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7/17/2018
Green Parrot, they tell me you're leaving. If your long absence will be true, tell me Lorito, why do you leave? He wondered with his charango that had the shape of a guitar; with his baritone voice scratching the bowels of the little cordófono to snatch smiles and melancholy.
Jaime Guardia Neyra from Pausa, Ayacucho, is deceased He left an orphan to his charango granted in E minor, who waits for him in his case; to his repertoire of compilations and creations. The most famous charango player in Peru became eternal at dawn yesterday. It has been reported that since last Friday he was hospitalized at Rebagliati hospital, where his family had taken him to emergency because of respiratory problems.
2014 had already reached the Rebagliati intensive care unit and this March, weeks after wearing the 85 year old, had made another forced visit to the hospital. Although his health improved, he was constantly under observation during all these months.
From Pausa
Don Jaime was born on February 10, 1933 and learned in a soft charango that they bought them from Huamanguinos merchants. He learns in his ear, in his city, Pauza, south of Ayacucho; He did it while listening and following other musicians; He did it while he was singing and was a pastor in his grandmother's farm before going to study. His first charango had ropes made of ram's guts.
Although Guardia arrived in Lima for the first time in 1941, because of the problem of the loss of one eye (since he was using a fake eye in this chapter of his life), he returned in Pauza to continue his studies.
Today, Guardia is known for its work in favor of the "charango laminado" or Peruvian charango. His cousin, the normalist Ulises Peve, was important to bring out the musical vocation of Guardia and other Pauza boys, where it was badly seen that children play guitar or charango; and where older families have banned their children from speaking Quechua. In 1950 he returned to Lima to settle permanently, although trips to Ayacucho were permanent in his life until 2014.
He was 16 when he made his debut at the Lima Coliseum as a member of a group that plays Yauyos music. Later, he would figure in the National Coliseum. For this, he had to pbad an exam at the Folklore Section of the Ministry of Education to get a card. On weekends, he was an acclaimed artist and the other days, to survive, he worked with his father-in-law. It was the time when in Lima you were looking over your shoulder at the person singing huainos.
From the beginning, Jaime Guardia was not only satisfied with a repertoire of commercial Huamans, but he was still looking for spaces to broadcast the yaraví. And because of this romantic predisposition, the presenter Luis Pizarro Cerrón would christen him as the "Andean Messenger".
Driven by the thirst for provincial nostalgia, in 1951 with his compatriots Jacinto Peve and Luis Nakayama, Guardia would form Lira Paucina. The iconic group was born as a quintet, then continued as a trio and became very important to Lima-based provincial circles. Guard played the charango and carried the first voice. At the same time, he did not neglect his solo career.
With Lira Paucina, the charanguista will tell of his inspiration one of his greatest successes, the "Madrecita linda" huaino: Madrecita linda, / Why did you leave me to the best of my life? death you have gone, / for eternity, never come back.
Defenderiano Musician
The friendship with José María Arguedas lasted for 17 years and began on a Sunday in 1952 at the Lima Coliseum, in the district of Breña. The anthropologist and the writer were looking for him in the locker room after listening to play.
They began to speak in Quechua, hugged him, and gave him advice that Jaime Guardia maintained as his musical north: "Never change your repertoire to make yourself more commercial, preserve the style of the city and you will be a millionaire of friends ". The musician saw in the writer a tutelary figure. In honor of this friendship, full of anecdotes and songs to the duo of huainos, kaswas, araskaskas and harawies, Arguedas dedicated the novel All Bloods (1964), one of the most important in Latin America: To Jaime Guardia, the city of Pausa, in which the music of Peru is embodied as a fire and tears without limits.
Paradoxes, Guard with the violinist Máximo Damián; the ayenuchano quenista Alejandro Vivanco and scissor dancers Gerardo and Zacarías Chiara, accompanied the coffin Arguedas on December 3, 1969 to the cemetery El Ángel, responding to the request that the Andalusian writer had made before committing suicide.
Contributions
With his traditionalist work, Jaime Guardia has backed up a repertoire that would have been lost today. Also agreements like the "baulín" temperament and others from the south of Ayacucho.
In the sixties, he worked in the Department of Folklore of the House of Culture (now the Ministry of Culture), where he recorded competitions, festivities and artists from the villages. Later, he also qualified folklorists to give them their cards and be able to play on stage.
As a teacher of charango, he has expanded his work at the José María Arguedas National School of Folklore and, more recently, at the PUCP School of Music. However, outside the clbadroom there were more disciples, instrumentalists and luthiers, who followed his advice.
Jaime Guardia was the guardian of the Peruvian charango, which defined the style "more cantadito", more punctuated than rasgueado.
"[Los peruanos] we make watermarks with the picking of the ropes, it's very difficult, we have to train a lot and dedicate ourselves to extracting melodies from the charango", m-## he said in an interview. Glory to Don Jaime. (José Vadillo Vila)
Figure
43 years integrated in the Guardia trio La Lira Paucina.
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