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Chabuca Granda
María Isabel Granda Larco (Cotabamba, Apurímac, Perú, 3 September 1920 – Miami, USA, 1983), better known as Chabuca Granda, was a beloved Peruvian singer and composer. She created and interpreted a vast number of Criollo waltzes with Afro-Peruvian rhythms. Her best known song is "La flor de la canela" (The Best of the Bunch" or "Cinnamon Flower)".
Biography
María Isabel Granda Larco was born on 3 September 1920, in a copper mining area in the region of Apurímac. Read Full BioMaría Isabel Granda Larco (Cotabamba, Apurímac, Perú, 3 September 1920 – Miami, USA, 1983), better known as Chabuca Granda, was a beloved Peruvian singer and composer. She created and interpreted a vast number of Criollo waltzes with Afro-Peruvian rhythms. Her best known song is "La flor de la canela" (The Best of the Bunch" or "Cinnamon Flower)".
Biography
María Isabel Granda Larco was born on 3 September 1920, in a copper mining area in the region of Apurímac. She began singing at 12 years old, in the school choir at the exclusive girl's school Colegio Sophianum, in San Isidro. At this age she sang as a soprano (an operation later gave her the deep voice for which she is remembered). However, she wasn't well known until after her divorce, a scandal in contemporary Lima's conservative Catholic society.
Early in her career her work was expressive and picturesque – evoking the romantic and beautiful neighborhood of Barranco in Lima, with its grand French houses with impressive entrances and winter gardens. Some of her most famous songs from this period are "Lima de Veras", "La flor de la Canela", "Fina Estampa", "Gracia", "José Antonio", and "Zeñó Manué", to name a few. She broke the conventional rhythmic structure of the waltz, later broke convention with her poetic cadences as well. Later in her career she wrote songs dedicated to the Chilean Violeta Parra and to Javier Heraud, a Peruvian poet who died in 1968.
Towards the end of her career, Chabuca Granda incorporated Afro-Peruvian rhythms into her work. Afro-Peruvian music, while popular, was not considered "high art" due to the prevalent racism and devaluation of Afro-Peruvian culture. She masterfully blended the suggestive and colorful rhythms into her work, enriching Peruvian popular music.
She died of heart problems in a clinic in Miami, in the United States, in 1983. Her voice and compositions are known far from the borders of her country, and her popularity has introduced the world to the fine and sensitive character of Peruvian music.
Chabuca Granda continued to make her presence felt a decade after her death, when Caetano Veloso used her song, "Fina Estampa", as the title track of an album released in 1994, while her song, "Maria Lando", written with Cesar Calvo, provided the North American breakthrough for Peruvian vocalist Susana Baca the following year.
Granda's song "La Flor De La Canela" has become an anthem for the city of Lima. Granda worked with a lengthy list of influential guitarists including Oscar Aviles, Martin Torres, Lucho Gonzalez, Alvaro Lagos, and Felix Casaverde.
Biography
María Isabel Granda Larco was born on 3 September 1920, in a copper mining area in the region of Apurímac. Read Full BioMaría Isabel Granda Larco (Cotabamba, Apurímac, Perú, 3 September 1920 – Miami, USA, 1983), better known as Chabuca Granda, was a beloved Peruvian singer and composer. She created and interpreted a vast number of Criollo waltzes with Afro-Peruvian rhythms. Her best known song is "La flor de la canela" (The Best of the Bunch" or "Cinnamon Flower)".
Biography
María Isabel Granda Larco was born on 3 September 1920, in a copper mining area in the region of Apurímac. She began singing at 12 years old, in the school choir at the exclusive girl's school Colegio Sophianum, in San Isidro. At this age she sang as a soprano (an operation later gave her the deep voice for which she is remembered). However, she wasn't well known until after her divorce, a scandal in contemporary Lima's conservative Catholic society.
Early in her career her work was expressive and picturesque – evoking the romantic and beautiful neighborhood of Barranco in Lima, with its grand French houses with impressive entrances and winter gardens. Some of her most famous songs from this period are "Lima de Veras", "La flor de la Canela", "Fina Estampa", "Gracia", "José Antonio", and "Zeñó Manué", to name a few. She broke the conventional rhythmic structure of the waltz, later broke convention with her poetic cadences as well. Later in her career she wrote songs dedicated to the Chilean Violeta Parra and to Javier Heraud, a Peruvian poet who died in 1968.
Towards the end of her career, Chabuca Granda incorporated Afro-Peruvian rhythms into her work. Afro-Peruvian music, while popular, was not considered "high art" due to the prevalent racism and devaluation of Afro-Peruvian culture. She masterfully blended the suggestive and colorful rhythms into her work, enriching Peruvian popular music.
She died of heart problems in a clinic in Miami, in the United States, in 1983. Her voice and compositions are known far from the borders of her country, and her popularity has introduced the world to the fine and sensitive character of Peruvian music.
Chabuca Granda continued to make her presence felt a decade after her death, when Caetano Veloso used her song, "Fina Estampa", as the title track of an album released in 1994, while her song, "Maria Lando", written with Cesar Calvo, provided the North American breakthrough for Peruvian vocalist Susana Baca the following year.
Granda's song "La Flor De La Canela" has become an anthem for the city of Lima. Granda worked with a lengthy list of influential guitarists including Oscar Aviles, Martin Torres, Lucho Gonzalez, Alvaro Lagos, and Felix Casaverde.
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Una Larga Noche
by Chabuca Granda
Una larga noche
me envuelve y me encierra
y me sobrecoje y me pierde
Zamacueca, zamacueca
me pierde una larga noche
Por qué será la noche tan larga
Y alucinada y tan sola y tan desalmada
Si es sólo si es sólo una larga noche
Zamacueca, zamacueca
Es sólo una larga noche
La noche debiera ser
Larga aurora perfumada, diáfana
Y azulada, una sabana bordada
De rumores y de amores
o estrella de la mañana
Invasora desvelada
de mi ventana cerrada
Zamacueca, zamacueca
De mi ventana cerrada
Mi noche nunca es aurora
Que llega por la mañana
Es sólo larga cornisa
Que da la vuelta a la nada,
Zamacueca, zamacueca
Que da vuelta a la nada.
Es sólo miedo mi noche
Miedo lento, lento y largo
Siempre lento, siempre dentro
Dentro de una larga noche.
Zamacueca, zamacueca
Me pierde una larga noche
y es sólo un larga noche
zamacueca, zamacueca,
de mi ventana cerrada
que da la vuelta a la nada
zamacueca, zamacueca
dentro de una larga noche,
dentro de una larga noche,
zamacueca, zamacueca,
dentro de una larga noche.
Writer(s): ISABEL GRANDA Y LARCO PKA CHABUCA GRANDA
Contributed by Isaiah T. Suggest a correction in the comments below.
by Chabuca Granda
Una larga noche
me envuelve y me encierra
y me sobrecoje y me pierde
Zamacueca, zamacueca
me pierde una larga noche
Por qué será la noche tan larga
Y alucinada y tan sola y tan desalmada
Si es sólo si es sólo una larga noche
Zamacueca, zamacueca
Es sólo una larga noche
La noche debiera ser
Larga aurora perfumada, diáfana
Y azulada, una sabana bordada
De rumores y de amores
o estrella de la mañana
Invasora desvelada
de mi ventana cerrada
Zamacueca, zamacueca
De mi ventana cerrada
Mi noche nunca es aurora
Que llega por la mañana
Es sólo larga cornisa
Que da la vuelta a la nada,
Zamacueca, zamacueca
Que da vuelta a la nada.
Es sólo miedo mi noche
Miedo lento, lento y largo
Siempre lento, siempre dentro
Dentro de una larga noche.
Zamacueca, zamacueca
Me pierde una larga noche
y es sólo un larga noche
zamacueca, zamacueca,
de mi ventana cerrada
que da la vuelta a la nada
zamacueca, zamacueca
dentro de una larga noche,
dentro de una larga noche,
zamacueca, zamacueca,
dentro de una larga noche.
Writer(s): ISABEL GRANDA Y LARCO PKA CHABUCA GRANDA
Contributed by Isaiah T. Suggest a correction in the comments below.
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