RECORDING LABORATORY- AFS LI B

FOLK MUSIC OF PUERTO RICO

From th e Archi ve of Fo lk Song

Recorded and Ed ited by RICHARD A. WATERMAN

LIBRARY OF CONGRESS WASHINGTON 1947

Of all the Spanish Provinces in the New World , Puerto Ri co was the one that kept in closest touch with the mother country for the longest time. All the other co lonies eventua ll y revo lted ; Puerto Rico never did. Even today . after two ge nerations of American co ntrol, the roots of Puerto Rican art and literature are in Spanhh soil , and many edu ca ted Puerto Ricans feel that their spiritual kinship is with Spain, rega rdless alike of their political loyalty to the American Government and of undenied benefits resulting from American adminhtration. This situation is refl ected in the folk music of Puerto Rico ; the cross~ section given on this record indicates a depth of Hispanicism unequalled elsewhere in the Caribbean. Although African musical patterns exist they are less marked than in any other New World area of comparable racial history and composition, and their influence has been mainly on instrumentation and on the rhythms of a few forms such as the plena (BI). The rest is Spanish. A case in point is the prevalence of the decima in Puerto Rico. Decimas are IO-Iine stanzas, usually octosyllabic and rhyming abbaaccddc, that were com­ mon in 17th-century Spanish poetry. Although thi s difficult form is known in other Spanish-speaking New World areas, it occurs but rarely in fo lk music outside of Cuba and Puerto Ri co. On the latter island, however, it is the mainstay of folksong, and the jibaros, or countrymen of the interior of the island, have developed amazing proficiency in improvising decimas on any given theme. The tournament between rival can tadores who create decimas to match subject and rhyme of a quatrain stated by the umpire of the contest is a prominent and exciting feature of many a patron saint's day fiesta among the small towns of the interior. The "Three Aguinaldos" (AI) and "Franklin Delano Roosevelt" (B4) are decimas, the first in the hexasyllabic verse which has come in Puerto Rico to be associated with themes of the Nativity, the second in the more usual octosyllabic form employed for secular decimas. A word is in order regarding the character of the vo ices heard on this record. It is part of the folksong tradition of Puerto Rico to affect a c1enched­ throated manner of singing that results in a voca l timbre best compared to the flamenco style of Spain. The voice on B4 comes close to the norm. Many Puerto Rican singers sing usually in quite ordinary voice, adopting the pecu­ li ar tautness only when performing fo lksongs. The youth who si ngs the child­ ren's game so ngs on B2 and 83, without the "folk" tone quality. not only affords an interesting comparison with the vocaJisl on B4 but ill ustrates the poin t th at the singe rs are quite conscious of this " folk voice" and can turn it on or off at will . For additional in fo rmation concerning the folksongs of Pu erto Rico, con· sui t Marfa Cadilla de Martinez, La Poesia Popular ell PlIerto Rico (Madrid, 1933) and Juegos y Callciolles l llfanti/es de Puerto Rico (San Juan, 1'. R., 1940); also J. Alden Mason, "Porto-Rican Folk-Lore. Decimas, Christmas Carols, Nursery Rhymes, an d Other Songs," (edited by Aurelio M. Espinosa) JOllrnal of American Folk-Lore, volume 31, pages 289-450, July-September 19 18. Thi s record fo rms part of a co llection made during the summer of 1946 under the joint sponsorship of the Library of Congress and the Offi ce of Informati on fo r Puerto Rico.

A1- THREE AGUINALDOS.

During the Pascuas, or Christmas season, from the 24th of December to the 15th of Jan uary, aguillaldos are sung. They are Puerto Rico's equivalent of Christmas ca rols. Costu me d, so metimes masked , strolling trios of musicians on Three Kings' Day, January 6, fo ll ow the old custom called reyar, "to kin g. " This ent ails trave ling fro m hou se to house , si nging and playing oguin· tJldm'. and acce pting alms from househo lde rs, Aguinaldo,\' are freq uently, although not invariab ly, in decima form, The foll owing agu inaldos, sun g by Ra fae la Padilla, of Barrio Lomas, Coroz"I, are represe ntati ve . Some idea of the con tinuity of the se songs may be gained from the fact that the first four lines of the second decima were published by Ma son in 19 1R, a good many yea rs before the present singer was born. The guitar introdu cti on and acco mpaniment are played by Manuel Rodrigues Robles, of llarrio Saban., Luqu illo. The so ngs were recorded July 16, 1946, at Barri o Saban a, Luquillo, P. R.

1. Ay, lo. la, Ay. lo, Ii

Jueves Sa nta fuc. jMad re ! It was o n Ho ly Thursday. Madre! Cuando la desgracia \Vhen the misfortun e befell Que el d o de Po nce That the river of Ponce Sc me tio. 3 13 plaza Over no wed into the plaza Y no dejo casa And left no house Que no sc lI evo. That wa s no t carried away . Y e l pue blo qucdo, And the town rema ined, ~I cc h o una tin icbJ:i. Sh rouded in darkness, Y eso daba pena, jAy Dios! And that was a sorr y sight, (Oh, God!) Cuando amanecio, When the sun rose, Y eso daba pe na, And that was a sorr y sight, Cuando amanecio. When the sun rose.

2. Ay, 10, la. Ay. l0, la.

Cuando Jesu Cri sto Wh en Jesus Christ Pedio que bcber, Asked to drink,

2 Le dieron vinagre, TIley gave him vinegar Mezclado can hie!. Mixed with gall. No pudo beber He could not drink Esa mala gota. That bitter draught. Su madre piadosa His pious mother Lo andaba buscando, Went looking fo r him, Lo encontro, tomando, jMadre! She found him drinking, (Madre!) Yo no se que cosa. I know not what. La encontro taman do, She found him drinking, Yo no se que cosa. I know not what.

3. Ay . 10, Ia. Ay , 10, Ili.

jQuiera Dios que halles, God gra nt that you may find, Mujer de nobleza, [My ] gentle woman, Que sus portaciones That your qualities De ella te convengan! Are suitable to you! Las mias no son buenas. Mine are not good. Hasta el so l de hoy, Even toda y's sun Sabiendo que soy Knows that I am Muller de noblcla. A gen tle woman. Como me desprecia jDios! And since you desp ise me, Heavens! Muy pronto me voy. I am going away very soon. Como me desprecia And since you despise me, Muy pronto me voy. I am going away very soon.

A2- SEIS V1LLARAN.

This song comes from Orocovis. near the center of Puerto Rico. The Seis Villardn is meant to be sung at baptisms and during the Christmas season. The Singer is Ernesto Marcano Pii'iero. who also plays the guitar. He is accom­ panied by Jose Mij6n Martinez, accordion, Daniel Marcano Rodriguez, sin­ Ionia (concertina), and Antonio Marcano Marcano, maracas. Recorded August 15, 1946, in San Juin.

I. Acuerdate los du1ces ratos Remember the sweet moments Que pasabamos a gusto, That we passed with pleasure Que comiamos los dos juntos, When we two ate together Como hermanitos en un plato. As brother and sister, from one plate.

Til me echabas a m! los brazos You put your arms around me; Me decias "no me olvides" You said " Do not forget me ." Como somas gran des amigos As we are great friends. No te puedo olvidar; 1 cannot forget you. A buscarte vengo ya To search for you I come, Si tu Ie quieres ir conmigo. Do you wish to go with me?

2. Estas penas que pa sa ron TIlese sufferings that occurred Yo no quiero separarme I do not wish to separate myself.

I Words indisti nguishable.

3 Estc amo r quc IU dcjarmc TIl is love that you leave me, Co mo si fu era.l As if they were ... (7)

Quc yo pregunto un asunlo I ask one thing Cuando sicnl o de cstc am or : When I feel thi s love: i, Te separaste de hoy Do you leave me today Cuando no quieres amarme? Because you do not wish to love me? Si III quieres olvidarme If you wish to forget me Po r tu gusto no me voy. I shall not go away to please yo u.

3. Ahora si yo me retiro Now if I retire, Yo a tu casa voy, 1 go to your home, Si no quicres que cste amanle If you do not wish that this lover Siga siemprc Ie bueando. Always keep searching for you.

Y Ie seguin: ca ntando I shall co nt inue singing A tu ventana, nina, At your window, gir l. Tu no quieres que Ie mire You do not wa nt me to look at you Aver si Ie acuerdas de hoy To sec if you remember today Este a11l0 r que Ie brindc TIl is love J offered to you. AYt i,cualldo IU me 10 digas? Alas, when will you tell it to Ille?

4. Esla s cosas qu e len ia s That affa ir you had Con Chuilu. el de Cayey, With Chui to, he of Cayey: Un amigo que l:onOZl:O A friend whom I knew Ahi sahia donde viven. Th ere knew where you Ji ve.

\':s te amor tan scparado This love so divided Que yo siempre que Ie l:anto, TIlal I always sing of it. Y scparandu es te aUl or Dividing this love A vcr si Ie acucrdas lanto. To sec if you remember so much.

A3- PALOMA DEL MONTE (Baquine game song).

The baqllil/e is the wake held for a baby or a young child . The small corpse, rouged , be ri bboned, and surrounded by fl owers, is pl aced on di splay in a cradle placed on a table in the ce nter of the room. Since a child , on dying, immediately becomes an angel , the atmosphere is not unhappy, except fo r the parents. "Paloma del Monte" is one of the many games by means of which the festive character of the occasion is maintained. It combines pantomime and " forfe its." The action starts with the appearance of a "dove hunter," bran­ dishing a stick as if it were a gun . While he pretends to stalk his quarry the other participants in the game, marking the rhythm by clapping hands, sing the fo ll owing song:

Trimi. Trimi y So nte Trina, Trioa y Sonte Paloma , 11 0 vaya al monte. Dove, do not go to the mountai n. (repeat twice ) Ahi vieoe cl cazador Tait a There comes the hunter, Taita , Ahi viene cI cazador TIl ere comes the hunter. (repeat three times)

4 SuddenJy the hunter aims his stick and shouts "Pum! " The song stops. Approaching one of the girls in his audience he declaims:

"Sentcnciado. Por los noventa mil nudos del espinaso, si cs caballero se queda sentado, y si es una dama, pide para su boca."

"Sentenced. By the ninety thousand knots of my spine, if you are a gentleman remain scated, if you are a lady. beg for your mouth."

The girl now becomes the focus of attention. She asks of another member of the group, "i,Que me das para mi boca? " "What do you give me for my mouth? " The answers vary with the wit of the participants. On this record, the first person replies, "Un puente." "A bridge." The second offers "Una cucaracha frita," "A fried cockroach." The third, male, offers "Un beso," "A kiss," and attempts delivery. The song then begins again, led by the dove hunter. In the instance that was recorded, the original "hunter" yielded his place to another, older man, who knew a version he claimed was more accurate:

AI sari sorisonte2 AI sori sorisonte Paloma no vaya 31 monte Dove, do not go to the mountain. (repeat twice) Mira que soy cazadar. Look, for J am a hunter. Que si yo te tiro If 1shoot you Y tc mato para mr And kill you for myself $era cl dolor There will be sadness. (repeat all)

This recording was made in a house in Barrio Monacillas, near Guaynabo, Puerto Rico, July 29, 1946. The first "hunter" is Isaac Rivera Ayende; the second, Marcelino Oguenda.

A4-NO LO LLORES MADRE (Baquine song).

The philosophy of the Baquilll! is revealed by this song: the child for whom the wake is given is gone; nothing can be gained by weeping, and in any case there will be another baby soon. Led by Ramona Pizarro, the group is the sa me one that sang "Paloma del Monte" (A3).

1. Su madre Ie daba His mother gave him Un te de curia A curative tea A vcr si su hijo To see if her son No se Ie morIa. Would not die.

'2 It has been suggested that this li ne was originally "AI sol y su horizonte," " To the sun and its horizon," and has lost it s meaning.

5 Refrain:

No 10 Hores, madre, Do no t cry, mother, No 10 Hores mas; Do not cry more; Que ese sc tc ha ido For this o ne has go ne away. y olro volvera. And another will come. (repeat)

2. Su madre Ie daba His mother gave him Un te de ga rbanzos A tea o f chick-peas A 'o' er si su hijo To see if her son Tiene algun descanso. Has some rest.

Refrain.

3. Cojan esc nino Catch this child, Ponganlo en el suelo Put him o n the fl oor, A vcr si su madre To see if his mo ther Ticne algun consuela. Has any consolation.

Refrain.

4 . Cuando 10 II cvaban When they take him Para cI !;ampo sa nto To the burial ground lban los soldados The so ldiers go Vcstidos de blanco. Dressed in white.

Refrai".

5. CU;lIldo Ius IIcvaban When they take him rara cI !;cmcnterio To the cemetery Iban los so ldados The soldiers go Vestidos de negro. Dressed in black.

Refrain.

6. No 10 lIores, madre, Do not cry, mother, No 10 lIores mas; Do not cry more;

Que esc sc te ha ida For this one has gone away I Y otro volvera. And ano ther will come.

Refrai" (repeating last two lin es only).

AS-ruJO A LA GUERRA (Aguinaldo).

Some aguilw/dos have lost their specifically religious character and become popular folksongs. "Hijo a la Guerra" is an example of these. It is sung by Arcadia Contares, who also plays the guitar. He is accompanied by Aristides Qui~ones on sin[onia, and Francisco Perez on g':Uro. The recording was made in Ponce, on the south coast of Puerto Rico, on August 8, 1946.

6 l. Adios, madre m ia Goodbye, my mother de mi cocazon, Of my heart, Ven dame un abrazo Give me an embrace y la bendicion And your benediction Que ya la nacion For already the nation A buscarme viene. Has come to look for me. Sicnto que me Heven I feel that they will take me Por ti, madre mla From yOll, my mother. Rczame algUn dia, Pray for me some day. por si no volviere In case I do not return. Rezame algun dia, madre Pray for me some day, mother, Por si no volvicre. In case I do not return.

2. No te aflijas, madre, Do not grieve, mother, Cuando me yeas if. When you see me go, Porque mi partida Because my departure Me haec sufrie. Makes me suffer. Te vay a pedic I am going to beg of you Antes que me lIeven Before I am taken away, Cuando aUi me cntreguen When they deliver me there Jun to a1 enemigo Next to the enemy Cuida de ntis hijos, madre, Care for my children, mother, Par si no volviere. In case I do not return. Cuida de mis hijos- sl- Care for my children, yes, Pa r si no volvierc. In case I do not return.

3. Cuando los padres, madre, Wh en parents, mother, Crian a sus hijos; Rear their children ; Cuando los padres, When paren ts Crian a sus hijos Rear their children, EI gobiemo mas tarde The government,later on, Las cogen seguidos. Catches them in succession. Siendo aqui nacidos I belong here properly, V tan lejos que IlJueren. And so far away to die. Madre mia, si puedes My mother, if you arc able, Prcndeme una vela Keep for me a vigil, V hazme una novena And make me a Novena Por si no volvierc, In case I do not return. V hazme un novena, madre And make me a Novena, mother, Par si no volviere. In case I do not return.

4. Que vida fatal, madre, What a fateful life, mother. La que yo he tenido That which I have had, Que vida fatal What a fateful Hfe, La que yo he tenido That which I have had, Tener que dejar To have to leave Mis queridos hijos. My beloved children. Que triste martirio What sad martyrdom Sera el que yo lIeve; Will be that which I carry ; Va que Dios me tiene Already God has me En tantos martirios. In such martyrdom. Cuida de mis hijos, madre, Care for my children, mother, Por si no volvicre In case I do not return. Cuida de mis hij os, sf, Care for my chidrcn, yes, Por si no volvierc. In case I do not return.

7 Bl - CANDELA ES-(Plena).

The plena is Puerto Rico's own property . Akin in function and meaning to the derisive songs of West Africa and to the Calypsos of Trinidad, it has a rhythm and a melodic structure all its own. The plenas, like the decimas, are often improvised to commemorate newsworthy events, yet while the decima sings, so to speak, of the front page and the editorial section, the plena records the gossip columns. The plenas have sprung from the slums of the coastal towns, and it is only within the last generation that they have been admitted to polite society. Francisco Perez, who leads "Candela es" in this recording, is a well-known ple/lero of Ponce, Puerto Rico's second-largest city. He plays the maracas, Aristides Quinones the sinfonia, and Arcadia Contares the guitar. The percus­ sion effect during the last half of the recording is produced on the guitar. The recording was made in Ponce on August 8, 1946.

Refrai,,: Candela cs; He is a name; Ca ndela. nada Imis. A name, nothing else. Ca ndela \:o n la s Illuchachas A flame with the girl s Cuando van a bai l:lr. Wh en they go dancing. (repeat)

I. Mamita. dame un conscjo. Mama, give me your counsel, Mamita, lu V()y a coger. Mama. I am going to catch him. Yu

Re[rain.

2. 1\ la s IIlUl.; ha l.: has de I'o nce The girl s of Ponce L c.~ b'1lsta que de den I\re pleased when they arc given Ca ndel:l con la s muchacha s, 1\ name for the girl s, Candela at am3ncce r. A name at dawn .

Refrain.

B2-ARROZ CON LECHE (Children's game song).

80th of these games (B2 and 83) hail from Spain , the latter having pro­ ceeded there from France. Extremely old, they are sung today by children in all Spanish-speaking countries of the New World, the local versions differing only in details. "Arroz con Leche," sometimes called "La Viudita," is usuall y played in the following way: A girl, who sings the solo part, stands in the center of a ring of boys. The ring revolves while the boys are singing the chorus parts, but remains stationary while "La Viudita" sings. The girls take turn s at being "La Viudita."

8 Chorus: Arroz con Icche se qu iere casa r Rice and milk wants to ge t married Co n una Viudita de la Capital To a little widow from the Ca pital, Que sepa tejer, que sepa bordar, To know how to crochct, to kn ow how to cmbroider, Que po nga su aguja en su campanar. To stick her needle in her pincushion. Tilln, tilan, soplitas de pan ; Tilln, tHan , little sops of bread, AlIa viene Juan comiendosc cl pan. Here co mes John eating the bread.

Solo: Yo soy la Viudita, I am the little widow, La hija del Rey; The daughter of the King, Me quiero casarme I want to get married Y no encuentro con quien. And I have not met the one.

Chorus: Y siendo tan bella, And bei ng so pretty, No encuentro can quien. I have not mel the onc. Escoje a tu gusto, Choose to you r taste, Que a aqu; tienes quien. For here you have th e one. (repeat everything)

Solo : Co ntigo 8i, contigo no; With you yes, with you no, Contigo, mi vida, With you, my life, Me casaro yo. I shall marry. (rcpeat)

83- MATA RILE (Children's game song).

"Mata Rile" is also known to the children of Puerto Rico as "Ambos a Dos." The game is played by two lines of children singing the stanzas alter­ nately, or, at times, by a single girl and two lines of children that take turns alternating their stanzas with the solo stanzas of the girl. At the end, all join hands and dance in a circle.

I. Ambos a dos, Two by two, Mata rile rile rile. Mata rile rile rile. Ambos a dos, Two by two, Mata rile rile ron. Mata rile rile ron. (Sung by first line, or solo by girl)

2. i,Que quiere usted, WHat do you wish, Mata rile rile rile? Mata rile rile rile? i,Que quiere usted, What do you wish, Mata rile rile ron'? Mata rile rile ron?

3. Yo quieTa un paje, I wish a page-l;>oy , Mata ril e, etc. Mata ril e, etc.

4. Escoja usted, You choose, Mala rile, etc. Mata rile, etc.

9 (l1le next verse, to be sung by the girl or by the first lin e, whi ch goes, "Yo escojo (or Escojcmos) a Raul (or Fulanito, or some other child's name), Mata rile, etc." was inadvertently omitted from this recording.)

6. i.Que o fi cio Ie va a poner, Wha t occupation will you put her in? Mata rile, etc. Mata rile, etc.

7. Le pondremos costurera, We will have her become a sea mstress, Mata ri le, etc. Mata rile, etc.

8. Ella dice que si, She says yes, Mala rile, etc. Mala rile, etc.

9. (a ll join hands and form a ring) Celebramos todos juntos, We all celebrate together, Mata rile. etc. Mata rile, etc.

Both of these children's game songs were su ng by Emilio Santana Solis, a student at the University of Puerto Rico, who accompanies himself on the guitar. Recorded in San Juan on August 16, 1946. 3

B4- FRANKLIN DELANO ROOSEVELT (Seis con decima).

One of the most important functions of the Puerto Rican seis can decima, and the one that draws forth the utmost skill of the can /ador who composes it, is that of the obituary eUlogy. The decimas on this recording, created by some unknown improvisator, are widely known in Puerto Rico because the death of President Roosevelt was felt to be a personal loss by most of the jibaros, who looked upon him as a savior. With the exception of a rew lines that have lost something of their meaning through slipshod repetition, this song is in strict decima form, and worthy of a poet of J 7th-century Spain. It is octosyllabic, with the "espinela" rhyme scheme abbaaccddc; and has the usuaJ number of stanzas, although the introductory quatrain composed of the fmal lines of each of the stanzas, a common device, has not been used. The word seis refers to the meter of the music. The singer is Timoteo Quinones, a boy of Arecibo, who sings in purest jibaro style; the accompanist, Manuel Rodriguez Robles of Barrio Sabana, Luquillo. The song was recorded at a 4-H club, near Luquillo, on July 16, J 946.

3 Francisco Rodrigues Marin ( Varios Juegos lrl/anliles del Siglo XV/. Madrid, 1932. Chapter 2.) states that this game was in troduced, with others, rrom France into Spain during the 19th ce ntury. The first line was o riginally J'aj au bon chateau, malall/j·re-lire­ lire. [n Spain, acco rding to a version collected by R. de Montalban (EI corro de las Ilifias. Madrid, 1894.) the line became Ambos ata, mala rile, riLe. In Puerto Rico the effort to make sense , writes Maria Cadilla de Martinez (La poesia popular en Puerto Rico. Madrid , 1933, p. 276; fu egos y Canciones In/antiles de Pu erto Rico. Sa n Juan, P. R., 1940, p. 179.), has resulted in changing th e Ambo~' ata or Spa in in to the Ambos a dos Sling by you ng Mr . Santana on th is record.

JO I. EI dfa doce de abril On the twelfth day of April La na ticia sc csparcio The news spread. EI mu ndo se extremecio The world shook Con pena y hondo sentir With grief a nd deep feeling. Franklin Delano moriT Franklin Delano died De una mucTte inesperada, Of an unexpected death, Y 13 Tierra Americana And the America n Land Inmortalizara su nombre Will immortalize his name AI perder tan grande hombre On losing such a great man Que 1I0ra la America Hispana. That Spanish America weeps.

2. EI mundo de luto csta The wo rld is in mourning Al saber 13 triste nueva On knowing the new sadness. En el curso de esta guerra In the course of this war Mucha fa lta nos hara We will want him very mu ch. Tristc esta 13 humanidad Sad is huma nity La pcrdida de rcpenle The loss, so sudden, Del ho mbre que fran ca mente Of the man who open-heartedly Defendi6 la Ii bcrtad. Defended li bert y. Hoy 1I0ra la humanidad Today humanity wee ps AI que rido Presidente. For the beloved President.

3. Del !lder del Nuevo T rato Of the leader of the New Deal Que fu e un gran confcrencista Who was a great orator, Siempre ferviente estadista Always the fe rvent statesman, Solo nos queda un cetrato All we keep is a portrait , I)orque el destino tan ingrato Because destiny, so ungrateful , Ya nos ha sell ada su suerte. Already hil s sealed his fa te fo r us. A] hombre que franca mente For the mall who open-hcartedly Defcndi6 la li bertad Defended li berty. Y hoy lI o ra la humanidad And today humanity weeps AI querido Presidente. Fo r the beloved President. Y hoy nora la humanidad And today humanity weeps AI Querida Presidente. For the beloved President.

4. Un me nsaje de su esposa A message fro m his wife A toda la humanidad To all humanity Fue mensaje de bondad Was a message of ki ndness En sus frases valerosas In her va lorous ph rases, Y la humanidad lIorosa And humanity, weeping, Consuela a la Primera Dama Consoles the First Lady , Que en Ie Tierra Americana Who, in the American Land, Defendi6 la libertad. Defe nded liberty. TriSIC estii la humanidad, Sa d is humanity, y nora la hi storia humana. And human hi story weeps. Triste estii la humanidad, Sad is humanity, Y lIora la historia humlllla. And humlln history weeps.

II BS-GOZAS A LA SANTISIMA CRUZ (Rosario Canta'o).

The Rosarios Canta'os, sung rosaries, are a kind of sacred music not found in the sa me form outside of Puerto Rico. They undoubtedly had their begin­ ning in the period when the devout were obliged, because of transportation difficulties and a shortage of priests, to take religious matters into their own hands; yet they represent the local development of a tradition going back to medieval Spain. The style of singing and the composition of the two choruses vary with the di st rict in Puerto Rico. This recording captures the Rosarios Canta 'os style of Carolina, near the middle of the northern coast of the island . The usual occasion of the Rosarios Canta 'as is in connect ion with the ri llfUlment of a promesa, a sort of bargain promising Rosarios if specific prayers are answered. TIle person giving the Rosarios has the expense of providin" food and other refreshment for the singers during the all-night session. The words to most of the songs are to be found in a printed booklet entitled "Novena a La . . . Santisima Cruz" (the property of each literate singer of Rosarios ). except for certain ve rses added "to give emphasis." The melodies, however, appear to be entirely traditional. The songs here recorded are only excerpts; the actual Rosarios are almost interminable. This recording was made on August 14, 1946, in Hato Rey, P. R. The singers in the leading chorus are Marina Benitez, Barbarita Delgado, and Maria Cristina Rivera; in the response chorus are Luz Maria Encarnacion, Matilda Rivera, and Felix Osorio.

I . (leading chorus) Adorate; adoratc Santa Cr uz, I worship thee, I worship thec, Holy Cross, Puesta en, puesta en el monte Standing on, standing on the mount of Calvario; Calva ry; En ti murio, en ti muria mi Jesus On Thec died, on Thcc died my Jesus Para damos, para darme ctema luz, To give us, to give me eternal light, Y librarme, y Iibrarme del contrario. And to free mc, and to free me from adversity. Amen Jet, amen Jesus y Maria , Amen Je', Amen Jesus and Mary, Jesus Mat, Jesus Marla y Jose. Jesus, Ma' , Jesus, Mary, and Joseph. 2. (response cho rus) Concedcnos por tu Cruz Concedc to us through Thy Cross Nuestra etema salvacion. Our etcrnal salvat ion. Concedcnos por tu Cruz Conccde to us through Thy Cross Nuestra elerna salvacion. Our ctcrnal salvation. 3. (leading choru s) o Jesus, 0 Jesus Crucificado, Oh Jesus, Oh Jcsus Crucified. Muerto por, muerto por mi redencion; Dcad for, dead for my redemption, Concedcnos, conccMnos por tu Cru z Concede to us, conccde to us through 111 Y Cross Nucstra etcrna, nuestra clema Our eternal , our etcrnal sa lvation. salvacian. o Jcsus, 0 Jcsus Crucificado, Oh Jcsus, Oh Jesus Crucified, Mucrto por, muerto por mi redencian. Dead for, dead fo r my redemption .

12 4. (response choru s as before)

5. (leading chorus) Adoro', adorote Santa Cruz, I adore, I adore th ee, Holy Cross, Ador'. adoro muerto en tus brazos, I adore, I adore death in Thy arms, AI que no, al que no tuvo embarazo, I have not, I have not been ashamed, De morir, de morir por mi sa lud. Of dying, of dyi ng for my salvation. Admirable, admirable es tu virtud, Admirable, admirable is thy virtue Contra el rna ', contra el maligna furor. Against ma" against ma lignant fury.

6. (response chorus) Coneedenos, par tu Cruz, Concede to us, through Thy Cross, Nuestra eterna salvacion. Our eternal salvation.

B6- QUE VIVA and MAYO FLORIDO (Rosarios Canta'os).

These are the final so ngs of the complete Rosario; they are usually "prayed" (to employ the Puerto Rican term) at about dawn. Their tone is fe stive by comparison with the preceding songs, and handclapping marks their rhythm. This recording was made on August 14, 1946, in Hato Rey. The singers are Marina Benitez, Barbarita Delgado, Maria Cristina Rivera. Luz Maria Encarnacion. Matilda Rivera, and Felix Osorio.

Que Viva

Refrain : IQue viva , Que viva, lit lives, it lives, La I Santfsima Cruz, 111 e I Holy Cross, Que el ano que vicnc Thai in the year that comcs, Que Dios nos de Salud. God gives us health.

I. Sa nllsima Cruz Holy Cross Va Ilego tu dia. Already thy day has arrived Dame de Aguinaldo Give me a gift La que te pedia. That which I beg for.

Refrain.

2. A Santa Cruz To the Holy Cross Lc prcgunto yo I ask you Que si su rosario If your rosary Bueno Ie quedo. You find agreeable.

Refrain.

3. A la Sa nta Cruz To the Holy Cross Vuelva y Ie pregu nto He ret urns and asks Que si su rosario If your rosa ry Lc ha quedado a b'llstO. Has agreed with YOllr taste.

13 Refrain. (repeated)

4. Sanl lsi ma Cruz Holy Cross, Le pregu nto yo I ask of yo u Que si su rosario If your rOsary Bueno Ie quedo. Pleases you well .

Refrain. (repeated).

Mayo Florida

Mayo fl orida, Flowered May, Mes de los fl ores, Month of the fl owers, Hoy te saludan Today salute thee Los trovadores. The verse-makers. Son los admiradores They are the admirers De tu bclleza Of your beauty Que abandonaron Who abandon Toda riqueza All ri ches, (with loud handclapping) Mayo fl orida. Flowered May, Para adorarte , To worshi p thee, Para can tarte, To sing to thee, Para cantarte, To sing to thee, Para adorarte, To worship thee, Para adorarte, To worshi p thee, Para adorarte. To worsh ip thee.

14

Library of Congress Catalog Card Number R53-563 rev

Available from the Library of Congress Music Division, Recorded Sound Section Washington, D.C. 20540