El Folklore de Chile Vol. X. Conjunto Millaray (1962).

Siguiendo en nuestro "recordatorio" de Conjuntos e intérpretes de nuestro folclore, en la serie editada por Emi Odeón Chilena, "Folklore Chileno Vol.", mostramos a continuación al Conjunto Millaray.

Y aquí una referencia que hace la página www.musicapopular.cl , que es la página que hace mención a todo lo relacionado con la música chilena.

"El conocimiento y la difusión del folclore chilote en Chile tiene como nombre mayor el de Millaray, el grupo fundado en 1958 por la investigadora y folclorista Gabriela Pizarro que, junto a Cuncumén, fue uno de los más influyentes conjuntos de proyección folclórica iniciados al alero de Margot Loyola y Violeta Parra en los años ‘50".

Hasta aquí la cita en Música Popular, un muy buen sitio que deben visitar, y sobre todo los amigos conocedores del folklore, ya que ellos "aceptan y reciben" toda clase de colaboración para completar una "enciclopedia de la música popular", donde estén todos nuestros conjuntos e intérpretes que aportaron a nuestra cultura chilena.

Seguimos con Millaray y el "Folklore de Chile Vol. X", titulado "Conjunto Milaray".

SERIE  EL FOLKLORE DE CHILE.
VOLUMEN 10

GEOGRAFIA MUSICAL DE CHILE. 

CONJUNTO MILLARAY.

ZONA  NORTE
1    Huachi  torito. Versión de Gabriela Pizarro , de don Alfredo.
2    En Arica me embarqué. Cueca nortina, versión de Gabriela Pizarro.
3    El cachimbo. Danza de pareja, versión de Gabriela Pizarro.

ZONA CENTRAL
4    Despierta,vidita mía.Esquinazo, versión de Amelia Pino.
5    Zamba ay si.Refalosa campesina, versión de Filemón Cid.
6    No quiuero querer a nadie. Cueca punteada, versión de Margot Loyola.
7    El hachero. Canción campesina, versión de Gabriela Pizarro.

ZONA SUR
8    Del cuero de una naranja.  Cueca, versión de Héctor Pavéz.
9    En Valdivia canta un gallo. Cueca, versión de Héctor Pavéz.

ISLA DE CHILOE
10    La trastasera. Baile recogido por Gabriela Pizarro.
11    La pericona. Danza recogida por Hector Pavéz.
12    La huillincana.  Cueca recogida por Hector Pavéz.
    
EMI  ODEON         LDC-3630            1962

En la parte posterior de la carátula de este Long Play, va una carta manuscrita de la maestra Margot Loyola, que se refiere al Conjunto Millaray en los siguientes términos:

"El mayor mérito del conjunto "Millaray" es su autenticidad.
Gabriela Pizarro y Héctor Pavez, sus principales animadores, han vivido en el norte junto al hombre pampino, en la zona central con los campesinos, más al sur con los chilotes, asimilando su psicología, sus costumbres, su forma de expresión en el canto y la danza. Ellos no se limitan a repetir una melodía o un movimiento. Viven hondamente cada canción, cada baile.

A través de sus interpretaciones podemos descubrir el mundo insospechado y profundo de Chile, su simplicidad, la gracia ingenua, burlona, triste o alegre, de nuestro pueblo.
Sus voces tienen peso de tierra. Auguro a este joven conjunto una brillante carrera, se la merecen de sobra por su modestia, su honradez, su pasión, su total y certera identificación con el hecho folklórico que transmiten.

—Margot Loyola Julio - 18 - 1962".

Emi Odeón Chile, en razón al Bicentenario ha reeditado algunos Long Play 33 1/3 RPM, en formato CD. Afortunadamente, tengo este ejemplar que trae 2 long Play de la época: "El Folklore de Chile Vol.X y XII", correspondiente a la producción del Conjunto Millaray.

Es la oportunidad de tener este Cd de colección, para los amantes de nuestra música. Y aquí transcribo, el texto de este Cd que nos habla de Millaray.
 
"Millaray era un conjunto de cantos y danzas, y como tal todos sus integrantes eran duchos en ambas disciplinas. Grabado por Gabriela Pizarro, Nelly Pavez, Raquel Pavez, Lidia Durán, Héctor Pavez, Carlos "Negro" Medel, Romilio Chandía y Delfín Salgado.

Su primer disco, El folklore de Chile Vol. X - Conjunto Millaray (1962) recoge doce canciones ordenadas entre zona norte, zona central, zona sur y Chiloé; y el segundo, El folklore de Chile Vol. XII - Canciones y danzas chilenas (1963) lo complementa con trece nuevas composiciones en el mismo orden.

Y si Gabriela Pizarro ha sido reconocida como una profesora innata, las notas originales del primer LP lo corroboran con su didáctica ilustración del repertorio:

Zona norte:

Huachi torito - versión de Gabriela Pizarro, recogida de "Don Alfredo", ex cantor y bailarín de las comparsas o cofradías iquiqueñas. Esta misma versión existe en Iquique y Calama.

En Arica me embarqué - cueca nortina. Higinio Godoy entregó a Gabriela Pizarro esta cueca que en su letra alude a los puertos nortinos y a la Guerra del Pacífico.

El cachimbo - danza de pareja, versión recogida por Gabriela Pizarro. Este baile nortino, recogido en Iquique, es actualmente muy popular en la celebración de fiestas profanas en las quebradas del interior de las provincias del norte grande. Se canta acompañado de guitarras, tambor, bombo y pito. Su interpretación es alegre y en su animación participan todos los espectadores batiendo palmas.

Zona central:

Despierta, vidita mía - esquinazo, tonada de sorpresa para saludar a un santo o festejado, costumbre que aún se conserva en la Zona Central de Chile, especialmente en la provincia de Colchagua, donde este tema fue recogido en la versión de la cantora doña Amelia Pino viuda de Fernández.

Zamba y sí - refalosa campesina, recogida en Bio-Bio de don Filemón Cid, cantor popular de la zona, quien además tiene en su repertorio innumerables cuecas, tonadas v cantos a lo Humano v a lo Divino.

No quiero querer a nadie - Margot Loyola enseñó a Gabriela Pizarra esta cueca punteada recogida de Purita Martínez, cantora de Pomaire.

El hachero - canción campesina de la región de Chillán, enseñada a Gabriela Pizarro por la señora Flor Parra, miembro de una familia de cantores.

Zona sur:

De cuero de una naranja / En Valdivia canta un gallo - cuecas. Enseñadas a Héctor Pavez por don Tránsito de la Sierra Soto, cantor de Calbuco. Don Tránsito fue en vida el más afamado cantor del lugar, y enseñó al conjunto estas dos versiones en su propia casa.

Isla de Chiloé:

La trastrasera - baile recogido por Gabriela Pizarro. Este baile, aprendido al interior de Dalcahue, acusa influencias españolas y huilliches. Casi jugando, los bailarines obedecen las indicaciones del cantor, quien con sus versos va dictando los movimientos.

La pericona - danza recogida por Héctor Pavez. En Puchabrán, lugar situado al interior del pueblo de San Juan, en la región norte de la Isla de Chiloé, se encontró este baile, uno de los más difundidos en la isla, y se aprendió, durante la celebración de una minga, de un cantor llamado José Concepción Bahamonde, apodado Canahue; se baila de preferencia cuando el ánimo de los invitados es muy alegre. Intervienen en él dos mujeres y dos hombres, quienes enarbolan los pañuelos alegremente, las mujeres ejecutan movimientos ágiles y suaves, haciendo delicadas figuras con el vestido; los hombres se muestran recios en un incesante zapateo redoblado.

La huillincana - cueca recogida por Héctor Pavez. Las huillincanas y las cucahuanas son los nombres de las cuecas del sur de Chiloé. Sus características son inconfundibles, pues el cantor huilliche se hace acompañar por el tambor, el acordeón y la guitarra. Se observa además en esta cueca la ausencia de cuarteta inicial".

Más referencias al Conjunto Millaray en:
www.musicapopular.cl

(Ir a Parte 6, Conjunto Cuncumen. Cuecas).

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