Houston Early Music
In this note: Houston Early Music And The Religion and the Arts Council, Christ Church Cathedral Present THE ROSE ENSEMBLE Celebremos el Niño: Delights of the Mexican Baroque Jordan Sramek, Founder/Artistic Director Kathy Lee, Kim Sueoka, Carrie Shaw (soprano) Lisa Drew, Linda Kachelmeier, Kristine Kautzman (alto) Craig Lemming, Jordan Sramek (tenor) Tim O’Brien (baritone, percussion) w Scott Sandersfeld (bass) with instrumentalists Julie Elhard (viola da gamba) w Phillip Rukavina (vihuela da mano) w Ginna Watson (Baroque violin) 5:00PM Sunday, December 13, 2009 Christ Church Cathedral 1117 Texas Ave. 4:15PM Preconcert talk Guests of Houston Early Music stay at the Crowne Plaza Hotel. Houston Early Music is funded in part by grants from the City of Houston through Houston Arts Alliance, Texas Commission on the Arts and National Endowment for the Arts
Program
MOTET: Deus in Adiutorium Juan Gutiérrez de Padilla (ca. 1590-1664)
VILLANCICO: *Atención, atención (1698) Antonio de Salazar (ca. 1650-1715)
BAILE: Serenissima una noche Fray Gerónimo Gonzáles (fl. 1600)
XÁCARA: Los que fueren de buen gusto Francisco de Vidales (d. 1702)
Instrumental setting of the popular tune La Spagna Anonymous, 16th century
Gloria (from Missa Ego Flos Campi) Juan Gutiérrez de Padilla
ROMANCE: Hermoso amor (1671) Juan García de Zéspedes (ca. 1619-1678)
DUO: **Risueña la aurora Anonymous, Duran Choirbook (18th century)
NEGRILLA: A siolo flasiquiyo Juan Gutiérrez de Padilla
INTERMISSION
DUO: Al dormir el sol Sebastián Durón (1660-1716)
¡Hombres, victoria, victoria! Francisco Guerrero (1528-1599)
NEGRO: Tarara tarara qui yo soy Anton Antonio de Salazar
GALLEGO: Ay galeguiños Fabián Ximeno Perez (ca. 1595-1654)
GUARACHA: Convidando esta la noche Juan García de Zéspedes
*Recently transcribed by Craig Russell from a manuscript in the archives of the Catedral Metropolitana de México, this villancico (for the Virgin of Guadalupe) just received its modern-day premiere with The Rose Ensemble.
**Recently transcribed from a manuscript currently housed by the Bancroft Library and with an accompaniment composed by musicologist by Craig Russell, this Letra a duo para Navidades (Vernacular Christmas song for 2 voices) just received its modern-day premiere with The Rose Ensemble.
NOTES ON THE PROGRAM
Seventeeth-century street and dance music became fashionable even in high society during the Mexican Baroque, as Spanish composers used the vivid rhythms and energy of thexácara to drive forward the plots of operas and to introduce theatrical excitement into church music. Even in the Christmas villancicos by Juan Gutiérrez de Padilla and by his successor as maestro, Juan García de Zéspedes, the texts draw the listeners’ attention to the secular origins of the music: "On with the xácara!" and "Celebrate with the guaracha."
The attitude of the church authorities to villancicos in the guise of a xácara, guaracha, or negrilla (villancicos depicting the song and dance of African slaves in the Spanish colonies) could almost be seen as "neutral" – while the dances were repeatedly condemned as excessively arousing. Pedro Cerone, author of a famous 17th-century treatise, defended the villancicos: "I would not like to say villancicos are bad thing, for they are received in all Spanish churches, and were it not for them, it would not be possible to reach the appropriate heights of solemn celebration. . . . There are some people so lacking in piety that they attend church but once a year, and miss all the Masses of Obligation, because they are too lazy to get up out of bed. But let it be known that there will be villancicos, and there is no one more devout in the whole place, none more vigilant than these people, for there is no church, oratory or shrine that they will not visit, nor do they mind getting up in the middle of the night in the freezing cold, just to hear them."
Juan Gutiérrez de Padilla was a Mexican of Spanish birth who served as chapel master at Puebla, Mexico from 1629 until his death. Born in the Andalusian city of Málaga in 1590, Padilla imigrated to Mexico in 1622, where he served the community of Pueblo from that year to the time of his death in 1664. Like virtually all composers of the time, Padilla received his earliest music training in the choir of his local cathedral and, like many others, he took on his first assignment as a cathedral maestro. But early in his career, he chose to come to the Américas, committed to a place to live and work, and never looked back. In many ways, Padilla’s output is part of the musical legacy of Mexico rather than Spain. By the age of 23 he was already maestro of the Cathedral of Jerez, and three years later, of Cádiz Cathedral. By October of 1622 he was already at Puebla Cathedral as singer and co-maestro; in 1629 he was named full maestro, and began composing prolifically.
Like his setting of the Gloria, much of Padilla’s Latin sacred music is scored for double-choir. The mass setting Ego flos campi is what is known as a "parody mass," meaning that the polyphony (structured harmony) is based upon and created by using melodic fragments and passages from a previously written motet (in this case, one entitled Ego flos campi). Strangely, the original motet has not survived, but one thing is certain: Padilla takes considerable liberties with the liturgical Latin text, creating refrains that suggest almost a folk style filled with religious fervor (in the Gloria, notice how the second choir repeats bonae voluntatis - "Goodwill to all!" – again and again).
Juan García de Zéspedes was appointed as soprano at Puebla Cathedral in 1630. When maestro Padilla refused to teach, Zéspedes took over much of this work. In 1664 he succeeded maestro Padilla in an interim capacity. The title of maestro became permanent in 1670. Although censured by the cathedral chapter more than once over disagreements as to his duties, Zéspedes had a long career ended by his paralysis late in life.
Antonio de Salazar was born in Spain, but later moved to Mexico and became one of the most famous Mexican composers. He was chapel master of Puebla Cathedral and later at the Mexico City Cathedral. Like Padilla, Salazar also composed several villancicos, negrillas and canzonetas for feast days. The Rose Ensemble is pleased to feature on this program Salazar’s Atención, Atención (a villancico for the Feast of the Virgin of Guadalupe), recently transcribed from a manuscript in the archives of the Catedral Metropolitana de México by California-based musicologist Craig H. Russell.
Program notes by, Jordan Sramek, inspired in part by the research and writings of musicologists Robert Stephenson and Andrew Laurence-King.
The Rose Ensemble
Founded in 1996 and based in Saint Paul, Minnesota, The Rose Ensemble reawakens the ancient with vocal music that strives to stir the emotions, challenge the mind and lift the spirit. With nine critically acclaimed recordings and a diverse selection of concert programs, the group has thrilled audiences across the United States and Europe with repertoire spanning 1,000 years and over 25 languages, including new research in European, Middle Eastern, Hawaiian and early American vocal traditions.
The recipient of the 2005 Chorus America Margaret Hillis Award for Choral Excellence and a first-place winner in the sacred music category at the 2007 Tolosa International Choral Competition (Spain), the group’s concerts and recordings have been called “first class” (Neuss-Grevenbroicher Zeitung), “impassioned and brightly alive” (Choral Journal) and “engaging . .. satisfying” (Gramophone).
The Rose Ensemble can be heard regularly on American Public Media and the European Broadcasting Union (most notably with annual Christmas broadcasts) and was recently featured in special live broadcasts on Radio France, Chicago Public Radio, Vermont Public Radio and National Public Radio’s Performance Today.
Recent European appearances include La Fabbrica del Canto (Milan), Festival Musique en Morvan (Burgundy), Festival des Choeurs Laureats in Vaison (Provence) Festival d’Ile de France(Paris, France) and Festival de Musiques Anciennes (Tours, France). The group’s 2009-10 season will see approximately 75 more performances, including appearances in Italy and Germany, as well as several tours across the United States.
The Rose Ensemble’s latest recording, “Il Poverello,” is a diverse collection of medieval and Renaissance vocal and instrumental music for Saint Francis of Assisi.
Texts and Translations
Deus in adiutorium meum intende. O God, come to my assistance!
Domine ad adiuvandum me festina. Lord, make haste to help me!
Gloria Patri, et Filio, et Spiritui Sancto. Glory to the Father, the Son, and Holy Spirit.
Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now and shall be forever,
et in saecula saeculorum. Amen. world without end. Amen.
Alleluia. Alleluia.
Atención, Atención, Atención, Attention, Attention, Attention!
que si copia la pluma la mano es de un Dios, that if the pen writes, it is the hand of God that moves it.
Atención, Atención, Atención! Attention, Attention, Attention!
que si copia la pluma la mano es de un Dios. if the pen writes, the hand is that of God.
La mano es de un Dios It is the hand of God
la que quiso copiar el retrato mejor that sought to capture the best likeness
Atención, Atención, Atención! Attention, Attention, Attention
El aparejó invisible se aparejó de esta echura He primed the invisible canvas, he prepared for this
aun antes que hubiera mundo ni que fuese project even before there was a world or anything in it.
cosa alguna.
El divujo fue en prophetas ya en enigmas The sketch was in the prophecies, either in riddles
ya en figures or in figures
el pintarse fue un instante en que se and it was painted in the very instant in
consibe pura. which it was conceived.
El traslado fue inocultis en una manta que Its transfer was in secret in a blanket
anuda a su cuello un indio pobre que por tied round the neck of a poor Indian man
incapaz recusan rejected as unfit.
Dispone la en ademán las manos He displays it in a gesture of his hands, together
altas y juntas de resevir siendo en quien and upraised, receiving from He who wields the
allí el pinsel executa. painter’s brush.
Serenissima una noche Calm was the night
mas que si fuera un infante when the baby shone forth
en lo crespo de diciembre like a star
quiso por dicha estrellarse. in the cool of December.
Ande el baile Come to the dance,
y al sol que a nasido and to the sun,
por dios verdadero for the child of the true God is born.
oi todos le aclamen. Today let us all acclaim Him.
"Los que fueren de buen gusto, All those who have good taste,
óiganme una xacarilla listen to the nice new xácara
que he de cantar en Belén." I’m going to sing in Bethlehem.’
"¡Siempre el garbo y la voz! ‘A jaunty style and voice are always needed,
Yo la cantaré también ". so I’ll sing it too.’
"¿Cómo qué, cómo qué?" ‘What’s all this, what’s all this?’
"A que só me toca a mí, ‘I’m the one to do it,
y el porque yo me lo sé." because I know how to.’
"Cómo qué, cómo qué?" ‘What’s all this, what’s all this?’
"Pues quitémonos de ruidos ‘Come on, let’s stop shouting
y cantemos a las tres. " and let’s sing all three of us together.’
"Tres a tres y una a una, ‘Three by three and one by one,
¡vaya, vaya de xácara, pues. "on to the xácara, then!
‘
Coplas: Stanzas:
En el mesón de la luna In the Moon Inn
junto a la Puerta del Sol next to the Gate of the Sun,
del cielo de una doncella a young girl brought down from heaven
en tierra un lucero dió. a star to us on earth.
A ser galán de las almas So as to become the suitor of souls
el Verbo al hielo nació, the Word of God was born to the freezing world,
que lo tomó con fineza which took him with grace
pero con poco calor. but with little warmth.
Sin duda el Jayán divino Doubtless the divine Giant
- ya naçe a morir de amor, willed his birth that he might die of love,
pues cuando se emboza el rostro for when he hides his face
me descubre el coraçón. he opens up his heart to me.
Por ser de la Trinidad Being one of the Trinity
vino por la redempçión. he came down for our redemption.
Metióse en Santa María, He entered unto Holy Mary
ya dado en San Salvador. and so became our Holy Savior.
"Tres a tres y una a una, ‘Three by three and one by one,
¡vaya, vaya de xácara, pues!" on to the xácara, then!’
Metióse en cuna de nieve, He settled into a snowy cradle,
que no es nuevo en su afiçión for there is nothing new, given his love,
dexarse llevar del agua in the spirit of God
el espíritu de Dios. being borne along by water.
Al soberano Cupido The sovereign Cupid was wounded
desde que naçe le hirió by the arrow from the moment of birth,
la flecha, que en el desnudo for a dart wounds flesh
hiere más presto el harpón. more readily when naked.
A matar vi-vino a la muerte, He came to slay death,
picado de que el amor spurred on by love’s
le dió una herida mortal, having dealt him a mortal blow,
y fue porque le encarnó. and ’twas because he was incarnated.
Que no se caiga el portal That the gates [of Bethlehem] did not fall down
es un milagro de Dios. is one of God’s miracles.
Bien puede el Jayán haçer Well may the Giant remark
cuenta que ha naçido hoy. that today he has been born.
" Tres a tres y una a una, ‘Three by three and one by one,
¡vaya, vaya de xácara, pues! " on to the xácara, then!’
Se anda perdonando vidas, He goes about forgiving our lives,
muy preçiado de león, prized greatly as a lion,
y le suele haçer llorar yet tears are brought to his eyes
el más pobre pecador. by the poorest sinner.
El naçer en la campaña His birth on the battlefield
es prueba de su valor, is proof of his valor,
y esperarle cuerpo a cuerpo and to encounter him hand to hand
es cosa de confesión. is a matter for the confessional.
El sangriento açero esgrime Like Herod he wields a bloody blade,
Herodes, que en su región seeking, in the name of the Lord,
contener mala conçiencia to suppress evil thinking
deseaba ver de Dios. within his kingdom on earth.
¡Bien haya la xacarilla Hurrah for our little xácara
y el padre que la engendró, and for the father who begot it,
y a las que también la cantan and as for those who sing it,
buenas Pascuas las dé Dios! may God grant them a happy Christmas!
" Tres a tres y una a una,‘ Three by three and one by one,
¡vaya, vaya de xácara, pues! " on to the xácara, then!’
Gloria in excelsis Deo: Glory be to God on high:
Et in terra pax hominibus And in earth peace,
bonae voluntatis. goodwill towards all people.
Laudamus te, benedicimus te, We praise thee, we bless thee,
adoramus te, glorificamus te, we worship thee, we glorify thee,
gratias agimus tibi propter we give thanks to thee
magnam gloriam tuam. for thy great glory.
Domine Deus Rex caelestis O Lord God, heavenly King,
Deus Pater omnipotens, God the Father almighty,
Domine Fili unigenite O Lord the only-begotten Son
Iesu Christe. Jesus Christ,
Domine Deus, Agnus Dei O Lord God, Lamb of God,
Filius Patris Son of the Father
Qui tollis peccata mundi That takest away the sins of the world
miserere nobis, have mercy upon us.
qui tollis peccata mundi Thou that takest away the sins of the world,
suscipe deprecationem nostram, receive our prayer.
qui sedes ad dexteram Patris Thou that sittest at the right hand of God the Father
miserere nobis. have mercy upon us.
Quoniam tu solus sanctus, For thou only art holy,
tu solus Dominus, thou only art the Lord,
tu solus altissimus, Iesu Christe thou only O Christ, art most high
miserere nobis have mercy upon us
cum sancto spiritu with the Holy Ghost
in gloria Dei Patris. Amen. in the glory of God the Father. Amen.
Hermoso amor que forxas Beauteous love, you who forge
tus flechas de las paxas your darts from straw,
temblando a mis rigores trembling at my harshness,
ardiendote a tus ancias. burning in your longing
De que suerte zeñido In what manner will you, held fast,
Podras vibrar las jaras be able to let fly your arrows
si te apriçiona el yelo if ice holds you prisoner and
y te nieua la escarcha the frost snows upon you?
Si no es que dan tus ojos If not that your eyes send forth
Rayos que soles fraguan beams that forge suns
quando te ven qual niño when they see such a child as you
con las manos faxadas with assaulted hands
Mas ay que disparas But oh you let fly
suspiros ardientes ardent sights
que el pecho me abrasan that burn my breast
Y con lagrimas tiernas and with tender tears
Rindes las almas you give back souls.
Yngenioso artificio Your clever device,
tuuo tu idea rara your rare idea,
en humanas finezas to redeem misfortunes
Por Redimir desgracias through kind human acts.
Risueña la aurora con claro arrebol Smiling, the dawn with a clear red glow
Da señas festivas de un divino Sol. Gives festive signs of a divine Sun.
Rendidos aplausos los astros le den Let the stars greet him with devoted applause
y a la Reina Aurora saluden tambien. and hail the Queen of Dawn as well.
La Aurora es María que ha parido hoy The Dawn is Mary, who has given birth today;
al Sol de justicia a adorarle voy. I am going to adore the Sun of Justice.
Angelitos bellos cantad, pues cantad Let beautiful cherubs softly sing
el Gloria in excelsis Deo consuavidad. the Gloria in excelsis Deo.
Los hombres devotos adoran y ven Devout men adore him and see
que les ha venido el más rico bien. that the finest gift has come to them.
Repitan las aves movidas de amor Repeat Mary’s praises inspired by love,
el ave María con dulce primor. the “Ave Maria” with sweetness and grace.
A siolo flasiquiyo ‘Ah, Mr. Francisco!’
¿que manda siol Thome? ‘At your command, Mr. Tomás!’
¿tenemo tura trumenta ‘Do we have all the instruments
templarita cum cunsielta? tuned up together?’
Si siolo ven pote ‘Yes sir, you could well
auisa bosa mise, tell your lady
que sa lo moleno ya, That the dark-skinned folk are about to appear,
cayendo de pularrisa falling about with laughter
y muliendo pol bayla and dying to start dancing.’
llamalo llamalo aplisa ‘Call them out right away,
que a veniro lo branco ya, for the White One has come now
y lo niño aspelandosa, - the resplendent Child -
y se aleglala, ha ha ha ha, and he will rejoice, ha ha ha ha!,
con lo zambamba, ha ha ha ha, with the zambomba [friction drum], ha ha ha ha!,
con lo guacambe con lo cascave with guacambe-dancing and bell-ringing.’
Si siñolo Thome ‘Yes, Mr. Tomás,
repicamo lo rrabe we’ll strum the rebec
ya la panderetiyo Anton and Antón jingling the tambourine,
baylalemo lo neglo al son. all we black people will dance to their sounds.’
Responsion:
Tumbucutu cutu cutu Toomboocootoo…
y toquemo pasito querito and let’s play gently, softly,
no pantemo a lo niño sesu. lest we disturb baby Jesus.
Turu neglo de Guinea All of us, blacks from Guinea,
que venimo combirara have come and we’ll invite
A detla e su criara, Andrea and her maid,
munglave con su liblea and Mongrave in his livery.
y pluque lo branco vea And so that the White One may see
quere branco nos selvimo we love white, we’ll dress
con vayal de un tamo plimo in fine, fleecy white cotton
y haleme a lo niño bu. and give the babe a bit of a scare.
De merico y silujano Let Miguel dress up quickly
se vista Mi[n]guel aplisa as a doctor-surgeon,
pues nos culase su clisa so the knife in his hand
las helilas con su mano may heal our wounds.
bayle el canario y viyano Dance the canario and the villano,
mas no pase pol deltas but don’t step behind
de mula que da lasas a mule that kicks out,
de toro que dira mu. nor a bull that goes moo.
Antoniyo con su sayo Antonio, wearing the smock
que tluxo re pueltorrico he brought from Puerto Rico,
Saldra vestiro re mico will come out dressed as a monkey,
y Miguel de papangayo and Miguel as a parrot.
Y quando yegue adorayo And when he goes up to adore
al niño le dira asi t he babe he’ll say to him:
si tu yo lamo pol mi ‘if you cry for me,
yo me aleglamo pol tu. I’ll be made happy by you.’
Al dormir el sol, en la cuna del alva con arrullos When the sun sleeps in the cradle of dawn,
con halagos con olores le mezen le aplauden with cooing, soothing words and sweet scents
le cantan los Angeles puros los zefiros gratos do the pure Angels, the pleasant breezes,
las fertiles flores las liquidas fuentes the plentiful flowers, liquid fountains,
las rapidas aves las debiles auras. the swift birds, the airy currents rock Him,
Y todos humildes dizen aIuna voz praise Him, and sing to Him in humbled unison:
roro rororo dormid, dormid niño Dios. roro rororo, sleep, sleep Divine Child.
Los Angeles puros con dulze canzion The pure Angels with dulcet strains
la cuna le mezen al dormido amor. gently rock Love asleep in his cradle.
No le disperteis, no, no pues su amante voz Hush! Wake him not, no; and the
el aire repite con leve rumor sweet-voiced breeze reports in hushed tone:
roro rororo dormid, dormid niño Dios. roro, rororo, sleep, sleep, Divine Child.
Los zefiros gratos con huella The agreeable zephyrs do nimbly trip
veloz moviendo las plantas no pisan la flor. amidst grasses without treading the bloom.
No le disperteis, no, no pues su acorde union Hush! Wake him not, no; and their harmonious
se inflama y entona con tierno fabor congress with passion and tender sentiment intone:
roro rororo dormid, dormid niño Dios. roro, rororo, sleep, sleep, Divine Child.
Las fertiles flores con salvas de olor The bountiful blossoms exhale volleys of
perfumes exalan en suave prision. perfume from petaled prison.
No le disperteis, no, no pues su inspiracion Hush! Wake him not, no; their aromatic
el catre le mullen cantando una voz. breathiness fluffs up his crib, and sings with one voice:
roro rororo dormid, dormid niño Dios. roro, rororo, sleep, sleep, Divine Child.
¡Hombres, victoria, victoria! Victory, men!
que contra todo el infierno The crying of a tender child
el llorar de un niño tierno asegura assures our glory against all of Hell.
nuestra gloria.
El sobresalto y la guerra nasçió de nuestra Terror and war were born of our fall
ayda y agora Dios nos combida and God prophesies to us
con gloria y paz en la tierra. glory and peace on earth.
Vida y alegre Victoria Life and joyous victory
nos da apesar del infierno, He gives us in spite of Hell.
el llorar de un niño. The crying of a tender child.
Tarara tarara qui yo soy Anton Tada, tada, I am Anthony,
ninglito li nacimiento black by birth,
qui lo canto lo mas y mijo and I sing loud and clear.
Yo soy Anton molinela I am Anthony the Moor
y ese niño qui nacio and the newborn child,
hijo es li unos lablalola son of working folk,
li tula mi estimacion. has all my esteem.
Pul eso mi sonajiya And thus with my rattle,
cascabela y atambo my bells, and my tambourine,
voy a bayla yo a Belena, I shall go to Bethlehem
pultilica y camalon to dance the Puerto Rico and the Cameroun.
Milalo quantu pastola Just look at all those shepherds
buscando a la niño Dios, searching for the God-child,
van curriendo a las pultale they run to the stable
pala daye la adolacion. to offer their adoration.
La sagala chilubina The youthful cherubs,
vistila li risplandor, splendidly attired,
las conta sus viyancica, sing out their carols
gluria cun compas y son. with good rhythm and fine sounds.
Ay ay galeguiños, ay ay que lo veyo Oh, Galician folk, Oh, I see him,
mas ay que lo miro Oh, I look at him,
ay que lo veyo en un pesebriño Oh, I see him in a manger.
Ay ay o filo de Deus, ay ay que a la terra vino Oh, the Son of God, Oh, He came to earth,
ay ay que lo veyo, mas ay que lo miro Oh, I see him, Oh, I look at him,
ay que lo veyo en un portaliño Oh, I see him in his little cradle.
Ay soen gantiñas [gaitiñas]e dai mil boltiñas O let the bagpipes sound
ay tocai las flautiñas and the pipes play
tambem los pandeiros as well as the tambourines,
ay ay que face pucheros for he smiles
por mis amoriños. as I cuddle him.
Convidando está la noche Night-time was an invitation
aquí de músicas varias for various bands
Al recién nacido infante to sing tender, joyful hymns
canten tiernas alabanzas to the new-born babe.
¡Ay, que me abraso, ay! divino dueño, ay! Ah, how I burn, divine master,
en la hermosura, ay! de tus ojuelos, ¡ay! in the beauty of your little eyes!
¡Ay, cómo llueven, ay! ciento luceros, ay! Ah, how a hundred stars pour down
rayos de gloria, ay! rayos de fuego, ¡ay! rays of glory, rays of fire!
¡Ay, que la gloria, ay! del portaliño, ay! Ah, how the glory of the little gate [of Bethlehem]
ya viste rayos, ay! si arroja hielos, ¡ay! is bathed in sunlight even as it shoots out icy shafts!
¡Ay, que su madre, ay! como en su espero, ay! Ah, how his mother, as if in hope,
mira en su lucencia, ay! sus crecimientos, ¡ay! watches him grow in the light he creates!
Alegres cuando festivas Whereupon some lovely, festive girls
unas hermosas zagales intoned novel
Con novedad entonaron comic interludes as
juguetes por la guaracha. the guaracha was being danced.
¡En la guaracha, ay! le festinemos, ay! Let us toast the child with our guaracha
mientras el niño, ay! se rinde al sueño, ¡ay! while he goes to sleep!
¡Toquen y bailen, ay! porque tenemos, ay! Let them play and dance, because we have
fuego en la nieve, ay! nieve en el fuego, ¡ay! fire in the snow, snow in the fire!
¡Pero el chicote, ay! a un mismo tiempo, ay! But the little fellow at one and the same time
llora y se ríe, ay! qué dos extremos, ¡ay! cries and laughs, what two extremes!
¡Paz a los hombres, ay! dan de los cielos, ay! Peace from heaven to all men is given;
a Dios las gracias, ay! porque callemos, ¡ay! et all give thanks to God, that we now may be silent!