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Download Copyright 2015 Elizabeth Pauly. All rights reserved. Estrellita Del Sur
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Estrellita Del Sur (Little Star From the South) Felipe Coronel Rueda Arr. Enrique Iturriaga SATB Translation and Pronunciation /kwan-‐do le-‐hos de ti kie-‐ra pe-‐nar el ko-‐ra-‐son/ Cuando lejos de ti quiera penar el corazón, When far you want grieve the heart /∫io-len-toí en su xe-mir re-kor-da-re de tu re-ir/ violento en su gemir recordaré de tu reir, violent in his moan I will remember your laugh /su ∫i-‐bra-‐sjon ke fwe kan-‐to deí a-‐mor im-‐no de pas/ su vibración que fué canto de amor, himno de paz, its vibration that was song of love, hymn of peace /ja noí a-‐braí en-‐ton-‐ses do-‐lor to-‐∂o se-‐ra fe-‐li-‐si-‐∂ad/ ya no habrá entonces dolor todo será felicidad. Then no will have pain all will be happiness /no te d-‐goí un a-‐djos es-‐tre-‐ΩΩi-‐ta del sur/ No te digo un adios, estrellita del sur, No, to you (I don’t) say goodbye, little star of the south, /por-‐ke pron-‐toí es-‐ta-‐re a tu la-‐∂oí o-‐tra ves/ porque pronto estaré a tu lado otra vez, because soon I will be at your side again /i de nwe-‐∫o sen-‐tir la fra-‐gan-‐sia su-‐til/ y de nuevo sentir la fragancia sutil and again sense the fragrance subtle /kam-‐pa-‐nas re-‐pi-‐ka-‐raí en mi ko-‐ra-‐son/ campanas, repicará en mi corazón. Bells, chiming in my heart. *https://en.wikipedia.org/wiki/Voiced_palatal_fricative (sound used in Peruvian Spanish for ll) © Copyright 2015 Elizabeth Pauly. All rights reserved. Cuando lejos de ti When far away from you quiera penar el corazón, The heart will want to descend in pain, violento en su gemir In his violent groan recordaré de tu reir, I will remember his laugh: su vibración que fué c The vibration that was anto de amor, himno de paz, a song of love, a hymn of peace. ya no habrá entonces dolor Then no pain will be there todo será felicidad. and it will all be happiness. No te digo un adios, No, no, I don’t tell you good-‐bye estrellita del sur, Little Star from the South porque pronto estaré Because I will be soon a tu lado otra vez, At your side once again, y de Nuevo sentir And be able to smell la fragancia sutil The keen fragrance again… campanas, repicará And bells of great success en mi corazón. Will ring forever in my heart. 1 Background Felipe Coronel Rueda (1924-‐?), a native of Peru was inspired to write the song Estrellita Del Sur while touring Chile with the group “Los Mensajeros del Perú” in 1948.2 It is in the style of a waltz, a rhythm that became so popular in Peru it became known as the Peruvian waltz. It has been arranged for SATB choir by Enrique Iturriaga.3 Recordings NDSU Choir – this is the arrangement we will be singing, conducted by one of my former teachers (and someone to whom I owe much), Dr. Jo Ann Miller -‐ https://youtu.be/pbiPfLKXk9Q Las Herminatas Nuñez – an accompanied arrangement – probably more traditional: http://guanaguanaresingsat.blogspot.com/2011/12/estrellita-‐del-‐sur-‐song.html La Panchita -‐ https://youtu.be/TEzLYe5yHcU -‐ as a popular song 1 Enrique Iturriaga. “Estellita Del Sur.” Kjos, 1999, preface. 2 Luis A. Ramírez S., “Felipe Coronel Rueda.” http://www.boletindenewyork.com/Felipe%20Coronel%20Rueda.htm [accessed 10/8/15. 3 Enrique Iturriaga. “Estellita Del Sur.” Kjos, 1999, preface. © Copyright 2015 Elizabeth Pauly. All rights reserved. Analysis Key: C Major Meter: ¾ waltz Structure: AABB SECTION MEASURE A 1-18 B 18-35 EVENT AND SCORING Sopranos have melody throughout; The melody has a rhythmic lilt that is achieved primarily from frequent ties from the & of beat 2 to beat 3. From ms.1-8, basses have a steady quarter note rhythm, which provides a striking contrast to and rhythmic support for the other voices, particularly sopranos. A few features make this section stand out – the steady pulse provided by the basses, the frequent duets between voices (particularly altos and sopranos, but note also ms.6 where Sopranos and tenors have a brief duet), and the melodic tags at the end of phrases (ms.4 tenor and ms.8 basses) The texture changes a bit from ms. 9-18. Sopranos still have the melody, and there is always rhythmic support from the other voices, but the other voices trade off duets with the sopranos – altos at ms. 11, tenors at 13, and basses from 14-16. Basses have melodic tags at ms. 12 and 16. This section repeats. Contrasting melody. S still has melody; A mostly duet with S; tenors and basses mostly harmonic/rhythmic support. Interesting aspects: harmonic shifts from 28-31 (mostly to d minor); rhythmic shift at 28 to 6/8 feel for one measure; melodic tags in tenor at 26, bass at 29, alto 30, tenor at 31. © Copyright 2015 Elizabeth Pauly. All rights reserved.
