Stories and Narrative: Oscar Aviles

Oscar Aviles

He began his musical career in 1939 at the age of fifteen, as a cajon player for the brother duo La Limeñita y Ascoy. In 1942, with the string group Núñez, Arteaga & Avilés, he won the radio contest organized by journalist Roberto Nieves of the newspaper "La Noche", as a result of which he began to be called The First Guitar of Peru, a title he kept and accompanied him for the rest of his musical life.10

In 1946, he was part of Los Trovadores del Perú, along with Miguel Paz, Oswaldo Campos and Panchito Jiménez. He joined the trio Los Morochucos, between 1947 and 1952, together with Alejandro Cortez and its founder Augusto Ego Aguirre, who after a break met again between 1962 and 1972. Likewise, in 1952, he founded the first Guitar School Creole style (which kept its doors open until 1967).

He formed and directed the Conjunto Fiesta Criolla, in its first stage, between 1957 and 1959, together with Humberto Cervantes, Panchito Jiménez, Pedrito Torres and Arístides Ramírez. In 1959, he recorded an album with Alicia Maguiña. At the beginning of the 60's he recorded the album "Dialogando" with Chabuca Granda, with whom he also worked musically for fifteen years (1955-1970), beginning with her his stage of internationalization. In 1961, he separated from Fiesta Criolla and the Sono Radio record company where they recorded, to work as artistic director of the Iempsa company. He recorded in Brazil the celebrated collection "Valses Peruanos Eternos" in two volumes, accompanied by the Augusto Valderrama Orchestra.

In 1996 he worked with Alicia Maguiña, with whom he recorded the compact discs Juntos I and II, including songs by this researcher and other renowned composers. With her he toured provinces and prestigious venues.

Porfirio Vásquez, representative of black music in Peru, in 1944 composed this quatrain for him: They sang a jarana, Saint Peter said: who is he? And the eternal Father answers him: That is Óscar Avilés.11

In addition to all his musical activities, he produced and directed his radio program titled La Hora de la Tradión on different stations, hosted by Guillermo Rosemberg Gonzales. During the last four years of his life he greatly enjoyed when he produced, directed and hosted the radio program El Óscar del criollismo, on Radio Nacional del Perú. In 2001 he made his international tour to the United States.12

Musical accompaniment and advice

From 1958 to 1970, he was artistic director of the Iempsa record label. During this time he not only produced countless recordings, but actively participated in them. Such is the case of Los Embajadores Criollos for which he produced songs such as El Rosario de mi Madre, Lucy Smith, Vecinita, Tu Culpa and many others, accompanying them as first guitar. In the 1970s he formed a duo with Arturo "Zambo" Cavero, in alliance with Augusto Polo Campos at the request of the military government of General Juan Velasco Alvarado. Commissioned by the military government, Polo Campos composed nationalist waltzes that were popularized by Avilés and Cavero.

Later, when Fernando Belaúnde became president again, and although he had been overthrown by Velasco Alvarado, Polo Campos was again hired by the government and composed a nationalist waltz for Belaúnde, which was also popularized by Cavero and Avilés. He then recorded with many top Creole artists, including Jesús Vásquez, Eloísa Angulo, Panchito Jiménez, Los Hermanos Zañartu, Los Hermanos García, Cecilia Bracamonte, Zoila Zevallos, Los Ases del Perú, Los Hermanos Catter, Alicia Maguiña Nicomedes Santa Cruz. He has also recorded with the Peruvian tenor Luis Alva, accompanied the verses of the actor Luis Álvarez and the Spanish Gabriela Ortega and popular as well as international artists such as Olga Guillot, Leo Marini and Xiomara Alfaro, among others.

In 2006, he accompanied Brisas del Titicaca for the musical magazine A todo Perú.13

Awards and honours

For his important and constant contributions to Creole music, and as an arranger, singer, composer, producer, guitar player and disseminator, he earned various recognitions, in addition to Gold Records for his phonographic sales.

In 1987, after efforts carried out by the then Foreign Minister González Posada, in the government of Alan García, the Organization of American States distinguished Óscar Avilés, along with Jesús Vásquez, Arturo "Zambo" Cavero, Luis Abanto Morales and Augusto Polo Campos, with the title of "Musical Heritage of America".14

Also in 1987, the Ministry of Education awarded him the Magisterial Palms.15

The Municipality of Callao in 1995 decided to give the name “Óscar Avilés Arcos” to block 6 of Jirón Zepita, where he was born, and placed a memorial plaque outside the house and in block 6 of said jirón.16

The Universidad Nacional Mayor de San Marcos gave him the distinction of Doctor Honoris Causa in 2000, the highest academic title granted by this university.1718

In 2005, the mayor of Lima Luis Castañeda Lossio awarded him the "City of Lima" Medal, in tribute to his career.1920

In 2013, he won the Luces Award for Musician of the Year.

Legacy