Down in the Valley...

Huaynos y Danzas
Religious and secular music 

of the Callejón de Huaylas, Peru

1999

Tracks:

01. Shaqshas - Group of Men from Carhuaz - 4:38
02. Huanquillas - Group of Men from Huauya - 2:51
03. Antihuanquillas - Processional Band From Carhuaz - 2:18
04. Ñustas - Processional Band From Carhuaz - 4:10
05. Caballeros De Huari - Processional Band From Carhuaz - 2:25
06. Negritos (Little Negroes) - Negritos - 3:43
07. Atahuallpas - Hijos Del Sol - 2:50
08. Cajas and Huanquillas - Processional Band From Caraz - 3:24
09. Cajas and Roncadoras - Processional Band From Huaylas - 2:47
10. El Condor Pasa - Banda Musical Estrella Andina - 4:09 ♥
11. Rio Santa - Lorenzo Piscoche & Victor Mejia - 1:53
12. A Los Filos De Un Cuchillo (To the Edges of a Knife) - Eloy Cano - 2:56
13. Tomando Cerveza (Drinking Beer) - Pastor Aguilar & Remigio Rojas - 2:37
14. En El Cielo Las Estrellas (Stars Are in Heaven) - Feliciano Oliveira, Lucio León & Alberto Oliveira - 2:42
15. Huaraz Cuculi (Dove from Huaraz) - Los Aventureros de Tumpa - 2:36
16. Hay Noches (There Are Nights) - Juventud de Yungay - 2:23
17. Hoy Estoy Aqui (Today I Am Here) - Banda Orquesta Hijos de Shupluy - 2:20
18. Ayer Te Vi (I Saw You Yesterday) - Los Hermanos del Ande - 2:51
19. Contamenina - Pedro Espinoza - 3:14
20. Yungay - Los Jilgueros de Matacoto - 2:51
21. La Resbalosa (The Slippery One) / Pichichanka Maliciosa (Naughty Sparrow) - Juventud de Yungay - 4:36
22. Muchachita No Seas Celosa (Little Girl, Don't Be Jealous) - Pedro Espinoza - 3:20
23. Kiswar Punta [On Top of Kiswar Hill) - Pedro Espinoza & Lorenzo Piscoche - 2:24

The recordings were made in 1980-1981, during an 18 month stay in the valley by Elisabeth den Otter.

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  The Callejón de Huaylas is a 150 km. long valley in the Department of Ancash, in the north-central Peruvian highlands, 400 km. north of Lima. It is bordered by two mountain ranges, the Cordillera Negra (Black Range) to the West and the Cordillera Blanca (White Range) to the East. As the name indicates, there is no snow on the peaks of the Black Range; the glaciers of the White Range, like the Huascarán, reach over 6,000 meters above sea level. In 1970, an earthquake loosened a piece of this glacier, causing a mud avalanche which destroyed a number of villages. The Santa river runs all along the valley, into the Pacific Ocean near Chimbote.

The population of the Callejón consists of Quechua-speaking indians, mostly peasants who live in the mountain villages, and Spanish-speaking Mestizos (people of mixed indian and Spanish origin) who live in the small towns along the Santa river. The Mestizos dominate the indians, economically and politically, but changes in the life of the indians are brought about by (temporal) migration, education, military service and tourism.

The beauty of the valley, the horror of the earthquake, and the difficult everyday life of the inhabitants are the subjects of many songs.

Secular music & Religious music

 
Secular forms of music and dance in the Callejón de Huaylas are the huayno, the marinera and the waltz.

Religious music is played mostly during processions, at the occasion of patron saint festivals, Holy Week and Corpus Christi. Flute and drum ensembles and brass bands play special music, and traditional dance groups are accompanied by flutes and drums, harps and violins, or brass band instruments such as clarinets. During patron saint festivals, secular music - mostly huaynos - is played in the homes of the sponsors or in small bars...

 

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The population of the Callejón de Huaylas is primarily Quechua and Spanish-speaking Andeans, most of them small-scale and subsistence-farmers living in mountain villages, mixed with Spanish-speaking Mestizos in the small towns and cities along the Santa river. The richer Mestizos dominate politically and economically, but migration, education and tourism have brought changes in the population in recent decades.

Most Quechua families adhere to traditional forms of food, music, and dress, yet still have cell phones and typically raise Guinea Pigs and other farm animals in their farms. Although men have typically adopted modern pants, collared shirts and sweaters, Quechua women continue to wear llikllas and layered colored skirts called polleras in Spanish. Both men and women wear llanq'is, rudimentary sandals in the traditional style, although they are now made from recycled rubber from car tires. One can buy them in any size from the various markets in the region, for around 5 soles a pair.

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Entre Amigos...

  

The Venezuelan Waltz
Between Friends - Entre Amigos
El Vals Venezolano

2003

Tracks:

  
01. Sol Llanero - Aquel - 3:57
02. Sol Llanero - A Bo So - 3:04
03. Pasacalle - Viajera Del Río - 3:29
04. Pasacalle - La Mañana - 4:06
05. Rúben Dario Sulbarán - Asi Eres Tu - 3:58
06. Rúben Dario Sulbarán - Nuestra Distancia - 2:58
07. Cuerdas Criollas - Teotyste - 2:41
08. Cuerdas Criollas - Noris - 2:47
09. Orquesta Tipica Municipal De Barquisimeto - ¡ah Mundo Barquisimeto! - 3:25
10. Orquesta Tipica Municipal De Barquisimeto - Pasillaneando - 2:31
11. Caida Libre - Natalia - 3:53
12. Juan Carlos Nuñez - No Me Olvides - 3:17
13. Caracas Sincrónica - Venezuela Y Colombia - 4:18
14. Cuerdas Criollas - Cachicameando - 1:35
15. Cuerdas Criollas - Ecos - 1:44
16. Orquesta Tipica Municipal De Barquisimeto - Arreboles - 2:31
17. Orquesta Tipica Municipal De Barquisimeto - Barquisimeto - 2:28
18. Pablo Fréitez - San Trifón - 5:19
19. Pablo Fréitez - No Hay Un Solo Tiempo - 2:59
20. Pasacalle - Hola Bonita - 3:53
21. Cántaro - Venezuela Emprende El Vuelo - 2:37
22. Sol Llanero - Entre Amigos - 3:09

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 Entre Amigos

 On this record, ten different musical ensembles - ranging from symphony orchestra, to harp music, piano and string ensemble - offer sublime interpretations of Venezuelan waltzes. Without the friendship of these many musicians and composers, and of collaborators of Fundación Interchange and PAN-Records, this record couldn't have been produced. This may help to explain the choice of title for this unique CD.

The waltz was part of the romantic revolution in the realm of the ancient regime, first of the sentiments, later of politics, and with the 19th century it became the dance of modernity. The waltz signified a liberation from the feudal shackles of the old order, a victory of bourgeois culture; its rhythm a source of energy and spiritual regeneration. Because of its humble origins, its sensual movements, and the hypnotic trance it seemed to trigger, in conservative corners the waltz was long considered an enemy of true morals and virtue. But the waltz inevitably gained sophistication as an acceptable form of social intercourse.

During the 19th century, the waltz not only swept the Old World but also travelled along paths established by colonial relations around the world. Derived from European models, the waltz or valse swiftly crossed oceans and mountains, implanting itself in the most variegated musical landscapes and cultural niches. Simón Bolivar himself may have been one of the first to introduce this dance to Latin America.

The Venezuelan vals may well be the most sophisticated genre in Venezuelan musical culture. The vals became 'creolized' in both melody and meter, adopting elements from native - criollo, Afrovenezuelan, or even indigenous - musical traditions, and sometimes it is nearly impossible to distinguish the vals from other popular dance forms.

The dynamics of the history of the waltz in Venezuela was and still is motivated by the choices of musicians and by the ongoing dialectics between localism and cosmopolitanism.

***

 Dutch ethnomusicologist Bartolomeus Duysens, of Fundación Interchange, has done a tremendous job of tracking down contemporary groups playing the form in a wide range of styles, from harp-driven joropos and violin-drenched symphonies to minimalist guitar and piano pieces. The result is a collection of romantic songs that swing on tropical hips and are steeped in the sweet melancholy of the bolero.

    The disc also highlights the incredible talent of Venezuelan musicians who are rarely heard outside the country. With detailed liner notes that trace the history of the music and introduce each of the performers, this is a treat for anyone who loves the sound of strings."

    Russell Maddicks, Songlines, May/June 2003

source

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The Venezuelan waltz is a hall dance and accompanying musical genre that was popularized in 19th-century Venezuela.

The two main types of waltz were the hall waltz and the popular waltz. The former was typically performed on piano. Key musicians in this genre were Federico Vollmer, Manuel Azpúrua, Manuel Guadalajara, Rafael Isaza, Heraclio Fernández, Rogelio Caraballo, Ramon Delgado Palacios, and Antonio Lauro.

The popular waltz was performed on traditional regional instruments, often the violin and the bandola accompanied by guitar, triple and cuatro. Most popular waltzes had anonymous composers.

wiki

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Flor Del Campo...

 

Alirio Díaz
Valses Del Pueblo Venezolano
1980

Tracks:

Side A

01- El Bejuquero (Anónimo)
02- El Ausente (Anónimo)
03- Flor Del Campo (Anónimo)
04- Siempre Invicto (Sebastian Díaz Peña)
05- Quejas (Paz Abreu)
06- El Diablo Suelto (Heraclio Hernández)
07- Las Bellas Noches De Maiquetia (Pedro A. Aponte)
08- Venezuela y Colombia (Pedro Oropeza)

Side B

01- El Gallo (Pedro Manuel Torres)
02- Aires de Mochima (Romón Calzadilla)
03- Pasillaneando (José La Riva)
04- Visión Porteña (Pedro Pablo Caldera)
05- Juliana (Lionel Belasco)
06- Conticinio (Laudeliano Mejias)
07- Sombra En Los Medanos (Rafael Sánchez López)

Guitar: Alirio Díaz
  
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Alirio Díaz (Guitar)

Born: November 12, 1923 - Caserio La Candelaria, Venezuela

The Venezuelan guitarist, Alirio Díaz, the eighth of eleven children, was born in Caserio La Candelaria, a small village near Carora in western Venezuela. From childhood he showed a great interest in music. He was taught to play the guitar by one of his uncles and from the age of ten he was capable of playing popular tunes with other amateur musicians. At the age of 15 he followed the famous cecilio Zubilaga to Trujillo, in the Venezuelan Andes, where he studied solfeggio and harmony. At age 16 he ran away from home to Carora, where he sought better schooling. He later went to Trujillo, and studied saxophone and clarinet under Laudelino Mejías while working as a typesetter in a newspaper. He also studied English and typewriting before going to Caracas in 1945 to study the guitar at the Escuela Superior de Musica José Ángel Lamas under Raul Borges.

In 1950 the Venezuelan Government awarded Alirio Díaz a scholarship to continue his guitar studies at the Conservatorio in Madrid, under Regino Sainz de la Maza. That same year he performed his first guitar concert in Europe. In 1951 he went to Siena (Italy), seeking to study with Andrés Segovia at the Accademy Chigiana. There he impressed Segovia greatly with his flawless technique and extensive repertoire. Three years later, he progressed to become the assistant and substitute to Segovia (until 1964), and started performing in some of the most prestigious concert halls of Europe.

From 1964, his brillant concertistic carrier begins in those years. With the Andrés Segovia's teachings, with the contacts with other important author, as Heitor Villa-Lobos, Lauro and others, with his virtuousity combined to a strong artistic sensibility, Alirio Diaz becomes one of the most famous guitar perfomers in the 20th century. He has concerts in many european nations, in Japan, in the USA, in Australia and he becomes citizen of the world.

In 1961, Spanish composer Joaquín Rodrigo's piece Invocación y Danza, dedicated to Alirio Díaz, won the First Prize at the Coupe International de Guitare, awarded by the Office de Radiodiffusion-Télévision Française (ORTF). In turn, Díaz obliged and the next year performed this very difficult solo piece. Due to its many complexities, this particular work is very seldom performed. This was the first of many compositions subsequently dedicated to Alirio Díaz.

Tireless divulger oflatin-american musical patrimony (Barrios, Lauro, Mangorè, Sojo, Cordero, Carreño and others), Alirio Díaz checks and several musics by Baroque authors as Scarlatti, Corbetta and V. Galilei, harmonizes popular South-American and napoletan songs giving them a new instrumental and interpretative dress and he records about thirty disks.

Alirio Díaz currently teaches in Rome and performs in concert with his son Senio. During the European winter, he usually returns to Venezuela to his native town, La Candelaria. Guest of honour in the greatest guitaristic shows, he partecipates in the Concorso Internazionale di Chitarra Classica di Alessandria since its first edition in 1968, conferring to it prestige and a big emphasis in the giutaristic world's panorama. For his artistic merits and for his human qualities he receives the freedom of Alessandria, great international recognitions and public assignments as cultural counseller at Foreign Office of Venezuela. For several years, a guitar contest named Concurso Internacional de Guitarra Alirio Díaz has been held in his honour in Caracas and other cities in Venezuela (the April 2006 contest was held in Carora), where he often makes appearances.

wiki

  
Venezuelan Waltz

Among the hall dances that arrived to Venezuela during the 19th century, waltz has been one of the most populars. Waltz consists of a musical expression derived from an Austrian popular dance, the ländler. Although an exact date cannot be defined about the arrival of the waltz to Venezuela, can be assured that for half-full of the 20th century it became present in the Venezuelan musical writing, registering scores in the New method for guitar and harp,
According to Luis Felipe Ramón y Rivera two currents in waltz exist, the hall and the popular waltz. At the hall waltz the favorite instrument for its execution is the piano. They emphasize names of Manuel Azpúrua, Manuel Guadalajara, Rafael Isaza, Rogelio Caraballo and Ramon Delgado Palacios at the beginning of this genre in Venezuela, that were dedicated to the composition of two parts waltzes. From this, composer Antonio Lauro, took an important waltz Literature for the saxophone.
The waltz of oral tradition (popular waltz) uses for its execution the own traditional instruments of each region, being cultivated fundamentally at the Andes and the center west of Venezuela. At the andean region, the violin and the bandola are the solo instruments, accompanied by guitar, triple and cuatro. Also in Lara is executed with: violin, mandolin, cuatro and guitar.
The musical structure characteristic of popular waltzes is of three parts. Even though some popular musicians have composed songs with their name, the majority has left their compositions in the anonymity. In the popular tradition we can find the waltz in many dances and folklorical manifestations, like in the joropo and Tamunangue.

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