One song has stuck with Julio Cuellar Gonzales for practically his entire life, following him from a small town in Bolivia all the way to Virginia. With lyrics inspired by the Our Father prayer and the melody of Paul Simon’s “The Sound of Silence,” the song has been widespread throughout Latin America and U.S.
— One song has stuck with Julio Cuellar Gonzales for practically his entire life. Among his first memories of church in the 1970s in Villa Serrano, a town in the Bolivia n region of Chuquisaca, Cuellar remembers singing a specific version of the Our Father.The words were different from the typical Our Father prayer. “Our Father, who art in those who truly love. May the kingdom that you promised us come soon to our hearts.
While there’s no proof that Simon took inspiration for “The Sound of Silence” from the Andes, he later used an Andean tune in “El Condor Pasa,” a single on Simon & Garfunkel’s Grammy-winning 1970 album, “Bridge Over Troubled Water.” “The Sound of Silence” Our Father came back into Cuellar’s life when he decided to begin recording Christian music after years of focusing on secular music. “I felt like I had a debt to the Lord for the gift of the music,” Cuellar explained. When he told the Episcopal church where he was a music minister that he planned to make a record, people kept coming up to him after Mass asking for a recording of the Our Father.
“I’m a child of God, and the devil doesn’t arrive at my house because God is here,” Cuellar said. “I’m not an expert in Christian music, but I’m an obedient person who tries to listen to the voice of God in the silence.” “The Sound of Silence” is just one instance of Latino Catholics’ use of pop song melodies for devotional and liturgical music, Rubalcava said, citing an offertory song called “Saber que Vendrás” that uses Bob Dylan’s “Blowin’ in the Wind” as its tune, various liturgical adaptations of “Jesus Christ Superstar” melodies and a Marian devotional song “Mi Virgen Bella” that uses the melody of Juan Gabriel’s “Amor Eterno.
Rubalcava said that liturgical, musical and theological formation is needed so that Catholics respect that “the laborer gets their due.”
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