In Venezuela, I grew up with
the invisible presence of María Lionza, the daughter of
a native Indian chief, something to do with a legend, something
to do with a queen, or something magic. This piece, El Sentir
de María Lionza (The Sentiment of María Lionza),
comes to be as a reflective response to the socio-political crisis
that invades my native country at this time. This is a time of
unrest as it was the time of the Spanish Conquest, when this
legend takes place. This is also the latest piece I have written
for my friends and colleagues Alberto Almarza and the Cuarteto
Latinoamericano. It consists of three movements, El Mensajero,El
Río, and Pieles de Metal. The first and second
movements are connected with no break in between.
El Mensajero (The Messenger), refers to the story
of the Jirjana people who received a warning: a girl with green
eyes would be born and her eyes would be a signal of bad times
to come, and if she ever saw her own reflection on a nearby lake,
a monstrous giant snake would come out of her to bring death
and destruction. Under this prophecy, and just before the Spanish
Conquest, a girl with green eyes was born in the village. She
was to be sacrificed to the Great Anaconda snake. However, her
powerful father saves her and sends her to a secret place where
she grows up under the care of twenty-two guardians. They also
had to prevent her from reaching the water at the lake.
In the various metaphorical messages,
I introduce a birdcall from one of our indigenous birds, the
Cristofué, thus named for the rhythmical similarity
of its song to the spoken words of "Cristo fué"
("Christ was" in Spanish). With the Spanish invaders
came a new Faith. This bird is known in America as the Great
Kiskadee. This name is derived again form its call which sounds
very much like French for "What is it saying?" ..."Quest-ce-que
dit". Click here
to hear its
song.
In the movement El Río
(The River), I refer mainly to the realm of waters, like the
doorways to other spheres or the underworld. In the story, María
Lionza manages to escape the vigilant guards, runs out into the
country and finds a beautiful lake, with fascination sees her
own reflection in the water. At that instant she becomes the
giant snake, overflowing the waters and bringing floods and destruction.
In Pieles de Metal (Metal
Skins), I wanted to depict the confrontation of two worlds, the
Venezuelan indigenous people and the Spanish conquerors. A confrontation
that would change both cultures forever.
Multiple versions of María
Lionza's legend exist, but nothing speaks of Venezuelan magical
spirituality stronger than this popular myth. In a way she represents
the unifying element in the different races that blended in the
country. Her image fluctuates between that of a Native Indian
princess to a more European queen, a queen Mary, the great Mother
of God.
Efraín Amaya
For more about María Lionza
visit this site:
A Girardian reading of the myth of Maria Lionza
Instrumentation: Flute and string quartet.
Duration: ca. 12:30
El Sentir de María Lionza - 2003 (flute & string quartet) 12:30 (three movements) Full score & parts (5) $80.00
