Patricio Manns - Music

Music

The following is a selective discography of Patricio Manns:

  • 1965 - Entre Mar y Cordillera (Between Sea and Cordillera)
  • 1966 - El Sueño Americano (with Voces Andinas) (The American Dream)
  • 1967 - ¡El Folclore No Ha Muerto, Mierda! (with Silvia Urbina) (Folklore Ain't Dead, Dammit!)
  • 1968 - La Hora Final (The Final Hour)
  • 1971 - Patricio Manns
  • 1974 - Chants de la Résistance Populaire Chilienne (with Karaxú) (Songs of the Popular Chilean Resistance)
  • 1975 - Karaxú Live (live with Karaxú)
  • 1977 - Canción Sin Límites (with the EGREM Orchestra of Cuba) (Limitless Songs)
  • 1983 - Con la Razón y la Fuerza (with Inti Illimani) (With Reason and Force)
  • 1983 - Itinerario de un Retorno (live in Mexico) (Itinerary of a Return)
  • 1986 - Cuando Me Acuerdo de Mi País (compilation) (When I Remember My Country)
  • 1986 - La Muerte No Va Conmigo (with Inti Illimani) (Death Doesn’t Accompany Me)
  • 1990 - Patricio Manns en Chile (Live in Chile)
  • 1998 - Porque Te Amé (Because I Loved You)
  • 1999 - Arriba en la Cordillera (compilation) (Above on the Cordilleras)
  • 2000 - América, Novia Mía (live) (America My Beloved)
  • 2003 - Allende: La Dignidad Se Convierte en Costumbre (Allende: When Dignity Becomes a Custom)
  • 2010 " La tierra entera", jazz musical arrangements by Gonzalo Palma.

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Famous quotes containing the word music:

    “If music in general is an imitation of history, opera in particular is an imitation of human willfulness; it is rooted in the fact that we not only have feelings but insist upon having them at whatever cost to ourselves.... The quality common to all the great operatic roles, e.g., Don Giovanni, Norma, Lucia, Tristan, Isolde, Brünnhilde, is that each of them is a passionate and willful state of being. In real life they would all be bores, even Don Giovanni.”
    —W.H. (Wystan Hugh)

    “If you really believe music is dangerous, you should let it go in one ear and out the other.”
    —José Bergamín (1895–1983)

    “The great challenge which faces us is to assure that, in our society of big-ness, we do not strangle the voice of creativity, that the rules of the game do not come to overshadow its purpose, that the grand orchestration of society leaves ample room for the man who marches to the music of another drummer.”
    —Hubert H. Humphrey (1911–1978)