Christmas in Cuzco Paragon Singers Bradford Baroque Band conductor Keith Bennett
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Christmas
in Cuzco
Paragon Singers
Bradford Baroque Band
conductor Keith Bennett Kate Semmens
Jane Hunt
Aaron Burchell
Rupert Drury
Niall Hoskin
£2.00 Saturday 17 December 2011
Wiltshire Music Centre
Bradford on AvonThe front cover of the first part of „Crónicas del Perú’
by the Spanish conquistador and chronicler Pedro Cieza de León
2Christmas in Cuzco
Anon
Hanacpachap cussicuinin
Juan de Araujo
Los conflades de la estleya
Cristóbal de Belsayaga
Magnificat sexti toni
Anon
Pasacualillo
Alonso Xuares
Venid venid zagales
Diego José de Salazar
Salga el torillo hosquillo
***
INTERVAL
***
Loaysat y Agurto
Vaya vaya
Juan de Araujo
Dixit Dominus Domino meo
Juan Gutiérrez de Padilla
A siolo flasiquiyo
Juan de Araujo
Recordar jilguerillos
Fabián Ximeno
Ay ay galuegiños
Anon
Dulce Jesus mío
Juan García de Zéspedes
Convidando esta la noche
***
Kate Semmens soprano
Jane Hunt soprano
Aaron Burchell alto
Rupert Drury tenor
Phil Brotheridge bass
Keith Bennett conductor
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4The background
Two years after Columbus‟s discovery of the Americas in 1492, Portugal (until then the pre-
eminent explorer nation) and Spain (newly emerged as a unified kingdom) signed the Treaty of
Tordesillas, which divided up the newly discovered regions of the world between them. Exploration
and colonisation followed apace. In 1500 the Portuguese discovered what became known as Brazil. The
Spaniards – slower off the mark, but quicker to exploit what they found – discovered and conquered
the Aztec Empire in Mexico (1521) and the Inca Empire of Peru (1532), and went on to colonise much
of the rest of South and Central America and south-western United States.
Spanish colonisation was very thorough. The fabulous wealth they discovered, and the greed
and brutality of the conquistadores in exploiting it, is a familiar story: perhaps less well known is the
cultural transformation of the New World that followed. Part of this was the establishment of Spanish-
style government and cities, but equally important
was the work of missionaries. Dominican, Franciscan
and Augustinian friars were quick to set up missions
and schools, and their efforts were reinvigorated by
the arrival of Jesuit missionaries in the late 16th
century. Craftsmen from Spain built magnificent new
cathedrals: and to those cathedrals came European
music and musicians, especially of course from Spain,
itself experiencing a musical golden age. Although
Lima and Mexico City (the administrative centres of
the two Spanish vice-royalties) were the main musical
centres, equally strong musical traditions developed
at cities like Cuzco in Peru, Puebla and Oaxaca in
Mexico, Sucre (now in Bolivia) and Córdoba
(Argentina). The libraries of many of these cities hold
a considerable number of 16th- and 17th-century
manuscripts, though only a relatively small
proportion of the music in them has so far been Earliest image of Cuzco in Europe –
explored or made available for performance. the Spanish conquistador Pedro Cieza de León
The ancient city of Cuzco, in south-eastern Peru, was founded in the 11th century by the Kilke
people. It then became the capital of the Inca empire, from sometime in the 13th century (many Incas
believing that it had been planned as an effigy in the shape of a puma, to them a sacred animal). The
early name for it was Qusqu, a word found in at least two indigenous Andean languages, Aymara and
the Inca language Quechua, the most widely spoken of them today. The conquistadors adopted the
local name, transliterating it into Spanish as Cuzco. The city was renamed Cusco in 1976 and Qosqo in
1990; it was declared a world heritage site in 1983.
Cuzco, the most populous city in South America until the 18th century, was a prime target for
the Conquistadors, and for subsequent hispanicisation. An indication of the rapidity of this process is
shown by the fact that the first cathedral in Cuzco was built in 1539; it was soon replaced by the
current basilica, built between 1560-1664. The city became a centre of art and culture, quickly
developing a distinctive style of painting known as the „Cuzco school‟ as well as a thriving musical
tradition.
The other main source for our selection of music this evening was the city of Puebla, in east-
central Mexico. Although in a long-populated area, the city itself was founded by the Spanish in 1531 to
secure the trade route between Mexico City and the port of Veracruz, and thus bore a Spanish imprint
5from the very beginning. Evangelists were very active here, first Franciscans, then Augustinians and
finally Dominicans. It thus became a particularly strong musical centre, building a considerable library
of music originating both here and elsewhere. Music sung at Puebla seems to have travelled across to
the Old World particularly quickly: O siolo Flasiquiyo, first heard in Puebla in 1653, was performed in
Lisbon the following Christmas.
The musical explosion in all these cities was initially led
by Europeans, but quickly began to make use of the
remarkable talents of native musicians, who amazed the
colonists with their facility with European music and
notation. Although it was many years before any were
allowed to ascend to the position of maestro de capilla, the
influence of their music – especially dance rhythms – was
quickly absorbed into the more traditional forms and
techniques of Spanish polyphony, as was that of the
energetic drumming and dancing of African slaves, brought
in as labour to supplement an indigenous population severely
The Coricancha, the most important reduced by European disease. This fusion led to the creation
temple in the Inca Empire of enormously exciting music, a vast resource of which much
remains to be explored.
This stylistic fusion is particularly evident in the sacred villancico, a flexible refrain form written in
the vernacular, and particularly associated with Christmas texts. Very popular in both Spain and
Portugal, where it already represented a blend of folk and serious styles, it acquired extra energy and
colour in the New World. When a villancico involved African characters – speaking in pidgin or dialect
forms, and always cast as simple and undisciplined, clearly incapable of ruling themselves – it was
known as a negrilla, or negro di navidad, and tended to use solo and tutti effects from the African tradition;
this is well demonstrated, in quite different ways, by Pasacualillo and Convidando está la noche. Incidentally,
negrillas can be quite non-pc by modern standards!
The significance of the villancico in Christmas celebrations is illustrated by the Kalendar y Maitines
de Navidad („The Calendar of Christmas Matins‟), drawn up in Cuzco in 1753. Each of the three services
of Matins on Christmas Day had 1 jacara; 6 villancicos de Navidad; 3 villancicos jocosos; 2 juguetes; 2 rorros; and
1 villancico de negros – fifteen pieces for each
service! All of them were newly composed, both
text and music, with the sets of texts often being
printed afterwards (sadly therefore far more of
the texts survive than musical settings).
Our programme tonight focuses chiefly on
these villancicos: many were no doubt work-a-
day, but many others are splendid pieces, alive
with the spirit of celebration and of the various
peoples who made them.
Inca ruins of Pisac Temple
6The composers
The composer most represented tonight is Juan de Araujo (1648-1712). Born in Spain, he
emigrated as a child to Lima. From 1672-1676 he was maestro de capilla at the cathedral there. From 1680
he held a similar post at La Plata (now Sucre), possibly having spent some time at Cuzco. At La Plata
he had a large establishment of 35 musicians. Of some 158 pieces by him that are known, 142 are
villancicos, again testifying to the popularity of the form. Of a later generation than most of our
composers, his music is understandably the most „baroque‟ in style – though it is typical of all this
music in lagging a generation or two behind European fashion. Araujo is a very fine composer indeed,
as I hope you will agree.
Few details are known of the life of Cristóbal de Belsayaga (c.1580-1635). He is known to have
worked at the cathedrals in Cuzco and Lima, and perhaps also in Bogotá. As would be expected from
his dates, his music is in a somewhat earlier style than that of Araujo.
The Spanish composer Alonso Xuares (c.1639-1696) was born and died in Cuenca, where from
1664-1675 he was maestro de capilla at its magnificent cathedral, one of the first Gothic cathedrals in
Spain. Following that he spent nine years in the equivalent post at the (even more magnificent)
cathedral in Seville, before ill-health forced his retirement and a return to Cuenca, where he was
awarded a benefice. Xuares was renowned for his knowledge of scripture and classical learning. It was
unlikely that he travelled to the New World, but his music certainly did: along with the pieces by
Padilla, Ximeno and Agurto, Venid, venid zagales was transcribed from manuscripts found in a Puebla
convent archive.
Details of the life of Spanish composer Diego José de Salazar (d.1709) are also in short supply.
After being a choirboy at Seville cathedral he became maestro de capilla at the nearby village of Estepa,
returning to Seville cathedral in 1685, where he succeeded Xuares as maestro. The Seville archive still
holds a substantial amount of music by Salazar. Like Xuares, he is not known to have visited the New
World, but at least seven of his villancicos for one to eight voices have been found in Latin American
archives.
Loaysat y Agurto (c.1625-c.1695) was a
Mexican composer, born probably in Mexico
City. He is first heard of as a singer in the
cathedral there, eventually being promoted to
maestro de los villancicos in 1676 and maestro de
capilla in 1685/6. In 1688 he was succeeded by
another Mexican composer, Antonio de
Salazar, who apparently found the cathedral
music archive in „a lamentable state‟: Agurto
seems to have been a better composer than
archivist! He collaborated with the Mexican
poet Juana Inés de la Cruz, and others, on
several villancico cycles, but only Vaya, vaya
survives with music. He was living in nearby
Toluca when he died.
The Moray archaeological site near Cuzco
Don’t forget to complete the Paragon mailing slip –
we want to tell you about our future programmes!!
7Juan Gutiérrez de Padilla (c.1590-1664) was of Mexican extraction, but born in Malaga, where
he received his musical training. He served as maestro de capilla first in Jerez de la Frontera and then in
Cádiz before emigrating to the New World in 1622. In October that year he became cantor and assistant
maestro at Puebla cathedral, which boasted one of the finest musical establishments in Spanish America.
He was appointed maestro in 1629, remaining there until his death. He was buried in the cathedral, a
mark of the esteem in which he was held. A rather different aspect of his career was the instrument
workshop he ran with the assistance of black instrument makers, selling instruments as far afield as
Guatemala. He is considered to be possibly the finest composer of his generation, and the equal of any
in Spain itself. The Puebla archives hold significant quantities of his Latin liturgical music, much of it in
(by then somewhat old-fashioned) polychoral style. He also wrote numerous villancicos, which
attracted large crowds to the cathedral on feast days: many of these pieces show the influence of
musical styles popular among working-class people from different ethnic backgrounds, such as negrillas,
jácaras and juguetes.
Fabián Ximeno (c.1595-1678) was born and lived his whole life in Mexico City. At the cathedral
he held successively the positions of second organist (1621), first organist (1642) and eventually maestro
di capilla (1648). His musical style was considerably influenced by that of Padilla. Ay ay galeguinos is his
only surviving villancico.
Juan García de Zéspedes (c.1619-1678) was born and spent his entire life in Puebla, and his
entire career at the cathedral. Here he was chiefly employed as a singer and composer, but in 1664 he
became at first interim, and then from 1670 permanent, maestro de capilla: not entirely without problems,
because on two occasions the chapter chastised him for misconduct. His surviving compositions reveal
him as a composer adept at different styles.
Nearby Machu Pichu
8The music
Hanacpachap cussicuinin is a processional hymn in adoration of the Virgin Mary, set in the
Inca language, Quechua. Almost certainly the work of a native composer, it was published by the
Franciscan scholar Juan Pérez Bocanegra in his Ritual formulario (Lima, 1631), a manual for priests
written in Quechua and Spanish with references to both Christian and Inca traditions (which brought
him into conflict with the Jesuits). Imagery from these traditions is skilfully blended in Hanacpachap, a
poem of twenty stanzas, of which we will sing five. Bocanegra actually indicates that the work is „to be
sung in processions‟. The first polyphony to be published in the Americas, it is still widely performed
throughout Latin America, its steady drumming creating a haunting atmosphere.
Los coflades de la estleya is the first of several villancicos in our programme. The subtitle
„Black song for the birth of our Lord‟ conjures up the nocturnal processions that were a feature of
seasonal celebrations by the African slaves: it is the first of several such pieces in the programme. Here
the two soprano soloists urge the people to visit the stable, the choir responding in enthusiastic
interjections, often using hemiola patterns. These, and the off-beat stresses so typical of the villancico,
also reflect Cuban and West African influence in rhythms that eventually developed into the rhumba.
The structure of the villancico was almost infinitely variable. In Los coflades Araujo foregoes the usual
sharp distinction between the estrebillo (refrain) and the coplas (verses): music from the second half of the
refrain is repeated towards the end of each verse, so it is not necessary to repeat the refrain between
verses.
The setting of the Magnificat that follows
was discovered in a manuscript in Bogotá
cathedral library. For two equal SATB choirs, it is
written in a style reminiscent of middle-period
Giovanni Gabrieli, with the two choirs generally
responding separately to each other except for the
climactic moments of each verse, when they
combine: to emphasis this, we are using most of
the instruments only in the full-choir sections.
Only the odd verses are set polyphonically, the
even verses being sung in plainchant. Verse 5
provides a further variation in texture, being set
for three soloists only. The Coricancha at night
Pasacualillo is described as a „villancico de negros‟, and is a fascinating example of how
complicated and dramatic a villancico could be. The opening section represents a dialogue between the
mayor (“alcalde”) and the people; the mayor calls on them to organise a procession, but first has to get
through to four apparently rather sleepy individuals. The next section (“Let‟s make a procession”)
describes „a great fiesta with dancing in the negro district, causing a burst of joyous pleasure‟. The
mayor then orders all the inhabitants of the village to take part, and there is a final dialogue in bullish
anticipation of the happy occasion. The mood continues, if rather more gently, in the solo verses (we
will perform three of the six). The piece is an outstanding example of the use of complex off-beat
rhythms to convey the excitement of the occasion.
Venid, venid zagales is a gentle lullaby, subtitled „a un Dios dormido‟ („to a sleeping God‟). In it
the “lads” (shepherds?) are urged to visit the Christ-child in the manger. As with many villancico texts,
this one makes reference to the sorrows that the child will later endure, although other elements are
more obscure: are the “two” suns the actual sun and the Christmas star? And what are “the two
empires”? This villancico is mainly for choir, with the four soloists making only brief contributions
during the two verses. Each verse ends with a brief version of the closing section of the estrebillo, which
in this case is used only as an opening section and does not return as a refrain.
9¡Salga el torillo hosquillo! shows how adventurous the native Spanish villancico could be. This
dramatic double-choir setting – found, as are Araujo‟s works, in the Bolivian National Library in Sucre
– is a depiction of a bullfight, in which the matador is transformed into the Christ-child (a variant in the
same source changes this to the Virgin Mary). The limpidly beautiful melody of the verses provides a
wonderful contrast to the exuberant refrain.
Vaya, vaya is a joyful, lilting carol. The refrain is punctuated by shouts of “vaya”, adding a real
sense of celebration. The four verses, sung in harmony by four soloists, present a complete musical
contrast. We are repeating the refrain only between verses 2 and 3 and at the end.
Dixit Dominus is a setting of the Vespers psalm, scored for three choirs of voices and
instruments. This Gabrielian structure is enlivened by a detailed, Monteverdi-like response to the text.
The music‟s steady flow is twice startlingly interrupted by triple-time, villancico-like sections. It is a
marvellous piece, and demonstrates Araujo‟s mastery in a quite different form and style.
The Portuguese-tinged negrilla A siolo
Flasiquiyo, found in the Pueblo archives, is
another lively processional piece in which the
African community is summoned to worship the
Christ-child with music and dancing. The
structure presents another, rather complex
variation of the form. The dialogues of the first
part of the refrain are presented in a rapidly-
changing series of duets, which make frequent use
of the agogic rhythms found in Los coflades and
Pasacualillo: the chorus makes only one, joyful
interjection. The final part is a rumbustious
Ruins of Sacsayhuamán tutti dance, the spirit of which seems to contradict
completely the meaning of the words, which call for the instruments to play quietly. Between the two
comes an anticipatory two-part version of this refrain: although found in only one source, perhaps as
an afterthought introduced in a particular performance, it does more meaningfully reflect the text –
before the atmosphere is rudely broken! There are six verses in total of which we include three – here
duets rather than solos – after each of which we return to the second half of the refrain. The text links
the Christmas processions with those of Semana Santa, Holy Week, in which pasos, lifelike wood or
plaster sculptures of individual biblical scenes, are carried through the streets; evidently similar pasos
were used at Christmas in the New World.
Recordar jilguerillos is a gentle, lyrical lullaby for two sopranos, who sing variations of the same
text, in which the “two suns” again make an appearance. The three verses continue the musical style of
the refrain in this otherwise traditional structure.
Ay ay galeguinos is a five-part carol in the Galician dialect. Its folky, four-square and rather
rustic style is in marked contrast to other villancicos in the programme. It has a traditional refrain-
verse-refrain structure, though the verses continue the musical style of the refrain. The latter is
constructed as a dialogue in which the chorus echo the words of the solo soprano.
The beautiful, mesmerically simple Dulce Jesús mio was found in Jesuit mission archives. It is
set, and performed, in both Spanish and the language of the Chiquitos Indians.
The characters portrayed in our final villancico, Convidando está la noche, are panting and
sighing because of the excessive emotional heat generated by the sight of the newborn Christ. It opens
with an introductory five-voiced juguete (a vocal prelude), followed by a lively and hypnotic section in
verse-refrain form: this structure is then repeated, with the second half of the juguete followed by the
remaining verses of the villancico. The fast sections have alternating rhythms of African origin in the
style of a guaracha, a Mexican dance still popular in Cuba. The synthesis of styles is particularly effective
and joyful – a fitting end to our trip through the New World.
Keith Bennett
10Paragon Singers
and
Thomas-Selle Vokalensemble of Berlin
announce their exciting new collaboration for a
performance of
Alessandro Striggio’s
Mass for 40/60 Parts
Lost for 400 years and
recently re-discovered,
Missa ‘Ecco si beato giorno’
is written in 40 parts, with one
movement in an amazing 60
parts!
Programme includes other
large scale works by Striggio,
Ockeghem and Wylkynson and
individual performances by
each choir
The performance will be
repeated in Berlin in June 2012
Be sure not to miss this wonderful music
Saturday 19th May 2012: 7:30pm
St Swithin’s Church, Walcot, Bath
£12 (£5 students, under 12s free)Hanacpachap cussicuinin Hanacpachap cussicuinin, The bliss of Heaven, Huaran cacta muchas caiqui. I will worship you a thousandfold, Yupairuru pucocmallqui, Revered fruit of a mature tree, Runa cunap suyacuinin. Long awaited by your people, Callpannacpa quemicuinin, Protection of spiritual strength, Huaciascaita. Heed my call. Uyarihuai muchascaita Hear my prayer, Diospa rampan Diospamaman Litter of God, Mother of God, Yurac tocto hamancaiman White shoot of the lily, Yupascalla, collpascaita Worshipped, my barren state, Huahuaiquiman suyuscaita Show me your son, Ricuchillai. Whom I await. Chipchijcachac catachillai O brilliant light of the Southern Cross, Punchau pussac quean tupa Meeting with the bringer of the day, Cam huacyacpac, manaupa Summon me in my disdain, Queçaiquicta hamuiñillai Save me Piñascaita quespichillai From my anger, Susurhuana. Precious grain store. Ñocahina pim huanana Like me, who will take revenge Mitanmanta çananmanta For his time on earth, Tecçe machup churinmanta. For his lineage, Llapa yallec millaimana For the sons of his ancestors, Muchapuai yasuihuana Overcoming all abominations, Huahuaiquicta. Your child. Canchac raurac, çuma quilla Shining, burning beautiful star, Checanpunchaupa çecainin At the break of the pure light of day, Hinantimpa suyacuinin, My trust in you is this, Camillacpac choque illa The lightning will sully you, Mana yauyac panpaquilla Universal star that never dwindles, Diospallactan. City of god. Los coflades de la estleya Los coflades de la estleya Fellow brothers of the Star Vamo turus a Beleya let us all go to Bethlehem, Y velemo a Ziola and we shall see Our beautiful Lady, Beya con Ziolo en lo poltal with Our Lord in the manger. Vamo, vamo currendo ayá Let‟s go, let‟s run there. Oylemo un viyansico We shall hear a carol Que lo compondlá Flasico that Francisco will compose, Ziendo gayta su fosico, piping in his little voice, Y luego, lo cantalá Blasico and then Blasico will sing it Pellico, Zuanico i Tomá with Perico, Juanico and Tomás, Y lo estliviyo dilá: And the chorus will go: Gulumbé, gulumbé, gulumbá, Gulumbé, gulumbé, gulumbá Guache, moleniyo de Safala. Poor boys, black boys from Safala. Vamo abél que traen de Angola Let us go and see what they have brought from A ziolo y a ziola Angola for Our Lord and Our Lady, Baltasale con Melchola Balthasar and Melchior
Y mi plimo Gasipar. and my cousin Caspar.
Vamo, vamo currendo ayá. Let‟s go, let‟s run there!
Gulumbé, gulumbé, gulumbá ... Gulumbé, gulumbé, gulumbá ...
Vamo siguiendo la estleya eya Let us follow the star, Come on!
Lo negliyo coltezano vamo we black courtiers, Let‟s go!
Pus lo Reye cun tesuro turo since the Three Kings All of us!
De calmino los tles ban aya. are coming with treasure. That way!
Blasico, Pellico, Zuanico i Tomá, Blasico, Perico, Juanico and Tomás,
Eya! vamo turu ayá. come on! Let‟s all go there!
Gulumbé, gulumbé, gulumbá ... Gulumbé, gulumbé, gulumbá ...
Vamo turuz loz Neglíos plimos Let‟s go, all the black boys, my cousins!
Pues nos yeba nostla estleya beya Since our Star is leading us, beautiful!
Que sin tantuz neglos folmen noche Even though we‟re all as black as night,
Mucha lus en lo poltal ablá. on the manger, plenty of light there‟ll be.
Blasico, Pellico, Zuanico y Tomá, Blasico, Perico, Juanico and Tomás,
Plimos, beya noche ablá. cousins, it will be a beautiful night!
Gulumbé, gulumbé, gulumbá ... Gulumbé, gulumbé, gulumbá ...
Vaya nuestra cofladía linda Let‟s go, all our brotherhood fine!
Pues que nos yeba la estleya nueztla Since the star leads us, ours!
tlas lo Rey e pulque aya danza after the kings, and since a dance
que pala al niño aleglan yrá. to cheer the child there will be.
Blasico, Pellico, Zuanico y Tomá, Blasico, Perico, Juanico and Tomás,
linda nuestla danza irá. Our dance will be so fine!
Gulumbé, gulumbé, gulumbá ... Gulumbé, gulumbé, gulumbá ...
Vamo alegle al poltariyo plimo Let‟s go merrily to the stable cousins.
velemo junto al peseble bueye We‟ll see next to the manger oxen.
que sin tantuz neglos folmen neglo Even though we‟re all jet black,
mucha lus en lo poltal ezá. on the manger, plenty of light there is!
Blasico, Pellico, Zuanico y Tomá, Blasico, Perico, Juanico and Tomás,
plimo neglo, bueye ezá. Black cousins, here are the oxen.
Gulumbé, gulumbé, gulumbá, Gulumbé, gulumbé, gulumbá,
Guache, moleniyo de Safala. Poor boys, black boys from Safala.
Magnificat
Magnificat anima mea Dominum. My soul proclaims the greatness of the Lord,
Et exsultavit spiritus meus in Deo salutari meo. my spirit rejoices in God my Saviour.
Quia respexit humilitatem ancillae suae: For he has looked with favour on his lowly servant.
ecce enim ex hoc beatam dicent omnes generationes. From this day all generations will call me blessed:
Quia fecit mihi magna, qui potens est, et sanctum the Almighty has done great things for me,
nomen ejus. and holy is his Name.
Et misericordia ejus a progenies timentibus eum. And His mercy on those who fear him in every
generation.
Fecit potentiam in brachio suo; He has shown the strength of his arm,
dispersit superbos mente, cordis sui. he has scattered the proud in their conceit.
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14Deposuit potentes de sede et exaltavit humiles. He has cast down the mighty from their thrones,
and has lifted up the lowly.
Esurientes implevit bonis et divites dimisit He has filled the hungry with good things,
inanes. and the rich he has sent away empty.
Suscepit Israel puerum suum, He has come to the help of his servant Israel
recordatus misericordia suae. for he has remembered his promise of mercy,
Sicut locutus est patres nostros, the promise he made to our fathers,
Abraham et semini ejus in saecula. Amen to Abraham and his children for ever. Amen
Pasacualillo
Pasacualillo, Pasacualillo,
Júzguele plimo, Imagine cousin!
Antonillo, Flaciquillo, Manuelillo, Antonio, Flaciquillo, Manuelillo
qué quele plimo What do you want, cousin,
venga turo lo neglillo Let every black come,
que manda al señor alcalde. For the mayor orders it.
Que pue venimo a Belena con la blanca la So we come to Bethlehem with the white girl and the
molena no comamo el pan de balde dark girl - don‟t let‟s eat bread in vain.
Dioso le gualde Dioso le gualde al señol alcalde. God protect the mayor. God protect ...
Dio so le gual de lo plimo su plesona
hagamo una plosesiona a lon Dioso que hanaciro Let‟s make a procession to the God who has been
donde baile lo neglillo y mándese plegonal born, where the negro dances, and order it to be
polque venga a noticia de turu el lugar. proclaimed so that it is brought to the notice of the
Dioso le gualde al Siol alcalde whole village.
y yo la plegonale God protect the mayor
palece nos bé a plegonal a su melce. And I will proclaim it.
Manda el alcalde Miguel que tuvo Santu Tumé en It seems right to proclaim it to His Grace.
el poltal de Belén a la plocesiona venga y la danza Mayor Miguel orders that (the statue of?) St Thomas
se plevenga y mándese plegonal polque venga a be brought to the gate of Bethlehem, to come to the
noticia de turu el lugar procession and prepare the dance and order it to be
proclaimed so that it comes to the notice of the whole
Venga neglo y negla venga village.
venga venga Come black man and black woman!
y la danza se plevenga Come, come!
venga venga And prepare the dance
donde baile lo neglillo a lon Dioso que ha naciro Come come!
queseamo de contar y mánde se plegonal y And come to the procession where the black people
mándese plegonal polque venga a noticia de turu will dance for the God who has been born; let‟s be a
el lugar large number and order it to be proclaimed so that it
comes to the notice of the whole village
Coplas Verses
Pala hacel en un momento To make at the same time
una plocesion que espanta a procession which is a portrayal
la de la semana santa of both Holy Week
hagamo la nacimiento; and the birth;
y es a buen entendimiento it makes sense,
pues que el niño de Belén since the child of Bethlehem
aún no acaba de nacer is hardly born
cuando comienza a penar before he begins to sorrow.
15Pues que eça la noche Buena As it‟s Christmas eve,
en que los neglo no ayuna when the blacks don‟t fast,
si ha de salir paso alguna if any procession is to go out
salga al paso la cena let supper go out to the procession:
y la llebaremo llena and we‟ll take it full
de turrona de Alicante of Christmas nougat from Alicante,
pol que pueda el disciplinante so the penitent
algún consuelo tomar. can take some consolation.
Saquemo el paso del huerto Let the procession leave from the garden
que la noche turu es flores as the night is all flowers,
y admiremo a los pastoles and let us surprise the shepherds
de ver neglo con consierto. to see blacks with music.
Pero que cuidemo advierto But I warn you to take care,
yo la apsoto la bermeja I„ll wager the red one
que si moleno la deja will leave the child
lo niño que via a besar. she has come to kiss dark
Venid, venid zagales
Venid, venid, zagales Come, shepherds, come!
vereis a un Dios niño You‟ll see God as an infant
que duerme soñando who while so deep in dreams
tiernos jemidos. weeps softly.
Quedito pasito, no despierten Tread quietly, do not wake
ojos que lloran dormidos. Weeping, sleeping eyes.
Coplas Verses
Venid a ver zagales Come, lads,
al vello amor dormido And see the sleeping love,
que de los llantos sus ojos For from his tearful eyes
suenan los suspiros Sighs can be heard.
Venid a ver estrellas Come and see the stars
en çielo anocheçido In the night sky
que mientras duermen Which, while two suns sleep,
dos soles truscan exerciçios Change their position.
Quedito pasito, no despierten Tread quietly, do not wake
ojos que lloran dormidos Weeping, sleeping eyes.
Venid a ver influxos Come and see the influences
en astros escondidos Of hidden stars,
que con las luzes que ocultan Which with the lights they hide
rinden alvedrios Control our will.
Venid a ver los ojos Come and see the eyes
en llanto humedeçidos Moist with tears
que de las perlas que vierten Which from the pearls they pour forth
siembran dos impireos Sow two empires
Quedito pasito, no despierten Tread quietly, do not wake
ojos que lloran dormidos Weeping, sleeping eyes.
16¡Salga el torillo hosquillo!
¡Salga el torillo hosquillo! Let in the little black-faced bull!
¡Ho! ¡Ho! ¡Ho! ¡Ho! Hah! Hah! Hah! Hah!
¡Que se aguarde! Hold him back!
¡Que se espere! Make him wait!
¡Que se tenga! Keep him there!
mientras me pongo en cobro, en cobro, yo. While I get myself into cover.
Que se aguarde! Hold him back!
Que se espere! Make him wait!
Que se tenga! Keep him there!
Ho! ¡Ho! Hah! Hah!
Mas ¡ay, qué fiero! But, alas, how fierce he is!
el toro ligero corriendo salió tras mi bien. The swift bull dashed out after my love.
Pero ¡no! ¡Tras mí! But no! After me!
Yo le vi, al amado dueño mío; I saw him, my beloved lord. I saw him;
Yo le vi, que le está esperando el niño; for the boy child is waiting for him,
Yo le vi, I saw him,
ti, ti-ri-ti, tiritando. shi ... shi ... shi ... shivering.
Ti, ti-ri-ti, tiritando, no de miedo, sino de frío. Shi ... shi ... shi ... shivering, not with fear, but with cold.
Pero ¡No! But no!
Que se aguarde!... Hold him back!...
Coplas Verses
Del vulgo de las nubes, It cleared the square
se despejó la plaza, of the rabble of clouds,
poblando las estrellas, filling the windows
del cielo las ventanas. of Heaven with stars.
Un Niño, que es muy hombre, A boy child, who is all man,
espera en la campaña, is waiting in the arena,
y ha de matar el Toro, and is sure to kill the bull,
que es toreador del hampa. for he is a dashing toreador.
Con la capa del hombre, In the cloak of a man,
el niño entra en la plaza; the boy child enters the ring;
romperásela el Toro, the bull will tear it apart,
y en eso el hombre gana. and thus mankind will win.
En un portal le estrecha, In the doorway of the stable,
del bruto la amenaza; the menacing brute confines him.
a todos nos defiende, He defends us all,
y de Sí no se repara. and thinks nothing of himself.
Del toreador la muerte The bullfighter‟s death
está profetizada; has been foretold;
mi suerte está en que muera, my good fortune depends on his dying,
aunque es por mi desgracia. though he is dying for my misfortune.
1718
Vaya, vaya
Vaya, vaya de cantos de amores, Let there be love songs
vaya, vaya de gustos, vaya pastores, Let there be joy for the shepherds
al sol divino que raya de noche. at the divine sun shining at night.
Vaya de glorias, Let there be glory,
vaya de fiestas, Let there be celebrations,
vaya de gustos, pastores, Let there be joy for the shepherds
vaya de amores, pastores. Let there be love for the shepherds
Coplas Verses
Sol que a Belen yluminas Sun, that lights up Bethlehem
en la mitad de la noche In the middle of the night,
gloriosamente obstentando Gloriously revealing
en cada raio mill soles At each moment a thousand suns.
Enhorabuena tus luçes yluminen May your light
a los hombres Shine upon the men
los que a tu Oriente esperaron Who awaited your Dawn,
y a tu lucimiento adoren And may they adore your light.
Vaya, vaya de cantos de amores...... What love songs ….
Enhorabuena felice May the pure white Dawn
en sus braços te coloque. Place you happy
La Aurora candida y pura In the arms of the one
a quien por Madre conoçes You know as Mother.
Y pues ya canoras aves And now tuneful birds
en metricas dulces voçes In sweet measured voices
de tu Oriente solemnisan Solemnify the wonderful light
los peregrinos albores. Of your Dawn.
Vaya, vaya de cantos de amores...... What love songs ….
¡A siolo flasiquiyo!
¡A siolo flasiquiyo! „Ah, Mr Francisco!‟
¿Qué manda siol Thome? „At your command Mr Tomás‟
¿Tenemo tura trumenta „Do we have all the instruments
templarita cum cunsielta? tuned up together?‟
Sí siolo ven poté avisa bosa misé „Yes sir, you could well tell your lady
que sa lo molemo that the dark-skinned folk are about to appear
ya cayendo de pularrisa falling about with laughter
y muliendo pol baylá and dying to start dancing.‟
llámalo llámalo aplisa „Call themout right away,
que a veniro lo branco ya for the White One has come now
y lo niño aspelandosa - the resplendent Child –
y se aleglalá ha-ha ha-ha and he will rejoice, ha, ha, ha, ha!
con lo zambamba ha-ha ha-ha with the zambamba, ha, ha, ha, ha!
con lo guacambe con lo cascavé with guacambe-dancing and bell-ringing.‟
Sí siñolo Thome „Yes, Mr Tomás,
repicamo lo rrabe we‟ll strum the rebec
19ya la panderetiyo Anton and Antón jingling the tambourine,
baylalemo lo neglo al son all we black people will dance to their sounds
Responsión Response
Tumbucutú, cutú, cutú Toomboocootoo ...
y toquemo pasito querito and let‟s play gently, softly,
tumbucutú cutú cutú toomboocootoo ....,
no pantemo a lo niño sesú. lets we disturb baby Jesus.
Coplas Verses
Turu neglo de Guinea All of us, blacks from Guinea,
que venimo combirará have come and we‟ll invite
A detlá e su criara Andrea and her maid,
Munglavé con su liblea. and Mongrave in his livery.
Y pluqué lo branco vea And so that the White One may see
quere branco nos selvimos we love white, we‟ll dress
con vayal de un tamo plimo in fine, fleecy white cotton
y haleme a lo niño bú. and give the baby a bit of a scare
Tumbucutú, cutú, cutú Toomboocootoo.
De mérico y silujano Let Miguel dress up quickly
se vista Minguel aplisa as a doctor-surgeon,
pues nos culase su clisa so the knife in his hand
las helilas con su mano may heal our wounds.
Bayle el canario y el villano Dance the canario and the villano
mas no pase pol detlás but don‟t step behind
de mula que da lasas a mule that kicks out,
de toro que dira mú. nor a bull that goes moo.
Tumbucutú, cutú, cutú Toomboocootoo.
Antoniyo con su sayo Antonio, wearing the smock
que tluxó re pueltorrico he brought from Puerto Rico,
saldrá vestiro re mico will come out dressed as a monkey,
y Minguel de papangayo and Miguel as a parrot.
Y quando yegue adorayo And when he goes up to adore
al niño le dira así the babe he‟ll say to him:
si tu yo lamo pol mi „if you cry for me,
yo me aleglamo por tu. I‟ll be made happy by you.‟
Responsión: Tumbucutú... etc Response: Toomboocootoo, etc
Recordar jilguerillos
Soprano 1:
Recordar jilguerillos que no duermen las aves cuando Goldfinches awake, for birds do not sleep when two
velan dos soles, recorder ruiseñores que no duermen las suns keep watch; nightingales awake, for birds do not
aves cuando velan dos soles, y a sus arraboles conejillos sleep when two suns keep watch, and in their red glow
suaves, que no duermen las aves cuando velan dos soles sweet little rabbits play, for birds do not sleep when two
festejad jilguerillos, que no duermen las aves cuando suns keep watch. Rejoice goldfinches, for birds do not
velan dos soles. sleep when two suns keep watch.
Soprano 2:
Despertad ruiseñores que no duermen las aves cuando Nightingales awake, for birds do not sleep when two
brillan dos soles, despertad ruiseñores que no duermen suns shine; awake nightingales, for birds do not sleep
las aves cuando brillan dos soles, y a sus arraboles when two suns shine, and in their red glow sweet little
20conejillos suaves, que no duermen las aves cuando rabbits play, for birds do not sleep when two suns shine;
brillan dos soles, jilguerillos que no duermen las aves awake goldfinches, for birds do not sleep when two suns
cuando brillan dos soles. shine.
Coplas Verses
Hoya la luz más Hermosa la noche se esclare ció, que Today in the most beautiful light the sky was aglow,
no se luce la noche si no en ausencia del sol. for night does not shine except in the absence of the
sun.
Y pues madruga la aurora con peregrine esplendor, la So dawn breaks with beautiful splendour, and plainly
noche claros es que pierde toda su jurisdision. the night loses all its power.
En major alba amanece con que es el dia major, A better dawn breaks as it is the great day, for earlier
que luces anticipadas siempre decreciente son. lights always dim.
Ay galuegiños
Ay ay Oh, Galician folk,
Ay ay ay que lo veyo mas Oh I see him
Ay gue lo miro mas Oh I look at him
Ay que lo veyo en un pesebriño Oh I see him in the manger
Ay ay o filo de Deus Oh the son of God
Ay ay que a la terra viño Oh he came to earth,
Ay que lo miro Oh I see him,
Ay gue lo veyo Oh I look at him,
En un portalino galuegiños In his little cradle
Coplas Verses
Ay soen gantinas E dai mil boltinas Oh, let the bagpipes sound,
Ay tocai las flautinas And let the pipes play,
Tamben los pandieros As well as the tambourines,
Ay gue face pucheros Por mis amoriños For he smailes as I cuddle him
Ay fagamos le festas Oh let‟s rejoice
que entreduas bestas, That between two beasts
ay que muito le cuestas How hard it is
naçer sondo nobre. To be born noble
Ay ay ay na terra tan pobre In so poor a land
por os pecadiños For sins.
Ay ay galuegiños ..... Oh, Galician folk, ......
Dulce Jesús mío
Dulce Jesús mío My sweet Jesus
mirad con piedad look with mercy
mi alma perdida on my soul lost
por culpa mortal. through mortal guilt.
Yyaî Jesuchristo My sweet Jesus
apoquîrui, look with mercy
itacu niyucîpî on my soul lost
ninahît‟ zobi. through mortal guilt.
21Convidando está la noche
Juguete Juguete
Convidando está la noche The night is inviting
Aquí de músicas varias here with varied music.
Al recién nacido infante To the newborn child
Canten tiernas alabanzas. sing tender praises.
Guaracha Guaracha
¡Ay, que me abraso! ¡ay! Oh!, I‟m ablaze, oh!
Divino dueño ¡Ay! Divine Lord, oh!
En la hermosura ¡Ay! in the loveliness, oh!
De tus ojuelos ¡Ay! of your little eyes, oh!
¡Ay, como llueven ¡Ay! Oh!, how they rain, oh!
Siendo luceros ¡Ay! though they are stars, oh!
Rayos de gloria ¡Ay! rays of glory, oh!
Rayos de fuego ¡Ay! rays of fire, oh!
¡Ay, que la gloria ¡Ay! Oh!, how the glory, oh!
Del portaliño ¡Ay! of the little manger, oh!
Ya viste rayos ¡Ay! is dressed in light; oh!
Sí arrojayalos ¡Ay! how it shines forth now, oh!
¡Ay, que su madre ¡Ay! Oh!, how his mother, oh!
Como en su espejo ¡Ay! as if in her mirror, oh!
Mira en (su) lucencia ¡Ay! gazes at his light, oh!
Sus crecimientos ¡Ay! watches him grow, oh!
Juguete Juguete
Alegres cuando festivas Merry and festive,
Unas hermosas zagalas, lovely shepherdesses
Con novedad entonaron sang wonderful new
Juguetes por la guaracha. juguetes for the guaracha.
Guaracha Guaracha
En las guarachas ¡Ay! In our guarachas, oh!
Le festinemos ¡Ay! let us acclaim him, oh!
Mientras el niño ¡Ay! while the boy-child, oh!
Se rinde al sueño ¡Ay! drifts off to sleep, oh!
Toquen y bailen ¡Ay! Play and dance, oh!
Porque tenemos ¡Ay! because we have, oh!
Fuego en la nieve ¡Ay! fire in the snow, oh!
Nieve en el fuego ¡Ay! snow in the fire, oh!
Pero el chicote ¡Ay! But the little fellow, oh!
A un mismo tiempo ¡Ay! at the same time, oh!
Llora y se ríe ¡Ay! weeps and chuckles, oh!
Que dos extremos ¡Ay! at two extremes, oh!
Paz a los hombres ¡Ay! Peace to all men, oh!
Don de los cielos ¡Ay! is Heaven‟s gift; oh!
A Dios las gracias ¡Ay! So thanks be to God, oh!
Porque callemos ¡Ay! because we‟ve finished, oh!
22Kate Semmens - soprano
Kate Semmens is a soloist with many leading groups and opera companies and sings with some
of the UK‟s finest choirs. In opera she has taken many varied roles. She was Cupid in Blow‟s Venus and
Adonis for both Sir John Eliot Gardiner and Peter Holman, and Mycene (Lully‟s Isis) for Jeffrey
Skidmore. Other roles have ranged from Semira in Arne's Artaxerxes, to Mrs P (Nyman‟s “The Man who
Mistook his Wife for a Hat”). She created the role of Euridice in the world premiere of John Caldwell‟s
retelling of The Story of Orpheus. This summer Kate played Betty in New Chamber Opera‟s production
of Salieri‟s Falstaff. She was Ciro in their production of Stradella‟s Il Trespolo Tutore, for which Opera
magazine wrote “the clarity and charm of Kate Semmens‟ soprano was disarming”.
Kate has toured extensively with the Monteverdi Choir performing Bach Cantatas, Mozart‟s
Mass in C Minor, Mozart‟s Requiem and Venetian programmes, and she joined the Gabrieli Consort in
their tour of Haydn‟s Creation. She has recorded four discs with the Brabant Ensemble.
Highlights this year have included the Classical Brit awards, one to a part Bach B Minor Mass
with the Dunedin Consort in Spain and recording Eric Whitacre‟s latest CD. She has particularly
enjoyed a recent project exploring domestic music making in the early 19th century involving concerts
and lecture recitals, and will be continuing this to perform Schubert Lieder with 19th century guitar in
National Trust Properties next year.
Jane Hunt – soprano
Jane Hunt was born in London and gained
a BA Honours degree in Music at Bath Spa
University. She is a familiar soloist and recitalist
in the Bath area. Performances have included
Schütz Christmas Story, Biber Requiem, Purcell Come
ye Sons of Art, Vivaldi Gloria, Handel Dixit Dominus,
Haydn Little Organ Mass and Missa Sancti Nicolai,
Mozart Requiem and Mass in C Minor, Fauré
Requiem, Saint-Saëns Christmas Oratorio and John
Rutter Magnificat. Jane has also sung various
operatic roles including Cupid (King Arthur),
Galatea (Acis and Galatea), Mabel (The Pirates of
Penzance) and Josephine (HMS Pinafore).
Aaron Burchell – alto
Aaron Burchell was a chorister at Salisbury Cathedral and continued his musical education as a
music scholar at Marlborough College. After a year spent as a choral scholar at Wells Cathedral under
the direction of Malcolm Archer he spent three years as a choral scholar in the choir of St John's
College, Cambridge, under the direction of Dr. Christopher Robinson, where he studied for a degree in
History. As a member of St John's College choir, Aaron toured Europe, Japan and North America.
Since graduating from Cambridge, Aaron has lived and worked in London, and has sung with the
Choirs of the Temple Church and St Paul's Cathedral, as well as with Polyphony under Stephen Layton,
the Sixteen under Harry Christophers, and the Orchestra and Choir of the Age of Enlightenment.
If you only go to one concert in 2012
make it the Paragon / Thomas-Selle-Vokalensemble performance of
Alessandro Striggio’s Mass for 40/60 Parts
23Rupert Drury – tenor
Rupert started his singing career as a chorister at the age of eight in Ripon Cathedral and later
went on to become head chorister. He became a major music Scholar at Marlborough College in
Wiltshire and then moved on to Durham University where he gained a B.A. (Hons) in music in 1996 as
well as singing as a choral scholar at Durham Cathedral during his time as a student. He continued his
musical studies for a further two years on a post-graduate performance course at the Royal Academy of
Music in London.
Rupert has taken part in many master-classes including performing for Mark Wildman, Neil
Jenkins, Robin Bowman, Rudolf Peirney and Rosalind Plowright, and regularly performs solo recitals
around the country. His oratorio roles have so far included the greats by Handel, Beethoven, Bach,
Mozart, Rossini and Puccini, some of which have been with local choruses and orchestras including the
Bath Philharmonia and Bath Choral Society. Rupert continues his studies privately with his Academy
teacher in London, Diane Forlano, as well as helping others in their musical pursuits through his role as
Acting Director of Music at King Edward‟s School in Bath. His most recent operatic roles have
included Don Ottavio in Mozart's Don Giovanni, Tamino in Mozart‟s Magic Flute, Nemorino in
Donizetti‟s L’Elisir d’amore, Candide in Bernstein‟s Candide, The Count in Rossini‟s Barber of Seville,
Fenton in Verdi‟s Falstaff, Genaro in Wolf-Ferrari‟s Jewels of the Madonna and Ferrando in Mozart‟s Cosi
fan Tutti. Currently he is engaged to perform the part of Rodolfo in Bath Opera‟s February production
of Verdi‟s Luisa Miller.
Niall Hoskin – bass
Niall sang in Clare College Choir, Cambridge and read Modern Languages. He now lives in
Dundry and is Head of Modern Languages at Bristol Cathedral Choir School. His opera performances
have included title roles in Orfeo, Don Giovanni,Gianni Schicchi, Macbeth, The Flying Dutchman, The Mikado
and Falstaff. Concert highlights have included Dream of Gerontius, The Kingdom and The Apostles Elgar,
Mendelssohn‟s St Paul and Elijah, as well as the Bach Passions and Creation and Seasons Haydn. Song
recital work has encompassed repertoire in English, French, German and Russian.
In 2012 Niall will be singing in York Minster (Ellington‟s Sacred Concerts music) and the Victoria
Rooms (Elgar‟s Caractacus). He will also perform in Tchaikovsky‟s Queen of Spades, as well as running in
the London Marathon. Details are at www.niallhoskin.co.uk
Keith Bennett – conductor
Keith Bennett studied music at Oxford,
where he was organ scholar at Brasenose College,
and subsequently at Trinity College of Music. He
was awarded a doctorate from Oxford in 1978 for
his study of Luca Marenzio. From 1979-2004 he
taught at Bath Spa University, where for eighteen
years he was a principal lecturer and Course
Director of the BA (Hons) Music degree. Keith
has been conductor of Paragon Singers for many
years; under him it has become one of the south-
west's leading chamber choirs, specialising
particularly in early music and contemporary
music. He has also performed widely as an
accompanist, continuo player and singer.
24Bradford Baroque Band
Julia Black, Hazel Brooks violins
Henrik Persson viol di gamba
Gawain Glenton, Adrian Woodward cornets,
Adrian France, Mike Lomas, Emily White sackbuts
Kirsty Whatley harp
Maggie Bruce curtall
Simone Rebello percussion
Steven Hollas organ
Paragon Singers
Paragon Singers was formed in 1976 and specializes in Renaissance, Baroque and contemporary music.
Under Keith Bennett‟s direction it has gained a reputation as a leading chamber choir in these fields in the
south-west. It performs several times a year in Bath and its environs as well as making occasional appearances
elsewhere. The choir has made concert tours to Kenya, Ireland, France and Holland, having five times visited
Alkmaar as guests of its „twin choir‟, Good Company.
sopranos altos tenors basses
Hazel Baker Louise Best Rupert Bevan Jonathan Dawes
Pamela Bennett Gill Clarke Mike Gumbley Marc Horobin
Charlotte de Grey Emma Cross James Henderson Niall Hoskin
Julia Draper Lavinia Ferguson Neil Moore Tony Shield
Rachel Flecker Margaret Graham Christopher Rogers Nicholas Stuart
Josephine Herrlinger Catherine Richards Gareth Somerset
Jane Hunt
Stephanie Lockhart
***********
Paragon Singers would like to acknowledge the generous support of our advertisers and of The
Paragon Concert Society which administers funds left to them by the late Leo Reid Baker.
We would like to thank Phil Turk for his translations of the Spanish text, and Alan Carter for his
beautiful line drawings of Cuzco.
Are you a singer? Paragon is always
interested in high quality singers who have an
interest in our repertoire. If you would like to
sing with Paragon, then please contact Keith
Bennett on 01225 723090.
You can find details of forthcoming
paragon singers events at
www.paragonsingers.co.uk
25paragon singers 2012 concerts
Monteverdi
Saturday 24 March 2012 • 7.30pm
St Alphege Church, Oldfield Lane, Bath
Monteverdi‟s Missa in illo tempore 1610
and motets by Gombert, Brumel, Obrecht, Clemens non Papa and James McMillan
_________________________
Alessandro Striggio - Mass for 40/60 parts
Saturday 19 May 2012 • 7.30pm
St Swithin’s Church, The Paragon, Bath
Paragon Singers join with Thomas-Selle-Vokalensemble Berlin to sing
Striggio‟s recently re-discovered Missa ‘Ecco si beato giorno’.
Full concert details to be announced
_________________________
Singet dem Herrn
Saturday 13 October 2012 • 7.30pm
St Alphege Church, Oldfield Lane, Bath
A programme of motets by JS Bach, Eric Whitacre, Avo Pärt and William Byrd
_________________________
Monteverdi Vespers
Saturday 15 December 2012 • 7.30pm
Wiltshire Music Centre, Bradford on Avon
Completed the mailing slip yet?
What – no pencil? Make friends with your neighbour!!
Don’t miss out on some fabulous music
26Paragon Singers
and
Thomas-Selle Vokalensemble of Berlin
Alessandro Striggio’s
Mass for 40/60 Parts
Don’t
Forget !
Be sure not to miss this wonderful music
Saturday 19th May 2012: 7:30pm
St Swithin’s Church, Walcot, Bath
£12 (£5 students, under 12s free)Front cover: Cathedral of Santo Domingo, Cuzco
Rear cover: The Cristo Blanco (White Christ) statue
overlooking CuzcoYou can also read
