476 7493

LULLABIES FROM AROUND THE WORLD

Heather Lee � Kim Cunio

1 Hush-a-ba, birdie, croon, croon SCOTLAND 5’05

2 A la nana (Lullaby) MEDIEVAL JEWISH SPAIN 5’26

3 Naami, naami (Sleep little one) EGYPT 5’48

4 Bila bila (Baby, baby) GULF OF CARPENTARIA, AUSTRALIA 2’13

5 E l’uccellino (And the little bird) ITALY 1’32

6 Taladh Chriosda (The Christ Child’s Lullaby) THE OUTER HEBRIDES 5’30

7 Wiegenlied (Lullaby): Schav b’ni (Lie down) CZECHOSLOVAKIA/ISRAEL 3’41

8 Kolybelnaya (Sleep my darling) RUSSIA 5’36

9 Yer a ming (Moon is bright) CHINA 5’51

0 Nana (Lullaby) SPAIN 4’35

! Les Berceaux (The Cradles) FRANCE 4’37

@ Child of Love AUSTRALIA 5’18

£ Wiegenlied (Lullaby) GERMANY 4’53

$ Soja raji kumari (Sleep, princess, sleep) INDIA 5’18

% Canciòn de cuna para dormir a un negrito

(Cradle Song for a Black Baby) CUBA 5’30

Total Playing Time 72’10

Heather Lee soprano • Kim Cunio guitar, voice, piano, zither, harmonium

With guest artists: Cantillation, Jonathan Hollowell piano, Steve Elphick bass, SeanChulborough didjeridu, sticks, Paul Jarman tin whistle, Paul Virag piano, Bobby Singh tabla,Fabien Hevia zarb, congas, Anna McDonald violin, Michelle Kelly violin, Narine Melconianviolin, Rosemary Curtin viola, Rosemary Quinn cello, Margery Smith clarinet, Jane Sheldonsoprano, Belinda Montgomery soprano, Nicole Thomson mezzo-soprano

2 3

1 Hush-a-ba, birdie, croon, croon SCOTLAND 5’05

2 A la nana (Lullaby) MEDIEVAL JEWISH SPAIN 5’26

3 Naami, naami (Sleep little one) EGYPT 5’48

4 Bila bila (Baby, baby) GULF OF CARPENTARIA, AUSTRALIA 2’13

5 E l’uccellino (And the little bird) ITALY 1’32

6 Taladh Chriosda (The Christ Child’s Lullaby) THE OUTER HEBRIDES 5’30

7 Wiegenlied (Lullaby): Schav b’ni (Lie down) CZECHOSLOVAKIA/ISRAEL 3’41

8 Kolybelnaya (Sleep my darling) RUSSIA 5’36

9 Yer a ming (Moon is bright) CHINA 5’51

0 Nana (Lullaby) SPAIN 4’35

! Les Berceaux (The Cradles) FRANCE 4’37

@ Child of Love AUSTRALIA 5’18

£ Wiegenlied (Lullaby) GERMANY 4’53

$ Soja raji kumari (Sleep, princess, sleep) INDIA 5’18

% Canciòn de cuna para dormir a un negrito

(Cradle Song for a Black Baby) CUBA 5’30

Total Playing Time 72’10

Heather Lee soprano • Kim Cunio guitar, voice, piano, zither, harmonium

With guest artists: Cantillation, Jonathan Hollowell piano, Steve Elphick bass, SeanChulborough didjeridu, sticks, Paul Jarman tin whistle, Paul Virag piano, Bobby Singh tabla,Fabien Hevia zarb, congas, Anna McDonald violin, Michelle Kelly violin, Narine Melconianviolin, Rosemary Curtin viola, Rosemary Quinn cello, Margery Smith clarinet, Jane Sheldonsoprano, Belinda Montgomery soprano, Nicole Thomson mezzo-soprano

54

SCOTLAND

Hush-a-ba, birdie, croon, croonThis song was first sourced and arranged by John McCabe in the mid-20th century. It comesfrom a cycle of four songs for voice, clarinet and piano. The tune is traditional, and has beenrearranged to bring out the wonderful delicacy of the melody. The arrangement combinesmodern and modal harmonies for the piano, female choir and solo voice.

Heather Lee soprano; Jonathan Hollowell piano, Michelle Kelly violin, Narine Melconian violin,Jane Sheldon soprano, Belinda Montgomery soprano, Nicole Thomson mezzo-soprano

Hush-a-ba, birdie, croon, croon,Hush-a-ba, birdie, croon.The sheep are gane tae the silver wood, An’ the cows are gane to the broom, broom.

Hush-a-ba, birdie, croon, croon,Hush-a-ba, birdie, croon.The gaits are gane tae the mountains high,An’ they’ll no’ be hame till noon, noon.

An’ it’s braw braw milkin’ the kye, kye,An’ it’s braw braw milkin’ the kye.The birds are singin’, the bells are ringin’,The wild deer comes gallopin’ by by.

MEDIEVAL JEWISH SPAIN

A la nana (Lullaby)In medieval Spain a curious language evolved called Ladino or Judeo Spanish. It was earlySpanish mixed with Hebrew and was used by the Sephardim, the Jews of Spain. They weregreat writers and helped to bridge the divide between Islam and Christianity in the periodbefore 1492. Many traditional tunes have survived including this lullaby which may have beenwritten in the medieval period, or by later composers who were eulogising this time in Spain asa Golden Age.

Heather Lee soprano; Kim Cunio guitar

A la nana, a la buba My child, my sweet childSe durma la criatura. Have a sweet sleep.El Dió grande que los guarde May the great God guard you,A los niños de los males. And keep you from evil.

SCOTLAND

Hush-a-ba, birdie, croon, croonThis song was first sourced and arranged by John McCabe in the mid-20th century. It comesfrom a cycle of four songs for voice, clarinet and piano. The tune is traditional, and has beenrearranged to bring out the wonderful delicacy of the melody. The arrangement combinesmodern and modal harmonies for the piano, female choir and solo voice.

Heather Lee soprano; Jonathan Hollowell piano, Michelle Kelly violin, Narine Melconian violin,Jane Sheldon soprano, Belinda Montgomery soprano, Nicole Thomson mezzo-soprano

Hush-a-ba, birdie, croon, croon,Hush-a-ba, birdie, croon.The sheep are gane tae the silver wood, An’ the cows are gane to the broom, broom.

Hush-a-ba, birdie, croon, croon,Hush-a-ba, birdie, croon.The gaits are gane tae the mountains high,An’ they’ll no’ be hame till noon, noon.

An’ it’s braw braw milkin’ the kye, kye,An’ it’s braw braw milkin’ the kye.The birds are singin’, the bells are ringin’,The wild deer comes gallopin’ by by.

MEDIEVAL JEWISH SPAIN

A la nana (Lullaby)In medieval Spain a curious language evolved called Ladino or Judeo Spanish. It was earlySpanish mixed with Hebrew and was used by the Sephardim, the Jews of Spain. They weregreat writers and helped to bridge the divide between Islam and Christianity in the periodbefore 1492. Many traditional tunes have survived including this lullaby which may have beenwritten in the medieval period, or by later composers who were eulogising this time in Spain asa Golden Age.

Heather Lee soprano; Kim Cunio guitar

A la nana, a la buba My child, my sweet childSe durma la criatura. Have a sweet sleep.El Dió grande que los guarde May the great God guard you,A los niños de los males. And keep you from evil.

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EGYPT

Naami, naami (Sleep little one)This lullaby is rural in nature, and is often sung by only the solo female voice. Versions of this tune exist throughout the Arabic world with lyrics in many Arabic dialects. Whenaccompaniment is used it will usually be plucked stringed instruments like the baglama (aseven-stringed lute with a long thin neck and moveable frets) or the oud (an 11-string fretlesslute from which the western lute is descended). There can also be a light punctuatingpercussion refrain on a frame drum (daff) or skinned drum (zarb). The piece weaves around a simple descending four-note figure, and is quite transfixing.

Heather Lee soprano; Kim Cunio baglama, Fabien Hevia zarb

Naami, naami yaa zghira Sleep, sleep little oneYalla ighfi aal hassira. Come fall asleep on the mat.

Nami fee hodn edaya Sleep in my arms’ embraceBokra shamsy gayaa. Tomorrow the sun will come.Had daa finaa behhob kbeer It will warm us with great loveWeh telamlim kol el ghirun. And it will gather the neighbours.

Naami, naami yaa zghira Sleep, sleep little oneYalla ighfi aal hassira. Come fall asleep on the mat.

GULF OF CARPENTARIA, AUSTRALIA

Bila bila (Baby, baby)The Gulf of Carpentaria is home to one of the oldest civilisations in the world. The two mainlanguages of Kalkadoon and Pitta Pitta have survived for thousands of years. A nomadic anddynamic culture still exists and this lullaby shows how children can sleep to movement anddynamic range. The recurring sounds and rhythm of the sticks remind us that dancing can takeplace with this tune. Animals are alluded to in the didjeridu. Thanks to Sean Chulborough andhis mum for sharing the tune.

Heather Lee soprano; Kim Cunio voice, Sean Chulborough didjeridu, sticks

Bila bila murra mudga, Baby, baby mum is singing,Bila bila murra mudga, Baby, baby mum is singing,Bila bila murra mudga, Baby, baby mum is singing,Bila bila noor. Baby, baby sleep.Ay ay Yeeay! Ay ay Yeeay!

ITALY

E l’uccellino (Ninna-Nanna) (And the little bird)The writing of this song is a story in itself. Puccini wrote this song in 1899 for Memmo Lippi, theson of one of his closest friends, Gugliemo Lippi. Lippi, a doctor, died in 1897 of typhus, justdays after his marriage. The words were written by Renato Fucini, an engineer by trade, whowrote a famous series of sonnets, Cento sonetti in vernacolo pisano, under the anagrammaticpseudonym, Neri Tanfuccio. This delightful song became a favourite with Italian audiences in theearly 20th century.

Heather Lee soprano; Jonathan Hollowell piano

E l’uccellino canta sulla fronda: And the little bird sings on the leafy branch:Dormi tranquillo, boccuccia d’amore; Sleep peacefully, little love;Piegala giù quella testina bionda, Put down your little blond head,Della tua mamma posala sul cuore. Rest it on your mother’s heart.

E l’uccellino canta su quel ramo: And the little bird sings on the leafy branch:Tante cosine belle imparerai, You will learn many pretty things,Ma se vorrai conoscer quant’io t’amo, But if you want to know how much I love you,Nessuno al mondo potrà dirlo mai! No-one in the world will be able to tell you!

E l’uccellino canta al ciel sereno: And the little bird sings in the clear sky:Dormi tesoro mio qui sul mio seno. Sleep, my treasure, here on my breast.

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HE OUTER HEBRIDES

Taladh Chriosda (The Christ Child’s Lullaby)This Eriskay lullaby was transcribed and arranged by Marjorie Kennedy Fraser in 1909. The tuneis quite old, and Chopin apparently heard the same melody in the Mediterranean years before.The words proclaim love for the baby Jesus, and imagine the joy of looking after him. It hasbeen rearranged for tin whistle, strings and voice, with traditional modal harmony.

Heather Lee soprano; Paul Jarman tin whistle, Anna McDonald violin, Michelle Kelly violin,Rosemary Curtin viola, Rosemary Quinn cello

Mo ghaol, mo ghràdh is m’ eudail Thu! My joyful, love, beloved, you are,M’ ionntas ùr is m’ èibhneas Thu! My new rapturous treasure, you are,Mo mhacan àlainn, ceutach Thu! My beautiful baby son, you areChan fhiù mi fhèin a bhith ad dhàil. And I will always look after you.Alelùia. Hallelujah.

Mo ghaol an t-sùil a sheallas tlath! White son of light and hope, you are,Mo ghaol an chridhe tha liont’ le gràdh! Pure love for heart and eye, you are,Ged as leanabh Thu gun chàil, Though you are still a tender babe,Is lìonmhor buaidh tha ort a’ fàs. I bow in divine rapture to you.Alelùia. Hallelujah.

ITALY

E l’uccellino (Ninna-Nanna) (And the little bird)The writing of this song is a story in itself. Puccini wrote this song in 1899 for Memmo Lippi, theson of one of his closest friends, Gugliemo Lippi. Lippi, a doctor, died in 1897 of typhus, justdays after his marriage. The words were written by Renato Fucini, an engineer by trade, whowrote a famous series of sonnets, Cento sonetti in vernacolo pisano, under the anagrammaticpseudonym, Neri Tanfuccio. This delightful song became a favourite with Italian audiences in theearly 20th century.

Heather Lee soprano; Jonathan Hollowell piano

E l’uccellino canta sulla fronda: And the little bird sings on the leafy branch:Dormi tranquillo, boccuccia d’amore; Sleep peacefully, little love;Piegala giù quella testina bionda, Put down your little blond head,Della tua mamma posala sul cuore. Rest it on your mother’s heart.

E l’uccellino canta su quel ramo: And the little bird sings on the leafy branch:Tante cosine belle imparerai, You will learn many pretty things,Ma se vorrai conoscer quant’io t’amo, But if you want to know how much I love you,Nessuno al mondo potrà dirlo mai! No-one in the world will be able to tell you!

E l’uccellino canta al ciel sereno: And the little bird sings in the clear sky:Dormi tesoro mio qui sul mio seno. Sleep, my treasure, here on my breast.

THE OUTER HEBRIDES

Taladh Chriosda (The Christ Child’s Lullaby)This Eriskay lullaby was transcribed and arranged by Marjorie Kennedy Fraser in 1909. The tuneis quite old, and Chopin apparently heard the same melody in the Mediterranean years before.The words proclaim love for the baby Jesus, and imagine the joy of looking after him. It hasbeen rearranged for tin whistle, strings and voice, with traditional modal harmony.

Heather Lee soprano; Paul Jarman tin whistle, Anna McDonald violin, Michelle Kelly violin,Rosemary Curtin viola, Rosemary Quinn cello

Mo ghaol, mo ghràdh is m’ eudail Thu! My joyful, love, beloved, you are,M’ ionntas ùr is m’ èibhneas Thu! My new rapturous treasure, you are,Mo mhacan àlainn, ceutach Thu! My beautiful baby son, you areChan fhiù mi fhèin a bhith ad dhàil. And I will always look after you.Alelùia. Hallelujah.

Mo ghaol an t-sùil a sheallas tlath! White son of light and hope, you are,Mo ghaol an chridhe tha liont’ le gràdh! Pure love for heart and eye, you are,Ged as leanabh Thu gun chàil, Though you are still a tender babe,Is lìonmhor buaidh tha ort a’ fàs. I bow in divine rapture to you.Alelùia. Hallelujah.

CZECHOSLOVAKIA/ISRAEL

Wiegenlied (Lullaby): Schav b’ni (Lie down)This lullaby is as moving as the story of its creation. It is based on a Hebrew folk tune, withwords by Emanuel Ha Russi. It is commonly sung in the Israeli Kibbutz communities. DuringWorld War Two many of the leading Jewish musicians and composers were forced to live in theTerezin ghetto in Prague. Gideon Klein, a young Czech serialist composer, set this song, in theghetto, and it was sung to make an unbelievable life more bearable. Klein and other musiciansformed an orchestra and choirs, and an opera, Brundibar, was performed in the ghetto. SadlyKlein did not survive the war and little of his music has survived. This new arrangement usessome of his dissonant harmony and his Czech-influenced Hebrew, with modal harmony andlyricism that hark back to the original piece of music.

Heather Lee soprano; Kim Cunio piano

Schav b’ni, schav beem’nucha Lie down my son, lie down to restAl nah tivkeh marah, Don’t cry or be sad,Al yadcha yoshevet imcha Next to you your mother sitsShomeret mikol. Guarding you from all evil.

M’yalail, Howling,M’yalail bahar hatan Howling, the wolf is in the forestHa ruach ha ruach no she vet sham ach The wind, the wind is blowing Atah b’ni hakatav, numat sh’hav vishav. But you, my little son, sleep.

Laylah, laylah, laylah ail The shadow of the nightYauf maher m’od. Will pass quickly,Asur, asur l’hit atzel Don’t be lazyMahar arich l’avod. For tomorrow you must work.

Mahar y’tzai Abah l’harosh, Tomorrow father must plough the fields,B’tailem, b’tailem yelech taav, And you will be like himAch a tah, b’ni hakatam But you, my little son,Numa numa la sham. Must sleep now.

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RUSSIA

Kolybelnaya (Sleep my darling)Aleksandr Grechaninov is best known for his large scale, deep brooding works that explore theRussian spirit. In this lullaby, the fifth song in his first published opus, he shows that he can alsobe very tender. He set words of the Russian poet Mikhail Yuryevich Lermontov in a manner thatis true to both Russian folk and classical music. Originally set for piano and voice, the final versenow adds a male choir to epitomise its Russian flavour.

Heather Lee soprano; Cantillation, Paul Virag piano

Spi, mladenets moj prekrasnyj, Sleep my darling, all are sleeping,Bayushki, bayu. Lulla, lullaby,Tiho smotrit mesyats The bright moon silently rises,Yasnyj v kolybel’ tvoyu. And I will cradle you.

Stanu skazyvat’ ya skazki, I will tell you stories,Pesenku spoyu; And songs I will sing.Ty zh dremli, zakryvshi glazki, Close your eyes, forget your worries,Bayushki, bayu. Lulla, lullaby.

Bogatyr’ ty budesh’ s vidu May the Lord send his blessing,I kazak dushoj Provozhat’ While I pray and wait,Tebya ya vyjdu ya I will fear you are lonelyTy mahnesh’ rukoj. When you turn away.

Skol’ko gor’kih slez ukradkoj I fear you will sigh for home.Ya v tu noch’ prol’yu. That I’ll be left alone.Spi, moj angel, tiho, sladko, Sleep my angel, one and only.Bayushki, bayu. Lulla, lullaby.

CHINA

Yer a ming (Moon is bright)This is a traditional Chinese Han lullaby sung and known by millions of Chinese. Thoughoriginally rural it is now also sung in the cities. It goes beyond the simple message of urging achild to sleep; instead telling a poetic story of a beautiful and perfect night. At the end we realisethat it is such a lovely night to help the child go to sleep.

Heather Lee soprano; Kim Cunio zither

Yer a ming fong ar ching The moon is bright, the wind is light,Shu ye ar jo t’choung ling. The leaves shade the window.Tchu Tchu ar tchiouw tjong tjong The crickets are singingHow bi na ying ling shung. Like the sound of silver bells.Yer na ga ming fonga na ga ching There is such a bright moon,Yow lan tching by dou. Such a light windN’yam g’ bouw bouw. To swing the cradle lightly.Bi shou yen ting Mother’s child, close your eyes,Sheay le ne ge sh’wi zai mong tyjong. Sleep and have beautiful dreams.

SPAIN

Nana (Lullaby)This Spanish lullaby is by Manuel de Falla and is a movement from his Siete cancionespopulares españolas. It has all the drama and suspense of flamenco harmony slowed down tothe calm speed for a lullaby. Originally for piano and voice, it has been rearranged for guitar.

Heather Lee soprano; Kim Cunio guitar, baritone

Duérmete, niño, duerme, Sleep, little one, sleep,Duerme, mi alma, Sleep my little soul,Duérmete, lucerito Sleep, my littleDe la mañana. Morning star.Nanita, Nana, Lullay, lullay,Duérmete, lucerito Sleep, my littleDe la mañana. Morning star.

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FRANCE

Les Berceaux (The Cradles)Gabriel Fauré set great stock by his settings of poetic songs for voice and piano. They havebecome defining ways in which we hear French vocal music His Après un rêve and Clair de luneare two landmark songs that are the equal of German lieder in their relationship between voiceand piano. In Les Berceaux, Fauré combines subtle harmonic colours, unexpected melodic twists,and a rocking 6/8 rhythm with the beautiful words of René François Armand Sully-Prudhomme.The rearrangement adds string quartet and clarinet.

Heather Lee soprano; Anna McDonald violin, Michelle Kelly violin, Rosemary Curtin viola,Rosemary Quinn cello, Margery Smith clarinet

Le long du quai, les grands vaisseaux, The grand ships are all along the quay,Que la houle incline en silence, The waves play with them in silence,Ne prennent pas garde aux berceaux They pay no heed to the cradlesQue la main des femmes balance. Rocked by women’s hands.

Mais viendra le jour des adieux; But the day of parting will come,Car il faut que les femmes pleurent, For women must weep,Et que les hommes curieux And men must follow their curiosity,Tentent les horizons qui leurrent! Chasing the lure of the horizon!

Et ce jour-là les grands vaisseaux, And on that day the great ships,Fuyant le port qui diminue, Fleeing the harbour which shrinks behind them,Sentent leur masse retenue Feel their weight heldPar l’âme des lointains berceaux. By the soul of distant cradles.

AUSTRALIA

Child of LoveAustralian composer Kim Cunio wrote Child of Love especially for this disc. It has two parts, a first part which is an invocation and calling to sleep, and a second part which calls on God, the angels and the forces of good to protect the child.

Heather Lee soprano; Cantillation

Sleep baby sleep, sleep long and sweetSleep baby sleep.

Now the day is saying good night,Now it is the time for nightSoon the stars will come out for their flight,Sleep my baby till the morning lightSleep baby sleep, sleep long and sweetSleep baby sleep until dawn you meet.

Lullaby, the baby child lies, sleep.Sleep baby sleep until dawn we meet.

May the God of Peace, may the God of Love,May the God of Beauty, Protect you and keep you.I call to the spirits of love, compassionAnd the angels of peace and mercy.

14 15

May the Great God, may the God of Mercy,May the God of Peace and LoveKeep you free from all evil.I call to the angels, angels of love and compassion,Peace and love and mercy.

Sleep baby sleep

Now is the time for sleepSo sleep long and sweet Sleep baby now sleep, sleep long and sweetTill dawn you meet,Lullaby sweet baby sleep,Sleep oh sleep child of loveSleep a sweet sleep.

INDIA

Soja raji kumari (Sleep, princess, sleep)Recognised as one of the greatest Indian singers of the 20th century, Kundan Lal Saigal sangSoja raji kumari in the 1940 film Zindagi. Lata Mangeshkar, known as the nightingale of India,went on to make this one of the most popular songs in India. Although Mangeshkar is in herseventies she is still performing and has recorded more than any other Indian singer. This is afavourite song of hers where a child is asked to sleep, and generations of children and mothershave slept with her beautiful clear singing. The song has also had a second life in one of India’sgreatest cultural organisations, the UN-affiliated Brahma Kumaris, as a generation of femalestudents listened to their teacher Brahma Baba sing this song to them before bed.

Heather Lee soprano; Kim Cunio harmonium, Bobby Singh tabla

Soja soja, Sleep, sleep,Soja raji kumari soja, Sleep princess, sleep,Soja may balihari soja, I surrender to the young, so sleep,Soja raji kumari soja. Sleep princess, sleep.Soja meetay sapanome ayeh Sleep and have sweet dreamsSapnonome bhee darasal dikeyeh, May you see only nice things,Urakare rup nagarame jayeh. And girlfriends from the villageRup nagarakaki sakhiyahyeh. To play with you.Rajaji malah pehenaye, The prince will put garlands on you,Chume mang tihare. Soja. And kiss your forehead. Sleep.Soja raji kumari soja. Sleep princess, sleep.

17

GERMANY

Wiegenlied (Lullaby)The composition of this lullaby was once thought to be by Mozart, but is actually by BernhardFliess. Very Mozartean in its feel, every note has its place, and the mood of the song is exquisite.The words are by Friedrich Wilhelm Gotter.

Heather Lee soprano; Jonathan Hollowell piano

Schlafe, mein Prinzchen, es ruhn Sleep now, my little prince, sleep,Schäfchen und Vögelchen nun The birds and the sheep also sleep.Garten und Wiese verstummt, The trees and the meadows are silent,Auch nicht ein Bienchen mehr summt. Not a single bee is humming.Luna mit silbernem Schein, Now the moon’s silvery raysGucket zum Fenster herein. Beam through your window.Schlafe beim silbernen Schein, Sleep in the silver light.Schlafe, mein Prinzchen, schlaf ein. Sleep now, my little prince, sleep.

Wer ist beglückter als du? Who is as lucky as you?Nichts als Vergnügen und Ruh! Nothing but fun and rest!Spielwerk und Zucker vollauf, Plenty of sweets and gamesUnd noch Karossen im Lauf, And a carriage coming for you.Alles besorgt und bereit, Everything is ready and waitingDass nur mein Prinzchen nicht schreit, All so my little prince doesn’t cry.Was wird da künftig erst sein? And what will the future hold?Schlafe, mein Prinzchen, schlaf ein. Sleep now, my pretty prince, sleep.

16

GERMANY

Wiegenlied (Lullaby)The composition of this lullaby was once thought to be by Mozart, but is actually by BernhardFliess. Very Mozartean in its feel, every note has its place, and the mood of the song is exquisite.The words are by Friedrich Wilhelm Gotter.

Heather Lee soprano; Jonathan Hollowell piano

Schlafe, mein Prinzchen, es ruhn Sleep now, my little prince, sleep,Schäfchen und Vögelchen nun The birds and the sheep also sleep.Garten und Wiese verstummt, The trees and the meadows are silent,Auch nicht ein Bienchen mehr summt. Not a single bee is humming.Luna mit silbernem Schein, Now the moon’s silvery raysGucket zum Fenster herein. Beam through your window.Schlafe beim silbernen Schein, Sleep in the silver light.Schlafe, mein Prinzchen, schlaf ein. Sleep now, my little prince, sleep.

Wer ist beglückter als du? Who is as lucky as you?Nichts als Vergnügen und Ruh! Nothing but fun and rest!Spielwerk und Zucker vollauf, Plenty of sweets and gamesUnd noch Karossen im Lauf, And a carriage coming for you.Alles besorgt und bereit, Everything is ready and waitingDass nur mein Prinzchen nicht schreit, All so my little prince doesn’t cry.Was wird da künftig erst sein? And what will the future hold?Schlafe, mein Prinzchen, schlaf ein. Sleep now, my pretty prince, sleep.

INDIA

Soja raji kumari (Sleep, princess, sleep)Recognised as one of the greatest Indian singers of the 20th century, Kundan Lal Saigal sangSoja raji kumari in the 1940 film Zindagi. Lata Mangeshkar, known as the nightingale of India,went on to make this one of the most popular songs in India. Although Mangeshkar is in herseventies she is still performing and has recorded more than any other Indian singer. This is afavourite song of hers where a child is asked to sleep, and generations of children and mothershave slept with her beautiful clear singing. The song has also had a second life in one of India’sgreatest cultural organisations, the UN-affiliated Brahma Kumaris, as a generation of femalestudents listened to their teacher Brahma Baba sing this song to them before bed.

Heather Lee soprano; Kim Cunio harmonium, Bobby Singh tabla

Soja soja, Sleep, sleep,Soja raji kumari soja, Sleep princess, sleep,Soja may balihari soja, I surrender to the young, so sleep,Soja raji kumari soja. Sleep princess, sleep.Soja meetay sapanome ayeh Sleep and have sweet dreamsSapnonome bhee darasal dikeyeh, May you see only nice things,Urakare rup nagarame jayeh. And girlfriends from the villageRup nagarakaki sakhiyahyeh. To play with you.Rajaji malah pehenaye, The prince will put garlands on you,Chume mang tihare. Soja. And kiss your forehead. Sleep.Soja raji kumari soja. Sleep princess, sleep.

Heather Lee

Heather Lee is a concert singer and soloist who hasperformed in many venues around Australia. She hasappeared with leading arts organisations and festivalsincluding Victoria State Opera, Queensland SymphonyOrchestra and the Sydney, Melbourne and BrisbaneInternational Arts Festivals. She performs a range ofstyles: early music, opera and contemporary, and isknown as an innovative improviser and ornamentor ofmany styles of music. Heather Lee has a Master’s degree in voice and is currently completing her Doctorate in music.

Heather Lee is regularly in demand as a recording artistand is heard often on movie and documentarysoundtracks. She performs in numerous ensemblesincluding Oscar and Marigold, Sefarad and her ownensemble DIVA Sings the Divine performs at festivalaround Australia. Heather has been involved in manybroadcasts on ABC Radio National and Classic FM, and has also contributed to radio and televisiondocumentaries on subjects such as mystical chant andthe music of Hildegard von Bingen.

In 2004 Heather Lee was a peer advisor to the AustraliaCouncil for the Arts’ Music Board in vocal, choral andmulticultural music. In 2005-6 Heather will recordMozart concert arias in the Czech Republic, record themusic of Hildegard von Bingen for ABC Classics, andwill work with composer Kim Cunio in an ongoinginvestigation into sacred music from around the world.

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CUBA

Canciòn de cuna para dormir a un negrito (Cradle Song for a Black Baby)The beauty of Cuban rhythm is clear in this lullaby. Xavier Montsalvage allows us to be drawninto a world that is slower, that shuffles through the day, towards the inevitable rest that musttake place. In this piece from his Cinco canciones negras, the music unfolds at walking pace,with the habanera rhythm holding it together. It has shimmering harmony and an understatedvocal style. The words with their vivid imagery are an experience on their own.

Heather Lee soprano; Jonathan Hollowell piano, Steve Elphick bass

Ninghe ninghe ninghe tan chiquitito, Close your eyes and sleep, tiny one,El negrito que no quiere dormir. Little black baby who won’t go to sleep.Cabeza de coco, grano de café, Head like a coconut, a coffee-bean,Con lindas motitas With pretty dark curls.Con ojos grandotes Your eyes wide open,Como dos ventanas Just like two large windows,Que miran al mar. Looking out to sea.

Cierra los ojitoas negrito Close your eyes and sleep, asustado; My frightened little one,El mandinga blanco te Or the big white devil may come puede comer. And eat you up.Ya no eres esclavo! You’re not a slave now!Y si duermes mucho, And if you sleep a lot,El señor de casa promete omprar Your master will make you important.Traje con botones Dress you with fancy buttons,Para ser un ‘groom’. And make you a ‘groom’.

Ninghe ninghe ninghe, Close your eyes,Duérmete negrito, Sleep, my young one,Cabeza de coco, grano de café. Head like a coconut, a coffee-bean.

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Executive Producers Robert Patterson, Lyle Chan

Recording Producers Virginia Reid, Kim Cunio

Recording Engineer and Editor Virginia Read

Editorial and Production Manager Hilary Shrubb

Cover and Booklet Design Imagecorp Pty Ltd

Cover Photograph & Booklet Photography Chris Jones

All tracks arranged Kim Cunio. Published by ABC Music Publishing.

Contact Heather Lee on: oscarmarigold@optusnet.com.au

The following people have generously given their time in helping with

the pronunciation and writing of the languages: Eric Clapham OAM,

Paul Virag, The Gaelic Club, Bing Dai, Miguel Heatwole, Sam Yamine,

B.K. Sona, Helen de Zubicaray and Sean Chulborough. Special thanks to

the people of the Gulf of Carpentaria for permission to record Bila bila.

Cantillation

Manager Alison Johnston

Soprano Danielle Grant, Belinda Montgomery, Jane Sheldon,

Nicole Thomson Mezzo-soprano Jo Burton, Natalie Shea, Anna Zerner

Tenor James Renwick, John Pitman, Daniel Walker, Brett Weymark

Bass Daniel Beer, Corin Bone, David Greco, Simon Lobelson,

Ben Macpherson, Sébastien Maury, Ed Suttle

Recorded May and June 2003 in the Eugene Goossens Hall,

Australian Broadcasting Corporation, Ultimo.

P 2005 Australian Broadcasting Corporation. © 2005 Australian Broadcasting Corporation. Distributed in Australia byUniversal Music Group, under exclusive licence. Made in Australia. All rights ofthe owner of copyright reserved. Any copying, renting, lending, diffusion, publicperformance or broadcast of this record without the authority of the copyrightowner is prohibited.

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Kim Cunio

Kim Cunio has studied with a number of Australia’sfinest musicians, including eminent Australian composerNigel Butterley, conductor Eric Clapham, and jazz guitarlegend Ike Isaacs. He has both Bachelor’s and Master’sdegrees in composition, and is currently completing aDoctorate in music. He has worked extensively with theABC on a number of projects for CD, film and television,as well as world music.

He is one of Australia’s most accomplished researchingcomposers and was awarded an ABC GoldenManuscript Award in 2004 in recognition of his workwith traditional and Islamic music.

Kim Cunio’s compositions have been performed atmany festivals both in Australia and overseas, includingthe Sydney Festival, the Sydney Spring Festival, theWoodford Festival Fire Event, and in the United Statesat the White House and the United Nations.

His compositions are published by ABC Music Publishing.

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Executive Producers Robert Patterson, Lyle Chan

Recording Producers Virginia Reid, Kim Cunio

Recording Engineer and Editor Virginia Read

Editorial and Production Manager Hilary Shrubb

Cover and Booklet Design Imagecorp Pty Ltd

Cover Photograph & Booklet Photography Chris Jones

All tracks arranged Kim Cunio. Published by ABC Music Publishing.

Contact Heather Lee on: oscarmarigold@optusnet.com.au

The following people have generously given their time in helping with

the pronunciation and writing of the languages: Eric Clapham OAM,

Paul Virag, The Gaelic Club, Bing Dai, Miguel Heatwole, Sam Yamine,

B.K. Sona, Helen de Zubicaray and Sean Chulborough. Special thanks to

the people of the Gulf of Carpentaria for permission to record Bila bila.

Cantillation

Manager Alison Johnston

Soprano Danielle Grant, Belinda Montgomery, Jane Sheldon,

Nicole Thomson Mezzo-soprano Jo Burton, Natalie Shea, Anna Zerner

Tenor James Renwick, John Pitman, Daniel Walker, Brett Weymark

Bass Daniel Beer, Corin Bone, David Greco, Simon Lobelson,

Ben Macpherson, Sébastien Maury, Ed Suttle

Recorded May and June 2003 in the Eugene Goossens Hall,

Australian Broadcasting Corporation, Ultimo.

P 2005 Australian Broadcasting Corporation. © 2005 Australian Broadcasting Corporation. Distributed in Australia byUniversal Music Group, under exclusive licence. Made in Australia. All rights ofthe owner of copyright reserved. Any copying, renting, lending, diffusion, publicperformance or broadcast of this record without the authority of the copyrightowner is prohibited.

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