- - - - - --

--

- - -

Mata del Anima Sola

( "Tree of the lonely soul")
Alberto Torrealba

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Antonio Estevez

( un poco ad libitum)

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23

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26

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D. S. al Fine

44 I

......-!

ya podras de-cir a

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(B.C.)

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(B.C.)

MATA

DEL

ANIMA

SOLA

( "Tree of the lonely soul" )

Mata del inima sola,

Tree of the soul lonely,
boqueron
de
banco largo
wide opening of the riverside long

Tree of the lonely soul,

wide opening of the riversidenow you will be able to say:
Here slept Cantaclaro.

La noche,
The night,

yegua cansada,
mare tired,

sobre los bancos tremola

above the riverside shakes

The night, tired mare,

shakes her mane and black tail
above the riverside;
and, in its silence,
your ghostly heart is filled with awe.

ya
podnis
decir ahora
now you- will-be-able to say now

Ia crin y Ia negra cola

the mane and the black tail

aqui
here

y
en su silencio se
pasma
and in its silence (itself) astounds

durmio
slept

canta claro.
song clear.

Con el silbo
y
Ia picada
With the whistle and the sting
de Ia brisa coleadora
of the breeze twisting

With the whistle and the sting

of the twisting wind,
the dappled and violet dusk
quietly entered the corral.

tu
corazon
your heart

de fantasma.
of phantoms.

Ia
tarde
catira y mora
the twilight dappled and violet
entro
al corralon callada.
entered the corral quietly.

M usica de Latinoamerica
Marta Guinand, Editor
This series of Latinamerican choral music will provide an opportunity for many choirs to get to know
this music and, through it, to discover our traditions, our rhythms and our soul.
From Antonio Estevez we present Mata del anima sola ("Tree of the lonely soul"), a work inspired by a
poem of Alberto Arvelo Torrealba. The piece has two distinct sections: one slow and meditative, and the other
very quick and rhythmic based on a combined 3/4 and 6/8 meter which is characteristic of a dance calledjoropo.
The music depicts the solitude and mystery of the llanos, the high plains of Venezuela, while the tenor solo represents the llanero or "man of the plains" whose songs are improvised. In the joropo section, the choir imitates the
instruments that are traditionally used to play the dance. The altos and tenors have the rhythm of the cuatro (a
small guitar with only four strings), the sopranos imitate the diatonic harp, and the basses sing the guitar
bordones, all of which combine to provide the "instrumental" accompaniment to the tenor soloist.
The composer Antonio Estevez (1916-1988) was one of the second generation of important Venezuelan
composers in this century. A choral and orchestral conductor, his most important work is the Cantata Criolla, a
choral symphonic work based on words by Alberto Torrealba which depict the duel between the man of the plains
and the devil. It ranks as one of the leading nationalistic works of the 20th century in Latinamerica. The
poetry of Alberto Arvelo Torrealbar (1903-1971) is always related to life and traditions in the Venezuelan plains,
his motherland. His poem Florentino y el Diablo, used by Estevez in his Cantata Criolla, is his most famous
work, one which earned him international recognition.
Marta Guinand
Caracas, Venezuela