Alejandro Zuleta (Public Books, 9/9/26), "The Saddest Cattle in the World: Atahualpa Yupanqui, Empire, and the Sound of Stolen Land": "There is a couplet that contains the essence of Argentina's colonial and postcolonial political economy, a poetic image that speaks a thousand words and synthesizes imperial ideology in one definitive swoop. Atahualpa Yupanqui wrote it, and it is the last couplet of the refrain in 'El arriero' (1944), one of his most transcendent songs ... 'The sorrows are ours. The cattle are not.'" Lyrics to "El Arriero" and more. Songs like "Luna tucumana," "Viene clareando," "La Añera," "Zamba del grillo," and "Chacarera de las piedras" are often covered. Several were in the film Horizontes de piedra, including "El Arriero." But many of Yupanqui's songs were co-written by Paula Nenette Pepin, about whom there's a recent album and documentary in French.

Anthony Tommasini (LitHub, 9/10/26), "Beauty in Ambiguity: On Marian Anderson's Lifelong Love For Schubert": "When selecting songs ... she always looked first to Schubert, 'the composer I love best,' who wrote 'hundreds of them,' each 'more beautiful than the last.'" E.g.: Ständchen (No. 4 in D. 957); Der Tod und das Mädchen (D. 531); Ave Maria (D. 839); and Erlkönig (D. 328) i.e. Goethe's poem based on a ballad also adapted in Benedikte Naubert's 1792 "The Erl-King's Daughter." Classical Voice North America on Tommasini: Anderson "feared she would be remembered for breaking barriers rather than for her artistry." At LitHub, Tommasini discusses "Wohin?" and "Ungeduld" from D. 795, but also "Sometimes I Feel Like a Motherless Child." He mentions Roland Hayes singing Schubert as an influence. At Largehearted Boy, he makes more suggestions.