Tocamos con manos cuan “de otros”: una entrevista a Felice y Raffaele Clemente
Keywords:
Andean musics, Música andina, Aymara music, Sikuri, Trencito de los Andes, Il Laboratorio delle Uova Quadre,Abstract
Los hermanos italianos Felice (1964) y Raffaele Clemente (1964) fundaron y condujeron durante 32 años (1974 - 2006) el proyecto musical llamado Trencito de los Andes. A partir del año 2003 entraron en un proceso de metamorfosis hacia un radical cambio de posición frente al estudio y la interpretación de las músicas de los Andes que los llevó a concluir su trabajo como Trencito de los Andes y a adoptar una identidad nueva como Il Laboratorio delle Uova Quadre (El laboratorio de los huevos cuadrados).
A diferencia de la música que caracteriza el ensamble canónico mejor conocido como “conjunto andino” -protagonista habitual de los gustos musicales en décadas pasadas, y cuyos fundamentos estéticos guardan plena similitud con los que gobiernan la música hegemónica occidental- el trabajo musical de los hermanos Clemente tiene un mérito distinto. En él interactúan paradigmas estéticos de culturas musicales diversas con sus propios instrumentos, géneros y estilos, entre los que predominan los de origen aymara.
A fin de reproducir con precisión las peculiaridades de ese sistema musical, los hermanos Clemente a menudo parten del repertorio contenido en grabaciones etnográficas, discos de artistas populares y otras fuentes, e inician un proceso de grabación altamente detallado en el que emplean métodos como la grabación multi-pista y su propio sistema de transcripción musical: la Partitura Micrónica. En razón a que muchas de las reproducciones de este tipo que integran su extensa discografía son idénticas a las grabaciones etnográficas originales, el etnomusicólogo inglés Henry Stobart las comparó con retratos hiperrealistas, aludiendo a las pinturas de ese movimiento artístico que se caracterizan por simular de forma literal un instante de realidad. En efecto, los pintores hiperrealistas suelen tomar fotografías (i.e. imágenes de un instante congelado en el tiempo) con el propósito de reproducirlas de la manera más realista posible. De manera análoga, los hermanos Clemente toman grabaciones etnográficas (i.e. sonidos de un instante congelado en el tiempo) y las reproducen de modo literal sin evadir sus características anomalías o “errores”.
Stobart advierte que ese nivel microscópico de análisis y el enfoque que privilegia el estudio de la música en tanto objeto sonoro, por encima de la etnografía, puede parecer problemático desde una perspectiva etnomusicológica. Más aún, hay entre los adeptos de la “música andina” quienes extrañan la presencia de discursos politizados análogos a los que desde la Nueva Canción Chilena parecieran ser parte integral de las sonoridades andinas, junto a otras narrativas como las que celebran las presuntas virtudes de ciertas “razas” o naciones.
Acaso este sea uno de los motivos por los cuales tanto la obra de Trencito de los Andes como la más reciente de Il Laboratorio delle Uova Quadre haya sido parcialmente soslayada por la crítica. Pese a ello, la discografía producida por los hermanos Clemente cuenta con una dilatada audiencia que la escucha y discute en instancias íntimas. Esta entrevista busca alimentar esas discusiones. Fue conducida a través de correspondencia escrita durante noviembre y diciembre de 2015.
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