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Poems
of
ClaudioSerraBrun
and
Music of Europe and America
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ClaudioSerraBrun-
The Argentine Spanish poet leads this
collection of CDs, cassettes, photos and
video clips of his poems with composer's
music of the wide scope of the Americas
and European Cultures.
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THE
MEMORY OF THE MIRROR - VOLUME 5
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PRESS
Presentation
of work: Friday, November 15, 2002. 1 PM, at
the General Association of Authors and Editors
of Spain, SGAE (inSpanish), Manuel de Falla
Hall, Fernando VI St., 4 Madrid.
THE
MEMORY OF THE MIRROR
Volume V
Poems
CLAUDIO SERRA
BRUN (Argentina-Spain)
and Record Music by the
Maestros
ERNESTO CAVOUR (Bolivia)
DOMINGO CURA (Argentina)
©CLAUDIUS
SERRA BRUN, 2002. Deposit Legal:V:62-2002, and
V-4391-2002, Spain.
(During
the act hearing will become of the subjects of
the disc).
Presentation
of work: Friday, November 15, 2002. 1 PM, at
the General Association of Authors and Editors
of Spain, SGAE (inSpanish), Manuel de Falla
Hall, Fernando VI St., 4 Madrid.
DREAMWALKERS
THE
MEMORY OF THE MIRROR
Volume V
Poems by
CLAUDIO SERRA BRUN (Argentina-Spain)
and Music by Maestros
ERNESTO CAVOUR (Bolivia)
DOMINGO CURA (Argentina)
©CLAUDIO
SERRA BRUN, 2002. Legal Deposit:V:62-2002.
(The tracks from the CD will be played during
the act).
I
thank all of you for attending the presentation
of a new volume of my series of poems and
music, The Memory of the Mirror. In addition,
I would like to thank the Authors’ Society,
which provides us - the authors and members
of this House - the unique possibility to
present our artistic works in Madrid, knowing
how little is dedicated to culture today.
This
reception - made to authors, to all authors
- differentiates in fundament as well as in
shape to those made for those riding “the
chariot of success and fame,” a chariot
surrounded with a halo of money, pushed by
checks a priori and favors; a chariot that
is approached by mass media, attracted by
the light like flies are…
Simple
and democratic in its principle, this reception
- which has been made for people like us who
do some type of cultural work - is what makes
me have the hope that in the near future,
the fantastic media that the Scientific and
Technical Revolution has been able to provide
us with will be finally at the service of
people and not of interest groups, as it is
happening now days.
We
always should keep alive the vision of evidence:
that the summary of the work of the entire
humanity gives us a positive result and that
it makes civilizations progress.
Getting back to the book/disk that gathers
us all here, I must say that it is the result
of two years of reflection and maturation,
but that its genesis, its booster, traces
back to a decade ago, to the days in which
I climbed the hills of the Andean Mountains,
in the frontier between Bolivia and Argentina,
when I was doing an investigative report about
those peasants whose job was to cut the salt
leafs, at heights as much as 4500 meters above
sea level; dried residue of an old sea enclosed
in geologic times, when the earth was growing,
indefinitely, towards the sky, and was raising
an entire sea between its arms of mountains,
in a spectacle that is not within the reach
of human time and imagination.
Now, the only thing left are those enormous
salt surfaces, brilliant plaques that must
look, from the heights of the sky, as silver
medallions on dark soil, within the eternal
snow-like crowns of the Andes. Up there, sheltered
by the blinding light, work those peasants
with pickax and shovels, and at the end of
a hard working day, arrives, hardly, the old
truck which will take down to the town all
of the accumulated leafs of salt…
Because
of previous journeys, I had in mind the music
of the great Bolivian composer, Ernesto Cavour,
the sound of the charango, acute and pure
like the air of the high plateau. Moreover,
from Buenos Aires, I also had in my collective
memory the rhythm of the maestro, Domingo
Cura, the percussionist who made the sweltering
wind from the Pampa and the horses’ gallops
enter the great city, conjuring them with
the steps on the paving stones with the infinite
noise of the urban iron factories. All of
this so that we may remember that the only
and inevitable destine of the culture from
the Pampa and from the great Silver City is
to live and grow in a fellowship of men.This
brotherhood of the voices and the arts, of
apparently diverse cultures, was my intention
since many years ago, after my journeys throughout
America and Europe, and used to come to my
over and over as a recurrent dream, a dream
that is trying to make itself be heard and
that is trying to get a life of its own. Long
since my stances in Madrid and Paris, I had
knowledge of the profound friendship that
existed between the great Peruvian Poet, Cesar
Vallejo, and the Spaniard, Juan Larrea, a
visionary poet which foresaw the change in
writing that was about to come, years before
the Spaniard generation of ’27. Embellished
was Larrea with the Chilean, Vicente Huidobro,
the precursor of creationism – the great
aesthetic change in the Spanish poetry –
and one of the main cultural promoters of
the Hispanic American poetry in France. The
friendship that united Larrea to the great
Vallejo, and the combined experience of the
edition of the vanguardist magazine Favorables-Paris-Poema,
led Larrea to make a journey in 1930 to get
to know more about the country from which
his friend was. He traveled to the great heights
of the Peruvian Andes. It was there where
Larrea conceived the luminous idea of the
New World, of the union of the culture in
Spanish, of its immense American potentialities.
Thus
was I going through those mountains, as I
was saying, with the sight lost in the horizon’s
crystalline line, with the secret intuition
of having crossed the threshold of a new vision;
of having found the sudden and flashing bond
of odd facts, lengthily meditated in previous
years. There are times in which chances shows
us the vivid face of our thoughts, the driving
thread of our dreams. Hazard wanted my adventure
at the high plateau to coincide with the festival
of Asunción, on august 15, at a town
by the name of Tumbaya, at the Salinas Grandes.
Suddenly, the empty streets were filled with
women, fried food, cheese balls, and turnovers,
kids with colorful ponchos, and images of
the Virgin carried on a procession up to the
hermitage, the peasants playing and dancing
to the charango, the erke, the bass drum,
and the siku….
After that day, I finally understood the cosmic
experience poet Juan Larrea experienced in
front of immensity itself, at Peru’s
highest point, and his firm conviction of
the renovating dawn of the Hispanic world,
which announces America to Spain. Years after
his first trip for America, Juan Larrea, like
many other Spaniards, found refugee there,
since they were fleeing the Spanish Civil
War. He then would live in Buenos Aires, and
in Cordoba, Argentina, for the rest of his
life.
And
from there, it will be dedicated during all
its life to spread its Hispano-American ideas,
its fidelity to the work of its friend Caesar
Vallejo, with that Spanish old nobility, that
is now vanishing, as much here as in America,
and that characterizes itself by the austerity
and the scorn of the brass foil, of the offensive
ostentation of the false monedero, of the
new petulance of the rich one, attitudes that
today, unfortunately, have rooted themselves
in the scope of the culture, and more specifically,
in culture that approaches the mass media.
The work of its Peruvian friend Cesar Vallejo
illuminates since then our letters, not only
by the universality of its poetry, also by
the work and the attitude of its pairs, by
Juan Larrea’s fraternal fidelity. Let
us remember, on the contrary, the imposed
forgetfulness to Gabriela Mistral and Vicente
Huidobro, by an ideologized and fomented cultural
current even by some great name of poetry.This
spirit of collaboration of the letters American-Spaniards
was inaugurated by the great Rubén
Darío, the poet-traveller, the ambassador
of the culture by all America and Spain, the
one who renewed Spanish poetry at the beginning
of the XX Century.
Perhaps it must today say more than then,
than now, in the dawn of century XXI, it is
still more necessary than before, that the
prophetic words of Larrea flourish in a new
conscience of the culture of Spain, of the
Spanishness, the Americanness of that which
is Hispanic. It is because of America that
the culture of Spain recovers and revives
incessantly, and is based on this great continental
and peninsular perspective, reason why Hispanic
America is constructed as well, in all the
points of its geography.
That
day, at a town located in the Andes, and enlivened
by the color and music of the people, I understood
that life was concocted with the threads of
chance. In addition, I understood that the
bridges between men are built with threads
of words, threads that join their hearts in
far away parables, encouraged to fly by the
music found inside all of us and that feeds
us and accompanies us always. With these words,
I wanted to bring to you the silence of the
heights, to retain, for the future, a chord,
the whispering of the wind through the tree-lined
avenues, a voice, some written lines, and
a thought. With humility, I dedicate these
poems and music
To my fellow countrymen from Jujuy,
from La Pampa,
from Bolivia,
to my fellow countrymen from the eternal plateau,
Castellana.
Also, to Juan Larrea and César Vallejo,
to their fraternal conception of our culture.
And to all the dreamwalkers of a better world.
©CLAUDIO
SERRA BRUN, 2002. (Read
during the presentation of the CD: Friday,
November 15, 2002, at the General Association
of Authors and Editors of Spain, SGAE (in
Spanish), Manuel de Falla Hall, Fernando VI
St., 4 Madrid.)
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Friday,
November 15, 2002, at the General
Association of Authors and Editors
of Spain, SGAE (in Spanish),
Manuel de Falla Hall, Fernando
VI St., 4 Madrid.
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