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I tu - a- ~a so - la, • . _ ._ _4. Jui-o r tas-rna. Jui-o mp r Ma-ta del mp I tu ,; B.C. mp. (q)-J " rna I __ pas- se Tenor Solo mp !"":\ ( ad libitum ) mp mp 1\ ~ y en su si - len - cio rno - la, 1 I B.C. pp I I B.C. co - ra- zon de fan - tas- rna. _ __ -5- I ~ue D. S. al Fine 44 I t I I ......-! I I ya podras de-cir a ho - ra mio ___ T - - t c~ta cla - ro. r.\ I I B a-~ur I ron _ _ de ban-co lar-go r.\ 1.. I ·V T' (B.C.) .. I ,_, <( r.\ I e. ""..___./ \~)..,. U• (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
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