DOCSLIB.ORG

Inti-Illimani 50Th Anniversary and Nano Stern Inti-Illimani

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Inti-Illimani 50Th Anniversary and Nano Stern Inti-Illimani Inti-Illimani 50th Anniversary and Nano Stern Friday, October 27, 2017 at 8:00pm This is the 764th concert in Koerner Hall Inti-Illimani Jorge Coulón, guitar, tiple, rondador, zampona, hammered dulcimer, harp & vocals Marcelo Coulón, guitar, quena, piccolo, flute, bass & vocals Daniel Cantillana, violin, zampona, viola, mandolin & vocals Efren Viera, congas, bongo, cajón, timbales, Latin percussion, clarinet, saxophone & vocals Manuel Meriño, Musical Director, guitar, tiple, bass & vocals Christian González, flutes, piccolo, quena, sikus, cajón, bass & vocals Juan Flores, bass, cajón, cuatro, charango, quena, guitar, mandolin, sikus & vocals César Jara, guitar, tiple, bass, charango & vocals Camilo Lema, bass Nano Stern, guitars, violin, flutes & voice Patricio Rojas, bass & vocals Cristian Carvacho, drums, percussion, charango & vocals Inti-Illimani Inti-Illimani has transcended the idea of the musical ensemble and has become a cultural location, a liturgy expressing the essence of the Latin American ethno-musical experience. Founded by Jorge Coulón in 1967, Inti-Illimani has performed worldwide to hundreds of thousands of fans for 50 years, collaborated with folk legends, earned awards and honours for their activism and masterful musicianship, and produced one of the richest discographies in Latin American recording history. The group’s first album, Nueva Canción (New Song), spoke to their role in dreaming a new vision for Chile during the volatile socio-political landscape of South America during the 1960s and 70s. They have endured political exile, embodied creative leadership through decades of transition and evolution, and enjoyed an invaluable, truly majestic career. Inti-Illimani’s poetry – a sound that captures memories of persecution, love, loss, revolution, social justice, and freedom – has captivated artists with whom they have performed, including Peter Gabriel, Bruce Springsteen, Sting, Mercedes Sosa, Patricio Manns, Youssou N’Dour, John Williams, Joan Baez, and Paco Peña. Renowned for their humanity and arts activism, they have appeared on Amnesty International stages and lectured extensively on Latin American folk and indigenous music, culture, and social change. Most recently, they founded an arts-centric charter school, Sol del Illimani, which the group saved from closing in one of Santiago’s most vulnerable neighbourhoods. Inti-Illimani has toured in dozens of countries at prestigious concert halls, festivals, and benefit concerts. They have recorded 36 studio albums and their newest release is dedicated to the legendary Violeta Parra. Inti-Illimani means “sun of the mountain,” taken from the indigenous Aymara dialect. Nano Stern Poet, singer-songwriter, and social activist, Chilean Nano Stern, is widely recognized as the voice of his generation – outspoken and passionate, topping charts, and leading marches for freedom and equality across South America. Stern’s style is an indie-folk-rock-jazz fusion, deeply rooted in traditional Chilean music and inspired by legends Violeta Parra, Victor Jara, and Inti-Illimani, combined with a host of influences absorbed from his travels around the world, as well as his early classical training and love for rock. He is an accomplished musician, playing a range of instruments from Spanish and electric guitars, violin, and piano to Andean and Nordic flutes. Not to be underrated is the power and emotion that emanates from his vocal prowess, and his intimate and rousing connection to his audiences. Highly acclaimed as a recording artist, Stern released his fifth studio album, Mil 500 Vueltas, in 2015, featuring guests Jorge Drexler and Joan Baez. The CD immediately became No. 1 on iTunes Chile and was certified Gold. “As he [Stern] and Ms. Baez sang it [Gracias a la Vida], their performance generated the kind of lightning you might have experienced at a joyful ‘60s hootenanny when everything seemed possible and hope was in the air. For a moment, the hush of depression lifted, the generational sense of defeat abated, and the concert came thrillingly alive.” (Stephen Holden, The New York Times) All artists are making their Royal Conservatory debuts tonight. .
Load more

Recommended publications
  • Nano-Stern-The-Story-Biography
    The Story Nano Stern’s path as an artist follows richly crafted song lines laid by his family and his Chilean musical ancestry, and unites those with a sound utterly fresh and relevant. The confluence of recent student and environmental political events in his home country Chile and Nano’s rise as an articulate writer and performer have, much to his chagrin, positioned him as the voice of a newly politicized Chilean generation. The grandson of Jewish refugees fleeing persecution, Nano’s childhood was painted vivid by not only his own family’s musicianship but by the powerful legacy of the Nueva Canción movement lead by Chilean musical activists during Pinochet’s dictatorship a generation before. Legends like Inti‐Illimani and Victor Jara‐ who suffered exile and even death during these troubling times‐ continue to inspire Nano’s breadth of sound and emotion. “I am extremely respectful of the tradition,” explains Stern, “It is an enormous gift we received from the people of the past.” When only fifteen, Nano joined popular Chilean underground band, Mattoral, and thus was initiated into the fresh, new sounds and socio‐political pulse of the South American rock/punk scene. The thick rock‐energy of Mattoral, his classical and jazz training, and the powerful influence of traditional, Chilean revolutionary music make for something purely Nano. What has emerged is a powerhouse artist, brilliantly layering indigenous, African, and European elements into a sound all his own, and humbly bringing audiences to tears, to their feet, and to reverie with a singular kind of emotion and soulfulness unlike any other South American artist performing today.
    [Show full text]
  • MAS VALE TROCAR Songs of the Spanish Renaissance
    MAS VALE TROCAR Songs of the Spanish Renaissance Nano Stern - Voice, Nyckelharpa Gina Allende - Viola da Gamba Florencia Bardavid - Voice, Viola da Gamba Cristian Carvacho - Percussion Click and watch performances of “Mas Vale Trocar” and “Danza Alta”. MAS VALE TROCAR PROGRAM NOTES Spain’s need to find its own voice in the world after the end of its South American empire, led to the discovery of forgotten sources and voices that had for centuries lay forgotten in the libraries of Europe. In 1870 at the Royal Library in Madrid, a historian found and described what would later become the most notorious Spanish musical manuscript from the XVI century: the “Cancionero Musical de Palacio” (Palace musical songbook). This is no minor manuscript; it consists of some 450 pieces (mostly in Spanish but also in other peninsular languages such as Catalan, Basque, and Portuguese) some of which are anonymous and some of which are written by the most revered musicians of those triunfal days of Spanish culture such as Juan del Encina and Pedro de Escobar. The first impression, when facing a songbook from the XV and XVI centuries is that they are a window into the music and soundscapes of the past. But nothing could be further from the truth. In all reality, what we often find are poems with scarcely annotated melodies, and all the esthetic and interpretative tradition that surrounds them has been lost in time. How would this music, which constantly draws from popular and courtly languages, have been performed in 1520? Attempts at answering these question have been made from many different angles: either by applying the interpretative styles of the Italian renaissance, or by incorporating certain colors and tendencies still present in Spanish and Mediterranean folk music.
    [Show full text]
  • Marta Töpferová, Alejandro Soto Lacoste, Gabo Naas LATIN TRIO Promo ENG 2021 New Ph, No
    Marta Topferova Latin trio Original & Latin American songs Marta Topferova (vocals, cuatro, percussion) Alejandro Soto Lacoste (guitar, 12-string guitar, accordion, piano, vocals) Gabo Naas (guitar, mandolin, bass, clarinet, vocals) Singer/songwriter Marta Topferova’s Latin trio is dedicated to the rich tradition of Latin American songs. Their repertoire consists of rhythms and styles such as the Chilean cueca, Argentinean chacarera and zamba, Venezuelan vals and joropo, Andean huayno as well as original songs by all three musicians. Marta's uniquely deep voice with her own accompaniment on the Venezuelan cuatro and percussion along with Alejandro Soto Lacoste’s and Gabo Naas’ soulful playing is a combination that brings listeners into a spirited musical landscape. Marta Topferova is one of the most unique singers and songwriters of her generation. She has been heavily influenced by Czech and Slavic musical traditions, as well as Latin American folk music. As a steady creative force on the New York music scene for sixteen years, Marta collaborated with some of the best musicians from the Latin, jazz and world-music circles, and this experience has forged a dynamic mix of styles in her work. Marta recently returned to her homeland, the Czech Republic, in order to launch an ensemble of Czech and Slavic music - Milokraj - meaning "beloved land". Marta has released nine albums of primarily original songs and toured the U.S., Europe, Argentina and Thailand. Chilean songwriter and multi-instrumentalist Alejandro Soto Lacoste is a leading musician of the Chilean music scene. He studied piano, guitar, accordion and singing. He also studied counterpoint, harmony and composition with Chilean professor Fernando Carrasco, and later assisted him with projects with the Philharmonic Orchestra.
    [Show full text]
  • Inti-Illimani and Nano Stern: Bringing the House Down
    WEDNESDAY, NOVEMBER 11, 2017 By Raul da Gama Inti-Illimani and Nano Stern: Bringing the House Down … The prodigiously talented Nano Stern represents a new generation of Chilean musicians who is making an enormous contribution to Chilean music, by adding to the library of music and broadening its musical language with his references to other musical idioms and also by introducing extensive improvisational techniques and memorable soli on guitar, violin and piano (on which he was not, however, heard that night). But Mr Stern and his trio – including masterful drummer and charango player Cristian Carvacho and also a terrific bassist, Patricio Rojas – made for an explosive opening set that went on for almost an hour. Nano Stern also prepared the audience for what was to come, by reminding Canadians that while we have made great strides in the area of welcoming immigrants from war-torn regions of the world and in mending our ways when it comes to apologizing for the many atrocities committed against indigenous peoples, we have a long way to go when it comes to reforming capitalism – if such a thing is at all possible. His outing of Barrick Gold during the performance ought to have reminded us that liberal-style democracy is not as socially conscious as it needs to be. This was to be an underlying message in the viscerally exciting music of Nano Stern … It was an evening that was not only one of the most imaginative, but also certainly one the most memorable by any group of artists performing in Toronto this year.
    [Show full text]
  • Musical Innovation, Collaboration, and Ideological Expression in the Chilean Netlabel Movement
    Sharing Sounds: Musical Innovation, Collaboration, and Ideological Expression in the Chilean Netlabel Movement by James Ryan Bodiford A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2017 Dissertation Committee: Associate Professor Christi-Anne Castro, Chair Professor Kelly Askew Professor Charles H. Garrett Assistant Professor Meilu Ho Professor Bruce Mannheim James Ryan Bodiford [email protected] ORCID iD: 0000-0002-9850-0438 © James Ryan Bodiford 2017 Dedicated to all those musicians who have devoted their work to imagining a better world… ii Table of Contents Dedication ii List of Figures vi Abstract viii Chapter I – Introduction: Sharing Sounds 1 A Shifting Paradigm 10 The Transnational Netlabel Movement and its Chilean Variant 14 Art World Reformation 20 Social Discourse, Collaboration, and Collectivism 23 Experimentalism, Ideology, and Social Movements 29 Methodology 34 Chapter Summaries 36 Chapter II – “This Disc Is Culture”: Mass Media Hegemony and Its Subversion in Chilean Musical Culture, 1965-2000 39 Mass Media Hegemony and the Culture Industry 44 Social Activism and Subversion 58 DICAP, Unidad Popular and the Emergence of Nueva Canción 1965-1973 64 Musical Dissemination Under Dictatorship (1973-1989): Alerce, Clandestine Cassette Distribution 80 Democratic Re-Transition and Post-Dictatorship Transformations in the Chilean Music Industry 1990-2000 96 iii Chapter III – “My Music Is Not A Business”: New Media Transformations
    [Show full text]
  • Full Biography
    Benjamin Verdery guitarist / composer Verdery plays with the kind of infectious, childlike joy that lights up the whole stage… Artfile, Ottawa, Canada an iconoclastic player…. NY Times an American original, an American master Sound Board Magazine what’s new… November 2018 Ben traveled to Chile for a residency at the University of Chile, Santiago giving masterclasses, workshops and concerts. Ben also gave masterclasses and concert at the Guitar Festival of Belgrade (March 2019) and his Scenes from Ellis Island was presented with the festival guitar orchestra conducted by Thomas Offermann. June 2019 Ben released his video From Aristotle with beatboxer/mix vocalist Mark Martin and Michiyaya Dance. In July at the Ottawa Chamberfest Ben gave the Canadian premiere of Bryce Dessner’s Quintet for High Strings with the St. Lawrence String Quartet. In addition to this performance Ben also presented his programs 'From Bach to Hendrix' and 'Scenes from Ellis Island: Benjamin Verdery and Company'. At the Verona International Guitar Festival in October Ben presented a program that ranged from Bach to Bresnick, from Piccinini and Mozart to Ben’s work the rain falls equally on all things and three pieces from his Some Towns and Cities recording. February 2020 New Focus Records released Scenes from Ellis Island, Guitar Music of Ben Verdery. The recording includes the premiere recordings of Ben’s newest compositions. A video of the recording’s title piece, Scenes from Ellis Island was released February 14, 2020 coinciding with Ben’s Yale Guitar Extravaganza February 15 and a Yale installation on Ellis Island. Guest artists on the recording are Simon Powis (guitar), Guilherme Monegatto (cello), Hawa Kasse Mady Diabate (vocals) and Mark Martin (beatboxer, mixed vocalist).
    [Show full text]
  • Violeta Parra: Popular Educator
    Kansas State University Libraries New Prairie Press Adult Education Research Conference 2017 Conference Proceedings (Norman, OK) Violeta Parra: Popular Educator Maria A. Vetter Independent researcher, [email protected] Follow this and additional works at: https://newprairiepress.org/aerc Part of the Adult and Continuing Education Administration Commons This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License Recommended Citation Vetter, Maria A. (2017). "Violeta Parra: Popular Educator," Adult Education Research Conference. https://newprairiepress.org/aerc/2017/papers/11 This Event is brought to you for free and open access by the Conferences at New Prairie Press. It has been accepted for inclusion in Adult Education Research Conference by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Violeta Parra: Popular Educator María Alicia Vetter Abstract: This study reexamines the work of Chilean folklorist Violeta Parra with the purpose of identifying her as a popular educator. Keywords: Violeta Parra, folklore, popular education The purpose of the study was to reexamine the work of renowned Chilean folklorist Violeta Parra, with an emphasis on the educational nature of her compositions as well as on her endeavors as a researcher of folklore and as a popular educator. In previous work (Rueda, 2003; Vetter, 2003), I presented similar research with an emphasis on the adult education that took place in social movements, such as in the New Chilean Song, a cultural movement that became part of the Sixties Movement and of world-wide movements that incorporated revolutionary songs as important components of the movement. Violeta Parra was not only a precursor of the New Song, but also an educator of the members of the New Song.
    [Show full text]
  • Cantores Que Reflexionan
    OSVALDO GITANO RODRÍGUEZ CANTORES QUE REFLEXIONAN Notas para una historia personal de la nueva canción chilena Interior_Gitano.indd 5 16-01-2016 12:49:29 Interior_Gitano.indd 6 16-01-2016 12:49:29 PRÓLOGO NANO STERN Como un chasqui de otro tiempo que va cargado de historias nos devuelve la memoria cual tormenta con el viento. El Gitano y sus mil cuentos son un eslabón perdido que de pronto ha aparecido cuando más se necesita y que desde un libro agita recuerdos desvanecidos. Desde Valpo hasta París los relatos van hilando una historia que cantando se forjó en nuestro país. Mas de pronto y de raíz muchos fueron exiliados, incluso martirizados por cantarle a la verdad que agitó la realidad de los pueblos hermanados. Entre quenas y guitarras, entre cuatros y charangos, entre tonadas y tangos, y entre mil noches de farra, siguiendo a Violeta Parra una tropa de aprendices cultivaron sus raíces y así dieron nacimiento 7 | Interior_Gitano.indd 7 16-01-2016 12:49:29 al enorme movimiento que conquistó mil países. Pato Manns enamorado de su América soñada, la guitarra desnudada de Víctor acribillado, Ángel siempre engalanado combatiendo tiranías, regado de poesía el canto de la Chabela, junto a Héctor y Gabriela bailando con picardía. Los Quila, fundacionales, vestidos de eterno luto, y el Inti, fecundo fruto de los astros celestiales. Aparcoa y los caudales de su canto chilenero, y el Payo, siempre certero con su banjo desafiante... ¡qué lote más infartante, de imaginarlos, me muero! Y, por último, el Gitano, que nos deja el testimonio de este enorme patrimonio chileno y americano.
    [Show full text]
  • ANNUAL REPORT Table of Contents VICE PROVOST OVERVIEW
    ANNUAL REPORT Table of Contents VICE PROVOST OVERVIEW . 1 ARTS NC STATE . 3 PARTICIPATION & ACADEMIC DATA . 4-5 CALENDAR OF EVENTS . 6-7 ARTS OUTREACH . 8-9 CENTER STAGE . 10-11 CRAFTS CENTER . 12-13 DANCE PROGRAM . 14-15 GREGG MUSEUM . 16-17 MUSIC DEPARTMENT . 18-19 UNIVERSITY THEATRE . 20-21 ARTS DEVELOPMENT . 22-23 DONORS . 24-28 FACULTY & PERSONNEL . 29-30 FRONT COVER: LUCKY PLUSH PRODUCTIONS PHOTO BY BENJAMIN WARDELL. Interim Vice Provost Overview When Vice Provost Alex Miller’s retired on July 1, 2014, I was appointed to serve as Interim Vice Provost while continuing my fulltime gigs as Director and Curator of the Gregg Museum of Art & Design. Despite the temporary transition period while ARTS NC STATE sought a new permanent Executive Director (title change), there was no pause or break in the action for me or the collective. For ARTS NC STATE, 2014/2015 hardly fit the usual stopgap defi- nition of “interim” because we continued to celebrate students, community, and the arts in new and wonderful ways while we also moved forward as an organization. One amazing feat that’s close to my own heart was the April 14 groundbreaking ceremony for the new Gregg Museum building at 1903 Hillsborough Street, Raleigh. This was finally possible after Arts Development achieved the $9.1 million capital campaign goal in March. That had been the target needed to start the renova- tion of the historic Chancellor’s Residence and begin building the Gregg’s new 15,000 square foot galleries and collections wing. Interim Vice Provost Roger Manley The actual breaking of ground began in late June when H.M.
    [Show full text]
  • Hitch-Hiker's Guide to the Festival
    25th Illawarra Folk Festival Summer School NEW HALL CHILL-OUT ROOM OLD HALL UNITING CHURCH UNITING CHURCH UNITING CHURCH RHYTHMS & CHORDS MELODY AND MORE SING AND PLAY AWAY 9 WEDNESDAY 13 JANUARY 9 The Illawarra Folk Club is proud to 9.30 REGISTRATION & PAYMENT - 9am to 10am 9.30 present its 7th folk music school. 10 10 BODHRAN- (IRISH DRUM) INTERMEDIATE / ADVANCED EVERYONE CAN SING The school aims to increase JOHNNIE SPILLANE AUSTRALIAN FIDDLE PHYSICAL VOCAL TECHNIQUES TO awareness of folk music 10.30 ALAN MUSGROVE SET FREE THE VOICE 10.30 FUNKIER THAN ALICE traditions and provide 11 11 opportunities for musicians of PIANO VAMPING & FRENCH WORLD VOICES - PART SONGS all ages to build on their skills 25th Illawarra Folk FestivalCANADIAN FOOT TAPPING Summer SchoolFROM AROUND THE WORLD and open new musical doors. Hitch-Hiker’s Guide to the Festival 11.30 TANIA & SAMUEL DE SANTI JANET ANDREWS 11.30 NEW HALL CHILL-OUT ROOM OLD HALL This may be your fi rst folk festival, so here’s some ideas about what to do! 25th Illawarra Folk Festival Summer School UNITING CHURCH UNITING CHURCH UNITING CHURCH Contact Details: 12 UKULELE 12 RHYTHMSNEW HALL& CHORDS MELODYCHILL-OUT AND ROOM MORE SING ANDOLD PLAYHALL AWAYTHE MECHANIX OF PLAYING THE CREATING SONGS Ann Lehmann • Buy your ticket on-line to save you money and watching. If you don’t like what you see move • At the end of the day (night) and if you’ve still got UNITING CHURCH UNITING CHURCH BEGINNERS / INTERMEDIATEUNITING CHURCHBOX (ACCORDION) IN THE TRADITION time. onto another venue.
    [Show full text]
  • AFE / ABRAN PASO: Una Experiencia De (A) Puesta En Valor De La Cultura Viva De Peñalolén
    AFE / ABRAN PASO: Una experiencia de (a) puesta en valor de la cultura viva de Peñalolén Estudiante: Carlos Hernández Jara Profesor guía: Gabriel Matthey Correa 1 RESUMEN EJECUTIVO Este trabajo consiste en la realización de una Actividad de Formación Equivalente (AFE), la cual plantea un proyecto elaborado a partir de la importancia que ha tenido la relación arte – política a lo largo de su historia, desde los orígenes del ser humano hasta nuestros días. En nuestro caso, cabe mencionar los tiempos de dictadura en Latinoamérica, como fue el nivel de repercusión que tuvo el golpe de estado en la sociedad chilena, y como ésta ha tenido que ir conviviendo con el exilio y con la vuelta a la democracia, entre finales del siglo XX y comienzos del siglo XXI. En lo específico, esta AFE está centrada en la comuna de Peñalolén, ya que éste es un lugar que a lo largo del tiempo ha vivido grandes cambios, no sólo a nivel político, sino que también a nivel de infraestructura y de segregación social, llegando a ser considerada (hoy en día) como una de las comunas más diversas y heterogéneas de la Región Metropolitana. En consecuencia, en el presente trabajo se elabora un plan de gestión a cuatro años, que cumple la función de contribuir en la puesta en valor y sentido de pertenencia de los habitantes de Peñalolén, a través de la música, a partir de cuatro cortometrajes que están enfocados a invitar a las antiguas y nuevas generaciones a darse la oportunidad de superar las barreras sociales que se han ido presentando a lo largo del tiempo.
    [Show full text]
  • Volver a Creer. Crisis Social, Música, Sonido Y Escucha En La Revuelta
    El 25 de octubre de 2020 la constitución Volver a creer. chilena de 1980 vivió su último día.1Ese día, por primera vez en la historia del Crisis social, música, país, se realizó un plebiscito para pre- guntarle a la población si deseaba cam- sonido y escucha biar la carta magna, obteniéndose un en la revuelta chilena 78,2% a favor y un 21,7% en contra. El 1 resultado de estos comicios fue contun- (2019-2020) dente en todo el país, sin distinción de regiones o sectores políticos y con un mensaje claro: queremos un cambio. Con este resultado se comenzó a cerrar la herencia de la dictadura cívico-militar iniciada y dirigida por Augusto Pinochet Natalia Bieletto Bueno entre 1973 y 1990, una de las más vio- lentas y drásticas de Latinoamérica en el y Christian Spencer Espinosa último siglo.2 Un logro de esta naturaleza fue posi- ble por la presión ejercida por la ciudadanía durante el movimiento social iniciado el 18 de octubre del 2019 (18-O). El origen de este estallido social fue el alza en la tarifa del metro, pero prontamente se convirtió en un cuestionamiento al modelo socioeconómico, cuyos cerrojos y trampas —consignadas en la Constitución de 1980— le quitaron agencia política a la ciudadanía e hicieron casi imposible las transformaciones sociales. Desde ese momento fundacional del 18-O hasta hoy, el ritmo de la vida en Chile ha estado marca- do por las movilizaciones sociales. La mayor parte de ellas se ha realizado con estrategias creativas de protesta pacífica y originales formas de desobediencia civil, pero también con formas de violencia que han ocasionado respuestas represivas por parte de la policía local, generando desasosiego y pérdida de confianza en las instituciones que decidirán el futuro.
    [Show full text]