CHOIR

ORIGINAL TEXT IN SPANISH

I. SOMBRA
VETE, ANDA VETE,
VETE DE MÍ,
VETE DE MI VERA,
QUE TÚ TIENES PARA MÍ,
NEGRA SOMBRA DE HIGUERA.

II. CAMPANAS
DOBLAN LAS CAMPANAS,
DOBLAN CON DOLOR.

III. RÍO
A ORILLA DEL RÍO
SU PENA LLORABA,
DE SUS OJOS NEGROS,
CRECIERON LAS AGUAS.

ENGLISH TRANSLATION

I. SHADOW
GO, JUST GO,
GO AWAY FROM ME,
LEAVE MY SIDE,
‘CAUSE YOU HAVE FOR ME,
BLACK SHADOW OF THE FIG TREE.

II. BELLS
THE BELLS TOLL,
THEY TOLL WITH SORROW.

III. RIVER
BY THE RIVERBANK,
WEEPING IN SORROW,
FROM HER DARK EYES,
THE WATERS AROSE.

Reviewing the guidelines for the RBC Bridges Emerging Composers Program, my thoughts immediately turned to the Vancouver Chamber Choir’s recordings of Murray Schafer’s choral works. Since first encountering these pieces, they have served as a profound source of inspiration for my own compositions. Consequently, I decided to incorporate several of Murray Schafer’s compositional techniques into my work.
The intent of my composition is to evoke three images from Andalusian folklore; drawn from three texts found in Colección de Cantes Flamencos (Flamenco Chants Collection) a book by Antonio Machado Álvarez (1846–1893), also known as Demófilo, an Andalusian folklorist and the father of poet Antonio Machado (1875–1939).
These texts have traditionally been sung in various rhythmic-harmonic forms of flamenco (also referred to as palos). The original text has been adapted and simplified to accommodate choral writing, employing the pronunciation typical of Andalusian Spanish, a linguistic variant from southern Spain, the birthplace of flamenco, shaped by the region’s rich cultural confluence.
Musically, the piece incorporates techniques from flamenco singing, as well as its distinctive rhythmic and harmonic structures.
While each text can stand independently, they have been selected to convey a unified poetic theme, centered around the three phases of grief: denial, anger, and acceptance.
I. Sombra (Shadow)
The poetic voice rejects the interlocutor, a bearer of misfortune, symbolized by the black shadow of the fig tree.
II. Campanas (Bells)
The bad omens come true: the bells toll with sorrow, a symbol of death. Short, percussive bell sounds intertwine with resonant, harmonic ones.
III. Río (River)
Tears begin to flow when calm is restored. The weeping evolves into a cathartic and comforting release.
Commisioned by
RBC Bridges Emerging Composers
Premiered by the Vancouver Chamber Choir
Premiere: 27/02/2025.
Toronto, Canada.

Madejas is the result of a journey into the roots, weaving through the threads of Aragon’s oral tradition to create a tribute to the living memory of its people.
I would like to thank Luis Miguel Bajén for introducing me to true treasures and for being a key figure in preserving and continuing Aragonese folklore.

This piece consists of a tongue twister, a lullaby, and a responsorial chant. In the tongue twister, the music is original, and the lyrics are interwoven; in the lullaby, the original monody is respected, with its music further developed; and in the responsorial chant, there is greater freedom in its adaptation, influenced by the rhythmic identity of pasabillas.

The composition portrays three successive scenes: a group of ravers attempts to recite a tongue twister to see who has drunk the most without waking others, while a mother softly sings an intimate lullaby to her child. As dawn breaks, everyone gathers to sing and wake the village on a festive day.

Although I am from Málaga, my choral roots were born in Aragón, thanks to the people who crossed my path, believed in me, and forged a strong bond of friendship that unites us today.

A heartfelt thanks to the Certamen Coral de Ejea for inviting me and giving me this opportunity.
I hope you enjoy these madejas.

Compulsory piece in the 51st Choral Competition of Ejea de los Caballeros.
Commisioned by 51st Choral Competition of Ejea de los Caballeros.
Premiere: 26/04/2025.
Ejea de los Caballeros.

ORIGINAL TEXT IN SPANISH

I. BOTA PIRIFOTA.
BOTA PIRIFOTA,
PIRIFOTÍN DE BOTA ROTA,
EL QUE DIGA BOTA PIRIFOTA,
PIRIFOTÍN DE BOTA ROTA,
BEBERÁ VINO DE ESTA BOTA ROTA.
II. NANA.
DUERME MI NIÑO DUERME,
DUERME MI NIÑO SÍ.
QUE TU MADRE SUFRE Y VELA,
SIEMPRE PENSANDO EN TI.
AMOR MÍO,
YO QUISIERA CUANDO MUERA,
QUE TE ACORDARAS DE MÍ.
III. LA DESPERTADERA
ESTE DÍA TAN GRANDE DEL MES DE MAYO,
IMPLORAR A QUITERIA QUE ES NUESTRO AMPARO.
EN ESTOS DÍAS,
CELEBREMOS LAS FIESTAS CON ALEGRÍA.
AL GLORIOSO SAN ÚRBEZ LO HAN ENTERRADO,
EN UN ARCA PRECIOSA MUY ADORNADO.
TIENE TRES LLAVES,
Y VAN A VISITARLO DE TRES LUGARES.

ENGLISH TRANSLATION

I. WINESKIN PUMPKIN.
WINESKIN PUMPKIN,
LITTLE PUMPKIN OF A BROKEN WINESKIN,
WHOEVER SAYS WINESKIN PUMPKIN,
LITTLE PUMPKIN OF A BROKEN WINESKIN,
WILL DRINK WINE FROM THIS BROKEN WINESKIN.
II. LULLABY.
SLEEP, MY CHILD, SLEEP,
SLEEP, MY CHILD, HUSH.
THAT YOUR MOTHER SUFFERS AND KEEPS WATCH,
ALWAYS THINKING OF YOU.
MY LOVE,
I HOPE THAT WHEN I DIE,
YOU WILL REMEMBER ME.
III. THE AWAKENER.
ON THIS GREAT DAY IN THE MONTH OF MAY,
WE IMPLORE QUITERIA, WHO IS OUR SHELTER.
ON THESE DAYS,
LET US CELEBRATE THE FEAST DAYS WITH JOY.
GLORIOUS SAINT ÚRBEZ HAS BEEN LAID TO REST,
IN A PRECIOUS ARK, RICHLY ADORNED.
IT HAS THREE KEYS,
AND HE IS VISITED FROM THREE PLACES.

ORIGINAL TEXT IN SPANISH

ESCULTURA DE TRANSPARENTE CLARIDAD,
PLATA FUNDIDA ENTRE LAS PERLAS,
BELLEZA ALBA Y PURA,
AGUA Y MÁRMOL SE CONFUNDEN
SIN SABER CUÁL SE DESLIZA.

EL AGUA SE DERRAMA EN LA TAZA,
PERO SUS CAÑOS LA ESCONDEN EN SEGUIDA.
AMANTE CUYOS PÁRPADOS REBOSAN DE LÁGRIMAS
ESCONDIDAS POR MIEDO A UN DELATOR.

BLANCA NUBE VIERTE SOBRE LOS LEONES SUS ACEQUIAS.
LA MANO DEL CALIFA PRODIGA SUS FAVORES A LOS LEONES DE LA GUERRA.
SOLO EL RESPETO AL EMIR CONTIENE SU ENOJO.

AGUA, MÁRMOL, PERLAS, PLATA, BELLEZA ALBA Y PURA, PLATA, MÁRMOL, PERLAS, AGUA.

A partir del poema de Ibn Zamrak (S. XIV)*, escrito en la taza de la fuente del Patio de los Leones de la Alhambra de Granada. (Atribuido a Ibn Zamrak).

ENGLISH TRANSLATION

SCULPTURE OF TRANSPARENT CLARITY,
MOLTEN SILVER AMONG THE PEARLS,
WHITE AND PURE BEAUTY,
WATER AND MARBLE ARE CONFUSED
WITHOUTH KNOWING WHICH ONE SLIPS.

THE WATER SPILLS INTO THE BASIN,
BUT ITS SPOUTS HIDE IT IMMEDIATELY.
LOVER WHOSE EYELIDS BRIM WITH TEARS
HIDDEN FOR FEAR OF AN INFORMER .

A WHITE CLOUD POURS OVER THE LIONS ITS DITCHES.
AND THE HAND OF THE CALIPH LAVISHES HIS FAVOURS ON THE WAR LIONS.
ONLY RESPECT FOR THE EMIR STOPS HIS ANGER.

WATER, MARBLE, PEARLS, SILVER, WHITE AND PURE BEAUTY, SILVER, MARBLE, PEARLS, WATER.

From the poem by Ibn Zamrak (14th century)*, written on the fountain of the Court of the Lions in the Alhambra (Granada). (Attributed to Ibn Zamrak).

The Nubah Choir commissioned this piece as part of their repertoire exploring medieval music from the Iberian Peninsula, shaped by the interwoven traditions of Al-Andalus, Sephardic, and Christian cultures.
This period is challenging to interpret, as surviving scores and texts are often fragmentary or imprecise. Yet its musical significance invites a deeper understanding. As I searched for the distinctive traits of each tradition, I was struck by the unexpected common ground among them.
While they differ in texture and structure, these traditions share an organic pursuit of sincerity in sound. This realization led me to move away from a tripartite structure, initially intended to explore each culture separately, and instead create a more fluid work, where boundaries between cultures dissolve.
Polyphony, modality, improvisation, unison, and hemiolas are some of the materials that shape the piece, always echoing the expressive gestures of that era.
The poetic core of the work centers on the Court of the Lions in the Alhambra, the imagined setting for the action. The text inscribed on the basin of the lions’ fountain serves as a starting point. Beneath the surface of a tribute to the emir, a poetic vision emerges, in which time stands still in the presence of a mythological creature.

To Alberto Palacín and Coro Nubah.
Commisioned by Asociación Juvenil Alhambra Coral de Granada
Premiere: 4/05/2023.
Auditorio La Chumbera (Granada).

ORIGINAL TEXT IN SPANISH

POLO DEL ABSOLUTISTA:

¡YO QUE SOY ABSOLUTISTA,
Y ADORO A LA INQUISICIÓN!
VIVAN MI AMO Y LAS CADENAS,
Y QUE VIVA MUY BIEN YO.

¡QUE VIVA EL REY ABSOLUTO,
QUE VIVA LA INQUISICIÓN!
VIVAN MI AMO Y LAS CADENAS,
Y QUE VIVA MUY BIEN YO.

¡ESPAÑA SE VALE SOLA!
EL GABACHO FUERA, FUERA!
¡QUE FERNANDO EL DESEADO,
VUELVA PA’ PRENDER LA HOGUERA!

¡SI HA DE HABER GUERRA QUE HAYA,
Y A VER QUIÉN ES EL MÁS FUERTE!
¡QUE LA JUERGA NO DECAIGA,
SOMOS NOVIOS DE LA MUERTE!

GOYA:
ESTO ES MUY MALO.

¡YO QUE SOY ABSOLUTISTA,
Y ADORO A LA INQUISICIÓN!
VIVAN MI AMO Y LAS CADENAS,
Y QUE VIVA MUY BIEN YO.
Y QUE VIVA MUY BIEN YO…

GOYA:
ESTO ES PEOR.

ENGLISH TRANSLATION

ABSOLUTIST’S “POLO”:

I WHO AM AN ABSOLUTIST,
AND ADORE THE INQUISITION!
GOD SAVE MY MASTER AND THE CHAINS,
AND LONG MAY I LIVE WELL.

GOD SAVE THE ABSOLUTE KING,
GOD SAVE THE INQUISITION!
GOD SAVE MY MASTER AND THE CHAINS,
AND LONG MAY I LIVE WELL.

SPAIN CAN STAND ALONE!
AWAY WITH THE FRENCH, AWAY!
MAY FERNANDO THE DESIRED,
RETURN TO START THE FIRE!

IF THERE MUST BE WAR, LET IT BE,
AND SEE WHO IS THE STRONGEST!
KEEP THE CELEBRATION GOING,
FOR WE ARE SWEETHEARTS OF DEATH!

GOYA:
THIS IS VERY BAD.

I WHO AM AN ABSOLUTIST,
AND ADORE THE INQUISITION!
GOD SAVE MY MASTER AND THE CHAINS,
AND LONG MAY I LIVE WELL…
AND LONG MAY I LIVE WELL…

GOYA:
THIS IS WORSE.

DE SAN LUIS:

CORO:
DE SAN LUIS, DE SAN LUIS… CIEN MIL HIJOS DE SAN LUIS…
GOYA:
¿Y PA’ QUÉ TANTOS? ¿Y QUIÉNES SON?
CORO:
LA REACCIÓN SON, SON LA REACCIÓN… LO MÁS REACCIONARIO DE CADA CASA… REAL.
¡Y VIENEN A RESTAURAR EN EL TRONO AL REY FELÓN!
GOYA:
¿YA HAN CRUZADO LA FRONTERA?
CORO:
Y HAN LLEGADO A ZARAGOZA.
GOYA:
¡OTRA MASACRE! ¡AY, DOLOR!
CORO:
TE EQUIVOCAS, TE EQUIVOCAS.
¡QUE HA SIDO GRAN ILUSIÓN,
EL FRANCÉS EN ZARAGOZA,
QUÉ ALEGRÍA, QUÉ EMOCIÓN!
ENTRE VÍTORES Y APLAUSOS,
ENTRARON EN PROCESIÓN.
GOYA:
¡NO JODAS, CORO CABRÓN!
CORO:
EVÍTATE EL SOFOCÓN.
ZARAGOZA, EN LOS SITIOS,
CONTRA EL FRANCÉS NO LUCHÓ,
QUE LUCHÓ CONTRA EL PROGRESO
DEL PRIMER NAPOLEÓN,
CONTRA LAS IDEAS NUEVAS
DE LA FIERA ILUSTRACIÓN.
GOYA:
AÚN APRENDO, MALDICIÓN.
CORO:
¡LA VIRGEN DEL PILAR DICE,
QUE LOS CASI CIEN MIL HIJOS DE SAN LUIS,
SAN LUIS, EL SANTO,
SON TAMBIÉN HIJICOS SUYOS,
PROTEGIDOS POR SU MANTO!
LA VIRGEN DEL PILAR DICE…

DE SAN LUIS:

CORO:
OF SAN LUIS, OF SAN LUIS… A HUNDRED THOUSAND SONS OF SAN LUIS…
GOYA:
AND WHY SO MANY? AND WHO ARE THEY?
CORO:
THEY ARE THE REACTION, THE REACTION… THE MOST REACTIONARY OF EACH ROYAL… HOUSE.
AND THEY COME TO RESTORE THE FELON KING TO THE THRONE!
GOYA:
HAVE THEY CROSSED THE BORDER ALREADY?
CORO:
AND THEY HAVE REACHED ZARAGOZA.
GOYA:
ANOTHER MASSACRE! OH, PAIN!
CORO:
YOU’RE WRONG, YOU’RE WRONG.
IT HAS BEEN A GREAT HOPE,
THE FRENCH IN ZARAGOZA,
WHAT JOY, WHAT EMOTION!
CHEERS AND APPLAUSE,
THEY ENTERED IN PROCESSION.
GOYA:
DON’T JOKE, DAMN CHOIR!
CORO:
AVOID THE EMBARRASSMENT.
ZARAGOZA, IN THE SIEGES,
DIDN’T FIGHT AGAINST THE FRENCH,
BUT FOUGHT AGAINST THE PROGRESS
OF THE FIRST NAPOLEON,
AGAINST THE NEW IDEAS
OF THE FIERCE ENLIGHTENMENT.
GOYA:
STILL, I LEARN, DAMN.
CORO:
OUR LADY OF THE PILLAR SAYS,
THAT THE ALMOST A HUNDRED THOUSAND SONS OF SAN LUIS,
SAN LUIS, THE SAINT,
ARE ALSO HER LITTLE CHILDREN,
PROTECTED BY HER MANTLE!
OUR LADY OF THE PILLAR SAYS…

ORIGINAL TEXT IN LATIN

VINUM REGUM, REX VINORUM.
VINUM ET MUSICA LAETIFICANT COR.
VINUM ET MUSICA LAETIFICANT COR CANTORUM.

VINUM REGUM, REX VINORUM,
LAETIFICAT COR CANTORUM.
DEUS QUI FECIT TOTUM, BENEDICAT NOSTRUM POTUM.

BONUM VINUM BENEDICAT CANTORIBUS.
BIBERE HUMANUM EST, ERGO BIBAMUS.
POST VINUM VERBA, POST IMBREM NASCITUR HERBA.

VINUM REGUM…
PERSICA, PIRA, POMA, REQUIRUNT VINA BONA. SALIVAM MOVERE.
MALA SINE CORTICA BONA, CUM CORTICA MELIORA. SALIVAM MOVERE.
VIVIS PISCIBUS AQUA, MORTUIS PISCIBUS VINUM. SALIVAM MOVERE.
BREVIS ORATIO ET LONGA MANDUCATIO.

VINUM REGUM…
BREVIS ORATIO ET LONGA MANDUCATIO. NON BENE OLET QUI BENE SEMPER OLET. MALA DIGESTIO, NULLA FELICITAS.

VINUM REGUM REX VINORUM
NON FACIT EBRIETAS VITIA, SED PROTRAHIT.
VIRTUS ET VITIUM CONTRARIA SUNT
IN VINO VERITAS.

VINUM REGUM…

ENGLISH TRANSLATION

WINE OF KINGS, KING OF WINES.
WINE AND MUSIC CHEER THE HEART.
WINE AND MUSIC CHEER UP SINGERS’ HEARTS.

WINE OF KINGS, KING OF WINES,
CHEER UP SINGERS’ HEARTS.
MAY GOD, CREATOR OF ALL THINGS, BLESS OUR DRINK.

MAY GOOD WINE BLESS THE SINGERS.
DRINKING IS HUMAN, SO LET’S DRINK.
AFTER THE WINE, THE WORDS, AFTER THE RAIN THE GRASS IS BORN.

WINE OF KINGS…
PEACHES, PEARS AND APPLES REQUIRE GOOD WINES. MAKES YOUR MOUTH WATER.
APPLES WITHOUT SKIN ARE GOOD, WITH SKIN THEY ARE BETTER. MAKES YOUR MOUTH WATER.
WATER FOR THE LIVING FISH, WINE FOR THE DEAD. MAKES YOUR MOUTH WATER. SHORT SPEECH AND LONG MEAL.

WINE OF KINGS…
SHORT SPEECH AND LONG MEAL.
THOSE WHO ALWAYS SMELL GOOD DON’T SMELL GOOD,
BAD DIGESTION, NO HAPPINESS.

WINE OF KINGS, KING OF WINES.
DRUNKENNESS DOES NOT MAKE VICES,
IT MAKES THEM EVIDENT,
VIRTUE AND VICE
ARE OPPOSITES,
IN WINE THERE IS TRUTH.

WINE OF KINGS…

ORIGINAL TEXT IN SPANISH

VENGAN, VENGAN,
A PEDIRNOS LOS FAVORES,
PARA SACARLAS DE PENA.

VENGAN LAS ÁNIMAS,
VENGAN LAS ÁNIMAS, VENGAN.

OÍD CRISTIANOS OÍD,
LO QUE LAS ÁNIMAS PENAN,
UNAS PENAN DE LOS BRAZOS,
Y OTRAS DE BRAZOS Y PIERNAS,
Y OTRAS PENAN DE LA VISTA,
POR NO MIRAR CON DECENCIA
Y OTRAS POR SER MALDICIENTES,
Y ESAS POR LA LENGUA PENAN.

VENGAN LAS ÁNIMAS,
VENGAN LAS ÁNIMAS, VENGAN.

Y ALLÍ SE ASOMA CAÍN,
ENVUELTO EN LLAMAS TREMENDAS,
EMMANUEL MI HERMANO ABEL,
PERDONAME MIS OFENSAS,
Y RUEGA A DIOS QUE ME QUITEN,
ESTAS PENOSAS CADENAS.

VENGAN, VENGAN MIS AMIGAS
Y SE SIENTEN A MI VERA,
QUE AL PUNTO VENDRÁN LAS ÁNIMAS,
VENDRÁN LLAMANDO A TU PUERTA.
A PEDIRNOS LOS FAVORES,
PARA SACARLAS DE PENA.

¡QUE VENGAN LAS ÁNIMAS!

ENGLISH TRANSLATION

COME, AVENGE,
TO ASK FOR OUR FAVORS,
TO RELEASE THEM FROM SORROW.

COME, THE SOULS,
AVENGE, THE SOULS, COME.

HEAR, CHRISTIANS, HEAR,
WHAT THE SOULS SUFFER,
SOME OF THEM SUFFER FROM ARMS,
AND OTHERS FROM ARMS AND LEGS,
AND SOME OTHERS SUFFER FROM SIGHT,
FOR NOT LOOKING WITH DECENCY,
AND OTHERS FOR BEING SLANDEROUS,
AND THOSE SUFFER FROM THE TONGUE.

COME, THE SOULS,
AVENGE, THE SOULS, COME.

AND THERE APPEARS CAIN,
ENGULFED IN TREMENDOUS FLAMES,
EMMANUEL, MY BROTHER ABEL,
FORGIVE ME FOR MY OFFENSES,
AND PRAY TO GOD TO REMOVE
THESE PAINFUL CHAINS.

COME, COME, MY FRIENDS,
AND SIT BESIDE ME,
FOR SOON THE SOULS WILL COME,
THEY WILL COME KNOCKING AT YOUR DOOR,
TO SEEK OUR FAVORS,
TO RELEASE THEM FROM SORROW.

LET THE SOULS COME!

ORIGINAL TEXT IN SPANISH

AFUERA, AFUERA, ANSIAS MÍAS;
NO EL RESPETO OS EMBARACE:
QUE ES LISONJA DE LA PENA
PERDER EL MIEDO A LOS MALES.

SALGAN SIGNOS A LA BOCA
DE LO QUE EL CORAZÓN ARDE,
NADIE CREERÁ EL INCENDIO
SI EL HUMO NO DA SEÑALES.

EL QUE SU CUIDADO ESTIMA,
SUS SENTIMIENTOS NO CALLE;
QUE NO ES MUY VALIENTE EL PRESO
QUE NO QUEBRANTA LA CÁRCEL.

FUERA, AFUERA ANSIAS MÍAS;
NO EL RESPETO OS EMBARACE:
NADIE CREERÁ EL INCENDIO
SI EL HUMO NO DA SEÑALES.

SALGAN SIGNOS A LA BOCA
DE LO QUE EL CORAZÓN ARDE,
QUE NO ES MUY VALIENTE EL PRESO,
QUE NO QUEBRANTA LA CÁRCEL..

ENGLISH TRANSLATION

AWAY, AWAY, MY LONGINGS;
DO NOT BE EMBARRASSED BY RESPECT:
FOR IT IS THE FLATTERY OF SORROW
TO LOSE THE FEAR OF EVILS.

LET THERE BE SIGNS IN YOUR MOUTH
OF WHAT THE HEART BURNS,
NO ONE WILL BELIEVE THE FIRE
IF THE SMOKE GIVES NO SIGN.

HE WHOSE CARE ESTEEMS
HIS FEELINGS DO NOT KEEP SILENT;
FOR THE PRISONER IS NOT VERY BRAVE
WHO DOES NOT BREAK THE PRISON.

AWAY, AWAY YOU GO, MY LONGINGS;
DO NOT BE EMBARRASSED BY RESPECT:
NO ONE WILL BELIEVE THE FIRE
IF THE SMOKE GIVES NO SIGN.

LET SIGNS GO IN YOUR MOUTH
OF WHAT THE HEART BURNS,
FOR THE PRISONER IS NOT VERY BRAVE,
WHO DOES NOT BREAK THE PRISON.

In a placid study session, Sergio seems oblivious to what is happening around him. Smoke seeps under the door, and alarms start blaring. The fire appears imminent. While he immerses himself in a reverie inspired by Sor Juana Inés de la Cruz’s poem, ancient music and ABBA blend together, among other things.

Sergio acknowledges that what he is experiencing is probably the result of a hallucination caused by end-of-course stress. Therefore, perhaps all of this is just a drill (though very realistic), as, after all, “no one will believe the fire if the smoke doesn’t give signals.”

To a very brave prisoner, Sergio Martínez Zangróniz,
who has got me out of so much trouble.
Recit(h)all by Sergio Martínez Zangróniz.
Premiere: 14/06/2023.
Superior Music Conservatory of Aragon (C.S.M.A.)

ORIGINAL TEXT IN CHESO

DIZ QUE CUANDO LA LUNA
BRILA EN LO CIELO,
LO SOL YA SE’N YE IU
QUE HA MUITO SUENIO.

AMONICO, AMONICO,
ZARRA IXOS GÜELLOS
QUE YES, NIRNA, LO SOL
QUE YO MÁS QUIERO.

YA ACUCUTA LA LUNA
EN LO APOSENTO
Y DICE QUE T’ADUERMAS,
QUE NO HAYAS MIEDO.

Y SONIANDO TU CHUGAS
CON UN LUCERO,
IMPLINDO D’ALEGRÍA
LO FIRMAMENTO.

ADUERME, NIRNA, ADUERME,
ADUERME NIRNA,
QUE TU MADRI, CON GOYO,
TE ACUNA Y MIMA.

ENGLISH TRANSLATION

IT’S SAID THAT WHEN THE MOON
SHINES IN THE SKY
THE SUN IS ALREADY GONE
IT’S VERY SLEEPY.

SLOWLY, SLOWLY,
CLOSE THOSE EYES,
YOU ARE, LITTLE GIRL, THE SUN
THAT I LOVE THE MOST.

THE MOON IS COMING
INTO THE ROOM
AND TELLS YOU TO GO TO SLEEP,
DON’T BE AFRAID.

AND DREAMING YOU PLAY
WITH A STAR
FILLING WITH JOY
THE FIRMAMENT.

SLEEP, LITTLE GIRL, SPLEEP,
SLEEP, LITTLE GIRL,
THAT YOUR MOTHER, WITH JOY,
CRADLES AND CUDDLES YOU.