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Review, Analysis and Recordings Containing
Amor Indio
Amor Indio Monophonic
Indian Love - from 1943 Argentina Session  (Moisés Vivanco - 2:16)
Recorded in 1943  

Review and Analysis of Amor Indio by Nicholas E. Limansky
From Yma Sumac - The Art Behind the Legend
used with permission - all rights reserved, © Nicholas E. Limansky
Read more on the Legacy of the Diva Web site!
Webmaster's note: the audio clip found above is a blend made from different parts of the song to show the range used.  It is not found that way on any recordings.

This recording is a rare gem of perfected singing within a three-octave range.  It is also one of the few early recordings to display Yma's lower extremes, hinting at the prodigious range boundaries at her command.  During this formative period of her career Yma's singing usually centered in the middle and top registers where she could show her prowess in flute imitations.

This is a fascinating little song of great rhythmical drive and appeal and one with just a hint of the exotic, an effect enhanced by the use of rattles and other percussive instruments.  It was an obvious favorite with Yma and Moisés since, by 1951, it was re-arranged and titled Kuyaway (Inca Love Song).  The latter arrangement is more slick and knowing than this simple, unpretentious piece, but proved to be popular with audiences. During the 1950s it was again re-worked, but unfortunately into a bland and un-interesting arrangement.

Whether by instinct or intent, this song shows Yma's range with an unusual sensitivity to the natural mechanics of singing.  It is in three distinct sections: A B C.

In section A, Yma's singing is confined to the lower register and she travels no higher than A flat in the staff.  Section B is an instrumental interlude which gives Yma an opportunity to rest and "re-set" her voice for the next section.  Section C is confined to Yma's upper middle and top registers.  This way the two extremes are sensibly kept apart from one another, insuring Yma's facile switch from one to another.  This is very clever and helps explain why Yma was so successful with this song in the early part of her career.  Later, when she had matured, Yma was able to combine all registers into her music without worrying about jumping from one to another.

The first section shows Yma's warm, rich sounding contralto register to great advantage.  The notes easily retain their presence and roundness even when Yma descends to low E flat.  After the interlude, which is just a repetition of the melody, Yma repeats the theme up an octave with firm, lyric soprano tone and varrying textural touches and then exploits her top register in a volley of staccati flights that emphasize or subtly alter the rhythmical structure of the song and provide brilliance with their pin-pointed accuracy.  Yma concludes the song with a slow, arpeggiated ascent to a brilliantly sustained high E flat.  Yma uses a preparatory "nyah" for the approach to the high E flat, which keeps the note securely in the head register.  Pedagogically, the elision between the "n" and the "yah" acts as a springboard, or releasing action, which propels the tone into the resonating cavities of the head and helps release the jaw from interferring muscular interaction.  In this instance the result is an easily floated high E flat of much vibrancy and beauty.

Amor Indio  is included on the following releases
catalog no: ASIN: B002B2LZWC
Another collection of download only tracks that includes several of Yma Sumac's early South American recordings along with her later cuts from Capitol Records. Interestingly, the makers of this release chose to use English translations for some of the songs but the track listing shown here has been . . . 2008 United Kingdom
catalog no: ASIN: B002GM2RAQ
A download-only collection of recordings that includes several of Yma Sumac's early songs from South America along with her later material. Although the exact country of origin is vague and it seems to appear most often on sites in Germany, the record label seems to be located in the United Kingdom. . . . 2006 United Kingdom
catalog no: 274
78 rpm single from earliest recording session in 1943. 1943 Perú
catalog no: D.P.334
Early 1943 material recorded in Argentina, probably a later reissue due to the spelling of her name which was not used before 1950. 1950 United Kingdom
catalog no: 241702
Although European releases of this early material from Argentina were usually on the Parlaphone label, this one from Greece is Odeon. 1950 Greece
catalog no: 9-8058
Reissue of earliest recordings from 1943 1952 United States
catalog no: 81051
Reissue of earliest recordings from 1943, part 2 of two disk set 1952 United States
catalog no: 81051
Reissue of earliest recordings from 1943, part 2 of two disk set. This pressing has ads on the back for other Coral releases and no liner notes. 1953 United States
catalog no: 81051
Reissue of earliest recordings from 1943, part 2 of two disk set. The original release was from 1952 but was reissued several times. 1953 United States
catalog no: M 128
Compilation of earliest recordings from 1943. 1952 México
catalog no: LDC-522
Compilation of earliest recordings from 1943. 1952 Argentina
catalog no: LD-1045
The Voice of Gold Sings the Hymns of the Incas. Early 10" release from Peru containing tracks from Yma Sumac's 1943 Argentina recording session. Several releases used this same cover art which features a still frame from the 1954 Hollywood film, Secret of the Incas but with a different track se . . . 1955 Perú
catalog no: CRL 56 058
Reissue of earliest recordings from 1943 1952 United States
catalog no: DMO-55458
Only 12" LP compilation known to contain tracks from the early 1943 recording session. Shares a similar cover art and has the same tracks as a Peruvian cassette release of the same name which uses the photo from the 1959 Capitol Records LP, Fuego del Ande. Due to the spelling of her name on the . . . 1962 Argentina
catalog no: BYD77004
27 track compilation featuring pre-1955 material along with several 1943 Argentina Session tracks. Good selection of material but the booklet contains many inaccuracies over the usual. For example, her name was spelled as Ymma throughout when that spelling was used only on one obscure release from t . . . 2008 United Kingdom
catalog no: JOM-1027-3
All eighteen tracks from Yma Sumac's first recording sessions in 1943, along with five others by El Conjunto Folklorico Peruano de Moisés Vivanco and soloists that were part of the same sessions. This earliest material was recorded in Argentina under the name Imma Sumack, which was her or . . . 2011 United States
catalog no: BLUE103CD
Fully remastered, all eighteen tracks from Yma Sumac's first recording sessions in 1943, along with five others by El Conjunto Folklorico Peruano de Moisés Vivanco and soloists that were part of the same sessions. This earliest material was recorded in Argentina under the name Imma Sumack, wh . . . 2012 United Kingdom
catalog no: SOW 90201
Compact Disc compilation from Holland, which is the first time that any of the early 1943 tracks from Argentina have been heard on a CD release outside South America. There is lots of ambiguity in this CD's country of origin (it indicates that it was made in Portugal in some places and The Netherlan . . . 2002 Netherlands
catalog no: 2711402146
Unusual Compact Disc collection from Greece, apparently available for only a single day as a promotional by a weekly newspaper. Packaged in a long DVD-type sleeve. 2008 Greece
catalog no: 02282
Collection containing tracks from Yma Sumac's early South American sessions along with several cuts from her last album for Capitol Records. It also includes two instrumentals by unknown artists and it is also available as an electronic download. 2010 Columbia
catalog no: 7-2438-21 100-2-6
Compilation featuring tracks from early 1943 Argentina Session along with tracks by Inti-Sumaj 1997 Columbia
catalog no: ASIN: B001P5MG6A
Collection from the United Kingdom features tracks ranging from Yma Sumac earliest material from 1943 to 1954 at the height of her career. Includes tracks from Voice of the Xtabay (1950), Legend of the Sun Virgin (1952), Inca Taqui (1953) and Mambo! (1954) and also included are her two singles from . . . 2009 United Kingdom
catalog no: EMI-RE-020 428
Contains early 1943 Argentina Session material, along with later Capitol Records tracks 1996 Perú
catalog no: OLFC 032
Compact Disc compilation from Italy. 2003 Italy
catalog no: CD 830 62702-5
Despite EMI and Sony logos this interesting collection, which also includes tracks by great Peruvian performers Wara Wara, Siwar Q'ente and Martina Portocarrero, has countless typos and discrepancies of origin as to make the legitimacy of it questionable. Although stated made in France, it was likel . . . 2006 France
catalog no: 23351
76 Hits and Rarities from the goddess of Exotica. More details and track for this September 2012 collection coming soon. 2012 United Kingdom
catalog no: GSS 5482
This 3-CD set advertised as being from Holland but package and disk printing indicate it was made in Portugal. Released in March 2008 and contains 47 tracks, this boxed set contains three standard jewel cases all with the same cover art and no booklet or notes. The box cover is shown. 2008 Portugal
catalog no: BLUE102CD
Double CD collection features remastered tracks from the 1943 Argentina Session along with those from the Capitol Records years. 2005 United Kingdom
catalog no: FT-03-0020
Cassette compilation with tracks from early 1943 Argentina Session. The cassette uses Dolby noise reduction and is marked as being stereo though the recordings are in monophonic 1988 Perú
Cassette features tracks from the Extremes of Yma Sumac's career with material from the early 1943 Argentina sessions and the 1991 German Mambo Confusion material. It was never sold and was made for archival purposes only. Only a few copies exist. 1998 United States
catalog no: FE 020537
Contains early 1943 Argentina Session material, along with later Capitol Records tracks 1996 Perú
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