HISTORY OF MUSIC COASTAL 
"True folk music is the POLKA Corrientes Corrientes or LA polkit. The" chamamé "never existed in my province. That is a lie. is an invention of Buenos Aires. " (Transit Cocomarola)
"The peasant Corrientes had never heard the word" chamamé. "Less to refer to some music or dance in the region. The real thing, the true, the only truth is that as Corrientes, the peasants of the coast which dancing was the polkit Correntina, or "CORRENTINITA" as they said in some places. "Chamamé" was an invention of Buenos Aires "(Antonio Giannantonio)
" The chamamé is a lie invented by who did not know folk events in my province. I remember well that the countrywomen Corrientes Corrientes dancing the Polka. And he touched on "two rows", the "Cordon" typical, accompanied by guitars. The music was exclusively to dance. "(Emilio Chamorro)
" As a connoisseur of the habits of campiriño Corrientes, I can assure you, Visconti Vallejos, Corrientes to folk music, which then invaded several coastal provinces, was the polkit Corrientes. That was played and danced. I was surprised when back in the thirties began circulating a record that included a song that said "Chamamé Correntino." Investigated. Consultation between the peasantry and they never could explain this. Even people who knew the Guarani told me he had never heard that word. Therefore could not tell me it meant "chamamé." Less to refer people to this music. "(Evaristo Fernandez Rivas)
" The power of broadcast and commercial interests imposed the name "chamamé" to refer to folklore Corrientes. This name was invented by Samuel Aguayo and made to differentiate it from the Paraguayan music. He recorded the first disk with that name in the decade of 30. It is unfortunate that plays with people's feelings "(Joaquín López Flores)
" I fought. I was attacked and maligned, even with the teacher Emilio Chamorro put the name of "jacket" to refer to folklore Corrientes. I also proposed Pu-ku-Gue (Ball Field) to banish this barbarity with which they had christened our Polka Correntina by commercial interests, calling Chamamé. All was useless. Powerful interests ultimately prevailed and the true manifestation of the folk people of the town was renamed Corrientes. But the truth is that the peasantry had created the polkit Corrientes. "(José Osvaldo Sosa Cordero.
would long continue enumerating concepts about the origin of the coast native art. All those who truly knew the folklore of the northeast, agreed that Correntina POLKA is the real manifestation of the feeling of campiriño. In my book "HISTORY OF THE COAST MUSIC (in preparation) I announce hundreds of documents that show us the irrefutable truth on that subject. But I transcribe but not bad, part of what he wrote the "Father of Folklore Argentino" John B. Ambrosetti, his trip to Corrientes and north of the province of Santa Fe in 1885. In his book "Journey of a Maturrango" page 45 says: When in Corrientes, night out again, how many trips hit by these paths of God, while he kept a little envy some army guys who had "armed bailecitos the houses of the shore," this unique course for their people. The guitars played polkas correntinas those endless, there is dancing for a quarter of an hour without break, very nice perspective for them, but to annihilate all of us. "Later
Ambrosetti says:" Singing the polka to the cries stopped guitar and left, because I could not put up with the spraying of an old slow smoking next to me. "
On page 54 of the same book Ambrosetti, being in the town of Reconquista (north of Santa Fe) recounts the visit to the wake of an angel and says, "After a while found the rosary and the first chords of the accordion and guitar orchestra were heard. He began dancing in honor of the angel, the polkas he had heard flows occur again soon the room was filled with a cloud of brick dust raised by the dancers, who are squeezed huddled, trying to get along with the beat. "
"The polka was endless. The faces are animated, colored bright red faces that seemed to explode, the eyes more than usual Brilliants looking in a strange way."
NAME HISTORY Chamamé
I write for those who silent. Shouting for those who were silenced. Act by which trembled. Telling the truth by those who hesitate and with the same links that chained the historical fact of the birth of the name "chamamé" to denote the northeastern Argentine folk expression, wound so that the lackeys of lies and broken due to falling long before the supreme horror that will cause them the truth.
Have you heard a parrot, comment on what I said? No. It says that the parrot because the parrot does not discern, only repeats what he heard from someone. There are still
personal enemies of truth, as there are personal enemnigos light. Are those living with the pride of his own dark blindness and inability. For them there are two things intangible and sacred: the darkness and deception. They say: Do not touch it! Do not make light of them!
not say the truth, do not make light of the past. Yet it is necessary to say so many lies and FIN talk. You have to put light and say, for once, the whole truth about our coastal regional music. In this, I am relentless, because he drives the dizzying whirlwind ever.
I want to break this strange concert of the disabled, the profiteers, the opportunists in power, that there will always be there and who live at the expense of people's feelings.
feeds history facts, and events are counted, not invented. Comment on the fact, that is the work of the historian, the researcher. Based on documents must bring the clarity of the events. To this we add the passion eu. I particularly feel for everything along the coast. Because history without passion is like telling the story without a soul. Judge the facts through the documents, or the people who made that history. In this case, those who made the name "chamamé" to nominate the folk music of Corrientes. Judging means passion, indicates the movement to defend or attack. In this case, I defend the truth about the folklore of the northwest and attacked the lies and their representatives. HISTORIC DATE
THE April 25, 1929 the Paraguayan singer Samuel Aguayo recorded his first album on RCA. Title: Floripa MI (Coembotá). A Paraguayan polka. Given the success, the managers decide that record immediately Aguayo other topics. And out: Caarapó, Paraguay Nights, Mini-wedge-Mi, all by the year 1929. Aguayo
The event is so great that the management of RCA began to receive countless letters asking Corrientes music is recorded. Tax the singer of the facts, says that "he does not know Corrientes music." In response, the steering JUAN CARLOS CASAS suggests you try to look fashionable composer of that era: PRACANICO FRANCISCO (Sampedrino) to see if they can hacer algo.
Luego de muchas serenatas efectuadas por Aguayo ante la casa de Pracánico (que vivía por el barrio de Saavedra en ese entonces) éste lo recibe y ante el pedido del cantor guaraní le expresa que no conoce la música correntina, a lo que Aguayo le responde que le dejaba unos discos grabados por él, para ver si sobre ellos, podía sacar algo.
Ante la insistencia del cantor, Pracánico le da el sí y se pone a trabajar. Invita a su dilecto amigo Diego Novillo Quiroga para que le ponga letra a un tema que él había creado, tomando como base las composiciones que había escuchado a través de los discos que Aguayo le había dejado. Digamos que Novillo Quiroga (biznieto de Facundo), gran folklorist, had as a Paraguayan maid and she taught him some words in Guarani. When work is finished
Samuel Aguayo invite to listen to the new theme to see if he was satisfied. One afternoon in December 1930 carried out a test. Pracánico
sitting at the piano musical piece elecuta Novilara Quiroga while humming the lyrics. Finished, to Samuel Aguayo immediately and point blank says: "This is a chamamé worse." Surprised
Quiroga Novillo Pracánico and ask "What is that?
"Well, answered Aguayo, chamamé in Paraguay say a thing done well ... just like that. Without much compromise. In other words, the paunch. Middle broken. Here mixing English words with Guarani, so I say "chamamé."
"Well, answered Pracánico, if you feel that" chamamé "Okay, let's put" chamamé "and it's over.
"I'll add another thing, says Aguayo. As I asked subjects RCA Corrientes, Corrientes and we put Chamamé conformists. "That title
give" asks Pracánico to responding Aguayo-"THE FLOWER OF CURRENT" (Corrientes Poty). "Okay
Pracánico and Novillo said Quiroga. And so there was intellectual property.
This is the story I have told true birth of a new nomination in the folklore of the coast and told written and faithfully as I said Mr. FRANCISCO PRACANICO in 1969 and confirmed later by Mr. SAMUEL AGUAYO:
On February 11, 1931 Samuel Aguayo record the first piece under the title chamamé to refer to music correntina that the citizen is completely unaware, as the polka campiriño had folklorizado European country had reached back in 1850 calling it simply POLKA or polkit Correntina:
In May of 1931, as the RCA catalog, goes on plate sale, on the back is imprinted with a theme of Aguayo entitled: "The woman who spoiled me," a Paraguayan polka. The album is the number 60,625. Both recordings were made Aguayo and his tribe. That values \u200b\u200bmy disco album. FLOWER
CURRENT
had an extraordinary success. The possibly renamed Corrientes music never think that this title would become a "boomerang." Featured artists incorporated
, upon the request of the public, this new song for them. Dorita Davys was a success. The same Inacio Corsini, who recorded it. PURPOSE
Volume No. 1 of "The Birth of chamamé", as can be seen by the titles and dates of recordings, is truly historic. RCA is proud to promote this type of study on the national folklore. More if you note that it was the cause of the new name of northeastern folklore, which was then so popular in the folk world.
A LITTLE MORE HISTORY
This first full-length covers the period from 30 to 40 and corresponds to the first set correntinos who recorded the music of the coast. The first thing he did was Don Mauricio Valenzuela with his legendary "Goyal Tribe." The first song was recorded on April 7, 1936. Its title-Polka JANUARY 6 Correntina, authored by himself in cooperation with Porfirio Valenzuela Zappa. Corrientes
The second set that record for RCA was Don Emilio Guarani music CHAMORRO, and he did with his song entitled THE TATU chamamé Corrientes and made on 11 August 1936. Corrientes
The third set leading to the disc plate Northeast regionalers issues was Don MARCOS H. RAMIREZ. Topic: Guazú LOMA, chamamé Corrientes. Recording: June 2, 1937. Here is a cautionary note: the master Ramírez was the first recorded music accordionist Guarani. People came to the famous Goya.
Worthy of note is the title of the second chamamé which is incorporated into the musical history of the coast: "I'M DYING FOR LOVE", author Samuel Aguayo, committed to record on February 11, 1931. Aguayo also corresponds to the first recording of the most typical known Correntina POLKA: THE CARAU and the title song on the plate just Correntina. Recorded on March 24, 1931.
RCA to launch the "Birth of chamamé" want to meet the high demand Corrientes music is on the market. It also carries the intention of getting to the youth as they really played music correntina the first set. It also rescues from oblivion names are legend: VALENZUELA, CHAMORRO, MARK H. RAMIREZ, PABLO DOMINGUEZ et al.
APRIL 1977 - RICHARD A. VISCONTI VALLEJOS
Chamamé HISTORY RCA VIK LZ-1393
01. FLOWER POWER (Corrientes Poty)-Corrientes-Samuel chamamé Aguayo and his Tribe, sings Samuel Aguayo-(Diego Novillo Quiroga, Francisco PRACANICO) - 11/2/31
02. St. Joseph-Traditional chamamé-Trio Corrientes Emilio Chamorro-(Emilio Chamorro) 5/9/36
03. La Llorona-chamamé-Trio Corrientes Valenzuela, Pedro de Ciervo-sing (Mauricio Valenzuela, Porfirio Zappa-25/7/45
04. Ombu Vuelta-chamamé-Trio Corrientes Typical Emilio Chamorro-(screwed Roberto Campos, Emilio Chamorro) - 1/12/42
05. MACHAGAI-chamamé typical Cuarteto-Corrientes-Ramirez (Santiago Barrientos) -21/6/40
06. Aguará Chai-chamamé-Mauricio Valenzuela y su set correntino-(Mauricio Valenzuela) -11 / 9 / 52
07. guyra Campaign (Pajares campana)-polka reason popular-21/12/38
08. LA-chamamé POLLONE typical Typical Trio Corrientes Corrientes-Valenzuela-Guard (Angel I. Guardia) 29/10/1936
09. Your life-Trio-chamamé Correntino Emilio Chamorro Typical-(Isaac Abitbol) -12/5/39
10. El Hormiguero-Corrientes-singing quartet sings Correntino Ramirez Manuel Gómez-(J. González, A. Giannantonio) -29/5/47
11. LOMA-chamamé-Trio MALVINAS Correntino Porfirio Valenzuela recites Zappa-(Porfirio Zappa, Mauricio Valenzuela, P. Ruiz Diaz) -25/7/48
12. EL-chamame CARAU typical Typical Trio Corrientes Corrientes-Valenzuela-Guard-(Recop. M. Valenzuela)
13. LLEGO EL DIA DE MI SANTO (Holy che Ongualhe ara)-Corrientes-Quartet typical waltz Correntino Ramirez-(Mark M. Ramirez) -29/12/38
14. Posadas, Corrientes polka-The Kunumi-(Luis Acosta, Emilio Chamorro) -27/7/50
Download from here Filename: Various-The History of ChamaméVol1.rar Size: 49.83 MB
