Cancién de Paloma (Barbieri) 6 Tango de la menegilda (Chueca y Valverde snr.) 11 Cuando esta tan hondo (Chapi) 16 Carceleras (Chapi) 24 Fue mi mare la gitana (Chapi) 30 Qué te importa que no venga (Serrano) 38 Romanza de la Duquesa (Barbieri) 43 La pena me hace llorar (Guerrero) 50 Romanza del Pilar (Serrano) 54 Marinela, Marinela (Serrano) 60 Cancion de la gitana (Serrano) 64 Balada y Alborada (Caballero) 70Cancion de Paloma from El barberillo de Lavapiés Paloma, the seamstress from Lavapiés a downtown quarter of Madrid explains how she came by her name of ‘dove’ Popular, inteligent and ingenious, she an her boyfriend the ttiebarber“Lamparila are the clever servantsof Barbier great ‘arzwela~ rather like Susanna and Figaro in Mozart's Le Nozze di Figare| L.M. de Larra F. A. Barbieri Alllegretto (d = 138) Aire de Zapateado = Tan f 4. fm at PALOMA 2 ———— ————————— — Co - mo ma-cfen la ca - le de la Pa fa Co - moes-t mi ven- ta - na cer-ca del © - senombre me die - ron de nifaen y por él las pa - lo ~ mas tien-den el 2 ‘This edton © Coprght 200 by Unian Musial Eanes, Mad 6co-mo vue-loa- le = gre de calleen do ve-oen mis vi ~ drios quel al-baa- nom-bre de Pa - lo - ma si-guen hoy ten — der qui-sie-rael ye - lo cual las pa ~ 24 ———— Aun - que no ten-goel cue - lip tor-na—so - = mas, —___ Pe - roal ver que las ven - den en el mer - > > 28, _——— - la = do, Siem = prees-th mica - be - lle limpioy ri - ¥ que las po-bres mue - ren en es-to -que mi po - bre go mi- tad en 0c rit, 3 P > a eS : G2 + 7 t _—————— ee = SS SSS f = sim prees- td fies -coy bln - op eo mo Maes - pu wma “ay sus in = conve = nin = tet en see pa = do ma 7 7 to im - pi - ta Pa’ - lo - ma_ soy, y=. sal toy brin = co — lo quea-ru - Ilo Pa - lo - ma soy, que. siempre can = to ta ies bopo? don - de voy, Jo = ma siem por don - de voy: vn ni ten - go mas, ni ten - go bus coun pa mo, bus-coun pa - 30, . 5 ————[——————————————— SSS — oe games, ten - go. biel - 6 © - Io mo, quién seloco = 59 fr 2. 5 {Quien se- ra at? z= ety 3 4 4 , iquiés se = rk at? iauign se - ni el? quien se rd PteTango de la menegilda from La gran via ‘Lagran via‘is one of Madria’s finest modern thoroughfares, an its completion was celebrated bythe production ofthis famous satirical musical reve, which poked fun atthe patce, the ‘authorities and urban politics. The performers impersonated local streets buildings ~ anc ‘ypical characters suchas this streetwise ‘menegida’ (maidservant). D.F. Perez Federico Chueca y Joaquin Valverde snr. Tango % 3 3 3 un poco pitt lento 6 LA MENEGILDA (con acento chulesco) pp 1. Po - bre chi-ca, 2. Yoi-ba so - a 1. Sad young lady, 2. Mor-ning shop-ping: 2 3 3 Ia. que tie = ne que ser - vir! Mis va ~ lie = ra por la ma ~ fla-naa com ~ prar y me de ~ ban ser-vant to some-bo-dy's wifel Be - wer per ~ ish al-ways done best on my own! Se ~ ven ‘shi - lings 3 3 ‘Tals eon © Cope 200 Uni Muslin, SMart nl16 un poco accel. + + 7 7 que Se lle - ga-sba mo - tins por-que sies que no sabe por las ma - seis du-ros pa - rapa - gar y de se-sen- ta rea-les_gas-ta - ba than endure such a hard life If she has got no motion how to pur that makes three for me a ~ lone And our of six - ty pen-nies I might spend atempo 2» 5 =—_ — gis SS ee = J — — ~ - ~ fa nas bru ju - ean aunque mil a = fos viva pa a usin ta, oun po - co més, y 1 que me so - bra-ba me lo guar - pennies in - to her purse live for “a thow ~ sand years, she'll end inthe thirty or sli ghily more. All “of the change left 0 ~ ver ‘I'd give a = 3, 7 EI me tie-ne muy u — ¥y me di-cen jay! Iu 26= ga mas, tas ga mas, las ~ fama porque hay mucchas que Io quie-reny se que-dan con las €- sa per-so-ni-ta me de-mi-to yoy me mue - 10, ~ce-r0, que por "7 fo» fae : ap pe tet pe = Sat o ga = s, ppor-que hay muchas que 10 que por e- sa perso que - ren 30 P BS = zie is = aes a SS = y se cue-dan con as ga mas, FL me tiene my u - ~ y me di-cen jay! tu - me de-ni-t yoy me mue 53 ~ mas, las ga quie-ren —yse que-dan con las ga ta me de-mi-to yoy me mue 3 por-que hay mu-chas que to sa perso = ni - faa -ee-1, que pore 3 756, 43 z = = ga nas, y seque-dancon las ga - na. mue - 10, me de-tti-to yoy me me - 10. Ca-pri-cho-sa yo na - of, yo quic-roso- la men-te, so la-men-te para So-la-men-te pa-ra mf Que qui-tar-mea mf sua-mor es Io. mis-mo que qui - tar- le 28las ho-ji-tas a una, |____asho-ji-tasau-na a las ho-ji-tas au-na flor. Jas ho-ji-tas au-na flr. 2»Fue mi mare la gitana from La chavala (Concha, a chaval’ (ir) ofthe tte, hasbeen brought upin the slums of Madrid. In her aypsy song, she remembers her mother’s beautiful Andalusian homeland, where she too was born. Ther is another ‘reason wi she recalls her mother's story ae longs for her homeland, or Concha hersef is untcky in love. ‘She ha fallen forthe man who isto marry her bestfriend. and knows that she must soon forget him. J. Lopez Silva y C. Fernandez Shaw R. Chapi Allegretto CONCHA Fue mi ma-rela gi - ta . fue mi ma-rela gi - 4 Poco piit vivo a pi rall. Lento (un poco ad lib.) dnd eee Fue mi ma-re la gi - tana, mas pu-li-ay mas sa ~ 089978 Cup Lope Sra Ferman Ste ‘Tis © Capt Bs Uno ase Be Madd 3010. Allegretto Lento (como antes) Allegretto Lento mas bo -ni-tay més se - mana, Allegretto Lento ‘un poco rit, i ded. des-deel puen-te de Tri - a-na a la puer-ia delmer - code la Ce - 16 Lento. Andante sostenuto — == ? 7 7 Por mor dew = ma mala par-ti- da dea-mo-res sa-lié 7 z 3 \ vi-ila, Ia de-sade las floes, cones - ta cha ~ va-la con es-ta chi-qui-tla, y vi - noa —_— —20 : 3 2 a Go? a= SSS SS SS = SS paaquetlos do lo - res $6-Iola tu- vo. mi -rén-do-se en = et Dus-cando con-sue - lo 22. Moderato 2 fin gel co-plas a- le - gres; yo, que las es- ou me me SSS— Pi af, = QS SS Se = cha - ba, las a-pren-di - a; co ~ plas le-nas de tri - mos y de co-lo - res, con to-dos los a - me mo 2 _——— — = r ze S = = ol z= = ro -masdeAnda-ln-cf - a ya veces sus — pi - rs, sus = pi- ros muy 2dos << 2Que = ji - dos dean - gus - tial 2 rit, a tempo ¥ 3 los! jYa-mmu-tlosdea mor! Ay, mo 20 los del Per - 2 yy los de ln Trieni-6f iAy, cam-pos los de Jerez y ve-ga la de Gra- 33= z = caaerr SSS SS SS ~ iAy, hem-bras que-rien-do bien as hem - bras de Al ~ bai 39, = fn! iAy, —— qué no-ches pa el que rer i 2 quel Gua-dal - qui a 41 Andante sostenuto . 7 7 Ya quie - roa tie-rra con gran-des a-mo-res; mi tie - mas Se- 7 * 7 -vi-ila, que vi-veen-tre flo-res; al 120ie tie mis en-ean - tos____y tie mas primo - res que aro-mas is flo.tes y _ra-yos el Can - to co-mo mi ma - dre co-plas del pue - blo, las co-plas que can - < ta — ba Ia ma-re mf — a; siom-pre le-nas de i - nos y de co-lo - res, con t0-dos los a - pin tied ~ fo mas de Anda-Iu-ef - a, veces sus pil ~ 10s, 35— ;Que-ji - dos dean - gus ~ tia! os! jYa-ru-tlosdea = mor! jAy ma -re, Can - tan - do tus co ~ plas te sien - to vi 36= tana e-ras to = = wena masei_— Gu ~~ sa-mo de itz me lla- man a - % eg a P . — A S yc aronave A == r Gg. SS eae ESE ———- 7 = quit Soy un ca-cho del cie-loan-da-Iuz con un fa-yo del sol de Madrid Q tree = a fttet a £ Bae = = > retin) oo ‘Vivo 37Qué te importa que no venga from Los claveles ‘The Carnations‘ a modern Madrid perfume factory wher firebrand Rasa domineers overall and sundry, not least the new cashier Fernando. Needless to say, her sharp mockery hides deeper feelings, and when he invites her out dancing only ‘0 stand her up, Rosas attempt to laugh it off oon breaks down in a torrent of angry self recrimination. This intensifies o jealous ‘Fury when, just before the end of her ‘romanza’, she sees Fernando going ino the dance hall with another woman on his arm. L. F, Sevilla y A. C. Carrero J. Serrano Molto moderato ROSA {Qué teimpor-ta que no ven = ga? a 2, — me acon-se-ja el pen-sa - mien —— Yaun-que noquie-roes-cu-char Io que di-ce la ra~ 1. = ° ee a tempo Se SS oe =e 2 oS = 260, m0 me de=jnelco-ta- zn mar char Sino sé por qué loes- (© 109 bp, Fenandcr de Seta. Cure Carer Ios Seana ‘Tis eon ©Copyright 2900 by isda ste Hanes, Nar 3813. b. sies tan solo 7 poco affet poco rall. a tempo Gy porquéen vez de re - ff pien-so que voy a mo - rir 1Quén me ha-bi - a a tempo 25, esante f (conalma) - cir queen el fue-go de un que- rer mi ven-tu-raha-bi-a Ay, Vir-gen 39z ~ rf con mi vi-daelmal demis —a~ mo- res!__ Que amor na ~ ci-do.en-tre bur- las con brio sa - beven-gar, ; : SS _ Ma-di - 00 fF embrio 40= ae vien micami-no y Weguéa que-rer - te? oa 2 ce t : ms a Si pu-die-ra_yo te - ner, co-ra-z6n y vo-lun - 6 Andantino tad pa-ra, al fin, po-der-te a-bo = 4156 Tempo I iMal-di - to se-amisi ol fMal-di-ta se = a misuer-te! {Por qué te — esante vien micami-no y — leguéa “ 1Quién me habia de de - cir queen el fue-go de un que~ Gh f pesante sion, por mi li ber-tad ven - def - a, pas tu ~ atempo 30 pep tem fF por nues-troa ~ mor. 2reno De - fen - der 3Palomica aragonesa from Los de Aragon “Te People of Aragén takes place in the Aragonese capital Zaragoza during the 1920's Gloria. the heroine, let dhe town and her fanoé suddenly some years ago. When she returns as a popular variety star she is received with hostity and hearing church bel, takes refuge inthe Basilica of the ‘Vergin deta Pilar’ (Pillar), the patron saint ofthe Aragonese. Gloria's romanza‘is an elegy to her childhood, and her beloved horned. Juan José Lorente J. Serrano Allegro 91927 byJuan ot Leente font Seran0 ‘his eon © opie by Uae ces Eos Made sa56 = poco alfret. vo dS My) £m ¥ A tempo 0 ‘poco pesante a= — 56n rall. ceuan — domi oi go cual 78 eno Alllegro gracioso 3739Marinela, Marinela from La cancion del olvido ‘Serrano's one-act zarzuea isa gently romantic drama, set during the Napoleonic era in the Kingdom of Naples. The heroine, Rosina, is fist heard offstage singing her melancholy ballad “The Song of Forgetting’ which gives the work ts tle) tothe delicate accompaniment ofa harp. F. Romero y G. Fernandez Shaw J. Serrano Moderato ROSINA, Ma-ri ne - la Ma - ri ~ meta, con su triste can-ti - me - Ia se con ~ ————S = sue-la de un ol- vi=do mal-de - ci - do Ma-ri, Mari - ne ~ Ia. — [8 Coprigh 936 Uso Nac atone, Mat ‘Tis een Copy Zb00by Uasan sun Eanes, S 0~ pe rina, vas en busca dela tras un sue-fio en- ga- fia = dor. co-moe-ran = te go - lon - dri — Po-bre go-lon - dri - na queal a-zar ca - mi - na dul-ces can = ta res que en nues-tros 61la ~ bios ha sor-pren - di - do45 rit. molto rall. un poco rall, ancora bus-cacl-vi-doa su do - lor, po-bre Mari - ne - ~ se bien que an - rall, un poco piit no lo dae-sea - 8Cancion de la gitana from La alegria del batall6n ‘The plo of “The Pride ofthe Battalion’ centres ona soldier who steal aewellod cross rom a statue ofthe Virgin ‘a sacritege for which he is condemned to death. He has commited the crime out of desperation to desert and rejoin is beloved Doiores. The wel-known Song ofthe Gypsy’ is sung by Dolores herself late on inthe zarzuela when the soldier's crime has been explained away and forgiven. ina scene which has no direc relevance 1 the main plot C. Amniches y Quintana J. Serrano Allegro moderato 3 . Au-na gi-ta-na pre - sio sa mi se-ma-nay mi pu - ii - a 3 3 ~ 3 7 7 su gi-ta-no le de - sf gyre rts gua. Srae ‘se Bape aid Us alba ae 64atempo ——3— pada = Da-me er ca-lor dew ca- a de ma-yo flo - rf - a 3 3 el rit, 7 7 . > dame erca-lor dew mia que me mue-T0 de 26 a tempo rit, atempo ——3— i 6s31 : + * No ‘or-viey lo que t© di- je que por tus a- mo = =~ es 35 3 A dim : Meestoy gor-vien-do bar - Ii, Mees-toy gor-vien-do bar - I. 3 3 3 3 : =j 7 con nai-de Io ten-dnis 3 347 rit. con nai-de lo é, quié-re-me por 3 51 atempo conaina Loe) iQue ga-na ten-go gi - @ — 3 7 7 de que nds ben -di-gaer cu - ra, ver-teer pe - li to 2 3 rit. a tempo 59, 7 so-brelae6-parda des - a63 atempo a 3 Pa rit, a tempo 3 a re-na,cuam-do se =f] Yal ver al pro-be gi - ta — ren-di- 6 seencter-ne-sid la cha - va - la an-tes deha- =I A 3 = Tee eo ote fei ee a Ss Y con la pe-naen los 0 - jos yel co-ra =I 7 + hhoy va la probe gi - ta - na bus-can-doel 3 3 r 679 it. atempo 4 oN ee 6Balada y Alborada from El sefior Joaquin ‘The plot ofthis one-act domestic drama centres on Marea young Madrid bookkeeper who loves hs master's young new wife-The daughter of he Rose, Trin covers Manuets racks, ecause she eve wih him herself ‘The climax of the zarzueta comes with Mane! leaving the establishment for good. as Trin sings @ touching ‘alborada’ (dew serenade} which mirrors her own unhappiness. At the end. she breaks down completely as the curtain als J. Romea M. F. Caballero Andante lento un rall. un poco ‘Tris econ © Coprgh 200 by Uni Musial aldones, 1. 01s TRIN P dolce _—._Jaso_— No - che pu rayse - == == ; © = to tiem potes - i - go de mipa - sibs jOh, que tis - teyqué so - la meha - las a ~ quit ay, —+. -=— tr . 7=~ yanohay di - cha 3 rall. ral a tempo 5 a Pe - ges pa - ja - ri - Is con su tier a 2 “ Byala47 Allegretto rf eler —— Bcuanto tiem - po ——_ Yasin os. dul ~~ ces 50 ~ nes mn D3 Sol edtis-tes sue - man en__ mio 465 Allegretto 15~dad, del sol la 16110 affrettando poco a poco Andante lento 1s > ova + is a 120 8 Pca rall,Notes & Translations Francisco Asenjo Barbieri Cancién de Paloma from El barberillo de Lavapiés (1874) Paloma, the seamstress from Lavapiés, a downtown quarter of Madrid, explains how she came by her name of ‘dove’, Popular, intelligent and ingenious, she and her boyfriend the ‘little barber’ Lamparilla are the “clever servants’ of Barbieri’s great zarzuela - rather like Susanna and Figaro in Mozart’s Le Nozze di Figaro. Como naci en la calle de la Paloma, ese nombre me dieron de nifia en broma, Y como vuelo alegre de calle en calle, el nombre de Paloma siguen hoy dindome. Aunque no tengo el cuello tornasolado, siempre esté mi cabello limpio y rizado. Y aunque mi pobre cuerpo no tiene pluma, siempre esti fresco y blanco como la espuma, En lo limpita Paloma soy, y salto y brinco por donde voy, ya mi nombre de Paloma siempre fiel, ni tengo garras, ni tengo garras, ni tengo garras,ni tengo hiel. ‘Como esta mi ventana cerca del cielo, ¥y por él las palomas tienden el vuelo, ‘cuando veo en mis vidrios que el alba asoma, tender quisiera el vuelo cual las palomas. Pero al ver que las venden en el mercado, y que las pobres mueren en estofado, igo mitad en serio mitad en broma, “hay sus inconvenientes en ser paloma.” En lo que arrullo Paloma soy, que siempre canto por donde voy; y ami nombre de Paloma siempre fiel, busco un palomo, busco un palomo, busco un palomo, quign seré él? As I was bom on the Street of the Dove, the name was given me in childhood as a joke. And as I fly merrily from street to street they call me Dove to this day. ‘Though I don't have an iridescent neck my hair is always neatly curled. And though my poor body doesn't have feathers it's always fresh and clean as ocean surf. In my neatness I'm a Dove, and I dodge and hop as I go, to my name ever faithful, I don’t have claws, don't have claws, don't have claws, or any bile. As my window's close to the sky, and that's where the doves fly, when through the panes I see the dawn rising, long to fly like the doves. But when I see them for sale in the market, the poor things perishing in stews, 1 say, half seriously, half in jest, "to be a dove has its troubles.” When I coo, I'm like a dove, and I always sing as I go; to my name ever faithful, seek a male dove, I seek a male dove, I seek a male dove, who will he be? 8Federico Chueca and Joaquin Valverde snr. ‘Tango de la menegilda from La gran via (1886) La gran via is one of Madrid’s finest modern thoroughfares, and its completion was celebrated by the production of this famous satirical musical revue, which poked fun at the police, the authorities and urban politics. The performers impersonated local streets, buildings - and typi ‘menegilda (‘maidservant’) Pobre chica, la que tiene que servir! Mas valiera que se llegase a morir; porque si es que no sabe por las mafianas brujulear, aunque mil afios viva, su paradero es el hospital. Cuando yo vine aqui o primero que al pelo apren fue a fregar, a barrer, a guisar, a planchar y a coser; pero viendo que estas cosas zno me hacian prosperat, consulté con mi concien« yal punto me dijo "Aprende a sisar: ‘Aprende a sisar, aprende a sisar.” Sali tan mafiosa, que al cabo de un afio tenia seis traies de seda y satén. Annada que ustedes discurran un poco, ya saben o al menos, ya se han figurao, de donde saldria para ello el parné. Yo iba sola por la mafiana a comprar y me daban seis duros para pagar: y de sesenta reales gestaba treinta ‘0-un poco més, y lo que me sobraba me lo guardaba un melitar. Yo no sé como fue que un domingo después de comer Yo no sé que pas6, que mi ama a la calle me eché; pero al darme el sefcrito la cartilla y el parné me decia por lo bajo: "Te espero en tal parte tomando café. ‘Tomando café, tomando café.” Después de este lance servi a un boticario, servi a una sefiora que estaba muy mal; me vine a esa casa y aqui estoy al pelo, pues sivo a un abuelo que el pobre esta lelo y yo soy el ama, y punto final. characters such as this streetwise Sad young lady, servant to somebody's wife. Better perish than endure such a hard life. If she has got no notion how to put pennies into her purse, live for a thousand years, she'll end in the workhouse, or something worse. When I came to this town 1 learnt sweeping and then scrubbing down. Washing clothes in the tub, ‘mending stockings and cooking the grub. but a revelation caught me, slopping out the evening meal, and my conscience quickly told me, "You want to be someone, you'd best lear to steal You'd best learn to steal, you'd best lear to steal." The very next morning I went into action, and proved so adept, in a year Thad stashed eleven silk dresses to boost my attractions. You'll know, or you'll guess how I hoodwinked my mistress without a reaction, to pocket the cash. ‘Moming shopping - always done best on my own, seven shillings - that makes three for me alone. And out of sixty pennies I might spend thirty or slightly more. All of the change left over I'd give a soldier to keep my score, I don't know what to say but one Sunday they sent me away. Though T'd been so disereet, still Madame threw me into the street. But her son gave me my wages, and repaired my shattered dream, when he whispered to me softly, "We'll meet at the café, for coffee and cream, For coffee and cream, for coffee and cream." And at his suggestion I worked for a drover, and then for a lady whose health was quite frail, and now here you find me, quite set up in clover, I work for an old man who's crazy to please me, so 1 am the Mistress - and that ends my tale! ”Ruperto Chapi Cuando esta tan hondo from El barquillero (1900) Barquilleros (wafer-sellers) were a familiar sight around the squares and parks of turn of the century Madrid The gentle Socorro is in love with one of these street vendors, and determines to stays faithful to him, even though her snobbish mother is strongly opposed to their match. Her sensitive romanza, the otherwise robustly farcical action. indo esté tan hondo quien mata el querer! iPara él! iAy! iyo no creo que estoy para él! Cuando el amor se apodera del alma de una mujer, iay! iay! no hay poder que lo eche fuera, gu es muy grande su poder. Como he de olvidarte si vivo para él. Sino hay fuerza bastante en el mundo que fuerza el querer - Quiero que me vuelva loca con su labia el picarén diciendome asi bajito con todo su corazén. iOjitos de cielo! ;Carita de gloria! !Ramito de flores! jBoquita de miel! Dame el calorcito de tu cuerpecito ipor Dios que me muera de frio sin él! iCémo he de olvidarle si le levo aquit Si aun le escucho tlorando en mi reja canténdome asi: Un corazén sin amores es una flor sin aromas, una noche sin estrellas, un arbolito sin hojas. Quiereme chiquilla, Quiereme por Dios, ‘que tengamos perfumes y estrellas ¥ hojitas los dos. ‘Cuando esté tan hondo quien mata el querer! ;Para él! Ay! iyo no creo que estoy para él! iAy! iyo no creo que estoy para él! at the still heart of When it is so deep who could want to kill it? For him! Ay! I don't believe I am meant for him. When love possesses the heart of a woman, ay! ay! there is no power that can oust it, it is too great to try. How can I forget him if live for him? If there is not enough strength in the world to overpower love - I want him to drive me mad with his roguish blamey speaking soflly to me with all his heart. "Heavenly eyes, glorious little face, posy of flowers, mouth of honey! Give me the warmth of your little body, by heaven, I'll die of cold without it." How can I forget him if he comes here? IFT sill hear him weeping at my window singing to me like this: "A loveless heart it is a flower without fragrance, a night without stars, a tree without leaves. Love me, my darling, love me for God's sake, that we may have the fragrance and the stars and the leaves, both of us." When it is so deep who could want to kill it? For him! Ay! I don't believe I am meant for him, Ay! I don't believe I am meant for him. 80Ruperto Chapi Carceleras from Las hijas del Zebedeo (1889) Luisa is the lively, inventive heroine of Chapi and Estremera’s madrilefio farce. She sings her light-hearted carceleras - traditional Andalusian gypsy songs in which prisoners bewail their lot - as ¢ passionate lament for the little tribulations caused her by the "keeper of her heart", her beloved Amadeo. Al pensar en el duefio de mis amores, siento yo unos mareos encantadores. Bendito sea quel picaronazo que me marea A mi novio yo le quiero porque roba corazones con su gracia y su salero. El me tiene muy ufana porque hay muchas que lo quieren yy se quedan con las ganas. Caprichosa yo naci yy lo quiero solamente, solamente para mi, Que quitarme a mi si amor es lo mismo que quitarle Jas hojitas a una flor. Yo me mueto de goz0 cuando el me mira, yy me vuelvo jalea cuando suspira, ‘Si me echa flores siento el corazoncito morir de amores. Porque tiene unos ojillos ‘que me miran entornados, muy gachones y muy pillos, y me dicen jay! lucero, {que por esa personita me derrito yo y me muero. When I think about the keeper of my heart, my senses reel enchanted, Blessed be that little rascal who makes me dizzy. love my sweetheart because he steals hearts with his elegant, winning ways. Thave much to boast about because so many girls want him and are left hungry. Twas bom selfish, and I want him all, all for myself. To take his love from me is the same as taking the petals off a flower. I die of joy when he looks at me, and turn to jelly when he sighs. If he tosses me a flower 1 feel my little heart die with desire; because he gives me tiny glances, ‘watching me through half-closed eyes, very sweet and very sly, that say to me, ay! Venus, for this little individual T melt and I die. 8Ruperto Chapi Fue mi mare la gitana from La chavala (1898) Concha, la chavala (‘gir!") of the title, has been brought up in the slums of Madrid. In her gypsy song, she remembers her mother’s beautiful Andalusian homeland, where she too was born. There is another reason why she recalls her mother's story and longs for her homeland, for Concha herself is unlucky in love, She has fallen for the man who is to marry her best friend, and knows that she must soon forget him. Fue mi mare la gitana, (repete) ‘mas pulia y mas sald, mas bonita y mas serrana, que se pudo pasear desde el puente de Triana la puerta del mereao de la Cebi Por mor de una mala partida de amores salié de Sevilla, la tierra de las flores, con esta chavala con esta chiquilla, y vino a Madri buscando consuelo pa aquellos dolores yy s6lo la tuvo mirandose en mi. Cantaba como un dngel coplas alegres: ‘Yo, que las escuchaba, las aprendia; coplas tlenas de trinos y de colores, con todos los aromas de Andalucia, y a-veces suspiros, suspiros muy hondos que salen del alma, partiendo la voz. i Quejidos de angustia! iRugidos de celos! iY arrullos de amor! iAy, mozos los del Perchel y los de la Trini! Ay, campos los de Jerez y vega la de Grand! iAy, hembras queriendo bien las hembras de Albaicin! iAY, qué noches pa el querer en aquel Guadalquivie! ‘Ya quiero a mi tierra con grandes amores; mitierra es Sevilla, que vive entre flores; al lao de su rio, sentada en su orilla, ‘mimada por Dios, ique tie mas encantos y tie més primores que aromas las flores ¥ rayos el sal! Canto como mi madre coplas del pueblo, las coplas que cantaba la mare mia; siempre llenas de trinos y de colores, con todos los aromas de Andalucia, ya veces suspiros, suspiros muy hondos que salen del alma, partiendo la voz. iQuejidos de angustia! iRugidos de celos! iY arullos de amor! It. was my mother the gypsy, (repeated) most handsome and most clever, ‘most wholesome and high-minded who ever walked from the Triana Bridge to the Commarket. Because of an love affair that ended badly she left Seville, land of flowers, with this young girl, with this little darling, and came to Madrid seeking solace for those sorrows, and she only found it, caring for me. She sang like an angel happy songs; 1, who listened, learned them; songs full of brilliance and show, with all the fragrance of Andalucia, and sometimes sighs, deepest sighs that come from the heart, breaking up the voice. Cries of anguish! Howls of jealousy! ‘And murmurs of lovel Ay, lads from Perchel and from Trini! ‘Ay, meadows of Jerez and plains of Granada! Ay, women who know how to love, women of Albaicin! Ay, what nights for loving, there in Guadalquivir! 1 long for my homeland most passionately; my homeland is Seville, alive with flowers; beside its river seated on the bank, caressed by Heaven, what more magical, what more lovely than fragrance of flowers and rays of the sun! I sing like my mother the songs of the people, the songs my mother sang; always full of brilliance and show, with all the fragrance of Andalucia, and sometimes sighs, deepest sighs that come from the heart, breaking up the voice. Cries of anguish! Howls of jealousy! And murmurs of love!iAy mare, mi mare! iMi mare del alma! Cantando tus coplas te siento vivir Gitana eras tu Gitana naci jGusano de luz me Haman aqui! Soy un cacho del cielo andaluz con un rayo del sol de Madrid. iGitana nae José Serrano Qué te importa que no venga from Los claveles (1929) Ay mother, my mother! Mother of my soul! ‘Singing your songs I feel you are living, Gypsy you were Gypsy I was born, "firefly" they call me here! Tam a slice of Andalusian sky, with a ray of Madrid sunshine Gypsy I was born! “The Camations’ is a modem Madrid perfume factory where firebrand Rosa domineers over all and sundry, not least the new casaier Fernando. Needless to say, her sharp mockery hides deeper feelings, and when he invites her out dancing only to stand her up, Rosa’s attempt to laugh it off soon breaks down in a torrent of angry self-recrimination. This intensifies to jealous fury when, just before the end of her romanza, she sees Fernando going into the dance hall with another woman on his arm. {Qué te importa que ro venga? me aconseja el pensamiiento. Y aunque no quiero escuchar lo que dice ta razén, no me deja el corazén marchar. Si no sé por qué lo espero si es tan solo por reinne, como no me puedo ir 4y Por qué en vez. de reit pienso que voy a morirme? {.Quién me habia de decir que en el fuego de un querer mi ventura habia de morir? iAy, Virgen santa, querida, consuela ti mis dolores © acabard con mi vide el mal de mis amores Que amor nacido entre burlas pronto se sabe vengar, burlas y risas que hacen Llorar. {Maldito sea mi sino! iMaldita sea mi suerte! 4Por qué te vi en mi camino y Mlegué a quererte? {Si pudiera yo tener, corazén y voluntad para al fin poderte abotrecer! (Aparece una seforita, se coge del brazo de Fernando y ambos cruzan la escena hasta hacer mutis) iMaldito sea mi sino! jMaldita sea mi suerte! {¢Por qué te vi en mi camino y llegué a quererte? (Hace mutis lorando por el primero izquierda) What matter to you that he does not come? my thoughts advise me. And though I do not want to listen to the voice of reason, neither do I want to let my heart beat so fast. If [do not know why I'm waiting, if he's only going to laugh at me, why can’t I leave? And why, instead of laughing, do I think that I am going to die? Who could have told me that in the fire of desire my happiness would have to die? Ay, Holy Virgin, beloved! console my sorrow, or my life will be ruined by the sickness of love! The love born of mockery quickly takes its revenge, jecring and laughter make for tears. Damned be my fate! Damned be my fortune! ‘Why when T came across you did I come to want you? If I could only have the heart and will to be able to hate you in the end! (A girl appears on Fernando's arm, and they cross the stage together and exit) Damned be my fate! Damned be my fortune! Why when I came across you did I come to want you? (Weeping, she leaves in the opposite direction) 83Francisco Asenjo Barbieri Romanza de la Duquesa from Jugar con fuego (1851) Jugar con fuego (‘Playing with Fire’) was the first of Barbieri’s three-act genéro grande zarzuelas, a firm step along the road which was to lead to El barberillo de Lavapiés. Based on a aristocratic French comedy, its music and libretto nevertheless draw heavily on Italian models. This celebrated romanza - sung by the lovelom Duchess of Medina late in the final act - is noticeably more Spanish in feeling than much of the rest of the score, and an early demonstration of Barbieri’s strong, lyrical talent. Un tiempo fué que en dulce calma, A time there was when in sweet peace, libre de magica ilusion, free of magic dreams, ni se agitaba inquieta el alma, my soul was not unquiet, ni palpitaba el corazén. not did my heart beat wildly. Cuan presto, jay! jmisera! How quickly, ah misery! Cuan presto huy6 How quickly it fled, como un relimpago like a flash of lightning desaparecié. it disappeared. Tirano amor, rapaiz. vendado, ‘Tyrannical Love, blind boy, vvengése al fin como deidad: has taken at last his godlike revenge: de mis desdenes irritado, annoyed by my indifference, postré a sus pies mi vanidad, he has laid my pride low at his feet. Ta de mis ldgrimas You, of my tears Xinico autor; the only cause, salva tu vietima save your victim, itirano amor! tyrannical Love! Jacinto Guerrero La pena me hace Horar from El huésped del Sevillano (1926) ie Guest at the Sevillano", a Toledo inn, is the author Cervantes. He watches a swashbuckling tale of romantic love unfold between the court painter, Juan Luis, and Raquel, daughter of the most eminent sword- smith of Toledo, Late in the action Raquel, abducted and imprisoned by a wicked rival, prays that Juan Luis ‘may come and rescue her. La pena me hace Hlorar, Sorrow makes me weep, consuelo me da el amor, love gives me solace, que sabe amor en el alma whoever knows love in the soul mitigar el dolor. ceases the pain. Hoy, que sueio, enamorada, Now, when I dream of love, ‘mi suefio es un ciego afin ‘my dream is a blind hope. iQuién pudiera convertirlo If only it could be changed en feliz realidad! to happy reality! Si saber Juan Luis pudiera If Juan Luis could know el sitio de mi prisién, the site of my prison, por mi libertad vendria, he would come to free me, para luchar por nuestro amor. to fight for our love. Que sabe amor en el alma Whoever knows love in the soul mitigar el dolor. eases the pain. En mi corazén vacio In my empty heart hice un altar para él Thave made an altar for him. iDefenderle y defenderse Defend him, and Raquel sabré Raquel! will know she is defended!José Serrano Romanza del Pilar from Los de Aragén (1927) “The People of Aragén’ takes place in the Aragonese capital Zaragoza during the 1920°s Gloria, the heroine, left the town and her fiancé suddenly some years ago. When she retums as a popular variety star she is received with hostility, and hearing church bells, takes refuge in the Basilica of the Vergin de la Pilar Pillar’), the patron saint of the Aragonese. Gloria’s romanza is an elegy to her childhood, and her beloved homeland, Vuelven las horas lejanas, iAy, madre querida! el eco de esas campanas es toda mi j Son mis campanas las mias son! Que lejos estan los dias, iAy, madre adorada! cuando mi cuna mecias al rumor de tu caneién: "Palomica aragonesa, no dejes tu palomar: que te harn volver de lejos Jas campanas de! Pilar. Palomica aragonesa, no dejes tu palomar.” Por vanidad y locura he roto mi vida, ni hallo ternura ni compasién. Sola con mi desconsuelo, iAy, madre querida! igo cual voces del cielo, los ecos de tu cancién: "Palomica aragonesa ..." ete. The past returns, Ay, beloved mother! The echo of those bells is my whole life. They are my bells, they are mine! How far away are the days, Ay, adored mother! when you swung my cradle to the murmur of your song: “Little dove of Aragén, do not desert your dovecote: for they will call you back from afar, the bells of the Pilar. Little dove of Aragén, do not desert your dovecote.” Out of vanity and folly Thave ruined my life, | find neither tendemess not pity. Alone with my trouble, Ay, beloved mother! hear, like voices from Heaven, the echoes of your song: "Little dove of Aragon ..." et. 85José Serrano Marinela, Marinela from La cancién del olvido (1916) Serrano’s one-act zarzuela is a gently romantic drama, set during the Napoleonic era in the Kingdom of Naples. The heroine, Rosina, is first heard offstage singing her melancholy ballad ‘The Song of Forgetting’ (which gives the work its title) to the delicate accompaniment of a harp. Marinela, Marinela, con su triste cantinela se consuela de un olvido maldecido Mari, Marinela Campesina, campesina, como errante golondrina cantarina, vas en busca del amor, Pobre golondrina que al azar camina tras un sueflo engaftador. El aire murmura en mi oido dulees cantares ‘que en nuestros labios ha sorprendido en noches lejanas de amor. antares de tiempos mejores, cantares risuefios que huelen a flores y alientan ensueiios de amores. Marinela, con su cantinela busca olvido a su dolor; pobre Marinela ese bien que anhela no la da ese amor. 86 Marinela, Marinela, with her sad ballad consoles herself for a wicked abandonment. Mari, Marinela Farmgitl, farmgirl, like a wandering swallow, always singing, seeking love. Poor swallow, aimlessly roaming after a deceiving dream! The air whispers in my ear sweet songs which it caught on our lips in distant nights of love Songs of better times, cheerful songs, scented with flowers and evoking dreams of love. Marinela, with her ballad seeks to forget her sorrow. Poor Marinela! That love does not give her the happiness she craves.José Serrano Cancién de la gitana from La alegria del bataltén (1909) The plot of "The Pride of the Battalion" centres on a soldier who steals a jeweled cross from a statue of the Virgin, a sacrilege for which he is condemned to death. He has committed the crime out of desperation to desert, and rejoin his beloved Dolores. The well-known ‘Song of the Gypsy” is sung by Dolores herself, late on in the zarzuela when the soldier’s crime has been explained away and forgiven, in a scene which has no direct relevance to the main plot. Auuna gitana presiose ‘mdi serrana y mi pulia traspasaito de achares su gitano le desia: iMi nena! Morena ven tit pa acé. Dame er calor de tu cuerpo, cara de mayo floria, dame er calor de tu cuerpo, mia que me muero de frio. iMorena! jMi nena, ten caria! No orvies lo que te dije que por tus amores Me estoy gorviendo barlé, Me estoy gorviendo burld. Que lo que tengas conmigo,tamito de flores, con naide lo tendras “i, quigreme por tu sald con naide lo tendras “i, quigreme por tu sald. 1Que gana tengo gitana de que nos bendiga er cura, pd verte er pelito suerto sobre la esparda desnuda! iMi nena! |Morena, cuando seré! Y al ver al probe gitano rendié por la amargura se entemnesié la chavala antes de hablar con er cura Y con la pena en lo cjos y el corasén dolorio hhoy va la probe gitana buscando el bien que he perdio. iAy! ... (Ay! .. jAy! Toa gorgeous gypsy most proud and true, transported with jealousy her gypsy lover said to her: My darling! My dark beauty, you come here. ‘Yield me the warmth of your body, your face like flowers in May, yield me the warmth of your body, ook, I'm dying of cotd. My dark beauty! My darling, take pity! Don't forget what I told you, that for your love Tm going round the bend, Tm going round the bend. That which you'll have with me, little posy, you'll never have the same with anyone else, ove me for your own good, you'll never have the same with anyon love me for your own good. How I long, gypsy, for the priest to bless us, to see the hair hang loose on your naked back! My darling! My dark beauty, when will it be? And seeing the poor gypsy boy torn with suffering, the girl felt pity, before speaking to the priest. And with pain in her eyes and a heavy heart now the poor gypsy git! searches for what she has lost. AY! on AY! AY! 87Manuel Ferndndez Caballero Balada y Alborada from El senor Joaguin (1898) The plot of this one-act domestic drama centres on Manuel, a young Madrid bookkeeper who loves his mas- ter’s young new wife. The daughter of the house, Trini, covers Manuel's tracks, because she is in love with him herself. The climax of the zarzuela comes with Manuel leaving the establishment for good, as Trini sings a touching alborada (‘dawn serenade’) which mirrors her own unhappiness. At the end, she breaks down completely as the curtain falls. ‘Noche pura y serena, noche de amor, otro tiempo testigo de mi pasion, iOh, que triste y qué sola me hallas aqui! AY, qué mis dias de ventura para siempre perdi! Ya el ingrato me abandona, ya no hay dicha para mi Los alegres pajarillas con su tierno gorgear ya no cantan mis amores iy, mi amor! ;Ay, mi bien! ‘que aprendiendo van conmigo a gemir y a suspirar. Vuelve, mi bien. Ven, por piedad, del sol la luz, yavaé llegar, y ala alborada ‘quiero trocar ‘mis esperanzas en realidad. iVen, mi bien, mi luz, mi amor! Esperdndote aqui cuanto tiempo pass. Ya sin ti los dulces sones de la gaita del lugar tristes suenan en mi oido, iAy, mi amor! jAy, mi bien! Ni me alegra la alborada con su dulee despertar. Vuelve, mi bien etc. Clear and calm night, night of love, once witness of my passion, Oh, how sad and lonely you find me here! Ay, the happy days ve lost forever! For the wretch has abandoned me, there is no more happiness for me. The lively birds with their tender warbling no longer sing of our love, Ay, my love! Ay, my darling! are learning with me how to moan and sigh. Return, my darling, Come, for pity’s sake. ‘The light of the sun is already approaching, and with the dawn want to turn my dreams into reality. Come, my darling, my light, my love! Waiting for you here, so much time has passed. For without you the sweet tones of the village pipe sound sad to my ears. Ay, my lovel Ay, my darling! The dawn brings me no joy with its soft awakening, Return, my darling ete. 88