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Polyphonies latino-américaines 3

Polyphonies latino-américaines 3

(Code: A135300008)

These are a collection of 11 polyphonic songs from Argentina, Bolivia, Brazil, Peru and the Caribbean. Kaluyo, tonada, tango with text, Chacarera, waltz, and rumba are musical styles which were not into tomes one and two. The first two songs are rhythmic canons intended to be performed by five and three voices. “Dulce Jesus Mio” is one of the only unaccompanied polyphonic works from the Biblioteca boliviana. There are Spanish and Chiquitano versions. The other songs are based on popular melodies with Spanish or Portuguese texts except for “Verano Porteño” by Asto Piazzolla composed of onomatopoeias.

15.60 EUR

Discover Polyphonies Latino-Américaines Vol. 3, 11 a cappella polyphonies for mixed voices (from the 18th century to the present day), proposed by Néstor ZADOFF :

This third volume presents 11 polyphonies from Argentina, Bolivia, Brazil, Peru and the Caribbean. These polyphonies belong to some musical genres that were not represented in volumes 1 and 2: kaluyo (Bolivia), tonada, tango (with text), chacarera (Argentina), waltz (Peru), rumba (Caribbean).
The summary proposes easy pieces, others of medium difficulty and a few more difficult ones but which, in general, can be approached by all types of choirs.

Néstor ZADOFF tell us :

"The third volume of the Latin American Polyphonies series contains an election of eleven polyphonies from Argentina, Bolivia, Brazil, Peru and the Caribbean region; they belong to some musical genres that were not represented in the previous volumes: kaluyo (Bolivia), tonada, tango (with text), chacarera (Argentina), waltz (Peru), rumba (Caribbean).
The first two works in this collection are canons of great rhythmic vitality, for five and three voices.
Dulce Jesus Mío (My Sweet Jesus) is one of the very rare examples of a cappella polyphonic work from the Chiquitos Archives (17th-18th c., Concepción, Bolivia); a religious work, it was certainly written by an Indian (a pupil of the Jesuit masters) and has a text in both Spanish and Chiquitano (a dialect common to the various ethnic groups who lived together in the Jesuit Missions).
The other works in this selection are of popular origin, with texts in Spanish or Portuguese, except for Verano Porteño (Summer in Buenos Aires), a tango by Astor Piazzolla composed of onomatopoeia.
In each of the three volumes of the Latin American Polyphonies the constant has been to include easy works next to works of medium difficulty, and some others more difficult, but in general they are approachable by all types of mixed choirs.
Among the easiest we place the canons of the beginning, Dulce Jesús Mío and the song A queflorezca mi pueblo (in 3 voices).
El día que me quieras, Tonada de La Quiaca and Rosa amarela are of medium difficulty.
Finally, Amarraditos, Verano Porteño, Chacarera Santiagueña and Rumba are ideal for choirs with more experience.
In Latin America choral singing is very widespread and popular. People sing in groups to express their feelings of melancholy or joy. The works proposed in this collection are classics of South American choral singing; they will allow those who sing them to share these emotions, common to women and men all over the world: choral singing is an international language, that of sensitivity".
(Néstor ZADOFF)

Content :
  • Pega no ganzê (arr. : Néstor Zadoff)
  • Plantita de alhelí (arr. : Néstor Zadoff)
  • Dulce Jesús Mío (rest. : Sebastián Zubieta)
  • El dia que me quieras (Alfredo Le Pera, Carlos Gardel, VivianTabbush, Néstor Zadoff)
  • Tonada de la quiaca (arr. : Néstor Zadoff)
  • Amarraditos (Margarita Durán, Pedro Pérez, Eduardo Correa)
  • Verano porteño (Astor Piazzolla, Néstor Zadoff)
  • Chacarera Santiagueña (Arr. : Eduardo Ferraudi)
  • A que florezca mi pueblo (Rafael Paeta, Damián Sánchez,Vivian Tabbush)
  • Rumba (José Antonio Rincón)
  • ROSA AMARELA (Heitor Villa-Lobos)