Recordando a Venezuela

Rafael Angel Aparicio y los Hermanos Aparicios

Notes from Rafael Angel Aparicio
Interviewed and edited by Cathy Ragland
Translation by Kim Carter

One day (back in 1970) I got a call from Don Filipe Ramón y Rivera. "I'm calling you from the American Embassy," he said. "Rafael Angel, the United States is asking that you go there to be a teacher at the University of Washington." So I said, "I cannot because I have few qualifications." He told me I would be crazy not to go and that it was a brilliant opportunity and important that I go. I recommended to him that my brother, Fuchito (Rafael de Jesus) go along because, I said. "I can only show them the harp and a little technique. But I need to show them the rhythms, too." After a call to Professor Garfias at the UW, it was agreed that Fuchito would come along to teach cuatro and maracas.

At that time, no one knew anything about Venezuelan music. They thought I was from anywhere in the world - Mexico, Argentina, Paraguay - anywhere but Venezuela. It happened that we performed many concerts, made a movie, and six recordings of many songs, including "El Pajarillo," "Seis Numerao," "Seis por Derecho," and other songs. We were very young. I was 25 and Fuchito was 18 years old. It was a very important experience for us, and we played the music more loosely, faster and louder. I plucked a lot, and it wasn't good. In that first recording we were a little nervous, it was our first time. Now, on our most recent recording, you can hear that the harp playing is at a higher level - more mature and fluid. The recordings we made in 1971 are mostly folkloric songs, as requested by Professor Garfias, except "Recordando a Venezuela," which I wrote with Fuchito in Seattle at that time because I was thinking about my homeland. Several of the songs from the new recording were written by myself, my sister Isabelita and by other Venezuelan composers.

The harp that you hear on this recording is played in the plains states of Apure, Guárico, Barinas Portugeuesa, Cojedes. It is the Llanera "plains" harp which has 32-strings and is played with the fingernails. It is descended from the Spanish harp but it is also an instrument that has come to be associated with laborers in that region where many of the country's most famous songsters come from. This harp has a thinner resonating box than the 36-string harp found in the North and Central states of Aragua, Miranda and Carabobo.

1. El Zumba que Zumba (joropo) 2:20 · Traditional, arranged by R.A. Aparicio
This song is in the joropo rhythm that is the most typical of the Central "plains" region. It is a lively 6/8 rhythm and is the basis of most folkloric songs. "Zumba" is an expression from the region that means to enjoy oneself and, in this case, refers to the beauty and vitality of the song itself. In this recording, two harps (Eugenio Baudres, second harpist) are featured. (1996)

2. Al Libertador (vals) 2:01 · R.A. Aparicio
Played in the traditional European waltz time of 3/4, this song is dedicated to Simone Bolivar, the Venezuelan-born liberator of several South American countries (Colombia, Bolivia, Ecuador, Peru and Venezuela). (1996)

3. Carnaval Llanero (joropo) 3:01 · Traditional, arranged by R.A. Aparicio
This joropo refers to the rhythm that is typically played for carnival time in Llanera. It is a very old song that dates back to the time of the Conquistadors. (1996)

4. Chipola Apureña (golpe) 3:21 · R.A. Aparicio
This tune is my own interpretation, or dedication to several folkloric songs from the Llanera region. It is a golpe rhythm that is also in 6/8, and shifts in tone between major and minor chords. The tune is adapted from a traditional jorope called "Qiepa Apureña," from that region. (1996)

5. Venezuela Musical (joropo) 1:22 · R.A. Aparicio
This song was performed by Los Hermanos Aparicio on a radio program in the state of Miranda. The program didn't have a name, so I gave the program its name with this composition. (1971)

6. El Numerao (joropo) 2:27 · Traditional, arranged by R.A. Aparicio
This is an ancient folkloric song which is named for the 6/8 joropo rhythm. (1971)

7. Expresión del Alma (vals) 3:14 · R.A. Aparicio and Isabelita Aparicio
I composed the music for this waltz, "Expression of the Soul," which was dedicated to my first sweetheart who died at a young age. It also features Luis Fajardo playing second harp. (1996)

8. Luna de Calabozo (tonada) 3:16 · Isabelita Aparicio and Fermín Luque
The tonada is a slow, expressive rhythm that allows the harpist to play in a more lyrical style. "The Moon of Calabosa" named after a small village in the state of Guárico and was written on the eve of independence day in Venezuela. My sister Isabelita wrote the lyrics which I try to express, instrumentally, on the harp. (1996)

9. Así es Apure (pasaje) 3:15 · R.A. Aparicio
This is a pasaje, an lively rhythm that is in 3/4 time. It is also a song that I wrote in homage to Apure, my home state. It celebrates the riches of the terrain - timber, petroleum - though the people there are themselves very poor. (1996)

10. El Pajarillo (joropo) 2:46 · Traditional, arranged by R.A. Aparicio
This is a very old song, that is known throughout the country as well as Latin America. The song is based on a poem by a great composer and folklorist, Jesus Llola, which celebrates the glory of Venezuela. This melody has been recorded and performed by many musicians. (1971)

11. Tristes Recuerdos (pasaje) 2:14 · R.A. Aparicio
"Sad Memories" is the name of this song is dedicated to my first girlfriend as well as others I have known and lost in my life. (1996)

12. Cuando Llora el Alma (vals) 3:07 · R.A. Aparicio
"When the Soul Cries" is also dedicated to a lost love of my youth. It also features the second harp of Luis Fijardo. (1996)

13. El Gavilán (joropo) 2:38 · Ignacio "Indio" Figueredo
"The Gavilán" is the name for a bird that is the keeper of (or associated with) pineapple trees in Venezuela. However, the same name also refers to a young boy who is a precocious musician. It is a more modern form of joropo and very well known throughout Venezuela. (1971)

14. Quiero Saber la Verdad (pasaje) 2:44 · José Antonio Torres & Edecio Araujo
"I Want to Know the Truth" is a popular song recorded by many artists in Venezuela. I interpreted the lyrics and tried to created the feeling of this very romantic, but sad song on the harp. (1996)

15. Guataca Criolla (joropo) 2:32 · R.A. Aparicio
I wrote this melody for fun, to test my ability as a harpist. It is difficult to play and it is named for a person who does not need to read or study music to play. Kind of like a "show-off." (1996)

16. Seis por Derecho (joropo) 3:09 · Traditional, arrangement by R.A. Aparicio
This folkloric song is also from the time of the Conquistadors and is named for its rhythm, meaning six beats per measure. (1971)

17. Cariño Falso (vals-pasaje) 3:59 · Isabelita Aparicio
This song, "False Love," was written by my sister Isabelita and is about an ex-boyfriend of hers. She wrote it after a breakup when she was mourning the death of the relationship. The vals-pasaje is much slower than a typical pasaje, with pauses. Luis Fajardo plays second harp on this song as well. (1996)

18. Los Mamonales (pasaje) 2:50 · Traditional, arranged R.A. Aparicio
I composed this music based on a line, "Vuelven mis versos al Llanera" ("Send my verses back to Llanera"), written by a well-known poet from Apure. It is about the Llanera plains. I named the song after a town in Apure, when I wrote it as an instrumental. (1996)

19. El Reto #2 (joropo) 2:31 · R.A. Aparicio
"The Challenge #2" refers to a style of counterpoint singing performed by two singers. In this instrumental version, the challenge is between two harpists, myself and Eugenio Baudres. (1996)

20. Quien Engaña a Quien (vals-pasaje) 3:33 · Luis B. Bustamante
"Who Wins Over Whom" is a popular song written by a contemporary composer which has been set to the pasaje rhythm by me. (1996)

21. Remolieando (pasaje) 2:34 · Arranged by R. A. Aparicio
This song was originally a poem written by my mother's uncle, Elauterio Rodriguez Ilbaba, who was himself a well-known composer and bandleader and an inspiration to me. He is known for adapting traditional joropos for modern dancing. It was written on Christmas Eve in 1938 or 1939 and I recall that the original title was "Los Caracoles." I adapted the melody and renamed the song "Whirlpool." This is also one of the first songs I taught to students when I came to the University of Washingotn in 1970. (1971)

22. Recordando a Venezuela (joropo) 1:26 · R.A. Aparicio and R.J. Aparicio
"Remembering Venezuela," was written by myself and Fuchito while in Seattle, Washington for the first time. It was written in homage to our homeland and helped lift our spirits when we were missing our families. (1971)

Credits

Executive Producers: Cathy Ragland, Northwest Folklife and Laurel Sercombe, University of Washington Ethnomusicology Archives
Digital Mastering by: Scott Ross, Hanzek Audio, Seattle
CD Layout and Design by: Scott Ross

1971 sessions, University of Washington, Seattle (Cuts 5, 6, 10, 13, 16, 21 and 22)
Produced by: Robert Garfias
Engineered by: Daniel Grinstead

Harp, Director: Rafael Angel Aparicio
Cuatro, Maracas: Rafael de Jesus Aparicio
Bass (contrabajo): Howard Goodman

1996 sessions, Fidelis Studio, Caracas, Venezuela (Cuts 1,2,3,4,7,8,9,11,12,14,15,17,18,19 and 20)
Produced by: Rafael Angel Aparicio
Engineered by: Antonio José "Gonzalito" Gonzales
Assistant Engineer: Euclides Alfredo Aparicio

Harp, Director: Rafael Angel Aparicio
Additional Harp: Eugenio Bandres and Luis Fajardo "El Rachaco"
Cuatro: Adelso Paz "Rolito"
Bass: Adelmar Paz
Maracas: Tito José Peña

© 1997 Northwest Folklife Recordings

Acknowledgments

The artists and producers of this recording would like to thank the following individuals for their support of this project: Hiromi Lorraine Sakata, Shannon Dogherty, Diana Reed

The University of Washington Ethnomusicology Archives
Since 1962 the University of Washington has been collecting field Recordings from around the world. Many of these recordings feature artists who have visited and taught in the Northwest and at the University.

Northwest Folklife
Northwest Folklife is a comprehensive multi cultural arts organization dedicated to serving the ethnic, traditional and folk arts communities of the Northwest. The organization, through its annual folklife festival and year-round cultural and educational programs, creates opportunities for individuals and communities to celebrate, share and sustain the vitality of ethnic and traditional arts for present and future generations.

The Northwest Archives Series
The Northwest Archives Series is a collaborative venture between the UW Ethnomusicology Archives and Northwest Folklife formed to make these recordings accessible to the public. For further information about The Northwest Archives Series please write to: Northwest Folklife, 305 Harrison St., Seattle, WA 98109. You may also consult our Internet site for information and to purchase other titles at: http://www.nwfolklife.org/folklife/.

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