El Folklore de Chile Vol. IX, Conjunto Cuncumen.

Siguiendo con los Long Play 33 1/3 RPM. ahora tenemos al Conjunto Cuncumén, en "El Folklore de Chile Vol. IX. este conjunto no necesita presentación para todos ustedes, pero para conocerlos mejor, se incluye lo que cada disco traía en su contratapa, referente a los intérpretes.Geografía musical de Chile (1962)
LADO A
NORTE GRANDE

1. CALICHE, cueca nortina (Calatambo Albarracin).
2. CANTOS A LA VIRGEN DE LA TIRANA: a) Aurora; b) Entrada; c) Procesión. Manifestación tradicionalmente popular, que se efectúa todos los años el 16 de julio, al interior de Iquique. (Tradicional, versión de Rolando Alarcón Soto.
3. CANCIÓN DEL MINERO, versos de rebeldía (Víctor Jara)

NORTE CHICO
4. AL PIE DE LA CRUZ DEL VALLE, canción (recogida en Elqui. Tradicional, versión de Rolando Alarcón Soto).
5. EN SANTIAGO ESTA LA GLORIA, cueca (recogida en Elqui. Tradicional, versión de Rolando Alarcón Soto).
6. PALOMO DESMEMORIADO, polca (recogida en Elqui. Tradicional, versión de Rolando Alarcón Soto).

ZONA CENTRAL

7. ADIOS, ADIOS, MUNDO INDINO, canto a lo Divino (recogida al interior de Melipilla. Tradicional, versión de Rolando Alarcón Soto).
8. LOS ARENEROS, cueca. (Rolando Alarcón Soto)

LADO B

1. PALOMITA, VERTE QUIERO, canción. (Víctor Jara)

ZONA SUR
2. AGUILA QUE VAS VOLANDO, cueca punteada (recogida en Traiguén. Tradicional, versión de Rolando Alarcón Soto).
3. QUE BONITA ESTA ESA MESA, parabién de novios (recogida en Chillán. Tradicional, versión de Rolando Alarcón Soto).
4. PADEZCO GRAVE DOLOR, tonada de desengaño. (recogida en Ñuble. Tradicional, versión de Rolando Alarcón Soto).
5. ACURRACADITA TE ESTOY MIRANDO, tonada (Víctor Jara).
6. POR LOS CANALES SUREÑOS, tonada. (Rolando Alarcón Soto)                                                         ZONA AUSTRAL
7. BUSCA TU VIDA MOZO, nave. Danza de Chiloé. (recogida de Arturo Vallega. Versión de Rolando Alarcón Soto)
8. EN LA PUNTA DE UN MUELLE, cueca chilota (Tradicional, versión de Rolando Alarcón Soto).

Integrantes: Gabriela Yáñez, Nancy Báez, Mariela Ferreira, Lucila Tapia, Clemente Izurieta, Jaime Rojas, Rolando Alarcón y Víctor Jara.

Hay dos posibilidades extremas para enfrentar el folklore.

Una: someterse rigurosamente a sus formas tradicionales.

Otra: tomarlas sólo como un punto de partida para una recreación libre.

En el primer caso se encuentran aquellos que respetan sus contenidos y sus expresiones como un mundo inamovible, permanente, incluso anquilosado, hasta muerto. Entre estos están muchos de los investigadores cuya actitud es la de una antropología de academia o museo.

Entre los segundos se cuentan aquellos para quienes el folklore es un vivo, vigente, actuante; es decir, sometido a las condiciones de cambio y desarrollo de todo lo vivo, de todo lo que obedece a las leyes de las estructuras orgánicas con un constante devenir de formas nuevas, aunque sean formas que obligatoriamente han surgido de otras anteriores, que en ellas tengan sus raíces y sus moldes mas generales.

07_Adi_s_Adi_s_Mundo_Indino.mp3

El conjunto CUNCUMEN inició sus primeros pasos como un grupo del primer tipo. Durante su relativamente corta existencia, tan exitosa, ha manifestado una tendencia cada vez más acentuada hacia una actitud opuesta. Entre la posición conservadora y la renovadora, ha preferido la segunda. Pero aclaremos: no se trata. De ningún modo, de un planteamiento revolucionario, iconoclástico. Su autentico contacto con lo originario les impide caer en la mera originalidad. Son intérpretes vivos, y, como tales, determinan una impronta personal (aunque en este caso sea de grupo), como siempre sucede en todo intérprete o creador verdadero, una impronta que, sin embargo, no se desdice, que respeta profundamente el espíritu nutricio popular, pero que lo expresa en variantes expresamente válidas de los patrones magistrales.

Esto fue claro, por ejemplo, en el recital que nos ofrecieron antes de partir en su segunda gira por Europa, en el Teatro Municipal, en compañía de esa figura máxima que es Margot Loyola. (Curiosamente también en el caso de Margot Loyola se anudan en forma muy sólida lo tradicional y lo personal, lo primero expresado en un sometimiento preciso a los cánones colectivos; lo segundo, en un nivel excepcional por su altísima calidad individual.)

Hemos dicho mas arriba intérprete o creador verdadero. Lo hemos dicho porque en el grupo se dan a la vez los intérpretes y los creadores, y, en ambas posibilidades, se da en ellos el problema que hemos comentado: rigor y libertad. Así, como simples intérpretes, respetan totalmente la forma y el espíritu de un parabién como QUE BONITA ESTA ESA MESA, pero lo varían, enriqueciéndolo, al alternar las voces femeninas y masculinas, una modalidad que puede perfectamente ser el punto de partida de una manera que llegue a ser tradicional.

Lo mismo vale para la forma canónica que han empleado para cantar la Entrada de los Cantos a la Virgen de La Tirana. Ejemplos de esta misma actitud de creadores libres a la vez que sometidos (recreadores vivos, en verdad) tenemos en la CANCIÓN DEL MINERO, de Víctor Jara, donde el autor nos brinda una forma original, pero indudablemente surgida de un fondo colectivo al cual él pertenece casi orgullosamente.

14_Por_Los_Canales_Sure_os.mp3

En el mismo caso está Rolando Alarcón al componer POR LOS CANALES SUREÑOS, donde el punteo, el ritmo y la intervalación, aunque libres respecto a una tradición rígida, obedecen profundamente al espíritu del hombre de esa región, por una especie de simpatía esencial con su vida y el paisaje que lo rodea.

Puede discutirse la validez de nuevos cauce en el folklore, no hay duda. Pero nos parece respetable en extremo; nos parece incluso una aventura que debemos defender cuando ella esta seriamente articulada, tan orgánicamente enraizada con la planta primitiva, como lo está en el grupo CUNCUMEN en todo momento. Quizás de una actitud así dependa el futuro si lo queremos especioso y fértil.

Que esta libertad en el rigor no determina menoscabo en la autenticidad lo demuestra la unidad de este disco, una unidad hecha en base, muy probablemente, del hecho de partir o de emplear un aspecto psicológico típico del hombre chileno. Nos referimos a su melancolía.

No queremos postular, por cierto, que la melancolía sea su única característica, ni siquiera que sea la mas acusada. Pero es, reconozcámoslo, muy nuestra y muy general. Ella va de Norte a Sur, de mar a cordillera, y tiñe tanto una cueca –como en AGUILA QUE VAS VOLANDO- como una tonada –como en PADEZCO GRAVE DOLOR-; tanto un apequeña obra maestra del canto a lo divino, como es ADIOS MUNDO INDINO, como la canción a lo profano, que es AL PIE DE LA CRUZ DEL VALLE; tanto una expresión del Norte, como con los cantos religiosos de La Tirana, como las expresiones del Centro (ADIOS MUNDO INDINO) o del Sur (AGUILA QUE VAS VOLANDO); tanto lo auténticamente folklórico (PALOMO DESMEMORIADO) como lo creado por algunos integrantes del CUNCUMEN (LOS ARENEROS o ACURRACADITA TE ESTOY MIRANDO):

Para terminar, señalemos una virtud del grupo CUNCUMEN que no todos nuestros intérpretes folklóricos tienen. Nos referimos a su habilidad, a su capacidad para adaptarse naturalmente, sin esfuerzo visible y permaneciendo a la vez sinceros y diferentes para cada caso, al espíritu de cada región, de cada zona de nuestro país; esa capacidad de compenetración simpatética de la que es ejemplo señero entre nuestros artistas la ya nombrada Margot Loyola.

El disco aquí presentado ha distribuido nuestras diferentes regiones artístico-espirituales según su ordenación geográfica. Va, así, de Norte a Sur. Esto lo coloca, a la vez que en un recital puramente musical, en un buen muestrario pedagógico, antropológico, de estudio. Esto es algo que también debemos agradecer al grupo CUNCUMEN.

CESAR CECCHI DIAZ

El Folklore de Chile. Volumen IX. Conjunto Cuncumén. EMI Odeón Chilena. LDC-36369. 1962. 33 1/3 RPM. LONG PLAY. Alta Fidelidad. Marca Registrada; Fabricado y Distribuido por Industrias Eléctricas y Musicales Odeón, S. A. – Casilla 186-D – Santiago (Chile)

Más del Conjunto Cuncumén hacer clic en su nombre.

La mayoría de su discografía se encuentra en Discomanía, donde lo atenderán como se merece.

(Ir a Parte 5 Listado "El Folklore de Chile. Volumenes")

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