ALMA DEL CORE (Soul Of The Heart)
Antonio Caldara (1670-1736)
Antonio Caldara (1670 28 December 1736) was an
Italian Baroque composer. One of his italian works is
Alma del core is the companion piece to Sebben,
crudele, which we are told by various sources, comes
from an opera by Antonio Caldara entitled, La costanza
in amore vince linganno (Constancy in Love Triumphs
over Wickedness). This piece is in roughly a rondo
musical form with many repeats of the original theme
interspersed with varying sections. It is published in the
key of a major in the original 24 Italian Songs and Arias,
and, as such, is particularly suited for a high lyric
soprano or young coloratura. But, it also suits all voice
types and is available in many different keys, of course.
Alma del core, spirto del' alma
Alma del core, spirto del' alma
Sempre costante t'adorero
T'adorero, t'adorero, t'adorero, t'adorero
Alma del core, spirto del' alma
Sempre costante t'adorero
Sempre costante t'adorero
Saro contiento
Nel mio tormento
Se quel bel labro baciar potro.
Se quel bel labro, se quel bel labro baciar potro.
Alma del core, spirto del' alma
Alma del core, spirto del' alma
Sempre costante t'adorero
T'adorero, t'adorero, t'adorero, t'adorero
Alma del core, spirto del' alma
Sempre costante t'adorero
Sempre costante t'adorero
(Translation)
Soul of my heart, spirit of my soul,
Soul of my heart, spirit of my soul,
Always constantly will I adore you!
I adore you, I adore you, I adore you, I adore you
Soul of my heart, spirit of my soul,
Always constantly will I adore you!
Always constantly will I adore you!
I will be contented
In my torment
If only I could kiss that beautiful lip.
If only I could, If only I could kiss that beautiful lip.
Soul of my heart, spirit of my soul,
Soul of my heart, spirit of my soul,
Always constantly will I adore you!
I adore you, I adore you, I adore you, I adore you
Soul of my heart, spirit of my soul,
Always constantly will I adore you!
Always constantly will I adore you!
Se Tu m Ami (If You Love Me)
Alessando Parisotti (1853-1913)
This Baroque Italian aria is perhaps best known as it
appears in Schirmer's Twenty-Four Italian Songs and
Arias, most of which had appeared previously in the
Anthology of Italian Song of the Seventeenth and
Eighteenth Centuries. The pieces in that collection were
sometimes set with less than historically accurate
accompaniments. In this case, even the song is a modern
fabrication, apparently written by Parisotti and passed
off as a song by Pergolesi.
 Se tu m'ami, se sospiri
Sol per me, gentil pastor,
Ho dolor de' tuoi martiri,
Ho diletto del tuo amor,
Ma se pensi che soletto
Io ti debba riamar,
Pastorello, sei soggetto
Facilmente a t'ingannar.
Bella rosa porporina
Oggi Silvia sceglier,
Con la scusa della spina
Doman poi la sprezzer.
Ma degli uomini il consiglio
Io per me non seguir.
Non perch mi piace il giglio
Gli altri fiori sprezzer.
(Translation)
If you love me, if you sigh
Only for me, dear shepherd,
I am sorrowful for your sufferings;
yet I delight in your love.
But if you think that
I must in return love only you,
Little shepherd, you are subject
To deceiving yourself easily.
The beautiful purple rose
Will Silvia choose today;
With the excuse of its thorns,
Tomorrow, then, will she despise it.
But the advice of the men
I will not follow -
Just because the lily pleases me,
I do not have to despise the other flowers.
THE MERMAID SONG
Franz Joseph Haydn (1732-1809)
During most of the Classical period, songs were
considered trifles--serious vocal writing was reserved for
church or stage music. While composers generally didn't
take the genre very seriously, in a way this made their
output all the more appealing, as one or two melodic
ideas could be laid out in their simplicity, rather than
elaborated upon as opera or church music demanded.
Not surprisingly, composers generally selected folk-like
texts which had the same elements of directness and
simplicity, if not of literary virtue, as Haydn did for this
particular song.
The piano depicts the rippling of the water as the singer
bids, in a mix of imperiousness and charm, the listener
to follow her, in an inticing and insistent theme. The
tone throughout is playful, and the last piano flourish
creates the image of the mermaid diving into the depths
with a final sparkling flash.
Now the dancing sunbeams play
On the green and glassy sea,
Come, and I will lead the way
Where the pearly treasures be.
Come with me, and we will go
Where the rocks of coral grow.
Follow, follow, follow me.

Come, behold what treasures lie
Far below the rolling waves,
Riches, hid from human eye,
Dimly shine in ocean's caves.
Ebbing tides bear no delay,
Stormy winds are far away.
begins a poignant modulation to the tonic minor. The
strophic "Sehnsucht" (Yearning) is set in B minor, with
only ornamental variation in accompaniment between
strophes as the narrator, in the form of a bird, follows the
woman of his desires. However, when night falls and the
narrator becomes a "twinkling star" in the finale strophe,
Beethoven shifts to a bright B major.

Come with me, and we will go

Where the rocks of coral grow. Trocknet nicht, trocknet nicht,
Follow, follow, follow me. Trnen der ewigen Liebe!
Trocknet nicht Ach, nur dem halbgetrockneten Auge
Wie de, wie tot die Welt ihm erscheint!
Trocknet nicht, trocknet nicht,
WONNE DER WEHMUTH (Bliss of Sadness) Trnen unglcklicher Liebe!
Ludwig van Beethoven (1770-1827) unglcklicher Liebe!
Trocknet nicht, trocknet nicht,
Bettina Brentano, a friend of both Beethoven and Trnen unglcklicher Liebe!
Goethe, informed Goethe that at her very first meeting unglcklicher Liebe!
with Beethoven in 1810 he performed for her two newly
composed songs, "Mignon," (op. 75, No. 1) and "Wonne (Translation)
der Wehmuth," (op. 83, No. 1), both to poems by
Goethe. Published in Leipzig in 1811 by Breitkopf und Dont dry, dont dry
Hrtel, Beethoven dedicated the Drei Gesnge, op. 83, to Tears of eternal love!
Princess Caroline Kinsky. Kinsky's husband, Prince Dont dry Ah, how barren, how dead the world
Ferdinand Johann, was one of three young members of appears
the high nobility who in 1809 established an annuity for To him who sees through half-dried tears.
Beethoven, enticing him to remain in Vienna. Here we Dont dry, dont dry
find the mature Beethoven, musically reflecting both the Tears of unhappy love!
fundamental meaning and minutiae of Goethe's texts. A of unhappy love!
descending staccato line evokes the image of falling Dont dry, dont dry
tears throughout the through-composed "Wonne der Tears of unhappy love!
Wehmut" (Joy of Sadness). As the narrator notes how of unhappy love!
bleak the world appears when it is not refracted through
eyes filled with "tears of unhappy love," Beethoven
 O DEL MIO AMATO BEN (Oh! Lost Enchantment Se pur talvolta spero
Of My Dearly Beloved) di darmi ad altra cura
Stefano Donaudy (1879-1925) sol mi tormenta un pensiero:
Ma, senza lui, che far?
Stefano Donaudy was a minor though significant Mi par cos la vita vana cosa
composer, he wrote mostly vocal music, dividing his senza il mio ben.
efforts between opera and song, though he did produce
some chamber and orchestral music. Donaudy was born (Translation)
in Palermo, Sicily, on February 21, 1879. It is known
that he studied with composer Guglielmo Zuelli, a rival
Oh, lost enchantment of my dearly beloved!
of Puccini in the latter's early years. This aria is a blend
Far from my eyes is he
of baroque and romantic vocal writing techniques, and
who was, to me, glory and pride!
not only succeeds in creating a cohesive whole, but in
Now through the empty rooms
creating a particularly lovely and memorable musical
I always seek him and call him
work. It starts with a delicate, very subtly ornamented
with a heart full of hopes?
theme that is reminiscent of the arias of Caldara, echoed
But I seek in vain, I call in vain!
in the accompaniment, and then slowly rises to a
And the weeping is so dear to me,
passionate declamation as warm and flowing as any of
that with weeping alone I nourish my heart.
Verdi's or Donizetti's arias, and then returns to the earlier
theme. This haunting piece has remained a concert and
It seems to me, without him, sad everywhere.
recital favorite since the days of Caruso and Muzio.
The day seems like night to me;
the fire seems cold to me.
O del mio amato ben perduto incanto!
If, however, I sometimes hope
Lungi dagli occhi miei
to give myself to another cure,
chi m'era gloria e vanto!
one thought alone torments me:
Or per le mute stanze
But without him, what shall I do?
sempre lo [cerco e]1 chiamo
To me, life seems a vain thing
con pieno il cor di speranze?
without my beloved.
Ma cerco invan, chiamo invan!
E il pianger m' s caro,
che di pianto sol nutro il cor.

Mi sembra, senza lui2, triste ogni loco.

Notte mi sembra il giorno;
mi sembra gelo il foco.
 OH QUAND JE DORS (Oh! When I Sleep) Soudain mon rve
Franz Liszt (1800-1886) Rayonnera! Rayonnera! Ah!

Written in 1842 and revised the following decade, "Oh! Puis sur ma lvre o voltige une flamme,
quand je dors" ("Oh! when I sleep") was the first of clair d'amour que Dieu mme pura,
seven poems of Victor Hugo that Liszt would set Pose un baiser, et d'ange deviens femme...
between 1842 and 1849. By far the best-known of his Soudain mon me
handful of French songs, it contains some of his most S'veillera! S'veillera!
memorable melodic writing and showcases the ease with
which the cosmopolitan Liszt moved between languages (Translation)
and national styles; his French mlodies (as is the case
with his handful of Italian songs) feel as idiomatic and Oh, when I sleep, approach my bed,
grounded in their native culture as do his much-more- as Laura appeared to Petrach;
numerous German lieder. As a body of works, Liszt's and as you pass, touch me with your breath...
songs have fallen into general neglect, but "Oh! quand je at once my lips
dors"' haunting melody and subtle intensity--not to will part!
mention its piano accompaniment, which is considerable
more manageable than those of many other Liszt songs-- On my glum face, where perhaps
have helped to secure a place for it, along with a few a dark dream has rested for too long a time,
other favorites, in the repertory. The first version of "Oh! let your gaze lift it like a star...
quand je dors" was published in Berlin in 1844, along at once my dream
with two other Hugo settings, Enfants, si j'tais roi and will be radiant!
S'il est un charmant gazon; the three were again
published together in their second versions in 1859. Then on my lips, where there flits a brilliance,
a flash of love that God has kept pure,
place a kiss, and transform from angel into woman...
Oh! quand je dors, viens auprs de ma couche, at once my soul
comme Ptrarque apparaissait Laura, will awaken!
Et qu'en passant ton haleine me touche...
Soudain ma bouche
S'entrouvrira!

Sur mon front morne o peut-tre s'achve

Un songe noir qui trop longtemps dura,
Que ton regard comme un astre se lve...
 IL BACIO (The Kiss)
Luigi Arditi (1823-1903)
Luigi Arditi was an Italian violinist, composer and
conductor. He began his career as a violinist and trained
in Milan, later settling in London. He was well known as
a composer of operas, almost all of which have fallen
into obscurity. He is still remembered today as the
composer of the Waltz Song, Il Bacio.
Il Bacio (The Kiss) was written as a waltz song, and is
one of the few works Arditi is remembered for today.
The music was set to the text of a poem by Gottardo
Aldighieri, whom the song is dedicated to. This is a
transcription of the song into a Valse Brillante for piano.
Sulle labbra se potessi
dolce un bacio ti darei.
Tutte ti direi le dolcezze dell'amor.
Sempre assisa te d'appresso,
mille gaudii ti direi
Ed i palpiti udirei
che rispondono al mio cor.
Gemme e perle non desio,
non son vaga d'altro affetto.
Un tuo sguardo il mio diletto,
un tuo bacio il mio tesor.
Ah! Vieni! ah vien! pi non tardare!
a me!
Ah vien! nell'ebbrezza d'un amplesso
ch'io viva!
Ah!
(Translation)
If I could only give you
a kiss on your lips,
It would tell you all the delights of love,
Abiding to speak
a thousand joys to you!
Ah, thus it would speak
to you along with my heart's palpitations.
I do not desire gems or pearls,
nor do I seek others' affections.
Your look is my delight,
your kiss is my treasure.
Ah! Come! Do not delay!
Ah! Come! Let us enjoy love's
life-giving intoxication.
Ah!
LAUDATE DOMINUN (Praise The Lord)
from Vesperae Solennes de Confessone
Wolfgang Amadeus Mozart (1756-1791)
Psalm 117 was a source of inspiration to great classical
composers of all times. A most famous musical setting
of the text is W. A. Mozarts, in which it is sung by
soprano solo with chorus and is the fifth of six parts of a
larger piece known as the Vesperae solennes de
confessore (K.339). Vesperae solennes de confessore
(K.339)is made up of musical settings of 5 Psalms and
was used in the Roman Catholic liturgy known as
Vespers. It was commissioned by the Archbishop of
Salzburg, Hieronymus von Colloredo and composed in
September 1780 in Salzburg.

Laudate Dominum omnes gentes
Laudate eum, omnes populi
Quoniam confirmata est
Super nos misericordia eius,
Et veritas Domini manet in aeternum.
Gloria Patri et Filio et Spiritui Sancto.
Sicut erat in principio, et nunc, et semper.
Et in saecula saeculorum.
Amen.
(Translation)
Praise the Lord, all nations;
Praise Him, all people.
For He has bestowed
His mercy upon us,
And the truth of the Lord endures forever.
Glory to the Father and to the Son and to the Holy
Spirit,
as it was in the beginning, is now, and forever,
and for generations of generations.
Amen.
The Holy City
Frederic Weatherly (1848-1949)
It was written by Frederic Weatherly in 1892 with music
by Michael Maybrick. The Holy City itself is a
reference to Jerusalem. The hymn The Holy City
begins with these words: Last night I lay a sleeping.
There came a dream so fair, I stood in Old Jerusalem
beside the Temple there. And the hymn ends by quoting
from Revelation and the future world of peace. It seems
that Jerusalem, which means city of peace, will finally
live up to its name.
Last night I lay a-sleeping
There came a dream so fair,
I stood in old Jerusalem
Beside the temple there.
I heard the children singing,
And ever as they sang
Me thought the voice of angels
From heaven in answer rang,
Me thought the voice of angels
From heaven in answer rang.
Jerusalem! Jerusalem!
Lift up your gates and sing,
Hosanna in the highest!
Hosanna to your King!
And then me thought my dream was changed,
The streets no longer rang.
Hushed were the glad Hosannas
The little children sang.
The sun grew dark with mystery,
The morn was cold and chill,
 As the shadow of a cross arose
Upon a lonely hill,
As the shadow of a cross arose
Upon a lonely hill.
Jerusalem! Jerusalem!
Hark! How the angels sing,
Hosanna in the highest!
Hosanna to your King!
And once again the scene was changed,
New earth there seemed to be.
I saw the Holy City
Beside the tide less sea.
The light of God was on its streets,
The gates were open wide,
And all who would might enter,
And no one was denied.
No need of moon or stars by night,
Or sun to shine by day;
It was the new Jerusalem
That would not pass away,
It was the new Jerusalem
That would not pass away.
Jerusalem! Jerusalem!
Sing for the night is o'er!
Hosanna in the highest!
Hosanna forevermore!
JERUSALEM! DIE DU TDTEST DIE
PROPHETEN! (Jerusalem! Thou That Killest The
Prophets)
from St. Paul
Felix Mendelssohn (1809-1847)
Felix Mendelssohn's massive oratorio Paulus (1836) is
based on the story of Saul, the zealous Pharisee who,
after a dramatic encounter with the risen Christ, turns
from a fanatical enemy of Christians into the most
influential apologist of the Christian faith. Using the New
Testament, particularly the Gospels and the Acts of the
Apostles as sources, Mendelssohn wrote his own version
of Paul's story. Paulus is by no means a replica of the
Baroque oratorio. Mendelssohn expressed his ideas with
great contrapuntal facility and clarity, with a technical
competence rivaling the expertise of the great Baroque
masters, but his counterpoint is fresh and original. The
oratorio's overture, as well as a significant section of the
first choral number, is based on the chorale "Wachet auf,
ruft uns die Stimme" (Awake, cries to us the voice).
Mendelssohn's Christ, whose voice is distant, mysterious,
and yet tremendously powerful, possesses an
otherworldly, spectral quality, suggesting the infinitesimal
closeness and infinite remoteness of God. Mendelssohn
expresses an extraordinary spectrum of religious feeling,
from dark doubt to radiant certainty. Ending with a
powerful double fugue, Paulus is a beautiful, profound
musical tribute to one of the founders of the Christian
tradition.
Jerusalem! Jerusalem! die du ttest die Propheten!
die du steinigest, die zu dir gesandt,
steinigest, die zu dir gesandt, die zu dir gesandt
Wie oft hab ich nicht diene Kinder versammeln wollen!
 und ihr habt nicht gewollt! und ihr habt nicht gewollt!
Jerusalem! Jerusalem! die du ttest die Propheten!
die du steinigest, die zu dir gesandt
Jerusalem! Jerusalem!
(Translation)
Jerusalem! Jerusalem! thou that killest the Prophets,
thou that stones them which are sent unto thee,
stones them which are sent, are sent unto thee.
How often would I have gatherd unto Me thy children,
and ye would not, and ye would not!
Jerusalem! Jerusalem! thou that killest the Prophets,
thou that stones them which are sent unto thee
Jerusalem! Jerusalem!
DOVE SONO (Where Are)
from Le Nozze di Figaro
Wolfgang Amadeus Mozart (1756-1791)
Mozart believed that although opera buffa was
intrinsically comic it should feature serious characters
and themes. Countess Almaviva is perhaps the most
serious and complex character in Le nozze di Figaro
(The Marriage of Figaro). She has a sense of humour
and joins in Figaro and Susannas schemes with
enthusiasm, but also gives voice to some of the operas
most profound emotions particularly in Dove sono.
The Countess sings this aria in Act III, by which point
Mozarts crazy day is threatening to collapse into
chaos. The Countess, Figaro and Susannas schemes to
shame the Count and reunite him with his wife have so
far only resulted in the Count accusing his wife of
infidelity and becoming suspicious of Figaro. Moreover,
Figaro and Susanna are distracted by Marcellinas
threats to force Figaro to marry her. Alone, and unaware
that this particular problem has been resolved, the
Countess waits anxiously for news from Susanna.
E Susanna non vien!
Sono ansiosa di saper
come il Conte accolse la proposta.
Alquanto ardito il progetto mi par,
E ad uno sposo si vivace e geloso!
Ma che mal c'?
Cangiando i miei vestiti con quelli di Susanna,
E suoi co'miei
al favor della notte.
Oh, cielo! a qual umil stato fatale
io son ridotta da un consorte crudel!
Che dopo avermi con un misto inaudito
d'infedelt, di gelosia, di sdegno!
Prima amata, indi offesa, e alfin tradita,
Fammi or cercar da una mia serva aita!
Dove sono i bei momenti
Di dolcezza e di piacer?
Dove andaro i giuramenti
Di quel labbro menzogner?
Perch mai, se in pianti e in pene
Per me tutto si cangi,
La memoria di quel bene
Dal mio sen non trapass?
Ah! se almen la mia costanza,
Nel languire amando ognor,
 Mi portasse una speranza
Di cangiar l'ingrato cor!
(Translation)
And Susanna hasn't come!
I'm anxious to know
How the Count took the proposition.
The plan seems to me a little rash
And against such a quick and jealous husband!
But what harm is there in it?
To change my clothes with Susanna's,
And hers with mine
Under cover of night.
Oh, Heaven! What a fatal comedown
I'm reduced to by a cruel husband!
Who, after he had me, [gave me] an unheard-of mixture
Of infidelity, jealousy and rage!
First loved, then insulted, and at last betrayed,
You force me to seek help from one of my maids!
Where are the lovely moments
Of sweetness and pleasure?
Where have the promises gone
That came from those lying lips?
Why, if all is changed for me
Into tears and pain,
Has the memory of that goodness
Not vanished from my breast?
Ah! if only, at least, my faithfulness,
Which still loves amidst its suffering,
Could bring me the hope
Of changing that ungrateful heart!
DE PUIS LE JOUR (Since The Day)
from Louise
Marc-Antoine Charpentier (1643-1704)
In 1887, Marc-Antoine Charpentier was awarded the
coveted Prix de Rome, one part of which consisted of
support for a year's study in Rome. It was there, while
living at the Villa Medici, that Charpentier began work
on Louise. The composer himself created the scenario,
based on his own time in Montmartre; Charpentier
maintained that he was the sole author of the final
libretto, but research has shown that he paid the poet
Saint-Pol-Roux to write at least some of the text.
Set in Paris in the nineteenth century, this opera tells the
story of Louise who falls in love with her neighbour
Julien. In the face of her parents disapproval, Louise
sets up home with Julien and they enjoy a bohemian life
together. When her father falls gravely ill, Louise returns
to her parental home to help nurse him back to health.
He quickly recovers and forbids her from returning to
Julien. After a furious quarrel, she once again disobeys
her parents wishes and leaves them railing against the
city that stole their daughter.
Depuis le jour o je me suis donne,
toute fleurie semble ma destine.
Je crois rver sous un ciel de ferie,
l'me encore grise de ton premier baiser!
Quelle belle vie!
Mon rve n'tait pas un rve!
Ah! je suis heureuse!
L'amour tend sur moi ses ailes!
Au jardin de mon coeur
chante une joie nouvelle!
 Tout vibre,
tout se rjouit de mon triomphe!
Autour de moi tout est sourire,
lumire et joie!
Et je tremble dlicieusement
Au souvenir charmant
Du premier jour
D'amour!
Quelle belle vie!
Ah! je suis heureuse! trop heureuse...
Et je tremble dlicieusement
Au souvenir charmant
Du premier jour
Damour!
(Translation)
Since the day I gave myself
my destiny seems all flower-strewn
I think I'm dreaming under a fairy sky
my soul still intoxicated by your first kiss!
What a beautiful life!
My dream wasn't a dream!
Oh! I'm so happy!
Love is spreading its wings over me!
In the garden of my heart
sings a new joy!
Everything is vibrant
everything rejoices at my triumph!
All around me everything is smiling
light and joy!
And I'm trembling delightfully
from the charming memory
of the first day
of love!
What a beautiful life!
Oh! I'm so happy! ...utterly happy!
And I'm trembling delightfully
from the charming memory
of the first day
of love!
AY KALISUD (Ay Kay Saklap)
Arr. By Jovita Fuentes (1895-1978)
It is a song of Love and Courtship in a form of Danza. It
was performed in public by Jovita Fuentes in 1919 at a
concert sponsored by the Asociacion Musical de
Filipinas. The song is about an "intensely romantic and
sighing piece" distinctive of its "somber minor key and
brooding Ilongo lyrics", that expresses the despair of
someone abandoned by a beloved. Written by Francisco
Santiago in 1928 and arranged as a fox-trot for orchestra
by Nicanor Abelardo in 1930, this song has been
recorded, sung, and arranged countless times.
Ay ay! Kalisud, kalisud sang binayaan
Adlao gabi firmita itao gui natangisan
Ay ay! Inday nga walay sing kapalaran
Walay guid walay guid
Sarang ko kalipayan
Ay cielo azul iabao! diin ka na
Baluiguita bangi ang nabilango sang gugma
 Mayad pa ang mamatay kun halus mamatay
Agud di ako maka dumdum Ania si Rosas Pandan
Nga ako walay kalipay. Gikan pa intawn sa kabukiran
Kaninyo makiguban-uban
(Translation) Sa gisaulog nga kalingawan

Oh, what sorrow to be deserted Balitaw day akong puhunan

Night and day I lament for you Maoy kabilin sa akong ginikanan
Oh, my hopeless fate Awit nga labing karaan
Nevermore, no more joy Maoy garbo sa kabungturan

Oh, I wonder where you are Tikading tikading tikading!

Please embrace this prisoner of sorrow Ayay sa akong balitaw
It is better to die, much better to die Kanindot ba mosayaw
So that I shall not experience Daw yamog ang kabugnaw
This unbearable sorrow
This is a Cebuano classic song. Tigadong tigadong tigadong!
Rosas Pandan is the mythic Bisaya maiden, symbol of Ayay usab si Dodong
rustic beauty and virtue. Nagtan-aw kang Inday
This song has been performed in choirs both local and Nagtabisay ang laway
international.
Ayayay ayayay ayayay!
Ayay sa akong balitaw
ROSAS PANDAN Kanindot ba mosayaw
Arr. By Agot Espino (1957- up to present) Daw yamog ang kabugnaw

Rosas Pandan is a Cebuano folk song composed by

Minggoy Lopez; with Levi Celerio as lyricist in 1973. A (Translation)
song of joy and love, it tells about a pretty mountain
maid who loves to dance the balitaw. The vibrant Here is Rosas Pandan
melody and intricate harmonies lend to a joyous Just arrived from the mountains
celebration of music which transcend differences in To be with all of you
language; such that the song also captured the taste of To celebrate the fiesta
many nations and led them into choral renditions of our
very own Rosas Pandan. This song is my livelihood
An inheritance from my parents
A most ancient song
The pride of our hill country

Tikadin tikading tikading

Hey!, my song
Is nice to dance to
Like fog on a cold day

Tigadong tigadong tigadong

Look at Dodong (young man)
He's looking at the young lady
His drool is falling

Ayayay ayayay ayayay

Hey!, my song
Is it nice to dance to
Like fog on a cold day