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Arequipa Peru: nostalgia y música

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For Peruvians abroad there are several composers and singers who have universally “touched the chord of nostalgia” and produced what could be considered unofficial international anthems of the diaspora*. César Alfredo Miró Quesada Bahamonde, better known as César Miró(See footnote) (1907-1999) created the nostalgically beautiful “Todos vuelven a la tierra en que nacieron al embrujo incomparable de su sol . . ." (For other verses see below). The best known version,(see this blog for an example of how Peruvians feel about it) perhaps, is that of Jesús Vásquez and Victor Dávalos. She had (Jesus can be a “she”, in this case María de Jesus, and Maria a “he” in Latin America) previously recorded “Todos vuelven” as a solo piece*. Victor Dávalos was from Arequipa in the South of Peru, and formed p If anything looks wrong, improve it - directly onto the "edit" page. The existing page will be archived "as is". Your changes will appear on a page "on top". If you want to go back to the original you can do so at any time. Remember to use the preview button to check your revisions before saving. Assignment. Use the mixed media techniques below to compose a short article on the music of Chincha, Cañete, Pisco, . . . Create a new article only if there is no page open for you to edit or add to. Use the facilities of Open Collaborative Editing to pool your efforts with others.

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For Peruvians abroad there are several composers and singers who have universally “touched the chord of nostalgia” and produced what could be considered unofficial international anthems of the diaspora*. César Alfredo Miró Quesada Bahamonde, better known as César Miró(See footnote) (1907-1999) created the nostalgically beautiful “Todos vuelven a la tierra en que nacieron al embrujo incomparable de su sol . . ." (For other verses see below). The best known version,(see this blog for an example of how Peruvians feel about it) perhaps, is that of Jesús Vásquez and Victor Dávalos. She had (Jesus can be a “she”, in this case María de Jesus, and Maria a “he” in Latin America) previously recorded “Todos vuelven” as a solo piece*. Victor Dávalos was from Arequipa in the South of Peru, and formed part of the famous Los Hnos (Brothers) Dávalos. Alternating between solo and duet in this famous creole* waltz, Vásquez and Dávalos have produced an international masterpiece which reaches the hearts of millions, especially at times, such as now (National Day 28 July and Arequipa Day 15 August . . .), when Peruvians abroad are thinking particularly of their “home” country. A rather more modern version is that of the 1991 New Orleans Jazz Festival http://uk.youtube.com/watch?v=-DpNcCZTsdU in which Ruben Blades internationalises the song. But perhaps more appropriate for the Dia de Arequipa on August 15th, at least for the grey-haired brigade, is Los Davalos singing Rio de Arequipa or Blanca Ciudad or Melgar . . . or La Chabuca Granda with her inimitable Arequipay. Chabuca also gave Peru its own mass and in this version Rafael Matallana interprets the Kyrie y Gloria of Chabuc'a Misa Criolla performed at the Concierto de Navidad 1996 in Lima’s main square, infront of the Cathedral. And whilst we are at the more “highbrow” end of the Peruvian cultural spectrum, it might be interesting to eavesdrop in on Luis Antonio Meza’s concerto performed by Liliana Cino with the Orquesta Sinfónica Nacional del Perú, director José Carlos Santos. N.B. Two of the most popular U-tubers videos about Arequipa are: (1) Arequipa, Peru and (2) Arequipa (These are the titles used on the YouTube screen) Footnote 1. James Higgins comments that "the most significant development from the 1930s onwards was the adoption of the canción criolla by Lima’s middle classes, who found in it an expression of their sense of themselves as Peruvians." Writers and intellectuals also took to the canción criolla. "In the 1930s, for example, the writer César Miró, then living in Paris, opted to express his homesickness for Peru through the medium of the vals, composing in the process one of the canonical works of the genre, ‘Todos vuelven’ . . . (Higgins, James. The Canción Criolla, Journal of Peruvian Cultural Studies. If anything looks wrong, improve it - directly onto the "edit" page. The existing page will be archived "as is". Your changes will appear on a page "on top". If you want to go back to the original you can do so at any time. Remember to use the preview button to check your revisions before saving. Assignment. Use the mixed media techniques below to compose a short article on the music of Chincha, Cañete, Pisco, . . . Create a new article only if there is no page open for you to edit or add to. Use the facilities of Open Collaborative Editing to pool your efforts with others.