Makumbebé Latin American

Choral Repertoire
for mixed choir a cappella

11 songs from Argentina, Brazil

Chile, Colombia, Ecuador
Peru and Venezuela

edited by María Guinand

Carmina mundi

International Federation for Choral Music

C_Carus 2.302
Contents

Title Text (T)/Music (M)/Choral version (C.v.) Country Page

1. Serenata para la tierra de uno . . . . . . T/M: María Elena Walsh . . . . . . . . . . . . . . . Argentina . . . . . . 5

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.v.: Liliana Cangiano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2. Sabiá, coração de uma viola . . . . . . . T: Orlando de Brito . . . . . . . . . . . . . . . . . . . Brazil . . . . . . . . . . 7

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M: Aylton Escobar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3. La Llorona . . . . . . . . . . . . . . . . . . . . M: José Barros . . . . . . . . . . . . . . . . . . . . . . Colombia . . . . . . 14

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.v.: Alberto Carbonell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

4. Yambambó . . . . . . . . . . . . . . . . . . . T: Nicolás Guillén . . . . . . . . . . . . . . . . . . . . Colombia . . . . . . 17

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M: José Antonio Rincón . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

5. El Tortillero . . . . . . . . . . . . . . . . . . . . Chilean folksong . . . . . . . . . . . . . . . . . . . . . Chile . . . . . . . . . 23

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.v.: Waldo Aranguiz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

6. Ojos Azules . . . . . . . . . . . . . . . . . . . M: Rubén Uquillas . . . . . . . . . . . . . . . . . . . Ecuador . . . . . . . 26

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.v.: Gerardo Guevara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

7. El Alcatraz . . . . . . . . . . . . . . . . . . . . Peruvian folksong . . . . . . . . . . . . . . . . . . . . Peru . . . . . . . . . . 29

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.v.: Luis Craff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

8. Festejo de Navidad . . . . . . . . . . . . . . T: Alfredo Ostoja . . . . . . . . . . . . . . . . . . . . Peru . . . . . . . . . . 32

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M: Herbert Bittrich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

9. El Santigua'o . . . . . . . . . . . . . . . . . . Folksong . . . . . . . . . . . . . . . . . . . . . . . . . . . Venezuela . . . . . 38

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M: Federico Ruiz (rev. Alberto Grau) . . . . . . . . . . . . . . . . . . . . . .

10. Mañanita Pueblerina . . . . . . . . . . . T/M: Inocente Carreño . . . . . . . . . . . . . . . . Venezuela . . . . . 43

11. Todo este campo es mío . . . . . . . . T/M: Simón Díaz . . . . . . . . . . . . . . . . . . . . Venezuela . . . . . 46

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.v.: Alberto Grau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

For additional volumes in the International Choral Series “Carmina mundi“, see p. 60

Cover by Max Ackermann (1887–1975), Ackermann-Archiv Bietigheim-Bissingen, Germany

This painting, whose forms are connected by fine lines, could be interpreted to represent bridges between continents, nations, and
cultures, and thus could portray music as a bridge of song.

Copying of pieces from this collection is prohibited. Separate editions of titles may be ordered in choral quantity from Carus
(www.carus-verlag.com).

2 Carus 2.302
Preámbulo Preamble
Esta colección “Makumbebé” de Repertorio Coral Latino- The present collection of Latin American Choral Repertoire,
americano ha sido seleccionada teniendo en cuenta la diver- Makumbebé, has been selected to reflect the diversity of
sidad de ritmos y estilos propios de nuestra música popular y rhythms and styles of our popular and folk music.
folklórica.
During the 17th, 18th and 19th centuries choral music in
En los siglos XVII, XVIII y XIX la práctica coral de la América Hispanic America was mainly associated with music as prac-
Hispana estuvo fundamentalmente asociada a la Música de ticed in the Cathedrals and Missions and with the composi-
las Catedrales y a la Música Misional, siguiendo los estilos de tional styles which followed the European models of the
composición europeos de la época. Son muchas las obras es- time. There are many wonderful works written by Latin
critas por los compositores latinoamericanos para las cele- American composers for the liturgical celebrations of the
braciones litúrgicas de Semana Santa, Navidad y otras fies- Holy Week, Christmas and other festivities. However, today
tas. choral singing in the majority of the Latin American countries
is strongly related to music that originated from popular
Sin embargo, hoy en día, el canto coral en la mayoría de los sources and folk traditions.
países latinoamericanos está íntimamente ligado a la práctica
de la música popular y de origen folklórico. En los siglos XX y In the 20th and 21st centuries, the new languages of choral
XXI, el surgimiento de nuevos lenguajes corales ha estado in- composition have not only derived from the main contem-
fluenciado no sólo por las corrientes contemporáneas de porary musical trends, but also from the impact of national-
composición, sino también por el auge del nacionalismo, que ism, which is characterized in Latin American regions by the
se ha caracterizado por realzar y mostrar la riqueza de las raí- richness and wide variety of elements that are essential to
ces populares y folklóricas de la música en Latinoamérica. La our folk music. Most of our choirs began by singing the tra-
gran mayoría de nuestros coros se inician cantando la música ditional music in parts and later on by studying more com-
de sus tradiciones y luego abordan otros repertorios más plex repertoires.
complejos.
That is why this collection is centered around a selection of
Es por ello que esta colección se centra en muy buenos arre- excellent choral arrangements and choral versions of popu-
glos y versiones corales de melodías tradicionales o popula- lar and traditional melodies. These works have been written
res, realizados por reconocidos compositores, directores co- and arranged by well-known composers, conductors and
rales y maestros, quienes han dedicado gran parte de su vi- teachers who have dedicated most of their lives to choral
da a esta actividad. Las obras originales que se incluyen, El music. The original compositions such as El Santigua’o,
Santigua’o, Sabiá, coração de uma viola, Yambambó, Feste- Sabiá, coração de uma viola, Yambambó, Festejo de Navi-
jo de Navidad y Mañanita Pueblerina han sido todas inspi- dad and Mañanita Pueblerina have been inspired by ele-
radas en elementos propios de la música popular. ments from popular music.

Cada una de las obras está acompañada de una traducción The edition includes a commentary and an English transla-
del texto, de un comentario sobre la obra y sus característi- tion of the singing text for each piece in this collection.
cas, así como de una guía para el acompañamiento de la per- Guidelines for the percussion and guitar accompaniment are
cusión o de la guitarra, donde fuese necesario. also included, when applicable.

Es mi deseo que “Makumbebé” sirva como estímulo para It is my hope that Makumbebé will provide a stimulus for
que muchas agrupaciones corales conozcan y disfruten de many choirs to discover and enjoy this varied and colorful
este variado y colorido repertorio. repertoire.

María Guinand Maria Guinand

Carus
Carus 2.302
2.302 33
 gious choirs in Venezuela: the Cantoría Alberto Grau, the
Orfeón Universitario Simón Bolívar and the Schola Cantorum
of Caracas with which she has recorded and toured extensive-
ly. Since 1980 she has been the Associate Conductor of Choral
Symphonic Performances for the Orchestra Simón Bolívar. In
addition, as conductor of the Polar Foundation Choir she has
actively contributed to the development of choral music in pri-
vate enterprise. She also has been Dean of the Music School
“Jose Angel Lamas” and of the Simón Bolívar Conservatory of
Music, and has headed the main academic program of the
Foundation for Youth and Children Orchestras in Venezuela.
She has also developed several centres of music education for
deprived children. Frequently invited to appear as a guest con-
ductor of prestigious choirs in the USA, Europe, Asia and Latin
America , and also as a lecturer at the World Symposia on
Choral Music and the Conventions of the American Choral
Directors Association (ACDA), Maria Guinand has specialized
in Latin American Choral Music of the 20th century. During
the European Music Festival organized by the International
Bachakademie Stuttgart in September 2000, she premiered
Osvaldo Golijov's St. Mark’ s Passion as a special project for
the comemmorative Bach year. She has been the conductor of
the Festival Ensemble Choir during the European Music Festi-
vals from 2001 through 2004. As a choral promoter, she or-
ganizes the activities of several National Associations such as
the Schola Cantorum of Caracas Foundation, Movimiento
Coral Cantemos Foundation, Bach Academy of Venezuela
María Guinand, choral conductor, university professor and and the National Academy for Gregorian Chant. She is at pre-
leader of many choral projects both nationally and interna- sent the First Vice-President (acting President) of the Inter-
tionally, has pursued an intense musical career. She graduated national Federation for Choral Music, and Professor for the
from Bristol University (England) and studied choral conduct- Master of Music Degree at the University Simón Bolívar. In
ing with Alberto Grau. She continued her conducting and mu- 1997 she was awarded the “Kulturpreis” of the InterNationes
sical education with Helmuth Rilling, Luigi Agustoni and Foundation and in 2000 she received the Robert Edler Preis für
Johannes B. Goeschl. At present, she conducts three presti- Chormusik.

Percussion notation table Pronunciation guide

Golpe abierto en el borde / Open stroke on the side of the Conga For the Spanish language:

A ah as in father
Golpe cerrado en el borde / Close stroke on the side of the Conga
e ay as in say
i ee as in fee
Golpe abierto en el centro / Open stroke in the middle of the Conga o oh as in foe
u oo as in fool
y y as in year
Golpe cerrado en el centro / Close stroke in the middle of the Conga
II j as in joy
que, qui do not pronounce the ‘u’ sound as kay or kee
Rasgueo - Cuatro/Güiro / Tremolo in guitar/cuatro or güiro

Hacia abajo / downwards

For the Portuguese language the vowels are pronounced
as in Spanish (see above):

Hacia arriba / upwards nh ny (as if saying the word “Spain“ in Spanish:

“Espanya”)
x sh as in shadow
Tambor macho (Bongó) / Largest drum of the bongo pair ao ao as in wao!
lh lj as ljoy
o ou was in owl
ch sh as shadow

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Biographies
Liliana Cangiano, cluding the Coro Nacional, Peru, and university choirs). He
composer, pedagogue and choral conductor, was born in has composed nearly 200 choral works and has also arranged
Buenos Aires, Argentina in 1950 and died in 1997. Her work works for choir. Presently he conducts four choirs in the Karls-
as a composer was devoted primarily to writing choral ver- ruhe-Pforzheim area of Germany.
sions and arrangements of popular songs, particularly tangos.
Herbert Bittrich
Aylton Escobar was born in 1932, in Callao, Peru. He studied piano at the
was born in Sao Paulo, Brazil in 1943. Aylton Esocbar studied National Conservatory of Lima and later he studied medi-
composition and conducting in Sao Paulo, Rio de Janeiro and cine. His life has been devoted to medicine but as a hobby he
at Columbia University, New York with masters such as Camar- devotes himself to choral singing and conducting. He has
go Guarnieri, Magda Tagliaferro, Vladimir Ussachevsky and composed several short works for a cappella choir.
Mario Davidovsky, among others. His compositions include
music for theatre, cinema and choirs and several of his works Federico Ruiz
have been published and have received awards. As a conduc- is a Venezuelan composer and pedagogue who was born in
tor, Aylton Escobar has conducted the important orchestras in 1948. He studied composition with distinguished teachers in
Brazil and has been a guest conductor internationally. Venezuela and graduated from the Caracas Conservatory
“Jose Angel Lamas” in 1974. His works range from sym-
Alberto Carbonell phonic music, chamber music, opera, to electro-acustic mu-
was born in Barranquilla, Colombia in 1935. Alberto Car- sic, music for TV, radio, films and choral music. He has won
bonell has been professor of choral conducting and conduc- many prizes for his works as a composer. His musical lan-
tor of the choirs on the Faculty of Arts in the University of the guage combines elements of contemporary and traditional
Atlantic for more that 33 years. He has founded several pres- composition with rhythms and colors derived mainly from
tigious choirs in this country and has been honored with im- popular Caribbean traditions.
portant distinctions such as the Merit Order of the Cultural
Institute of Colombia. One of the most prolific arrangers of Inocente Carreño,
Colombian popular music, he has written more than 90 Venezuelan composer, pedagogue and conductor, Carreño
choral versions and arrangements. was born in 1919 in Porlamar, Nueva Esparta. He devoted
most of his life to composing and to teaching and his vast
José Antonio Rincón, catalog of works ranges from orchestral music, and chamber
pedagogue, composer and choral conductor, was born in music to music for voice and piano, and a cappella choral
Rio Negro, Colombia in 1937. He studied at the National music. The choral literature of Inocente Carreño is dedicated
University of Colombia, at the Musical Institute of Chile and primarily to the setting of poems by Spanish and Latin Amer-
at Queens College, New York. He has founded several choirs ican poets in the form of art songs and also choral arrange-
in Colombia, Venezuela and Mexico, where he has lived ments of popular tunes.
since 1980. As a composer he devoted himself to writing “a
cappella” choral works and choral arrangements based on Alberto Grau,
Afro Caribbean musical traditions. a distinguished Venezuelan composer, conductor, and teach-
er, who was born in Vic, Barcelona, Spain. Grau has earned a
Waldo Aranguiz, place of honor among the best contemporary Venezuelan
pedagogue and choral conductor, was born in Chile in musicians. He is known primarily as a choral conductor, but as
1935. He studied choral conducting with Mario Baeza and a choral composer he has become one of the leading figures in
founded several prestigious choral groups in Chile. He has Latin America and many of his works have been published by
been very active in building choral institutions in Chile and Earthsongs (USA), N. J. Kjos (USA) , A Coeur Joie (France),
Latin America, and was a founding member of the Interna- GGM editors (Venezuela) and Oxford University Press (Eng-
tional Federation for Choral Music. land). He has won several prizes for his compositions. His
compositional language combines elements from of popular
Luis Gerardo Guevara and folk traditions of Latin America with contemporary com-
is a pianist, composer and conductor, who was born in positional techniques and also incorporates the use of eu-
Quito, Ecuador in 1930. He studied at the Conservatories in rhythmics ad choreographic elements. He continually receives
Quito and Guayaquil and later at the Ecole Normale de many commissions from choirs throughout the world. In 1967
Musique, Paris, with Nadia Boulanger. As a composer, he is he founded the Schola Cantorum de Caracas and won First
considered as a bridge between nationalism and contempo- Prize in the 1974 Guido D’Arezzo International Competition
rary languages, and has written works for piano, chamber in Italy. Since then he has attended many important interna-
ensembles, guitar, choir and orchestra, and a cappella choir. tional congresses and festivals with his choirs and as a guest
For more than two decades he conducted the choir of the conductor and teacher. More than thirty recordings provide
Central University of Ecuador. evidence of his fine musicianship and extensive knowledge of
international and Latin American choral repertoire.
Luis Craff,
choral conductor, composer, music educator, and ethnomu-
sicologist, was born in Peru in 1941. He studied at the Lima
Conservatory and with various musicians and at schools
throughout Latin America. He has conducted choirs in Peru,
and in other Latin American cities as well as in Europe (in-

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