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Ensamble Cg, Beatriz Elena Martínez, Soprano & Guillermo Bocanegra, guitarra | Koi No Uta - Tres Haikús para Voz y Cordófono Pulsado (Live)

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Classical: Art songs Classical: Contemporary Moods: Type: Vocal
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Koi No Uta - Tres Haikús para Voz y Cordófono Pulsado (Live)

by Ensamble Cg, Beatriz Elena Martínez, Soprano & Guillermo Bocanegra, guitarra

Tres haikús para voz y cordófono pulsado, sobre poemas japoneses del siglo X. 3 Haikus for voice and cordophone, based on Japanese love poems from the 10th. century.
Genre: Classical: Art songs
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1. Koi No Uta - Tres Haikús para Voz y Cordófono Pulsado (Live)
Ensamble Cg, Beatriz Elena Martínez, Soprano & Guillermo Bocanegra, guitarra
6:22 $0.99
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ABOUT THIS ALBUM


Album Notes
Nota del disco de CG, tal como aparece en el disco

Koi No Uta (2002)

‘Koi no uta’ es una serie de arriesgadas miniaturas que musicalizan poemas amatorios japoneses del siglo X. Fueron compuestas por Hasler para celebrar su matrimonio con Julia Premauer y de alguna manera retratan diferentes momentos de su relación, camino al mutuo enamoramiento. La primera canción nace de la tristeza del amor no correspondido, la segunda está postrada en la añoranza del ser amado y la tercera encuentra alegría en al esperanza.

El compositor define su obra con estas palabras: “Como ocurre con la delicadeza de los textos, del género del haiku y de la estética japonesa Zen, en esta obra lo mínimo, lo efímero, lo que es casi nada, lo es todo […] no hay elaboraciones ni complejidades que distraigan en su esencia efímera que bordea la no-existencia. Un trazo único de pincel sobre la única hoja blanca a la mano: tal es el espíritu de esta obra.”

- - -

‘Koi no uta’ is a series of risky miniatures that set to music 10th century Japanese love poems. They were composed by Hasler to celebrate his marriage to Julia Premauer and somehow portray different moments in their relationship, as it evolved to mutual love. The first haiku sings of unrequited love, the second, of a yearning of the loved one, while the third finds joy in hope.

The composer says about this work: “As with the delicacy of the texts, of the haiku genre and the Zen aesthetics, in these 3 songs the absolute minimum, the ephemeral, that which is almost nothing, is actually everything: there are no elaborations or complexities that distract from the ephemeral essence that borders on non-existence. A single hand-painted gesture of the brush on the only available white sheet of paper (o a remaining shred of paper), that is the spirit of these 3 songs.”


I. (Anónimo)
Yakumizu ni
kazu kaku yorimo hakanaki ha
omohanu omohanu hito wo
omohu nari keri

Más que número trazado en agua corriente, soy efímero.
Ella no piensa en mí;
yo la llevo en la mente.

More so than a number traced on running water, I am ephemeral.
She does not think of me.
I carry her in my mind.

- - -
II. (Ki no Tsurayuki)
Yamasakura kasumi no ma yori
honoka nimo Miteshi hito koso
koishi kari kere

La flor del cerezo agreste entre la bruma apenas se percibe.
Así́ a la persona que raramente vemos,
anhelamos.

The flower of the wild cherry tree in the mist is barely perceptible.
Likewise, the person that we rarely see,
We yearn for.
- - -

III. (Anónimo)
Tane shi areba iwa nimo matsu ha
ohi ni keri Koi wo shi kohiba
awazarame yamo

Si cuenta con semilla, puede en la roca aun crecer el pino.
Si es mi amor empeñoso,
hallarte puedo siempre.

If it has good seed, even in the rock can a pine tree grow.
If my love is persevering,
I can always find you.

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