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9-20-2010

An Evening of Latin American Art Song

Department of Music, University of Richmond

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THE UNIVERSITY OF RICHMOND
DEPARTMENT OF MUSIC
presents

}ln P.vening of£atin}lmerican}lrt Song

Emily Riggs, soprano

David BaHena, piano

UNIVERSITY OF

RICHMOND

~
Monday, September 20, 2010
7:30p.m.
University of Richmond
Camp Concert Hall
 }l6out tfie CJ?eiformers

EMILY RIGGS, soprano, earned a B.A. in Music

and Art History from the University of Richmond
and a M.M. in Vocal Performance and Pedagogy
from Westminster Choir College in Princeton,
NJ. She is currently a doctoral candidate at the
University of Maryland, where she studies with
Carmen Balthrop, and serves as an Adjunct Pro-
fessor of voice at the University of Rich-
mond. Active as a soloist and recitalist, Miss
Riggs has been heard throughout the DC area in
Poulenc's Gloria, Mozart's Requiem, Haydn's
Creation, and most recently as the soprano solo-
ist in Dvorak's Requiem with the Annapolis Sym-
phony Orchestra at the United States Naval Acad-
emy. She appears regularly as a soloist with the
Bel Canto Lyric Opera Company of Philadelphia
and has performed both Russian and Spanish song recitals for the Friday Noon Con-
cert Series at the Arts Club of Washington. In 2009 and 2010, Miss Riggs was a finalist
in the Vocal Arts Society of Washington's Art Song Discovery Series Competition.

A native of Peru, DAVID BALLENA received his early training at the Conservatorio
Nacional de Musica in Lima. While studying in Peru, he was awarded the First Prize in
the Piano Competition organized by the Conservatorio Nacional de Musica in Lima
and was later invited to perform with the Orquesta Sinf6nica Nacional. In 1997, he
came to the United States to study with Lee Luvisi and currently is a doctoral candi-
date at the University of Maryland, where he studies with Rita Sloan. Mr. Ballena has
been a participant in several music festivals in South America, Israel and the U.S.,
among them, the Young Musical Artists Association Festival, the Tel Hai International
Master Classes, the Sewanee Music Festival and the Aspen Music Festival. During his
four summers in Aspen, he has been a full scholarship and fellowship recipient and, in
the Summer of 2 008, returned as a staff pianist for the festival. While a student at
these festivals, David studied with Emilio del Rosario, Victor Derevianko, Anton Nel,
and Joseph Kalichstein.

Mr. Ballena recently made his Carnegie Hall debut in the Spring of 2008. Other recent
performances include the Aspen Music Festival's Festival of Tangos at the Benedict
Music Tent and performances at the Harris Concert Hall and Wheeler Opera House.
Additional performances include the American Piano Festival and Happy Birthday
Mozart at the Clarice Smith Performing Arts Center, a benefit for Opera Lafayette at La
Maison Franr;:aise in Washington, DC, the Friday Noon Concert Series at the Arts Club
of Washington, the Pontificia Universidad Cat6lica del Peru in Lima, the Comstock
Concert Hall, the University of Montana Recital Hall, the Monteabaro Recital Hall, and
the Hallem Theatre, among others.
 l
Jln P.vening of Latin}lmerican}lrt Song
Emily Riggs, soprano
David BaHena, piano

Canci6n al arbol del olvido Alberto Ginastera

Canci6n ala luna lunaca (1916-1983)

Se equivoco la paloma Carlos Guastavino

La rosa y el sauce (1912-2000)
Pampamapa

Al tiempo del amor lnnocente Carreno

Amor, mi buen amor (b.1919)

Cinco canciones populares argentinas Alberto Ginastera

Chacarera
Triste
Zamba
Arrorr6
Gato

I ntermisson

Selections from Cinco canroes nordestinas do folclore brasileiro

Francisco Ernani Braga
Capim di pranta (1868-1945)
Sao joao-da-ra-rao
Engenho novo!

Selections from Cinco canciones negras Xavier Montsalvatge

Cuba dentro de un piano (1912-2002)
Punto de Habanera
Chevere
Canci6n de cuna para dormir a un negrito
Canto negro

Samba-Classico Heitor Villa-Lobos

(1887-1959)
 '{fie Composers

The nationalist movement, which began in the late 19th century, was still very
much alive and thriving as the young ALBERTO GINASTERA emerged onto the inter-
national scene. This early influence of the nationalist school would have a lasting
impact on Ginastera's musical aesthetic. While consistently embarking on musical
journeys that explore the deepest roots of the Argentine folk tradition, Ginastera's
music is also studded with references to the neo-classical school of composition
that dominated the avant-garde scene at the turn-of-the-century in Europe.
"Canci6n del arbol del olvido" is a wonderful example of a work that combines
these two influences. The use of ostinato and contrapuntal textures references the
neo-classical influence on his work, while the strict adherence to the folk song form
of the vidala is an ever-present reminder of the nationalist roots of this composer.

The Cinco canciones populares argentinas further solidified Ginastera's role as one
of the most innovative nationalist composers of his time. Three of the pieces in this
cycle, "Chacareras," "Gato" and "Zamba," all have titles that refer to specific folk
dances that are still performed throughout the rural lands of Argentina. Ginas-
tera's setting of these popular songs directly retains the folk dance rhythms sug-
gested by their titles. These five songs encompass a vast array of moods and sub-
jects. At times, Ginastera's harmonic language is saturated with chromaticism and
at other times is content to rest in the calm of consonance. The driving rhythms of
the first and last songs contrast with the sparse textures, and, at moments, utter
timelessness that characterize the second, third and fourth songs. References to
traditional instrumentation, especially the guitar, can be seen throughout this cycle.
As is the case with a majority of Ginastera's music, many figures in the piano simu-
late the plucking and/or strumming of a classical guitar, and often contain the six
notes corresponding to the six open strings. Such a gesture can be heard in the
repeated motive in the second song of this cycle, "Triste."

CARLOS GUASTAVINO is perhaps the most highly regarded composer of vocal music
in Argentina, composing over 200 songs for a variety of ensembles. His songs are
loved for their unique lyricism and the composer's gift for creating memorable
melodies. His fame may lie in his unparalleled ability to stretch the boundaries of
art song and popular song and merge them in a convincing way. In contrast to
Ginastera, who embraced the modernist trends in harmony and form, Guastavino
preferred traditional tonality and conservative forms. He managed to imbue his
melodies, no matter how traditional, with a newness and timeless relevance that
earned him international recognition as a composer of vocal music.

Many scholars group Guastavino's songs into two distinct periods of composition:
those before 1963 and those after 1963. All the songs chosen for this recital, with
the exception of "Pampamapa" are representative of Guastavino's early period of
song writing. During this period, the composer looked more to the texts of foreign
poets as the source for his songs, among them Spanish poet Raphael Alberti and
Chilean No bel laureate, Gabriela Mistral. Among these early compositions are the
popular "Se equivoco la paloma" and "La rosa y el sauce," a piece originally con-
ceived as a piano solo and later rearranged by composer with the addition of the
vocal line. Throughout his late period, Guastavino turned directly to folk texts,
dances, and melodies as the inspiration for his song writing. "Pampamapa" is
written in the style of a huella, an Argentine folk dance in alternating 6/8 and 3 j 4
meter and characterized by a repetitive i-VI-III-V7-i chord progression.
 1

INNOCENTE CARRENO is well-known throughout Venezuela as a conductor, ar-

ranger, music theorist, classical guitarist, and composer. Unlike many of the other
South American composers featured on this recital, Carreno never received any
long term professional training abroad. He studied almost exclusively in Caracas
with Vincente Emilio Sojo, a leading Venezuelan nationalist composer. He is a
gifted melodist, who relies heavily on the use of neoclassical forms and expanded
chromaticism.

The two songs chosen for this recital highlight Carreno's gift for writing expansive
lyrical melodies enriched by colorful harmonies in the piano. These songs display
the composer's ability to weave elements of the vocal line and accompaniment to-
gether to create a seamless tapestry of sound and emotion. Perhaps what is most
compelling about these two songs is the way the composer is able to transform a
text, which on its own holds no exceptional weight or value, and, by virtue of his
musical choices, turn it into a beautifully expressive verse.

XAVIER MONTSALVATGE shares an allegiance to both Spain and Cuba. Born and
educated in Spain by Catalonian teachers, he harbored a deep passion for the
rhythms and melodies of Cuba, especially Afro-Cuban musical tradition. Many
Catalonians emigrated abroad during the unsettling years leading up to the Spanish
Civil War, and one of the largest communities of Catalonians settled on the island of
Cuba. The dance rhythms, folk tunes, and culture of West Indies would form the
foundation ofMontsalvatge's musical language.

The Cinco canciones negras was originally composed for voice and piano and later
arranged by the composer for voice and orchestra. This cycle is perhaps Montsal-
vatge's most widely recognized and performed work. It combines the poetry of five
different sources and includes the works of Spanish, Cuban, and South American
poets who are all writing about the joys and struggles of the Afro-Cuban culture.
Nostalgia, longing, humor, pain, murderous rage, maternal love, innocence, hope,
debauchery, and celebration all figure into this snapshot of a culture. While Afro-
Cuban rhythms are apparent throughout, the cycle also serves as an excellent ex-
ample of French turn-of-the-century influence on his song writing. The expanded
chromaticism, jazz harmonies, and musical flippancy of the first and
second pieces speak directly to the influence of Les Six.

The works of Brazilian composer FRANCISCO ERNANI BRAGA are often overshad-
owed by the success of his contemporaries. Braga has contributed a number of
worthy compositions the song repertoire, in particular, his cycle Cinco can96es
nordestinas do folclore brasileiro. His music evidences the influence of post-
Wagnerian chromaticism as well as a clear affinity for the traditional Afro-Brazilian
music of his homeland, a result of his education both at the Imperial Conservatory
of Brazil and the Paris Conservatory, the latter under the tutelage of Jules Massenet.

From the time of the Portuguese discovery of Brazil in the year 1500 through the
19th century, the institution of slavery was the driving force behind economic and
agricultural growth in the newly settled region. The Afro-Brazilian culture was
concentrated in the Northeastern coastal regions of the country, where sugar
cane plantations thrived. It is from this region that the folk texts and melodies of
the following three songs were taken. In the rhythm of the first piece, "Capim di
pranta," one can hear the repetitive labor of the harvesters as they pluck the
persistent weeds from the fields. "Sao Joao-da-ra-rao" is in rondo form and relies
on a popular method of improvisation in children's songs, in which the interior
syllables of the words are repeated in a playful manner. In the final piece,
"Engenho novo!," the accompaniment simulates the churning wheels of the sugar
cane mill. The random repetition of text captures the worker's youthful inno-
cence and joy over the opening of a new mill. More important than the meaning
of the text itself is the sound the texts makes in repetition.

HEITOR VILLA-LOBOS is easily Brazil's most recognized and accomplished musi-

cal figure. He composed a vast number of works in a variety of genres, ranging
from symphonies, operas, and ballets to smaller forms, including guitar and pi-
ano solos, chamber music, and songs. He was influenced early in his career by
the influx of European musicians to South America and by his early studies in
composition with Francisco Ernani Braga. In the early decades of the 20th cen-
tury, internationally renowned musicians including Darius Milhaud and Arthur
Rubinstein toured South America, stopping in Rio de Janeiro where Villa-Lobos
was studying. A lasting friendship with both composers helped Villa-Lobos es-
tablish international fame by allowing him to secure study and performance op-
portunities in Paris.

While deeply influenced by European modernism, his roots remained as ana-

tionalist composer. The street music of modern day Rio and the folk music of the
indigenous tribes of the Amazon would both provide him with the foundation for
his musical language. An accomplished composer for the voice, Villa-Lobos com-
posed songs in a variety oflanguages, including Portuguese, Spanish, French, and
Italian. I have chosen one of Villa-Lobos' more lighthearted and theatrical com-
positions to close this recital. The text and musical setting of "Samba-Classico"
celebrate the poet's vision of Brazil as a country that has transcended race and
religion in favor of unity and happiness.

-Program Notes by Emily Riggs

 1

CJ'ransfations

Canci6n al arbol del olvido The tree offorgetting

En mis pagos hay un arbol In my land there is a tree
Que del olvido se llama, that's called the tree of forgetting,
AI que van a despenarse, to which go to lay down their troubles,
Vidalitay, Vidalitay, Vidalitay, Vidalitay,
Los moribundos del alma. Those whose souls are dying.
Para no pensar en vos So that I would no longer think of you
Bajo el arbol del olvido under the tree of forgetting
Me a coste una nochecita, I lay down one evening,
Vidalitay, Vidalitay, Vidalitay, Vidalitay,
Y me quede bien dormido. And I fell fast asleep.
AI despertar de aquel suefio When I awoke from that dream
Pensaba en vos otra vez, I thought of you once again,
Pues me olvide de olvidarte, because I forgot to forget you,
Vidalitay, Vidalitay, Vidalitay, Vidalitay,
Encuantito me acoste. as soon as I lay down.

Canci6n de Ia luna lunaca Song of the silly moon

AI corral del horizonte At the encircling of the horizon
va entrando Ia nochecita the night enters
esta tan aquerenciada so in love
porque entra todos los dias. that it enters every day.
Asi estoy aquerenciado In the same way I am devoted
en el corral de tus brazos In the embrace of your arms
yen el fuego de tus ojos and in the fire of your eyes
estoy como encandilado I am aflame.

Noche de luna lunaca Night of the silly moon

noche de cielo estrellado Night of the starry sky
las horas tienen perfume the hours have a fragrance
y son los besos mas largos. and his kisses are slower.

Ha aparecido Ia luna The moon appears

sabre el gran clara del cielo under the great clarity of the sky
abarcando todo el campo and covers the whole field
como un perfume a un pafiuelo. like a familiar fragrance.
Asi apareciona moza In the same way appeared a young girl
en el trope! de mis dias in the multitude of my days
ella, para mi es Ia luna she, for me is the moon
que abarca toda mi vida! that covers all my life!

-Trans/. by David Ballen a and

Emily Riggs
Se equivoco Ia paloma The dove was mistaken
Se equivoc6!a paloma, se equivocaba. The dove was mistaken.
Por ira! Norte, fue a! Sur. It was mistaken. To go north, it went
Crey6 que el trigo era agua. south.
It thought the wheat was water.
Se equivocaba. It was mistaken.
Crey6 que el mar era el cielo;
que Ia noche Ia manana. It thought the sea was the sky;
Se equivocaba. the night, the morning.
Que las estrel!as eran rodo; It was mistaken.
que Ia calor, Ia nevada. that the stars, dew;
Se equivocaba. that the heat, snow.
It was mistaken.
Que tu falda era tu blusa;
que tu coraz6n su casa. That your skirt was your shirt;
Se equivocaba. your heart, its house.
It was mistaken.
(Ella se durmi6 en Ia orilla.
Tu, en Ia cumbre de una rama.) (She fell asleep on the shore
You on the top of a branch)

-Trans/. by Emily Riggs

La rosa y el sauce The Rose and the Willow

La rosa se iba abriendo The rose was opening
Abrazada a! sauce, cleaved to the willow.
El arbol apasionada, The passionate tree
La amaba tanto! loved it so!
Pero una nifia coqueta But a cheeky young girl
Se Ia ha robado, took it away,
Y el sauce desconsolado and the disconsolate willow
Le esta llorando. laments it so.

-Trans/. by jacqueline Cockburn

Pampamapa Pampamapa
Yo no soy de estos pagos I'm not of this region
pero es lo mismo but it's the same,
he robado Ia magia i've stolen the magic
de los caminos. from those paths.

Esta cruz que me mata This cross that kills me

me dalla vida, gives me life,
Una copla me sangra A verse bleeds from me
Que canta herida. That sings wounded.

No me pidas que deje Don't ask me to leave

mis pensamientos, my thoughts,
no encontraras Ia forma You'll not find a way
de atar al viento. To stay the wind.

Si mi nombre te duele If my name causes you pain,

Echalo al agua, Throw it in the water,
No quiero que tu boca I don't want your mouth
se ponga armarga. To become bitter.

A Ia huella, mi tierra, Having watched all night.

Tan trasnochada. I will give you my dreams,
Yo te dare mis suenos, Give me your calm.
dame tu calma.
Like the ancient bird
Come el pajaro antinguo I recognize the trail,
co nos co el rastro, I know when the wheat is green,
se cuando el trigo es verde, When to love it.
cuando hay que amarlo.
For that is why, my life,
Por eso es que, mi vida don't be confused,
no te confundas, The water that i seek
El agua que yo busco Is more profound.
es mas profunda.
So that you would be real
Para que fueras cierta I raised you in a song,
te alee en un canto, Now I leave you alone,
ahora te dejo sola, I go away weeping.
Me voy llorando.
But never, my heaven,
Pero nunca, mi cielo Of pain do I die,
De pena muero Together with the light of day,
Junto a Ia luz del dia I am born anew.
Nazco de nuevo.
At your threshold, my earth,
A Ia huella, mi tierra, Having watched all night.
Tan trasnochada. I will give you my dreams,
Yo te dare mis suenos, Give me your calm.
Dame tu calma.
-Trans!. by Kathleen M. Wilson
Tiempo del amor TimeofLove
AI tiempo del am or se han encendido To the time oflove they have ignited
las apagadas rosas del ayer, the withered roses of the past
y no hay ternura ni candor mas puros and there is neither tenderness nor candor
que a su !ado nos haga estremecer. more pure
that in the presence oflove makes tremble.
Bella es Ia vida si a! final nos llega
en el celeste soplo del amor, Beautiful is the life if at the end it come to
el embrujado encanto de las horas us
magicamente henchidas de dulzor. in the celestial breath oflove,
the bewitched enchantment of the hours
Porque oponernos a su ardiente paso, magically filled with sweetness.
si todo gira en torno a su misi6n?
Abramos las ventanas de Ia sangre Why should we oppose love's ardent path,
y escuchemos tan solo a! coraz6n. if everything revolves around its mission.
Let's open the windows of the blood
and let us listen only to the heart.

- Transl. by Kathleen M. Wilson

Amor, mi buen amort.. Love, my good love!...

Amor, mi buen am or, que nadie diga Love, my good love, let nobody say
que Ia hora de amar ya no es Ia hora the hour to love is no longer the hour
y que Ia hora de segar Ia aurora and that the hour to harvest the dawn
no es tambien hora de segar Ia espiga. is not also the hour to harvest the grain.

Un azul de campanulas en flora Blue of the flowering bellflowers

le luz del alba par Ia senda amiga, the light of dawn illuminates the friendly
yes el amanecer una cantiga path,
donde el arpa del bosque es mas sonora. and is the dawn a song
where the forrest's harp is more sono-
Contigo pienso: rous?
nuestra dicha estanta,
que una femisma nuestro amor levanta Together we think:
yen nuestras vidas arde un mismo cielo. our blessing is
that as a single faith our love rises
Mi anhelo va a! azar and in our lives burns the same sky.
tras de tu suerte
y siento que Ia mismo vatu anhelo, My yearning takes a chance
a fuerza de quererme y de quererte. following your fortune
and I feel that the same goes to your
yearning
because I love you and you also love me.
 Cinco canciones populares argentinas
(Five Argentinean Popular Songs)

Chacareras Chacareras
A mf me gustan las fiatas I love girls with little snub noses
Y una fiata me ha tocado and a snub-nose girl is what I've got.
Nato sera el casamiento Ours will be a snub-nose wedding
y mas fiato el resultado. and snub-nosed children will be our lot.
Cuando canto chacareras Whenever I sing a chacarera
Me dan ganas de llorar it makes me want to cry,
Porque se me representa because it takes me back to
Catamarca y Tucuman. Catamarca and Tucuman.

Triste

Ah! Ah!
Debajo de un limon verde Beneath a lime tree
Donde el agua no corrfa where no water flowed
Entregue mi coraz6n I gave up my heart
A qui en no lo mereda. to one who did not deserve it.
Ah! Ah!
Triste es el dfa sin sol Sad is the sunless day.
Triste es Ia noche sin luna Sad is the moonless night.
Pero mas triste es querer But sadder still is to love
Sin esperanza ninguna. with no hope at all.
Ah! Ah!

Zamba Tears
Hasta las piedras del cerro Even the stones on the hillside
y las arenas del mar and the sand in the sea
Me dicen que note qui era tell me not to love you.

Y no te puedo olvidar. But I cannot forget you.

Si el coraz6n me has robado If you have stolen my heart
El tuyo me lo has de dar then you must give me yours.
El que !leva cosa ajena He who takes what is not his
Con lo suyo ha de pagar must return it in kind.
Ay! Ah!
Arrorr6 Lullaby

Arrorr6 mi nene, Lullaby my baby;

Arrorr6 mi sol, lullaby my sunshine;
Arrorr6 pedazo lullaby part
De mi coraz6n. of my heart.
Este nene lin do This pretty baby
Se quiere dormir wants to sleep
Y el picaro suefio and that fickle sleep
No quiere venir. won't come.

Gato Cat

El gato de mi casa The cat of the house

Es muy gauchito is most mischievous,
Pero cuando lo bailan but when they dance,
Zapateadito. they stamp their feet.
Guitarrita de pino With pine guitars
Cuerdas de alambre. and wire strings.
I like the small girls
Tanto quiero a las chi cas, as much as the big ones.
Digo, como a las grandes.
Esa moza que baila That girl dancing
Mucho Ia quiero is the one for me.
Pero no para hermana Not as a sister
Que hermana tengo. I have one already.
Si, ponte a! frente I have a sister.
Aunque no sea tu duefio, Yes, come to the front.
Digo, me gusta verte. I may not be your master
but I like to see you.

-Trans/. By jacqueline Cockburn

Intermission

Selections from Cinco can~oes nordestinas do folklore brasileiro

Capim di pranta
Sao joao-da-ra-rao
Engenho novo!

-Translations unavailable
Cinco canciones negras
Cuba dentro de un piano

Quando mi madre llevaba un sorbete de fresa por sombrero,

y el humo de los barcos aun era humo de habanera,
Mulata vuelta abajera,
Cadiz se adormeda entre fandangos y habaneras,
y un lorito al piano querfa hacer de tenor.
Dime donde esta Ia flor que el hombre tanto venera.
Mi tfo Antonio volvfa con su aire de insurecto.
La Cabana y el Principe sonaban por los patios del Puerto.

Ya no brilla la Perla azul de mar de las Antillas.

Ya se apag6, se nos ha muerto.

Me encontre con Ia bella Trinidad:

Cuba se habfa perdido; y ahara era verdad, era verdad;
no era mentira.
Un canonero huido lleg6 cantandolo en guajiras.
La Habanaya se perdi6.
Tuvo la culpa el dinero.
Call6, cay6 el canonero.
Pero despues, pero jah! despues
fue cuando al "Sf" lo hicieron "Yes."

Five Negro Songs

Cuba in a piano

When my mother wore a strawberry ice for a hat

and the smoke from the boats was still Havana smoke.
Mulata from Vuelta Abajero ...
Cadiz was falling asleep to fandangos and habaneras
And a little parrot at the piano tried to sing tenor.
... tell me, where is the flower that a man can really respect?
My uncle Anthony would come home in his rebellious way.
The Cabana and El Principe resounded in the patios of the port

(But the blue pearl of the Caribbean shines no more.

Extinguished for us no more.)

I met beautiful Trinidad

Cuba was lost, this time it was true.
True and not a lie.
A gunner on the run arrived, sang Cuban songs about it all.

Havanna was lost and money was to blame ...

The gunner went silent, fell.
But later, ah, later they changed SI to YES.
Pun to de Habanera Habanera rhythms

La nina criolla pasa con su mirina que blanco. The Creole girl goes by in her white crinoline.
jque blanco! How white!

Hola, cresp6n de tu espuma, The billowing spray of your crepe skirt!

jmarineros, contempladla! Sailors, look at her!
Va mojadita de lunas que le hacen su pie! She passes gleaming in the moonlight which
mulata. darkens her skin.
Nina, note quejes, tan solo por esta tarde. Young girl, do not complain, only for tonight
Quisiera mandar al agua do I wish the water

que nose escape de pronto de Ia carcel de not to suddenly escape the prison of your
tu falda. skirt.
Tu cuerpo encierra esta tarde rumor de In your body this evening dwells the sounds
abrirse de dalia of opening dahlias.
Nifia note quejes, tu cuerpo de fruta esta Young girl, do not complain, your ripe body
dormido en fresco brocado. sleeps in fresh brocade,

Tu cintura vibra fina con Ia nobleza de un your waist quivers as proud as a whip,
latigo. every inch of your skin is gloriously fragrant
Toda tu pie! huele alegre a limonal y a with orange- and lemon trees.
naranjo. The sailors look at your and feast their eyes
Los marineros te miran y se te que dan on you.
mirando
The Creole girl goes by in her white crinoline. ·
La nina criolla pasa con su mirina que blanco, How white!
jque blanco!

Chevere The dandy

Chevere del navajazo The dandy of the knife thrust
se vuelve el mismo navaja. himself becomes a knife:
Pica tajadas de luna, He cuts slices of the moon,
mas Ia luna se le acaba; But the moon is fading on him;
pica tajadas de sombra, He cuts slices of song,
mas Ia sombra se le acaba; But the song is fading on him;
pica tajadas de canto, mas el canto se le He cuts slices of shadow,
acaba, But the shadow is fading on him,
iY entonces, pica que pica And then he cuts up, cuts up
carne de su negra mala! the flesh of his evil black woman!
Cancion de cuna para dormir Lullaby for a little black boy
a un negrito
Lullay, lullay, lullay, tiny little child,
Ninghe, ninghe, ninghe, tan chiquitito, little black boy who won't go to sleep.
el negrito que no quiere dormir. Head like a coconut, head like a coffee bean,
Cabeza de coco, grano de cafe, With pretty freckles and wide eyes
con lindas motitas, con ojos grandotes Like two windows looking out to sea.
como dos ventanas que miran a! mar.
Close your tiny eyes, frightened little boy
Cierra los ojitos, negrito asustado; or the white devil will eat you up.
el mandinga blanco te puede comer. You're no longer a slave!
jYa no eres esclavo!
And if you sleep soundly,
Y si duermes mucho the master of the house
el senor de casa promete comprar Promises to buy a suit with buttons to
traje conbotones para ser un "groom." make you a 'groom'.

Ninghe, ninghe, ninghe, duermete, negrito, Lullay, lullay, lullay, sleep, little black boy,
cabeza de coco, grano de cafe. Head like a coconut, head like a coffee bean.

Canto negro Negro Song

jYambamb6, yambambe! Yambamb6, yambambe!
Repica el congo so Iongo, The congo solongo is ringing,
repica el negro bien negro. The black man, the real black man is
iAoe! ringing.

Congo solongo del Songo Congo so Iongo from the Songo

baila yamb6 sobre un pie. Is dancing the yamb6 on one foot
jYambamb6, yambambe! Yambamb6, yambambe!
Mamatomba serembe cuseremba, Mamatomba, serembe cuseremba

El negro canta y se ajuma. The black man sings and get drunk,
Mamatomba serembe cuseremba, Mamatomba serembe cuseremba,
el negro se ajuma y canta. The black man gets drunk and sings,
Mamatomba serembe cuseremba, Mamatomba serembe cuseremba,
el negro canta y se va. The black man sings and goes away.

Acuememe seremb6 ae, Acuememe seremb6 ae,

yambamb6ae yambamb6 ae
yambambe a6. yambambe a6.

Tamba, tamba, tamba, tamba, Bam, bam, bam, ·

tamba del negro que tumba, bam, of the blackman who tumbles;
tamba del negro caramba, Drum of the black man, wow,
caramba, que el negro tumba, Wow, how the blackman's tumbling!
jYamba, yamb6! Yamba, yamb6!
jYambambe, yambamb6, yambambe! Yambambe, yambamb6, yambambe! !

-Trans/. by jacqueline Cockburn and

Richard Stokes
 THE 2010-2011 DEPARTMENT OF MUSIC CONCERT SERIES
FREE- in Camp Concert Hall, unless otherwise noted
*designates tickets required (Modlin Box Office, 289-8980)
Wednesday, Dec. 1-7:30p
FALL 2010 UR SYMPHONY ORCHESTRA
Sunday, Sept. 19-3:00p Featuring student winners of 2010 ConcertoNocal
Perkinson Recital Hall Competition
Donald George, tenor
Lucy Mauro, piano Sunday, Dec. 5-5:00 and 8:00p
Cannon Memorial Chapel
Monday, Sept. 20-7:30p 37th ANNUAL CANDLELIGHT FESTIVAL OF LESSONS
Emily Riggs, soprano AND CAROLS
David Ballena, piano
SPRING 2011
Friday, Sept. 24-7:30p
Wednesday, JAN. 26-7:30P *
FAMILY WEEKEND CONCERT
CHAMBER MUSIC OF ARNOLD SCHOENBERG
Jazz, Orchestra, Band, Choirs
ensemble-in-residence eighth blackbird and
Wednesday, Oct.13-7:30p * UofR Music faculty
TimbaSon, with
Sunday, Feb. 6-3:00p
Mike Davison and guests
RICHARD BECKER, piano
Thursday, Oct. 21-7:30p
Wednesday, Feb. 23-7:30p
Perkinson Recital Hall
THOMAS MASTROIANNI, piano
MUSIC OF NORTH INDIA-Rajeev Taranath, sarod
Saturday, Feb. 26-3:00p *
Friday, Oct. 22-7:30p *
THE ROLE OF MUSIC IN A GLOBAL SOCIETY
RICHMOND SYMPHONY
NEUMANN LECTURE ON MUSIC-PANEL
Steven Smith, Director
Discussion with Lei Liang,
Joanne Kong, harpsichord & piano
Shanghai Quartet, and Wu Man
Sunday, Oct. 24-3:00p
Sunday, March 27-3:00p
SCHOLA CANTORUM & REUNION CHOIR
RICHARD BECKER, piano
WOMEN'S CHORALE
DORIS WYLEE-BECKER, piano
Friday, Oct. 29-7:30p
Monday, April4-7:30p *
DAVID ESLECK TRIO
JEPSON LEADERSHIP FORUM
Thursday, Nov. 4 -6 times vary Chen Yi, composer
3P ELECTROACOUSTIC MUSIC FESTIVAL
Wednesday, Apri16-7:30p
Sunday, Nov. 14-7:30p UR SYMPHONY ORCHESTRA
UNIVERSITY WIND ENSEMBLE
Friday, April8-7:30p *
Wednesday, Nov. 17-7:30p * SCHOLA CANTORUM, WOMEN'S CHORALE,
CUBAN SPECTACULAR EIGHTH BLACKBIRD, with composer Chen Yi
UR JAZZ COMBO & area musicians
Sunday, April10-all day, across campus
Sunday, Nov. 21-3:00p GLOBAL SOUNDS FESTIVAL
WORLD MUSIC CONCERT-UR Taiko Ensemble Monday, April11-7:30p
Monday, Nov. 22-7:30p UR JAZZ ENSEMBLE & COMBO
UR JAZZ ENSEMBLE & JAZZ COMBO
Wednesday, April13-7:30p
With guest Justo Almarto, sax & clarinet
UR WIND ENSEMBLE
Monday, Nov. 29-7:30p
Wednesday, April 20-7:30p
UR CHAMBER ENSEMBLES CONCERT
UR CHAMBER ENSEMBLES