Peruvian art song written by composer Theodoro Valcárcel (1898-1942) in 1936. This song is part of a cycle of 32 songs in Quechua language title "Treinta y dos cantos del alma vernácula". The cycle represents a landmark in the history of Latin-American Art Song because is the first one written in an indigenous language; Quechua. Quechua is a language that is still alive and nowadays and is being spoken for more then six million of people.
Valcárcel is consider the father of indigenous nationalism in Perú and one of the most important composers of Latin-American of his time.
A descendant of Aymaras, Theodoro Valcárcel was one of the most prolific Peruvian composers of the first half of the twentieth century. He trained with Luis Dunker Lavalle, and in Europe with maestros such as Pedrell, Vicenzo, Schiepatti and Busoni. He gave concertos as the orchestra conductor and pianist in various European countries and in Peru. He composed works of all types: royal symphonies, for soloists with the orchestra, and royal songs for the choir. In 1935 he was the head of the Department of National Folklore in the Alcedo Academy, and in 1939, he was a member of the Institute of Peruvian Art’s Office of Music.
Amongst his songs the most outstanding are the cycle of Treinta cantos del alma vernacular, a collection of high quality nationalist concerto songs within which the composer captured his knowledge of the Indian and mixed-blood motifs. Part of this cycle of songs was published by Editions Maurice Sénart in Paris in 1930 with the title of Cuatro canciones incaicas (Four Inca songs).