ENSAYO VOCAL SOBRE LA CUMBIA

Báilala y gózala esta cumbia que lleva el son que es el espíritu y reflejo de mi región Vamo a cantar esta cumbia para que baile mi gente Ay esta cumbia sabrosa que tiene ritmo caliente. Tambor, alegre, guache y llamador lo mas bonito de esta, mi región Por eso quiero que canten y me acompañen en coro, Mueve mujé la cadera con este ritmo sabroso.

Dance, enjoy, this cumbia which carries the beat, that is the spirit and the reflection of my land! Let's dance the cumbia, so my people can dance! Such a delightful cumbia, with such sizzling (hot) rhythm! Drum, alegre, guache and llamador* the most beautiful thing of my land! That's why I want you to sing, and join me in a chorus Lady, move your hips, with this delightful rhythm! *Typical instruments from the Atlantic coast of Colombia, used for the cumbia and other related dances.

CALYPSO DEL CALLAO

Arimato night sangre grande tomorrow night, Girl, give me your heart but before I want to sing you a song! Brown skin girl, stay home and be my baby. Brown skin girl, stay home and be my baby. I am going away, yes! in a fishing boat, and if I don’t come back, Don’t cry for me, baby! Don’t cry for me, baby! Oh girl, man, your mother calling you Am-ba-kai-la! Oh girl, yes, your boat is falling down Am-ba-kai-la! Oh girl, man, your boat has a hole In the center! And if you just think I’m telling lies Push your finger! Depi, mama me femue mompa bame mua Am-ba-kai-la! Depi, mama me femue mompa bame mua Am-ba-kai-la!

Oh girl, man, your mother calling you Am-ba-kai-la! Oh girl, yes, your boat is falling down Am-ba-kai-la! Oh girl, man, your boat has a hole In the center! And if you just think I’m telling lies Push your finger! Don’t, don’t stop my carnival Hold, hold, hold this carnival Isidora dancing bacanal (Yes, yes, stop my carnival) Kenton also singing bacanal (Yes, yes, stop my carnival) Everybody dancing bacanal (Yes, yes, stop my carnival) Isidora dancing bacanal (Yes, yes, yes my carnival) Kenton also singing bacanal (Yes, yes, yes my carnival) Everybody dancing bacanal (Yes, yes, yes my carnival) Everybody dancing bacanal (Yes, yes, yes my carnival)

Alejandro Gómez Guillén Music Director Director Musical

María Teresa Guillén Becerra Guest Conductor

Directora Invitada

Friday, 18 May 2012, 7:30 pm First Congregational Church 1128 Pine Street, Boulder Saturday, 19 May 2012, 7:30 pm First United Methodist Church 350 11th Avenue, Longmont All proceeds from this performance will benefit the Wild Plum Center for Young Children and Families

Viernes, 18 de Mayo de 2012, 7:30 pm First Congregational Church

1128 Pine Street, Boulder

Sábado, 19 de Mayo de 2012, 7:30 pm First United Methodist Church 350 11th Avenue, Longmont

A beneficio del centro Wild Plum para Niños Jóvenes y Familias

wildplumcenter.org

De Valles y Montañas A SA SOUTHOUTH AAMERICANMERICAN JJOURNEYOURNEY

RRECORRIDOECORRIDO PPOROR SSUDAMÉRICAUDAMÉRICA

PROGRAM

Adiós a Bogotá (Colombia, Andes Mountains) Luis Antonio Calvo (1884-1945) Entusiasmo (Colombia, Andes Mountains)

Stella Pradeau, Piano Cosita Linda (Colombia, Atlantic Coast) Pacho Galán Arr. Alberto Carbonel Torbellino Colombiano (Colombia, Andes Mountains) Guillermo Quevedo Z. Arr. Pedro Biava A la Molina (Peru, Pacific Coast) Arr. Aurelio Tello M. Maximina (Colombia, Pacific Coast) Arr. Julián Gómez Giraldo Sola Camisola (Colombia, Pacific Coast) Pilar Posada, Claudia Gaviria Arr. Ricardo Jaramillo, Rodrigo Trujillo El Gavilán (Colombia, Venezuelan Border, Flatlands) Arr. Juan Carrillo

INTERMISSION

Lejano Azul (Colombia, Andes Mountains) Luis Antonio Calvo (1884-1945) Stella Pradeau, Piano

Corisco (Brazil, Atlantic Coast) Lourival de Oliveira Arr. David Junker Te Quiero (Uruguay) Alberto Favero Text Mario Benedetti Arr. Julián Gómez Giraldo Ensayo Vocal sobre la Cumbia (Colombia, Atlantic Coast) Arlington Pardo Arr. Eduardo Franco Verano Porteño (Argentina, Buenos Aires) Astor Piazzolla Arr. Oscar Escalada Calypso del Callao (Venezuela, North)

JOIN US FOR CANTABILE’S 2012-2013 SEASON

October 2012: “The Singing Revolution” Fundraiser November 2012: From Cantabile’s Collection

February 2012: Brahms May 2013: Bach and Handel

EL GAVILÁN Si el gavilán se comiera como se come al ganao, que ya me hubiera comido el gavilán colorao. Se ese gavilán, tan finito y volaor, que se remonta a lo alto para divisar pichón. Canoero del río Arauca pásame p’ al otro lao, que me viene persiguiendo el gavilán colorao.

If a hawk could be eaten like one eats meat, I would have already eaten the red hawk. Ah, that hawk, so sneaky and fast, flies high in the sky to look for a pigeon. Boatman of the Arauca River take me to the other side, because I am being pursued by the red hawk.

TE QUIERO (POEM BY MARIO BENEDETTI)

Si te quiero es porque sos mi amor mi cómplice y todo y en la calle codo a codo somos mucho más que dos

Tus manos son mi caricia mis acordes cotidianos Te quiero porque tus manos trabajan por la justicia

Tus ojos son mi conjuro contra la mala jornada Te quiero por tu mirada que mira y siembra futuro

Tu boca que es tuya y mía tu boca no se equivoca Te quiero porque tu boca sabe gritar rebeldía

y por tu rostro sincero y tu paso vagabundo y tu llanto por el mundo porque sos pueblo te quiero

y porque amor no es aureola ni cándida moraleja y porque somos pareja que sabe que no está sola

Te quiero en mi paraíso es decir que en mi país La gente viva feliz aunque no tenga permiso

Si te quiero es porque sos mi amor mi cómplice y todo y en la calle codo a codo somos mucho más que dos.

if I love you it's because you are my love my accomplice and my everything and in the street arm in arm we are much more than two

Your hands are my caress my chords each day I love you because your hands work for justice

your eyes are my spell against a cursed day I love you for your gaze that looks at and cultivates the future

your mouth that is yours and mine your mouth which doesn’t lie I love you because your mouth knows how to shout rebellion

and for your sincere countenance and your wanderer’s footstep and your weeping for the world because you are of the people I love you.

and because love is not a halo nor morality tale and because we are a couple that knows it is not alone

I love you in my paradise which is to say that in my country people live happily though they may have no permission

if I love you it's because you are my love my accomplice and my everything and in the street arm in arm we are much more than two

La comay Tomasa y el compai Pascual tuvieron treinta hijos ¡Jesú! ¡Que barbaridá! Y fueron esclavos sin su voluntá por temor qu’ el amo los fuera a azota’. Y sufrieron tanto los pobres negritos con el poco comé y mucho trabajá hasta que del cielo vino pa’ toitos don Ramón Castilla ¡Santa Libertad! A la molina no voy más porque echan azote sin cesá. A la molina no voy más porque echan azote sin cesá.

Godmother Tomasa and Godfather Pascual had thirty children, Jesus, such a thing! Made slaves against their will, Living in fear of the master beating them. They suffered, poor things, with so little food, so much work, until Don Ramón Castilla came from heaven for all Blessed Freedom! To the mill I’ll go no more Because I’m beaten without end.. To the mill I’ll go no more Because I’m beaten without end

MAXIMÍNA

Maximína tiene un corte no lo ha podido cosé, y la máquina e Fermína la tiene sin componé. Isidro se fue pa' bajo a la boca e' beté, a comprarle a Maximína una máquina e cosé. Maquinón de mano a mano, maquinón de mano a pié. Maximína tiene un corte no lo ha podido cosé.

Maximína has some fabric, but she can't sew it, because Fermína's sewing machine is broken. Isidro went down to the river mouth to see if he could buy Maximína a machine. Sew from hand to hand, sew from hand to foot. Maximína has some fabric, but she can't sew it.

SOLA CAMISOLA

Sola la vidé venir camisola venía del otro la’o camisola con un muchachito al la’o camisola sola y acurrucada camisola sola pero muy sola camisola sola solita sola camisola Sola la vidé venir camisola venia del otro la’o.

Alone, I saw her come from the other side in her shift With a little boy by her side, Alone, huddled, Alone, so alone, Alone, all alone, in her shift, Alone, I saw her come from the other side in her shift.

Cantabile Alejandro Gómez Guillén, Music Director

Stella Pradeau, Collaborative Pianist

Hayley Bagwell Roxanne Bailin Currie Barron Mark Bottemiller Doug Burger* Cathy Frye Rose Fuller Miriam Gilbert* Janaye Gerrelts Aloke Guha Linda Haertling* Nathaniel Harnack Bill Horst

Jonathan Hough Linda Johnson* Kristen Jorden* Lucy Kelly Joanne Karpinski John Kitching Marilyn Kruegel Pam Malzbender Chris Marsh Kathleen McCormick Tracy Nelson-Welker Dave Norris Kay Norris

Mary O’Brien Tim O’Brien Cindy Pierce Phil Rice Katja Stokley Debbie Stratton Caroline Van Pelt* Dick Van Pelt* Tom Voll Greg Werner Audrey Windolph *Not singing

THANK YOU

GOLD ($1,000 AND UP)

Anonymous Currie Barron Ball Aerospace

IBM

SILVER ($500 – $999)

BRONZE ($100 – $499)

Linda & Vi Haertling Jonathan Hough

Nola M. L. Melcher Phil Rice

PATRON (UP TO $99)

Miriam Gilbert Pam Malzbender

JoAnn Segal

Thanks to the generous support of our donors, Cantabile is able to offer our

singers, our audience members, and our community excellent performances of the full range of choral music. We invite you to help us continue this great tradition by

making a charitable contribution at cantabilesingers.org/support.

ALEJANDRO GÓMEZ GUILLÉN, MUSIC DIRECTOR

Alejandro was exposed to a wide spectrum of music and musical styles while growing up singing in choirs and playing the violin in his native Colombia. Currently finishing a Dual Master's degree in Violin Performance and Conducting at the University of Colorado at Boulder, in the Fall he will begin his DMA in Orchestral Conducting under the tutelage of Gary Lewis. In addition to his work with Cantabile, Alejandro directs the Mountain View Methodist Church Chancel Choir, and the Colorado Youth Philharmonia, and is Associate Conductor of the University of Colorado at Boulder Campus Orchestra.

STELLA PRADEAU, COLLABORATIVE PIANIST

Stella Pradeau has been working with Cantabile since 1999. She graduated from the University of Colorado with a Master’s degree in piano performance in 1998. During her studies at CU, Stella was a teaching assistant and a winner of the Norris Piano Award. Studying under Angela Cheng, Stella was selected as a semi-finalist in the Hilton Head International Piano Competition in 1997. As an undergraduate, Stella was a scholarship recipient of Rotary International and studied music in Paris. Pres-ently Stella is a full time mother of three daughters, Chloe, Clara and Lily, and enjoys time at home with her husband, Francois.

MARÍA TERESA GUILLÉN BECERRA, GUEST CONDUCTOR

María Teresa Guillén Becerra is a Colombian choral conductor of wide artistic trajec-tory known particularly for her work in the development of the unique sound of each choir, while providing the singers with tools for finding their vocal identity. She has been a valuable and constant contributor the development and strengthening of the cho-ral activity in Colombia. She created the National Choral Program of the Colombian Ministry of Culture, and has

served as one of its directors, clinicians and per-manent advisers, collaborating in the fields of cho-ral conducting and vocal technique applied to cho-ral singing for children and adults.

WILD PLUM CENTER

Wild Plum Center is dedicated to empowering families and preparing children for the future. Working with low-income families, our primary mission is to prepare children for a lifetime of learning and self-sufficiency by providing a com-prehensive, individualized approach to early learn-ing and family wellness. We address any and all aspects of need within a child’s life, allowing for more fruitful educational and developmental ex-periences.

TEXTS COSITA LINDA Ay cosita linda, mamá! Anoche, anoche soñé contigo, soñé una cosa bonita, qué cosa maravillosa. ¡Ay cosita linda, mamá! Soñaba, soñaba que te quería, soñaba que te besaba, y que en tus brazos dormía; un merecumbé pa’ gozá. Al pie de tu ventanita rosada, te dije: “¡Ay cosita linda, mi amor! ¿Por qué no me das tus besos, mi vida, al son del merecumbé pa’ gozar?”

What a pretty thing, my sweetie! Last night I dreamt of you, I dreamt of something pretty, such a marvelous, marvelous thing. What a pretty thing, my sweetie! I dreamt that I was loving you, I dreamt that I was kissing you, that I was sleeping in your arms; let’s enjoy the merecumbé. Beneath your rosy little window I said to you, “What a pretty thing, my love! Why don’t you give me your kisses, my dear, at the sound of the merecumbé?”

TORBELLINO COLOMBIANO

Coplas qu’ el indio José nacido y criado en Guateque con tiple y con alfandoque le dedicó a su mercé. Cásate, me dijo el cura, con una mujer de treinta. Yo me tupé dos de quince, que me trujo mejor cuenta. Cásate, le dijo el cura, con una mujer de treinta. El se tupó dos de quince, que le trujo mejor cuenta.

Verses that that fellow José, born and raised in Guateque,* dedicated to you with the tiple and alfandoque.† “Get married,” the priest told me, “to a woman of thirty.” I ran into two fifteen-year olds, a much better deal, (so I thought…) “Get married,” the priest told him, “to a woman of thirty.” He ran into two fifteen-year olds, a much better deal, (so he thought…) *Town in east Boyacá, Colombia †Musical instruments

A LA MOLINA

Yucaré San Borja Zagurenguezá paratirisaña ¡Ay que rico sá! A la molina no voy más porque echan azote sin cesá. A la molina no voy más porque echan azote sin cesá.

Yucaré San Borja Zagurenguezá paratirisaña oh, it’s so good! To the mill I’ll go no more Because I’m beaten without end. To the mill I’ll go no more Because I’m beaten without end.