...y así será - Vidala de aire (2016)

para cuarteto de cuerdas / for string quartet


Aretz: El Folklore Musical Argentino, Ricordi Americana, Buenos Aires, 1952

Aretz: El Folklore Musical Argentino, Ricordi Americana, Buenos Aires, 1952

Esta pieza se basa en material proveniente de una vidala anónima incluida en el libro "El Folklore Musical Argentino" de la musicóloga Argentino-Venezolana Isabel Aretz (Ricordi Americana, Buenos Aires, 1952). 

El nombre "Vidala de aire" es una modificación de la expresión "aire de [...]", usualmente referido a una pieza popular de raíz folclórica que deriva de una especie tradicional sin respetar su forma o estructura originales.

La cita es tan elusiva que la vidala originaria pareciera no estar realmente 'presente', pero -al mismo tiempo- 'está' allí, presente, como 'en el aire', proporcionando material e irradiando a la vez la atmósfera general de la pieza.

El cuarteto funciona a la vez como una summa en donde se reúnen y reelaboran materiales provenientes de una serie previa de piezas para cuerda sola en torno a la idea de las 'lágrimas': Una furtiva lágrima (2013), para viola; Lágrimas (2014), para cello; y Jardín de lágrimas (2014), para violín.

(ENG) This piece takes its main material from an anonymous vidala which appears in the book "El Folklore Musical Argentino" by the Argentinean-Venezuelan musicologist Isabel Aretz (Ricordi Americana, Buenos Aires, 1952).

The vidala is a traditional, very antique musical form of the Argentine northwest, typically sung by one solo voice or duplicated in parallel thirds, and usually accompanied by sparse percussion. Its character is usually sad, or expresses nostalgia for something lost, and is one of the few Argentine traditional folk genres which do not possess a dance form.

The name Vidala de aire is a modification of the expression "aire de […]" ("air of […]"), which is commonly used in South America to refer to a piece of popular music which is not 'original' but to some extent derived or deviated from a traditional folkloric musical form.

In this work, the presence of the vidala is so elusive that it is not really 'there', but -at the same time- it 'is' there pervading the whole atmosphere. Thus, one can say it's 'in the air'.

The piece also works as a summa of materials that come from a previous cycle of solo string works comprising: Una furtiva lágrima (2013), for viola; Lágrimas (2014), for cello; and Jardín de lágrimas (2014) for violin.