Re: Qr Cancion De Youtube
Genciana Haggins
The 1970 victory of the Popular Unity government led by Salvador Allende in Chile marked the rise of the first democratically elected socialist government in Latin America. After years of social and political unrest, the election of the Allende government was seen as a beacon of hope by the Left, both in Chile and throughout the region. As the new president-elect took the stage to greet cheering citizens, a banner above his head read, "You Can't Have a Revolution Without Songs. " It was a powerful statement about the role of music in social and political change that had fueled the emerging popular musical movement in South America known as nueva cancin (New Song Movement).
First taking shape in the southern cone of South America during the late 1950s and early 1960s, nueva cancin, also known as trova and canto, began as a proactive movement that contested the political dictatorships of the times. Declining social conditions in rural areas led people- primarily from Native communities- to move to cities. They brought with them distinct musical traditions that students and the middle class blended with other styles rooted in European culture to form new artistic hybrids that transcended class distinctions. These emerging musical styles became outlets to denounce political oppression. Evocative and poetic lyrics called for protest and sought active participation for social change. Elements of traditional culture and regional folk songs, reinterpreted by the literati, validated the region's marginalized Native cultures. Early nueva cancineros often made use of folk instruments, such as the quena (Andean flute), zampoas (pan-pipes), and the ten-stringed charango, to stress dignity and pride in Native cultural roots. Pioneering ensembles Inti-Illimani and Quilapayun offer examples of the blending of traditional and popular styles of the times.
nueva cancin spread quickly throughout the region. Early "new songs" were seen as a reaffirmation of traditional culture through music, but as the genre spread it became more politicized and played an integral role in burgeoning social movements. The rise of totalitarian military governments in South America during the 1960s and 1970s brought increased political oppression and deteriorating social conditions. New singers and songwriters took up nueva cancin as a means to express collective struggle in a time of violent repression. Increasingly, nueva cancin lyrics spoke explicitly to issues such as poverty, imperialism, democracy, human rights, and religious freedom. In Chile, Violeta Parra became a driving force in the New Song Movement, singing Chilean folk songs detailing the worsening social conditions and the desire for freedom of expression. Parra's two children, Isabel and Angel, and artists such as Argentine-American Suni Paz became instrumental in picking up where the early nueva cancineros had left off and continued to shape the distinctly political message that the genre is best known for.
As nueva cancin gained popularity in Argentina, Chile, and Uruguay, the appeal of the music as a popular means of protest and spur for positive social change grew in other regions of Latin as well. The poetic artistry of the lyrics and the music's foundation in rural Native cultures prompted many to see the New Song Movement as a genuine form of "people's music" that gave a voice to the community. The style was adapted to reflect the diverse political and social climates of many Latin American countries, especially in the Caribbean. Yet in every variation of nueva cancin, emphasis on the use of traditional music remained. In Cuba, for example, where nueva cancin became better known as trova or nueva trova, artists such as Carlos Puebla, Silvio Rodrguez, and Pablo Milans drew upon the vast wealth of Cuban and Afro-Cuban rhythms to express their poetic calls for social change.
The political repression in Chile in the 1960s and 1970s forced artists and professionals- many of them former political prisoners- into exile in Canada, Europe, and the United States. nueva cancinera Suni Paz moved to the United States and utilized music in curricula and to teach socio-political awareness to public school children in Southern California. Activist-musicians Rafael Manrquez and Quique Cruz formed Grupo Raz (joined later by Hector Salgado) to affirm and introduce Chilean nueva cancin to the Bay Area and beyond. As musicians who had honed their poetic and musical talents at "caf concerts" or peas of their native Chile, they established La Pea, a community arts center in Berkeley, California.
As the popularity of nueva cancin grew throughout Latin America and the lyrics became increasingly explicit in political content, the ruling dictatorships took action against the musicians. In Chile, after the bloody 1973 coup that deposed the Salvador Allende government, dictator Augusto Pinochet outlawed the playing of many Andean instruments in an attempt to suppress the New Song Movement. Victor Jara, one of the most influential and popular artists in the New Song Movement, also became its greatest martyr when he was tortured and killed at the National Stadium in Santiago shortly after the coup. The popular ensembles Quilapayun and Inti-Illimani were forced to leave Chile and remained in exile for over 15 years.
Even though many nueva cancioneros faced political oppression and censorship, the movement continued to grow and develop with new artists using nueva cancin as a means of resistance. Nueva cancioneros throughout the Americas today continue to sing out against injustice with the same sense of urgency as the genre's founders. Above all, it is the hope for the future combined with the recognition of the past that continues to drive nueva cancin and will guide its direction for years to come.
Cinco canciones negras s un cicle de canons compost per Xavier Montsalvatge l'any 1945. Va ser el seu primer xit a nivell internacional alhora que va ser la primera incursi d'aquest compositor en el mn del lied, i t les seves arrels a les reflexions i pensaments del mateix autor[1] desprs de l'xit que va tenir la Cancin de cuna para dormir un negrito per a soprano i piano a la seva estrena, el 18 de mar de 1945[2] a l'Ateneu Barcelons, de la m de la soprano Merc Plantada acompanyada al piano per Pere Vallribera.
Desprs de l'xit que va tenir la pea Cancin de cuna para dormir un negrito, basada en textos del poeta Ildefonso Pereda Valds, el compositor va decidir que aquesta can de bressol inicial podia anar precedida i seguida d'altres peces per tal de formar un conjunt que, inicialment, va pensar com un recull de tres canons de manera que el cicle comencs per una melodia preparatria vigorosa i finalitzs amb una altra viva i alegre.
D'aquesta forma, el cicle va anar prenent forma incorporant a la primera pea que va compondre per a aquest cicle, la immediatament anterior Chvere, i la posterior Canto negro, a partir de textos potics de Nicols Guilln, per, quan l'autor prcticament donava per finalitzada la seva composici a manera de trptic lric, va decidir afegir-hi una nova pea, basada en el poema Punto de habanera de Nstor Lujan, amb una lnia musical ingrvida i tnue, d'una natura evocadora molt d'acord amb el text,[1] alhora que va obrir la porta a l'addici d'una cinquena obra per tal de completar el conjunt. En aquest cas, l'obra escollida per obrir el cicle a la seva versi final van ser els nostlgics versos de Rafael Alberti, Cuba dentro de un piano.
L'obra es va estrenar com a conjunt,[3] tamb de la m de Merc Plantada, a l'Ateneu Barcelons el 14 de juny de 1945, i la bona acollida per part de la crtica i el pblic van fer que l'autor es reafirms en la idea d'orquestrar la part pianstica, el que va fer uns anys desprs estrenant l'obra en aquest format, en aquesta ocasi al Palau de la Msica Catalana, el 18 de febrer de 1949,[4] amb l'Orquestra Municipal de Barcelona sota la direcci del mestre Eduard Toldr.
La partitura va ser editada en primer lloc per Enric Climent a Clivis Publicacions l'any 1945 i, posteriorment, va ser editada per l'editorial nord-americana Southern Music Publishing Co. l'any 1958, convertint-se en una de les obres ms famoses de Montsalvatge, i esdevenint l'obra d'aquest compositor ms enregistrada.
En aquest conjunt destaca la presncia de ritmes i temes antillans, que marquen l'inici del perode postnacionalista de Montsalvatge, en el que les seves obres mostren una clara tendncia a relacionar el folklore catal amb els ritmes i timbres propis del perode final de la colonitzaci espanyola dels territoris americans com Cuba.
D'altra banda, un fet caracterstic de les Cinco canciones negras s el fet que estiguin basades en poesia afroantillana,[5] un corrent potic que fa mfasi en -independentment de l's ms o menys freqent d'un cert dialectalisme o expressions vinculades a una determinada parla- veure les coses des del punt de vista dels negres antillans, de manera que tot el missatge est impregnat dels ritmes i sentiments "negres". En aquest cas, la diferencia en front de la poesia negra americana radica al fet que els negres, a la zona antillana, estan plenament integrats des de fa diverses generacions a la societat i no sn un element de ruptura con podien ser, a l'poca, als Estats Units. En aquest sentit la poesia de personatges com Emilio Ballagas [6] o Nicolas Guillen incorpora els elements caracterstic de la cultura negra des d'un punt de vista plenament natural i harmonitzat amb el seu entorn.[5]
Aquesta pea es basa en un poema original de Rafael Alberti que porta el mateix ttol, i que forma part del llibre 13 bandas y 48 estrellas (Poema del Mar Caribe)[7] publicat per primer cop l'any 1936, que est inspirat en la prdua de les colonies espanyoles (Cuba, Puerto Rico i Filipines) al 1898,[8] i s una fusi en la que Rafael Alberti juga amb els records de la seva casa i la seva ciutat natal intercalant-hi fragments d'havaneres que sentia tocar la seva mare al piano i que eren fora habituals al Cadis de principis del segle xx,[8] de manera que es barregen de forma subtil delicades imatges lriques amb elements surrealistes.
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