FOLCLORE
chilean music
FOLCLORE chilean music
Credits Photographs: Waldo Silva Cea Layout: Camila Espinoza Riquelme First Edition: November, 2012. Is strictly prohibited without the written consent of the holders of <copyright>, under the penalties provided by law, the total or partial reproduction of this work by any means or process, including photocopying and computer processing and distribution of copies it public by rental or lending.
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Index 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23
Introduction Violeta Parra Victor Jara Inti-Illimani Quilapayún Sol y lluvia Los Jaivas Camila Moreno Gepe
R Anthology of influential songs 26 27 28 29 30 31 32 33
Violeta Parra / Gracias a la Vida Victor Jara / Te Recuerdo Amanda Inti-Illimani / El pueblo unido, jamás será vencido Quilapayún / Plegaria a un Labrador Sol y Lluvia / Para que nunca más en Chile Los Jaivas / Sube a nacer conmigo hermano Camila Moreno / Cae y Calle Gepe/ La Bajada
Introduction
T
he Folk music is one that responds to the spiritual needs of a particular community. It could have been made by a person, but, with time and sustained changes from generation to generation has lost its original features, not interpreting the feelings of a person, but of a whole people. That is why folk music does not suffer the effects of â&#x20AC;&#x153;fadsâ&#x20AC;? in public taste and remains more solid the better to identify with the spirit of the people. The folklore of Chile, demographic and cultural characteristics of the country, is the result of crossbreeding European elements produced with indigenous elements during the Colonial period. For cultural, historical and classified distinguish three broad areas in which the country is divided. Most of the traditions of the culture of Chile have a festive purpose, but some have religious components, such as dances and ceremonies.
FOLCLORE
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and a seamstress and singer, Ms. Clarisa Sandoval Navarrete, was born on October 4, 1917, in a humble house in Oak Street # 531 in San Carlos, according consists inscription on page 197, 112th of October 25, 1917, in the Registry of this city. Violeta Parra had eight brothers of father and mother and two half sisters, daughters of her mother and her first husband, the widowed. Violet’s childhood and his brothers was not easy, since due to modesty and poor economic conditions had to work very young. But always lived surrounded by an artistic environment, as his father played violin and piano, as folklorist Violeta was the best in the region, and his mother sang beautiful songs while doing their farm chores. At age 12 the child Violeta and began composing songs, which eventually turn into a huge legacy of Chile’s cultural heritage, among which are “Gracias a la Vida”, “Back to the 17” and “ Marriage of blacks. “ Violet had a brief stint in the Normal School, later sang impromptu circuses and businesses in the capital. In the mid-50s won the “Caupolicán” as the best folk singer of the year. He represented the country in France and Poland in the Youth Festival. He toured several European countries. Discs released in France and taught at the Sorbonne University. In Paris in 1964 presented in his famous Louvre Museum exhibition of tapestries and burlap. In 1957, the University of Concepción invited to study the folklore of the area. The great Violet was an artist of deep human content that stood out in different artistic techniques in which ventured. Its major strength is that folk creation is of such quality and feeling, that transcends national boundaries becoming a true living legend several years since his disappearance. Violeta Parra died on February 5, 1967. He committed suicide in his tent Queen at the age of fifty. Three years later he published his book Tenths, by boosting your brother Nicanor. Violet is no longer with us, but let their sorrows, joys, failures and triumphs. In his creations we see reflected all the pain and suffering that could capture their special sensitivity.
FOLCLORE
Violeta Parra
R Violeta del Carmen Parra Sandoval, daughter of a music teacher, Don Nicanor Parra
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Chilean singer. He was also a theater director, researcher of folklore and indigenous instruments, actor, playwright and librettist, but reached significance as most popular composer and singer. Of peasant origin, inherited from her motherâ&#x20AC;&#x2122;s love of music. Being abandoned by the father, the family moved to Santiago, one quoted in the Los Nogales population. At 15, he was orphaned and entered the Redemptorist Seminary of San Bernardo. He remained there two years. In 1957 he entered the School of Theatre of the U. Chile. At that time he met Violeta Parra, who welcomed him as a disciple. Their songs were about his people and their problems, in line with the songwriters of the era, however, brought them international success beyond his native Chile to be sung in any progressive or college major manifestation of many other countries, particularly in Spain during the transition. During the Allende government was appointed cultural ambassador of the government, in whose office developed a comprehensive work to date of his death. He was married to English dancer Joan Turner, who had been his teacher body language at the University of Chile. Strongly committed to its political environment, its commitment eventually cost him his life. After the coup of General Augusto Pinochet, who died on September 11, 1973, was locked with other universities in the State Technical University in Santiago, to show their rejection and will to resist, but the army soon took the facilities and Jara took prisoner to the National Stadium in Santiago, Chile, where he was brutally tortured and murdered on September 16.
FOLCLORE
Victor Jara
R (Victor Jara Martinez, The Quiriquina, ChillĂĄn Viejo, 1932 - Santiago, 1973)
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rican folklore, was born in 1967 in the underground casino at the School of Arts and Crafts in the former State Technical University (UTE). In 1966 he conducted the first folk rock students of that institution. Every Saturday presented groups composed by the students themselves, and between pies and wine, each made known his music. The following year two students, Jorge Coulon and Max Berrú, formed a duo “no name” and in the course of the presentations were joined by Horacio Duran and Pedro Yanez. A few months later, they were invited to perform at the celebration of the independence of Bolivia for the community residing in Chile and decided to call Inti-Illimani, which in Aymara means “Sol de Illimani” referring to the mountain of the Andes. Almost at the end of that year he joined a fifth member, Horacio Salinas. His first international tour took place in Argentina in 1968. They played in the streets and restaurants of Buenos Aires, Mendoza and San Martin de los Andes, in exchange for food and tip. In return, Pedro Yanez group decides to separate. He was replaced by Ernesto Perez de Arce, executor of clarinet and flute. In 1969, they toured for two weeks by Bolivia. They recorded their first album, entitled “If we are Americans.” On September 11 of that year, the country suffered a military coup, ending democracy, the group was on tour in Europe, when they received the unpleasant news by visiting the Vatican. Inti-Illimani in 1974 he recorded the album “The New Chilean Song”, in Milan, Italy. In 1977 had a balance of 108 performances in 11 countries. In 1988 he received the news that the borders were opened, ending the exile, and pudiron return home, where they were greeted by a crowd. After new member changes, the group celebrated its 30year career in 1996, playing at the Quinta Vergara in Viña del Mar, with guest musicians like Silvio Rodriguez, among others. In 2004 he retired Horacio Durán and the group received a Cesar Jara and the group continues to tour around the world. Currently the members are: Jorge Coulon, Cesar Jara, Manuel Merino, Marcelo Coulon, Daniel Cantillana, Efren Viera, Juan Flores and Christian Gonzalez.
FOLCLORE
Inti-Illimani
R Inti-Illimani, Chilean musical group, executor of highland music, and Latin Ame-
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Chilean musical group, one of the most representative of the Nueva Canción Chilena call. The formation was created in late 1965 by a group of young highland music inspired, motivated by a profound change and the dreams that are struggling at the time. Participated in its foundation three students from the State Technical University: Eduardo Carrasco, Julio Carrasco, and Julio Nehumhauser, who joined after Patricio Castillo. Throughout decades of artistic life, Quilapayún edited more than 25 albums. His goal was to make something new that is out of the ordinary. They wanted a stronger image than traditional Cuncumén groups, and more authentic than neofolclóricos sets. They looked for a name that had Indian accent on the last syllable and came up Quilapayún, in Arauca means “three beards”. Soon would be defined the traits that characterize: black ponchos, beards and instruments of the altiplano. His repertoire included a wide variety of Latin American music, highland music occupied a central place in their interpretations. The instruments used include the Andean charango, flute and dulcimer, mixed with classical guitar and bass drum. The year 92 was key for Quilapayún; exile ended, its members found themselves in the dilemma of return or remain in France. Carlos Quezada and Ricardo Venegas opted to withdraw. When few were betting on a new proposal, they were joined by Daniel Valladares and returned to training Duck Castle, which gave a new impetus to the group in early 2000.
FOLCLORE
Quilapayún
R
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FOLCLORE
Sol y Lluvia
R
The beginning of the seventies is presented with strong momentum changes. The Cuban revolution and the uprising of May 68 â&#x20AC;&#x2DC;in Paris, led by university students and the Vietnam War, which reached its maximum virulence, forge a very critical eye toward prevailing social processes. The military coup of 1973 and the establishment of the dictatorship organized a youth disarm and opinionated. The darkness and fear make its debut in society, causing silence, exile and death. Thus inspired by the force of nature is born: sun and rain, elements opposed states, but that simultaneously unify the cycle of life. In 1978 an acoustic guitar and a drum legĂźero accompany the first group stage. Recordings craft as Canto Libre (1980) and subsequently more Life Canto (1986) reflect the toughest time, songs and proposals, start hitting consciences asking permission to enter. The Andean melodies were beginning to speak up; budding unions and university groups sheltered in anonymity Labra invited the brothers to share their evenings. Despite the fear and despair, the action message of peace was expanding as an alternative way to fight the absolute power of Pinochet. During this time recorded Unleashing Hopes (1987) and More People (1988), the lyrics are reflections not only denounce, but also propose, the band solidified their sound and concept. Spaces cattle were increasing, and Threshold Radio CafĂŠ del Cerro are icons of that time. It extends a circuit that saw the light in populations of Santiago. In 1988, the referendum vote. During that time, Sun and Rain travels to Canada and learn more about the phenomenon of exile. On his return in 1989, the group released their sixth album envivo Sun and Rain and a few months after the conclusion wins the presidential elections. In 1990 he made a great and emotional concert: Goodbye General, at the Estadio Santa Laura, closing an important cycle that coincides with the term symbolic stage saddest history of Chile. After this journey, they decide to take a big step together more than fifty thousand people at the National Stadium. Obviously the group was completing a great cycle and was corroborated in this search, in this encounter with the roots, they were not alone. The new scenario brings significant challenges and the first is recording a new album.
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bands of the Chilean musical scene. Born in Vina del Mar in the early sixties, this group was one of the first to fuse Latin American indigenous music with electronic instruments such as electric guitars, synthesizers, bass and drums. Taking residence in Paris, France since 1977, “the Jaivas” have recorded many successes of which stands the first entitled “Together” in 1996 was the official anthem of the Ibero-American Summit that took place in Santiago de Chile. The song is an example of the union of generations and spirits that have achieved “the Jaivas” through his music full of magic and humanitarian feelings. In his discography also features the album “Heights of Machu Picchu”, inspired him to write the same text Nobel Prize, Pablo Neruda. Currently “The Jaivas” is composed of brothers Eduardo and Claudio Parra, Mario Mutis, Jack and Juanita Alquinta Parra, who replaced his late father, Gabriel Parra on drums. With this formation the group is made almost like achieving early years of his public identification always faithful to the live performances. 1997 has been very important to the musical career of “The Jaivas” because after many years of silence and have released “Children of Earth” in 1995, have been able to resume their intense relationships not only with the public but also with other musicians Chileans in this demonstration of affection, recorded with “The Jaivas” album “Trilogy-The Reunion” brings together on a single disc the most important issues of this band’s career, performed by old friends and new generations. “The Jaivas” result exemplify artistic and creative perseverance which leads them to be one of the most important bands of Chile and clear exponent of Latin American folk and rock.
FOLCLORE
Los Jaivas
R With over thirty years of experience, “the Jaivas” is one of the most important
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the first signs that draw attention to Camila Moreno. At 22, this author and composer made his live appearance in 2007, and thereafter was at least two years between the most advanced voices of a new generation of singers with affinities: an approach to folk roots and instinctively a song and personal testimony while. Camila Moreno took several steps in its previous exploration among college groups as Princess Leia Proyect with musician Gerardo Figueroa, Delabandas Tetecla Peña and the Pesa (2003-05), the Latin root sets Spoon (2006-08) and The Polleritas (2007) and the duo Caramelitus that began in 2006 with Thomas Preuss. But his voice was just waiting staff. A performance in 2007 and another in 2008, the latter shared with Chinoy, were his first solo dates and spaced. Only in October 2008 intensified the pace of action, reinforced by the success of his song “Before” on Radio One FM dial outpost opened in 2008 to emit only Chilean music. A history that joined in October and December 2008 large-scale debut at festivals “Rock bait” and “Rockódromo” Valparaiso organized by National Council for Culture and the Arts. And within a year the natural step was their first album, Almismotiempo (2009), where it is collected throughout this initial repertoire with influences as diverse as Björk, Marzipan, Mexican-American singer Lhasa de Sela and the usual Violeta Parra . On the way Moreno has joined a community of musicians such as Javier Barria, Natalia Molina, Matthias Dinner, Diego Peralta or Chinoy himself, his closest companion, and in this duo’s casual step symmetry with another generation. As Gepe and Javiera Mena are the most recognizable names in an earlier time, with their first albums between 2005 and 2006, Camila Moreno and Chinoy have a similar space between Chilean singers in 2009 and recorded their stories for the first time acoustic roots.
FOLCLORE
Camila Moreno
R A strong voice for singing and a penchant for the sound of acoustic instruments are
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Gepe R Daniel Riveros (September 28, 1981 -), better known as Gepe, is a singer, drummer and Chilean designer. The name comes from a box Gepe red photographic inputs Daniel had in his house, in the town of San Miguel (Santiago de Chile). In addition to his solo work in the duo participated Dejao Workshop, with bassist Javier Cruz. Hailing from San Miguel, presented a very diverse musically inclined since childhood, playing drums since he was five years in bands playing covers of Marzipan. Were varied and the music I listened to before starting to play, have also been Gepe various options to make their own songs, but with all the differences he appeared as one of the distinctive singers and songwriters of his generation. Since 2001 the duo Dejao Workshop, in the group of Javiera Mena and especially solo, Gepe has taken the most varied strands as raw material, can pass through rock, acoustic pop, pop with electronic, intuition folklore and even the New Chilean Song. But before any ingredient in his character is the ease with which the combines and his talent for composing harmonies and melodies from them. With all these sources Gepe he composes and autodidactic author innate and instrumentalist. Already by 2002 was playing with singer Javiera Mena and in 1999 made â&#x20AC;&#x2039;â&#x20AC;&#x2039; his debut with his first group to graduate from the school Miguel Leon Prado. His first appearances were as formal singer and drummer of the college group, the surprising duo of folk rock and instinct known since 2001 as Workshop and composed Dejao Daniel Riveros and bassist Javier Cruz, in years when only oneâ&#x20AC;&#x2122;s Tobias and Javiera alcayota Mena had advanced to intuition by folk instruments and the rhythms of folklore.
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ANTHOLOGY influential songs
RGracias a la Vida/ Thanks to Life Violeta Parra Gracias a la vida que me ha dado tanto Me dio dos luceros que cuando los abro Perfecto distingo lo negro del blanco Y en el alto cielo su fondo estrellado Y en las multitudes el hombre que yo amo.
Thanks to life that has given me so much Gave me two eyes that when opened Perfectly distinguish black from white And in the sky above, her starry background And in the multitude The one that I love.
Gracias a la vida que me ha dado tanto Me ha dado el sonido y el abedecedario Con él las palabras que pienso y declaro Madre amigo hermano y luz alumbrando, La ruta del alma del que estoy amando.
Thanks to life that has given me so much It has given me sound and the alphabet With them the words that I think and declare Mother brother and friend light shining The path of the soul from which comes love.
Gracias a la vida que me ha dado tanto Me ha dado la marcha de mis pies cansados Con ellos anduve ciudades y charcos, Playas y desiertos montañas y llanos Y la casa tuya, tu calle y tu patio.
Thanks to life that has given me so much It has given me to walk with my tired feet With them I have traversed cities and puddles Beaches and deserts, mountains and plains And your house, your street and your patio.
Gracias a la vida que me ha dado tanto Me dio el corazón que agita su marco Cuando miro el fruto del cerebro humano, Cuando miro al bueno tan lejos del malo, Cuando miro al fondo de tus ojos claros.
Thanks to life that has given me so much She gave me her heart fluttering framework When I see the fruit of the human brain When I see good so far from bad, When I look at the bottom of your eyes clear.
Gracias a la vida que me ha dado tanto Me ha dado la risa y me ha dado el llanto, Así yo distingo dicha de quebranto Los dos materiales que forman mi canto Y el canto de ustedes que es el mismo canto Y el canto de todos que es mi propio canto.
Thanks to life that has given me so much It has given me laughter and gave me crying, So I distinguish between joy and pain The two materials that form my song And your song is the same song And the song of all that is my own song.
Gracias a la vida Gracias a la vida Gracias a la vida
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Thanks to life Thanks to life Thanks to life
RTe Recuerdo Amanda/ I Remember you Amanda Victor Jara Te recuerdo Amanda la calle mojada corriendo a la fábrica donde trabajaba Manuel. La sonrisa ancha la lluvia en el pelo no importaba nada ibas a encontrarte con él con él, con él, con él son cinco minutos la vida es eterna en cinco minutos suena la sirena de vuelta al trabajo y tú caminando lo iluminas todo los cinco minutos te hacen florecer.
I remember you Amanda the wet street Running to the factory where Manuel worked. The wide smile the rain in my hair nothing mattered were going to meet him with him, with him, with him are five minutes life is eternal in five minutes siren back to work and you walk illuminate it all Five minutes make you flourish.
Te recuerdo Amanda la calle mojada corriendo a la fábrica donde trabajaba Manuel. La sonrisa ancha la lluvia en el pelo no importaba nada ibas a encontrarte con él con él, con él, con él que partió a la sierra que nunca hizo daño que partió a la sierra y en cinco minutos quedó destrozado suena la sirena de vuelta al trabajo muchos no volvieron tampoco Manuel.
I remember you Amanda the wet street Running to the factory where Manuel worked. The wide smile the rain in my hair nothing mattered were going to meet him with him, with him, with him who went to the mountains they never hurt who went to the mountains and five minutes was destroyed siren back to work many did not return Manuel also.
Te recuerdo Amanda la calle mojada corriendo a la fábrica donde trabajaba Manuel
I remember you Amanda the wet street Running to the factory where Manuel worked
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REl pueblo unido, jamás será vencido/ The people united will never be defeated
Inti-Illimani El pueblo unido, jamás será vencido, el pueblo unido jamás será vencido... De pie, cantar que vamos a triunfar. Avanzan ya banderas de unidad. Y tú vendrás marchando junto a mí y así verás tu canto y tu bandera florecer. La luz de un rojo amanecer anuncia ya la vida que vendrá. De pie, luchar el pueblo va a triunfar. Será mejor la vida que vendrá a conquistar nuestra felicidad y en un clamor mil voces de combate se alzarán, The people united will never be defeated, The people united will never be defeated.. Arise, sing that we will succeed. now advancing unit flags. And thou shalt marching beside me and so you will see your song and your flag blossom. light of a red dawn foreshadows The life to come. Arise, fight the people will triumph. better The life to come to conquer our happiness and a clamor thousand fighting voices will rise,
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dirán canción de libertad, con decisión la patria vencerá. Y ahora el pueblo que se alza en la lucha con voz de gigante gritando: ¡adelante! El pueblo unido, jamás será vencido, el pueblo unido jamás será vencido... La patria está forjando la unidad. De norte a sur se movilizará desde el salar ardiente y mineral al bosque austral unidos en la lucha y el trabajo irán, la patria cubrirán. Su paso ya anuncia el porvenir.
say song of freedom, decisively the fatherland will win. And now the people which rises in the fight with a giant voice crying on! The people united will never be defeated, The people united will never be defeated ... The country is forging unity. From north to south be mobilized From the salt burning and mineral the southern forests united in struggle and work Iran covering the fatherland. His tenure as Announce the future.
De pie, cantar el pueblo va a triunfar. Millones ya, imponen la verdad, de acero son ardiente batallón, sus manos van llevando la justicia y la razón. Mujer, con fuego y con valor, ya estás aquí junto al trabajador. Y ahora el pueblo que se alza en la lucha con voz de gigante gritando: ¡adelante! El pueblo unido, jamás será vencido, el pueblo unido jamás será vencido...
Arise, sing the people will triumph. Millions already imposing the truth steel are Burning battalion your hands are bringing justice and reason. women with fire and courage, there you are by the worker. And now the people which rises in the fight with a giant voice crying on! The people united will never be defeated, The people united will never be defeated..
RPara que nunca más en Chile/ So that never again in Chile Sol y Lluvia
Al contemplar tu mirada tan triste vuelvo a pensar en ayer, que caminaba sin miedo a tu lado sin preguntar el porqué, donde se oían todas las voces y el canto de todos se hacia escuchar. Hay que apretar el presente con brazos y voces que puedan cantar (bis) para que nunca más en Chile, para que nunca más (bis). Para que nunca más en Chile los secretos calabozos, vuelvan a morder la humanidad de mi pueblo, para que nunca más en Chile el hambre vuelva a estar en la boca de mi humilde pueblo Para que nunca más en Chile la sangre hermana sea derramada, y no se deje florecer la libertad. Hay que apretar el presente con brazos y voces...
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Contemplating your look so sad I think back to yesterday, fearlessly walking beside you without asking why, where all voices are heard and the song of all is to listen. You have to press this with arms and voices they can sing (bis) so that never again in Chile, so that never again (repeat). So that never again in Chile the secret dungeons, humanity back to bite my people, so that never again in Chile hunger is back in the pit of my humble town So that never again in Chile sister blood be shed, and do not let freedom flourish. You have to press this with arms and voices ...
RMira Niñita/ Watch Little Girl Los Jaivas Mira niñita te voy a llevar a ver la Luna brillando en el mar, mira hacia el cielo y olvida ese lánguido temor que fue permanente emoción.
brillando en el mar, mira hacia el cielo y olvida ese lánguido temor que fue permanente emoción.
Florecerán... Ahh..fue permanente emoción. Tu pelito y tus ojos de miel.
Para la hija de un hombre con ojos de cristal y papel sellado en la piel.
Para la hija de un hombre con ojos de cristal y papel sellado en la piel. Mira hacia el cielo y olvida es lánguido temor que fue permanente emoción.
Mira niñita te voy a llevar a ver la Luna
Ahh..fue permanente emoción. Ahh...tu pelito y tus ojos de miel,
Look little girl I’m taking to see the Moon shining on the sea, looking skyward and forget the languid fear emotion that was permanent.
shining on the sea, looking skyward and forget the languid fear emotion that was permanent.
Ahh..fue permanente emoción.
La ternura tendrán para tí, para tí. Florecerán... Tu pelito... Pero ya en tu pecho florecerán colores de amor...
but on your chest flower colors of love. Bloom ...
Ahh.. was permanent emotion.
For the daughter A man with glass eyes and stamped paper in the skin.
For the daughter A man with glass eyes and stamped paper in the skin. Look to the sky forgotten is languid and fear emotion that was permanent.
Look little girl I’m taking to see the Moon
Ahh.. was permanent emotion. Ahh... your little hair and your eyes honey,
Ahh.. was permanent emotion.
pero ya en tu pecho florecerán colores de amor.
Your little hair and your eyes of honey. The tender will be for you, for you. Bloom ... Your pelito ... But in your chest flower colors of love ...
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RFalls and Shut up/Cae y Calla Camila Moreno Deja que me valla por siempre con el viento Deja que me espante el soplo en la canción Dulce marcha el fuego en tu corazón El pulso en mi palma ya tiene su propia voz. Muero yo al chocar ¿Hoy quien se levanta? Planta tu placenta, empuña el puñal Muero yo ¿y a quien le toca? Cae, calla, cae en coma Cae y calla, todo en coma ¿A quien le cae su puñal? Penitencia en la paciencia Se levanta el vendaval Muero yo ¿y a quien le toca? Cae, calla, cae en coma Muero yo al chocar ¿Hoy quien se levanta? Planta tu placenta, empuña el puñal Muero yo ¿y a quien le toca?
Let me forever fence with the wind Let me scare the breath in the song Sweet start the fire in your heart The pulse in my palm and has its own voice. I’m dying to collide Is today who rises? Plant your placenta, wields the knife I’m dying And who’s next? Falls, shut up, falls into a coma And falls silent, all in coma Who do you drop your knife? Penance in patience Gale Rises I’m dying And who’s next? Falls, shut up, falls into a coma I’m dying to collide Is today who rises? Plant your placenta, wields the knife I’m dying And who’s next?
Cae, calla, cae en coma Deja que me valla por siempre con el viento Deja que me espante el soplo en la canción Dulce marcha el fuego en tu corazón El pulso en mi palma ya tiene su propia voz. El pulso en mi palma ya tiene su propia voz
Falls, shut up, falls into a coma Let me forever fence with the wind Let me scare the breath in the song Sweet start the fire in your heart The pulse in my palm and has its own voice. The pulse in my palm and has its own voice
Deja que me valla por siempre con el viento Deja que me espante el soplo en la canción Dulce marcha el fuego en tu corazón El pulso en mi palma ya tiene su propia voz. El pulso en mi palma ya tiene su propia voz
Let me forever fence with the wind Let me scare the breath in the song Sweet start the fire in your heart The pulse in my palm and has its own voice. The pulse in my palm and has its own voice
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RThe Descent/La Bajada Gepe Renunciaste a todo por estar aquí conmigo allá llevando equipaje, pensando en el sur lugar final viento y frío guardan los recuerdos que entibiarán lo que para tí, es lo mismo de siempre. Llegando, posándose,pensándome sobre el cristal sobre lo que hablando tanto lloraste te da pena que te perdone, no me importa déjalo ya no se ve todo lo que sé de tí, es lo mismo de siempre. El tiempo que corre conversando los ríos sin fin debajo de la tierra te espero, estoy yo muerto aquí, juntando el tiempo en un cerro de sal, azúcar y cal
You gave up everything to be here beyond me carrying luggage, thinking in South final place cold wind and keep the memories entibiarán What to you is the same as always. Arriving, settling, pensándome on glass talking about what we both cried I’m sorry forgive you, I do not let is no longer all I know of you, is the same as always. The running time talking endless rivers underground I wait, I’m dead here time in gathering a pile of salt, and sugar lime
y la oscuridad aquí,
and darkness here,
es la misma de siempre.
is the same as ever.
La bajada, tú arriba, los misterios, la oscuridad llegando al destino que nos deja solos transformándonos, secando la tierra para habitar otro lugar, junto a las cosas, que son lo mismo de siempre. Conversando, tú afuera yo debajo de la tierra las palabras, los gusanos minerales y las piedras filtra los mensajes-los acórtalos, hacen hablar
The descent, above you, the mysteries, the dark reaching the destination that leaves us alone transforming, dry land to live elsewhere with things that are the same as always. Talking, you out I underground words, the worms minerals and stones filters messages-the acórtalos, do speak
para que al final, sean lo mismo de siempre.
So in the end, are the same as always.
Para que al final, sean lo mismo de siempre.
To that end, are the same as always.
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RPlegaria a un Labrador/ Prayer to a Labrador Quilapayún Arise and see the mountain Coming of wind, sun and water. You you drive the course of the rivers, you who sow the flight of your soul. Get up and look at your hands estréchala to grow your brother. together we will united in blood now is the time which could be tomorrow.
Levántate y mira la montaña de donde viene el viento, el sol y el agua. Tú que manejas el curso de los ríos, tú que sembraste el vuelo de tu alma. Levántate y mírate las manos para crecer estréchala a tu hermano. Juntos iremos unidos en la sangre hoy es el tiempo que puede ser mañana.
Deliver us from that which dominates us in misery. Bring us your kingdom of justice and equality. As the wind blows the flower the creek. Clean as fire the barrel of my rifle. Thy will be done at last here on earth. Give us your strength and courage to fight. As the wind blows the flower the creek. Clean as fire the barrel of my rifle.
Líbranos de aquel que nos domina en la miseria. Tráenos tu reino de justicia e igualdad. Sopla como el viento la flor de la quebrada. Limpia como el fuego el cañón de mi fusil. Hágase por fin tu voluntad aquí en la tierra. Danos tu fuerza y tu valor al combatir. Sopla como el viento la flor de la quebrada. Limpia como el fuego el cañón de mi fusil.
Get up and look at your hands to grow w your brother estréchala together we will go together in the blood now and at the hour of our death
Levántate y mírate las manos w para crecer estréchala a tu hermano juntos iremos unidos en la sangre ahora y en la hora de nuestra muerte
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