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Mata del Anima Sola
( "Tree of the lonely soul")
Alberto Torrealba Antonio Estevez

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© 1993 by earthsongs
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MATA DEL ANIMA SOLA

( "Tree of the lonely soul" )

Mata del inima sola, Tree of the lonely soul, La noche, yegua cansada, The night, tired mare,
Tree of the soul lonely, wide opening of the riverside- The night, mare tired, shakes her mane and black tail
now you will be able to say: above the riverside;
boqueron de banco largo Here slept Cantaclaro. sobre los bancos tremola and, in its silence,
wide opening of the riverside long above the riverside shakes your ghostly heart is filled with awe.
ya podnis decir ahora Ia crin y Ia negra cola
now you- will-be-able to say now the mane and the black tail
aqui durmio canta claro. y en su silencio se pasma
here slept song clear. and in its silence (itself) astounds
Con el silbo y Ia picada With the whistle and the sting tu corazon de fantasma.
With the whistle and the sting of the twisting wind, your heart of phantoms.
the dappled and violet dusk
de Ia brisa coleadora quietly entered the corral.
of the breeze twisting

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 repre-
sents 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