Among the many musical styles that make up Colombia’s vast cultural heritage, the Vallenato occupies a major place. The fruit of the meeting of indigenous, African and Spanish traditions and rhythms, it represents the complex Colombian métissage, of which it is the symbol par excellence.To illustrate the vallenato, a song with a delicious origin and a magnificent destiny: La gota fría.
The song first appeared in 1938, as a result of a rivalry between two musicians from the north of the country: Emiliano Zuleta, a star in the department of Guajira, and Lorenzo Morales, an idol in the neighbouring department of Cesar.
Both lay claim to the title of best « acordeonero » in the region, and it was agreed that a musical duel would be held to decide between them, at a time when neither records nor radio had yet penetrated rural homes, and when music was above all that which was played « en vivo » (live).
It’s also a direct descendant of the custom of the « piquerias » (literally « spades »), oral jousts which are themselves part of the Latin tradition, and in which the aim is not so much to demonstrate virtuosity as to improvise verses ridiculing the opponent’s physique, social origin or behavior.
A culture of words and repartee which, despite the almost total disappearance of piquerias, remains one of the trademarks of Colombians. The duel is organized in the small town of Urumita, in the extreme south of Guajira, on the border with Cesar, on the occasion of a « parranda » (popular festival celebrated with music and« aguardiente » -water of life-).
The episode is reported imprecisely, and its course differs according to the source… The only thing that seems certain is that the two musicians dread each other. Afterwards, does Zuleta withdraw, claiming to be ill, at the beginning of the evening?
Or is it Morales who, sensing his rival’s public triumph, discreetly slips away to avoid humiliation?
The long-awaited duel did not take place, but it would go down in history as Zuleta composed a song in which he gave his own personal version of events. In a lively, catchy tune, he mocked his adversary with such causticity that he cut him a suit for eternity. The song was a huge success, and became one of the greatest standards of the vallenato, and indeed of Colombian folklore as a whole (to the extent that it was even proposed as the unofficial anthem of Colombia).
It would be covered many times, and by some of the most famous performers (Guillermo Buitrago, Daniel Celedon, Julio Iglesias, Grupo Niche, Shakira, the Bogotà Philharmonic Orchestra…), but it was undoubtedly the version recorded in 1993 by Carlos Vives that gave La gota fría international resonance.
The song was revamped with modern sounds, while retaining the original folk elements (the classical instruments of the vallenato, judiciously combined with a traditional flute), which earned it a place at number six on the « Hot Latin Songs » chart (the Latin equivalent of the Top 50).
The story had a touching epilogue, as Zuleta and Morales nevertheless became friends (years after their famous « duel ») and remained so until their deaths (in 2005 at the age of 93 for Zuleta, in 2011 at 97 for Morales). For Spanish speakers, two interesting documents
