Música Llanera 5

  

Juan Vicente Torrealba
Concierto En La Llanura

Tracks:

Disc 1:

1. Concierto En La Llanura 3:22
2. Campesina 2:26
3. Muchacha De Ojazos Negros 3:04
4. Barquisimeto 2:50
5. Secretos De Amor 3:43
6. Llano Apureño 2:22
7. Chaparralito Llanero 2:44
8. Rosario 2:33
9. Camino De La Esperanza 2:26
10. El Carnaval 2:59
11. El Cigarrón 2:23
12. El Gabán 2:55
13. Adiós A Madrid 2:29
14. Solo Con Las Estrellas 2:48
15. Romance En El Caney 2:22

Disc 2:

1. La Potranca Zaina 2:35
2. Noches De Porlamar 2:18
3. Madrugada Llanera 2:33
4. El Caminante 2:35
5. Rosa Angelina 2:39
6. Aquella Noche 2:30
7. Sabaneando 2:28
8. Soy Feliz 2:29
9. Venezuela Habla Cantando 2:11
10. Seis Numerado 2:22
11. Sinfonía Del Palmar 3:13
12. Caraqueña 3:15
13. La Paraulata 2:25
14. Alma Llanera 2:37
15. La Guayaba 2:44 

 

Harp: Juan Vicente Torrealba
Group: Los Torrealberos

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Juan Vicente Torrealba is a timeless icon in the world of Venezuelan-Columbian/South American folk music in the true "joropo" style. This two-disc digital version of the best original vinyl record albums brings true delight to those who love this wonderful music.

Juan Vicente Torrealba Pérez (born February 20, 1917) in Caracas, Venezuela, is a Venezuelan harpist and composer of popular music.

Although born on the outskirts of Caracas, the family moved while he was very young to a ranch in Camaguán, Guárico. The poverty of the family and the region were such that he worked as a sharecropper, and did not complete his primary education. Restless, he took up the guitar, and by the age of 18 was giving public recitals, his style showing a strong Cuban influence. Feeling that he would never reach the standard to which he aspired, particularly after hearing Rodrigo Riera, he moved to Caracas and took employment as a bookkeeper in a newspaper.

It was in Caracas that he took up the arpa llanera, (i.e. the plains, or Venezuelan, harp), under the tutelage of Ignacio Figueredo. In 1947 he formed his own group, The Torrealberos, along with his brother Arturo, his nephew Santana Torrealba Leon, and vocalist Ángel Custodio Loyola. With this band, he was able to earn a living playing at social functions. He began writing music the following year, among his earliest compositions being Las Caricias de Cristina (Cristina's Caresses) and Concierto en la Llanura (Concert in the Plain) (1948). With the help of pianist María Luisa Escobar the band started recording, but sometime later (apparently over a dispute as to whether tips were for the singer or the band leader) Loyola left the group, and since then a number of vocalists have been contracted by the Torrealberos. The reputation of the group, and its traditional repertoire, spread beyond Venezuela, and by the 1960s they were touring in Europe and the U.S., as well as throughout Latin America.

His first collaboration with a full orchestra came with the 1971 album Rapsodia Llanera, and he continued to adapt his music, with the addition of keyboards and electronic amplification, and collaboration with musicians from Italy and Japan, as well as other Latin American countries, his music diversified. He disbanded Los Torrealberos temporarily in 1978 to form a dance orchestra, Juan Vicente Torrealba and his Super Beat 80, but this project only released one eponymous album. Thereafter, his band work took second place behind his solo career and playing alongside symphony orchestras, until he retired, complaining that his record company was not doing enough to promote his work, in 1986.

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Música Llanera 4

  

Reynaldo Armas
Yo También Quiero Cantar
1977

Tracks:

01. Canta coplero
02. Al pueblo apureño
03. Amigos
04. Regreso
05. Fiesta en Arauca
06. El amor es un deporte
07. Una parte de mi patria
08. Llano y leyenda dos
09. Luto en la llanura
10. El negro recuerdo
11. Dos vaquianos del camino
12. Campesino buenos días

  

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El Cardenal Sabanero

Reynaldo Armas, born in Los Guatacaros, Santa María de Ipire, Guárico State, Venezuela, August 4, 1953, is a Venezuelan llanero singer and composer.

Early life and career

His parents were Nicasio Armas Figueroa and Modesta Enguaima Hernandez. He has four brothers and sisters; Domingo, Algeria, Felipa and Margoth. When he was nine his family traveled from Los Guatacaros to Caño Morocho near Zaraza, and it was there at the age of 11, that he began to take part with local musicians in parrandas and dances. At the age of twelve composes his first song: Mi Primer Amor (My first Love). At the age of 15 makes debut in a dominical program of Radio Zaraza lead by Pompeyo Higuera, soon he enters in the gaita group Los Bravos de la Loma for which he composed several carols and aguinaldos, under the direction of the teacher Jose Antonio Blanca of the Copleros de Unare.

At the age of 16, participates in a contrapunteo festival that was made in El Faro club, and makes trophy and money from the attending public. With 17 years travels to Caracas, and started to sing in night clubs, but for folkloric music, there were only a few clubs available.

His first idol was José Romero Bello, a very respected singer and composer and one of the first interpreters of "Florentino y el Diablo", next to El Carrao de Palmarito. Reynaldo Armas was baptized with the pseudonym El Cardenal Sabanero when he traveled with Romero Bello to San Fernando de Apure and participated in the festival "Cantaclaro de Oro" singing a version of the Florentino de Oro. This was in 1973, and he obtained second place out of 18 participants. In 1975 he returned to the festival and took first place, the same in Valencia, Venezuela with the "Cucarachero de Oro", in San Carlos of Austria wins as composer, the Miranda de Oro in Los Teques and many but like contrapunteador and solo singer. Between 1975 and 1976 he records two singles, first with the name: Mi primer Amor y Cariño fingido and the second: Recorriendo a Venezuela and El Revolucionario.

In 1977 Reynaldo Armas records his first LP with the support of Rafael Martínez Arteaga El Cazador Novato, that in that time was with greatly popular in Venezuela and Colombia with several folkloric poems. Yo También quiero cantar was the name of that album, it was not a success in the radios, because in that time the folk music only sounded in certain programs at night and in the TV wasn't widely available.

In 1978, with the LP La inspiración del poeta, Reynaldo begins his popularity around the country, a folk music with romanticism, penetrating the most important cities conquering the market and public of different ages and gender, becoming a Messiah for the llanero music.

From then on it has been a parade of successes without parallel; the prizes and recognitions come and go and as do the decorations. Prizes like the Guaicaipuro de Oro, Meridiano, Ronda, Mara, Cacique, Tiuna, Venus, among others.

He has written more than three hundred songs and has recorded twenty-six albums, all with his own compositions, except three songs from the first album, that belong to El Cazador Novato. He constantly travels to Colombia where has a parallel market, also to the United States and Europe. Reynaldo Armas is certainly one of the most important Venezuelan folk singers of all time. At the Venezuelan regional elections of 2008, was an independent candidate for governor of his home state, Guárico.

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Horses 4

   

Cholo Valderrama
¡Caballo!
 
Tracks:
 
01.¡Caballo!
02.Como vivir
03.Me voy pal´llano
04.Ojitos de Pararapara
05.Soy el llano
06.Levantate Llaneraza
07.El deporte del coleo
08.Las alpargatas de Pancha
09.Saman florido
10.Dejo que mi verso viaje
11.Me dejó el rancho solito
12.Voy doble a mi gallo tuerto
13.El hato donde me crié
14.Catira pelo e´cocuiza
15.Caballo amigo
16.El baile de doña Asuncion
17.Llanero viejo
18.Y no la dejen pasar

  

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¡Caballo!

Caballo al hablar de ti
He de quitarme el sombrero,
Es respetar tu linaje
No importa el color del pelo
Solo me importa que seas
Tesoro que desde el cielo
Nos mando Dios pa’ poder,
Decir que somos llaneros.

Caballo tu eres mi vida
Eres mi pasión y ensueño,
Sin ti no habría los poetas
Ni existirían los llaneros;
Sin ti no habría coleadores
Tampoco caballiceros
Ni habría trillo en los caminos
Que marcaste de cerrero,
Cuando te comías el llano
Bajo la luz de un lucero.

Caballo tu eres la forja
Del nombre de caballero,
En ti se hicieron batallas
Y se libertaron pueblos;
Se engendraron ilusiones
Y se realizaron sueños;
Se fundaron amoríos,
Se trasnocharon recuerdos;
Se motivaron pasiones
Y se apocaron tormentos;
Cuando  tu relincho se oye
Quebrando en dos al silencio;
Siente la sabana rapia
Tus cascos sobre su pecho;
Tu cola como bandera
Tu crin a los cuatro vientos,
Paladín de libertades
Estampa del llano inmenso….

Caballo al hablar de ti
Es hablar de campo abierto
De las faenas del llano
De soga, bozal, cabresto
Es recordar mañoseras
Lazos  de toro violento
Es alargar los caminos
Sobre el pajonal disperso…

Tú fuiste, eres y serás… caballo
Botalón de mis ancestros
Tu brío afinca esperanzas
Que entre tus nervios de acero
Dan templanza a la hidalguía
Corajuda  de lanceros
Tu nobleza es la enramada
Donde descansan los tiempos;
Los que fueron, los que son,
Los que serán, los que han muerto.

Hay tantas cosas en ti
Que me sirven como ejemplo
Tu nobleza, tu paciencia
Tu coraje, tu talento
Y la enseñanza sublime
De cómo infundir respeto
Me crié contigo caballo
Caballo contigo muero;
Son muchas las galopadas
Que atesoran mis recuerdos;
Como aquel día que en tus ancas
En la manga de mi pueblo
Monté a mi morena altiva
Mi morena pelo negro
Que se abrazó a mi cintura
Puso en mi espalda sus senos
Cuando a galope tendío

Nos llevaste llano adentro…

   

      

Biography of Cholo Valderrama

Orlando ""Cholo"" Valderrama is one of the most outstanding Llanero singers of Colombia. With a successful singing, composing career spanning 25 years, and with 17 albums to his credit, he is a recognized performer of Llanero folklore music.
When he was still a baby, his parents were transferred to the Eastern Llanos region of Colombia. There, Cholo passed his childhood learning the workings of the llaneros farmers. As he grew older, Cholo developed a great fondness for horses that grew with the passage of the time and still exists today.
 
His first approaches to music were at the dances or parties of the neighborhood, a common practice for the people of llaneras land. But nothing was so far from their goals as to become singers and to dedicate themselves to music, because the love of music and experiences in the tasks of the field filled their lives completely.
Nevertheless, it was a good day when Cholo made the decision to sign up for a copleros competition . He didn't know that at that moment his life would change radically. In the years ahead, he continued gaining performing skills and acquired the name of Cholo. Valderrama had begun being recognized by the llaneros singers.
Cholo's first record, which was produced in 1978, was a success because of the song Quitarresuellos no. 2. This song, to the satisfaction of the artist, is still is in the market and continues to be requested by his fans.
 
After this recording, Cholo Valderrama became one of the preferred singers of the demanding, loving fans of llanera music. In addition, his born talent as composer was covering the region between the performer and educated people of llanero folklore. They began asking for songs written by this important singer. At the same time, he perfected his musical style with advanced studies of vocal technique at Westminster Choir College of Princeton (New Jersey).
 
Cholo Valderrama has crossed the world as an ambassador of llanera music with its Creole style. On several occasions, he has visited countries like China, Hong Kong, Japan, Korea, the United States, Mexico, Guatemala, Panama, England, France, Germany, Spain, Italy and, of course, Venezuela, llanera region par excellence. Venezuela recognized the talent of this Colombian artist and awarded him the ""Florentino de Oro"" Honoris Causae.

In Columbia, a deserved tribute to Cholo was being chosen to participate in television special called ""Maestros"" that extolled and praised the works of the best exponents of Colombian folklore.

   

Casa de Cholo

 

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Documental de Aniara Rodado y Gabriel Román
en Antropología Visual

  

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Música Llanera 3

  

Anselmo López
Esta es Mi Bandola
 
Tracks:
 
01- El Gavilán Tocuyano
02- Laguna Vieja
03- El Pajarillo
04- El Rebusco
05- La Chipola
06- Del Llano Quiero Ser Dueño
07- El Cari Cari
08- Mi Guacharaca
09- Amor Que Se Fué
10- Zapateao
11- Joropos En Bandola
12- Carmen Tea
13- La Periquera
14- Manglares Del Matiyure
15- Carnaval Espellejao
16- Guayabo Negro
17- San Rafael
18- El Gaban
19- Seis Pajueliao
20- Mosaico Llanero
      a- Copas De Vino
      b- Kirpa
      c- El Gavilan

Bandola: Anselmo López

  

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Anselmo López
Born: April 21, 1934 in Chaparrito, Barinas, Venezuela
Instruments: Bandola, Cuatro, Guitar
  
Anselmo López (born April 21, 1934 in Chaparrito, Barinas, Venezuela) is one of the most important bandola llanera executants in Venezuela. Is also the creator of the Jalao (Spanish for pull) technique, which applies the technique of classic guitar to the bandola. In jalao, the thumb and index fingers hold the plectrum to pick the melody, while the middle finger is used to pluck harmonic notes in the chord of the melody on the first or second strings. With this technique, Anselmo López made this instrument popular, taking it to national and international scenes. Anselmo López is a teacher and supporter of the bandola, forming new players, as well as being one of the most representative folk musicians of Venezuela. He has recorded several albums executing the bandola.

  

“ I say to myself, in the bandola, what thumb makes on the guitar, I will do it with the plectrum, and I will pick the high notes with the a finger. That was it, I started to put the the new technique into practice: a down stroke with the plectrum and jalao with the finger nail on the up stroke, so that it makes a sound.”

    

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The origins of the "bandolas", according to some studies, seem to date back to the Persian Empire, travelling from there to the middle east, and penetrating Andalucía with the "moro" (Moorish) invasions. It was widely known as the "laud" for three centuries, and arrived in the Americas with the first conquerors. It is here that the process of transformation began, until the instrument was adapted to the actual spiritual characteristics of four regional cultures in our "Tierra de Gracia", the "Ilanero" (plains), the "oriental" (eastern), the "central" and the "guayanese", (each of these terms refers to a different geographical location in the Venezuelan territories)
- Roberto Todd

  

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Música Llanera 2

  

Conjunto Hermanos Chirinos
Festival De Joropos

 

Tracks:

 
01. Pajarillo
02. Quirpa
03. Los Merecures
04. Corrio llanero
05. La Guacharaca
06. Seis Numerao
07. Zumba que zumba
08. Carnaval
09. Nuevo Callao
10. La Catira
11. Periquera
12. Cunavichero

    

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WHAT IS JOROPO?
  
    The word Joropo encompasses a tradition which includes village fiestas, poetry, singing, music and dance in a form of popular expression which is constantly evolving. Improvised creativity flourish on existing structures and defined patterns of style. 

    Its origins date from ancient Iberian music from the XVII and XVIII Centuries, such as the multiple fandango, the folias, peteneras, jotas and Andalusian malagueñas. These roots have been flavored with the influence of eight centuries of Arabic occupation and then transformed in America by the mixing of African and indigenous elements under the burning sun of the Orinoco Basin and the infinite largeness of its horizons and savannas.
    The roots of joropo include music from sailors and troubadors who came in the galleons from Spain, taking root in South American soil and developing into a powerful and vigorous tradition. Over time joropo even became a symbol of national identity in Venezuela where it is considered the national dance, but only attained that status in eastern Colombia.

    There are three regional styles of joropo defined by instrumental and stylistic differences: eastern joropo and central joropo in Venezuela and the llanero joropo, from the plains along the Orinoco River, which is the one found in both countries and the very popular, due to its many recordings, extensive radio airplay and an abundance of festivals and competitions.

    Joropo music has become a genre for great solo virtuoso performances on the leading melodic instruments: harp or bandola (four-string lute) while the accompaniment is with the cuatro (four-string strummed small guitar) and the maracas. The double or electric bass has been incorporated into this group since the 40's. The llanero musician strums and plucks his instrument in a fierce and percussive manner and prefers lyrics which are strongly rooted in the poetic elements of his province, often in a proud nationalist gesture. The instruments offer a surprising palette of harmonic and percussive textures wrapped around the voices and the harp or bandola.

    Couplet singers improvise rhymed verses which refer to historical or daily events and even to people present at the party; the instrumentalists search for new percussive sounds and textures through constant variations, improvisation being at the heart of joropo music. The typical "canto recio” singing has a strong declamatory style and an epic character, featured by a long note called "tañío" at the beginning of most songs.

    The main forms are golpes (fast dances,) pasajes and tonadas (slow songs). Its names often refer to birds such as Gabán, Gavilán, Guacharaca, Periquera, Pajarillo, etc.
    The musical forms can be vocal or purely instrumental, but the real Joropo classic is the vocal ‘joust’, an improvised rhymed duel between two singers called “contrapunteo”.
    Born at full gallop with an incredible speed and powerful rhythmic vitality practically shouted out at the imense savannas,llanero joropo’s brisk and fiery character is therefore called the "untamed" joropo.

  

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Música Llanera

   

Claudia Calderón
El Piano Llanero
Fundación Bigott - 2001
 

Tracks:

 
01- Quirpa (Folklore) 2:55
02- Quitapesares con San Rafael (Folklore) 3:32
03- Gabán, Chipola y Pajarillo (Folklore) 10:53
04- Las Espigas (Simón Díaz) 3:07
05- Amalia (Joaquin Arias) 2:40
06- El Trapiche (Emilio Murillo) 4:22
07- Revuelta Tuyera (Folklore) 8:42
08- El Sr. Jou (Pablo Camacaro) 3:50
09- El Avispero (Alberto "Beto" Valderrama) 3:02
10- Seis por Derecho (Folklore) 4:19
11- Zumba que Zumba con Periquera (Folklore) 3:42
12- Palo Negro (Anónimo) 2:55

Musicians:

Piano: Claudia Calderón
Cuatro: Cheo Hurtado (tracks 01, 02, 03, 04, 09, 10, 11, 12)
Tiple & Cuatro: Rafael Brito (tracks 03, 05, 06, 08)
Acoustic Bass: David Peña
Maracas: Ernesto Laya
Oboe: Jaime Martínez (track 04)

  

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A New Vision of the Traditional Joropo Music 
from Venezuela and Colombia 

  

After years of research into the roots of Colombian and Venezuelan Music, pianist Claudia Calderón has produced a collection of the best pieces of traditional harp and bandola folklore from los Llanos, the great plains of the Orinoco Basin and the Valley of the Tuy River. This music, traditionally known as "Joropo", combined with other genres from the Colombian Andes, creates an exquisite piano repertoire, revealing an unexpectedly high degree of musical discourse. This repertoire of  brilliant pieces is full of delightful hints of Spanish Baroque harpsichord music, set in the most powerful rhythmic context. Claudia Calderón has carefully transcribed the original Andean and llanero pieces for her instrument and her ensemble, seeking the highest musical fidelity to achieve a perfect rendering of these fascinating sources of unique world music onstage, worldwide.

The Chamber Music combination of piano and traditional Colombian and Venezuelan instruments is a breakthrough, bringing the sounds from los Llanos, the great plains and mountains north of the Amazon Basin to a universal concert format. This show, in which Claudia Calderón and her amazing guests make us discover a variety of music, is also a strong cultural statement. By combining the familiar voices of Piano and Double Bass with the surprisingly colorful performance of the Maracas, the Venezuelan Cuatro (small four-stringed guitar) and the Colombian Tiple (metal twelve-stringed guitar), the group reveals the profound musical and cultural universe spanning from the the Eastern tip of the Venezuelan Coast to the Southernmost parts of the colossal Colombian Andes; a great geographical arc which is full of musical surprises for world audiences.

The Andean ingredient gives an appropriate stylistic complement to the fiery music of  the Llanos, introducing the fresh and relaxing sounds of the mountain guitar, the tiple, gently strumming the delicate forms of  Colombian melodies. It is the realm of Bambuco, Pasillo, Joropo and Vals; an ancient musical tradition shared by Colombia and Venezuela. Piano Llanero brings these powerful forces together, and helps us enjoy a clear and authentic show of these relatively unknown but incredibly expressive families of Latin American music.

    

   

Colombian pianist and composer Claudia Calderón based in Venezuela since 1987, was born in Palmira, Colombia. She specialized in performing music from Venezuelan and Colombian traditional sources, as well as classical, romantic and contemporary piano repertoire, often playing her own compositions. After studying in her native Cali and Bogotá, she graduated 1987 in Piano Performing under Professor David Wilde at the Musikhochschule in Hannover, Germany. She also studied composition under Professor Diether De La Motte and attended courses in Italy under pianist György Sandor, a disciple of Béla Bartók.

Claudia Calderón has been Chamber Music Faculty at the Simón Bolívar Conservatory and at the Instituto Universitario de Estudios Musicales, IUDEM, in Caracas. She has also passionately studied the Joropo music from the plains and the coasts of Venezuela and Colombia and developed musicological research in traditional llanero harp at the FUNDEF Institute in Caracas, publishing several papers on the specific subject of  Venezuelan harp music in Venezuela and France.

She has produced the first complete and exact set of transcriptions of Joropo music from different historic ethnomusicological recordings, setting a new standard in the studies of this relatively unknown genre, giving also lectures at the Historical Harp Society at the University of Amherst, Massachussetts, USA and at the Mainz Universität in Germany.

Mrs. Calderón has toured extensively in solo and chamber music formations in Colombia, Venezuela, Uruguay, England, France, Germany, South Africa, USA and Mexico. Calderón's own works include solo piano pieces, chamber and symphonic music and have been performed and recorded in Venezuela, Colombia, England and Mexico.

In 1999 she created the Fundación Editorial Arpamérica, an institution for the purpose of researching, rescuing and promoting harp and bandola music through educational publications and new compositions. She has developed an entirely new repertoire for the piano, based on the sources of the harp and mandolin music, which she has recorded in the CD "El Piano Llanero", with the traditional ccompaniment of cuatro, tiple, double bass and maracas, released in 2002 in Caracas. The Banco de la República in Bogotá, Colombia, recently published a CD with the Piano Solo Works by Colombian composer Pedro Morales Pino she recorded in 2004.

Her new CD "El Piano Llanero II" will soon be released in Caracas.(November 2007) In 2004, she was awarded an artistic residence at the G-3 program (México-Colombia-Venezuela), where she created a composition for piano and small orchestra that has not yet been premiered.
  

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"Hoy canta alegre el Llanero
cabalgando sin cesar
a la luz de los luceros
en sueños sin despertar..."

  

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