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Latin American Choral Repertoire for mixed choir a cappella 11 songs from Argentina, Brazil Chile, Colombia, Ecuador Peru and Venezuela edited by María Guinand C Carus 2.302 Makumbebé Carmina mundi International Federation for Choral Music

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Page 1: é Latin American Choral Repertoire Makumbeb · PDF fileLatin American Choral Repertoire for mixed choir a cappella 11 songs from Argentina, Brazil Chile, Colombia, Ecuador Peru and

Latin AmericanChoral Repertoire

for mixed choir a cappella

11 songs from Argentina, Brazil Chile, Colombia, Ecuador

Peru and Venezuela

edited by María Guinand

C_Carus 2.302

Mak

umbe

Carmina mundi

International Federation for Choral Music

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Carus 2.302

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

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

2. Sabiá, coração de uma viola . . . . . . . T: Orlando de Brito . . . . . . . . . . . . . . . . . . . Brazil . . . . . . . . . . 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M: Aylton Escobar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

4. Yambambó . . . . . . . . . . . . . . . . . . . T: Nicolás Guillén . . . . . . . . . . . . . . . . . . . . Colombia . . . . . . 17 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M: José Antonio Rincón . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

6. Ojos Azules . . . . . . . . . . . . . . . . . . . M: Rubén 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. Mañanita Pueblerina . . . . . . . . . . . T/M: Inocente Carreño . . . . . . . . . . . . . . . . Venezuela . . . . . 43

11. Todo este campo es mío . . . . . . . . T/M: Simón Díaz . . . . . . . . . . . . . . . . . . . . Venezuela . . . . . 46 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.v.: Alberto Grau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

Cover by Max Ackermann (1887–1975), 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.

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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).

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Esta colección “Makumbebé” de Repertorio Coral Latino-americano ha sido seleccionada teniendo en cuenta la diver-sidad de ritmos y estilos propios de nuestra música popular yfolklórica.

En los siglos XVII, XVIII y XIX la práctica coral de la AméricaHispana estuvo fundamentalmente asociada a la Música delas Catedrales y a la Música Misional, siguiendo los estilos decomposición europeos de la época. Son muchas las obras es-critas por los compositores latinoamericanos para las cele-braciones litúrgicas de Semana Santa, Navidad y otras fies-tas.

Sin embargo, hoy en día, el canto coral en la mayoría de lospaíses latinoamericanos está íntimamente ligado a la prácticade la música popular y de origen folklórico. En los siglos XX yXXI, el surgimiento de nuevos lenguajes corales ha estado in-fluenciado no sólo por las corrientes contemporáneas decomposición, sino también por el auge del nacionalismo, quese ha caracterizado por realzar y mostrar la riqueza de las raí-ces populares y folklóricas de la música en Latinoamérica. Lagran mayoría de nuestros coros se inician cantando la músicade sus tradiciones y luego abordan otros repertorios máscomplejos.

Es por ello que esta colección se centra en muy buenos arre-glos y versiones corales de melodías 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, ElSantigua’o, Sabiá, coração de uma viola, Yambambó, Feste-jo de Navidad y Mañanita Pueblerina han sido todas inspi-radas en elementos propios de la música popular.

Cada una de las obras está acompañada de una traduccióndel texto, de un comentario sobre la obra y sus característi-cas, así como de una guía para el acompañamiento de la per-cusión o de la guitarra, donde fuese necesario.

Es mi deseo que “Makumbebé” sirva como estímulo paraque muchas agrupaciones corales conozcan y disfruten deeste variado y colorido repertorio.

María Guinand

The present collection of Latin American Choral Repertoire,Makumbebé, 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 Santigua’o,Sabiá, coração de uma viola, Yambambó, Festejo de Navi-dad and Mañanita 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 Makumbebé will provide a stimulus formany choirs to discover and enjoy this varied and colorfulrepertoire.

Maria Guinand

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Preámbulo Preamble

Carus 2.302 3

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María 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 Cantoría Alberto Grau, theOrfeón Universitario Simón Bolívar 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 Simón Bolívar. 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 School“Jose Angel Lamas” and of the Simón Bolívar 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 Foundation, MovimientoCoral Cantemos Foundation, Bach Academy of Venezuelaand the National Academy for Gregorian Chant. She is at pre-sent the First Vice-President (acting President) of the Inter-national Federation for Choral Music, and Professor for theMaster of Music Degree at the University Simón Bolívar. In1997 she was awarded the “Kulturpreis” of the InterNationesFoundation and in 2000 she received the Robert Edler Preis fürChormusik.

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Golpe abierto en el borde / Open stroke on the side of the Conga

Golpe cerrado en el borde / Close stroke on the side of the Conga

Golpe abierto en el centro / Open stroke in the middle of the Conga

Golpe cerrado en el centro / Close stroke in the middle of the Conga

Rasgueo - Cuatro/Güiro / Tremolo in guitar/cuatro or güiro

Hacia abajo / downwards

Tambor macho (Bongó) / Largest drum of the bongo pair

Hacia arriba / upwards

For the Spanish language:

A ah as in fathere ay as in sayi ee as in feeo oh as in foeu oo as in fooly y as in yearII j as in joyque, qui do not pronounce the ‘u’ sound as kay or kee

For the Portuguese language the vowels are pronouncedas in Spanish (see above):

nh ny (as if saying the word “Spain“ in Spanish:“Espanya”)

x sh as in shadow ao ao as in wao!lh lj as ljoyo ou was in owlch sh as shadow

Percussion notation table Pronunciation guide

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Liliana Cangiano,composer, pedagogue and choral conductor, was born inBuenos Aires, Argentina in 1950 and died in 1997. Her workas a composer was devoted primarily to writing choral ver-sions and arrangements of popular songs, particularly tangos.

Aylton Escobarwas born in Sao Paulo, Brazil in 1943. Aylton Esocbar studiedcomposition and conducting in Sao Paulo, Rio de Janeiro andat Columbia University, New York with masters such as Camar-go Guarnieri, Magda Tagliaferro, Vladimir Ussachevsky andMario Davidovsky, among others. His compositions includemusic for theatre, cinema and choirs and several of his workshave been published and have received awards. As a conduc-tor, Aylton Escobar has conducted the important orchestras inBrazil and has been a guest conductor internationally.

Alberto Carbonellwas born in Barranquilla, Colombia in 1935. Alberto Car-bonell has been professor of choral conducting and conduc-tor of the choirs on the Faculty of Arts in the University of theAtlantic for more that 33 years. He has founded several pres-tigious choirs in this country and has been honored with im-portant distinctions such as the Merit Order of the CulturalInstitute of Colombia. One of the most prolific arrangers ofColombian popular music, he has written more than 90choral versions and arrangements.

José Antonio Rincón,pedagogue, composer and choral conductor, was born inRio Negro, Colombia in 1937. He studied at the NationalUniversity of Colombia, at the Musical Institute of Chile andat Queens College, New York. He has founded several choirsin Colombia, Venezuela and Mexico, where he has livedsince 1980. As a composer he devoted himself to writing “acappella” choral works and choral arrangements based onAfro Caribbean musical traditions.

Waldo Aranguiz,pedagogue and choral conductor, was born in Chile in1935. He studied choral conducting with Mario Baeza andfounded several prestigious choral groups in Chile. He hasbeen very active in building choral institutions in Chile andLatin America, and was a founding member of the Interna-tional Federation for Choral Music.

Luis Gerardo Guevarais a pianist, composer and conductor, who was born inQuito, Ecuador in 1930. He studied at the Conservatories inQuito and Guayaquil and later at the Ecole Normale deMusique, Paris, with Nadia Boulanger. As a composer, he isconsidered as a bridge between nationalism and contempo-rary languages, and has written works for piano, chamberensembles, guitar, choir and orchestra, and a cappella choir.For more than two decades he conducted the choir of theCentral University of Ecuador.

Luis Craff,choral conductor, composer, music educator, and ethnomu-sicologist, was born in Peru in 1941. He studied at the LimaConservatory and with various musicians and at schoolsthroughout Latin America. He has conducted choirs in Peru,and in other Latin American cities as well as in Europe (in-

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cluding the Coro Nacional, Peru, and university choirs). Hehas composed nearly 200 choral works and has also arrangedworks for choir. Presently he conducts four choirs in the Karls-ruhe-Pforzheim area of Germany.

Herbert Bittrichwas born in 1932, in Callao, Peru. He studied piano at theNational Conservatory of Lima and later he studied medi-cine. His life has been devoted to medicine but as a hobby hedevotes himself to choral singing and conducting. He hascomposed several short works for a cappella choir.

Federico Ruiz is a Venezuelan composer and pedagogue who was born in1948. He studied composition with distinguished teachers inVenezuela and graduated from the Caracas Conservatory“Jose Angel Lamas” in 1974. His works range from sym-phonic music, chamber music, opera, to electro-acustic mu-sic, music for TV, radio, films and choral music. He has wonmany prizes for his works as a composer. His musical lan-guage combines elements of contemporary and traditionalcomposition with rhythms and colors derived mainly frompopular Caribbean traditions.

Inocente Carreño,Venezuelan composer, pedagogue and conductor, Carreñowas born in 1919 in Porlamar, Nueva Esparta. He devotedmost of his life to composing and to teaching and his vastcatalog of works ranges from orchestral music, and chambermusic to music for voice and piano, and a cappella choralmusic. The choral literature of Inocente Carreño is dedicatedprimarily to the setting of poems by Spanish and Latin Amer-ican poets in the form of art songs and also choral arrange-ments of popular tunes.

Alberto Grau,a distinguished Venezuelan composer, conductor, and teach-er, who was born in Vic, Barcelona, Spain. Grau has earned aplace of honor among the best contemporary Venezuelanmusicians. He is known primarily as a choral conductor, but asa choral composer he has become one of the leading figures inLatin America and many of his works have been published byEarthsongs (USA), N. J. Kjos (USA) , A Coeur Joie (France),GGM editors (Venezuela) and Oxford University Press (Eng-land). He has won several prizes for his compositions. Hiscompositional language combines elements from of popularand folk traditions of Latin America with contemporary com-positional techniques and also incorporates the use of eu-rhythmics ad choreographic elements. He continually receivesmany commissions from choirs throughout the world. In 1967he founded the Schola Cantorum de Caracas and won FirstPrize in the 1974 Guido D’Arezzo International Competitionin Italy. Since then he has attended many important interna-tional congresses and festivals with his choirs and as a guestconductor and teacher. More than thirty recordings provideevidence of his fine musicianship and extensive knowledge ofinternational and Latin American choral repertoire.

Biographies