TRINITY EXAM

Foundation Certificate

Choir Performance

GIM CHOIR
Goa Institute of Management Choir

5th DECEMBER 2019, 16.30

Margao, Goa


Program

Hanacpachap Cussicuinin
Anonymous / J. Bocanegra
Arr. Santiago Lusardi Girelli
Approx. duration – 3´20

Ecce Gratum
Music - Carl Orff / Text – Codex Buranus
Approx. duration – 3´

Goodnight sweetheart
Clavin Carter / James Hudson
Arr. Robert Sund
Approx. duration n – 2´50




About the GIM CHOIR

The GIM CHOIR is an ensemble formed up by students of the Goa Institute of Management, they meet for a
period of 4 months once a week to prepare a choral music repertoire and to learn singing. The students of this
course come from different areas of India, and most of them do not have experience in singing or choral music.
Many of them are educated in contexts where the dominant music is that of Hindustani and Carnatic tradition.
That’s why for this group of students it is a very interesting challenge to immerse themselves in the choral
European tradition and experience the choral singing.

Conductor – Dr Santiago Lusardi Girelli
Percussion – Maria Meireles
Piano – Ingrid A. Nazareth


Program Notes

The program we are presenting today seeks to show different aspects of the choral tradition exploring pieces
from different style (secular and profane), and from various eras. Today´s programs include the Hanacpachap,
a polyphony hymn from the XVII Century baroque colonial period; the Ecce Gratum -the fifth movement of the
famous Carmina Burana- and one modern popular song in jazz style arranged for choir.

This repertoire implies an interesting level of musical compromise and interesting abstract musical thought.
The different pieces presented today are a challenge in various technical aspects because of the different
ranges, dynamics, articulations, tempo variations imply in its interpretation. Furthermore, in the program we
are perfoming today we find that the musical language of the pieces’ demand considerable inferential
understanding, and thoughtful interpretation, because of the different moods and sense of the pieces and the
texts of them.

Today’s program includes texts in three languages; Quechua (the language of the Inca empire), Medieval Latin
(texts from the Codex Buranus), and modern English.


THE HANACPACHAP

(Anonymous – J- Bocanegra)


The first piece we are performing today is known as the oldest piece printed in the New World, and is
dated in Cuzco, Peru, 1631. The Hanacpachap Cussicuinin (Heaven's joy!) was published by Franciscan friar Juan
Pérez Bocanegrain 1631, and is a clear example of syncretism of baroque colonial period. While Bocanegra
claimed that he wrote the text, the author of the music remains anonymous. Many sources presume it was
Bocanegra himself, though others believe it may have been the work of a native because of some particular
details and technical mistakes on the musical composition aspects that would give a key of a self-taught
composer. This piece, sung in quechua, is a four voice liturgical hymn that combines a traditional four voice
polyphonic hymn with some particularities that makes this chant a beautiful example of syncretism, crossing
vocal European polyphony with the cachua, a native dance, suggesting a slow procession movement.
Furthermore, the lyrics, an ode to the Virgin Mary, contains many metaphors about love and nature grounded
in Quechua culture.

The piece offers some particular challenges, first of all the language itself, the pristine homophony
that weaves a weft that evokes childhood. The delicate lines and the mystical Inca atmosphere present on
the cachua dance of this ancestral chant requires an interpretation that combines a strong liturgical Christian
devotion attitude plus a irreverently attitude against orthodoxy to allow the interpreters to connect with the
Pachamama (Mother land) and the nature grounded believes.




Hanaq pachap kusikuynin Heaven's joy!

Waranqakta much'asqayki a thousand times shall we praise you.

Yupay ruru puquq mallki O tree bearing thrice-blessed fruit,

Runakunap suyakuynin O hope of humankind,

Kallpannaqpa q'imikuynin helper of the weak.

Waqyasqayta. hear our prayer!


Uyariway much'asqayta Attend to our pleas,

Diospa rampan Diospa maman O column of ivory, Mother of God!

Yuraq tuqtu hamanq'ayman Beautiful iris, yellow and white,
Yupasqalla, qullpasqayta receive this song we offer you;
Wawaykiman suyusqayta come to our assistance,
Rikuchillay. show us the Fruit of your womb.




In today exam we will perform an arrangement written specially for today, based on the original
manuscript, that adds a piano and a percussion to the original acapella score.









ECCE GRATUM

(C. Orff)


"Ecce gratum" (English: "Behold, the pleasant") is a medieval Latin Goliardic poem written early in the 13th
century, part of the collection known as the Codex Buranus.

This poem was set to music in 1935/36 by German composer Carl Orff as part of his Carmina Burana, premiered
at Frankfurt Opera on 8 June 1937. Within Orff's Carmina Burana, this song is the 5th movement in section
1, Primo vere (In Spring). conversely and setting a wily contrast, depicts how sad springtime can be without the
opportunity for love and urges the “have nots” to rectify the matter.

The Ecce GRatum is written in a homophonic style, and it’s clear and medieval harmonies
The Ecce Grate is a great opportunity for our choir to learn about different aspects of the interpretation
variations of the parameters of articulation, dynamics and tempi variation.



Ecce gratum Behold, the pleasant
et optatum and longed-for
Ver reducit gaudia, spring brings back joyfulness,

purpuratum violet flowers
floret pratum, fill the meadows,
Sol serenat omnia. the sun brightens everything,
Iamiam cedant tristia! sadness is now at an end!
Estas redit, Summer returns,
nunc recedit now withdraw
Hyemis sevitia. Ah! the rigours of winter. Ah!

They glory
Gloriantur
et letantur and rejoice
in melle dulcedinis, in honeyed sweetness
purpuratum violet flowers
floret pratum, fill the meadows,
Sol serenat omnia.: the sun brightens everything,
simus jussu Cypridis at Venus' command
gloriantes let us glory
et letantes and rejoice
pares esse Paridis. Ah! in being Paris' equals. Ah!



In today exam we will perform an arrangement written specially for today, the orchestral parts has been reduce
to piano.






GOODNIGHT SWEETHEART


Clavin Carter / James Hudson
Arr. Robert Sund


"Goodnight, Sweetheart, Goodnight" is a popular song that was a hit during the mid-1950s. It was written by Calvin Carter
and James "Pookie" Hudson in 1951, and was first recorded by The Spaniels in 1953. It has also been released by some
artists as "Goodnight, Well It's Time to Go", and is famous as well in its choral version. The choral version that we present
today was written Robert Sund.

The structure of Goodnight Sweetheart intercalates homophonic textures in section A, with the a solo-accompanied
texture in sections B and C. The melodic-rhythmic freedom of the solo section B and C is an interesting challenge for our
young sopranos for its kind of recitative style, and the accompanying texture of these sections explores the compositional
textures of the Barber Choir style, exposing the rest of the choir to a onomatopoeia chanting.

Furthermore, the kind of jazz style of the piece exposes our young singers to a choral style that requires flexible rhythm,
a constant articulated groove and a strong charisma to reach a fun and in style interpretation.


Goodnight, sweetheart, well it's time to go,
Goodnight, sweetheart, well it's time to go,
I hate to leave you, but I really must say,

Goodnight, sweetheart, goodnight.
Well, it's three o'clock in the morning,
And baby, I just can't do right,
Well, I hate to leave you, baby,
I don't mean maybe, because I love you so.

Do-do-do-do-do-do-do-do-do-do-do

Goodnight, sweetheart, well it's time to go,
(Do-do-do-do-do)
Goodnight, sweetheart, well it's time to go,
(Ba-do ba-do)
I hate to leave you, but I really must say,

Goodnight, sweetheart, goodnight.
Well your mother and your father,
They won't like it if we stay up too late
Well, I hate to leave you, baby,
I don't mean maybe, you know I hate to go.

Do-do-do-do-do-do-do-do-do-do-do

Goodnight, sweetheart, well it's time to go,
(Do-do-do-do-do)
Goodnight, sweetheart, well it's time to go,
(Ba-do ba-do)
I hate to leave you, but I really must say,
Goodnight, sweetheart, goodnight.