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Makumbebe PDF

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509 views64 pages

Makumbebe PDF

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Antonio
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Latin American Choral Repertoire for mixed choir a cappella 12 songs from Argentina, Brazil, Chile, Colombia, Ecuador, Peru, Uruguay and Venezuela edited by Maria ~ ‘VA : Makumbebé ae A Ss CNS at 2 / \ s A \ Qe ¥ Ve > Vs Carmina mundi 1 Contents Title Text (T)/Music (M)/Choral version (C.v.)_ Country Page 1, Serenata para la tierra de uno ...... T/M: Maria Elena Walsh... ..e0ce0c Argentina 2... 5 C.v-Liliana Cangiano 2. Sabid, coragdo de uma viola .......T: Orlando de Brito cee Breall oc 7 M: Aylton Escobar BeLaLlorona ..... ccc eee e cesses « Mz José Barros ceeeevveeeeeees Colombia... 14 C.v.: Alberto Carbonell 4. Yambambé T: Nicolas Guillén Colombia M: José Antonio Rincén 5. ElTortillero Chilean folksong, Cv: Waldo Aranguiz 6. Ojos Azules M: Rubén Uauillas C.v: Gerardo Guevara 7. £1 Alcatraz Peruvian folksong Cove Luis Craft 8. Festejo de Navidad T: Alfredo Ostoja M: Herbert Bittrich 9. Ronda Catonga Uruguayan folkdane: / Feet C.v.: Pablo Trindale 10. €! Santigua’o Folksong, eee M: Federico + 11, Manan Pueblerina w/o \ § Venezuela ....49 12. Todo este campo es mio TM Venezuela 52 Ao \ >. One < 2X / YD>é es LO ee \ é Copying of pie & cited. Separate editions of titles may be ordered in choral quantity from Carus (int cariss UES } 5o 8 wstors and teachers who he SX ost YW es to choral music. The ¢ ON Se 0 et Santigua’o, Sabid, corac ao Festeo de Navi- dad and MN "eo is Seen inspired by ele- ments ‘Verve, ngen jealicher Ar sind gesctlichverboten. / Any unauthorized reproduction is prow. by law Alle Rechts vorbehalten All ight reserved Printed in Germany 7 www crus verlag. corn cited by Maria Guinand yy ¥ portwesedn-da-lo de pata chi dar-tggn cada y por tyes-cin-da~ lo de pou chi dartggen cada quiero vi-vir quiero View =f por fu ve-ra-no con jaz - mi-nes, Xg-diar @ los que te eas = ti-gan, of por tu ve-ra-no con jaz - mi-nes, Xg-diar @ los que te eas ~ ti-gan, BE éé Por-quael i-dio-ma dejn-fan = Por-quegl i-dio-ma dejn-fan ~ al de-sa-rtai-go Al de-sa-rrai-go PB Por-que me due-le Carus 2.302 2. Sabid, coragao de uma viola rex Orandode nn Music: Ayton Escobar 1971 Um pouco lento, expressive dim. aos poucos ee OO ——= Sopranos, Contraltos Tenores > = _ => AML co - Ta = Gio, ra mi-nba vi - 0+ Ia, 7, Festive J =96 ART —— —— ART a af > = Tu-do. 6 meu Tu-do_ émeuTu - do— yp. Fluindo com naturalidade (with fluidity) Pi-x6 mio vi, a-qui Xu-i, a ir_- mos, ‘a-qui Xu-1, pi-xd nto vi, a-qui Ma ~ ra 34, eher afgvenore), émen Ta (© 2005 by Carus-Verlag, Stuttgart — CV 2.302 7 Mi, aqui Much, pi-xo nto vi Wi, S-qui Mu-t, pi-xO nao wi, @-qui Nu}, pi-xd nno Vi, co-lher de cha, Ma - ra -j6, 34, coher de cha, Ma - ra jé,co-lher de cha, Ma - ra-| tem-po vi, (palmas) Vi A-qui Nu-T, pi-xd nko wi, A-qui Xu-y Bi-xd 6, (palmas?) 44, corlher de cha, Ma Ta - i, co-lher dee“ ON sim (palmas®) To men Te Iw Qh NSS? eS SES pe nas me 6 gS ens ——= = < aS SS vi, a-qui Xu-i, pi-xé nao vi, « ay’ Mtb. ch.) —_* me eee Oe — a ee == "i, co-Iher deché, Ma siM(b. ch) tucdo que cho-rei_e_i —_—n ‘Tu-do que cho-rei_e rf Tu-dov —— Carus 2.302 ‘Tuedo que cho-rer'e ri ‘Tu-do-que cho-rel e ————— Tudo que cho-rie ri Tu-do que cho-rei © ‘Tudo que cho-rei e rf ‘Tu-do que cho-rei ¢ sim D sim D sim = Ein, Tu - do émeu Tu a 6 meu P sim P sim as : | 3 ‘Dido que cho-re1 ri Tuedo que cho-rer ‘Tu-do que cho-rei e ri Tu-do que cho-rei V3 Tu-do que cho-rei Tu-do que cho-rei 7 Ps menos v= 94 ‘Tundo que cho-ret_-e ‘Tu-do que cho-rer © ri Tudo que cho-rei er Tu-do que cho-rei ¢ ‘Tu-do que cho-rei Ta = do émeu 7 Co - ra-gao tem dé de gy) — pgs An co = / \ ah! co - fa-cao tem do de mim demim, tem dé, co Z \ > QP totem ASTem pe. da-de de mim, co - ra L —. 1p Pode YR samo de Marcha Rancho nas pastas do conjunto, no caso de as fo em es This rh 4, called Marcha Rancho ca be imitated by the sound of “match boves" ike a coras 2.302 9 crese- tendo to for — te as- sim, co - Fa-gao, vam aceor-dar Sau - da - de, tat ——— tendo to TOF teas - sim, co - ra-glo, co - ra- G0, vais a-cor-dar Sau - da-de que dor-me den-tragm-| im, tao for = te assim, co-ra-gao ru - imyvawavcor-dar Sau - da de, sim, tio for - tegs - sim,co-ra-gio ru im,vais a-cor-dar Sau - da - de, tu 2 : ~ f vais a - cor-dar Sau. darde,conra-cio que dor - me den-tro de mim, ee —— y a > mim, 4 ~ eor-dar Sau que dor - me denato dem SO que mim, a - cor-dar Sau - da-de, co-ra-gio Sa vais a - cor-dar Sau - vais a= cordar 8 \ me den-tro de mim, Co-ra-gio tem dé de Festive d=96 / ¢ Bing << Tw _pode-se cantor (4 0 Sopranos outros canes fro (un tu ‘1 * atime sopranos may sing lasracra the other ices cam sing their parson tum. accompa rumen 10 Carus 2.302 y3 deixar cantar® mf | Pi-xd ho wi, 7 me é mew Ta - Xu-t, pi-xd mao vi, ra - Ja de chi, Ma — ra i T Po P>, 6, colher p>, coras 2.302 aqui Xu. Pi- xd nto co-Ther de ché, Ma ‘oo oo é mew co-Ther de chi, Ma eemor que Vi, Aqui Xe-f, pi-xd ato vi, a-qui Xu-1, pi-x6 no PRs 75 oS ei i. co-ther de chd, Ma — ra - j4, co-lher de ché, Ma — ra sim To do— émeu Tu - do— 6 mew TOF - FEN Tor - ga dgao Te . A \ \ i, sim i, co-ther de ché, Ma Aes Tw atempo iS _ menos —— ———— = EX O nas Girdas den - ma a is SSS \ a \ . WIM (bch. 7 Tudo que cho-rei ert 9 P>: > 2 J4M (beh). fer, Tu que me cha-mas-te.a-mor siM (beh) Joo < Se do que cho- rei os > Tu-do que cho-rei eri ‘Tu que me cha-mas.tea-mor 12 Carus 2,302 J04 2p. te ft Tarde qua chert 6 Tu-do que cho-ret_ ef Tendo qe dor 8 Tu-do que cho-rei ef Tu oe cha-maa-t Tu que me cha-mas-tep-mor Jo8 oS : Ip Tu-do que cho-rei © NY ‘ Be A KES Ta-do quet “XY oe cho-rei eof exo 7 ‘Tu que me cha-mas-te.a-mor J Tu-do que cho-rei et — Tu-do que cho-rei ‘Tu-do que cho-rei ‘Ta que me cha-mas-tea-mor w _#; « \S¥ Ss = Ss \ P= omen me do 6 mew 28 omen lo Joma do Brazil po I Concurso de Cons Escolar da Ganabr Conposin © nnisond bythe Joma do Bl forthe! Choral Competition In Guana spec. Carus 2.302 13 Colombia Text popular Muse: Fose Barros Choral version: Alberto Carbonell 3. La Llorona Ritmo Pereusion b.16 au Tiicum 67 Conga Mano derecha ‘Mano izquierda s Ritmo Cuatro / Guitarra can ‘Tita 7 fo a Sopranos, Que tea-ga-rra que tea-fa-ra ——— Contraltos que te co- ge que te co-ge Te fo-ro-na por que te co-ge Ia if YS que Wea-gacrra oF LDN oF de tris. tra, En u-na / SK Ye <> e Bb . 7. % dimceste AO PS di-een que na lo selep-na lo-r0 di-cen que \ < SS < ‘} \ = ‘Tama -la-me * que Gi-con que sad RS = ge eavlle de Tama -la7me - que di-een que sa 4 © 2005 by Carus-Verlag, Stutgart — CV 2.202 ue FP Bb 1 Te ate baita ff pocreetia que baila po-reeed con umta~ba-copromtidggn la BOT? car qte bila a vo win wena Wo ren = di-do ena , mite pe rags IES oe = = —_ baile pa rap TE pel - ea len = airdo nla mite pera EE a | Amie. me aaligy ne [Sma ee vrys uf = je pacresun mo-men-| > aa - ~O ~_ie_pe-rgunme-men-| \ ; sr o \ oO > FSS SS A . A) 6 4 a je pare xi = = je paren mo-men- © va tan tgel-mo-tor_—_ —— ho mue~ va tan bogl-mo-tor— tw - 9 Foe B ‘tu ru ab — = dre que so -fo-cén Que te co ge Quetep- gare, que te co - ge pron que te que tea-garrra, 16 pr = e F e tu_fuah tu_ru ah = SS yc - map-rayn gran es-pan - to com-pa - dre que so -fo-cén ee ee tu 8 Que te co - ge pron - to = fe @ - Be PRA. to + to co ge que te ga-rra,— que tea gicrra, que te e Bb of co-ge Ta ifo-ro-na por de- tras, eee que te AIR yde Gad wh aa En u-na En w-na cB Bh nf Bb Carus 2.302 4. Yambamb6 - canto Negro Moderato quasi lento Text: Nicolis Guillén (Cuba) Music: José Antonio Rincén 1986 Colombia Ritmo Percusion Mano derecha ‘Mano izquierda Sopranos, Contraltos ei Tenores calmo e marcato Yam - bam.bé, yam - bam-bé, Bajos Yam-bam-b6, yam-bam-bé, _-yam-bam-bé,yam-bam-b6, yam-bam-b6, _ yam-bo 7. P Yam = bam-bé, yam - bam-bé, yam -_ b* ‘yam - bam.bé, yam - bam-bé, yam = bam 6, yam-bam-bé, yam-bam-bé, _yam-bam - bé, a == pi-ea el go pi-eael con-go fo > yam-bam - bé, yam-bam-bé. Re - pi - eagl \ < e ——— \ Solo mf — > re - gro bien ro re pi cagl ne-gro tan yam some © 2005 by Carus-Verlag, Stuttgart — CV 2.302 7 ———— 4 — Tou mf —F I bai - Ia yam-bs % = breyn_ pie congo f0-lon-go del eon -gos0-lon- go del eon-go_so-lon-go del yam-bam = Dé, yam-bam = yam-bam - 6 con - go Dai - Ia_yam = bé Dai - Ia_yam - b6 Jon-go del son - go f= ‘Ma-ma tom - bay ‘Ma-ma tc of 18, Carus 2.302 4) > y—— = oS ——— eu se-rem - ba. Ma - ma eu se-rem - bay a — eu se-rem - bay 4S Tenore See SSS SS ‘eu-se-rem- Da. Ne = gro > ceu-se-rem-ba. 0S = do vi. Mama tom- ba cu- se - rem - bi, Caras 2.302 19 4 Soo eS . = BI He-grocan-tay sea - ju - ma, el fe-grocintay se p> Se Se ~— se - rem -bé eu-se-rom-bs, Ma-ma Ma-ma tom - ba eu-se-rem - bi, — ~— P—— 3 — Ne - gro que can - ta, sea - ju- may se p> SS) > SC Ma-ma tom - ba cu-se-rem -bé, P—— > ba El one = gro cam-tay sgg-ju-ma, el ne - gro ma = ba cu-se-rem - bj se-rem - be. ccu-se-re" —S = > — ba cu-se-rem - bij se-rem - bé = > = > Te. contorem-bs, be >> Ss > tom -ba eu se - rem - ba, Carus 2,302 69 2Tenores <= 6 yam - b6 yam ~ b6 yam ~ b6 yam ~ b6 yam - b6 yam ~ a a aliento. Sinsonido* gy tum ba, a, ne - gro ca Carus 2.302 Chile 5. El Tortillero Text and Music Chilean folsong Ritmo Guitarra Choral version: Waldo Aranguiz, ett it em F F Gmc? ee —i— Sopranos, No-cht.os-cu-ra,——_na-ta ve-0,, so-lo lle - vo mi fa-rol; por tus puer- tas —— —— SI Contraltos No-che 9s-fu-ra,—— na-da fe-0, s0-lo le - vo mi fa-rol, por tus puer-tas—| Tenores a Ta Ia fa Bajos yeean-tan - do por tus puer- tas (© 2005 by Carus-Verlag, Stuttgart ~ CV 2.302 cha pena, “De res- col - do res ol - do es col - do con mu - cha pe na “De res-col-do tos - ta - di = tas tor - i Ties bue-nas, de bue-nas, de res-eol-do tos - ta - di- tas bbue - nas, — bue = nas, de res-col-do tos 1Quien pu die - ra Quien pu die <3 ag? < > S Sane 24 Carus 2,302 | an- tan mu-cha pe - na: Mas voy can- tan - = do con mu’ cha pe - ona “De pF Fen? — res-eol-do tos = ta - di - tas, tor tis thas Bue = mas ™< < ‘or tis Tas _bue - AN YS\ Yo res eal - do tos C \ ree-col-do tos = ta = di - tas, wr ONG res - col - do tos - ta - Caras 2.302 25 6. Ojos Azules eundor ‘Text: Anonymus Muse: Ruben Uquillas Choral version: Gerardo Guevara Ritmo Pereusion Bombo ‘Mano derecha Mano izquierda " Gitar Tat J 10 tn soytht Dm iM Dm Dm Sopranos = Lh aera in laa a eel eee Contrattos Tenores Iara la la ra la S-au-les flor de cie - lo Qué >\ J+ ee lala la la lara la micrtr, Ierala lala la ia Inman eae Om au Om ae-nges-ta guambra pa - rapl SS “gs we cia tie-negs-ta guambra pa - ral eee asta guambra pa - ragl lam la a lemala Gengge-t guambra pa - raglan, nh agh sw 26 1 2005 by Carus-Vrag, Sugar CV 2302 la fi la Ia va la_ln Bt Ie le ta te i 2B eB ee. ta le ta ra lala ra In ere a = = leva la la ra la Aun-que me ma-ten_a Ja Jarala la ra Ja.) Aun-que me ma-ten_a Ja Iarala Ia ra la.) Aun-que me ma-ten a a rala eile le lara la ea lo oe a po a *_ in Jee eee pa - los ya es re-suel-tga cual-quier do-lor. es-toy re-suel-to.a cual- \ \ \ a peace ‘oy remelgncael a DS ) xe Palos ya es-tay-te-ctel-top cunl-quier_Go-lor. || es-toy te-seul oe ewe y fes-toy re-suel-toa eual-quier do-Ior, es-+ “Ct la ra la la Ia ra la la lage coras 2.302 4 tienggs-ta guambra pa - ragl - vi-dar, In ral Dm. % la lara la_la rn * lara la la tala la, gfoona tie-nges-ta guam-bra_pa = ra tienes - ta guam-bra pa - ra La-bios ro - sa-dos de gra tienees "> Lacbios to - Se dos tienegs - ta guambra pa - ra be-sar, Om a4 Om oF F = = == Shoah oP = Oo” a SS = a) = = SS a . — Ne =a coor Mba cae LO) vy Wate omedee Berea Hogg emia ome bee Cs gale SSS SS At oS == Se =e ihe KR f SSS eC Incbion o-stedos co = for de gra na teenegarta quam pa = SSha Se tn Th Tara = aa iS Ss 5, © ): lorie ta Jara la laa la aralalerala la la lara la lava la mate 28 Carus 2.302 7. El Alcatraz Peru Peruvian folksong. Afro-Penuvian's dance of the central coast ‘Choral version: Luis Craft Alegre* J Sopranos E (quasi parlatoy fa - rrab,— fa-rrab, fa-rrah, fa - Contraltos = = E ‘Tenores Bajos - E E ‘Tum, tum, tum, tum, tim, tim, tum, tum, tim, tum, tum, tum, tum, tum, tm, tum, 4 fa rrah, fa-rrah, fa - rrah, fara, fa rrah, fa fa rrah, fa rrah, fa - rah, fa rrah, fa-rrah, fa - pé-eu-ti, paca pah, pub, tum, tum, tum, tum, tum, tum, tum, tum, tum, lim, plim, —plim, plim, yu rim, plim, plim, —plim, plim, pa ah, ab, peu ab, pa-ea tum, tum, tur am, tum, tum, tum, tum, plim, lim, poh, ah, pom, fo-rom, fo rom, ® joytuy © 2005 by Carus-Verlag, Stuttgart ~ CV 2302 29 pli- rim, plim, pli - ri, plirim, plim, Pii-rim, plim, pli - ri, plicrim, plim, ti, pa eucti, pah. pom, tum, tum, fo-rom, fo From, pom, tum, tum, fo-rom, po-rom, pom, tum, tum, foram, po-rom, nia) (mas), 1. Al som de— Ja tam - bo = ra, de cla-ri-nes al com ~ pa 2. Sal- gan to-dos los ne - gri sal-gan to-dos a la Es ‘Al son de— a tam - bo - ra, de cla-ri-nes al com - pas, 2 Sal-gan to-dos los ne gritos, sal-gan to-des a la” pam _/ om. 1. Al son dela tam - bo - ra, de cla-ri-nes al e “~\ de-réis tu ve- Pers 2 Sal gan €O°dosos ne gr “Ao8, Sal gan tovdos aS eS len’ con su" \ cen - de-ris tu ve ~ < Se 2 fen con ‘su \ >: = > = Ms = 2 Pe ———— ——— oa TRE qe po ge gue in em a, gan = de ris 7 i ES Yo ttos Sm We nos “Sa fen” on xe < 5 = ye . pS i = me JN (= omc, cen = le-ris ta we = ro Ja ge 7 Ba, w= nos ‘sa 2 fen” eon su \ “a jue - mas el al-ca - *§ : \ jaa que no me que - mas el al-ca - tr So votes 8 len con” St” Te a vers only 30 Carus 2,302 2 c hbo = Fa, de cla-ri-nes al com ~ em con - de-rawtu ve = Tagprque home que-mas el al-ca dtl-gun Go-dos la" phnva, “ienos‘sa~ ienveon su" pi! Sy fectros ga. "len con sa 1 de cla-ri-nes al com - pas, nn - con - de-rés tu ve-- laa que no me que-iias el al-ca bo - ra, de cla-ri-nes al com - ‘pds, en con ~ de-ris tu ve Tue no me que. gritos, sal-gan to-dos ‘a“Ta" pam-pa, “Wenos'sa’ ~ len con su to yo-tros Sa pom pom pom pom pom pom po-rom fo-rom —_po-rom pom pom po-rom —po-rom traz: que no me que“inas el al-ca - tras, lam- fa, Jen con su “lam-pa, traz; en - cen -de-ris verlag que no ias el al-ca mnpe, “Wnoe'sa len con me Ww eh con st tril en con-de- ris verlag que no me que-mas el al-ca am-pa, “u-nos'sa'- ten eon pr So yontros “st len eon s oe a en con - ders ‘unos sa len eon ‘no me que rho me que - nor aque yo te que. \ s om, tum, tum, Po . E+: Po-rom, po-rom, pom, tum, tum, po-rom, po tum, tum, tum, tum, tum, tum, sbetwcen aman and a women with negro voice + improv Cans 2.302 8. Festejo de Navidad bow ay see Ritmo Guitarra sgt ¢ — o— »f —— Bajos Bucrum, bu-rum, bum, bum, Hal bu-rum, bu-rum, bum, bum, Hal busrum, bu-rum, bum, bum, Ha! bucrum, bu-rum, bum, bum, Ha! —bu-rum, bu-rum, bum, bum, Ha! bu-rum. ‘um, Y oi ce bu-rum, bu-rum, bum, bum, Hal Rime Percusion Ritmo Guitarra fy of —— 2005 by Carus-Verlag, Stuttgart - CV 2.302 S c F c F =p Ia co - ma f ————— Ta co - ma-dre co-ma-dre _Jua-na, — rial Ia co ma = dre Jua-na 8 3s 0 c a c c — matég su ga - Ili = —— od cal matog su ga - Ili patha-cer - le cal-do we / > ZN rises pi-ea = 70 = ne ; veomera ut.) S ; IN el “com \\ GS ae sutahijau” di-vi-no, — ri-cos pi-ea - ro - nes. ( & = = ~~ Hal bu-rum bu-rum bum Caras 2.302 c ct F F vo —— bu-rum bu-rum bum, bum, bu-rum bu-rum bum bum, bu-rum bu-rum bum —— = ts bum, Ha! bacrum bu-ram bum bum, Hat bu-rum bu-ram bum bum, Hat “6 ct nr bacrum bu-rum bum bum, ba-rum burum bum bum, = ——— —= > bu-rum bu-rum bum bum, Hat bu-rum bu-rum bum bum, Ha! bucrum be “um bum Ritmo Guitarra Tremolando ‘Sin Percusi das, gsc spain? twee ¢ _ bum, Hat ED Ne-gro Gas-par desvde Ca-sa-gran-de trae pial Ni Contraltos mp BI Ne-gro Gas-par des-de Ca-sa-gran-de tre Fe Un fienggl-fa-jor 5 Jo_me « jor quiere BC. \ a tempo j6 E a gli - ta dea-zar? <3 S « § ; * y Qe x < Vs taser, a. gii-ta de‘a-zar” pa’ que 1 \ we ss SSP aon BaTTa-sar, a gi-ta deda-zar” pt que ww ¥ 4 percussion ~ 34 Carus 2.302 Ritmo Percusién Ritmo Guitarra d= 120 Alwos g_ a s Bum, bum bum, Hal burum bu-rum bum bum, Hal Durum ‘bu-rum bem bum, ——___— ———_— Bum, Hal bwrum burum bum bum, Hal bu-ram bu-ram bum bum, Hal Bajos —— — Burum bu-rumbum bum, Hal bucrum burumbum bum, Hal bieram bu-ram bum wo 8 c ° or E F Hat Busrum bu-rum bum bum, durum bu-rum bam bum, —_—___— ———— bu-rum bu-rum bum bum, bu-rumbu-rum bum, bum, = busram bu-rum bum bum, oC c o S——— rum bum bum, Hat busrum bu-raum bbucrum bu-ram = bucrum bu-ram bum, bum, Ha! Ritmo Percusié immo Sw 6 MF mist ss s e Carus 2.302, 03 6 or a G se mue-ren por th ——— Tos ne - gros se mue-ren por tf Dea pa = se - 0 deA-guas ed ec — on vie nen— has has-tag qué eon a > rroz ‘con le - che flor de ea pu os & 6 t Los de_ Ma - lam br to, tra en Tos de Ma-lam - bi Los de Ma-lam - bi-to, ca-ram-ba, i Los de Ma lam - bi - a’. _—_—s______—_ tae -migl-ma no lo = res. as st, z wos . 28 G, c c SeS5Geu8_ SS a by-rum bu-ram bum bum, Bum, bum, bum, yags-ta-mos a - qui Bum, Hat bu-rum bu-rum bum bum, —— yags-ta-mos a - qui Busrum bu-rum bum bum, Hat bu-rum bu-rum bum rum bum bum, rum bu-rum bam bum, Hal vy o— bu-rum bum bum, _ — ba-rum bu-rum bum bum, Hal —— : a —== 3? —— c Hat Ba-ram - Decrambu-rum bum rc a : a \ bu-rum bu-rum bum — bum, i aa { OX" 8 a rs y SS /¢ AS 9 Neco toa / se SF bum dum, Br a (62 vam bum, Hal bu-ram bu-rum Hal bu-rum bu-rum bum bum, Hal coras 2.302 37 9. Ronda Catonga -candombe Uruguay Folksong transcribed by Idefonso Pereda usin Choral version: Pablo Trindade Roballo 1986 oma} Ritmo Mano iequierda Mano derecha Sopranos 1 qui-nas bai Sopranos II Contraltos Tenore Num sum sum sem atm sum Bajos Rueda de to-das Tas ma-nos que ron - dan la rue - da nos for-man tam-bien wna ‘im tim tum tum tum 38 © 2005 by Carus-Verlag, Stuttgart —CV 2.302 Percusiin ysilbido en 4 grupos € intercalados* Palmas = ron-da con la_no = chede tum tum dum —__—_— tim tum tum ‘tum tum ‘tam etm dum ——______— tum tum tum tum tum tum tum tim tim tum dum, LO 23 Pf silbido.® Ff Palmas sobre el pecho ‘ewe palms clapping onthe chest, ‘esses palms clapping onthe less ‘clap Carus 2.302 Us ae -raghu-yen - = din - ga ma - kum-ba >> > er 7 dings TF kun-ba ae -raghu-yen = din = ga M~ kam-ba raghusyen = ~ din~ ga ma ~kum- 2 z= -ragha-yen = = din - ga ma - kam-ba 7 hay que ti - rar fim7zutingo ti-rin-gu tan go th 40 Carus 2.302 ’?. 7 rT Tneda=que no se qué Pa-sq-na lin - da he - gu ta, lin = da ne-gri - ta se em” “1, Tas es. te - las for-man da— cuando jue - gan con Pp =, , 3 —_ ei < tam - bor Corus 2.302 41 Palmas 2 F Gmc F Gmc Ff silbido, Palmas sobre el pecho af, Palmas sobre pieenas ma-kum-ba ma - kum-bem - bé, ma kum- at mman - din - ga a2 Carus 2,302 o” Fea? dom hay que ti-rar wana fle # = sum bal ler can dom Be Rep, * (desde 1 has 9/7 crescendo poco a poco. a er 7 ' $9 Fina pp c Gm Fes Fe KN < Oo Ta rueda rue - da, PP. rue - da, Reps rai? po » >, Pa S » blan 19) from #1 uni 2 and then jump to Final (89), Corus 2.302 Se Ss Lo VP niente ve s& ch pep es? Wa -din = ga, los ne man din ef tone, 10. El Santigua’o Venezuela Fotlaong Music: Federico Rae 1979 terse by Alte Grau Prelude and fugue on a Venezuelan folktune Dolcemente J = ca. 76 —— sie Sopranos Con es-ta* Fa - mi « al ne-gro Man- din B legato sempre sim. Contraltos Ah voy a san-ti = gu pa’ sugl-ma sal - Pp False Tenores Baritonos Bajos ‘8 san-fi- gud pa’ sugl-ma sal © 2005 by Carus-Verlag, Stuttgart ~ CV 2.302 =p ff, —— voy ‘a san-ti - gua’s thu pa’ su al-ma sal - va. =p i ——— 1 pa’ su al-ma sal - val =—— —_ _____— » i voy a san-ti- gud, pa’ Su al-ma sal va sal me ——— ‘ pa’ sugl-ma sal - vi ——— 7 ‘a san-ti- gua’, pa’ sigl-ma sal - vi 25 Allegro sostenuto ¢-+¢ = ca. 60 po Con es-ta* ra - mi-ta voy a sal - va’, al ne - gro Man-din-ga gro, ne - gro Man- din-ga mi-ta voy a sal - vil, Carus 2.302, 45 eon Osta ra con esta ~ gro Man-din - ga pa’ su alma gal - val san- = fi - gua edn esta ra. mi-ta voy a sal - vi, gro Man-din-ga voy, — voy a sin-ti - gui. gu pa’ sul ma-sal - va se Ca VR voy a Sal va, al ne - gro Man-din-ga SS gs zs Ye Con es-ta ra - mi-ta voy f sal - va Con @s-ta ra - mi-ta voy a gro Man-din- ga pa 46 Carus 2.302 ‘va’ al ne-gro Man-din-ga voy @ sal - va) é, pa’ sul ma sal - vi an «= gt, pa’ sual-ma sal - vi, 7 7 san Th gua, ga pa’ sual-ma sal ~ va, mi-ta voy a sal - va, al = _gro Man-din-ga pa’ Su al-ma sal - ————__=— con es-tara- mi-fa voy a sal - = mila voy a pers fal He-gro Man din-y \ con es-ta ra - mista voy a sal - & » Man-din - ga, con es-ta ra - so coras 2.302 47 7 mi-ta voy a mista voy a con @s-ta ra - mi-ta,Man-din-ga, of al. 8, sal = 8 SF emlosivo® a eal val f con es-ta ra = mi-ta voy a sal - y= ne-gro Man-din-ga, cu-rru-td, cu voy 8 ne-gro Man- ne-gro Man: Ge-ta ra - mi-ta, Man-din - ga, Carus 2,302 11. Mafianita Pueblerina Veneauela Text and Music: Inocente Carre Guitar ttitd Dm S, Sopranos da ma-na - Contraltos ‘Tenores Bajos Lin. dama-na- ni - ta demi pue'. blo ma-fa-ni-ta 0 lo ja que ‘a le-gugg. ca co-mgel ca co-mbel Blan - a comgel (© 2005 by Canus-Veriag,Stttgart CV 2.302 49 A 7 F F Tu sion mas gran lu - sién més gran S sion mis gran de, Iai - In sion de mi vi - da Om Da? Bbme e Gm = ————— =—— ma-fia-ni : ‘por-que por e - 80 te can \ ar Dm Dm —$$—— — yo~N SN cuer-das < = fa com-pa ~ SF go Ia s0- la com-pa 50 Carus 2.302 ygl dolor que mea - que mi co- fa - fir yel do-lor que meg - que - a ¥ es que mea-que - Quie-ro que Me-ves a) mi fo- ra-26n fir que meg = que = ja Te. = ves di-cha yel s0- sie - go tha yel so sie - go ——_ la di-cha yel_s0 ~ sie ma fa la di-eha yel so - sie se bue-na por - se bue-na por : a |, se bue-Ra por 5 . IC, x sol, se bue-na por ni-ta9-lo le-chey e Kp? é< > \ VSP Ma-ifa-ni-tqg-lo = ro - saa lechey 0 s @ \ <= 8 Ee oO BXOoud Ma-na-ni-tap-lo - ro - sag lechey so Carus 2.302 12. Todo este campo es mio Venenuela ‘Text and Music: Simin Diaz Choral version: Alberto Grau Ritmo Bongs Bolero « Cha cha chi iio - Cha cha ch Mano derecha ‘Mano izquierda txt tx Calmo y languido J = Sopranos, Contraltos Tenores Fan ca-balli - to 2005 by Carus-Verag, Stuttgart CV 2.302 BB = — Bolero J - 88 D ——— 2 wp sees, oe - - Ma - ri - po - sa— 1 las ie a ten ee =A Ticbas Ia miel Ticbas la miel coras 2.302 Cam - pe - o—= f,—— 2 las es = pi gas cam-pe- Em a’ din, —= mari po - —= dim. mari-po | = dim, ma-ri- po | — aim | ma-ri - po - 54 Carus 2.302 3 En! a foal ——$—S _ = Bdoes-te cam-po to-do — ro. sa to-dgeetecam-po to-do to - di-to to-do to - divtges poco allargando 6 Bolero J Om poco rit, a tempo Gm ; arf legato son Carus 2.302 55 ame i. ris ba - ja you + ma, uo ona gar - plo? gllargando Lénguido ci ta blan-ea, gar - - + te Blan = ew poco allargando — H = — dgaque-lla flor Bongo-Chachacha Ritmo de Cha Cha Cha 4 = 100 moto tegato A 0? jo ii | —— Piit mosso a lo - sa co. om nO dum dum dum dum dum dum dum dum D a Am Ti GOTTA = 75M Jegaro Carus 2.302 7 ml se veel a - dios de ‘las es - pi as, — ee meng ast_M dim semph 2 Ma-ri - po Semi - ni A A \ 74 Tempo primo d =ca.72___ p- ——_ Yo\ S a ‘To-dges-te cam-poes mi ~~: —$—_ »_ = To-dges-tee VA A Oo -di oes mi ° cam, _ Fondggs-te em roti te do i 0 7 Text Serenata para la tierra de uno Letra y Musica: Maia Elena Walsh Version Coral: ilana Canglano (1950-1997) Porque me duele si me quedo pero me muero sime voy, Por todo y a pesar de todo, Ini amor, yo quiero vivir en vos. Por tu decenca de vidala Y por tu escandalo de sol por tu verano con jazmines, mi amor, yo quero vivir en vos. Porque el idioma de infancia ‘esun secreto entre los dos, porque le diste reparo al desaraigo de mi corazén, Por tus antiguas rebeldias yy por la edad de tu dolor, or tu esperanza interminable Imi amor, yo quiero viviren vos. Para sembrarte de guitarra, para cuidarte en cada flo, Yyodiar alos que te castigan, Imi amor, yo quiero viviren vos. La serenata es una forma musical heedada de Espana, generalmen- te escnta para voz solista, acompafiada por guitara y mandolina bbasada en poemas de amor. Este género es muy popular en los pa ses de Latinoamérica y muchas nuevas composiciones han sido escri- tas dentro de este genera, Sablé, coracdo de uma viola Letra: Ayiton Escobar and Orlando de Brito ‘Misica: Ayton Escobar *1943) ‘An! coracio, Ah! sabia, minha viola, ‘An! aqui Kul, pixO noi ‘An colher de cha, Maraja “Tudo é meu: Cantando nas tardes plenas, somos irmaos,sabié ‘tempo levate as penas, ‘tempo penas me da Tudo que chorel et tudo 6 meu. ‘Corago tem d6 de mim, {hi coragdo tem piedade, ‘ah coraedo tem dé de mir, ‘coracio batendo astendo tio ‘oragio vais acordar arc ‘que dorme dentro de mi, ‘Amor que me faz» ‘amor que me des /“ torre enforcade ( nas cordas con | YF atory directo brasero if .98 del alma brasileira, Por G9 siritmicas sobre sonidos ono- Qo4 8 -entos de percusién que se uti- 4) por otra parte, el smo de la gS ada tradicional) fue muy popular en la 7 durante odo oso 19 Se sabe 5 BN tie ab al sas cancones stents scat : arasly en la Corte de Port ba > gb onsily enlacorte de Portugal Carus 2.302 Serenade for the fatherland “Text and music: Maria Elena Walsh CChoral version: Lilana Cangiano (1950-1997) Because it hurts me, i stay because it hurts me if go, ‘because ofall and inspite of everything, iy love, I want to live mn you. For your ladylie decorum for your glowing sunshine for your summer with jazmine, my love, l want to liven you. Because the language of childhood ‘sourseceet, ‘because you gave comfort to my distressed heart For your former rebeliousness and forthe age of your suffering, for your endless hope, ‘my love, | want tole in you. For seeding my guitar in you forlooking after you in each flower, for hating those who want to punis!.< ‘my love, | want to liven you. “The serenade is a musical forr song accompanied by gut poems This genre is verv many new songs have “ok Ah, heart of A \ Qs Text: Or! e Eo fen Sar aC vS x: mine. Pra Zs NDS v os DS genet ta es rings affliction to us. nS “nat time takes away affliction, S a veto ings sation go" nave wept an aughed so much for you, BP" because you caled me love. iy love, have pity on me ‘My heart beating very strongly. Il wake up with 30 much nostalgia, that sleeps within me Love that makes me suffer, love that provides no consolation dies hanging on mono fon the strings This work by a ‘uctor Aylton Escobe The pieces display, | asus. Ing onomatop used inthe Basia | the ‘modinha. The taifofthe 18 | whether the sentimental Portuguese C 59. La Llorona (1988) Letra y Misica: José Bartos Version Coral: Alberto Carbonell (*1935) Que te coge, que te agara {ue te coge ialorona por detras. En una calle de Tamalameque dicen que sale una llorona loca, {que balla para ala, {ue baila para a ‘con un tabaco prendido en la boca, ‘A mime salié una noche, ‘una noche de carnaval, remeneaba la cintua, si sefor, ‘coma iguana en matoral Lelie pare un momento ‘no mueva tanto el motor, yy como era un gran espanto ‘compadte que sofocén, ‘Que te coge pronto mi amor, {ue te coge la lorona por detras. En muchos pases latinoamericanos,especialmente en aquellos donde lainfluencia africana es particularmente importante, hay varladas his torias populares de fantasmas y anarecidos. Una de elas es la leyen- {da de “La Llorona’, una mujer viuda que no deja de lorar yasusta a los transeuntes. ste porro Colombiano, enfatiza con especial interés las sincopas. ‘Yambambé (Canto Negro) Letra: Nicolis Guillén (7802-1989) ‘Miisica: José Antonio Rincdn (*1937) Repica el congo solongo repica el negro bien negro, * Congo solongo del songo balla yambo sobre un pie. “Mama tomba serembé, cuserembs, Elnegro que canta y se ajuma Tumba del negro que tumba caramba que el negro tumba. “Acuememe serembé! *Yambé, Yambambe! 4a posta de Weols Guin ia, \ < (os Ces las vocalesabiertascomo "a", "0," Megat importante y dan un rtm especial aa ie ©) » << aa eS Oe The weeper Text and music: José Barros Choral version: Alberto Carbonell (*1935) She will get you, she will gab you. the weeper wil grab you from behind Ina street of Tamalameque people talk about a crazy weeper that appears dancing from hereto there, smoking a big cigar. went out one night, ‘one right during carnival, she was moving her waist lke a lizard in the thicket. | cried out to her, please stop for a whi o not move your motor so much, she looked afraid, asif greatly shocked. Beware the weeper, who will atch you from behind. x la many Latin American counties, eam A Arian ancestry tere ae many Br parations Onecl themes thelegen Fever tcuses fo ey tnd whe passersby. This Colombian ON Phases tneseapton vantanss er S\ YN Ve Text: Nicolas ‘Music: José ZS secs eon AS o of saat ‘good rhythm seremb6! ‘Yamibambé! “se “Atty of Nicolés Guillén uses onomatapaeic sounds, in which upen vowels "a," “o" and “e” play an importante role and give special yt to his poetry. Many ofthese words cannot be i aly traded, such a "congo slongo,"yambambo "yambd, “nba,” oF “auseremba-" Ger expressions have become pat of “mama siones se convierten en expresie yambé", “mama tomba" 0 fade Cullen est ler Que su misia sole afar mC Og mia contone daly living, such as "baile det yamb6" (dance of yamb6), toma” (mother tomba), or "el negro que se ajuma y canta” (the black man who is ready to sing). Gullén’s poetry is full of hythm and ‘melody. The composer himself explains that his composition only ‘adds some singing to the music already present in the poem. * These parts ofthe text are nonesense words that thyme and pro- duce percussive rr arus2.202 1 Tortillero ‘Cancion folkovica Version Coral: Weld Aranguiz (*1935) Noche oscura, nada veo, solo leva mi aro por tus puertas voy pasando y cantando con amor Mas, voy cantando con mucha pena, “De rescoldo tostaitastortilas buenas.” ‘Quien pudiera mi canasto fen un buen vaso trocar, siusted quiere, seforita, callentitas aqui van! Esta danza chilena la “cueca” describe el cortejo de una bella dama ¥. se representa coreogrficamente con un circulo. La “cuca” en Chile se cantaba y balaba en los afos que siguieron las guerras de In- dependenca, particularmente en Peri, Bolivia, Argentina e inclusive ‘México. Florecié en ciudades como Santiago y Valparaiso, entre muchas otras, (Ojos Azules ‘Misia: Rubén Uquilas Version Coral: Gerardo Guevara (*1930) (jos azules color de cielo tiene esta guambra para mica. (Qué valor! que conciencia tiene esta guambra para olvidar. ‘Aunque me maten a palos ya estoy resueto a cualquier dolor, (Qué'valor! que conciendia, tiene esta guambra para olvidar. Labios rosados color de grana tiene esta guambra para besa. (Qué boquita tan sabrosa tiene esta guambra para besar, Esta cancién es una Tonada Ecuatorlana que proviene junto con ‘Marineray la Zamba Argentina dela Zamacueca. La mezcla de ele- ments melicosy arménics dels cantos amorosos y dee -— pafioles con los ritmos indigenas se hace evidente en el 9 ‘monias y del patron de 6/6. El Alcatraz < \ Danza folkirica Peruana Versién Coral: Luis Craff(*1941) Alson dela tambora, de clarinesal comps, tencenderis tu vela, ape nome quemas el ae /y . Salean todostos negsitos. \. salgan todos ala pe tines salen con si" Yottos salen cor seer oN Y eo / od “ana, con rtmos sincopads, Los Baten es oes ts 0) Ve POA Hah Erector rn SF ss svllly XI estas tracciones,ereando asi un Fic\._> 9B tested dana pare jucgs con navel. a mujer. gS? se menzas este trla de alcancai on vl, Carus 2-302 ‘The pancake maker Chilean folksong. Choral version: Waldo Aranguie (*1935) ark night, Heannot see anything, leary only my street lamp. | pass by your door and sing to you with love. Ising with grief in my heart, ‘with so much lingering pain and sell my toasts and pancakes, ‘Who would be able to change my basket into a good drinking glass, ifyou lke, maiden, here | carry warm toastst This Chilean dance, a "cueca," depicts how to court a beautiful woman and itis usually choreographed in a circle. The “cueca," wiih s from Chile, was sung and danced in the years folle—ar- ious wars for Independence in South America, particu! “~~, Bolivia, Argentina and even in Mexico. It flourished" Santiago and Valparaiso, among others, < OF Blue Eyes S Muse Rubén Ug AW SN \X s Choral version: Gerardo Guevara ("19 ¢ SN NO } os AN The eyes ofthis maiden are blue ike the sky. But she has courage tres fget \ ic eeguretet “S\N” aoe BO \ Dé mine \ Yo YO. e AZ ts D> Oceana tat tgs th he S69 Re eet tg ibination of melodic and harmonic elements “NY Fe songs of Spain, together with native \\ 5 vn bated a feces nce RS m™ Xe volk dance » > ‘es version’ Luis Craff(°1941) To the sound of the hythms of the drums and the trumpets, light your candle and be careful not to burn my bottom. Come out al ye tle negroes, come al tothe flatland, some come with their plough, ‘others come with their lam, burn you ome Itisaleads | Do not burr een pean arena cia ae aces 61 Festejo de Navidad Letra: Alfredo Ostoja, ‘Version Coral: Herbert Bittrich (*1932) Sefior Don José, Sefiora Maria, hha nacido en Lima el Nifo Manuel, Los negros del Rimac traen para 1 tondero yfestejo, bufelos con mil Lacomadre Juana seed su madsina yy pa'hacerie caldo mato a su gallina Serd su padtino el "compai" Quinones, a’ su "ahijau” divino, reas picarones, El negro Gaspar desde Casagrande trae p'al Niito caia pa'chupar Un fino alfajorsu to Melchor {ue pa’ su zambito quiere o mejor. Elbuen Baltasar, agit de "azar, 1a’ que Manvelito no vuelv’a" rar Jesusito'e mi alma, no llores ast ue todos los negros se muerer por t Del paseo de Aguas vienen hasta aqui on aroz con leche flor de capul Los de Malambito, traen para ti hhumitas de dice, pan de ajorjoli Jesusito’ e mi alma, no llores asi, caramba, ue todas los negros ya estamos aqui La Navidad es una festa muy alegre en toda latinoaméica, per espe- calmente en las regiones donde ia tradicin africana se enraz6. Sta ‘cancion describe el nacimiento de Jesis en Lima, en medio de la co- munidad de los negros del Rimac. Utiiza elementos politicos y efectos de percusién, Ronda Catonga Folkiore Uruguayo “Transcrita per lidefonso Pereda Valdés Version Coral: Pablo Trindale Roballo (*1970) Los niios en las esquinas bilan la Ronda Catonga. Rueda de todas las manos que rondan la rueda ronda, ‘Makumba, makumbembsé ls negritos aricanos forman tambien una ronda con la nache de la mano, ara ahuyentar al mandinga makumba makumbemb’— Hay que tar una fecha y balla el candomble. Ay! Cato tingu tng ngu tango things < O Pasa una linda negrta, NO < yas estrellas forman ronda cuando jue~_. -on el ~\. yen el candombe del cielo la luna e= /> oan) S x Alarueda reda, ala tondaror Cs fos lancos mandinga sme < LA, & L N\ VASE El candombe es una dar > sigin en fa musica de los esdaw\, o 3 1 ios rtmos Caetos lan e spasydebot woscompigenny/N\ odes Comal ~ ne vg venezolano Federico Ruiz, utliza una melodia, ‘veil bdsica del Preludio y de la fuga. La fuga es- 1 ritmo de 5/8, caracteristico del merengue vere: Sr NN) 8 es 62 ~~ » Ce SOQ?! Ls vs Choral version: Herbert Bittrich (*1932) (Me. Joseph, Mrs. Mary the boy Emmanuel has been bor in Lima; black people from the Rimac [the river that crosses Lima] bring to him food and joy and cake with honey. (Mas. Juana willbe the godmother and has taken her hen fo make soup. ‘The godfather will be Mr. Quifiones, who will bring the divine boy delicious sweets. Gaspar brings from Casagrande sugarcane to suck ‘A elicious cake brings his uncle Melehior, who wants to give him the best sweet. ‘The good man Baltazar brings water of the maple tree for Manuelito not to cry. Jez of my sus, do nt sa mach, _ athe te negroes loveyousomach, fomieviernaytnywecorng toring you fee wit mc and towers oO Those fom Malambto bong foryou SY dro cokes en bend XS Jess of my souh nate s0 Tcneploethove envel"’\N\N 2 oy KX ) Chustmasisaverjoyttest/ XY) ake especilyin the regions” Can a -olished foots. This song depict ss 7 eg ne Nero Community of the PSN ont OP textures a flaspeause << NX> SX \ > Ss Ronda: en Jruguav. “es Tae NN ev PN 2 .0(°1970) KY’ ~S ance the Ronda Catonga. oS AS te crete of te big ring i Negros ath the night in hel hands. 78> 21 an aro ant dance the andombe OS scien onan sings ting" when | see aula pss re srs mate ng wf fey ply with he un we Re etna er Dance to the circle, to the whites the litle white devi to the negroes the dance. The camdombe sa dance from the coast of Uruguay, which displays an African ifluence. IEcelates to the Caribbean rhytims of the son land the guaguanc6 in the use of syncopations and crossed rhythms, Itis part ofthe festivities of Carrival. The bless Prelude ‘Musle:F || the li { al ison | Usat Fog ie arus2.202 ra] ‘Mafanita Pueblerina Letra y Musica: Inocente Carrefo(*1919) Linda mafanita de mi pueblo, lorasa a sol y a leche fresca, deja que tu bisa me acarice, hhaz que ta alegra legue a mi alma, Blanca como el rostro de la que era la usin mis grande de mi vida, ‘mafanita por eso te canto porque me recuerdas a mi amada. ‘Quiero que seas siempre para mi la sola comparera, la cnica que sepa el gran sufrir yyel dolor que me aqueja. ‘Quiero que leves a mi corazén la cha y el sosiego ‘mafanitaolorosa a leche y sol se buena por favor. Esta es una serenata escrita originalmente para coro en un ritmo ternatio, Inocente Carreno es uno de los compositores mas represen- tativos dela Escuela de Madrigalstas que existié en Venezuela en la primera mitad del S, XX “Todo este campo es mio Letra y Musica: Simén Diaz (*1928) Version Coral: Alberto Grau (*1937) Todo este campo es mio esta dvina soledad arnlio de pajaros perfume de petalos {yun eabalite blanco lejos ‘Mariposa, tu que libas la miel de aqueli ior maravilosa caminito, a trepadora flor ‘micoraz6n enred, Campesinal En la laguna azul se veel adios de las espigas ~~ ‘ampesina, mariposa pluma rosa todo, todito es mio, El arco baja la tarde de misica la luvia de céntaros yuna garita blanca Simén Diaz poeta y miso por C Y mS muchas canons que dese, Le ) ae Su tiewa natal El ano. est O85 \ & ado "Tonadas", compuesto para \. ) ecg use, ne pouring rain and a white heron. Simén Diaz, a popular Venezuelan poet and musician, has composed ‘many songs that depict the atmosphere, landscape nd life of the plains which were his homeland. This song belongs to the genre called “Tonadas” which is for a solo voice that is sung ina very free ‘hythmic style, However, inthis choral version, the composer Alber- 40 Grau adds a new dimension to the original tune by incorporating the rhythms ofthe "bolero" and the “cha cha cha." Biographies Liliana Cangiano, composer, pedagogue and choral conductor, was born in Buenos Aires, Argentina in 1950 and died in 1997. Her work as a composer was devoted primarily to writing choral ver- sions and arrangements of popular songs, particularly tangos. Aylton Escobar ‘was born in Sao Paulo, Brazil in 1943. Ayiton Esocbar studied composition and conducting in Sao Paulo, Rio de Janeiro and Columbia University, New York with masters such as Camar- 80 Guamieri, Magda Tagliaferro, Vladimir Ussachevsky and ‘Mario Davidovsky, among others, His compositions include ‘music for theatre, Cinema and choirs and several of his works have been published and have received awards. As a conduc- tor, Ayiton Escobar has conducted the important orchestras in Brazil and has been a guest conductor internationally. Alberto Carbonell was born in Barranquilla, Colombia in 1935. Alberto Car- bonell has been professor of choral conducting and conduc- tor ofthe choirs on the Faculty of Artsin the University of the Atlantic 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 Cultural Institute of Colombia. One of the most prolific arrangers of Colombian popular music, he has written more than 90 choral versions and arrangements, José Antonio Rincén, pedagogue, composer and choral conductor, was born in cluding the Coro Nacional, Peru, and university choirs). He has composed nearly 200 choral works and has also arranged works for choir. Presently he conducts four choirsin the Karls- ruhe-Pforzheim area of Germany. Herbert Bittrich was born in 1932, in Callao, Peru. He studied piano at the National Conservatory of Lima and later he studied medi- cine, Hislife has been devoted to medicine but as a hobby he devotes himself to choral singing and conducting, He has composed several short works for a cappella choir Pablo Trindale Roballo is choral conductor born in Uruguay in 1970. He has pursued an extensive career as a choral conductor and music peda- goguein his country and in several Latin American countries, particularly in Brazil o~ Federico Ruiz Lo? isa Venezuelan composer and pedagr ~ XC 1948, He studied composition with « Venezuela and graduated from Hosmer earner \ phonic music, chamber mr: NX NO oe is Sie, music for TV, radio. AF won many prizes for his ¢ fg scalar. guage combines e K A os PF uaditiona composition wit an, oc mainly from popular ae ~ Se e SM Rio Negro, Colombia in 1937. He studied at the National Inocenti Cn University of Colombia, at the Musical Institute of Chile and Vene_-— NS or ee and conductor, Carrefo at Queens College, New York. He has founded several choirs w ) ony P @\ sueva Esparta. He devoted in Colombia, Venezuela and Mexico, where he has lived ©) oe and to teaching and his vast since 1980. As a composer he devoted himself to writing “a XV < os SS) morchestral music, and chamber cappella” choral works and choral arrangements based ~~~ on \_ <3) and plano, and a cappella choral ‘Afro Caribbean musical traditions ¢ SD, ,& ature of nocente Carros dedicated SYA stn of poems by Spanish and Latin Amer- Waldo Aranguiz, AS fem at songs and ao choral arange: pedagogue ard choral conductor, was bor“ \\ gC ests 1935. He studied choral conducting with WV < > } founded several prestigious choral groups in. ss et 2 Grau, been very active in building choral in: “stions * 4 -unguished Venezuelan composer, conductor, and teach- Latin America, and was a founding ox SN > etalnas bom nie Bacoone, Span Cu as eamed tional Federation for Choral Mus place of honor among’ the best contemporary Venezuelan < Y IN musicians. He is known primarily asa choral conductor, but as Luis Gerardo Guevara \ 1) a choral composer he has become one of the leading figures in 1s a pianist, composer ) 2m in Latin America and many of his works have been published by Quito, Eeuadorin 19" ©) &® -stesin Quito and Guayans xe wormale de Ise, Pas oS 4, Sampo ei considered ar / \ {GS and contempo- rary languag ( \ \MY of or piano, chamber «and a cappella choir nducted the choir of the 8” —~ S Bese, music educator, and ethnomu: SY) t \WgPn Peru in 1941. He studied at the Lima 2 gS with various musicians and at schools \ Sais Ameria He has conducted chotsin ery, aN < Latin American cities as well as in Europe (in- Earthsongs (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. His compositional language combines elements from of popular and folk tradition” "m=" -antemporary com- positional ~ use of eu- ythe! ——— Veecaves many ct — Vises he four | / won Fist Prize In npetlion intaly | Sema: tonal ¢ “ fondue | evident inte Carus 2.202

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