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It is illegal to copy and distribute our copyright-protected material without permission. It is also illegal to reprint copyright texts or translations without the name of the author or translator.

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by Federico García Lorca (1898 - 1936)
Translation © by Lidy van Noordenburg

Arbolé, arbolé
Language: Spanish (Español) 
Our translations:  DUT
Arbolé, Arbolé
seco y verdé

La niña del bello rostro
está cogiendo aceituna.
El viento, galán de torres,
la prende por la cintura.

Pasaron cuatro jinetes,
sobre jacas andaluzas
con trajes de azul y verde, 
con largas capas oscuras.
"Vente a Córdoba, muchacha."

La niña no los escucha.

Pasaron tres torerillos
delgaditos de cintura,
con trajes color naranja
y espadas de plata antigua.
"Vente a Sevilla, muchacha."

La niña no los escucha.

Cuando la tarde se puso morada, 
con luz difusa,
pasó un joven que llevaba
rosas y mirtos de luna.
"Vente a Granada, muchacha." 

Y la niña no lo escucha.

La niña del bello rostro
sigue cogiendo aceituna,
con el brazo gris del viento
ceñido por la cintura.

Arbolé Arbolé
seco y verdé.

Text Authorship:

  • by Federico García Lorca (1898 - 1936), appears in Canciones, in Andaluzas [author's text checked 1 time against a primary source]

Musical settings (art songs, Lieder, mélodies, (etc.), choral pieces, and other vocal works set to this text), listed by composer (not necessarily exhaustive):

  • by Suzanne Baron Supervielle (1910 - 2004), "Arbolé, arbolé", 1952 [ voice and piano ], from Nueve canciones de Federico García Lorca, no. 8 [sung text not yet checked]
  • by Juan José Castro (1895 - 1968), "Arbolé, arbolé", 1938 [ voice and piano ], from Seis canciones de García Lorca, no. 4 [sung text not yet checked]
  • by Manuel Oltra i Ferrer (1922 - 2015), "Arbolé, arbolé" [ SATB chorus a cappella ], from Tres Andaluzas, no. 3 [sung text checked 1 time]

Settings in other languages, adaptations, or excerpts:

  • Also set in Dutch (Nederlands), a translation by Anonymous/Unidentified Artist [an adaptation] ; composed by Henk Badings.
    • Go to the text.

Other available translations, adaptations or excerpts, and transliterations (if applicable):

  • DUT Dutch (Nederlands) (Lidy van Noordenburg) , "Boompje boompje dor en groen", copyright © 2008, (re)printed on this website with kind permission


Researcher for this page: Lidy van Noordenburg

This text was added to the website: 2008-10-19
Line count: 30
Word count: 124

Boompje boompje dor en groen
Language: Dutch (Nederlands)  after the Spanish (Español) 
Boompje boompje
dor en groen

Het meisje met het knappe 
gezicht plukt olijven.
De wind die om de torens speelt,
neemt haar om haar taille.

Vier ruiters kwamen voorbij
op Andalusische paardjes,
gekleed in blauw en groen 
met lange donkere mantels.
"Kom mee naar Córdoba, meisje."

Het meisje luistert niet naar hen.

Drie jonge torero's kwamen voorbij 
slank van lijf 
in oranje pakken
met degens van oud zilver.
"Kom mee naar Sevilla, meisje."

Het meisje luistert niet naar hen.

Toen de avondhemel paars kleurde, 
met diffuus licht,
kwam een jongeman voorbij 
met rozen en mirten van maanlicht.
"Kom mee naar Granada, meisje"

En het meisje luistert niet naar hem.

Het meisje met het knappe gezicht
blijft olijven plukken,
met de grijze arm van de wind
om haar middel geslagen.

Boompje boompje
dor en groen.

Text Authorship:

  • Translation from Spanish (Español) to Dutch (Nederlands) copyright © 2008 by Lidy van Noordenburg, (re)printed on this website with kind permission. To reprint and distribute this author's work for concert programs, CD booklets, etc., you may ask the copyright-holder(s) directly or ask us; we are authorized to grant permission on their behalf. Please provide the translator's name when contacting us.
    Contact: licenses@email.lieder.example.net

Based on:

  • a text in Spanish (Español) by Federico García Lorca (1898 - 1936), appears in Canciones, in Andaluzas
    • Go to the text page.

 

This text was added to the website: 2008-10-19
Line count: 30
Word count: 134

Gentle Reminder

This website began in 1995 as a personal project by Emily Ezust, who has been working on it full-time without a salary since 2008. Our research has never had any government or institutional funding, so if you found the information here useful, please consider making a donation. Your help is greatly appreciated!
–Emily Ezust, Founder

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