Abstract
This chapter examines the last three recordings of Violeta Parra: Recordando a Chile (EMI Odeon, 1965), Las últimas composiciones de Violeta Parra (RCA, 1966), and the posthumous Canciones reencontradas en París (Peña de Los Parra/DICAP, 1971). In these LPs, Parra reproduced musical and socio-political processes, making her a composer worthy of the name Mother of the Nueva Canción Chilena [Chilean New Song]. Her influence on the new song extends throughout Latin America. Parra’s music, poetry, performance, and life combine to construct a legacy that remains valid and pertinent up to the present day, offering us new worlds to discover and inhabit. Her creative and critical works have made a substantial contribution to the shape of Chilean cultural identity.
This essay is translated from its original Spanish.
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Notes
- 1.
For further study on Violeta Parra’s modality as a maker of lo auténtico, see Aravena (2001).
- 2.
See transcriptions and preliminary study of the “Anticuecas” in Concha et al. (1993).
- 3.
In addition, the seguidilla’s inclusion in the second stanza in the Chilean cueca gives it great prominence in the nation’s traditional culture.
- 4.
- 5.
Violeta continued singing this sirilla in her public performances (Geneva 1965). It was recorded by Isabel on a 1970 album dedicated to her mother.
- 6.
See Carmen Luisa Arce’s interview in Rodríguez (1984).
- 7.
These last two songs were also released on the posthumous album. This time, however, “Levántate Huenchullán” had the title “Arauco tiene una pena” [Arauco Has an Ache].
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González, J.P. (2018). Creator of Worlds and Songs. In: Vilches, P. (eds) Mapping Violeta Parra’s Cultural Landscapes. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-69302-6_6
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