Tres Norteñas

1. Por los dominios del Inca

2. Fukuokeña

3. El Wuarmimunachi

“Tres Norteñas” was born during a journey through northern Argentina, Peru, and Bolivia, inspired by the majestic Andean landscape, its villages, and the richness of its ancestral culture. In an overview, the work is not descriptive, but evokes the landscape and the mysteries that inhabit these lands. It consists of three pieces, each based on rhythms from northern Argentina. While rooted in tradition, it adopts a contemporary language, building bridges between the heritage of these expressions and their present voice.

1. “Por los dominios del Inca” is based on the rhythm of the carnavalito, a pre-Hispanic genre from northwestern Argentina that still resonates in Andean festivities. It is performed with charangos, quenas, sicus, and percussion. With its vibrant and festive rhythm, the carnavalito is more than just a dance—it is a collective expression that invites communal celebration. It predominates in carnival festivities and symbolizes joy, the cycle of life, and the sacred connection with Pachamama (Mother Earth). The piece was born along the roads, among reddish hills and the echo of quenas in the wind.

2. “Fukuokeña” is written in the rhythm of the zamba, a fundamental genre of Argentine musical identity. The zamba is an elegant dance in which couples, moving independently, evoke the sensuality of courtship through the movement of handkerchiefs. Its compound meter, based on the polyrhythm of 6/8 and 3/4, gives it a flowing cadence. Its phrases are long, its rhythm slow, and its melodies melancholic and expressive. The zamba has its roots in Peru, in the zamacueca, a fusion of African, Indigenous, and Spanish rhythms that, over time, took root and evolved in Argentina until it became an independent and distinctive genre. The title refers to the demonym for a woman from Fukuoka, and the composition pays tribute to the roots of the genre—the blending of cultures.

3. “El Warmimunachi” is composed in the rhythm of the chacarera, an emblematic dance of central and northern Argentina. Energetic and festive, it is performed with guitars, violins, and bombo (percussion). Written in the polyrhythm of 6/8 against 3/4, typical of many South American dances with Spanish roots, it conveys the joy of gathering and celebrates identity.

The title Warmimunachi comes from Quechua, the language of the Incas, which is also present in Argentina. It means: warmi (woman), munay (to love), and chi (to make something happen). In Andean culture, this word is associated with an amulet to attract love. During a visit to the famous Witches’ Market in La Paz, Bolivia—where ancestral beliefs and superstitions coexist in syncretism—Leonardo came across small clay figurines shaped like a couple in an embrace. When he attempted to buy a few as souvenirs, the vendor scolded him, saying she could only sell him one, as it was a very powerful love amulet…

Later that day, as they were seen at another distant stall and discreetly asking for one, the vendor replied, “No, you already have one.” How did she know…? The mystery remains. This piece seeks to represent the Warmimunachi as a symbol of the mystery and beauty surrounding the traditions of the Andean peoples.