El Condor Pasa Autor Daniel Alomía Robles

Peruvian composer and ethnomusicologist

Daniel Alomía Robles
(3 January 1871 – 17 July 1942) was a Peruvian composer and ethnomusicologist. He is best known for composing the song “El Cóndor Pasa” in 1913 every bit part of a zarzuela — a musical play that alternates betwixt spoken and sung parts — of the same name. This vocal was based on Andean folk songs and is perhaps the best known Peruvian song, partly due to the worldwide success that the melody obtained when it was used past Simon and Garfunkel equally their music for “El Cóndor Pasa (If I Could)”, although that song has different lyrics.

Early life

[edit]

Daniel Alomía Robles was born in Huánuco, Peru, on January 3, 1871^[ane]
to Micaela Robles^[2]
and Marcial Alomía, a French immigrant.^[three]

Alomía Robles said in an interview in 1942 that his get-go exposure to music was when he was vi years sometime when his mother took him to hear mass in Huánuco and he began to sing along with the chorus.^[iv]
Alomía Robles said that he had a good ear and could reproduce whatever sound that he heard and that he took special pleasure every bit a child in singing the indigenous songs of Peru.^[4]

Musical education

[edit]

Alomía Robles attended master schoolhouse at La Mineria in Huánuco and moved with his family to Lima, Peru in 1882.^[1]
[5]
It was while living with an uncle in Lima at the age of 12 that Alomía Robles first heard musical theatre.^[4]

Lima in the early on 20th-century was filled with musical theatre and many well known musicians made their home in Lima.^[4]
Alomía Robles discovered that the theatre needed extras in the chorus line and offered himself so he could hear the music for gratuitous and learn the operettas of that period.^[4]

In Lima, Alomía Robles studied at the college Nuestra Señora de Guadalupe.^[ane]
Alomía Robles’ early interest in music was encouraged there by his teachers Manuel De la Cruz Panizo and Claudio Rebagliatti.^[1]
Alomía Robles says that Rebagliatti took him under his fly and offered to teach him music if Alomía Robles would help o Rebagliatti in his concerts.^[4]

In 1892, Alomía Robles decided to study medicine at University of San Marcos.^[1]
[5]
In his tertiary year he traveled with other students to the Amazon jungle regions where he met Catholic missionary Gabriel Sala, who came to influence Alomía Robles’ life in music.^[two]
Sala had created a city in the Amazon jungle region with 400 men and women who he taught to work in the fields and build their houses.^[6]
Sala said to his people that it was not proficient to work without resting. So every Dominicus at 2:00 PM he brought the people together to sing and trip the light fantastic toe.^[6]

Alomía Robles decided to leave the University in 1894 and dedicate his life to music.^[1]
[five]
Alomía Robles’ family, who had encouraged him to study medicine, were against this change of direction.^[iv]

Musical travels in South America

[edit]

Alomía Robles traveled throughout Peru compiling the stories and myths of the folk music of the Amazon jungle regions and the mountains of the Andes. He connected his collections of versions of the songs from the nearly remote villages of Peru.^[1]
Alomía Robles besides traveled to Bolivia and Republic of ecuador during this period.^[one]

Information technology was during this menstruum that Alomía Robles was appointed to the posts of Subperfecto and Justice of the Peace in Jauja and later mayor of Huacho.^[5]

In Feb 1897, Alomía Robles married Sebastiana Godoy Agostini, a Cuban pianist known as “Chana” whom he had met while he was living in Jauja.^[7]
[eight]
His wife supported him during his travels in Due south America.^[8]
In an interview in 1942 with Esteban Pavletich Trujillo, Alomía Robles credited his wife with the impetus for creating his first musical works.^[4]

In 1910, Alomía Robles published his discovery that the musical structure of Andean music involved a Pentatonic calibration.^[one]
In 1911, Alomía Robles traveled to Argentina for the performance of his first opera
Illa Cori
that told the story of the Inca ruler Huayna Cápac and his conquest of Quito.

Marcela Robles, granddaughter of Alomía Robles, writes that in a time when the musical folklore of Peru was ignored or looked down on, Alomía Robles was a pioneer in collecting the music that otherwise would accept disappeared.^[6]

“El Cóndor Pasa”

[edit]

In 1913, Daniel Alomía Robles equanimous “El Cóndor Pasa”, and the composition was get-go performed publicly at the Teatro Mazzi in Lima.^[i]
The song was equanimous equally office of a zarzuela (Castilian operetta) of potent social content nigh Peruvian miners in Cerro de Pasco and their relations with the strange mining company.^[9]
Marcela Robles writes that the zarzuela contained eight parts and was performed over three,000 times in Lima at the Teatro Mazzi.^[6]

Covers and adaptations

[edit]

The but original version of the zarzuela (7 musical pieces) has been reconstructed and recorded in 2013 past the Colectivo Cultural Centenario;
El Cóndor Pasa
association. The pieces have been written for orchestra and non for Andean instruments. The most famous parts like the prelude, parade and cachua have been covered and adapted from the piano arrangement that Alomía Robles registered patent with The Edward B. Marks Music Corp. in 1933, in New York.

In 1965, the American musician Paul Simon first heard the Los Incas version in a operation at the Théâtre de l’Est Parisien (Paris), in which both Paul Simon and the ring, Los Incas participated. Simon requested apply of the vocal for a future recording, to which Jorge Milchberg, a founding member of the band, wrongly informed him it was a traditional folk tune. Jorge Milchberg farther informed Paul Simon that he is registered as the co-author and the organization on their version and added the well-known introduction which was not part of the original melody.

In 1970, the duo Simon & Garfunkel eventually covered the Los Incas version as “El Cóndor Pasa (If I Could)” for the anthology
Bridge Over Troubled Water, with the added English lyrics by Paul Simon. The recording which attracted international acclaim and success. Equally Simon had believed the song to be a traditional Andean folk melody, just his name appeared as writer of the lyrics. Daniel Alomía Robles’ son, Peruvian filmmaker Armando Robles Godoy, successfully sued for royalties and even later wrote new Spanish lyrics for the song himself, using Paul Simon’s version every bit a reference. He diameter no malice towards Simon for what he considered a misunderstanding and an honest mistake on the grounds that Simon had relied on misinformation.^[x]

In December 1996, the World Intellectual Property System (WIPO), enacted the Rights Of Performers (Moral Rights Of Performers); also known as “The Morality Treaty” into sanction. The parade and the cachua take been widely covered and spread, and in some cases, lyrics have been added (all of them should exist considered apocryphal) and more often than not their rhythms and instrumentations have been inverse.

Life in the U.s.a.

[edit]

In 1919, Alomía Robles traveled to the United States, living in New York Urban center for fourteen years until his return to Peru in 1933.^[1]
He found life in the United States hard and a abiding serial of ups and downs fifty-fifty later he won 3rd prize in a musical contest with 3,000 competitors.^[four]
During his time in the The states, Alomía Robles performed in concerts, recorded music, and offered talks about Peruvian music.^[5]

Sebastiana Godoy Agostini traveled to New York with her married man, but died of cancer the year after her arrival.^[viii]
Her sister, Carmela Godoy Agostini, had accompanied the couple to New York to take care of Sebastiana during her illness.^[8]
In 1922, two years afterwards his wife’south decease, Alomía Robles married Carmela Godoy Agostini, and together they had two children, Armando and Mario.^{[iii]
[eight]
[eleven]}
Marcela Robles writes that her grandmother Carmela Godoy Agostini supported the family during the Depression in New York City by selling paper flowers while Alomía Robles sat in forepart of his pianoforte pursuing his music indifferent to his environment.^[8]

Alomía Robles’ second youngest child, Armando Robles Godoy, who became a well known Peruvian picture manager,^[10]
says that in his fourteen years in New York City, his male parent never learned to speak English.^[3]
He also said his father had a beautiful baritone voice and was obsessed with the number
seven, merely ane of the mysteries that surrounded the magical world that his male parent lived in.^[3]

The New York Times
reported on July 25, 1930 that the Goldman Band led past conductor Edwin Frank Goldman had played a plan of Peruvian music composed by Alomía Robles on the campus of New York University.^[12]
At the conclusion of the offset one-half of the program Alomía Robles presented a bust of Mr. Goldman to the usher.^[12]
Alomía Robles pointed out in a brief address that Mr. Goldman was the only American usher who had made extensive employ of Peruvian music.^[12]
The plan included five compositions past Alomía Robles, “March Peru”, “En Los Andes”, “Hymn To The Sunday”, “Cashua” and “Fondero”.^[12]

According to
The New York Times, “several of his compositions were based on ancient Inca melodies, furthermore the music from which “Hymn To The Sun” was arranged is estimated to be most 3,000 years old.”^[12]

Alomía Robles returned to Peru in 1933 later on fourteen years in the The states^[1]
and took up the post of the head of the Department of Fine Arts at the Ministry of Pedagogy in Lima, Peru.^[thirteen]
His son Sebastian Tomas Robles remained in the United states and in 1933 became a staff cartoonist for the Editors Press Service in New York Urban center and was selected past
The Washington Post
to sketch authorities personalities for the National Gallery.^[11]

Musical legacy

[edit]

Alomía Robles compiled over 700 compositions of popular music of Peru^[fourteen]
and according to the itemize compiled past Rodolfo Holzmann in 1943,^[fourteen]
Alomía Robles composed more than 238 songs^[xiv]
including “El Indio”, “Resurgimiento De Los Andes”, “Amanecer Andino”, “Danza Huanca” and “Alcedo Y Su Ballet”.^[one]
In 1990, Armando Robles Godoy published a folio of his begetter’s compositions,
Himno Al Sol: La Obra Folclórica Y Musical De Daniel Alomía Robles.^[ten]
Armando Robles Godoy said this was a labor of dear. The research alone took him two years to collect the pieces with the help of Enrique Pinilla y Édgar Valcárcel.^[x]
In a 1940 article on the state of music in Republic of peru,
The New York Times
praised Alomía Robles as having “a considerable natural talent” and for “bettering the knowledge of the folklore of his country.”^[15]

Personal life

[edit]

Daniel Alomía Robles was married to Sebastiana Godoy Agostini with whom he had ten children including four sons: Jack, Felix, Ernest, and Carlos.^[3]
[11]
After Sebastiana’s decease from cancer, he married her sister, Carmela Godoy Agostini, with whom he had two more than children: Mario and Armando.^{[3]
[8]
[eleven]}

Robles died of sepsis on June xviii, 1942 at Chosica, about 30 miles from Lima.^[ane]
[16]

On August 14, 1996 his remains were returned to his hometown of Huánuco where they were received past thousands of people.^[ii]

On December 1, 2006 the family of Alomía Robles, represented by his son Armando Robles Godoy, donated the original manuscripts of all Daniel Alomía Robles’ compositions to the Cosmic University Of Peru.^[xiv]
The manuscripts included the originals of “El Cóndor Pasa” and “Himno Al Sol”, and all of the “Colección Folklórica”.^[14]

References

[edit]

• Varallanos, José. (1988). “El cóndor pasa. Vida y obra de Daniel Alomía Robles”. Talleres Gráficos P.I. Villanueva. S.A. subject to law 13714. First edition, November 1988. Lima-Perú.
• Colectivo Cultural Centenario El Cóndor Pasa, ed. (2013). El cóndor pasa…Cien años después. Lima. ISBN 9786124647208. Registered in the National Library of Peru.
• Salazar Mejía, Luis (2013). El misterio del cóndor: Memoria e historia de “El cóndor pasa…”. Lima: Taky Onqoy Ediciones. ISBN 9786124660504. Registered in the National Library of Peru.
• Cerrón Fetta Mario, (2014). Cuadernos de Música Peruana Nº 12. Lima.Editorial/ Cuadernos de Música. Annals: Legal deposit Nº2008-06894. Registered in the National Library of Peru.

External links

[edit]

• Complimentary scores by Daniel Alomía Robles at the International Music Score Library Projection (IMSLP)