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ALMA DEL CORE (Soul Of The Heart)

Antonio Caldara (1670-1736) (Translation)

Antonio Caldara (1670 28 December 1736) was an Soul of my heart, spirit of my soul,
Italian Baroque composer. One of his italian works is Soul of my heart, spirit of my soul,
Alma del core is the companion piece to Sebben, Always constantly will I adore you!
crudele, which we are told by various sources, comes I adore you, I adore you, I adore you, I adore you
from an opera by Antonio Caldara entitled, La costanza Soul of my heart, spirit of my soul,
in amore vince linganno (Constancy in Love Triumphs Always constantly will I adore you!
over Wickedness). This piece is in roughly a rondo Always constantly will I adore you!
musical form with many repeats of the original theme I will be contented
interspersed with varying sections. It is published in the In my torment
key of a major in the original 24 Italian Songs and Arias, If only I could kiss that beautiful lip.
and, as such, is particularly suited for a high lyric If only I could, If only I could kiss that beautiful lip.
soprano or young coloratura. But, it also suits all voice Soul of my heart, spirit of my soul,
types and is available in many different keys, of course. Soul of my heart, spirit of my soul,
Always constantly will I adore you!
Alma del core, spirto del' alma I adore you, I adore you, I adore you, I adore you
Alma del core, spirto del' alma Soul of my heart, spirit of my soul,
Sempre costante t'adorero Always constantly will I adore you!
T'adorero, t'adorero, t'adorero, t'adorero Always constantly will I adore you!
Alma del core, spirto del' alma
Sempre costante t'adorero
Sempre costante t'adorero Se Tu m Ami (If You Love Me)
Saro contiento Alessando Parisotti (1853-1913)
Nel mio tormento
Se quel bel labro baciar potro. This Baroque Italian aria is perhaps best known as it
Se quel bel labro, se quel bel labro baciar potro. appears in Schirmer's Twenty-Four Italian Songs and
Alma del core, spirto del' alma Arias, most of which had appeared previously in the
Alma del core, spirto del' alma Anthology of Italian Song of the Seventeenth and
Sempre costante t'adorero Eighteenth Centuries. The pieces in that collection were
T'adorero, t'adorero, t'adorero, t'adorero sometimes set with less than historically accurate
Alma del core, spirto del' alma accompaniments. In this case, even the song is a modern
Sempre costante t'adorero fabrication, apparently written by Parisotti and passed
Sempre costante t'adorero off as a song by Pergolesi.
Se tu m'ami, se sospiri I will not follow -
Sol per me, gentil pastor, Just because the lily pleases me,
Ho dolor de' tuoi martiri, I do not have to despise the other flowers.
Ho diletto del tuo amor,
Ma se pensi che soletto
Io ti debba riamar,
Pastorello, sei soggetto THE MERMAID SONG
Facilmente a t'ingannar. Franz Joseph Haydn (1732-1809)

Bella rosa porporina During most of the Classical period, songs were
Oggi Silvia sceglier, considered trifles--serious vocal writing was reserved for
Con la scusa della spina church or stage music. While composers generally didn't
Doman poi la sprezzer. take the genre very seriously, in a way this made their
Ma degli uomini il consiglio output all the more appealing, as one or two melodic
Io per me non seguir. ideas could be laid out in their simplicity, rather than
Non perch mi piace il giglio elaborated upon as opera or church music demanded.
Gli altri fiori sprezzer. 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
(Translation) particular song.
The piano depicts the rippling of the water as the singer
If you love me, if you sigh bids, in a mix of imperiousness and charm, the listener
Only for me, dear shepherd, to follow her, in an inticing and insistent theme. The
I am sorrowful for your sufferings; tone throughout is playful, and the last piano flourish
yet I delight in your love. creates the image of the mermaid diving into the depths
But if you think that with a final sparkling flash.
I must in return love only you,
Little shepherd, you are subject Now the dancing sunbeams play
To deceiving yourself easily. On the green and glassy sea,
Come, and I will lead the way
The beautiful purple rose Where the pearly treasures be.
Will Silvia choose today;
With the excuse of its thorns, Come with me, and we will go
Tomorrow, then, will she despise it. Where the rocks of coral grow.
But the advice of the men Follow, follow, follow me.
begins a poignant modulation to the tonic minor. The
Come, behold what treasures lie strophic "Sehnsucht" (Yearning) is set in B minor, with
Far below the rolling waves, only ornamental variation in accompaniment between
Riches, hid from human eye, strophes as the narrator, in the form of a bird, follows the
Dimly shine in ocean's caves. woman of his desires. However, when night falls and the
Ebbing tides bear no delay, narrator becomes a "twinkling star" in the finale strophe,
Stormy winds are far away. 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) (Translation)
Luigi Arditi (1823-1903)
If I could only give you
Luigi Arditi was an Italian violinist, composer and a kiss on your lips,
conductor. He began his career as a violinist and trained It would tell you all the delights of love,
in Milan, later settling in London. He was well known as Abiding to speak
a composer of operas, almost all of which have fallen a thousand joys to you!
into obscurity. He is still remembered today as the Ah, thus it would speak
composer of the Waltz Song, Il Bacio. to you along with my heart's palpitations.
Il Bacio (The Kiss) was written as a waltz song, and is I do not desire gems or pearls,
one of the few works Arditi is remembered for today. nor do I seek others' affections.
The music was set to the text of a poem by Gottardo Your look is my delight,
Aldighieri, whom the song is dedicated to. This is a your kiss is my treasure.
transcription of the song into a Valse Brillante for piano. Ah! Come! Do not delay!
Sulle labbra se potessi Ah! Come! Let us enjoy love's
dolce un bacio ti darei. life-giving intoxication.
Tutte ti direi le dolcezze dell'amor. Ah!
Sempre assisa te d'appresso,
mille gaudii ti direi
Ed i palpiti udirei LAUDATE DOMINUN (Praise The Lord)
che rispondono al mio cor. from Vesperae Solennes de Confessone
Gemme e perle non desio, Wolfgang Amadeus Mozart (1756-1791)
non son vaga d'altro affetto.
Un tuo sguardo il mio diletto, Psalm 117 was a source of inspiration to great classical
un tuo bacio il mio tesor. composers of all times. A most famous musical setting
Ah! Vieni! ah vien! pi non tardare! of the text is W. A. Mozarts, in which it is sung by
a me! soprano solo with chorus and is the fifth of six parts of a
Ah vien! nell'ebbrezza d'un amplesso larger piece known as the Vesperae solennes de
ch'io viva! confessore (K.339). Vesperae solennes de confessore
Ah! (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.
The Holy City
Laudate Dominum omnes gentes Frederic Weatherly (1848-1949)
Laudate eum, omnes populi
Quoniam confirmata est It was written by Frederic Weatherly in 1892 with music
Super nos misericordia eius, by Michael Maybrick. The Holy City itself is a
Et veritas Domini manet in aeternum. reference to Jerusalem. The hymn The Holy City
begins with these words: Last night I lay a sleeping.
Gloria Patri et Filio et Spiritui Sancto. There came a dream so fair, I stood in Old Jerusalem
Sicut erat in principio, et nunc, et semper. beside the Temple there. And the hymn ends by quoting
Et in saecula saeculorum. from Revelation and the future world of peace. It seems
Amen. that Jerusalem, which means city of peace, will finally
live up to its name.

Last night I lay a-sleeping


(Translation) There came a dream so fair,
I stood in old Jerusalem
Praise the Lord, all nations; Beside the temple there.
Praise Him, all people. I heard the children singing,
For He has bestowed And ever as they sang
His mercy upon us, Me thought the voice of angels
And the truth of the Lord endures forever. From heaven in answer rang,
Me thought the voice of angels
Glory to the Father and to the Son and to the Holy From heaven in answer rang.
Spirit,
as it was in the beginning, is now, and forever, Jerusalem! Jerusalem!
and for generations of generations. Lift up your gates and sing,
Amen. 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 JERUSALEM! DIE DU TDTEST DIE
Upon a lonely hill, PROPHETEN! (Jerusalem! Thou That Killest The
As the shadow of a cross arose Prophets)
Upon a lonely hill. from St. Paul
Felix Mendelssohn (1809-1847)
Jerusalem! Jerusalem!
Hark! How the angels sing, Felix Mendelssohn's massive oratorio Paulus (1836) is
Hosanna in the highest! based on the story of Saul, the zealous Pharisee who,
Hosanna to your King! after a dramatic encounter with the risen Christ, turns
from a fanatical enemy of Christians into the most
And once again the scene was changed, influential apologist of the Christian faith. Using the New
New earth there seemed to be. Testament, particularly the Gospels and the Acts of the
I saw the Holy City Apostles as sources, Mendelssohn wrote his own version
Beside the tide less sea. of Paul's story. Paulus is by no means a replica of the
The light of God was on its streets, Baroque oratorio. Mendelssohn expressed his ideas with
The gates were open wide, great contrapuntal facility and clarity, with a technical
And all who would might enter, competence rivaling the expertise of the great Baroque
And no one was denied. masters, but his counterpoint is fresh and original. The
No need of moon or stars by night, oratorio's overture, as well as a significant section of the
Or sun to shine by day; first choral number, is based on the chorale "Wachet auf,
It was the new Jerusalem ruft uns die Stimme" (Awake, cries to us the voice).
That would not pass away, Mendelssohn's Christ, whose voice is distant, mysterious,
It was the new Jerusalem and yet tremendously powerful, possesses an
That would not pass away. otherworldly, spectral quality, suggesting the infinitesimal
closeness and infinite remoteness of God. Mendelssohn
Jerusalem! Jerusalem! expresses an extraordinary spectrum of religious feeling,
Sing for the night is o'er! from dark doubt to radiant certainty. Ending with a
Hosanna in the highest! powerful double fugue, Paulus is a beautiful, profound
Hosanna forevermore! 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! chaos. The Countess, Figaro and Susannas schemes to
shame the Count and reunite him with his wife have so
Jerusalem! Jerusalem! die du ttest die Propheten! far only resulted in the Count accusing his wife of
die du steinigest, die zu dir gesandt infidelity and becoming suspicious of Figaro. Moreover,
Jerusalem! Jerusalem! Figaro and Susanna are distracted by Marcellinas
threats to force Figaro to marry her. Alone, and unaware
(Translation) that this particular problem has been resolved, the
Countess waits anxiously for news from Susanna.
Jerusalem! Jerusalem! thou that killest the Prophets,
thou that stones them which are sent unto thee, E Susanna non vien!
stones them which are sent, are sent unto thee. Sono ansiosa di saper
How often would I have gatherd unto Me thy children, come il Conte accolse la proposta.
and ye would not, and ye would not! Alquanto ardito il progetto mi par,
E ad uno sposo si vivace e geloso!
Jerusalem! Jerusalem! thou that killest the Prophets, Ma che mal c'?
thou that stones them which are sent unto thee Cangiando i miei vestiti con quelli di Susanna,
Jerusalem! Jerusalem! E suoi co'miei
al favor della notte.
Oh, cielo! a qual umil stato fatale
io son ridotta da un consorte crudel!
DOVE SONO (Where Are) Che dopo avermi con un misto inaudito
from Le Nozze di Figaro d'infedelt, di gelosia, di sdegno!
Wolfgang Amadeus Mozart (1756-1791) Prima amata, indi offesa, e alfin tradita,
Fammi or cercar da una mia serva aita!
Mozart believed that although opera buffa was
intrinsically comic it should feature serious characters Dove sono i bei momenti
and themes. Countess Almaviva is perhaps the most Di dolcezza e di piacer?
serious and complex character in Le nozze di Figaro Dove andaro i giuramenti
(The Marriage of Figaro). She has a sense of humour Di quel labbro menzogner?
and joins in Figaro and Susannas schemes with Perch mai, se in pianti e in pene
enthusiasm, but also gives voice to some of the operas Per me tutto si cangi,
most profound emotions particularly in Dove sono. La memoria di quel bene
Dal mio sen non trapass?
The Countess sings this aria in Act III, by which point Ah! se almen la mia costanza,
Mozarts crazy day is threatening to collapse into Nel languire amando ognor,
Mi portasse una speranza DE PUIS LE JOUR (Since The Day)
Di cangiar l'ingrato cor! from Louise
Marc-Antoine Charpentier (1643-1704)
(Translation)
In 1887, Marc-Antoine Charpentier was awarded the
And Susanna hasn't come! coveted Prix de Rome, one part of which consisted of
I'm anxious to know support for a year's study in Rome. It was there, while
How the Count took the proposition. living at the Villa Medici, that Charpentier began work
The plan seems to me a little rash on Louise. The composer himself created the scenario,
And against such a quick and jealous husband! based on his own time in Montmartre; Charpentier
But what harm is there in it? maintained that he was the sole author of the final
To change my clothes with Susanna's, libretto, but research has shown that he paid the poet
And hers with mine Saint-Pol-Roux to write at least some of the text.
Under cover of night. Set in Paris in the nineteenth century, this opera tells the
Oh, Heaven! What a fatal comedown story of Louise who falls in love with her neighbour
I'm reduced to by a cruel husband! Julien. In the face of her parents disapproval, Louise
Who, after he had me, [gave me] an unheard-of mixture sets up home with Julien and they enjoy a bohemian life
Of infidelity, jealousy and rage! together. When her father falls gravely ill, Louise returns
First loved, then insulted, and at last betrayed, to her parental home to help nurse him back to health.
You force me to seek help from one of my maids! He quickly recovers and forbids her from returning to
Julien. After a furious quarrel, she once again disobeys
Where are the lovely moments her parents wishes and leaves them railing against the
Of sweetness and pleasure? city that stole their daughter.
Where have the promises gone
That came from those lying lips? Depuis le jour o je me suis donne,
Why, if all is changed for me toute fleurie semble ma destine.
Into tears and pain, Je crois rver sous un ciel de ferie,
Has the memory of that goodness l'me encore grise de ton premier baiser!
Not vanished from my breast? Quelle belle vie!
Ah! if only, at least, my faithfulness, Mon rve n'tait pas un rve!
Which still loves amidst its suffering, Ah! je suis heureuse!
Could bring me the hope L'amour tend sur moi ses ailes!
Of changing that ungrateful heart! Au jardin de mon coeur
chante une joie nouvelle!
Tout vibre, of the first day
tout se rjouit de mon triomphe! of love!
Autour de moi tout est sourire,
lumire et joie! What a beautiful life!
Et je tremble dlicieusement Oh! I'm so happy! ...utterly happy!
Au souvenir charmant And I'm trembling delightfully
Du premier jour from the charming memory
D'amour! of the first day
of love!
Quelle belle vie!
Ah! je suis heureuse! trop heureuse...
Et je tremble dlicieusement
Au souvenir charmant
Du premier jour AY KALISUD (Ay Kay Saklap)
Damour! Arr. By Jovita Fuentes (1895-1978)

(Translation) 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
Since the day I gave myself concert sponsored by the Asociacion Musical de
my destiny seems all flower-strewn Filipinas. The song is about an "intensely romantic and
I think I'm dreaming under a fairy sky sighing piece" distinctive of its "somber minor key and
my soul still intoxicated by your first kiss! brooding Ilongo lyrics", that expresses the despair of
What a beautiful life! someone abandoned by a beloved. Written by Francisco
My dream wasn't a dream! Santiago in 1928 and arranged as a fox-trot for orchestra
Oh! I'm so happy! by Nicanor Abelardo in 1930, this song has been
Love is spreading its wings over me! recorded, sung, and arranged countless times.
In the garden of my heart
sings a new joy! Ay ay! Kalisud, kalisud sang binayaan
Adlao gabi firmita itao gui natangisan
Everything is vibrant Ay ay! Inday nga walay sing kapalaran
everything rejoices at my triumph! Walay guid walay guid
All around me everything is smiling Sarang ko kalipayan
light and joy!
And I'm trembling delightfully Ay cielo azul iabao! diin ka na
from the charming memory 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