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    Seguidillas Sor

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    © All Rights Reserved
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    177 views59 pages

    Fernando Sor Seguidillas PDF Free

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    Lionel Andrés Messi
    Seguidillas Sor

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    © All Rights Reserved
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    FERNANDO SOR SEGUIDILLAS for voice and guitar or piano | : ‘ 5 ey : BRIAN JEFFERY Cow atte FERNANDO SOR SEGUIDILLAS for voice and guitar or piano edited by BRIAN JEFFERY TECLA EDITIONS SOAR CHAPEL - PENDERYN SOUTH WALES - GB-CF44 93¥ Tecla Editions, My warm thanks are due to the Anglo-Spanish Cultural Foundation for a Vicente Cafiada Blanch Secior Research Fellow ship which enabled me to carry out research on Sor. Also to Robert Spencer for allowing the publication of songs in a manux seript in his collection; to the British Museum for similar pennission; and to Roger Boase for valuable assistance with the texts ‘Any of these songs may be performed in a public concert without formalities, provided that the concer: is not recorded and that the programme bears the words ‘From Sor’s Seguidillas, edited by Brian Jeffery (London, Tecla Editions, 1976). All other rights, including all kinds of recording ard broadcasti reserved. Reprinted 1983. This reprint incorporates no new material; but to misprints have been corrected, and the opportunity has been taken to improve the legibility of the facsimile of Sor’s important article ‘Le Bolero’, Reprinted 1990 © Brian Jeffery 1976. ISBN: 0 906053 01 4 Photocopying this edition is illegal. CONTENTS Inteoduetion ditorial practice Notes to the songs esa de atormentarme De amor en las prisiones Acuérdate, bien mio Prepirame la tomba Como ha de resolverse Muchacha, y la vergiienza Si dices que mis ojes Los eandnigos, madre EL que quisiera amando Si a otro cuando me quieres Las mujeres y cuerdas Mis descuidados ojos Facsimiles of nos. 2 and 9 Facsimile of Sor’s article “Le Bolero’, from the Encyclopédie Pittoresque de la Musique of ‘A. Ledhuy and H. Bertini (Paris, 1835) Page 12 13 INTRODUCTION Hone are twelve songs in Spanish by Fernando Sor (1778-1839) nine with guitar accompaniment, two with piano, and one with tither guitar or piano. Sor is known today for his guitar music, but until now almost no songs by him have been published in a modlern edition. Yet, he composed many different kinds of songs: Spanish patriotic songs, English theatre songs, Italian arietts, French romanees, and— these Spanish seguidillas. Antonio Petia y Goni heard some of them sung in Paris by the famous Catalan Singer Lorenz Pagans, and wrote: Por mi parte, he ldo varias canciones espaiiolas, originales de Sors, cantadas por Pagans en Paris y puedo ascuurar que la originalidad y frescara de la melodia, el nterés arménico y Ia viveza del ritmo aventajan con mu- cho las de Manuel Garcia € Iradier. Débense sobre todo 4 Sors aligunos boleros que son verdaderas joyas.* (For my past, I have heard a number of Spanish songs, Driginal works of Sor, sung by Pagans in Paris, and 1 can E ig by Pag ‘Antonio Petia y Gani, La dpere espefiola y la misica dram: Fapoia en el siglo XIX (Madesl, ISB1), pp. 13L2. Two pictures by showing Pagans singing and accompanying himself on tho guitar are reproduced W's The Art and Times of tho Guiter (London, 1968), pp. 244-5 ear witness that the jginality and freshness of the melody, the harmonic interest and the vivacity of the rhythm, are much superior to those of Manuel Gar- cia and of Iradier. Above all we owe to Sor some boleros which aro veritable jewels.) What exactly are seguidillas (or boleras)? One of our most important sources of information is an article by Sor himself, called “Le Holere’, which he wrote for the Encyclopédie Pitto resque de la Musique of A. Ledhuy and H. Bertini (Paris, 1835). ‘This article is reproduced in facsimile at the end of the present edition. In it, Sor begins by explaining how seguidillas are related to the bolero. A seguidilla is a type of poem, which may be set to music. If it is set in such a way as to suit the dance known as the bolero, it is called a soguidilla bolora or seguiclilias boteras (or simply, in the musical sources, boleras or voleras). This is the terminology used in Spain before the French invasion of 1898, ani it is the terminology used in this edition. However, outside Spain after the invasion, the one word that everyborly knew was “bolero’, and this is why Sor called his article “Le Bolero’, why elsewhere he called his own songs boteros rather than seguidillas, and why Peia y Goni in 1881 also called them boleros. It is penedpally a later usage rather than the original one. Sor sets out the history of the dance, the bolero. The first seguidillas that were danced to, he says, were Seguidillas Man- ‘chegas (j., from La Mancha), ‘a cause de lear mouvement plus vite que celui des Murcianas, et surtout des Sevillanas'. This dance ‘was adopted by the “bas peuple’. Then a young man nicknamed bolero, ‘the flyer’, because of his agility, added faster steps and in order to fit them in used the slower music of the Seguidillas Murcianas, while still (says Sor) beginning his dance with eight Das of the Manchegas. The dance was named, after him, the bolero. ‘This form of the dance became very popular, espectall in theatres, where it was danced during ihe cntactor as Gi witnessed in Barcelona in 1797. But it soon became very com: plex, grotesque, even lascivions, and fell out of Fashion; yet at the same time the songs that were associated with it becan more favoured: Au fur et & mesure que cette danse perdait de sa vorgue, les Segnidiflas que Ton y chantait furent général ment adoptees, ct clks_ sont” encore jour iui a. Ja mode, sons le nom de Boleros ou Seguidillas Boleras. (AL the sume time as this dance lost its popalarity, the Sounidlillas that were sung to it eame to De generally adopted, and they are still fashionable today, under the name of Boleros or Seguidilles Boloras'.) This passage is important because this is the stage fo which Sor's seguidillas in this edition probably belong. “The next step (says Sor) was the rehabilitation of the dane about 1801, by a dancer named Requejo. He is said to have come from Murcia. He made it slower, more dignified and graceful, and replaced the guitar with a small orchestra. This was the form of the holero that vogue when the French, lancers had fled, and those aban Calderiny ‘agrees with thi and says the thin Covezo from La Mancha or A theories about the origin of the name bolero have been achanced; see, for instance, the article ‘Bolero’ in the Enciclopedia Universal Europeo-Ame ‘or himself composed “boleros! in Barcelona that were performed in fan entacle (Diario de Barcelona, 10 Decomber 1798), But whether these ‘ete instrumental music or songs i mnt elear, 'S Katchaner Calderin, Excrnas andaluzes, p, 28, who remained snd danced for the invader added gipsy steps to TeThe Frensh alded sowie ol the ofie; en Gi Halo’ that conquered Burope was unrecognizable, M. Conlon a éprowvé plus de difficulté A instruire ‘mademoiselle Mereandotti. Espagnole [the famous dane- fer], qui dansait deji le Bolero dans Ie veritable genre caractéristique, que si elle n'et jamais rien appris. (ML. Coutlon tad move difficulty in teaching, Mlle Mes- eandotti, who as a Spaniard already daneed the Bolero inn the characteristic style, than if she had never learned anything at all.) In the same Encyclopédie is a biography of Sor, written in the third person but in such detail that it was almost certainly he who wrote it. From this we learn that he composed “boleros’ in Bareelona in about 1802-3 and in Madrid in about 1803-4, where they were much in demand. This coincides exactly with the sta ment above, that after about 1797 seguidillas boleras became very popular in Spain while at the same time becoming dissociated from tho dance, and very probably this is the stage to which mist of the songs in this edition belong, They are related to the dance yet independent of it. They can hardly date from before about TIT, when Sor as a young man of nineteen was just beginning his career as a composer in Barcelona; ancl (except for no. 12) they certainly date from before his exile in 1813. Therefore they are products of the late Spanish baroque, “the age of the growth of the bullight, of the flowering of the minor arts and Tandierafts, and above all of popular music and dance’ (Gerald Brenan, The Literature of the Spanish People, London, 1963, 1p. 902}. It was an age in which, despite the strong influence of talian music, the native popular tradition was vigoros and respected. Manfred Bukofzer writes, in his Music in the Baroque Era (London, 1948), py 175: ‘Here [in Spanish secular music of the 17th and 18th centuries] we have one of the very few exam- ples in baroque music in which the influence of folk music on art music is more than wishful thinking’. Sor’s seguidillas reflect just such an influence: they are the contibution of the greatest {guitarist of his age to a popular tradition which is still alive today. ‘The text of a sogui ally had seven lines, and sometimes only four. The fist four were called the copla, and the last throe the estribillo. A strict metrical form was observed in which the Tines always had alternately seven and five syllables. The rhyme- scheme, however, was looser than the metre: the second and fourth lines had to rhyme together, and the fifth and seventh, but either rhyme or assonance would do, and the other Tines might for might not rhyme together. Here is an example from this edition, no. 11: Las mujeres y euerdas ‘De la guitarra, Es menester talento, Para templarlas, Flojas no suenan, ¥ suelen saltar muchas Si las aprietan, (Women and guitar strings: you need talent to tune them. If they're slack they don't sound; and lots of them, if you tighten them too much, break’) So short a poem, like the limerick in English or the haikw in Japanese, must make its effect ina small space. It often does so by playing on words. In the above example, templar refers both to women and to guitar strings; and in no. 12, cara means “face ‘and also ‘dear, costly’, ‘The subject-matter is nearly always amorous, Either a mood is set, generally a sad one, or a humorous point is made. Sor says of the poems: “En effet, les paroles en sont généralement tr2s spirituelles. cr brevity has a long tradition behind it, going back to the ‘comat Iysies of the Spanish Renaissance, to certain medieval poems throughout Europe, even pethaps to the very oldest of all Romance love poems, the tiny Kharias of Moslem Spain (see, for instance, Peter Dronke’s The Medieval Lyric, London, 1968, Dp. 86-51}; and similar eoplas are stil being written, composed, sung. and collected today. The imagery is traditional too. For example, ‘Si dices que mis ojos' (no. 7) is a love lyric but uses us terminology, just as did the Spanish Renaissance court lyric: the woman says ‘IF you say that my eyes kill you, then you'd Detter make confession; take the sacrament; for Tm on my ‘The music of seguidilas, like the text, is short. But repetition is used, according to certain fixed p musical sections, just as it had been centuries before in. the Spanish villancico, the French rondeay, or the Italian ballata, In Sor’s seguidillas, the repetition scheme is nearly always the same. And the rhythm is always triple, Other musical features are char acteristic but not invariable, Thus, within the basic triple rhythm, triplets are common. A favourite melodic interval is the descending augmented second: for instance, C sharp to B flat, or D sharp to C natural. An instrumental introduction is frequent. And the accompanying instrument most favoured is the guitar, though the piano is also found, as in nos. 8 and 10 in this edition. In seguidillas of this period, a solo voice is usual, though some are duets or trios. ‘These features are found again and again in seguidillas composed in Spain at this time. ‘They occur in seguidillas by Moretti; in anonymous songs of a simpler and more primitive mutations of words and 7 type than Sor's; and in more advanced anonymous ones. Bat the situation changed. ‘The bolero caught the imagination of Europe and became part of the Spanish aura of Romantieism, a that produced such works ay Hugo's Hernani or Bizet’s Carmen. Te was danced and sung everywhere in Europe, and examples were composed and published outside Spain. by Sor and by many others. Its popularity culminated in. the most famous bolero of all, Ravel's Boléro for orchestra (1928), And in the boleros published outside Spain in the nineteenth century, the style changed. ‘The guitar yielded to the piano as the favourite accompanying instrument; duets and trios with piano accom ment becune more frequent; the characteristic repetitions were abandoned; and more and more the songs betray that they are no longer the genuine product of a culture on fis own ground, Sor played his part in this later diffusion, by composing andl publishing both arrangements of his old. seguidillas and what appear to be new ones, under the name of boleros, But these Tater songs are not included here. This is an edition of those songs, ancl only those, which Sor composed before leaving Spain in 113 (or within a year of leaving it) and which therefore belong, to an anthentically Spanish tradition. The later ones are excluded, although for the sake of reference they are listed in the Catalogue below. ‘These early songs were distributed not in printed editions but in manuscripts. In Spain at that time it was customary to have music copied by 2 seribe, in an establishment called a copisteria, and the three manuscripts used for this edition show every sign of having been copied in this way. Though they are all’ three now in London, they certainly originated in Spain, in one case 9, MS Egerton about 1613 and in the others by 1819 at the Tatest. The one printed edition that has been used (for no. 12) was published in Paris within a year of Sor’s arrival there in 1813. Despite extensive search, 10 manuscripts containing seguidillas by Sor have been Sor's sophisticated yet simple accompaniments. respeet and jcately. support the texts. They show an awareness amd ap- preciation of these elegant, brief, and witty poems. The maning ‘uiplets in ‘Las mujeres y euerdas’ (no. 11) gradually nse to sug, gest the idea of tuning a guitar (or, in this poem, a woman); and the repeated bass notes and arpeggios in Muchacha, y la ver _gienza’ (vo. 6) are appropriate to that grotesque poem, The iceompaniments are generally for guitar, and in only two known, ‘eases for piand (00. 12 has altemative guitar and piano aceon ptniments). When performing the songs. it is important to remember that in the early nineteenth century” the piano ‘yas lighter in tone than it is today, and that the guitar wa smaller, lighter in tone, and gutstrung How far are Sor's seguidillas original compositions, andl how far arrangements of popnlar songs? We cannot know the full answer without much more research on this neglected period, bat the evidence suggests that the concept of originality is not relevant to this still pre-Romantie period. Sor took his phice uuithin a tradition, rather than asing its materials to make entively new compositions. The various different versions that are knowin of his songs demonstrate this fact. Someti Jnown in which the words are the same but the music different (vos. «4 and M1); sometimes versions in whieh the musie is the same but the words different (nos. 2 and 8); and sometimes both words and music are similar but changes have been made (no, 6 exists in a version for two voices instead of one and with piano accompaniment instead of guitar). It seems that interchanges secre made readily, that there was little attempt to preserve this rich wadition allowed for adaptation, Sor’s seguidillas. spring t include anything composed after that es pone here is a list of all his sh arranged aceording to source: first he present edition, and then all these later fuscum, MSS Egerton 3288 and 3289. These are ly Eau! mans ech Uearng on the we words ‘CANCIONES ESPANOLAS" and "TOM. Il" respectively, and consisting of groups Pees ea en Te ively, Egerton 9288 is inseribed inside the yd cur los 11 words ‘Seis Voleras / Con acompatiamto, de wing the following. group of six songs: 1, Hf, 106 verso-107. somes’, ff. 107 vers0=108. “Acueidate, bien mio’, ff. 108 verso-108. ‘Prepirame a tambe’, ff. 109 versc-110. ‘Cémo ha de resolverse’, Ff. 110 verso-ILL “Muchacha, y ta verguenza’, ff. 111 verso-L12, Pues ‘This manuscript also contains a version of a three-voice song hy Sor; see below, Copenhagen, Royal Library, Rung Collec tion, MS 1066. Egerton 3285: 7. ‘Si dices que mis ojos, Hf. $8 verso-89. London, collection of Robert Spencer. A bound manuscript bearing -on the front cover the words ‘SPANISH SONGS j LADY HARRIET CLIVE’ and on the spine “SPANISH SONGS’. Oblong format, c 30 X BL em. 3H pp. Like Egerton 3388 arn! 3289, it consists of many songs and groups of songs bound together, It is uniform in binding amd forinat with another manuscript in the collection of the present editor, which bears the same words on its front cover and spine. The signature ‘RIL Clive’ appears many times in both volumes. ‘This was Robert Henry Clive (1759-1854), M.P. for Ludlow from 1818, who in 1812.14 accompanied Lord John Russell and G.AP.H. Bridge man (afterwards Earl of Bradford) on a journey through Spain and other countries, Bridgeman wrote letters back to England, which were published as Letiers from Portugal, Spain, Sicily, ‘and Malta, in 1812, 1813, and 1814 (London, 1875), and ina letter dated from Madrid on 10 July 1813 he writes ‘L have got some Spanish music here, which Twill send the first ‘opportunity’ (Letters, p. 120), Clive's signature in these two volumes suggests that it was on this joumey that they were acquired. 8. ‘Los eandnigos, made’, pp. 89-91 9. “El que quisiera amando’, pp. 93-95. 10, “Si a otro cuando me quieres’, pp. 97-99. “Al mediator jugando’, pp. 101-103, a version of no. 2 in this edition. Morena de mis ojos, pp. 105-107, another version of no. 2 in this edition. LL. ‘Las mujeres y cuerdas’, pp. 109-111. BOLERO DE SOCIETE / avec Accompagnement de Guitare et Piano |) COMPOSE ET DEDIE / A S.E. MADAME LA DUCHESSE DE ROVIGO / PAR M. FERDINAND SOR. (Paris, Mme Benoist, nd. (1513 or 1814)) Two pages. No plate number. Copy: Paris, Bibliothéque Nationale. A printed edition of: 12, “Mis deseuidades ojos’ SoNcs NOT IN THUS EDITION A printed colle« di Musica. Contains a version for two voices and piano or guitar of no. 8 in this edition; see the notes to that song. on of unknown ttle. Copy: Milan, Conservatorio IMPROMTU, / dans le genre du Boléro, Harmonie Institution, n.d. (1819) Copy: London, British Museum. A printed version, for two voices and piano, of no. § in this edition; see the notes to that song. ‘A manuscript in the collection of Robert Spencer, London, Contains a version of no, 8 in this edition; see the notes to that song (London, Regent's 10 Copenhagen, Royal Librar Collection, MS 1065. A manu- scaipt apparently of the early nineteenth century. Oblong format, ©. 36 X 25 om. Includes: “Cuantas naves se han visto! For three voices aud piano, in C. Headed “Bolero @ tres voces de Sor. Four lines of text. Other versions are in London, British Musenm, MS Egerton 3289, ff, 152 verso-154, where it appears as an anonymous song for three voices and guitar, in D, with words beginning ‘Mucha tierra he comidk Centos Espaioles, for which see below. and in “Tres | SEGULDILLAS { Boleras / A DOS YOCES / con Acom- ppafiamiento de Piano Forte / Compuestas / y Respetuosamente Dedicadas / la Exma. Seiora / Duquesa de San Carlos / por su humilde servidor / F. SOR. / PRIX 6f. | Paris, Chez, AUTEUR, Place des Italiens, Hotel Favart / et Chez MEISSONNIER, Boulevard Montmartte, No. 25 Ten pages. No plate number. Copy: London, British Museum, A printed collection of three seguidillas by Sor for two voices and piano. Published not earlier than late 1826 or early 1827, when Sor returned from Russia to live in Paris, andl not later than about 1892, when the publisher Meissonnier moved from 25 Bd. Montmartre (C. Hopkinson, A Dictionary of Parisian Music Publishers 1700-1950, London, 1954), The Duke of San Carlos, Spanish ambassador to Paris, died on 17 July 1525, and thi edition may well have been published before that date. “Puede tuna buena moze’, pp. 24 “Me pregumta un amigo’, pp. 5-7 “Lo que no quieras darme’, pp. 610. REGALO LIRICO / Coleccién de Boleras, Seguidillas, Titanas / y Denuis Canciones Expatiolas. / Por los mejores Autores de Andalucian Anntal for 1837 (London, 1836). Copy: London, British Museum, A printed book including on page 23 0 i version without words of ‘No quiero, no, que vengo’ (sce Oblon 6 Regalo Lirico above). 7 ongs by Sor, the fi os Espanoles, cd. E. Ovén (Miilaga, 1874). Copy: Madrid ‘ \ Re “nt lage, Nacional, A printed book inchiding versions of ‘ongs by Sor, the first for three voiees and piano, and the second for solo voice and plano. *Yo sembré una mirada’, pp. 25-29. A version in C of “Cuantas faves se Han visto’ (see above, Copenhagen, Royal Library, Rung, Collection, MS 1085), _Pa)irillo amoroso, pp. 98-43. A version of no. 7 in this edition; see the notes to that song, 3 s, Bibliothique Nati icle by Sor ent e u EDITORIAL PRACTICE Sretanc is modemized. Punctuation, capitalization, and indenta- tion are editorial. In this edition, 1 have printed each poem separately before each song. In the original sources the usual practice was to underlay only the copla (lines 1-4) and to write the estribillo (lines 5-7) out separately. Only in nos. 8 and 9 is the estribillo underlaid in the original sources. In no. 5 there is no estribillo at all All omaments and slurs are original, All accidentals and tempo indications are original except those in brackets, which are editorial. Obvious errors are corrected without note; all other changes are recorded in the notes. Sometimes when « passage recurs, there are minor differences such as the different spacing of a chord, or the different order of the notes in an arpeggio. [have not standardized these, though there secms no reason why a player should not do so if he wishes. Strict observance of these details is inappropriate to these songs. ‘The underlay of the original sources has been reproduced exactly. Sometimes the accentuation of the Spanish is a little odd, for instance in ne, 11 where the music implies menester instead of menester, and performers may feel free to alter the accen- tuation if they so wish. T have given no fingering. The accompaniments are simple, and any competent guitatist should be able to work out his own. Originally the singer probably accompanied himself. 2 1¢ indication ‘Andante’ almost certainly does not mean so slow a tempo as would usually be meant today. Its meaning is rather ‘with movement’ In the original sources, repeats are indicated by a form of shorthand. In the set of six seguidillas in MS Egerton 3289 (nos. 1-6 in this edition), the music of the first part is always fully written out once more at the end, and there is always a final bar with two heats rest and the direction ‘Al Segno’ (see facsimile of no. 2). This final bar is to be interpreted as the final bar of the whole piece, and the frst time through the performer is expected to proceed without a break as he had done at the conesponding point earlier in the song. The printed source of no, 12 confirms that this interpretation is correct, and the tram: scriptions of nos. 1-6 have been established accordingly. The same is true of nos. 9 and 10. But the sources of nos. 7 and 11 are Aifferent: they do not write ont the music of the first part once more at the end, and there is no final bar. In this edition it has been assumed that the repetition pattern and underlay sequence of these two songs should be the same as in nos. 1-6, and the transcriptions have been prepared accordingly. Final bars have been invented for them on the analogy of nos. 1-6. No. 8 is @ special case which does not follow the usual repetition pattem at all In this 1983 reprint, the facsimiles of ‘De amoren las prisiones’, “PL ‘que quisiera amanda’, and Sor's article ‘Le Roléra’, are all reproduced at actual size. “this ghee one i ehtnged searing, © f MS in the collection of Robert rite itlo-page with the words ‘Siguidilles / Pova Ipod a Revo Guitar soeeranncn. Te Np recar juzando ve ti Se Lasriltdos yobs. ¥ ol cash ha sido, fe Sno met Basto Me dan Catillo. " Kore Liwas playing “meaiater’ with three tadice, in less tha wero. gave them xo what happened then ‘was, that #1 i ace OF clibs, T was oat of the “an amorous poem is full of double meanings. ‘Mediator’ is ne Spanish cant game which wae extwomely fashenable tho ond of the eighteenth century, The term Ombre or The ye pity who undertakes to play aga the teat of re was played by three persons, with a pool of counters and vthe eight, nine, and ten being withdeawn, Mediator sons The terminology of the game fe Spanish and. ® In Tine 3 of this poem, om menor do dor credo itso eredos' ‘very quickls”, Volas means tricks —or, nove lato means the ace of clubs — or, snore commonly. a stick ¥ esto ez Io certo, Merern de mis ops, No" pongst Pleo (Come with mo, O dack giel of my eyes: even if you have. no father, you" shall havo a husband Zod hy cnt 0 gt my dont complain) “The morene or dark girl 1s a traditional figure in Spanish folksongs. She may have Moorish ancestry, and here sho is fatherless. ‘The lest line, No pong Plesta isa litle cbscure, Usually, plete moans a ivssut or Migation, bat in this contest i scems to mean singly a complaint 3. Acuérdate, bien mio London, British Muscum, MS Egerton 9289, ff, 108 vorso-109, the third sis Voleras’. Heads! "De Ydem': ie, by Sor. ‘and 20° In the last chord the second highest note reads © at bar 6 1A at lar 20 in the original Ether is possible; in the transcription C has heen adopted. of 4. Prepirame In tumba London, British Muscum, MS Egerton 3980, ff. 109 verso-110, the fourth of ‘Sets Volerae’. Heald “ilo Yen" be, by Sor [A different anonymous setting for voice and guitar of this poom is in the same manuscript, (124 verso-125, The words differ lightly, being as follows Prenat ne ly wre aso epi & Boner asus aoe BOWS eda No siento tanto BL more como el bese Entre sus brazos 5. Como ha de resolverse London, British Museum, MS.Eygerton 3289, ff. 110 verso-111, the fifth ‘of “Sele Voloras’. Headed “de Yen's ie, by Soe 6, Muchacha, ¥ ta vereiiensa London, British Museum, MS Egerton $288, ff 111 versol12, of Seis Veloras’. Unlike the other five songs in this sot of six, this one is not epecifically atebuted to Sor, but it is probable that the attebution was omitted in for The place of the ual atributicn on the page is taken by the heading ‘La Senta en far, that sy the sath string (or cone) 48 to be tuned to twill be found, in fact, that the scordatara sn unnecessary. The accom. niment can readily be played with tho sith string tuned to E. "A version of this song for two voices and piano is ia London, Clive MS in the collection of Brian Jolfery. pp. 91-93. tn which the word cucarachas it roplaced by musaraas (shrews, mice). This version 1 headed “Sogyiilas ss dup / de Leow, he., by Jou Rodeiguer de Leén. ‘A wealth of popular superstition and symbolism was attached to cockroaches. For instance, was sspposel that the black beetle, wih which the cockroach war often Hentifed, ate the core of the apple 1. 21 Voice part frst beat; in the original the eyllable is writen in each ease st quaver, ‘This has been alterel for the ‘Ske of the acceatuation 16 Voice part, final beat: the original has two quavers, Dutted following lar 4 15. Voice part, final beat: the omament is Incking in the original, Aled following bar 1 Si dices que mis ojos London, British Museum, MS Egeiton 9288, ff, $8 verso-89, The song. is headed “Valerss de Sere “All Sor’s are good’, someone has written against this ng in the manu script. He most have meant not only this one, which is the only. song ftbuted to Sor in this manuscript but ako those in the twin manuscript Egerton 3280, fon schome is not clear in the original. Since the song. is the repetition scheme of seguidill boleras, as in nos. 1-6, idopted in the teanscrption, a5 explained tn the elo’ rake “ve, ‘The final bar is editorial. Th Cantos Espafoles, ed. E, Oobn (Milaga, 1874), pp. 38-43, is a song, Alo voice and piano, “Pasi amoroco. wich 4 headed “trust. poe {Sort y por etros & Munguia. On examination, % ture out to bean FR Ge Ss gun ais Gel, will tines ‘gato Ufloont stares “in elaborate piano part, Pethaps Marguia, who was organist of Milaga Cathedral and a friend of Sors, was responsible for *, or perhaps Ocin ot pine other acranger, 8, Soguidilias del Requiem eternam: Los canénigos, madre onion, Clive MS in the collection of Kobert Spencer, pp. 89.91 Sepa il pge with tho wos Seguin del gute earn / Con “Aconnpto, de Botte Piano / de Sor ‘This was one of Sor's mest populer songs and exists in the following ‘thor versions: 4) A piled veson for two voices and plano, publi London in 1SL9: a e “ IMPROMTU, / dans To gente dy Bolo, / fait au Sujt di grand Laruit que on fait / "avec tes Clochos Papeis midi do Ta / ‘Toussaint en Espagne, / Par /F. SOR, 7 Malaga Tan, 180W, as sung by! the / Misses ‘Ashe / Proprdts donne par Youttur AMF, Ashe. / Ent. Sta. Hall, Price 26/ /- Londen, ined) by / THE RECENT'S HARMONIC INSTITUTION, Seven pages, Plate umber 115. Copy: London, Brith Meum, TWN eo to we alone No tocarin campanas oes, “Muy poco sve ¥ en tal entero Solon osengese ita do deel vont ring belle when 1 die, for the Seath oft sad person docee't male much nolo. Belang ina ey mtr Os oe despa ¥) A printed version for to voices and plano or guitar. The only known copy, in the Conservatorio di Musica in Mila, lacks title-page, bat it appears to have formed part of « printed collection of songs, probably published in Paris. The plate number is $35, and the title BOLERO A SOCIETE / PAR MA. SOM. The sone ocspes to pages The worts are Los canbnigos made Ro teve Mos (Que Tos que hay en a casa on seb Ay madre mio, A.ch Gananige quire Paar | Ne tea coms Que a muerte de ta tee ‘tur poco suena. ¥ on Las parcequias EL ieres neal Mueve fae bolas. ©) A momscript version for solo voice and guitar in the collection of Robert Spencer, London. Te ocears as 'Boleras / de Sor, one of a numbor fof songs i a manuscript volume bearing the ttle “Songs / with Accom ppaniments 7 for the / Spanish Guitar. / 1816, the inseription and the book-plate of ‘John White Esq’ ‘The words ae as follows: No doblacin campanas ‘Quando yo inuera, Que la muerte de ui cise Mui poco suena ‘Two sets of words, then, aro associated with thie melody: "Ne tocarin ‘campanas’ ard “Los eanénigos, madre’. ‘The former ate more appropriate #0 7 & melody based on the Requiem Mass, and te All Saints’ Day, andl so may well have een the original ones, Of the four sources ouly the’ Clive matin script certainly dates from Sor's time in Spain, and 0° it ts that version which Is given im this edition. The demisemiquavers in bars 1, 3, 19, and 21 are perhaps not to be taken in strict time, 13. The tie in the piano part & editor 9. EI que quisiera amando London, Clive MS in the collection of Robert Spencer, pp. 93.95, Separate title-page with the words ‘Seguiillas / Con Acompto, de'Cruitarma / Dol Sr. Sots’, ‘original’, and “Revised 4h line 1, the original reads quisler, am older form for quisiera In line 6, the suelden change from the thitd person to the second seems to serve to emphasize the signifcance of that lite 30. The oviginal adds a C sharp below the Es in the guitar part Akered following har 4, 10. Sia otro cuando me quieres London, Clive MS in the collection of Robert Spencer, pp. 97.99 Separate title-page with the words “Seguidillas / de: Séx In line 5, mala is short for mala cova 1 Tbe first note ie crowded with no Kes than three vowels: “Si a 0” Hut the soguidilla form requires a fst ine of seven syllables only, and so there is no way in which this ean be avoided, 4 and 16 There is no accidental against the F in the piano part in the ‘original The natural & editorial; but it may be that this should be a sharp, 11. Las mujeres y euerdas London, Clive MS in the collection of Robert Spencer, pp. 109-111, fe with the words “Segutdila/ Para Guitare / Del SO ‘The repetition scheme is not eloar in the original. ‘The tepetiton scheme f seguidilar boleas, as in nos. 1-6, las been adopted in the trantenption, 6 as explained in the editorial rote alone. The final bae original time-sigaature is 3/4, tn Tine 6, salar means to break, when one is speaking of guitar strings: bat in connection with people, ie can mean to be initated of estless 3 and 5 In the origina, the underlay in these two bais 4s different The version of har & has been adopted for the transcription, 35 tn the origina, the A in the voice part is sharp and tke C in the sitar part x. This has heom altered in the transeriotion Another anonymoas and totally different setting of this poem, for voice and gitar, it in London, British Museum, MS Egerton 3980, If. 139 verso 30. voditoral. The 12. Mis deseuidades ojos ‘The source is a printed edition: BOLERO DE SQOUETE / avec Accompagnment de Cultare e a Piano / COMPOSE ET DEDIE SE. MADAME LA DUCHESSE DE ROVIGO /PAR M. FERDIN, ND SOR, “The song wan pbb in Pare probably carly in 1614, tht is shory sce Sor ative therefrom Spain ie 1810; by Name Bers as re fume Cine pubs the fet Hapa elton of hs Sie Petes Pla ae Jeu a8 bis op. 5) ane tino patron sone by ine tes Ine Lblogrephe do TEnpie Fretran on 4 Febery Told. The oa feat «ony, sind by Sor, fn the BibltNeque Naso, Pai The delist, the Duches of Rovigh vas the wile of Anne ean Mari ent Swvmry, Due de Rovio, Frowh soldier and contdant ef Nope, Tho song i exception ht tn tm Wat K camer om 6 Pee euro, that ‘tht source dates rom after Sor's departure fom Spin hee a ts ‘original altermative accompeniments for guar or fo" panes ant th Cutt mere than one sara. Silly, phage should aor'he Seta hu fe boon inched, Rly beciute probably was compen wie Spe wat atl in Spain, ae secon onder to compte The cht al So" Koon bolero: and guile wih guar tal he Ir ne ae wh plano 12 The origin undety does not sido me and ei. This gives one slble ta many forthe ne and hs heen change) accel 35 uit: pat: in the exgal thve 4 a slur tom the of the fst leat to the Gof the second be 17 In the hast goup of seniguavers, the Bs are presumably Ht, both becaue of the B Ri in de accomprnatent and on the analy of har wee the Mati specited Hat Ht not lear whether the fe veo We Sar shut bo fat‘ naturel Inthe transciponi has been sme to he natural on the analogy of bue 4 whe the fat Is specibal 21 The gaia and piano pats (bat not the sce) have & queer Sted of crotehe in the eral " 7 CESA DE ATORMENTARME Gesa de atormentarme, Cruel Memoria, Acordindome un tiempo Que fui dichoso, Y atin Io seria Si olvidarme pudiera De aquellas dichas. (Cease tormenting me, cruel Memory, re- minding me of a time when 1 was happy. Happy wouki I be still, if 1 could but forget that happiness.) In all adversity of fortune the, most wretched is once to have been happy.’ Thus Beethius (De Consolatione Philosephiae, 11 i), and the theme was very much in vogue in Spanish Renaissance poetry and there- ajter in traditional love. poetry. Memory here torments the poet with recollections of past happiness. The personification of Memory is a technique characteristic of ear lier tove poetry Bes aie 5 mes tae fa, A-cor- din- do- me un Siol-vi-dar- me pu- Que fut die A cor- din- do- me un Dea-que- las Siol- vi- dar- me pu- Que fui di- Dea-que- les 2 DE AMOR EN LAS PRISIONES De amor en las prisiones Gozosa vivo — jay! Y sus dulees cadenas Beso y bendigo — jay! Y ol verme libre Mis que el morir me fuera Duro y sensible — jay! (Happy I live in Love's prisons, and 1 kiss tnd Pies its sweet chine "And to, Bid iyself free would bo harder and more ful for me than death.) GUITAR A woman's song. as the word gozosa shous. This was rightly one of the most popular of Sor's songs: see the notes for details of other versions. - 2 sve Yo sus dul- ces Ye ver-me ik = 5+ = -bre Mis que el mo- rir me ———____. ————— - i at = = Sate 6 SS SS Sr es ra Du- ro ysen- i - = = = ble, Mis que el mo-rir me fue = = = = fe SS yp? ae Be- so yben-di- go ra Du- 10 ysen- si- ble. 6 ~ ze o = = = a i a +e" 2 7 23 3 ACUERDATE, BIEN M[O Aenérdate, bien mio, Cuando solias Buscar las ocasiones Para las dichas. Y ahora mudable Huyes atin de las mismas Casualidades. (Remember, my dear, how you used to look for opportunities for happiness. And now, fickle, ‘you flee from just such opportu: nities.) The opportunities for happiness which the poet has in mind are, doubtless, oppor tunities for amorous encounters. Andante _ : E == eer See eee 7 SS = Feur- da- te, bien mf 4 GUITAR, 4 Cuan do Bus- car las o- Y aho-ra Hu- yes atin de jus -car las o- Hu- yes aun de fie a ome Pa- ra as di - - - ~chas. mas Casa-He da- == = + + des, Ca-sua- is das = ~des. Prepirame a tumba, Que voy a expitar Fn manos de ky madre De la falsedad. No siento tanto 1} morir como hallarme En tales brazos. for 1 shall die of all falschood. to find myself in (Prepate for me my tor the agms of the moth th L fear less. tha sich arms) Andante 4 PREPARAME LA TUMBA Death in this poem is probably to be taken in an amorous rather than i 4 literal sense. ‘The mother of all falschood’ is a strong expression; yet the lover is still in her arms. —— phere ges GUITAR oJ me En tar les re De la fal é P = ips @é Zs wu aS re De In fal- s6- me En ta-les bra —— pt aL 7 GUITAR = COMO HA DE RESOLVERSE No doubt the ship of passion and the sea fof love are meant, No estribillo is gévon; if there ever was one, perhaps it developed this image. Para 86 Aquel que desde lejos Ve tempestades? (How can he resolve to set sail who sees tempests approaching from afar?) Andante Pos mem- bar- ears = - 2 = - = z a = f =e h : " 6-8 fe Sa - ww 6 MUCHACHA, Y LA VERGUENZA Muchacha, y la vergiienza, Tooth-marks, it seems, have aroused the {Dénde se ha ido? ‘mother’s suspicions regarding her daugh- “Las cucarachas, madre, ter's honour. But what exactly is meant by Se Ta han comido” the cockroaches? Muchacha, mientes, ~ Hussy, you're lying: cockroaches don't have teeth.) Andante gDin- dese ha GUITAR o> Dén -de se ha i+ + do? ‘Las Mu -cha~ cha, = = + = tes, Por la han co- —mi- ~~ do, Las cu-ca- ra- chas, mad- re, Se la han wo No tie- men dien = : - Por-que ls ets cas me No ties nen Si dices que mis ojos Te dan la muerte, Confiésate y comulga, ue voy a verte, Porque yo creo Me suceda lo Sino te veo. (If you say that my eyes Kill you, then make confession; take the sacrament; for Tm going to see you. For 1 believe that the same thing will happen to me unless L see you) [Andante] 7 SI DICES QUE MIS OJOS Awoniew’s song. The so guice_ of seeen line, the pom gives @ teat it to Se Moves then kee anced Ue Teel Enon liché about dying. of. 1000: the porer of hits lady's eyes has bewitched hi! 99 tt only “deuth-—embicalntiy, either in the literal or sexual sense —can fellove hin. For hor, lovceoen, iis the ‘other xy found: nol to sce her lover te Macth for hen The avo of reigns erm nology tn lows poolg ta omclon, ane cher cleric of the worly Spanish: Rewaisscace canons = oa di- ces que mis o- = = jos Te dan la GurraR| mis In To dan la mace - = = = T= te, Con-fié. sas teyo- ml. . == SS a Que voy a Porque yo oe-- =~ Deo) Me su-ce-da lo miss 2-22 eee mo Si- no te mul = = ga, Que voy a mis-- -mo Si- no te ve- 0 Fi) TF Fo-yi = sa- te y co- mul- ga, Que voy a ver ce- da lo mis- mo $i- no te ve ~ 8 SEGUIDILLAS DEL REQUIEM ETERNAM Los canénigos, madre, (Canons, mother, don't have children; those that they have in their house are little nephews and nieces. Oh, mother, T want a ‘Son sobrinitos. canon, s0 that I can be an aunt!) ‘Ay, madre mia, Un canénigo quiero This Iumorous anti-clerical song. parodies the ‘intonation of a requiem mass. Andante ae =) 2 Peja eee] 3 a ina = ¥ See Los ca-né -ni-gosymad -re, No tie-nen hi- fos; Los que tie-nen en ca- sa Son sob-ri- ni- tos. Los ca- nd- nt- gos, | eS | we PIANO que tie-nenen ca-sa Son soberie nhs = = 2 tos, g EL QUE QUISIERA AMANDO E] que quisiora amando Vivir sin. pena, Ha de tomar el tiempo Conforme venga. Quiers querido; Y $i te aborrecieren Haga lo mismo. (Fle who wants to Jove and yet live svithout problems, must just take time as it comes, Take someone to love; and then, even if they hate you for it — just take time as ite Andante = = —————— = SS ES ae f= BL que quis sie- mw a curr aR l@y > aS SSS a es Sl ow == AS = : == = é 3 o —e = 10 SIA OTRO CUANDO ME QUIERES Sis to euidy me quiere {Hf you givo your hand to someone eso | mano le das, even when you love me, just think wha Guando ya no me quieras, you'll give him, when you've stopped lovin TDi qué le daria Beal Te wenldet bo a bad thing’ 1 died Joving such a bitch) No fuera mala . E] que yo me muriera A man is addressing a woman, as the word Por umm canalla otro shoves, And in the last three lines it seems that even knowing her ficklencss, he Andantino cant stop loving her Siaot-ro cuando me quie- ~~ a m-no le PIANO das, ds, Cuando ya no me aL que yo ime 38 — Cutan-do me quie i qué le toe EL que mu = rie Por un ca Di qué Te qué Ie Por um ca- meas na i LAS MUJERES Y CUERDAS Las mujeres y cuerdas De Ia guitarra, Es menester talento Para templarlas. Flojas_ no suenan, Y suelen saltar muchas Si las aprietan, (Women and guitar strings: you need falene to tune them Ir theyre Mack they don't sound; and lots of them, if you tighten them too much, break.) Allegro poco Las mu- je-resy cuer= das, GUITAR De la gui- tar An ainusing song, to a poem widely current in ts day. in which the guitar aceompan ment provides a firm reinforcement for the flowing rhythm, — Tas mu =je-tes y gui De Ia gui- Flo- jas no to Pa-ra tem- prs. - ~~ has, Y sue-len sal-tar mu-- ~~ - = = -chas Pa a Pa-m tem- plar- - +--+ - las, Es me- nes-ter ta- Ten - to, i me- nes-ter ta- las y sie~ Ten sal-tar ma = chas, sue- Ten sal-tar = to Pa-ratem= plar- fas, Pa-ra tem- plar chas Silas ap -rie~ tan, Si Iasap> tie Mis desenidados ojos Vieron tu cara. 10h qué cara me ha sido Esa miradal Me cautivaste, Y encontrar no he podido Quien me rescate, Ya tomardn mis ojos ‘A buen partido, Para. no. verte siempre, No haberte visto Pues tienes cosas Que slo debe verlas EL que las goza. De mi parte a tus ojos Dies que callen, Porque si les respondo Quieren matarme, Y es fuerte cosa Que ha de callar un hombre Si le provocan. a nr MIS DESCUIDADOS OJOS (My careless eyes saw your face. Ob, how dear that sight cost_me! You captivated ‘me, and [ have found no one to rescue me My eves will now resolve never to have ‘seen you, in order that they may not be Obliged to see you eternally, Por you fess things wiih should be seen only ¥y him who enjoys them. Tell your eyes, on my behalf, to be silent; for if T reply, they seck to kill me. And it is Heed for be silent if they provoke him, This love poem begins with a play on cara Cjace’) and cara. (costly). The word ojos appears at the heginning of each stanza, ‘and the whole poem plays on the amorous innugery associated with eyes: the sight of the beloved cost the Tover dear: his eyes try to forget that they, ever saw hers the lady's eyes try to slay him, and he asks her to prevent them jrom doing 90. Andantino Mis dex -eui- da- dos curraR PIANO {alternative to guitar) 8 ro a 2 Vie- ron twee Vern ge 3 63H Sues = « Oh qué ct ame ha - 2 iin 3 ned 8 aed Yen-con= ar no he po- E- sa mie Quien meres Se 9 ep Oh qué ca- mame bn Yen-oon- tar 10 he p= \ =F 45 FACSIMILES wi Dene < ——S Sie oil # ces -- LU « legyev. yr Hts que el wiergy HES Ze 5 ta Pf SEULLOS PU AALIUE VL hl ' TF af egurdillaf ara ., C® YO on Arorye.” de itrarnn. vv Voor a.” Sort y yo Vt femaPey ca = == ——— pane aE S== =a SSE a7 que gui Jie yea man ~~ ~~ ~ Fg = > vir vizpe — ee ———— o F = GF ¥e — j= 5 SSS A= 255 na vt vir J) PE-~ ~ -> Aa er =e pale em a aw LE BOLERO. LH SOLERO, | bstantivement pour dsigner tune danse espagnole, toujours appelée Sagudla done laquelle un danseur, nommé olor, introduisit des pss «gui exigdront queljues modieations dans e mouvement cele rhythme daccompagnement de Fair pr porlant de Uair ainsi modifié, on Tappelait Segnédtn | Bolera et en parlant de la danse, ef baile Bolero (la danse Bolériennw) , et You Bnit par diee simplement ef Bolero. On a eependant consersé un souvenir de son origine, puisqac, dans les contrdles des troupes de theitre cx Espagne , celui qui exdoute cette danse est appelé ef | Bolero jon nome aussi la danseuse a Bolera, par la seule raison qu'elle est sa compagne. Crest ainsi qu'on | it en frangsis des Dugazon, les Posie, quand on parle dia Hide cee pari ces atieura, | Ge qui constitue le Bolero, cest Yair scul et non le| hythe daccompagnement. Ce rhythme peut varier sans que fe Bolero perde son caractive distinetif, et on fon sert encore pour accompagner une polonaise on plusieurs pidees d'un genre diftérent Cot air est fondé sur le métre et Taccentuat vers qui forment le couplet et MBurivillo, dont Ven semble est appelé Segudlla, Le couplet est composé de quatre vers; Ie premier ct le troisitme sont de sept aqllabes, et les deus autres de cing, L'Bstrvdio ost com poséide trois vers, qui répondent, quant & Ja quanti de syllshes, aus second, (oisiéme et quatribme vers da couplet, La rime est do Hgueur entre Je second tb | 4 du couplet, et entre Te premier ot ke tiisirme de Purvis es autres vers peuvent ne pas me peut tre consonante ou assonantc Zr BOLERO. a assonnant wwe identité du voyeles d es de chayue vers. quoiqa rents. Lit rime consonn: al a plusiours manicres de mettre dus Seguiditlas en excepHe trois (Saguidillas serins, st celle qui consti Is deus dernitnes | au Tiew d@ow sur Pavantderniére, dans le second et le quatriéane vers du couplet, ainsi que sur le premier et le troisiéme de I Estrivillo , mais jamais dans les utes, Lexemple UF indique Teneadvement des pi sort do formule A tous les Bolerns, c'est-a-dine a In Se- _gnidilla Bolero res Segnidillas qui ser les conson qui les te cat oles, qi mnt 8 faire danser Je-eow;alors| appa pourenit se trouver sur a dernigre-ssiibe } rililas de teatro y Seguidlfas do sociedad’, soot ¢ nesure a trois temps, ot se troavent renfermées dans | Furent les Mnchegazs, cause le leur mouvement plus c enchissennent musical; le degeé de Jentewr ou | vite quc eelui des Marcians, t surtout des Sorldanas ¢ de vitesse dans le mouvement ct la difference d t V0 presque tou » note par syllabe, rhythine daecompagnement,désignent les nuanees entre | excepts eur Vavant-dernién tla durée de la Seguitillas Manchegas, Murcianas, Sevillanas, Boleras, quelle on fait quelyu ion (exomple ID), La gui= del Kojo, quo Von finit par appeler Reyugjo, et ane tare maryue le temps Fort et faible de fam en eroches, en commencant avee le pouce La note ind quée, plus basse que los autres; Findex ot Ie med cen remontant, passe avee rapidité sur lee des ou re deus, trois on quatre | condes infiriewres et produit la seconde erochos Ia» temps en ame eroche etdeus doubles eroches et le veste | chute de La main, sons éearter les doigts, produit la de In mesure en eroches. Del partie forte du second temps, Finds wédins la de le nnit, qui ne ressemble pas plas an earactére de | portic faible; et le mime proc 1 jusqu'an second | musique éspaguote que te mode wiincur, et surtout Ie} temps de ta seconde mesures que Ton Frappe ayce le tan chant d'ailleurs trés joli du| pouee, en faisant de suite Tautre eroche avec Tindex netire Geossais, On voit souvent |en remontant; an fait Je dernier temps de méme que | le second et Fe woisiéme de Ta prem | doigts de la main droite restent toujours dans Ia meme ps, et dont Le com est préeéde par | position, Ie pouce et Findex un pew ceartés (s du pretenda aliythaie d'accompagnement | Toutre, Le méatius touchant Findex, et los deus eutros rv natinell «a du premier temps d'une i | seconle minewre da air, n'a le ca n met ¢ ua de deus, que Tautear conlond arce le Zolere. On éviterait cos) dane leur posit w diattaquer lea corde méprises en faisant des recherehos qui n’exigeraient | dépend on du poignet, Le nombre de qu'un peu dobservation ot de prtionee. fois que li guitare répéte les deus premicres mesures Pour bien saisir la coupe de Fair, il faut se introduction n'est point &; mais une fois le He des paroles ainsi que de leur thythme. Je désive yonee il doit continuer ainsi, On pourrait, si seulement foire sentir en Francais Pellet dun couplet de a danser, prolonger Ie rhythme Seguitdlda. Caccompagnement, pouirvin que le chemtewr attende, de coveare csriewe pour continuer, la quatritme eroche d'une seconde me- Nie die ulnar | sure. as eae quieres pas du Bolero est compose ile six temps, qui com Mira que te mencent & compter sure second temps de La einguieme i P r i sy me is rmosnne, of fnissent au cinguiéme temps de Ia teoisieme, qui ost le pren pas de Segwidiléa emploie d ‘exemple il). Le pas se fat ain position , le pied de devant marque le premier’ temps de danse; en baissa ‘ome position, on manque le second temps en faisant jouer un | oops d'une anter, ce qui Fait qu’an Sita vewe wie rejoin, v Se sera ss Le muasqu ‘Tes Folie Cluonehe Mais (ui porte wae personel, Ta Nene elise Ia pointe et en premant In quat 1 Te geno, comme si Ton voulait faire un rond de xe, 61 toijours av eela pointe baissée, om porte le pied ila deusigme position ; Ie troisiéme temps se manque en | portent le pied qui a manquéles deux premiers temps tout: we, Formate de Segatillla Br beoo7, le lg bo oer(r cet St ter veux me re you dire viens ine the a- a l-b-Wrete co belie op oer ite ad BI Pen oe tm nome in sn meer 2.8 Sse SS Soe eee Se IP Loe ocreolelo ete rl

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