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En Tornasol

by Orlando Furioso

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about

Esta obra es un tributo a la compositora, etnomusicóloga, artista visual, y poeta Violeta Parra, quizás la figure más importante del movimiento hoy conocido como Nueva Canción. En una de sus composiciones más conocidas, "Arriba quemando el sol", describe las duras condiciones de vida de los trabajadores en el norte chileno. La música que compuso Parra como acompañamiento se limita a un solo acorde, que, así como el refrán de la canción, insiste imperturbado: "Y arriba quemando el sol."

"En Tornasol", a su vez, se basa en un hexacordo microtonal construido a partir de las cuartas de la melodía original. Esta armonía se invierte continuamente, generando una secuencia descendiente sin cambiar de acorde, generando un efecto caleidoscópico. La escritura para clavecín se inspira en el guitarrón chileno, y la estructura rítmica de la obra es una abstracción de la cueca chilena que prioriza capturar el 'parecido familiar' de las músicas latinoamericanas, antes que su preservación literal.

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This piece is a tribute to composer, ethnomusicologist, visual artist, and poet Violeta Parra, perhaps the most important figure in the mid- century revival of Latin American folk now known as Nueva Canción. In one of her most well-known compositions, "Arriba quemando el sol", she describes the abject living conditions of the rural Chilean north and the resilience of those who live there. The music to which this poem is set is a single stubborn major chord, which remains uninterrupted from beginning to end, echoing the last verse of each stanza: Y arriba quemando el sol — And above, the sun burns.

"En tornasol" is based on a single hexachord built out of the fourths that the original melody opens with, which is continuously inverted yielding a descending, spiraling sequence, continuously turning and returning — as if the sun suddenly melted or were seen through a kaleidoscope. The harpsichord is used as a reimagined guitarrón chileno, an autochthonous Chilean lute-like instrument with 25 strings, and rhythmic approaches abstracted from cueca and other Latin American rhythms, resulting in an eclectic collage that — mirroring Parra’s own compositional practice — strives to capture a certain family resemblance, rather than literal preservation, of Latin American folk.

credits

released July 26, 2022
Niña Tormenta - Vocals
David Acevedo - Trumpet
Andrew Boudreau - Harpsichord
Daniel Hass - Cello
David Leon - Woodwinds
Alec Goldfarb - Guitar
Vicente Hansen Atria - Drums, Compositions
Simón Willson - Contrabass

Text by Violeta Parra

Recorded by Michael Pérez Cisneros at Big Orange Sheep on October 14th and 15th, 2020

Produced by Vicente Hansen Atria & Phillip Golub
Mixed by Vicente Hansen Atria
Mastered by Eivind Opsvik

Original Artwork by Martín Bruce

This recording is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC).

Proyecto financiado por el Fondo para el Fomento de la Música Nacional, convocatoria 2020

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Vicente Atria Brooklyn, New York

Vicente Atria is a Chilean composer and drummer. His music riffs on a wide range of idioms, from renaissance dances to Korean sanjo, creating lucid, futuristic sonic worlds.

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