Holly Near - Hay una Mujer Desaparecida (There is a Woman Missing) | Текст песни

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• Hay una Mujer Desaparecida (There is a Woman Missing)

Christian Wolff made a series of political pieces that caused him to have a sharp difference of opinion with John Cage. Cage felt that you should not fight fire with fire, and that political music was as bad as politics. If you’re anti-fascist and you write a social- istic music, it takes on the same attributes as the fascist music. It becomes assertive and militant. Susan Sontag once said that communism was fascism. Cage felt he was being revolutionary by making works that were inherently different from the works that had grown up in the Western capitalistic society and that he was being political in that way.

Christian elected to be political in a local way. He used union songs and wrote pieces that evoked the slogans of Mao. In the 1970s in Chile, the fascist government was abducting people from their homes at night; many were never seen again. In 1979 Chris- tian wrote a set of variations on singer Holly Near’s song, Hay una Mujer Desaparecida (There is a Woman Missing), a lament for the women who “disappeared” under Pinochet’s regime in Chile.

Theme and variation is a classical music form in which a com- poser takes a simple melody and writes variations on it. Mozart used Twinkle, Twinkle, Little Star, for example, as the basis for a set of twelve variations (K.265/300e). J. S. Bach’s Goldberg Variations is a set of thirty-two variations written on a simple binary-form piece. Bach uses ornamentation, changes of meter, rhythm, and harmony, canons at various intervals, virtually every technique in his repertoire.

Hay una Mujer Desaparecida is completely written out. Chris- tian said that when he started writing works for musical instruments, using pitches, not sounds, he decided to notate them precisely. He also wanted his music to be more conventional in order to appeal to a wider audience. But even he admits that the music is quirkier than ever. Since the coordinations and cueing of his early works lead to unexpected juxtapositions and correla- tions, Christian’s fully notated pieces follow the same quirkiness and illogical sequences. One thing doesn’t flow to the next in any logical order. Events happen one after the other in much the same way they do in his coordination pieces.
As composers become political, their music becomes less ex- perimental. The focus is on the political idea not the intrinsic or aesthetic value of the music itself. The music is about some- thing else, something outside the aesthetic domain. There are those who question the aesthetic domain entirely, who say that all music is political, and that, even if you’re not political, you’re up- holding the status quo.

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