Latin American Choral Repertoire Makumbeb ??Latin American Choral Repertoire for mixed choir a cappella 11 songs from Argentina, Brazil Chile, Colombia, Ecuador Peru and Venezuela

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  • Latin AmericanChoral Repertoire

    for mixed choir a cappella

    11 songs from Argentina, Brazil Chile, Colombia, Ecuador

    Peru and Venezuela

    edited by Mara Guinand

    C_Carus 2.302

    Mak

    umbe

    b

    Carmina mundi

    International Federation for Choral Music

  • Carus 2.302

    Title Text (T)/Music (M)/Choral version (C.v.) Country Page

    1. Serenata para la tierra de uno . . . . . . T/M: Mara Elena Walsh . . . . . . . . . . . . . . . Argentina . . . . . . 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.v.: Liliana Cangiano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    2. Sabi, corao de uma viola . . . . . . . T: Orlando de Brito . . . . . . . . . . . . . . . . . . . Brazil . . . . . . . . . . 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M: Aylton Escobar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    3. La Llorona . . . . . . . . . . . . . . . . . . . . M: Jos Barros . . . . . . . . . . . . . . . . . . . . . . Colombia . . . . . . 14 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.v.: Alberto Carbonell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    4. Yambamb . . . . . . . . . . . . . . . . . . . T: Nicols Guilln . . . . . . . . . . . . . . . . . . . . Colombia . . . . . . 17 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M: Jos Antonio Rincn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    5. El Tortillero . . . . . . . . . . . . . . . . . . . . Chilean folksong . . . . . . . . . . . . . . . . . . . . . Chile . . . . . . . . . 23 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.v.: Waldo Aranguiz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    6. Ojos Azules . . . . . . . . . . . . . . . . . . . M: Rubn Uquillas . . . . . . . . . . . . . . . . . . . Ecuador . . . . . . . 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.v.: Gerardo Guevara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    7. El Alcatraz . . . . . . . . . . . . . . . . . . . . Peruvian folksong . . . . . . . . . . . . . . . . . . . . Peru . . . . . . . . . . 29 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.v.: Luis Craff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    8. Festejo de Navidad . . . . . . . . . . . . . . T: Alfredo Ostoja . . . . . . . . . . . . . . . . . . . . Peru . . . . . . . . . . 32 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M: Herbert Bittrich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    9. El Santigua'o . . . . . . . . . . . . . . . . . . Folksong . . . . . . . . . . . . . . . . . . . . . . . . . . . Venezuela . . . . . 38 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M: Federico Ruiz (rev. Alberto Grau) . . . . . . . . . . . . . . . . . . . . . .

    10. Maanita Pueblerina . . . . . . . . . . . T/M: Inocente Carreo . . . . . . . . . . . . . . . . Venezuela . . . . . 43

    11. Todo este campo es mo . . . . . . . . T/M: Simn Daz . . . . . . . . . . . . . . . . . . . . Venezuela . . . . . 46 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.v.: Alberto Grau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    For additional volumes in the International Choral Series Carmina mundi, see p. 60

    Cover by Max Ackermann (18871975), Ackermann-Archiv Bietigheim-Bissingen, GermanyThis painting, whose forms are connected by fine lines, could be interpreted to represent bridges between continents, nations, and cultures, and thus could portray music as a bridge of song.

    2

    Contents

    Copying of pieces from this collection is prohibited. Separate editions of titles may be ordered in choral quantity from Carus(www.carus-verlag.com).

  • Carus 2.302

    Esta coleccin Makumbeb de Repertorio Coral Latino-americano ha sido seleccionada teniendo en cuenta la diver-sidad de ritmos y estilos propios de nuestra msica popular yfolklrica.

    En los siglos XVII, XVIII y XIX la prctica coral de la AmricaHispana estuvo fundamentalmente asociada a la Msica delas Catedrales y a la Msica Misional, siguiendo los estilos decomposicin europeos de la poca. Son muchas las obras es-critas por los compositores latinoamericanos para las cele-braciones litrgicas de Semana Santa, Navidad y otras fies-tas.

    Sin embargo, hoy en da, el canto coral en la mayora de lospases latinoamericanos est ntimamente ligado a la prcticade la msica popular y de origen folklrico. En los siglos XX yXXI, el surgimiento de nuevos lenguajes corales ha estado in-fluenciado no slo por las corrientes contemporneas decomposicin, sino tambin por el auge del nacionalismo, quese ha caracterizado por realzar y mostrar la riqueza de las ra-ces populares y folklricas de la msica en Latinoamrica. Lagran mayora de nuestros coros se inician cantando la msicade sus tradiciones y luego abordan otros repertorios mscomplejos.

    Es por ello que esta coleccin se centra en muy buenos arre-glos y versiones corales de melodas tradicionales o popula-res, realizados por reconocidos compositores, directores co-rales y maestros, quienes han dedicado gran parte de su vi-da a esta actividad. Las obras originales que se incluyen, ElSantiguao, Sabi, corao de uma viola, Yambamb, Feste-jo de Navidad y Maanita Pueblerina han sido todas inspi-radas en elementos propios de la msica popular.

    Cada una de las obras est acompaada de una traduccindel texto, de un comentario sobre la obra y sus caractersti-cas, as como de una gua para el acompaamiento de la per-cusin o de la guitarra, donde fuese necesario.

    Es mi deseo que Makumbeb sirva como estmulo paraque muchas agrupaciones corales conozcan y disfruten deeste variado y colorido repertorio.

    Mara Guinand

    The present collection of Latin American Choral Repertoire,Makumbeb, has been selected to reflect the diversity ofrhythms and styles of our popular and folk music.

    During the 17th, 18th and 19th centuries choral music inHispanic America was mainly associated with music as prac-ticed in the Cathedrals and Missions and with the composi-tional styles which followed the European models of thetime. There are many wonderful works written by LatinAmerican composers for the liturgical celebrations of theHoly Week, Christmas and other festivities. However, todaychoral singing in the majority of the Latin American countriesis strongly related to music that originated from popularsources and folk traditions.

    In the 20th and 21st centuries, the new languages of choralcomposition have not only derived from the main contem-porary musical trends, but also from the impact of national-ism, which is characterized in Latin American regions by therichness and wide variety of elements that are essential toour folk music. Most of our choirs began by singing the tra-ditional music in parts and later on by studying more com-plex repertoires.

    That is why this collection is centered around a selection ofexcellent choral arrangements and choral versions of popu-lar and traditional melodies. These works have been writtenand arranged by well-known composers, conductors andteachers who have dedicated most of their lives to choralmusic. The original compositions such as El Santiguao,Sabi, corao de uma viola, Yambamb, Festejo de Navi-dad and Maanita Pueblerina have been inspired by ele-ments from popular music.

    The edition includes a commentary and an English transla-tion of the singing text for each piece in this collection.Guidelines for the percussion and guitar accompaniment arealso included, when applicable.

    It is my hope that Makumbeb will provide a stimulus formany choirs to discover and enjoy this varied and colorfulrepertoire.

    Maria Guinand

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    Prembulo Preamble

    Carus 2.302 3

  • Carus 2.302

    Mara Guinand, choral conductor, university professor andleader of many choral projects both nationally and interna-tionally, has pursued an intense musical career. She graduatedfrom Bristol University (England) and studied choral conduct-ing with Alberto Grau. She continued her conducting and mu-sical education with Helmuth Rilling, Luigi Agustoni andJohannes B. Goeschl. At present, she conducts three presti-

    gious choirs in Venezuela: the Cantora Alberto Grau, theOrfen Universitario Simn Bolvar and the Schola Cantorumof Caracas with which she has recorded and toured extensive-ly. Since 1980 she has been the Associate Conductor of ChoralSymphonic Performances for the Orchestra Simn Bolvar. Inaddition, as conductor of the Polar Foundation Choir she hasactively contributed to the development of choral music in pri-vate enterprise. She also has been Dean of the Music SchoolJose Angel Lamas and of the Simn Bolvar Conservatory ofMusic, and has headed the main academic program of theFoundation for Youth and Children Orchestras in Venezuela.She has also developed several centres of music education fordeprived children. Frequently invited to appear as a guest con-ductor of prestigious choirs in the USA, Europe, Asia and LatinAmerica , and also as a lecturer at the World Symposia onChoral Music and the Conventions of the American ChoralDirectors Association (ACDA), Maria Guinand has specializedin Latin American Choral Music of the 20th century. Duringthe European Music Festival organized by the InternationalBachakademie Stuttgart in September 2000, she premieredOsvaldo Golijov's St. Mark s Passion as a special project forthe comemmorative Bach year. She has been the conductor ofthe Festival Ensemble Choir during the European Music Festi-vals from 2001 through 2004. As a choral promoter, she or-ganizes the activities of several National Associations such asthe Schola Cantorum of Caracas