contemporary milestones often are remembered through the songs that accompanied its protagonists. In Chile, the rise to power of the Popular Unity, in 1970, had two great hymns, popularly recognized today not only in our country. "We Shall Overcome" and "The people united will never be defeated" are the two most famous creations Sergio Ortega, a musician nortino also occupied in the world scholarly works, stage and film, and that is associated in the most creative projects big names in the New Chilean Song (mainly Quilapayún groups and Inti-Illimani). In addition, his work with Pablo Neruda shaped opera and death Fulgor Joaquin Murieta, the only work of the genre's signature Chilean Nobel. The author settled in France after the coup, and his death in September 2003, was international news coverage.
"Know this: You're never more Chilean while away, that's the first thing you need to know. It never goes as deep into the heart of the country when you do not have near" (.. .) "I talk a little about the New Chilean Song. It was a concern I've ever had, not because it is new or Chilean, but why there? How was it? (...)" The Nueva Cancion Chilena was absolutely inevitable, beyond the will to fight (Advis) or Horacio (Salinas)-to whom this invitation, thank you, mine or that of all the comrades who did, have done and continue to make the Nueva Canción Chilena, which is still new in Chile. It was inevitable because there was a big wave, a wave that moved the country from the bottom up. It was a wave that went through all that filtered everything. There was no object, was a wave of change. We, of that time and we were not the same, as Neruda said. We were something else. We were mobilized to something else. "(...)" It's no coincidence that the year '65 a group of boys said: "We are singing very softly in Chile, we cry a little. We are playing very softly. We are very quiet in Chile. We will hit harder. " That group of boys called Quilapayún Quilapayún ... I pay tribute to whom many things separate me but I pay tribute to the history of Quilapayún and the role that this group met with all of us in the battle, memorable, bringing the immense Chilean people entering the universality of the twentieth century "(...)" And I say that the wave that moved us all was so deep that gave us back in and we said, of course, are writing chamber music-that's what I thought, "but we are calling from outside, the people are striking out. You open the window and it is the people. We can no longer locked in our work. Then I realized that indeed the Nueva Cancion Chilena is inevitable because it is a new form that corresponds to a new content and that is inevitable. We do what we want to we can arrange fences, trenches or we can arrange everything you want but when the story happens, happens. There is nothing that can address the history. "
Sources: http://www.musicapopular.cl/2.0/index2.php?op=Artista&id=1208 http://lavquen.tripod.com / arsergioortega.htm
In 1982, bassist Charlie Haden Liberation Music reunite the pair Orchestra create an album full of sadness, Beauty and songs of Carla Bley libertad.Con arrangements and accompanied by Sharon Freeman, Mick Goodrick, Jack Jeffers, Michael Mantler, Don Cherry, Gary Valente, Steve Slagle, Jim Pepper, Paul Motian and Dewey Redman.
Haden and Bley create a suite of songs of protest Latinomaerica and Spain, entitled The Ballad of the Fallen - "The Ballad of the Fallen" song Salvadoran found in the body of a slain student by the Guardia Civil. From the Catalan songs "Els segadors" and "And the holy thorn" to the Chilean "The people united will" make an angry and cathartic tribute to the fallen in the antifascist struggle. Contemplative and dismal tone of the work we suggests that it is not jazz.
Born in 1938, American composer and pianist Frederic Rzewski studied with Milton Babbitt and Roger Sessions in the country and in Italy with Luigi Dallapiccola. He soon began performing as a pianist, premiered works by Stockhausen and Wolff, founded the group Musica Elettronica Viva, combining improvisation and live electronics, and composed his first works. However, not until 1975 that won fame with The People United Will Never Be Defeated, a synthesis of styles and techniques of modernism, reflected in a score of post-Romantic grandeur.
The range of styles ranging from art and effects on the piano to free jazz passages, through allusions to blues, folk music and a dense polyphony. By the first half of the piece, the song is bolstered by working Ortega another revolutionary song, Solidaritätslied of Hanns Eisler, and at various times quoted Italian song Bandiera Rossa. Rzewski's interest in improvisation at the end of the piece, just before the return of the item, when the pianist has the optional opportunity to improvise and provide their own comments on what has happened.
Source: http://www.beethovenfm.cl/index.php?option=com_content&task=view&id=2361&Itemid=49
Here the first and the last changes
With Rzewski.
With Bobby Mitchell
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