3_23_11 Tango Concert - Music at Emory - Emory University

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Arts at Emory Box Office/Information
the department of music gratefully acknowledges the generous gift of musical
instruments provided by the Dr. B. Woodfin Cobbs Jr. Music Endowment.
the cough drops in the lobby are courtesy of Margery and Robert McKay.
in consideration for other members of the audience, please turn off all
pagers and phones. Photographs and recordings may not be made during a
performance without advance permission.
Ushers for this program are members of Music at Emory Volunteers;
Mu Phi Epsilon, a professional music fraternity; Alpha Phi Omega, a national
service and social fraternity; and Tri-M Music Honor Society at Lakeside High
School. Call 404.727.6640 for information about ushering.
cover photo credits: (A) Choir of Clare College, photo by Emma Hutton; (B) Gary Motley,
photo by Leon Dale; (C) Timothy Albrecht, Emory
photo courtesy of the Emory Wheel; ,
photo by Michael Wilson; (E) ETHEL, photo by Dennis Kleiman; photo
by Bryan Meltz, Emory Photo/Video.
radio partner:

Argentine
Tango Music
Tango Orchestra Club Atlanta
Osvaldo Barrios, bandoneón
Howard Goldstein, violin
Noemi Kurylo, cello
Todd Markey, double bass
Mary McCoy, violin/viola
Ronald Mendoza-de Jesús, singer
Kristin Wendland, piano and director
and the
Emory Tango Ensemble
William Eye, violin
Sarah Earp, viola
Gina Florio, piano
Samantha Greene, double bass
Jonathan Lin, violin
Kathryn Vance, violin
Kristin Wendland, coach
EMERSON CONCERT HALL
SCHWARTZ CENTER FOR PERFORMING ARTS
WEDNESDAY, MARCH 23, 2011, 8:00 P.M.

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Classic Tangos for Dancing
9 de Julio José Luis Padula
(1893–1945)
Canaro en Paris Alejandro Scarpino
(1904–1970)
Francia, vals Octavio Barbero
(unknown–1948)
La trampera, milonga Anibal Troilo
(1914–1975)
La yumba Osvaldo Pugliese
(1905–1995)
La cumparsita Hernán Matos Rodriguez
(1897–1948)
Canciones from Tango!s Golden Age
Yira yira Enrique Santos Discepolo
(1901–1951)
Nada José Dames
(1907–1994)
Horacio Sanguinetti
(1914–1957)
Si soy asi Francisco Lomuto
(1893–1950)
Antonio Botta
(1896–1969)

Que solo estoy Raúl Kaplún
(1910–1990)
Roberto Miró
(n.d.)
Pa’ que bailen los muchachos Aníbal Troilo/Enrique Cadícamo
(1900–1999)
Concert Tangos
Che, bandoneón! Troilo
A fuego lento Horacio Salgán
(b. 1916)
Don Agustín Bardi Salgán
Oblivión Astor Piazzolla
(1921–1992)
Vuelvo al sur Piazzolla
Fernando “Pino” Solanas
(b. 1936)
Danzarín Julián Plaza
(1928–2003)
La bordona Emilio Balcarce
(1919–2011)
Special thanks to the Friends of Music for their continued support of tango artist Osvaldo Barrios.
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Cuando la suerte qu’ es grela,
fayando y fayando
te largue parao;
cuando estés bien en la vía,
sin rumbo, desesperao;
cuando no tengas ni fe,
ni yerba de ayer
secándose al sol;
cuando rajés los tamangos
buscando ese mango
que te haga morfar . . .
la indiferencia del mundo
–que es sordo y es mudo–
recién sentirás.
Verás que todo el mentira,
verás que nada es amor,
que al mundo nada le importa . . .
¡Yira! ¡Yira!
Aunque te quiebre la vida,
aunque te muerda un dolor,
no esperes nunca una ayuda,
ni una mano, ni un favor.
Cuando estén secas las pilas
de todos los timbres
que vos apretás,
buscando un pecho fraterno
para morir abrazao . . .
Cuando te dejen tirao
después de cinchar
lo mismo que a mí.
Cuando manyés que a tu lado
se prueban la ropa
que vas a dejar . . .
Te acordarás de este otario
que un día, cansado,
¡se puso a ladrar!
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Yira yira Cruisin!, cruisin!
When luck which is very bad
missing and missing, leaves you alone,
When you’re well on the way
Without direction, desperate
When you don’t even have faith
Nor yesterday’s herbs (mate)
Drying in the sun
When you split the dancing shoes
Looking for dough
To be able to eat
The world’s indifference
Which is deaf and dumb
You will then feel.
You’ll see that everything is a lie
You’ll see that nothing is love
That the world doesn’t care
Cruisin’, cruisin’
Even if life breaks you
Even if pain bites you
Don’t ever expect help
Nor a hand . . . Nor a favor
When the batteries
Of all the bells you ring,
have dried up,
In search of a fraternal chest
To die in an embrace
When they leave you alone
After cinching
As happened to me
When you notice that right next to you
They’re trying on the clothes
That you will leave,
You will remember this otario
That one day, tired
Started to bark
Even if life breaks you
Even if pain bites you
Don’t ever expect help
Nor a hand . . . Nor a favor
—translated by Frank Sasson
ed. by Ronald Mendoza de Jesús

'()*+,%-.,'"%-+/%*0#-+
Nada Nothing
He llegado hasta tu casa . . .
¡Yo no sé cómo he podido!
Si me han dicho que no estás,
que ya nunca volverás . . .
¡Si me han dicho que te has ido!
¡Cuánta nieve hay en mi alma!
¡Qué silencio hay en tu puerta!
Al llegar hasta el umbral,
un candado de dolor
me detuvo el corazón.
Nada, nada queda en tu casa natal . . .
Sólo telarañas que teje el yuyal.
El rosal tampoco existe
y es seguro que se ha muerto al irte tú . . .
¡Todo es una cruz!
Nada, nada más que tristeza y quietud.
Nadie que me diga si vives aún . . .
¿Dónde estás, para decirte
que hoy he vuelto arrepentido a
buscar tu amor?
Ya me alejo de tu casa
y me voy ya ni sé donde . . .
Sin querer te digo adiós
y hasta el eco de tu voz
de la nada me responde.
En la cruz de tu candado
por tu pena yo he rezado
y ha rodado en tu portón
una lágrima hecha flor
de mi pobre corazón.
I have arrived at your house . . .
I don’t know how I was able!
If they’ve told me that you are not here,
that you will never return . . .
If they have told me that you have gone away!
How much snow there is in my soul!
What a silence there is at your door!
Upon arriving at the threshold,
a padlock of pain
stopped my heart.
Nothing, nothing is left in your natal house . . .
Only spiderwebs that the weeds weave.
The rosebush does not exist either
and for sure it has died when you left . . .
Everything is a cross!
Nothing, nothing else but sadness and calm.
Nobody to tell me if you’re still alive . . .
Where are you, to tell you
that today I’ve returned repentant looking
for your love?
I’m walking away from your house
going not knowing where . . .
Inadvertently I say farewell
and even the echo of your voice
from the nothing responds to me.
On the cross of your padlock
I have prayed for your pain,
and on your gate has rolled
a tear turned flower
from my poor heart.
—translated by Alberto Paz
ed. by Ronald Mendoza de Jesús
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Si soy as! If I Am Like This
Si soy así,
¿qué voy a hacer?
Nací buen mozo
y embalao para querer.
Si soy así
¿qué voy a hacer?
Con las mujeres
no me puedo contener.
Por eso tengo
la esperanza que algún día
me toqués la sinfonía
de que ha muerto tu ilusión.
Si soy así
¿qué voy a hacer?
Es el destino
que me arrastra a serte infiel.
Donde veo unas polleras
no me fijo en el color . . .
Las viuditas, las casadas y solteras
para mí todas son peras
en el árbol del amor.
Y si las miro coqueteando por la calle
con sus ojos tan porteños
y su talle cimbreador,
le acomodo el camouflage
de un piropo de mi flor.
Si soy así
¿qué voy a hacer?
Pa’ mí la vida
tiene forma de mujer.
Si soy así,
¿qué voy a hacer?
Es Juan Tenorio
que hoy ha vuelto a renacer.
Por eso, nena,
no sufrás por este loco
que no asienta más el coco
y olvidá tu metejón.
Si soy así,
¿qué voy a hacer?
Tengo una esponja
donde el cuore hay que tener.
If I am like this,
What am I going to do?
I was born a good boy,
And predisposed to love.
If I am like this,
What am I going to do?
With women
I cannot contain myself.
Therefore I have
the hope that some day
you will play to me the symphony
that your illusion is dead.
If I am like this,
What am I going to do?
It is destiny
that drags me to be unfaithful to you.
Where I see some skirts
I don’t notice the color . . .
The widows, the married and single women
for me all are pears
in the tree of the love.
And if I look at them flirting along the street
with their eyes so “Buenos Aires” and
their waists swaying,
I accommodate them [under] the camouflage
of a flirting of my flower.
If I am like this,
What am I going to do?
For me life
has the shape of women.
It is Don Juan
that today is reborn again.
Therefore, girl, don’t suffer over this lunatic
who does not settle his head
and forget your tenderness
If I am like that,
What am I going to do?
I have a sponge
where one must have a heart.
—translated by Kristin Wendland and
Ronald Mendoza de Jesús

Si al sentir que te perdía,
si al saber que te quería
cómo te dejé partir.
Si al partir tu te llevaste
a mi alma hecha pedazos
y a mí nada me dejaste
para no sufrir así.
Hoy que el tiempo ya ha pasado
y que sólo me ha dejado
amarguras y dolor.
Yo quisiera verte un día
y tan sólo demostrarte
como vivo desde entonces,
sin consuelo y sin amor.
Solo . . .
espantosamente solo,
apurando en la copa de la vida
el sinsabor.
Pena de arrastrar esta condena
que me mata y que me quema
este triste corazón.
Frío . . .
de sentir adentro mío
primaveras perdidas
y que ya no volverán.
Miedo de saber que solo quedo,
días nuestros que se fueron
y ya no retornarán.
Si encontrase en mi sendero
un amor que me salvara,
pero cómo habrá de ser.
Si ya todo es agorero,
si Dios quiso que te amara
y no quiere libertarme
del tormento de querer.
Andaré por los caminos
en un viaje por las sombras,
que me alejarán de ti.
Y las voces que te nombran
se unirán a mi destino
anudando mis angustias
hasta el día de morir.
'()*+,%-.,'"%-+/%*0#-+
Qu" solo estoy How Lonely I Am
If I felt like I was losing you,
If I knew that I loved you,
How did I let you go.
If when you left you also took
my soul shattered into pieces
and you left me nothing
To not suffer like this.
Today time has already passed
and it has left me all alone
Bitterness and pain.
I would like to see you one day
and only show to you
how I have lived since then
Without solace and without love
Lonely . . .
phanthomly lonely,
pouring in the cup of life
The distaste.
The misery of dragging this chain
that kills and burns
My saddened heart.
Cold . . .
that I feel inside of me
lost springtimes
That will never come again.
Fear of having to know how alone I am left,
Days of ours that now are gone
And will never return.
If you found in my path
a love that would save me,
But only how it is supposed to be.
If now everything is omnious,
If God wanted me to love you
and does not want to liberate me
From the torment of having to love.
I will walk through the roads
in a journey through the shadows,
That will keep me away from you.
And the voices that call your name
Will unite in my destiny
tying my afflictions
Until the day of my death.
—translated by Lizbeth Perez
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Pa’ que bailen los muchachos
via’ tocarte, bandoneón.
¡La vida es una milonga!
Bailen todos, compañeros,
porque el baile es un abrazo:
Bailen todos, compañeros,
que este tango lleva el paso.
Entre el lento ir y venir
del tango va
la frase dulce.
Y ella baila en otros brazos,
prendida, rendida,
por otro amor.
No te quejes, bandoneón,
Que me duele el corazón.
Quien por celos va sufriendo
su cariño va diciendo.
No te quejes, bandoneón,
que esta noche toco yo.
Pa’ que bailen los muchachos
hoy te toco, bandoneón.
¡La vida es una milonga!
Ella fue como una madre,
ella fue mi gran cariño . . .
nos abrimos y no sabe
que hoy la lloro como un niño . . .
Quién la va a saber querer
con tanto amor,
como la quise.
Pobre amiga, pobre piba,
¡qué ganas más locas
de irte a buscar!
Pa’ que bailen los muchachos
via’ tocarte, bandoneón.
¡La vida es una milonga!
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Pa! que bailen los muchachos So that the Boys Dance
So that the boys dance,
I’m going to play you, bandoneón.
Life is a milonga!
Dance, all my friends,
Because dance is an embrace:
Dance, all my friends
Because this tango has rhythm.
Between the slow coming and going
Of the tango goes
The sweet phrase.
And she dances in other arms
Turned on, rendered
To another love.
Do not whine, bandoneón
Because my heart aches
It suffers of jealously
Because she loves another.
Do not whine, bandoneón
Because tonight I play.
So that the boys dance
I play you, bandoneón.
Life is a milonga!
She was like a mother,
She was my great love . . .
We parted and she doesn’t know
That today I cry like a little boy . . .
Who is going to love her the way I did
Poor friend, poor girl
How badly I want to
Go and find you!
So that the boys dance
I’m going to play you, bandoneón.
Life is a milonga!
—translated by Nathalie Angel

Vuelvo al Sur,
como se vuelve siempre al amor,
vuelvo a vos,
con mi deseo, con mi temor.
Llevo el Sur,
como un destino del corazón,
soy del Sur,
como los aires del bandoneón.
Sueño el Sur,
inmensa luna, cielo al reves,
busco el Sur,
el tiempo abierto, y su después.
Quiero al Sur,
su buena gente, su dignidad,
siento el Sur,
como tu cuerpo en la intimidad.
Te quiero Sur,
Sur, te quiero.
Vuelvo al Sur,
como se vuelve siempre al amor,
vuelvo a vos,
con mi deseo, con mi temor.
Quiero al Sur,
su buena gente, su dignidad,
siento el Sur,
como tu cuerpo en la intimidad.
Vuelvo al Sur,
llevo el Sur,
te quiero Sur,
te quiero Sur . . .
'()*+,%-.,'"%-+/%*0#-+
Vuelvo al Sur Return to the South
I return to the South
like one always returns to love,
I return to you,
with my longing, with my anxiety.
I carry the South
like a destiny of the heart,
I am from the South
like the melodies of the bandoneón.
I dream of the South,
a huge moon, the sky reversed,
I seek the South
the open time, and its thereafter.
I love the South,
its good people, its dignity,
I feel the South,
like I feel your body in intimacy.
I love you South,
South, I love you.
I return to the South
like one always returns to the love,
I return to you
with my longing, my anxiety.
I love the South,
its good people, its dignity,
I feel the South
like I feel your body in intimacy.
I return to the South,
I carry the South,
I love you South,
I love you South . . .
—translated by Ernst Buchberger
ed. by Ronald Mendoza de Jesús
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was born in Buenos Aires, Argentina, and since age
twelve, he has completely dedicated himself to his musical instrument, the
bandoneón. He began his illustrious career performing with well-known
tango orchestras in his native Buenos Aires, including the orchestras of
Miguel Calo, Mariano Mores, Jorge Caldara, and Mario DeMarco.
Throughout his career in both Buenos Aires and the United States,
Barrios accompanied legendary tango singers such as Libertad Lamarque,
Roberto Goyeneche, Ruben Juarez, and Horacio Deval, among others.
In 1967, Barrios immigrated to Los Angeles where he created an
international community of tango lovers who have followed him through
the years. Here, he laid the foundations for tango in the American world
of performing arts by playing extensively from Catalina Island to San
Francisco to Beverly Hills. Barrios also established himself in Hollywood
as a musician for the motion picture industry, and as a songwriter and
performer for movies such as Vibes with Cyndi Lauper and Jeff Goldblum.
He recorded with pop singer Amanda Miguel on two of her albums. In
his travels he has gained worldwide recognition as one of the foremost
bandoneón artists. His most well-known fan is tango-aficionado, Robert
Duval. In 2005 in Miami, he performed with pop music idol Diego
Torres, as the opening act for the MTV Latin Music Awards, combining
traditional tango with good old fashioned rock ’n’ roll.
Through the years, his tango band has performed as Tres Para El
Tango, Tango to Tango, and Real Tango. Currently he performs with
his fifteen-year-old grandson, Sebastian, in a newly formed tangorock
fusion group called Cosmic Tango. He lives in Atlanta where he
continues to express his exceptional musical talent in local milongas
throughout the Southeast. He also travels nationally to guest star in
various tango shows. Currently he is performing at Daneman’s in
Atlanta, keeping the spirit of traditional milongas alive in the local
Atlanta community. Barrios helps coach and also performs annually
with the Emory Tango Ensemble at Emory University. For more
information visit his website at www.Souloftango.com.
Heather Moberly studied bandoneón in Buenos Aries with several
teachers, but spent the most time with Julio Pane. She played in La
Orquesta Escuela de Tango under the direction of Emilio Balcarce. She
lives in St. Louis, Missouri, with her husband and a house full of rescued
animals. In addition to playing bandoneón in various ensembles and
arranging music, she is always trying out a new raw food recipe or
going to feed homeless animals in East St. Louis.
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is an associate professor of music at Auburn
University (AU) and music director of the Auburn University/
Community Orchestra, which won second prize in the 2010 American
Prize competition for community orchestras. Goldstein also received
a special award for excellence in music education from the American
Prize committee. He is a regular guest conductor with the Red
Mountain Chamber Orchestra in Birmingham, assistant conductor of
the Columbus (Georgia) Symphony, and he has conducted orchestras
in New York, Baltimore, Rochester, and the Czech Republic. He is
also a member of the Columbus Symphony first violin section. Most
recently he was guest faculty at the Korea String Research Institute in
Daegu and guest conductor of the Pleven Philharmonic in Bulgaria. In
2009 he was named Breeden Eminent Scholar in the Humanities by
the Caroline Marshall Draughon Center for the Arts and Humanities
at AU. Goldstein is a regular contributor to BBC Music Magazine,
and is also active as a scholar in the field of American Popular Music,
having authored several articles in the New Grove Dictionary of Music
and Musicians. In 2007 he lectured on the music of Astor Piazzolla
at the Academia Nacional del Tango, Buenos Aires, and is a founding
member of Tango Orchestra Club Atlanta, the city’s first professional
tango orchestra. He has a bachelor’s degree in violin from University of
California, Los Angeles and a doctoral degree in conducting from the
Peabody Conservatory. He also has certificates in conducting from the
Conductors Institute and the Salzburg Mozarteum Sommerakademie.
His principal teachers were Hans Beer, Samuel Krachmalnick, Frederik
Prausnitz, and Alexander Treger, and he has conducted masterclasses
for Zubin Mehta, Daniel Lewis, and Neil Varon.
is a member of several regional orchestras, including
Columbus and Johns Creek Symphonies. He has always enjoyed
tango music, but developed a much deeper love for it after traveling
to Argentina twice to play concerts with a jazz quartet and teach
improvisation. Markey is a former professor of double bass, theory,
and composition at Valdosta State University in south Georgia and
has been living in the Atlanta area for seven years. In addition to
his orchestral performing, Markey is an active real estate investor, a
student of Austrian economics, and a stock and option trader.
Mary McCoy is a nationally board-certified orchestra director,
specializing in elementary-level instruction, with a degree in music
education is from Loyola University in New Orleans. She performs
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professionally on violin and viola in several regional Georgia orchestras,
including Macon Symphony Orchestra, Gainesville Symphony
Orchestra, Rome Symphony Orchestra, Carroll Symphony Orchestra,
Ocmulgee Symphony Orchestra, and St. Cecilia Consort (a Baroque
period music ensemble). She freelances extensively in Atlanta as well,
performing for church concerts, theater productions, weddings, private
functions, corporate events, and occasional recording sessions. McCoy
also maintains an active private lesson studio. Born in Buenos Aires,
she was officially introduced to tango as music, dance, and lifestyle in
Atlanta more than three years ago.
is a cellist and and orchestra teacher in Fulton County
public schools. She has a bachelor’s degree in music performance from
Augustana College (Illinois), and a master of music education degree
from Valdosta State University (Georgia). Kurylo is a member of the
Columbus and Gainesville Symphony Orchestras and also performs
regularly with the Macon Symphony Orchestra. When not playing
music, she enjoys spending time with her husband, Todd, and their
two rescue dogs, and she is an active member of the “Quicksilvers”
Division 3 Silverbacks women’s soccer team.
is a doctoral student in Emory University’s
Department of Comparative Literature, where he studies nineteenth-
and twentieth-century Western European thought and Latin American
literature. Born in Puerto Rico, he studied music (choral conducting)
on the island before moving to the United States to pursue studies in
philosophy and comparative literature. Listening to Carlos Gardel in
the company of his grandparents is perhaps one of his fondest childhood
memories. He’s been singing tango ever since.
is a senior lecturer in Emory’s Department of Music,
where she teaches music theory, coaches the Emory Tango Ensemble,
and teaches a freshman music seminar, Tango: Argentina’s Art Form
in Body, Mind, and Spirit, alternate years in the spring semester. Her
research interests include the music and dance of the Argentine tango
and music theory pedagogy. She has read papers, participated in panel
sessions, and led demonstration workshops on these topics for the
college Music Society, the Society for Music Theory, and the Society
for Ethnomusicology. She has organized and directed a professional
development workshop through the College Music Society, “Argentine
Tango in History, Theory, and Practice,” twice in Buenos Aries (July
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2007 and July 2009). She is also working on a music textbook project for
Pearson/Prentice Hall. Wendland has organized, codirected, narrated,
and performed on Argentine tango programs at Emory’s Emerson
Concert Hall, the Georgia State University Rialto Theater, the Latin
American Association, and numerous milongas in the Atlanta area.
She has been traveling regularly to Buenos Aries since 2000 to explore
and study the world of tango, and she received a Fulbright lecture and
research grant in 2005. When in Buenos Aires, Wendland studies tango
piano styles and arranging with the composer/pianist Sonia Possetti.
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is an Emory College junior from Miami, Florida, majoring
in music and neuroscience and behavioral biology.
William Eye is a junior at Emory majoring in philosophy and music.
Gina Florio is a senior at Emory double majoring in religion and
music. After graduation, she will attend a master of theological studies
program.
is a sophomoreat Emory majoring in chemistry and
music.
is a junior at Emory double majoring in neuroscience and
behavioral biology and music.
Kat Vance is a freshman at Emory from Fairfield, Connecticut. She is
majoring in music and plans to double major in business.
MUSIC AT EMORY
The Department of Music at Emory University is a dynamically active liberal arts music program.
Home to approximately 130 music majors, many of whom double major in an additional field in
the arts and sciences or in business or nursing, this thriving division of Emory College of Arts and
Sciences is an integral part of Emory University’s world-class curriculum. In addition to the music
majors, more than six hundred Emory students are educated during the course of the school year
through participation in courses, ensembles, lessons, masterclasses, workshops, symposia, and other
productions and special projects. During the academic year alone, more than one hundred music
performances take place on campus. Eighteen full-time faculty members, twenty-one staff members,
and nearly sixty artist-affiliate faculty work together throughout the year in highly rigorous academic
and performance capacities.
With the addition to the campus of the state-of-the-art Schwartz Center for Performing Arts and
major support from Emory University, Emory College, and the Friends of Music, the Department of
Music is a model program in the liberal arts setting and a leader in the broader education of students
in performance preparation and intellectual inquiry.
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