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Voces Graves de Madrid 

90
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Choral Tapas: Scores by 21st Century Spanish Composers – Part 2
Marian Dolan and Nuria Fernández Herranz

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Please contact Andrea Angelini, ICB Editor

E-mail: [email protected]
 Choral Tapas: Scores by 21st Century Spanish Composers – Part 2

91 91

 VokalArs (Spain) conducted by Nuria Fernández Herranz

A visit to Spain opens the door on the ancient and the modern, inviting us to explore an
array of cultural influences and customs, a variety of languages and festivals, and, of
course, music. We invite you to join us for another tapas, a ‘tasting’ of the enormous
variety of Spanish choral music ‘flavors.’ Published earlier this year, Part 1 contained
information about composers and scores from the Basque Region (http://scr.bi/ICBSpainPt1).
Here, in Part 2, we journey musically from Catalonia, Valencia, Torrevieja and Murcia along
Spain’s east coast to Andalusia in the south; from the Canary Islands and Melilla on the Marian Dolan
African coasts to Madrid in central Spain; from Burgos and Asturia in the north, to Galicia conductor, editor, teacher
in the northwest. Our process for selecting music for these two articles ranged from gathering
information and recommendations from dozens of Spanish choral colleagues and composers,
and
to collecting scores in a variety of voicings and levels of difficulty, working with six different Nuria Fernández Herranz
text languages, finding internet links to scores and videos, and doing it all online across conductor and teacher
thousands of kilometers. Under each score title, may be found voicing, date, timing, text
language and poet. Whenever possible, we again include score and audio links, so readers
can ‘taste’ the music themselves. See also the resource information at the end of this article,
including playlists and publishers. Here then, is Choral Tapas – Part 2. ¡Que aproveche!
¡Gaudir! Enjoy!

ICB Repertoire
 ... Choral Tapas: Scores by 21st Century Spanish Composers – Part 2

Albert Alcaraz (b.1978; Valencia) Sancta Maria, succurre miseris

The Valencian region on the east coast of Spain – famous for its (SSAA, S; 2007; 2’45’’; Latin/Magnificat antiphon;
huertas of vegetables, fruit-trees and flowers, its Moorish history, CM - http://bit.ly/N61DsF; video - http://bit.ly/N61w06)
its fiestas, and of course its paella – is also the home of conductor/ Written for the 10th anniversary of the XOLO Voces Blancas
composer Albert Alcaraz. He studied at the conservatories women’s ensemble and their conductor Bernadet Kühne, this score
of Alicante, Murcia and Valencia, as well as in Switzerland. captures the tender spirit of this ancient prayer for strength and
Founder of Cor Xivarri, he has performed many world premieres comfort. A simple setting for 4-part treble voices plus soprano
with them. Alcaraz has also served on juries of competitions and solo, Sancta is sung by XOLO and conducted by Alcaraz in the
taught workshops in Spain and elsewhere in Europe. His choral video link above.
works, including commissions, have been sung at major choral
festivals in Europe (Arezzo, Riva del Garda, Dante Andreo (b.1949; Madrid; http://danteandreo.com/)
92 Cork, Marktoberdorf, Minsk, Varna, Tolosa, Born in Córdoba, Argentina, Dante Andreo has lived and worked
Torrevieja) as well as in Belarus, Mexico, in Spain for the past 30 years, where he is recognized as a leading
Cuba, Turkey, and Argentina. His scores are figure in choral music. As a conductor, he has led choirs in Spain,
published by CM. France, Argentina, Peru, Colombia, Brazil, Venezuela, Ecuador,
Cuba and Mexico. He has also taught in Europe, Mexico, the
Ecce quomodo moritur justus USA, and Argentina. A specialist in the interpretation of early
(SSAATTBarB; 2001; 5’; Latin/Tenebrae; Spanish music via his ensemble Grupo Vocal Gregor, and an
CM - http://bit.ly/KWj3qO; video - http://bit.ly/QIJIJU) artistic advisor to the Confederación Coral Española, Andreo
Written in 2001 and dedicated to the memory of a young singer is often a juror at major international choral competitions.
who died suddenly at school among friends and teachers, Ecce Commissions and premieres accrue
embodies a heartfelt lament via the tenebrae responsory text for both from Spanish choirs as well ass
“his memory to rest in peace” (Isaiah 57:1, 53:8; international ensembles, and many
http://bit.ly/QILj2x). Set in a quasi-renaissance style and 8-part works have won awards. His scores are
voicing, Ecce quomodo invites meditation and reflection. It was the published by CM (ESP), GCC (ARG),
obligatory score for the 2003 Tolosa competition. Santa Barbara (USA) and Carus (DEU).

Tres tonás flamencas (Three Flamenco Songs)

(SATB acap, or SSAA + pf; 2007; 6’15’’; Spanish/folk; Cantos del Agua (The Songs of the Water)
CM - http://bit.ly/Ng2HHt; video - http://bit.ly/QJjDdQ) (SATB; 1998; 5’; Spanish/Lorca;
This score is a set of three pieces based on Andalusian folklore. SBMP-261 http://bit.ly/Na5ShX; video - http://bit.ly/Na5kIQ)
Song #1, ‘Jaeneras,’ from the province of Jaén, contains a brief solo These three a cappella songs on the theme of water, set to texts
cante jondo ('deep song'), a flamenco vocal style, which breaks into by the great Spanish poet Federico García Lorca, describe the
an exuberant celebration of claps, cries and whistles! It segues into landscape and culture of Andalusia, the southernmost region of
song #2 ‘Granaína’ from Granada, based on a zambra, a flamenco Spain, bordering the Mediterranean Sea and the Atlantic Ocean.
Gypsy dance. The title of #3, ‘Zapateado,’ refers to the percussive Agua is a three-part work of great lyricism with expressive melodic
footwork in a flamenco dance, embodied here by percussive lines imaging 'agua (water)' in each piece: water near the bird-
melodic rhythms, a steadily increasing tempo, and a euphoric covered poplar trees, the barren water near trees cut down at dawn,
ending. and the rippling river water scented by the Andalusian orange and
olive trees.
Prière: La procession des bougies (Prayer: The Procession of Candles)
(SSSSAAAA; 2004; 4’30’’; French/Grandmaison; Córtame una rosa blanca (Cut Me a White Rose)
CM - http://bit.ly/yFM6fx; video - http://bit.ly/N2DnYs) (SATB; 2004; 3’; Spanish/Cabrera; GCC - http://bit.ly/NipItk;
Prière, a challenging sacred score for 8-part women’s choir, is video - http://bit.ly/RPoTdw)
based on a fervent prayer to Mary by the 20th century French Many of our Spanish choral friends recommended this simple,
Jesuit theologian Léonce de Grandmaison. Alcaraz’s impassioned homophonic yet lyrical setting of Canary Islands poet Pedro
musical prayer contains exceptionally wide tessituras yet García Cabrera’s alluring and romantic text which tenderly depicts
beautifully expressive melodies. The closing section starts on e’, “... son las rosas blancas del corazón de la luna (... the white roses
gradually splitting the voices, ascending and descending, to build a from the heart of the moon).”
shimmering, sustained 13-part chord, which closes into in a gentle
cadence.
Dulcissima Maria With text from the Lenten liturgy, Deus is a reflective and emotive
(SATB; 2008: 3’15’’; Latin; CM - http://bit.ly/y8iFWa; choral prayer for insight and light. The opening chant-like section,
video - http://bit.ly/NajlpX) moving from SA to T to B then back to SA, utilizes some partial
From its shimmering opening which unfolds into transparent and improvisation of the initial text (http://bit.ly/NroV7y). The
enveloping harmonies, this motet reflects a clear and profound piece then opens into luminous divisi harmonies in homophonic
understanding of the text’s delicate and languid intercessory prayer voicing, ending in a shimmering “amen.”
to Mary. As one Spanish singer said, “This score is timeless and
universal.” Written in 2008 for the renowned Spanish choir El Trébole – 1. Nueche, 2. Cántiga, 3. Folixa
León de Oro, the score’s harmonic richness is accessible for many (Clover – 1. Night, 2. Song, 3. Party)
ensembles. (SATB div; 2011; 6’30’’; Spanish/folk; score via composer;
video - http://bit.ly/RBfFyB)
O magnum mysterium Trébole was commissioned by the El León de Oro choir to 93
(SATB div; 2005; 3’50’’; Latin; CM - http://bit.ly/Nai5Dh; premiere in the folklore section of the 2011 Tolosa International
video - http://bit.ly/QdG58o) Choral Competition. Trébole's three scenes represent Asturian
Andreo’s setting of this traditional Christmas text was written for folklore very well. #1 uses improvisation to create an opening/
the Canary Islands choir Camerata Lacunensis in 2005. This score closing fantasía ‘night’ atmosphere, changing to folk vocalizations
embodies a beautiful contrast between soft lyrical parts in imitative when the Asturian melody appears. #2 opens with a brief soprano
contrapuntal melodies with an exultant, joyful, and very rhythmic melody, the full choir joining to sing the pastoral love cántiga. The
"Aleluia" [sic] finale. festive mixed-meter dance of #3 also includes foot percussion.

Ave Maria gratia plena ‘Compañeira’ from 4 Cantos Populares de Galicia

(SSA, pf; 2003; 2’30’’; Latin; CM - http://bit.ly/NahdOV; (‘Companion’ from 4 Popular Songs from Galicia)
video - http://bit.ly/y2zfmI) (SATB div, or 2pt SA, or female/male; 2000/2004; 2’30’’;
Written for treble voices and piano, this Ave is a simple and Galician/folk; score via composer; video - http://bit.ly/PYCoJR)
beautiful melody treated in canonical form: a sop/alto 2-voice This haunting Galician folk melody is given multiple settings
opening section moving to 3-voice texture, which is then repeated by Dominguez: a divisi mixed-voice setting and a starkly simple
for the second half of the text. The score closes in a sweet cadence 2-voice setting for treble voices or female/male. The text speaks of
of sound and light. finding light in the darkness, hope in the night, and freedom from
the storm. Many Spanish choral friends recommend this score –
understandable after hearing its poignant melody.
Julio Dominguez (b.1965; Galicia)
The northwest corner of Spain is Galicia with its Celtic and
Pater noster
Viking roots, its unique Galician dialect, its role as the endpoint
(SSAA div; 3’; 2004; Latin; CM - http://bit.ly/AoUwIR;
of the famed Santiago de Compostela pilgrimage, and the musical
video - http://bit.ly/wTftlv)
home of composer/conductor Julio Dominguez. A choral
A gently compassionate setting of the Lord’s Prayer for a cappella
singer since age four, then a pianist, composer and choirmaster,
women’s voices, this score’s quietly expressive opening shimmers
Dominguez began his musical studies at the conservatories
with tightly-voiced chords, which then relax into a cascade and
of Santiago de Compostela and Vigo. His interest in jazz and
cadence. Like chant, the meter of the ensuing homophonic section
electro-acoustics is complemented by study with choral masters
flexes with the stresses of the text. Dominguez has a wonderful
such as Eric Ericson and Javier Busto. He is the founding director
sense of moving fluidly from unisons into full 5- and 6-part closely
of the award-winning Camerata ad Libitum choir in Galicia, was
harmonized chords that glisten and seem to surround the listener
director of COACE (Spanish Confederation of Choirs) and the
with prayerful, transcendent sound.
Youth Choir of Andalusia (CJA), and he
frequently leads national and international
Fantasía de alalá
workshops. Scores are published by CM or
(SSAA div or TTBB div; 2008; 5’30’’; score via composer;
via Dominguez ([email protected]), and his
video - http://bit.ly/zQFOcH and http://bit.ly/Qdx5Ae)
YouTube playlist of pieces is here (http://bit.
Based on the traditional Galician melody ‘Froles d’ouro,’ Fantasía
ly/N607EU).
has no text. Instead, it uses vocalizations, improvisation and
various timbral effects including overtones, harmonics, a nasal-
bagpipe sound, and simple humming to recreate both an ethnic
Deus, qui illuminas and an ancient ambiance. The composer conducts in the first
(SATB div; 2002; 5’; Latin; CM - http://bit.ly/wKGGl5; video link above.
video - http://bit.ly/AeHFsz)

ICB Repertoire
 ... Choral Tapas: Scores by 21st Century Spanish Composers – Part 2

Bernadet Kühne (b.1971; Murcia; http://www.berkuber.com/) Josep Vila i Casañas (b.1966; Sabadell, Catalonia)
Born in Molina de Segura, in the southeast Mediterranean Known as one of Spain’s leading conductors, Josep Vila trained at
coastal region of Murcia, Bernadet Kühne studied music at the the Conservatory of Sabadell, then in Badalona and Barcelona, as
Academy Z. Kodály, where she currently teaches. Her university well as in Sweden with Eric Ericson. Director of the prestigious
degrees are in both music pedagogy and computer engineering, Orfeó Català symphonic choir and the Cor de Cambra del Palau
including a national award from the Ministry of Education. For de la Música Catalana, Vila is also founder of the Lieder Càmera
ten years she directed the Amigos de la Música choir in Cieza chamber choir. From 2007-2010, he guest conducted the Coro
(Murcia, Spain), and is currently the conductor of XOLO Voces de RTVE (Spanish National Radio Choir) and led the 2010
Blancas women’s ensemble. She has World Youth Choir. Currently professor of choral conducting
received composition awards from Sestao at the Music School of Catalonia (ESMuC), his choral scores are
94 and Totana, as well as from the 2012 popular with choirs throughout Spain. Lieder
Amadeus Composition Competition. Càmera recorded Cançó a cau d’orella, Villa’s
Kühne’s scores are viewable on her settings of texts by Catalan writer Miquel
website and available for free from her Desclot (http://bit.ly/OP0J3d). His choral
([email protected]). scores are published by La Ma de Guido
(http://www.lamadeguido.com).

Verde Mar (The Green Sea)

(SATB or SSAA or TTBB; 2006; 3’; Spanish/Delmar; Sanctus-Benedictus
score - http://bit.ly/QNIm0F; video - http://bit.ly/QNHI33) (SSAATTBB div; 1994; 3’30’’; Latin/mass;
Influenced by both classical Spanish poetry and family roots in Guido - http://bit.ly/QOsFU8; video - http://bit.ly/OGI4Ds)
the Middle East, Colombian poet Meira Delmar’s verse has often Written for the ensemble Agrupació Coral Cardedeuenca, Vila’s
been called ‘musical’ for its clarity and capacity for evocation. Santus-Benedictus was one of the scores most often recommended
One can sense this in Verde Mar, literally a love poem to the sea: for inclusion in this article, and was the required score for the
“Cantar del agua que danza una zarabanda de cristal...(The song of 2011 Tolosa Competition. A mysterious, majestic opening leads
the water dances a crystalline sarabande ...).” Kühne captures the into a jubilant 6/8 ‘osanna’ refrain, which appears again after
breeze, waves, shells, salt and heartbeat of the text’s water images the hushed ‘Benedictus’ with its chant-like melody and modal
in the ebb/flow of musical phrases, the sudden colorful harmonic harmonic flavor.
changes, and the gentle rhythmic waves. This score won the
composition prize for the Totana Habanera Competition. Salve, Regina
(SATB div; 2002; 5’40’’; Latin; Guido - http://bit.ly/QOsFU8;
‘Poema de Invierno: III. Pregón� from Cuatro Poemas video - http://bit.ly/Mot2G5)
(‘Poems of Winter: III. Proclamation,� from Four Poems) This powerfully dramatic Salve, Regina evening prayer score is set
(SSAA; 2000-2005; 1’30’’/16’ total; Spanish/Gomariz; for divisi voices throughout. Opening with SATB-SATB voicing,
score - http://bit.ly/NM8Bgs; video - http://bit.ly/NM8LV1) the first words are quietly and fervently intoned by SATB-2 under
Kühne lightheartedly explains that Cuatro was inspired by her the impassioned sounding of the full text by SATB-1. The voices
favorite poet: her husband, Antonio Gomariz. The texts embody merge to SSAATTBB divisi, continuing the cry for mercy. The
his childhood experience of the four seasons. The set of ‘Invierno textures, tempi and bold harmonies flex with the turmoil of the
(Winter)’ verses describes cold, sunny winter mornings. The prayer, until the ethereal final ‘salve,’ which cadences both the
brief final text, ‘Pregón’ is exactly that: a ‘proclamation� by the musical and the spiritual intensity of this extraordinary score.
rising morning sun, inviting dreams, new doors opening, and
the laughter of the day. The score opens with a simple declarative Cançoner (Songs) 1 - 5
‘fanfare,’ which then cascades its musical light onto the scurrying Within Vila’s five collections of Catalan-texted songs are works
“prisas y risas (rushing and laughing)” energies of the day. Any for young voices as well as scores for adult women. Texts are by
sections of Cuatro can be sung separately or as a full set. award-winning Catalan poet, writer and translator Miquel Desclot
(http://bit.ly/PPfNJp), an inspired author of works for both adults
and children. Two lovely scores for women’s voices are ‘Cançó de
finestra (Window Song)� (SSAA; 4’15’’; Catalan; score - http://
bit.ly/TD5tZy; video- http://bit.ly/PP7CwT) and ‘Cançó del
pescador de llunes (Moon-Fisher’s Song)’ (SSA, pf; Catalan; score -
http://bit.ly/PPac5O; video- http://bit.ly/PP7L3h).
 polyphonic canon with two-part S/A echoing T/B a beat apart,
Bernat Vivancos (b.1973; Barcelona; www.bernatvivancos.com)
and a repeating “Alleluia” intonation between verses. As the text
To say that Bernat Vivancos’s scores have rich sonority, texture
unfolds, a musical aura gently encircles the listeners like starlight.
and color is an understatement. He continually explores ways to
wrap the listener in the sound, thus creating an atmosphere of
Messe aux Sons des Cloches (Mass to the Sound of Bells)
sonic brilliance and inspired transcendence. This young Catalan
(SATB div or SSAA div, percussion; 2002; 14’; Latin;
composer studied composition at the Paris Conservatoire and
score - http://bit.ly/PeaZg2; audio - http://bit.ly/N6Edl0)
then in Oslo, returning to Barcelona to compose and direct the
This score was initially commissioned by Radio France for its
famed Escolanía de Montserrat (Montserrat Boys Choir), one of
‘Alla Breve’ programme: composers must write a ten-minute
the oldest in Europe. Vivancos’ scores, available as free PDFs on
piece having five two-minute sections which could be successively
his website, contain excellent contextual information from the
composer, including instructions for
broadcast Monday through Friday. Vivancos chose to set the 95
mass text, sans Credo, and scored it for mixed choir (divisi SA),
how to place the musicians to achieve
two tam-tams, and 12 cloches or tubular bells positioned around
the desired spatial sound effect. In 2011,
the listeners to create an atmosphere of literally being inside the
the Latvian Radio Choir recorded a
bell. As explained in the score’s introduction, each movement is
superb CD of his works, entitled Blanc
based on a simple motivic seed: five notes in the Kyrie, four in the
(http://bit.ly/LXvT7q).
Gloria; the Sanctus uses the appropriate chant from the Gregorian
requiem mass, and the Agnus Dei includes a hint of a motive by
Nigra sum the beloved Catalan composer Xavier Montsalvatge, who had
(SSAA div also TTBB div; 2001; 8’40’’; Latin; recently died.
composer - http://bit.ly/PeaZg2; audio - http://bit.ly/N6EiFd)
In the heart of Catalonia, stands the iconic Abadia de Montserrat,
located on the beautiful mountain of Montserrat. The abbey is Alejandro Yagüe (b.1947; Burgos;
home to the beloved La Moreneta, the ‘Dark One,’ a 12c statue http://www.alejandroyague.blogspot.com)
of the Black Madonna (http://bit.ly/MepjuT), the inspiration In northern Spain, along the famed Camino de Santiago, lies
for Pau Casals’ and Bernat Vivancos’ Nigra sum settings, both the medieval city of Burgos, with its great Gothic cathedral,
of whom wrote their scores while living away from this icon of a UNESCO World Heritage site. Burgos is also home to
Catalan culture. Vivancos’ setting, written during his study in composer Alejandro Yagüe, who believes that choral music has
Oslo, embodies the calm, clear light of this Nordic landscape, a double thrill: “… the thrill of a good text plus the emotion
while also capturing the transcendent beauty of the Dark Virgin: of the music. People are transformed when they sing with
“It is a love song, where I tried to describe the sensuality and their entire being.” After completing his musical studies at the
beauty of the love dialog of the biblical text.” Experienced female Conservatory of Madrid, he then studied at the Accademia
ensembles will relish the challenge of this score’s close divisi Santa Cecilia in Rome, Italy and the Musikhochschule in
voicing and fluid homophonic rhythms. The resultant shimmering Cologne, Germany. Since 1988, Yagüe has been the Professor of
sonority that often gently evaporates into unisons is both Composition at the Conservatory of Salamanca, where he trains
breathtaking and transcendent. generations of new composers. Recipient of major awards,
including the Prix de Rome, his choral
‘A Child is Born’ from Welcome commissions include the Spanish Radio
(SATB; 2001; 8’; English/MacGill; Choir, the Spanish Ministry of Culture,
score - http://bit.ly/PeaZg2; audio - http://bit.ly/N6Eepa) the Coro y Orquesta de la Comunidad
From the Christmas oratorio Welcome, comes ‘A Child is Born’ de Madrid, Orfeó Català and the Tolosa
with its unique sound- International Choral Competition.
structure. Vivancos
imagines MacGill’s text
calligraphically, i.e. as a ‘Horizonte’ and ‘Pescadores’ from Seis Canciones de Anochecer
‘visual poem’: as sound (‘The Horizon’ and ‘The Fishermen’ from Six Songs of Dusk)
encircling the ‘star’ over (SATB div; 2003; 2’ each; Spanish/Lorca; score via composer's
the Child’s birthplace in web; video - http://bit.ly/LqzINu)
Bethlehem. This image, These two movements from the set of six poems about evening's
printed in the score’s dusk (http://bit.ly/Muql10) by famed Spanish poet García Lorca
introduction, informs were premiered in 2010 by the World Youth Choir, directed by
the structure of the Josep Vila. Yagüe explains that the rich colors of Lorca’s evocative
score: a simple, multiple poetry inspired him to create equally rich musical harmonies,

ICB Repertoire
 ... Choral Tapas: Scores by 21st Century Spanish Composers – Part 2

best produced by a large choir in divisi voicing. In ‘Horizonte,’ strings, six lines, six candles, a hexachord. He also makes special
the freely shifting harmonies and rhythmic subtleties embody the reference to a six-stringed guitar, the sound of which is depicted
hazy fading light of both the setting sun and old memories, and through the rhythmically shifting 6/8 meter of the choir: chords
in ‘Pescadores,’ they capture dusk’s metaphorical ‘fishermen’: the in lower voices – a harmonic ‘play’ on the hexachord text – with
trees, the nightingales, and a lonely heart. hemiola-like cross-rhythms in the soprano line.

Pulchra es, et decora Two multicultural ‘tastings’

(SATB x 3; 1989; 6’15’’; Latin; Nawba Isbahan / Cantos de Boda (Wedding Songs)
score via composer's web; (SATB, perc; 1997; 3’40’’; Arabic;
audio/premiere - http:// score - http://juanpablodejuan.com;
96 bit.ly/Om27XE) video - http://bit.ly/OW2An6)
Pulchra, a polychoral Currently the director of the men’s ensemble Coro de
sacred work for three Voces Graves de Madrid GGC, as well as the Coro de
large choruses, was Jóvenes de la Comunidad de Madrid (Youth Choir of
commissioned by the Madrid), Juan Pablo de Juan was born in Melilla, one of
Federación de Coros the two Spanish territories located on the northwestern
de Castilla-León in coast of Africa. As he explains, “it is a place of coexistence of
1990, and was premiered peoples, cultures and religions – Jewish, Muslim, Christian
in Burgos’ historic Gothic and Hindu – which was a part of my everyday life
cathedral by 1200 singers from 30 local growing up.” In 1997, to celebrate the 500th
choirs! The text is from an incription, anniversary of the founding of his hometown
purportedly by the architect, on the of Melilla in 1497, Juan organized a choral
western facade of the cathedral: ‘Concert of Four Cultures’ and also wrote
‘Pulchra es, et decora (You are the score Nawba Isbahan / Cantos de Boda.
beautiful and graceful).� As was the This piece was subsequently performed by
style of Willaert and the Gabrielis many choirs, including the 2010 World
in Venice, Yagüe explores the idea Youth Choir. As Juan explains: “This score
of space via the placement of the reflects the religious and festive union
choirs for maximum stereophonic between two people who marry according to
effect: Chorus A is in front of the the Berber tradition. The first part of the score,
audience, Chorus B to one side, Chorus based on a medieval-sounding Arabic melody,
C behind the audience. invites a blessing for the newlyweds. Then
the music shifts as the guests sing
Spanish Folksongs 2 their songs of joyous celebration,
(SATB; 1998; 4’; Spanish/folk; first to the bride and then to the
CM - http://bit.ly/QH45WO; groom.”
video - http://bit.ly/QPS4tC)
Yagüe created eight collections of folksong International Contest of
arrangements based on El Cancionero de Olmeda, Habanera and Polyphony of
the 1903 book of melodies from the Castile region Torrevieja
of Spain. The three melodies in vol. 2 are simple, The habanera, literally the ‘song
tuneful, unaccompanied 4-voice scores that are very of return,’ is a musical genre the lineage
popular with Spanish choirs (full texts = http://bit.ly/MgnSft). of which includes the late nineteenth and
early twentieth century commercial maritime crossings between
Dibujo en el agua (Sketching on the Water) Spain and Cuba. As Torrevieja festival administrator Aurelio
(SATB div; 2008; 3’; Spanish/Yagüe; CM - http://bit.ly/NgHfyI;
video - http://bit.ly/NDgrxP)
 Orfeó Català symphonic choir, dir. Josep Vila
Composed in 2008 as the required score for the 50th Ejea Choral
Competition, Dibujo is also dedicated to the six villages of the
municipality of Ejea de los Caballeros, located in the Aragon  Grupo Vocal KEA, dir. Enrique Azurza
region of Spain. To pay tribute to the significance of water in
these six villages, Yagüe’s poem is memory, an imagining of the  XOLO Voces Blancas women’s ensemble, dir. Bernadet Kühne
poet sitting by the water, drawing senary shapes on its surface: six
Martínez explains, “Derived from various sources, the habanera coralea.com) for her assistance with photos, to Aurelio Martínez
is romantic, nostalgic, sweet, evocative, and sensual, with a at the Torrevieja Contest office, and especially to Elena González
strong influence on other styles of music. The habanera was very Correcher, our Spanish translator and Part-1 co-author.
influential in main Spanish coastal ports, but most especially in
Torrevieja, where the habanera becomes folklore itself, interpreted ‘Choral Tapas’ YouTube Video Playlists:
as a lullaby, a round, a serenade, a song of celebration, etc.” Since Tapas-1 (http://bit.ly/ICBSpain1) and
1955, the city has hosted the International Contest of Habanera Tapas-2 (http://bit.ly/ICBSpain2)
and Polyphony of Torrevieja (www.habaneras.org), where choirs
from around the world compete for prizes by performing both Publishers
habaneras and traditional polyphony. As this event proves yearly, Alliance (USA): www.alliancemusic.com
the habanera is a globally beloved style. The 2012 contest included CM-Ediciones (ES): www.cm-ediciones.com 97
choirs from Spain, Serbia, China, Colombia, Latvia, Venezuela, Editorial EMEC de Madrid (ES): www.elargonauta.com
with the choir of Yonsei University, South Korea, winning the GCC (ARG): www.gcc.org.ar
grand prize. A new score is commissioned every year. This Gehrmans Musikförlag (SW): www.gehrmans.se
library of new habanera scores is made available for free to ICB La Mà de Guido (ES): www.lamadeguido.com
readers via this link (http://www.habaneras.org/partituras.htm). If Walton (USA): www.waltonmusic.com
readers download and perform a score, please credit the Torrevieja
Contest. See also the international choral score site Musica

The authors extend an enormous “thank you! ¡gracias!” to all of

(www.musicanet.org). •
the choral conductors, composers, and singers who graciously
shared their ideas and information with us for these articles. A
special thank you is owed to Paloma Mantilla at Coralea (http:// Advertisement
èmes
Marian E. Dolan is founding Artistic Director of The Choir
Project based in Naples, Florida (USA), has edited international
choral scores for four publishers, and was IFCM’s chairperson
for Voices Conferences in South Africa and the Baltics. She holds
choralies
vaison-la-romaine
MM, MMA and DMA degrees in choral
conducting from Yale University and
was on the faculty of Emory University
(Atlanta). She also leads honor choirs,
workshops, and repertoire sessions
both in the U.S. and abroad, and has
commissioned over 35 new choral
scores. Email: [email protected]
13

Nuria Fernández Herranz, Founding Artistic Director of the

20ût
ao

acclaimed women’s ensemble VokalArs and former Professor of

Choral Conducting at the Conservatory of Aragon, also directs
9
>

the Choir of the University Carlos III in Madrid. A native of

1 er

Madrid and graduate of the Royal Conservatory, her ensembles

have won numerous national and international awards, and
she has presented many choral
workshops throughout Spain. She
is currently researching her doctoral
thesis: the influence of choral
ensembles on the social fabric of www.choralies.fr
contemporary Spain. Email:
nuriafernandezherranz@gmail.
com

ICB Repertoire
ISSN - 0896-0968 Volume XXXI, Number 4 — 4th Quarter, 2012

ICB

ICB
International Choral Bulletin

Dossier
Choral Music in Ukraine