Mexico City

March 19, 1937

For Juan Marinello

3’

Bar / cl[E♭], cl[B♭], bcl, bn / 2tpt, tbn / perc / vns I, vns II, dbs

Only pages 1, 2, 7, and 8 of what appear to be the autograph are in the archive. There is a complete score done by a copyist (see other versions), as well as a complete set of instrumental parts done by a copyist, corresponding to the same score. Photostats have been found of the first two pages of a version for male voices and piano (along with two pages of sketches), as well as the first two pages of the autograph of another version for high-pitched voice and piano (also with sketches).

The penciled-in corrections to the copyist’s score are not in Revueltas’s calligraphy.
Though catalogued here as documents associated with the score, the two incomplete versions for voice and piano found in the archive differ musically from the version for voice and small orchestra. Given the relatively careful calligraphy, we can’t rule out the possibility that they may have been autonomous versions. This hypothesis is reinforced by the existence of a version for baritone and piano of Walking (Guillén), composed a month earlier. The version for small orchestra was probably included in the programming of the National Symphony Orchestra’s 1937 season as Poems by Nicolás Guillén. It was probably accompanied by Walking and Sensemayá, the three works he composed after meeting Nicolás Guillén.

Southern Music Publishing Co.