#ATAHUALPA YUPANQUI

[lascitasdelashoras]

Atahualpa Yupanqui

[suenosyfantasmas]

"Cuando inclino la cabeza para esconder una lágrima, estoy viviendo y muriendo lo que ordena la guitarra". 🎼

Atahualpa Yupanqui.

Fotografía: MAVi. " Mi guitarra".🎶

Sueños y fantasmas. El arte de soñar.

[kamas-corner]

"le tengo rabia al silencio" por Atahualpa Yupanqui. Fragmento de un concierto

[anamon-book]

インディオの道 アタウアルパ・ユパンキ、浜田滋郎・訳 晶文社 ブックデザイン＝平野甲賀

[panchicha]

Atahualpa Yupanqui

[mywifeleftme]

207: Atahualpa Yupanqui // El hombre, el paisaje y su canción

El hombre, el paisaje y su canción Atahualpa Yupanqui 1969, Odeon

Atahualpa Yupanqui was a titanic figure in Argentine music. As an ethnomusicologist who formed a bridge between various forms of Indigenous folk music and the younger artists of the nueva canción (new song) movement; a first-rate composer; and a political revolutionary imprisoned numerous times for his beliefs, Yupanqui is a fine representative of that era of Latin American creators whose artistic quality was equaled by the courage of their convictions. Due to his Communist Party affiliation, Yupanqui didn’t record much until he was already in his 40s, which robs us of the voice of his youth, but also enforces his image as a fatherly figure, a living link with the past.

Once he started recording though, the torrent was overwhelming—between his remarkable productivity and the tendency of labels to constantly repackage his work, forging a semblance of a linear discography is beyond my skills. I’m not altogether sure of the provenance of El hombre, el paisaje y su canción (The Man, the Landscape and His Song), a 1969 record I picked up on a lark a few years back that became an instant favourite in the Wifeleft household. There was an album of the same name released the previous year that shares four tracks, suggesting my Hombre may be a compilation—on the other hand, he recorded many of his songs numerous times, so it’s possible these are from an entirely different session. The album certainly sounds as though it was recorded in one sitting.

No matter, this is my favourite of the handful of Yupanqui albums I’ve heard to date. He is presented solo, as usual, accompanied only by his own acoustic guitar, and over a scant 30 minutes or so draws the listener entirely into his world. I feel as though I am watching the master singing for a small audience gathered on his porch, his fingers translating the weariness of the day’s labours into something more somber and romantic, his voice that of a man who understands his role is to witness and recount. The lyrics often look directly at the travails of working people, as on “Trabajo, quiero trabajo” (“Work, I Want Work”) and “Campesino” (“Peasant”), but there is also that mystical element common in Spanish poetry, as on “Guitarra, dímelo tú” (“Guitar, Tell Me”):

Guitar, you tell me Men are dead gods Already long collapsed Not even his dreams were saved Only the shadow has remained

El hombre also includes a pair of instrumentals that show off the expressiveness of Yupanqui’s playing to great effect—“El llanto” (“Crying”) is as poignant as its title suggests, while “Malambo” (named for an Argentine folk dance) reminds me a bit of the American Primitive fingerstyle associated some distance north with John Fahey.

I doubt there is such a thing as a poor-quality Atahualpa Yupanqui album, and I think any collection would be enriched by his inclusion. He makes a great entry point to South American folk, some of the most timeless and impassioned music of the 20th century.

207/365

[trogo-auto-egocratico]

Si alguien me dice "señor,"

agradezco el homenaje;

mas, soy gaucho entre el gauchaje

y soy nada entre los sabios.

Y son pa’ mí los agravios

que le hagan al paisanaje...

Atahualpa Yupanqui.

[andrescasciani]

"Por caminos solitarios Yo me puse a caminar Por fuera nada buscaba Pero por dentro, quizás". *31 años sin Atahualpa Yupanqui

. Por Andrés Casciani Sanguina sobre papel – 24 x 32 cms (2023)

andrescasciani.com

[nextposition1]

[osvaldotubino]

Chacarera de las piedras - Arreglo de guitarra solista con partitura y tablatura - Fingerstyle

[quandmeme]

"Muchos me preguntan por qué me levanto a las cuatro de la mañana desde hace más de 20 años. ¿Sabe por qué elijo esa hora?… Porque el hombre aún no ha empezado a sufrir. A esa hora estoy puro, limpio, en silencio, y escribo mientras la familia duerme. Entonces, todo yo soy una esponja que absorbe… Quizás porque los fantasmas vienen al anochecer. Con esto quiero decir que los fantasmas vienen después que el hombre sufrió. Y el hombre empieza a sufrir cuando sale a la calle a ganarse el pan de sus hijos… y se topa con el otro hombre. Entonces, recién entonces, comienzan a salir los lobos que cada cual tiene adentro".

Atahualpa Yupanqui

[suenosyfantasmas]

"Lal guitarra antes de ser instrumento fue un árbol y en él cantaban los pájaros.

La madera sabía de música mucho antes de ser instrumento".

Atahualpa Yupanqui.

Importante cantautor, guitarrista, poeta y escritor. Argentina, (1908) - Francia, (1992).

Fuente:Google.com

Fotografía: Pinterest.com

Sueños y fantasmas. El arte de soñar.

[descepcionista]

Siempre bajito he canta'o porque gritando no me hallo --grito al montar a caballo si en la caña me he bandea'o pero tratando un versea'o a'nde se canten quebrantos, apenas mi voz levanto para cantar despacito, que el que se larga a los gritos no escucha su propio canto.

[islandofspice]

DESCENDANT OF THE LAST INCA EMPEROR

Yma Sumac, woman descendant of Atahualpa, the last Inca emperor.

Yma was born in Peru on September 13, 1922. She was a soprano singer, actress, model, composer and music producer.

She passed away in 2008.

*SOPRANO SFOGATO was a type of voice that was decidedly dramatic, big voices and sounds that could be both light and smooth.

Marina

[lesser-known-composers]

Atahualpa Yupanqui - Los ejes de mi carreta

[anaelenaespinosa]