Everything about Cantata Santa Mar A De Iquique totally explained
Santa María de Iquique or
Cantata 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.
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've 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recitative chant has been replaced by spoken narration.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.”
History
The Cantata
Santa Maria de Iquique represented
Quilapayun at the
Segundo Festival de la Nueva Canción Chilena (
NCCh) (Second Festival of the New Chilean Song).
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” 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.
Despite this the work was the highlight of the NCCh and a masterpiece of the
Nueva Canción in
Latin America and many
musicologists and musicians consider it one of the most important recorded musical composition in Latin American music history.
This great appreciation for the work didn’t appear to be shared by some members of
Quilapayun who saw in the existing work considerable room for improvement. In
1978, they assigned the Belgian/argentine writer
Julio Cortázar 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,
Luis Advis, who upon hearing of the recording expressed great dismay and publicly attacked the artistic integrity of both Quilapayun and Julio Cortázar.
Song listing
- ”Pregón” / Announcement (Solo vocal: Eduardo Carrasco) – 2:11
- ”Preludio instrumental” / Instrumental Prelude – 5:45
- ”Relato I” / Narrative I (Narration: Héctor Devauchelle) – 2:11
- ”Canción I” / Choral Song I (“El sol en desierto grande…” / The sun in the great desert) – 2:21
- ”Interludio instrumental I” / Instrumental Interlude I – 1:33
- ”Relato II” / Narrative II (Narration: Héctor Devauchelle) – 1:21
- ”Canción II” / Solo Song II [“Vamosmujer…” / We must leave woman…] (Solo vocal: Rodolfo Parada) – 2:08
- ”Interludio instrumental II” / Instrumental Interlude II – 1:44
- ”Relato III” / Narrative III (Narration: Héctor Devauchelle) – 1:35
- ”Interludio cantado” /Sung interlude [“Sehan unido con nosotros…” / They’ve joined with us] (solo vocals: Carlos Quezada) – 2:05
- ”Relato IV” / Narrative IV (Narration: Héctor Duvauchelle) – 1:00
- ”Canción III” / Song III [“Soyobrero pampino…” / I'm a pampean worker…] (solo vocals: Willy Oddó) – 1:44
- ”Interludio instrumental III” / Instrumental Interlude III – 1:55
- ”Relato V” / Narrative V (Narration: Héctor Devauchelle) – 2:14
- ”Canción letanía” / Supplicatory song (“Murieron tres mil seisientos…” / Three thousand six hundred died…) - 1:33
- ”Canción IV” / Song IV [“Alos hombres de la Pampa…” / To the men of the Pampa...] (Solo vocals: Eduardo Carrasco) – 2:55
- ”Pregón II” / Announcement II (Solo Vocals: Hernán Gómez) – 0:32
- ”Canción final” / Final Song (“Ustedes que ya escucharon…” / You, who have now heard…) (Solo vocals: Patricio Castillo) – 2:50
Personnel
Eduardo Carrasco
Rodolfo Parada
Willy Oddó
Carlos Quezada
Patricio Castillo
Hernán Gomez
Additional Personnel
Héctor Duvauchelle (Narrator)
Eduardo Seinkiewicz (Violoncello)
Luis Bignon (Double bass)
References and other sources
Lasko, Susan. Songs of Struggle, Songs of Hope: The Chilean New Song. Senior Essay (USA, 1977)
Further Information
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