Felices Fiestas! El Mundo - Jennifer Ellis Kampani soprano Nell Snaidas soprano Richard Savino guitar and direction - Early Music Society of the ...
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35 th SEASON
¡Felices Fiestas!
El Mundo
Jennifer Ellis Kampani soprano Nell Snaidas soprano
Richard Savino guitar and direction
Saturday 21 December 2019
St. Andrew's Cathedral
2019-20 Concert Season ¡Felices Fiestas!
Jennifer Ellis Kampani soprano Nell Snaidas soprano
Richard Savino guitar & direction
Alyssa Wright violin Wilton Huang violin
Bach and Buxtehude Vivaldi in Paris
Martin Bonham violoncello
4 January 2020 Saturday 8pm 14 March 2020 Saturday 8pm
Michael Jarvis harpsichord
Chapel of the New Jerusalem Alix Goolden Hall
at Christ Church Cathedral Peter Maund percussion
Martin Bernstein recorder (USA)
Chloe Kim violin Anna Marsh bassoon
Martin Bonham viol Byron Schenkman harpsichord
Michael Jarvis harpsichord
Sinfonía para empezar Domenico Scarlatti (1685 –1757)
Plaisirs de la Chambre
If Music be the Food of Love 18 April 2020 Saturday 8pm
Gitanillas vienen Rafael Castellanos (1725 – 1791)
11 January 2020 Saturday 8pm Ciaconna Andrea Falconieri (1586 – 1656)
Alix Goolden Hall
Alix Goolden Hall
Emma Hannan soprano Ojos pues me desdeñáis José Marín (1619 – 1699)
The Baltimore Consort (USA)
Victoria Baroque (PACIFIC NORTHWEST) Folía and Canario Gaspar Sanz (1640 – 1710)
Soile Stratkauskas flute and direction
The Four Seasons Ausente del alma Rafael Castellanos
22 February 2020 Saturday 8pm Vaya de xácara amigos Rafael Castellanos
Alix Goolden Hall
Tarara Antonio de Salazar (1650 – c. 1711)
Shunske Sato violin
Concerto Köln (GERMANY) INTERMISSION
Folía echa para mi Señora Doña Tarolilla Andrea Falconieri
Al dormir el sol Sebastián Durón (1660 – 1716)
Luceros y flores Juan Hidalgo (1614 - 1685)
¡Ay qui si! ¡Ay que no!
Largo and Allegro from the concerto in D major Antonio Vivaldi (1678 – 1741)
Oygan una xácarilla Rafael Castellanos
A del día a de la fiesta José de Orejón y Aparicio (1706 – 1765)
aria, recitative, aria
3Programme Notes The Artists
In contrast to the English settlements of North America, Juan Irribarren, maestro di capella at the Salamanca and Richard Savino Symphony, Los Angeles Opera, West Edge Opera, Santa Fe
the Spanish colonies of Central and South America were Malaga cathedrals, Sebastián Durón, Juan Hidalgo, and A GRAMMY-nominated guitarist, lutenist, and Opera, San Diego Opera, Opera Colorado, Dallas Opera,
well-springs of musical and cultural sophistication. Latin Jose de Torres all held appointments at the Royal Chapel director, Richard Savino’s performances and recordings and Glimmerglass Opera. He has also been guest director
American cathedrals, missions, and courtly life supported in Madrid. have been praised by critics throughout the world. His of the Aston Magna Music Festival, Santa Fe Chamber
a varied and active musical scene. Participation of the We conclude the first half of tonight’s programme extensive discography of over thirty commercial recordings Music Festival, Ensemble Rebel and Milano Classical
Indigenous populations in the arts was encouraged. The with Tarara qui yo soy Antón, a 17th century villancico in ranges from the early 17th century through to the virtuosity Chamber Orchestra. From 1986-98 he has directed the
result was a musical style that, even in sacred compositions, a negrilla setting by Antonio de Salazar. Salazar was born of Paganini and Mertz. He has two GRAMMY-nominated CSU Summer Arts Guitar and Lute Institute.
bears the imprint of folk music. The use of guitars, in La Puebla de los Angeles in 1650 and in 1688 became CDs with Ars Lyrica (2011) and El Mundo (2012) as well An avid writer, Richard has composed all of his CD
vihuelas, percussion, dance rhythms, and occasionally maestro di capella at the Cathedral of Mexico City. He also as the only available recording of Mauro Giuliani’s Op. 30 notes and published articles and editions with Cambridge
native languages demonstrates a close relationship between composed several villancicos on texts by Sor Juana Inés de Concerto for Guitar and Orchestra (on a period instrument University Press, Edition-Chanterelle, and Indiana
European and Indigenous cultures. la Cruz, one of the most important Latin American writers and with original orchestration) conducted by violinist University Press. He is presently Professor of Music at the
As well as its holdings in the New World, Spain also of the 17th century. In Tarara one hears the rhythmic Monica Huggett. For the latter, he received a nomination San Francisco Conservatory of Music and at Sacramento
ruled over much of southern Italy for more than four vitality of Spanish and Indigenous cultures combined in a as conductor in the best small ensemble category. He is also State University where he has been the only music professor
hundred years and the influence of Spanish music on Italian setting that reflects an African pronunciation of Spanish: the recipient of a Diapason d’Or and a 10 du Rèpertoire. to receive “outstanding and exceptional” and “best”
composers is obvious. Their repertory contains Ciaconnas,, r’s and l’s are reversed, consonant clusters simplified, and The latter has also placed his Boccherini recordings in their sabbatical awards. He is also a founding member of the
Passacaglias, Zarabandas, Folias and Romanescas, all of word endings dropped. “Great Discoveries” category, works deemed as essentialto Historical Guitar Consortium at Cambridge University.
which are dance/variation pieces that began as works for José de Orejón y Aparicio, a gifted organist who spent any classical music collection. Richard’s instructors have included Andres Segovia, Oscar
Spanish guitar. his entire life in Peru, was most likely a student of Tomás Richard has been a featured guest on numerous national Ghiglia, Eliot Fisk, Albert Fuller, and Jerry Willard. He
Andrea Falconieri was a lutenist from Naples, the de Torrejón y Velasco, the composer of the first new world and international television and radio programs such as received his Doctorate from SUNY at Stony Brook. For
seat of Spanish power in Italy during the 17th and 18th opera. Aparicio’s A del dia de la fiesta is a three-movement NPR, PBS, CBC, and CBS. He has been chosen three times more information go to: www.richardsavino.net.
centuries. His publication Primo libro in1650 contains work consisting of an opening da capo aria, followed by a as the Global Hit on the Public Radio International/BBC
numerous dedications to Spanish nobles and Folia clearly recitative, and concluding with a dance-like duo set in a program The World, most recently in 2016 to celebrate the Jennifer Ellis Kampani
demonstrates his command of Spanish musical style. It villancico form. release of What Artemisia Heard, Music from the Time of Los Angeles-based soprano Jennifer Ellis Kampani, who
is interesting to note that numerous Italian musicians, The guitar is certainly considered to be the Carvaggio and Gentileschi. This CD surveys the life of the "offers a freshness of voice, fineness of timbre, and ease of
including Domenico Zipoli and Roque Ceruti, migrated quintessential “Spanish” instrument, in both folk and great 17th century painter Artemisia Gentileschi through production that place her in the front rank of early-music
to the New World and that a significant number of works fine art music.More importantly, in the 17th century it music. He has also created concert programs and recordings sopranos” (andante.com), is one of the leading interpreters
by Italian composers such as Arcangelo Corelli have also was the guitar, often in multiples and combined with harp on the lives of Francisco Goya and Peter Paul Rubens. In of the Baroque repertoire. Her international career has
been found in repositories throughout Latin America. and viola da gamba, that produced the essential continuo December 2016, he was asked by the Leiden Collection in included appearances with the period instrument groups
A featured composer on tonight’s program is Rafael and theatre accompaniment band. Certainly, this is not New York to create a series of soundtracks to accompany New York Collegium. American Bach Soloists, Baroque
Antonio Castellanos. He was a native son of Guatemala to suggest that the harpsichord played an insignificant videos describing the world’s largest collection of privately Band, Portland Baroque Orchestra, Seattle Baroque
and in 1765 was appointed maestro di capella at the role. But it is important to recognize the uniqueness of held Rembrandts, the only private Vermeer, and dozens of Orchestra, Opera Lafayette, Apollo’s Fire, Musica
Cathedral of Guatemala City. Like many Latin American an additional ensemble and its importance to Spanish additional paintings by other great Dutch masters. These Angelica, and Boston Camerata. Jennifer has been heard
composers, Castellanos was well versed in 16th century Baroque repertoire. The names most associated with this can be viewed at: https://www.theleidencollection.com/ in many concert series and festivals including Le Flaneries
polyphony but he also incorporated dance music into legacy are Gaspar Sanz, Francisco Guerau, and Santiago videos/ Musicales de Reims in France, Aston Magna, Da Camera
his sacred work. Many of his compositions are excellent de Murcia. De Murcia was the guitar teacher of Maria Richard has recorded and toured with some of the world’s Society, Houston Early Music, Music Before 1800, Carmel
examples of secular dance style (retaining the essential Gabriela de Savoy, King Felipe V’s first wife . Following most important performers including Joyce DiDonato, Bach, and the Berkeley and Boston Early Music Festivals.
villancico form) being used in ecclesiastical productions to her death, Felipe married Isabella Farnese who brought to Monica Huggett, Stephanie Chase, Chanticleer, and Paul She has recorded many CDs, two highlights being
convert the masses. Vaya de xacara amigos and Oygan una the Madrid Court a large entourage of Italian musicians. Hillier. As as a continuo player he has performed as principal Kingdoms of Castille (GRAMMY nomination 2012) and
xacarilla are wonderful examples of a secular, petty ruffian’s Among these were the great castrato Farninelli as well as with groups such as the Houston Grand Opera, New York the works of Chiara Cozzolani (Gramophone editors’ pick,
dance having been co-opted for this purpose. In addition harpsichordist Domenico Scarlatti who composed music Collegium, Portland Baroque Orchestra, San Francisco August 2002.)
to Castellanos, the music archives of the Guatemala City not only for his chosen instrument but also intermezzi,
Cathedral contains numerous works by some of the most short “theater” pieces.
noted Spanish composers of the 17th and 18th centuries. – Richard Savino 2019
4 5Nell Snaidas Alyssa Wright Martin Bonham Awards Classical Album of the Year. Their latest partnership
Nell Snaidas has been praised by the New York Times Historical Performance major Alyssa Wright was born Martin Bonham, a leading chamber musician as a for the Marquis label, Michel Corrette’s Sonatas for
for her “beautiful soprano voice, superb sense of line” and to a Thai mother and American father and raised in Japan. member of the Victoria Symphony since 1978, also Harpsichord and Violin, op. 25 [1743] on mythological
“vocally ravishing” performances. She began her career She began violin at age four, and studied with Izumi established himself as one of Victoria’s leading chamber themes is currently available.
singing leading roles in zarzuelas at New York City’s Takeuchi for twelve years. She also played in the Chiba musicians, also established himself as one of the top early “Jarvis has an awesome technique that produces music
Repertorio Español. Specialization in Italian and Spanish Youth Orchestra from 2008-14 and won the Shimamura music specialists in Western Canada with performances of enormous style and crystal clarity . . . the contours
Baroque music has since taken her throughout Europe, Music Competition. For the past few years, she has been for the Early Music Society of the Islands Vancouver Early of the music are never even blurred, but emerge with
North America, and Latin America. enrolled at the San Francisco Conservatory of Music where Music Vancouver, and Victoria Baroque. Co-founder with a coherence and persuasiveness that is remarkable.”
Operatic performances include her European debut she is studying baroque violin with Elizabeth Blumenstock Kazue Kazahaya Seki of Les Violes de Saint-Colombe, a The Hamilton Spectator (Canada)
in Alessandro Scarlatti’s Gli Equivoci nel Sembiante at the , twice winning the Conservatory’s Baroque Concerto founding member of both the Pacific Baroque Orchestra
Teatro Garibaldi in Palermo, Sicily as well as the role of Competition. She has participated in summer festivals and the Musick Masters, he appears frequently on stage Peter Maund
Princess Olga in the world-premiere of the Boston Early such as the Oregon Bach Festival, the Viola Da Gamba throughout Alberta and the Pacific Northwest. His A native of San Francisco, Peter Maund studied
Music Festival’s production of Matheson’s opera Boris Conclave, and the American Bach Soloists Academy. interest in recreating early dance led to a role in the percussion at the San Francisco Conservatory of Music and
Goudenow in Boston and Tanglewood. She has been 1990’s as both Music Director and dancer in Movimento!, music, folklore, and ethnomusicology at the University
a featured soloist with the Los Angeles Philharmonic, Wilton Huang then Victoria’s early dance and theatre company. Martin of California, Berkeley. He is a founding member of
Apollo’s Fire, The Boston Early Music Festival Orchestra, San Francisco-based violinist Wilton Huang is a plays an 18th century Italian cello restored to standards of Ensemble Alcatraz and Alasdair Fraser’s Skyedance,
Tragicomedia, Seattle Baroque, The Dallas Bach Society, versatile teacher and performer. He has performed that period. and has performed with early and contemporary music
and Ex Umbris. Nell starred internationally as “Christine” internationally on both baroque and modern violins. ensembles including American Bach Soloists, Alboka,
in The Phantom of the Opera, is heard in Mel Brooks’ Although an experienced orchestral player, he particularly Michael Jarvis Anonymous 4, Chanticleer, Davka, El Mundo, The
movie-musical The Producers, and was a soloist in the enjoys performing chamber music and has attended many Michael Jarvis is acclaimed as one of Canada’s finest Harp Consort, Hesperion XX, Kitka, Los Cenzontles,
GRAMMY-nominated Broadway cast album Hair. festivals and programs including American Bach Soloists harpsichordists, fortepianists, and continuo players. He Musica Pacifica, Pacific MusicWorks, Philharmonia
She also collaborated with Alicia Keys in the musical Academy, Festival Napa Valley Blackburn Academy, has performed throughout Canada, the US, England, Baroque Orchestra, Texas Early Music Project, and Voices
arrangement and Italian translation of “Superwoman” for Gonggeng Music Academy, and the Retreat for Violin Italy, and Bermuda. Working with many of Canada’s finest of Music.
Kathleen Battle for the grand finale of the 2008 America Teachers at Indiana University. singers, Michael is in demand as a coach and collaborative Performance events and venues include the Berkeley
Music Awards. Wilton received his Bachelor of Music and is currently artist. He has recorded for the Hungaroton, Marquis Festival, Cal Performances, Carnegie Hall, Celtic
Nell has recorded for Sony Classical, Dorian, Koch pursuing an Artistic Diploma at the San Francisco Classics, ATMA, Naxos, Solitudes, and Avalon labels, and Connections (Glasgow); Cervantino Festival (Guanajuato),
International, and Naxos. She was featured on CBC radio Conservatory of Music, and is currently pursuing an has many times broadcast nationally and regionally for the Confederation House (Jerusalem); Edinburgh Festival;
as one of the leading interpreters of Spanish Renaissance Artistic Diploma at the San Francisco Academy Orchestra. CBC as well as across the U.S. on NPR. His performing Festival Interceltique de Lorient; Festival Pau Casals;
and Sephardic song and is Co-Director of the NYC concert During his time at SFCM, he studied with Cordula Merks, editions of 17th and 18th century choral and organ music Fillmore Auditorium, Folkfestival Dranouter; Freight
series GEMAS: Early Music of the Americas, a joint project Elizabeth Blumenstock, and Wei He. He is currently are published by GIA, Chicago. & Salvage, Horizante Orient Okzident (Berlin); The
of Americas Society and GEMAS. studying with David Chernyavsky. Michael has taught fortepiano at the University of Kennedy Center; Lincoln Center; Palacio Congresos
British Columbia and harpsichord, continuo, and baroque (Madrid); Queen Elizabeth Hall (London); and Tage Alter
vocal ornamentation at the University of Toronto. He has Musik (Regensburg).
also taught harpsichord performance at Wilfred Laurier Peter is author of “Percussion” appearing in A Performers
University in Waterloo, Ontario and at Havergal College, Guide to Medieval Music (Indiana University Press, 2000).
Toronto. He is on faculty as harpsichordist and vocal He has served on the faculty of the University of California,
coach at the Early Music Vancouver Summer Baroque Berkeley as well as in workshops sponsored by Amherst
Vocal Programme, “The Compleat Singer”. Early Music, the San Francisco Early Music Society, the
His CD with violinist Paul Luchkow of J.N. Hummel’s American Recorder Society, and the American Orff-
Sonatas for Fortepiano and Violin/Viola, Op. 5 (performed Schulwerk Association. Described by the Glasgow Herald
on an original Viennese fortepiano c.1800) on the Marquis as “the most considerate and imaginative of percussionists”,
Classics label was finalist in the Western Canadian Music he can be heard on over sixty recordings.
6 7Texts & Translations
Gitanillas Vienen Ojos, pues me desdeñáis
Estribillo Estribillo
Gitanicas vienen, gitanicas van Little gypsies come, little gypsies go Ojos, pues me desdeñáis Eyes, since you scorn me,
A adorar al Niño, y a ver a portal. To adore the child and to see the cradle. No me miréis, no, no. don’t look at me,
pues no quiero que logréis for I don’t wish for you to
Qué hermosas salen todas a bailar, How beautifully they all start to dance, el ver como me matáis. achieve the look with which you kill me.
cómo suenan las castañitillas How their castañets sound
que repican las gitanillas As the gypsy girls play them Coplas
y en dulce armonía las hacen hablar. And in sweet harmony make them talk. Cese el ceño y el rigor, End the frowns and the severity;
ojos, mirad que locura Eyes, behold what madness is:
Lazos forman, trenzas hacen; They form lines and braids in their dance; arriesga buestra hermosura to risk your loveliness
con el mismo primor que des hacen With the same delicacy they dissolve por hazerme un disfavor by doing me a discourtesy.
las trenzas y lazos a son y q compás, Their lines and braids in rhythm and swing,
y a la Madre del Niño gracioso, And to the mother of the gracious child Si no os corrige el temor If fear doesn’t cause you to lessen your charms,
morenica del sol máas hermoso. That dark skinned beauty of the most beautiful sun si no os corrige el temor don’t look at me, for I don’t wish that you
la gala le canten, la gloria le dan, they pleasingly sing, glory they give, de la gala que os quitáis. achieve the look with which you kill me.
que bailan airosas, they gracefully dance,
que cruzen briosas, lively they move, Y si el mostraros serenos And if your harsh behavior
que cantan graciosas a son y a compás and pleasingly sing with rhythms and swing, es no más que por matarme is for nothing more than to kill me,
chás, chás, chás, chás. chas, chas chas, chas. podéis la pena excusarme, you may let me forgo the pain,
pues morirme de no veros. for I will die from not seeing you.
Coplas
Gitanico hermoso, Niño celestial, Beautiful gypsy boy, heavenly Child Pero si no e de deveros, But if it is true that you want me to be at peace,
Hijo de la aurora que su sol nos da. Son of the daybreak who gives us her son. pero si no e de deveros don’t look at me, or I don’t wish that you
que de mi os compadezcáis. achieve the look with which you kill me.
8 9Ausente del alma mía Vaya de jácara amigos,
Estribillo Estribillo
Ausente del alma mía Absent of my soul Vaya de jácara amigos, Go dance the xacara friends
Que al cielo subiendo váis That to heaven going up y sin gastar arrumacos. And without using sticks
Volando por el aire Flying by the wind Oigan, escuchen, atiendan Listen, listen closely, and pay attention
Subís a la eternidad, Ascend you to the eternity que es el corridillo aseado: It is a clean path:
Ay, ay, ay, Alas! En nombre de Dios comienzo, In the name of God we begin
Subís a la eternidad. Ascend you to the eternity vaya el diablo para diablo. To chase the devil back to hell
Coplas Aquel don Adán valiente That one brave Sr. Adam
La piedad no se os olvide Don’t be forgotten the piety a quien todo lo criado, whom all the created
Porque os diga la piedad Because I tell you the piety vasallaje le rendía rendered obedient to his mandates.
De lo fuerte que partís Is so hard when you go obediente a sus mandatos, King of the Paradise
Y que sin vos me dejáis, And you leave me without you monarca del paraíso he happily enjoys
Ay, ay, ay, Alas! le gozaba alegre cuando when he finished
Y que sin vos me dejáis, And you leave me without you acabó con todo el mundo with all the world
con solamente un bocado. with only one bite.
Mis sentimientos queridos My loved senses
Forzosos en mí serán Will be necessary to me Torpe quebrantó el precepto Awkwardly disrupt the precept
Pues me quedo sin mi bien Because I stay without my love quién dijera en este daño If someone could say of this wreckage
En posesión de mi mal. In possession of my evil. que fuera de un hombre fuerte that out of a strong man
Ay, ay, ay, Alas! toda su culpa ser flaco. all his guilt be skinny.
En posesión de mi mal. In possession of my evil. Pero yo me lo dijera But I said to myself
arrimándome al adagio Coming in to the refrain that
El alma viéndose sola The soul seeing self alone de que la soga más fuerte “the strongest rope
Decir mi Dueño podrá To say of my love will can quibra por lo más delgado. breaks with the thinnest thread.”
Que siempre que os eche menos Always that to miss you
Será su tormento más His torment will be plus. Coplas
Ay, ay, ay, Alas! Príncipe nació y a penas The Prince was born and the pain
Será su tormento más. His torment will be plus. el veneno le ha tocado has touched him
cuando por ruin obediencia when by ruined obedience
Si camináis para el cielo If you walking to the heaven se miró el príncipe esclavo. the slave prince looked at himself.
Por qué me dejáis acá Why leave me here La divina providencia The divine providence
Adonde todo es mentira Where all the things are lies que tuvo todo previsto that had everything planned
Y vos solo sois verdad And only you are truth. amparar al enemigo protected the enemy
Ay, ay, ay, Alas! elige por acertado. and was successfully chosen.
Y vos solo sois verdad. And only you are the truth
Obligados y ofendidos Forced and offended
Los ojos que os ven partir The eyes are seeing that you leave Dios y el hombre se miraron God and man looked at each other
Fuentes perennes serán Perpetual fountains will be del hombre Dios ofendido man offended God
Porque no sabe sentir Because don’t know to feel de Dios el hombre obligado. God the obligated man.
Quien no ha sabido llorar Who did not to have known cry. Deponiendo los enojos Deposing the anger
Ay, ay, ay, Alas! sale al empeño mostrando goes out to show
Quien no ha sabido llorar. Who did not to have known cry. cómo han de ser los amigos how should friends be (together)
en los mayores trabajos. in the greatest works.
10 11Al dormir el sol
Tarara qui yo Anton
Estribillo
Estribillo Al dormir el sol en la cuna del alva While the sun sleeps in the cradle of dawn
Tarara tarara qui yo soy Anton Tarara tarara, I am Anton, Con arrullos con halagos con olores With lullabies, complements, fragrances,
ninglito li nacimiento little black one since birth, Le mezen le aplauden le cantan they rock him, applaud him, sing to him,
qui lo canto lo mas y mijo. and I sing it alot, and oh my oh! Los ángeles puros los zéfiros gratos The pure angels, the graceful zephyrs,
Las fértiles flores las líquidas fuentes The fertile flowers, the flowing fountains,
Coplas Las rápidas aves las débiles auras. The swift birds, the gentle breezes,
Yo soy Anton molinela I am Anton, a miller, Y todos humildes dizen a una voz And all with a single voice humbly say:
y ese niño qui nacio and this boy who was born roro rororo dormid niño Dios. Roro rororo, go to sleep, God child.
hijo es li unos la labialola is also the son of a peasant woman,
li tula mi estimacion. one that I hold in highest esteem. Coplas
Los ángeles puros con dulze canzión The pure angels with sweet songs
Pul eso mi sonajiya So with my rattle, la cuna le mezen al dormido amor. Rock the cradle of their sleeping love.
cascabela y stambo my bells and my drum, No le despertéis, no, pues su amante voz Don’t awaken him, no, their loving voice
voy a bayla yo a Belena, I’m going to dance in Bethlehem, El aire repite con leve rumor: Strikes the air with barely a sound:
pultilica y camalon. dances from Puerto Rico and Camaroon. roro rororo dormid niño Dios. Roro rororo, go to sleep, God child.
Milalo quantu pastola See how many shepherdesses Los zéfiros gratos, con huella veloz The graceful zephyrs treading quickly,
buscando a la niño Dios, are looking for the Child God, Moviendo las plantas no pisan la flor. Ruffle the leaves but do not step on the flowers.
van curriendo a las pultale they go running to the portal No le despertéis, no, pues su acorde unión Don’t awaken him, no, their concordant Union
pala daye la adoracion. to offer him their adoration. se inflama y entona con tierno fabor: kindles and tunes with tender favor:
roro rororo dormid niño Dios. Roro rororo, go to sleep, God child.
La sagala chilubina The country-girl cherubim,
vistila li risplandor clothed in splendor, Las fétriles flores, con salvas de olor, The fertile flowers, with hints of fragrance,
las conta sus viyancica, sings her villancico, perfumes exalen en suave prisión. Exhale their perfumes in sweet vases.
gluria cun compas y son. a gloria with rhythm and melody. No le despertéis, no, su inspiración, Don’t awaken him, no, their devotion
el catre le muellen cantando una voz: fluffs his pillow, singing in one voice:
roro rororo dormid niño Dios. Roro rororo, go to sleep, God child.
Las líquidas fuentes, con músico son The flowing fountains are soft whispers,
De blandos murmureos le adormecen hoy. Music which today puts him to sleep.
No le despertéis, no, pues en su canción Don’t awaken him, no, in their song
Con vozes de perlas repiten sin voz: With voices of pearl they repeat in hushed voice:
roro rororo dormid niño Dios Roro rororo, go to sleep, God child.
12 13Luceros y flores ¡Ay que sí! ¡Ay que no!
Estribillo Estribillo
Luceros y flores Stars and flowers Ay, que sí, ay, que no: Oh! but yes, Oh! but no:
arded y lucid, Glow and shine que lo que me duele, since I myself
al ver una aurora when you see a dawn me lo siento yo; feel what afflicts me.
que ilustra el zafir. that brings glory to the sapphire. que soy Pedro Grullo I am “Pedro Grullo” telling tales
de mi pasión: of my passion:
Coplas y es pesadilla mi pena, and my sorrow is a nightmare
Las flores del cielo ardan Let the flowers of heaven burn; que no reconoce, no, that does not confess
los astros del campo brillen; let the star of the field shine; del plomo del sentimiento its leaden weight of emotion
y exhalando sus alientos and exhaling their breath ligerezas de la voz. through the lightness of my voice.
en esfereas y pensiles, in spheres and gardens, Ay, que sí, ay, que no: Oh! but yes, Oh! but no:
las flores ardan, let the flowers glow, que lo que me duele, since I myself
los astros brillen. let the stars shine. me lo siento yo; feel what afflicts me.
Las rosas sus rayos copien; Let the roses copy their rays; Coplas
los orbes sus luces pinten; let the orbs paint their lights; Pues vaya, amigas del alma, Go on, my good friends,
pues no imitan sus reflejos since their reflections do not imitate de en sanchas a mi dolor make way for my grief to expand;
con el claro sus perfiles, their profiles with clarity, que un corazon apretado for a constricted heart
las rosas copien, let the roses copy, merece lo que un jubon. deserves the same as a tight bodice.
los orbes pinten. let the orbs paint.
Dos amas que Dios me ha dado, God has given me two mistresses,
La estrella a sus ojos muere; The star dies before its eyes; si es queda las amas Dios if indeed it is God who assigns mistresses,
el alba al valiente vive; the dawn lives for the valiant; que no es por cuenta del çielo but it is not on heaven’s account
que a la luz de sus candores for at the light of its whiteness el mal que me busco yo. that I procure unhappiness.
en encuentros tan felices. in such happy encounters,
la estrella muere, the star dies,
el alba vive. the dawn lives.
Luceros su planta huella; Its step tramples the stars;
claveles su vista tiñe its view tinges the carnations;
pues con puras influencias so with pure influences
en milagros de matices, in miracles of hues,
luceros huelle, may it trample the stars
claveles tiñe. may it tinge the carnations
14 15Oygan una xacarilla A del dia de la fiesta;
A Nuestra Señora de Copacabana
Estribillo
Oygan una xacarilla de una niña Hear the royal girl’s jacara, (Aria)
soberana que luce y brilla farol, The light shines and sparkles, A del dia de la fiesta A feast day
clavel rayo rosa y llama The rosy rays blush and call, luces activas, voces diversas Lights active, diverse voices
que luce y brilla farol. The light shines and sparkles. encended vuestra nitida pompa Kindle your pomp (light you bright splendor
Oygan que en ecos e de cantarla. Hear the ecos, I must sing to her. exalad vuestra nitida ydea Exhault your bright idea
Coplas Y en rayos, y en himnos And in rays and hymns
Ya la niña concebida, The babe conceived, con grata asistencia celebrad With great assistance
vida graciosa y sin mancha A gracious life and without sin, a esta aurora Divina Celebrate this Divine dawn
le da Dios eterno She will give God the eternal, qu’en su dia se obstenta mas vella That on her day becomes more beautiful
de luz soberana . Royal light of life.
(Recitado)
Ana le obtiene en su vientre, Ana, blessed among women, Y pues oi en su solio asi se ofrece And today on her throne she offers herself
entre mujeres la clara, Holds her in her womb, como madre que todos favorece As a mother who favors all
Ana sera y la contemplo, Ana I pray to you, y pues en este templo ya tesora And in this temple she is treasured
templo de mayor monarca. The temple of our Holy Queen. ser la Madre feliz que se adora To be a happy Mother that is adored
buscad en el influxo con que inspira Look at the influence she inspires
Arca de Dios y su Nave, Fortune of God and of his Church, unos el explendor y otras lira The splendor in others and the lyre
ave que sube a la escala, Bird that rises to the heavens,
a la cumbre donde estrella, At the summit she shines, Estribillo
ella a luzbel es desgracia. Triumphant over Satan. En la sed pues el empeño In the thirst for commitment
en asento mas brillante de armonia y de arebol In groves of tress bright harmony
Alma en que Dios se recrea, Soul in which God recreating, si al formar el fiel diseño esta lus mi vos amante The true form is the light I love
crea el mundo que es sin falta, Creating world without sin, es clarin de tanto sol It is the clarion of both suns
alta por que se confirme, In the lofty heavens he confirms
firme su ya enamorada. His beloved Queen. Coplas
Esta es la madre felise This is the happy mother
que en este templo se adora That is worshiped (adored) in this temple
a que le ofrecen los cultos To whom the wise give offerings
y aquien le canten sus loores. And here we sing their praises.
Esta es de Copacabana This is the Copacabana
Reyna la excelsa y siempre invicta Queen of the sublime and always undefeated
que socorre a lo que le piden Who helps those that ask
y a tiende a los que le adoran And tends to those who worship Him
16 17Supporting the Society
Make a Donation help the Fund grow. These operating grants will both assist
The Early Music Society of the Islands relies on in presenting artists who would otherwise be unaffordable
individual donations, memberships, and grants to and ensure the long-term sustainability of the Society.
sustain its operations each year. Your donation will help Tax receipts will be provided.
to present concerts featuring internationally-renowned
artists and to promote interest and appreciation of Early You can contribute directly to this Fund in three ways:
Music in the community.
MAIL By sending a cheque to:
Ways to Donate Early Music Endowment Fund, Victoria Foundation,
ONLINE To make a secure online donation Suite #109–645, Fort Street Victoria, BC V8W 1G2 For advance notice of EMSI concerts and performers,
by Visa, MasterCard or AmEx, visit:
www.earlymusicsocietyoftheislands.ca ONLINE Donate online by Visa, MasterCard, subscribe to the EMSI newsletter:
Amex at the Victoria Foundation’s Web site: www.earlymusicsocietyoftheislands.ca
MAIL Please send cheque payable to EMSI to: http://www.victoriafoundation.bc.ca/web/give/ways Click
EMSI Donations c/o McPherson Box Office, on “give now” to go to CanadaHelps, select “Donate The programme, notes, and artist biographies are
#3 Centennial Square, Victoria BC V8W 1P5 Now” and choose “Early Music Endowment Fund” from available on the EMSI website prior to each concert
the drop-down list.
THROUGH UNITED WAY OR EMPLOYEE
CAMPAIGNS If your employer participates in BEQUESTS OR GIFTS OF SECURITIES EMSI wishes to thank…
the United Way or other employee campaigns, Bequests or gifts of life insurance or securities may The EMSI Volunteer Guild
you can support the Early Music Society of the Islands be arranged through the Victoria Foundation.
by writing in the gift on your pledge For more information, visit www.victoriafoundation.bc.ca Caroline Mitic, graphic designer for EMSI
card. Our charitable registration number is or phone the Foundation at (250) 381–5532. David Strand, maintainer of the EMSI website
11889-0367-RR0001.
Sponsorships www.earlymusicsocietyoftheislands.ca
To discuss donation options, please contact BUSINESS SPONSORS The Society welcomes business
Rondallyn Perras, Fundraising Director sponsorships and will provide appropriate public
emsi.perras@shaw.ca acknowledgement of such support.
Tax receipts are issued for all donations
of $10 and over. CONCERT SPONSORS
Artistic Director James Young (joy@uvic.ca) would be
Donate for the Future pleased to offer guidance and information relating to gifts
The Early Music Endowment Fund is owned and to support a specific concert.
managed on our behalf by the Victoria Foundation.
Each year, part of the investment income is given as You can reach the Society at:
a grant to EMSI and the balance is re-invested to info@EarlyMusicSocietyoftheIslands.ca
S
Thank you for your generosity in supporting
Early Music on southern Vancouver Island
www.earlymusicsocietyoftheislands.ca PHONE 250-882-5058
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