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in 1907. The reading is impeccably executed by the
Chilean actor Hector Duvauchelle, 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
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Despite the success of the work, it had its share of critics within the music world at the time of its release; some critics saw this work as too pretentious, complex and classical for it to be part of a popular neo-folkloric movement. This debate over what was authentic, what served “the cause”
40:
311:
to restructure part of the original text and they introduced minor modifications to the original recorded arrangements for a new version and recording. This was done without consulting the composer of the work,
231:“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. “
228:. 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.”
289:
would grow in the years following the cantata’s release – creating serious dialectical confrontations on what materials were to be included or excluded from the NCCh.
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chant has been replaced by spoken narration. This contains rhythmic and metrical elements with the aim of not breaking the sonorous totality.”
196:, combining elements of both classical and folkloric/indigenous musical traditions to produce what became known as a popular cantata and one of
316:, who upon hearing of the recording expressed great dismay and publicly attacked the artistic integrity of both Quilapayun and Julio Cortázar.
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The following are the statements made by Luis Advis, that appeared on the original booklet that accompanied the record release in 1970.
200:’s most acclaimed and popular music interpretations. The theme of the cantata is a historical industrial dispute that ended with the
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392:”Canción final” / Final Song (“Ustedes que ya escucharon…” / You, who have now heard…) (Solo vocals: Patricio Castillo) – 2:50
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379:”Canción letanía” / Supplicatory song (“Murieron tres mil seisientos…” / Three thousand six hundred died…) - 1:33
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who saw in the existing work considerable room for improvement. In 1978, they assigned the
Belgian/Argentine writer
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and musicians consider it one of the most important recorded musical composition in Latin
American music history.
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338:”Canción I” / Choral Song I (“El sol en desierto grande…” / The sun in the great desert) – 2:21
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miners demand for an end to exploitation with visions of an egalitarian and free world.
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This great appreciation for the work didn’t appear to be shared by some members of
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234:“Instrumental aspects: of the traditional orchestra we have only preserved the
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Despite this the work was the highlight of the NCCh and a masterpiece of the
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360:”Interludio cantado” /Sung interlude (solo vocals: Carlos Quezada) – 2:05
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357:”Relato III” / Narrative III (Narration: Héctor Duvauchelle) – 1:35
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363:”Relato IV” / Narrative IV (Narration: Héctor Duvauchelle) – 1:00
344:”Relato II” / Narrative II (Narration: Héctor Duvauchelle) – 1:21
389:”Pregón II” / Announcement II (Solo Vocals: Hernán Gómez) – 0:32
373:”Interludio instrumental III” / Instrumental Interlude III – 1:55
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376:”Relato V” / Narrative V (Narration: Héctor Duvauchelle) – 2:14
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354:”Interludio instrumental II” / Instrumental Interlude II – 1:44
335:”Relato I” / Narrative I (Narration: Héctor Duvauchelle) – 2:11
224:, was composed following the general guidelines of a classical
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341:”Interludio instrumental I” / Instrumental Interlude I – 1:33
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332:”Preludio instrumental” / Instrumental Prelude – 5:45
464:of Struggle, Songs of Hope: The Chilean New Song.
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242:in supporting mode, joined by two guitars, two
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285:) (Second Festival of the New Chilean Song).
279:Segundo Festival de la Nueva Canción Chilena
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497:Cantata Santa María de Iquique Text/Lyrics
347:”Canción II” / Solo Song II (Solo vocal:
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366:”Canción III” / Song III (solo vocals:
192:composed in 1969 by the Chilean composer
185:Santa María de Iquique, cantata popular
382:”Canción IV” / Song IV (Solo vocals:
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325:”Pregón” / Announcement (Solo vocal:
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27:1970 studio album by Quilapayún
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688:El Pueblo Unido Jamás Será Vencido
257:“Narrative aspects: the classical
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656:Canciones folklóricas de América
204:in the northern Chilean city of
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18:Cantata Santa María de Iquique
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743:Compositions with a narrator
458:References and other sources
421:Patricio Castillo (musician)
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296:in Latin America and many
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481:1a Ed. 2001 LiteraMusica
479:La Nueva Canción Chilena.
466:Senior Essay (USA, 1977)
220:“This work, dedicated to
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753:Saltpeter works in Chile
715:Quilapayún Chante Neruda
680:Santa María de Iquique
564:Guillermo "Willy" Oddó
271:Santa Maria de Iquique
160:Santa María de Iquique
33:Santa María de Iquique
477:García, José Manuel.
442:Eduardo Seinkiewicz (
435:Héctor Duvauchelle (
430:Additional Personnel
194:Luis Advis Vitaglich
462:Lasko, Susan. Songs
202:massacre of miners
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617:Sebastian Quezada
571:Patricio Castillo
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115:WEA International
16:(Redirected from
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629:Sergio Arriagada
611:Guillermo García
550:Eduardo Carrasco
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502:Luis Advis' site
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403:Eduardo Carrasco
384:Eduardo Carrasco
327:Eduardo Carrasco
213:Composer's Notes
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82:Classical Music
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491:External links
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738:1970 cantatas
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640:Studio albums
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592:Patricio Wang
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294:Nueva Canción
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252:Bombo legüero
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151:Quilapayún IV
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623:Alvaro Pinto
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425:Hernán Gomez
320:Song listing
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269:The Cantata
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48:Studio album
620:Ismael Oddó
451:Double bass
444:Violoncello
240:double bass
236:violoncello
71:August 1970
732:Categories
648:Quilapayún
582:Hugo Lagos
538:Quilapayún
413:Willy Oddó
368:Willy Oddó
314:Luis Advis
305:Quilapayun
275:Quilapayun
259:recitative
222:Quilapayún
198:Quilapayún
140:chronology
138:Quilapayún
131:Quilapayún
127:Luis Advis
86:Folk music
53:Quilapayún
664:X Vietnam
397:Personnel
437:Narrator
386:) – 2:55
370:) – 1:44
351:) – 2:08
329:) – 2:11
250:and one
248:charango
238:and the
122:Producer
68:Recorded
60:Released
50: by
748:Iquique
277:at the
265:History
226:cantata
206:Iquique
190:cantata
173:(1971)
164:(1970)
155:(1970)
113:DICAP,
718:(1983)
699:(1976)
696:Patria
691:(1975)
683:(1970)
675:(1969)
667:(1968)
659:(1967)
651:(1966)
246:, one
244:quenas
92:Length
672:Basta
188:is a
109:Label
77:Genre
283:NCCh
254:. “
63:1970
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101:34
97:37
530:e
523:t
516:v
453:)
446:)
439:)
281:(
129:/
99::
20:)
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