“The brothers”, “Camino del Indio”, “The axles of my cart”, “Zamba del cricket”, “The forgotten one” and “El alazán”were some of the songs that the duo performed with austerity and solvency in the CCK National Auditoriumtaking up a more intimate segment of the show “Atahualpa for Jairo”made 25 years ago.
In a passage of the night, Jairo recalled the importance that his companion Nenette had for Atahualpa (her full name was Antonietta Paule Pepin Fitzpatrick), who after his death in 1990 left a huge void in the artist’s life.
“His wife Nenette played the piano wonderfully and she used to play works by Chopin for him. He died in Buenos Aires and when Atahualpa returned to Paris after his departure, he told me that he felt like an old rag. ‘I would like to be in Alaska under the snow ‘, Atahualpa told me, who at that time was a free man, but also a lonely man,” recalled the singer, who once again demonstrated his talent and his trade as a singer.
Jairo and Falú -who had known and treated Atahualpa to different degrees, one accidentally, the other with familiarity- approached tonight, always leaving the song as the exclusive protagonist; zambas, songs, milongas, chacareras, vidalas and styles that constitute a solid backbone for any anthology of Creole art.
Dressed in a jacket and black pants and a light shirt, both only accompanied by a glass of water and a giant screen in the background showing images of Yupanqui (who died at the age of 84 in 1992) in his different stages, as well as landscapes. , sunsets and horses.
The duo performed naturally, without lecterns, without the need to raise their voices in Jairo’s case or to demonstrate their great virtues as an instrumentalist in Falú’s, songs of the man who was capable of facing the festival fervor only with his guitar and his deep word.
“Atahualpa was going to sing in the city of Nimes, which is located in the south of France, but he could not do it because death surprised him before and in the French National Assembly they made a minute of silence for him, and I am sure that that night in There was an eclipse of the moon in Tucumán,” said Jairo in the encores, before performing “Luna tucumana”, a classic zamba that the duo played accompanied by the singing of the public, thus closing a moving night in which the artists said goodbye embracing, twinned by the music and applause by the people.
Thus they evoked the work of Héctor Roberto Chavero Haram, who since childhood was baptized as Atahualpa in reference to the Inca chief; the surname Yupanqui was incorporated later and its sound refers, in Quechua, to someone who comes from distant lands to say something.
The son of a railway worker, he studied violin and guitar from the age of six with Professor Bautista Almirón, who presented him with a distant horizon from the rural world that surrounded him.
The preludes by Fernando Sor and the transcriptions of Schubert, Liszt, Beethoven, Bach, Schumann immediately dazzled him.
However, Yupanqui was going to form his own language with which he managed to catch paths, landscapes, stories of daily life. “My childhood days passed from wonder to wonder, revelation to revelation,” he once recalled.
Source: Ambito
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