Cantata Santa María de Iquique

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Cantata Santa María de Iquique
Cantata Santa María de Iquique cover
Studio album by Quilapayún
Released 1970
Recorded November, 1969 – March, 1970
Genre Classical Music
Folk Music
Length 37:34
Label WEA International
Producer(s) Luis Advis/Quilapayún
Quilapayún chronology
Quilapayún IV (1970) 'Cantata Santa María de Iquique'
(1970)		 Vivir Como Él (1971)


Cantata Santa María de Iquique (or Santa María de Iquique: Cantata Popular) is a cantata composed in 1969 by the Chilean music composer Luis Advis Vitaglich, combining elements of both classical and folkloric/indigenous musical traditions to produce what became known as a popular cantata and one of Quilapayún’s most acclaimed and popular musical interpretation. The theme of the cantata is an historical industrial dispute that ended with the massacre of miners in the northern Chilean city of Iquique in 1907. The reading is impeccably executed by the Chilean actor Hector Devauchelle, who captures the increasingly tense struggle between the miners and their exploiters in the narrative. Instrumental interludes and songs empower the progression of the story leading to a final song which voices the miners demand for an end to exploitation with visions of an egalitarian and free World.

Contents

[edit] Composer's Notes

The following are the statements made by Luis Advis, that appeared on the original booklet that accompanied the record release in 1970.

“This work, dedicated to Quilapayún, was composed following the general guidelines of a classical cantata. There is, albeit, a variant which refers to: literary-thematic aspects: the traditional religious motive has been replaced with one based on real events from the social order.”

“The musical stylistics: rather than avoid the European traditions, it has been amalgamated with melodic trends, harmonic modulations and rhythmic nuclei of American or Hispanic-American root. “

“Instrumental aspects: of the traditional orchestra we have only preserved the violoncello and the double bass in supporting mode, joined by two guitars, two quenas, one charango and one Bombo legüero. “

“Narrative aspects: the classical recitative chant has been replaced by spoken narration. This contains rhythmic and metrical elements with the aim of not breaking the sonorous totality.”


[edit] Track listing

  1. ”Pregón”/Announcement (Solo vocal: Eduardo Carrasco) – 2:11
  2. ”Preludio instrumental”/Instrumental Prelude – 5:45
  3. ”Relato I”/Narrative I (Narration: Héctor Devauchelle) – 2:11
  4. ”Canción I”/Choral Song I (“El sol en desierto grande…”/The sun in the great desert) – 2:21
  5. ”Interludio instrumental I”/Instrumental Interlude I – 1:33
  6. ”Relato II”/Narrative II (Narration: Héctor Devauchelle) – 1:21
  7. ”Canción II”/Solo Song II [“Vamos mujer…”/We must leave woman…] (Solo vocal: Rodolfo Parada) – 2:08
  8. ”Interludio instrumental II”/Instrumental Interlude II – 1:44
  9. ”Relato III”/Narrative III (Narration: Héctor Devauchelle) – 1:35
  10. ”Interludio cantado” /Sung interlude [“Se han unido con nosotros…”/They’ve joined with us] (solo vocals: Carlos Quezada) – 2:05
  11. ”Relato IV”/Narrative IV (Narration: Héctor Duvauchelle) – 1:00
  12. ”Canción III”/Song III [“Soy obrero pampino…”/I am a pampean worker…] (solo vocals: Willy Oddó) – 1:44
  13. ”Interludio instrumental III”/Instrumental Interlude III – 1:55
  14. ”Relato V”/Narrative V (Narration: Héctor Devauchelle) – 2:14
  15. ”Canción letanía”/ Supplicatory song (“Murieron tres mil seisientos…”/Three thousand six hundred died…) - 1:33
  16. ”Canción IV”/Song IV [“A los hombres de la Pampa…”/To the men of the Pampa...] (Solo vocals: Eduardo Carrasco) – 2:55
  17. ”Pregón II”/ Announcement II (Solo Vocals: Hernán Gómez) – 0:32
  18. ”Canción final”/Final Song (“Ustedes que ya escucharon…”/You, who have now heard…) (Solo vocals: Patricio Castillo) – 2:50

[edit] Personnel

Additional Personnel

[edit] External links

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