passing through Ecuador: Pedro Pino, a member of the group Amauta Araucanto, Threshold Taxo and lived 25 years in our country, remained here musical activities related to teaching, as arranger and instrumentalist, Thomas Lefever avant-garde musician spent time in Quito in the early 80's ; The Altiplano of Chile, led by Mauricio Vicencio, live in the city of Quito. Giannini also met Hugo, a great pianist who was a teacher conditions of the National Conservatory of Music and other music centers (missing for something like two years and no more was heard of him). Guillermo Cardenas, director of choir choirs prepared in Loja and Guayaquil, Mario Baeza, choir director, in Quito was director of the Coro del Banco Central del Ecuador if memory serves me correctly. Other musicians: Mario Manque, Juan Paredes, Julio Araya, team members Clay and many others will escape us ...

The author of the borrower entity article on the far right, when integrab ae l band Araucanto (Pedro Pino Carola and Aspe, Chile). 80's in the Band Shell d and the Villa Flora, Quit o.

AUDIO The right to live in peace / Victor Jara. Cast: Araucanto. Re tration home.

To say goodbye until the next time we write q ue (which will at some time because we are busy with Conmúsica portal: http://ecuadorconmusica.com) we will include two scores of Chilean music mu. A compiled by Pedro Pablo Traversari entitled Cueca old, found in a manuscript made in 1903 and another that was published in the U.S. of Ecuadorian composer Ricardo Romero, entitled To dance the Cueca (attachments are the audios midi so you can appreciate the works).

Chile and Ecuador, along with other p OUNTRIES the continent, have been major musical and historical ties, narrow ties that bind us as a people and enable us to understand that although countries with boundaries political geography, culturally, and twin exceed its musical richness.

To view and print large graphics to click on the scores. Cueca old / Pedro Pablo Traversari, compiler. 1903.



AUDIO midi: Cueca old / Pedro Pablo Traversari, compiler. 1903.


To view and print large graphics to click on the scores. To dance the cueca / Ricardo Romero.



AUDIO midi: To dance the cueca / Ricardo Romero. To click on play.