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Iiiiilimiiii La Canción Chilena En México

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Iiiiilimiiii La Canción Chilena En México iiiiiliMiiii UNIVERSIDAD DE CHILE INSTITUTO DE INVESTIGACIONES MUSICALES FACULTAD DE BELLAS ARTES VICENTE T. MENDOZA La Canción Chilena en México COLECCION DE ENSAYOS NÚMERO CUATRO wm VICENTE T. MENDOZA LA CANCION CHILENA EN MEXICO COLECCION DE ENSAYOS N.° á INSTITUTO DE INVESTIGACIONES MUSICALES PORTADA Y VIÑETA DE MAURICIO AMSTER Se puede decir, sin riesgo de exagerar ni de equivocarse, que la música popular de los diversos países conquistados por España fué netamente peninsular y mantuvo puros sus caracteres hasta finali- zar el siglo XVIII; pero parece ser cierto también, que hacia los primeros años del siglo XIX cada uno de dichos países iba madu- rando, adquiriendo personalidad propia y tiñendo con su propio matiz todos esos cantos importados de España que afluían a las costas americanas sucesivamente, desde el descubrimiento. También viene a ser fácilmente probable que el verdadero factor que influenciara a los diversos países hispanoamericanos en su música propia fué la cristalización del sentimiento español por medio de todos los ingredientes literarios y musicales que dieron nacimiento a la Tonadilla Escénica; que floreció en la Península desde mediados del siglo XVIII y dió frutos sazonados al terminar dicha centuria. Entre los elementos que dieron vida, desarrollo y plenitud a la Tonadilla Escénica, se deben mencionar la Seguidilla, las Coplas, las Tonadas, las Boleras y demás cantos del pueblo que habían ascendido a los escenarios de las principales ciudades de España. Entre estos elementos aparecen algunas derivaciones, como el «Ca- ramba» y la «Tirana», con algunos otros de existencia más remota, como el «Ay, ay, ay», y otros tipos de canto andaluz, tales como el Fandango y la Guajira. Todos estos ingredientes perfectamente mezclados y saturados con el aire de la tierra americana, tuvieron que aflorar en medio de las luchas por la libertad, y así cada país, al lograr su propia personalidad, estaba produciendo los primeros tipos de canto regional y elaboraba, de hecho, su propia música. Por lo antes dicho es justificado hablar de música chilena en México, pues aunque, en principio, como quedó asentado ya, nues- tra música fué de ascendencia hispánica, ya hacia la segunda déca- da del siglo XIX se distinguía fácilmente la fisonomía de cada uno de los países hispanoamericanos. Durante el gobierno colonial las comunicaciones entre Chile y México fueron frecuentes y continuadas, especialmente entre los puertos de Valparaíso y Acapulco. Y son bien reconocidas las cuali- dades de marinos que tienen los chilenos, especialmente los de la ni La Sanmarqireñd * Chilena de là provincia ¿e Guerrero Recopilo Daniel Bal tazar |N H è - ill ü Üj ft,iente pir-SoSa »ìma r no be fir.p»jM>aMy 'u f T f ^¡d 4 r— « ^Usü lü 3i' JLä per. ddìì -ciónd-ciónde lolott iiont-irst Jan . mir- qusTEa r de -mi f ^ «f ujJi* jXJ'i"^' w se IS] f LL *=f=[ £ -5-.- F 3 * p.. -¡r M f f~ gU » Äfrf" ^ ^ rTH i . tt -tJJ JJ^ ifpf-f^' lY^rfZn H Hf f— f F W r-uj fcy.1. M e ;4=;— - * «—-t~n TI*—ff" L • •"' f JJ— —s . , ? t i I # .35 J.t i i —t—r r —i—s r-|- JJI > ti «» 1—i ff i r-»- A 1_JI_E 1?—I — it.---:K J ^¿j 4- i 1 1 Tj J jw J- )>• i Ey a r f- >-• 3 T io ' TfTTfl rrn CVtfirí» a "f f—"Pf L i 4 i L f 3 3 lü 3 i3 j 3 J iL H llV f )i- r r H*— IT ** [61 - lEV 1—t t=i «e "f— i » » il f f-1 :3 FF—r'f~*, f ? f "f ^ *f U^ OpU íüzU i ? i i n y FT" triTÏ JJ" »HW F *** L¿J Ü® —i—..—i— [7 8 VICENTE T. MENDOZA Quién te puso Sanmarqueña no te supo poner nombre; vale más te hubiera puesto la perdición de los hombres. Sanmarqueña de mi vida, Sanmarqueña de mi amor. Palomas que andan volando le dirán a mi cielito que no me ande atormentando, que mi ausencia no es delito. Sanmarqueña de mi vida, Sanmarqueña de mi amor. Entre el irme y el quedarme, estoy por no despedirme, quiero irme y quiero quedarme; pero ni quedarme ni irme. Sanmarqueña de mi vida, Sanmarqueña de mi amor. Me despido, porque al cabo a la larga he de perder, a mi corazón le pago porque no me dé a saber. Sanmarqueña de mi vida, Sanmarqueña de mi amor. ANDA NIÑA ARCHIVO DE LA SECCIÓN DE MÚSICA DEL INSTITUTO NA- CIONAL DE LAS BELLAS ARTES. RECOLECTÓ: DAÍÍIIX BALTAZAR, EN S. MARCOS, GUERRERO, EN 1932. La gallina se agacha y el gallo sube, la agarra del copete y la sacude. ¡Qué risa me da! La agarra del copete y la sacude. 1Eso sí es verdad! Anda niña, no desmayes, ven a estrechar al que te ama, abre la puerta de la calle, por tu hermosura, negra del alma. "Jinda, niña * ^liiUna de la provincia de Guerrero Recopiló Daniel Baltasar *ta m r mm m f /i.Rw. .mtey 1 —-JZ- iii"íi\ -i——J— r 7 1 J> , fl-, TJ* -7r , VT JH'f Y f 7 t i"1 y u rn j —1J 9i J•— -: Ld gd-ili- na iejt . ¿a - cKd jjd ¿á - lio : . f [ —i-fí¿ M ff U —u 8 L. — Ii U wí é ^ 11 "írií " í jir.ie' .»v. ktTTTT*'. id i ja . rea del co- mm ** . — m pu ¡w ttR t m ¿.j^JjU pe - tt y ia ¿a -cu-dc.da€ri-s¿me I»! n, m < ^ g^ide " LliiJcna de la jirovincld de Guerrero Recopiló Daniel Baitazai* Xiitrodu-ccíóu »iui * * i ta . £ . , , f rm m rm rn rm rn ífi m JÜ pa sai* por Lia no Grande Míe coi* - té un ii - mó>i vej». ¿Lio - So rs-crerdo áe i05 a. ira. zas que me dio mi eit-loker mo-so . Al pasar por Llano Grande me corté un limón verdioso recuerdo de los abrazos que me dió mi cielo hermoso. [io| Este, corazón que tengo ilfiíia de la provincia 3« Guerrero Recopiló Daniai Baitazar es dcu-iid Wdjiutte - qiri. ta cjv« vi veaoj*il!as¿cl n . o. Este corazón que tengo lo tengo, pero no es mío, es de una lmepuetequita que vive a orillas del río. Lara, la la lá laralai, lara, lala, lara, lalai. Seguiremos con las Chilenas del Estado de Oaxaca por ser la región que ocupa el segundo lugar en abundancia de este género. Chile na de San Jvdti Teposcolula Oaxaca. Canto Deüino Soiis, Recolecto üifonsodei Río. T u "nwfi Yo ^uUierájiL pu.ák.ra, po-mr jmetiteia Id mar mar^pa-rd 3 IT]B J J KJ- füHJjíjg ^ue la vi-dó mi-a ¿e-ja . ra de iid.y«. Yo quisiera, si pudiera, poner puentes a la mar, para que la vida mía dejara de navegar. Debajo del árbol canta el pájaro cuando llueve, suspira por la garganta porque el corazón le duele. (»1 12 VICENTE T. MENDOZA Por esta calle derecha anda mi amor que retoza por una morena hermosa que el alma me trae deshecha. En la medianía del mar anda revoliando un lirio, como no sabes de amores, no sabes lo que es martirio. Tanto cantar y cantar, se me cerró la garganta, será porque, no me dan de esa agüita que ataranta. Antenoche a media noche me salí con un teniente y perdí yo en el desmoche mi botella de aguardiente. Voy a dar la despedida como dio San Pedro en Roma, entre tantos gavilanes iquién te llevará, paloma? Cliilena de Putia Qaxdca Comunicddd por ei Str. Ffdncisco Cruz. imüp c mi m llp So -Lf€ las o - idS del iiui>. Ydu y vic-nen las e.i. jUJ J> P I i J |4J-4lU jiir.>ttdícoHe.ll¿ttüurxdVHeoiJUi* jie-ro to düiemtei.fif.ina su Sobre las olas del mar van y vienen las espumas, con ellas te haría un collar, pero todas se me esfuman. Sobre la playa arenosa brillan conchitas moradas, con ellas te haré una rosa; pero 110 están aromadas. LA CANCIÓN CHILENA ES MÉXICO 13 En el Estado de Michoacán la canción Chilena se ha adentrado de la costa hasta la sierra, sin perder su nombre ni sus caracteres y aun el texto literario persevera, como puede verse por el ejempla siguiente, emparentado con el de Guerrero: «Anda Niña». «El Galio». Chilena <U Tiiióvlndin, .Mlclioacan JUcoiectó jflf0«30 cki Río G.ui«i»tir-vie-i*a la cli.día yue tie-»e «1 $a-llo JsU ra ca-mo i i ti i J J tt le ha. ce. al pl-sar la g* - 11 i - »aa le i J ' J yiuj DC. mon-ta co. moa ca • lid -üo&- ra co-wi^^o leí,a -ce Quién tuviera la dicha que tiene el gallo ¡Mira cómo le hace! (bis) al pisar la gallina le monta como a caballo. ¡Mira cómo le hace! (bis) la gallina se agacha y el gallo sube. ¡Mira cómo le hace! (bis) La pesca de la cresta y la sacude. ¡Mira cómo le hace! (bis) Debajo de la cama de tío Ventura. ¡Mira cómo le hace! (bis) estaba una gallina temblando de calentura. ¡Mira cómo le hace! (bis). Y por último, en el Estado de Sinaloa encontramos este ejem- plo que viene a ser el mismo de Michoacán y Guerrero, quizá trans- portado por mar de Acapulco a Mazatlán y de este puerto a la ca- pital del Estado. La difusión se comprueba observando el texto que aparece en forma de seguidilla y el asunto que trata que viene a ser el mismo.
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  • Choolo Mu Ic
    choolo Mu ic rk.J?1C If L Df> I~Lf~"2..- 1£'-i ~3 C-I n: C i)~ - I r; Lf ~ ~ - / ~ 't !r £" ". :. Presents a Faculty Debut Recital: MICHAEL PARTINGTON, GUITAR October 7, 2007 7:30 PM Brechemin Auditorium PROGRAM C}:) if / r;, '1~ '7 ROSSINIANE Nr. 3, Op. 121 ... ..I.':!.!. .X ..... MAURO GIULIANI (178 I - I 829) l. ,'-e f~l(", 1<-.> i 3- VARiATIONS ON A FINNISH FOLKSONG ... f .$}B RYAN JOHANSON (b. 1952) GB ' eVIl'''' r" ) GJIAS CUATRO ESTACIONES PORTENAS.....: ... ~STOR PIAZZOLLA (1921- I 992) Otono Porteno 13, O'CJ (an. Assad) Invierno Porteiio Verano Portena INTERMISSION C.f'l-IF I f, I '1 S' S-­ W remel,'1<-5 ' mEQUlNOX .......................................':j. 1. ..... TORU TAKEMITSU (1930-1996) ~ r-e HI( I f:.-5 ~ _ ' [i} SONATA* ........... ..............................!.? :.;?.'l. ........... STEPHEN Goss (b. ) 964) *written for Michael Partington ® TRES PIEZAS ESPANOLAS ............J ',. ~ . .. ..JOAQUiN RODRIGO (1901-1999) Fandango Passacaglia Zapateado I (Q ~lc-r~ I - \Lcq /H-e/.11 OV1 'T/-t<..Dcq Ti1 .:.,F-HI;; C;et. ..·l1'{ {,..c)/"£e.. , l' Ne II (TCW, 'If-V. Vci \.-Iel ~ t,:;,>el/ l] e..VIL.cre. L - ... Sun~)e. Cc<-p.-ILc.!'i'vtc!.'_ -- p.ul t (Y1tl PI.jt:tl':> MAURO G IU LI ANI is recognized as one of the most important figures in certainly acutely aware of how to exploit the unique advantages of its the history of the guitar. The preeminent vi rtuoso of his time, his per­ textural and ti mbral possibilities. In Equinox lush sonorities and often formances won him great acclaim throughout Europe.
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