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¡Canta Cuba! Concert Choir & Latin Ensemble Jeffrey Francom & Peter

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¡Canta Cuba! Concert Choir & Latin Ensemble Jeffrey Francom & Peter Evening Recital Series 2018–2019 Season Helen M. Hosmer Hall Thursday, November 13, 7:30 PM ¡Canta Cuba! Concert Choir & Latin Ensemble Jeffrey Francom & Peter McCoy, conductors CONCERT CHOIR El Manisero (The Peanut Vendor) Moisés Simons (1889–1945) arr. Tania León Grace Craig, solo Maní, maní, maní Peanuts, peanuts, peanuts Que si te quieres So if you want something por el pico divertir, enjoyable for your mouth Comprame un cucurichito de maní. buy me a little bag of peanuts. Maní, maní, maní Peanuts, peanuts, peanuts Caserita no te acuestes a dormir, Little housewife don't sleep Sin comer un cucurucho without eating a little bag de maní. of peanuts. Que calentico y rico está They are so warm and delicious Ya no se puede pedir más. that one can't ask for more. Ay caserita no me dejes ir Little housewife don’t let me go Porque despues te vas a arrepentir because then you’ll be sorry Y va ser muy tarde yá. and it will be too late. Cuando la calle sola está When the street is deserted Casera de mi corozón, little housewife of my heart, El Manisero entona su pregón the peanut vendor sings his song Y si la niña escucha mi cantar and if a girl hears my singing Llama desde su balcón. she beckons from her balcony. Dame de tu maní Give me some of your peanuts Que esta noche no voy because tonight I won’t a poder dormir be able to go to sleep Sin comer un cucurucho de maní. without eating a bag of peanuts. Ave maris stella Esteban Salas y Castro (1725–1803) Kristen Grajek, soprano Jackie Conlon, violin & Grace Craig, cello Adam Jones & Sam Perkins, guitar Ave, maris stella, Hail, Star of the Sea, Dei Mater alma, Loving Mother of God, Atque semper Virgo, And Virgin immortal, Felix caeli porta. Heaven’s blissful portal! Lacrimosa Calixto Álvarez from Réquiem Osun (b. 1938) Jaci González, solo Latin (choir) Lacrimosa dies illa, O how tearful that day, qua resurget ex favilla on which the guilty shall rise iudicandus homo reus. from the embers to be judged. Huic ergo parce, Deus. Spare them then, O God. Pie Iesu Domine, Merciful Lord Jesus, dona eis requiem. grant them rest. Yoruba (solo) Baba aremú Oddua Father Oduduá ago ma arelé ago lona. the main one, sacred priest, Aremú awarisá allow us to enter your dwelling, awó ma arelé. oh main one, sacred priest. Okuo ago lona. We salute you. Sin Palabras (Without Words) Wilma Alba Cal (b. 1988) Morganne McClement, conductor Chan Chan Compay Segundo (1907-2003) arr. Jorge Martinez Dominique Santiago & Lindsay Wright, solo De Alto Cedro voy para Marcané From Alto Cedro I go to Marcané Llego a Cueto, voy para Mayarí I arrive in Cueto, I go to Mayarí El cariño que te tengo The love that I have for you No te lo puedo negar I can’t deny it Se me sale la babita I drool a bit Yo no lo puedo evitar I can’t help it Cuando Juanica y Chan Chan When Juanica and Chan Chan En el mar cernían arena were sifting sand at the sea Como sacudía el jibe The way she shook the sifter A Chan Chan le daba pena made Chan Chan sad Limpia el camino de pajas Clean the road of straws Que yo me quiero sentar because I want to sit down En aquél tronco que veo on that tree trunk that I see Y así no puedo llegar And that way I can’t arrive De alto Cedro voy para Marcané From Alto Cedro I go to Marcané Llegó a Cueto voy para Mayarí I arrive in Cueto, I go to Mayarí A mi “Añoransa” (To my “Añoransa”) José Cerdán Sempere/ Francisco Vallejos Morganne McClement, conductor Tu cielo es púrpura Your sky is purple reflejado en las aguas del mar reflected in the waters of the sea Tu suelo es la ilusión Your soil is the illusion que me invita a soñar. that invites me to dream. A mi “Añoranza” To my “Añoransa” un recuerdo te quiero ofrendar a memory I want to offer you Torrevieja del alma Torrevieja of the soul con esta habanera with this habanera te quiero cantar. I want to sing to you. Quisiera ser como la golondrina I wish I could be like the swallow que me vio nacer that saw me when I was born y volar hacia ti and fly towards you y estar allí para poderte ver and be there to be able to see y ofrecer ante and offer before la Inmaculada mi amor, the Immaculate my love, este amor que por ti soñé. This love that I dreamed for you. Este Son Homenaje (This Son Homage) Juan Almeida Bosque (1927-2009) arr. Conrado Monier Alec House-Baillargeon & Will Whisenhunt, solo Este son no se ha escrito This son wasn’t written para el baile for dancing. es un póstumo homenaje It is a posthumous homage al que tanto son cantó to him who sang many son lleno de gracia sonera. full of resounding beauty. Miguel Cuní se llamó. Miguel Cuní was his name. Este son es sentimiento sonero This son has a sonero feeling que resulta una ocasión that results on occasion para recordar entero when remembering whole a áquel que siempre cantando the one who was always singing a la vida dijo adiós. and who to life has said goodbye. A la vida dijo adiós To life he said goodbye con sentimiento sonero with the feeling of a sonero el que tanto son cantó, he who sang so many son, Miguel Cuní se llamó. Miguel Cuní was his name. Cuba pierde a un trovador, Cuba loses a troubadour, el son pierde su sonero the son loses its sonero y yo pierdo al compañero and I lose my partner que en la vida me enseñó. who in life was my teacher. ¡Miguelito! Miguelito! E R T C H O I R P R O G R A M — El Juramento (The Oath) Miguel Matamoros (1894–1971) arr. Electo Silva Jaci González & Dominique Santiago, ukulele Si el amor hace sentir If love makes you feel hondos dolores deep sorrow Y condena a vivir entre miserias condemning you to a life of misery, Yo te diera, mi bien, to you, I would give my all por tus amores for your love, Hasta la sangre even to the blood que hierve en mis arterias that boils in my arteries. Si es surtidor de If you are one who supplies místicos pesares mystical regrets Que hace al hombre arrastrar that make men drag largas cadenas long chains, to you Yo te juro arrastrarlas I swear, I will drag por los mares them through the oceans, Infinitos y negros infinite and black de mis penas from my sorrows. El Guayaboso (The Liar) Guido López-Gavilán (b. 1944) Yo ví bailar un danzón I saw dancing a danzón, En el filo de un cuchillo, on the edge of a knife, Un mosquito en calzoncillos a mosquito in underpants Y una mosca en camisón. and a fly in her nightgown. Yo ví un cangrejo arando I saw a crab plowing, Un cochino tocando un pito a pig playing a whistle Y una vieja regañando and an old woman scolding, Sentada en una butaca. seated in an armchair. A una ternerita flaca And a skinny heifer Que de risa estaba muerta, that died from laughing, Al ver una chiva tuerta from seeing a one-eyed goat Remendar una alpargata. mending a sandal. O N C E R T C H O I R P R O G R A M — LATIN ENSEMBLE Rhumba Para Todo el Mundo arr. José Madera LATIN ENSEMBLE & CONCERT CHOIR Pa’ Gozar Oscar Hernandez (b. 1954) Guantanamera Joseíto Fernández (1908–1979) arr. Sky Hamilton-Carranza Ran Kan Kan Traditional PROGRAM NOTES The Diccionario enciclopédico de la música en Cuba calls El Manisero, together with Guantanamera, the “most famous piece of music created by a Cuban musician.” Its success was far-reaching, leading to a “rumba craze” in the U.S. and throughout Europe. It is a son-pregón. A son is a genre of Cuban music (Havana, 1930s) that blends Spanish canción with African rhythms; pregón means “street-seller’s proclamation.” Thus, El Manisero is a Cuban song about a peanut vendor who travels through the streets shouting: “Peanuts! Peanuts! Come, buy a little bag of peanuts!” Cuban-American composer Tania León is well-known throughout New York for her accomplishments as a composer, educator, and advisor to arts organizations. Ave Maris stella represents Cuban music as it would have been performed at the cathedral in Santiago de Cuba during the 18th century. Intercontinental communication was slow, and it was not uncommon for early Cuban composers to write music that was behind its time. For this reason, early American music reflecting European traditions is often referred to as “music of the colonial era” rather than Renaissance or Baroque. For this evening’s performance, we have added additional instruments that would have been accessible to early Cuban composers. In an article published by the American Choral Directors Association, Dr. Jose Rivera wrote: "The rich music of Cuba is a result of a merger of two distinct and influential cultures from the Old World on an island in the New World. African rhythms and Spanish melodies merged to create an extraordinary musical tapestry immersed in the island's history and folklore." From the early 16th century until 1886, more than a million African slaves were brought to Cuba, bringing with them new languages, music, and traditions.
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