Hacia Belén va un borrico
Trad. Spanish, arr. Alice PARKER/SHAW
About this Piece
Without a doubt, the villancico was the musical form most likely to bridge the gap between the “serious” music heard in the imposing cathedrals of, say, Ávila, Burgos, Granada, or Madrid, and the “popular” ditties sung along the streets, in cafés, public squares, and schools. The simplicity of the villancico made it easy to learn, easy to repeat, and easy to like. Short stanzas alternate with a refrain which is occasionally nonsensical and the narrative is quickly told. Although the villancico probably derived from the earlier love-songs of the Medieval troubadours, by the 17th century the form was most often heard at Christmas. It is no wonder that Robert Shaw and Alice Parker were drawn to this simple song, Hacia Belén va un borrico (which probably originated as a children’s Christmas carol in Andalucia), because of its delightful tune and whimsical story. The text has appeared in several guises (sometimes the animal referred to is “una burra,” instead of “un borrico,” and one or two of the words seem to be so regional as to be untranslatable) but the charm of the fable of the ox who ate the pilgrim’s hat has endured for centuries. To a little child, the chocolate the donkey was carrying was certainly as important and worthy a gift as any amount of gold, frankincense, or myrrh.
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Hacia Belén va un borrico, En el Portal de Belén, Con un sombrero de paja, |
A donkey is going to Bethlehem In the Bethlehem manger, Wearing a straw hat, |