Cuba 100 Years of Rhythm & Rum
Название винила: Cuba 100 Years of Rhythm & Rum
Исполняет: Кубинские исполнители
Жанр: этническая музыка
Выпущено в: 1978
Композиций: 24
Пластинок: 2
Фирма: Cubaexport
Номер по каталогу: LD-3709, LD-3710
Формат: mp3 320Kbps
Вес: 171 Мб
Список трэков:
Пластинка 1:
01-Las Alturas de Simpson
02-Tu
03-Adios a Cuba y Vuelta al hoger
04-La Chambelona
05-Longina
06-La Comparasa
07-El Manisero
08-Suavecito
09-Ritmica No. 1
10-Linda Cubana
11-Suite Cubana
12-Guajira guantanamera
Пластинка 2:
13-Son de la loma
14-Cacilia Valdes
15-Compay gallo
16-A Malanga
17-Dolor y Perdon
18-La Enganadora
19-Te espero en la eternidad
20-Cuba es una maravilla
21-Cancion de un festival
22-Zapateo cubano
23-Para vivir
24-Juana 1600
Nourished by ihe vigorous sap of Spain and Africa, with certain contributions from French Santo Oommgo (Haiti) and from Italian lyricism. Cuban music had reached a stage of full national idem tity in its development by around 1878. ft may be pointed out here that up to the present there is no solid evidence of the presence i'n our music of any elements which can be attributed to the culture -of the Island's original inhabitants.
Cuban musi'cography has also shown that the process which led to the birth of a national musical idiom had been a slow one, lasting through the 16th. i7th and 18th centuries, but the fact remains that documents and other available evidence show that various types of music, rhythms and dances of eh unquestionably national style greeted the arrival of the 19th century, especially m places like Havana and Santiago de Cuba, which were the centers of a certain amount of cultural and artistic development, as compared to Other regions of the then Spanish colony.
Among the most important musical events occurring between 1800 and 1876. the year in which Miguel Failde wrote his darizdn. "Las Altu'ras de Simpson", recognized as the first of its kind to be written in Cuba, the following may be singled out;
A) The reaffirmaiioh of African influence on music and dance, chiefly through the activities of die cabitdos. the societies formed originally by the slaves along "tribal” or national lines, for mutual aid and the expression of their artistic abilities; 8) the enhancement in rural and suburban areas of cultural trends brought over by Spanish immigrants; C) the rise, among the urban and suburban masses, of different music / dance expressions such as the complex known as the rumba, which originated in Havana; D) the cultivation of the con-ttadanza and the danza by popular composers, and of patriotic, bucolic or “country", and romantic songs by folk-singers and native bourgeois songwriters; E) the spread of the auaraeha cubana and other purely national styles in the comic theater, the teatro buto; F) the beginning of the so-called Nationalist Movement started by Havana composer and pianist Manuel. Saumall (1817-1870) and. carried on by Jos6 White (1835-1916). Nicola's Ruiz Espade-ro (1832-1890) and Ignacio Cervantes (1847-1905).
This album presents, on two records, a chronological selection of pieces composed between i87S and 1977 which are magnificent examples of their genre or specie) styles within the general framework of Cuban music.
A hearing of Failde's danzdn. “Las Alturas de Simpson”, first played in the city of Matanzas in 1879. clearly shows the ability to synthesize form, style and content already achieved by Cuban composers who took popular musical expressions as their starting point.
Faшlde Rafael Landa (?-V906) and R. Valenzuela (1848 -1905) were the most important composers of the demon in ns first swflo of development. With the appearanco. m 1910. of "El bom-bin de Barreto" ("Barreto's Bowler") by Jos6 Urfd (1879-1957). tho early form of the danzdn was rounded out by the inclusion, as its end and apotheosis, of the cadenced and swinging rhythm of
the Son Oriental.
This was the beginning of the second stage of development of the danzOn. among whose outstanding exponents were Urfe, Antonio Maria Romeu (i 876-1955). Enrique PeAa (1878-1922). Eliseo Grenet (1893-1950). Octavio Alfonso (1886-1960), Ricardo ReverOn (1895-1947), Armando Valdds Torres (1898-1954) and Silvio Contreras.
The furthest limirs of the danzdn were explored by that truly extraordinary orchestra. Antonio A/cafio y sus Maravillas (Arcane and his Marvels), which flourished between 1937 and 1950. Orestes LOpez 0908). composer of the famoii's danzdn "Mambo" (which was the source of. and gave form to. the rhythm whose OhiVersal fame is due to Cuban bandleader DSmaso Pdrez Prado), his sister and brother Coralia and Israel. Antonio Sanchez. Jos6 Valdes. Pedro Hernandez. Miguel Ta-chit. Jose E. Urfe, f-elix Reyna and EnrigOe Jorrfn are some of the most important composers of the danzdn's final stages.
"Rompiehdo fa RCitfn'a" ("Getting out of the Rut") (1929). the first Cuban danzonete. written by A'nlceto Diaz, (1887-1964) and "La Enganadora" ("The Deceiver"), the first chachachi. composed by Enrique Jorrin (1926). complete the classic circle of the duniOn and its direct descendants.
This packed anthology also contains samples of Cuban folk music (the guaguancO. Columbia, car-naval parade music, songs for political rallies), of the traditional (rove our troiibador-style of music which included the trove do la canclbn led by Sindo Caray. the /rove del son. whose neatest exponent was Miguel Matamoros (1694-1671), the /rove del (llln ("feeling', a reference to its "soul” or ballad style), of singer-pianists, of the Son complex from the Sexteto Habanero up to its
Greatest personality. Benny More 1920-1963); of distinctive compo-' sers like Ignacio Villa. "Bola de Nieve" (1911-1971) and MOisds Simons (1669-1945). and even from the so-called "vernacular" (ie„ as opposed to the dramatic or classic) theater, where J. Ancker-man (1676-1941). Gonzalo ROig (1680-1963) Rodrigo Prats (1909) and World-famous Ernesto Lecuo-oa (1895-1963) were outstanding.
Concert music is also represented in this album, the composers whose works are sampled being Cervantes. Lecuona. Garcia Caturla (1904-1940), Amadeo Roldan (1900-1939) and Leo Brouwer (1939).
The development shown by our music from the triumph of the Revolution in 1959 up till the present would require several records merely tp give and idea of its level, both in quality and in quantity. This development is plainly evident in all die instrumental and lyrical forms of our music, as well as in the new paths being taken by and impresive number of creators, amateur and professional, young and old.
Composers of deeply rooted popularity, among whom may be mentioned Eduardo Sabont (1912-1963), Adolfo Guzman (1920-1975). Tania Castellanos, Girardo Piloto (1929-1967). Portillo de la Luz (1922-). Jose A. Mendez (i92i-). fiosendo Ruiz Ouevedo (I920-). Gonzalez M4ntici (1911-1974) and Carlos Puebla (1910-) were to see. with profound revolutionary satisfaction. how our musical heritage, is being constantly enriched, specially as regards songs in the revolutionary and patriotic tradition. by young creators, like Pablo Mifands. Martin Roias. Juan Formeil. Jesus "Chucho Valdes. Alejandro Garcia and Silvio Rodriguez. to name bit a few of the better known.
The artists chosen for these re- . cords are among the most outstanding m their respective fields. Names like Ernesto Lecuona. "Sola de Nieve". Esther Soria. Maria Cervantes. Joseito Fernandez. Sony Mori: groups like PiYleiro’s Sepieto Notional, the Aragdn Orchestra. Enrique Jorrin's Orchestra. the Charanga National de Cdnderto (National Concert Brass Sand), the Chapottin Group: Frank Emilio. Chucho Vald6s. Iris Burguet. Elena Burke, Omara Por-toondo, the National Symphony Orchestra under Manuel Duchesne and Leo Brouwer, among others, guarantee the quality of the performances on these records. Which as we said above, cover in . a tightly - packed summary 100 years of Cuban music.
Cuban musi'cography has also shown that the process which led to the birth of a national musical idiom had been a slow one, lasting through the 16th. i7th and 18th centuries, but the fact remains that documents and other available evidence show that various types of music, rhythms and dances of eh unquestionably national style greeted the arrival of the 19th century, especially m places like Havana and Santiago de Cuba, which were the centers of a certain amount of cultural and artistic development, as compared to Other regions of the then Spanish colony.
Among the most important musical events occurring between 1800 and 1876. the year in which Miguel Failde wrote his darizdn. "Las Altu'ras de Simpson", recognized as the first of its kind to be written in Cuba, the following may be singled out;
A) The reaffirmaiioh of African influence on music and dance, chiefly through the activities of die cabitdos. the societies formed originally by the slaves along "tribal” or national lines, for mutual aid and the expression of their artistic abilities; 8) the enhancement in rural and suburban areas of cultural trends brought over by Spanish immigrants; C) the rise, among the urban and suburban masses, of different music / dance expressions such as the complex known as the rumba, which originated in Havana; D) the cultivation of the con-ttadanza and the danza by popular composers, and of patriotic, bucolic or “country", and romantic songs by folk-singers and native bourgeois songwriters; E) the spread of the auaraeha cubana and other purely national styles in the comic theater, the teatro buto; F) the beginning of the so-called Nationalist Movement started by Havana composer and pianist Manuel. Saumall (1817-1870) and. carried on by Jos6 White (1835-1916). Nicola's Ruiz Espade-ro (1832-1890) and Ignacio Cervantes (1847-1905).
This album presents, on two records, a chronological selection of pieces composed between i87S and 1977 which are magnificent examples of their genre or specie) styles within the general framework of Cuban music.
A hearing of Failde's danzdn. “Las Alturas de Simpson”, first played in the city of Matanzas in 1879. clearly shows the ability to synthesize form, style and content already achieved by Cuban composers who took popular musical expressions as their starting point.
Faшlde Rafael Landa (?-V906) and R. Valenzuela (1848 -1905) were the most important composers of the demon in ns first swflo of development. With the appearanco. m 1910. of "El bom-bin de Barreto" ("Barreto's Bowler") by Jos6 Urfd (1879-1957). tho early form of the danzdn was rounded out by the inclusion, as its end and apotheosis, of the cadenced and swinging rhythm of
the Son Oriental.
This was the beginning of the second stage of development of the danzOn. among whose outstanding exponents were Urfe, Antonio Maria Romeu (i 876-1955). Enrique PeAa (1878-1922). Eliseo Grenet (1893-1950). Octavio Alfonso (1886-1960), Ricardo ReverOn (1895-1947), Armando Valdds Torres (1898-1954) and Silvio Contreras.
The furthest limirs of the danzdn were explored by that truly extraordinary orchestra. Antonio A/cafio y sus Maravillas (Arcane and his Marvels), which flourished between 1937 and 1950. Orestes LOpez 0908). composer of the famoii's danzdn "Mambo" (which was the source of. and gave form to. the rhythm whose OhiVersal fame is due to Cuban bandleader DSmaso Pdrez Prado), his sister and brother Coralia and Israel. Antonio Sanchez. Jos6 Valdes. Pedro Hernandez. Miguel Ta-chit. Jose E. Urfe, f-elix Reyna and EnrigOe Jorrfn are some of the most important composers of the danzdn's final stages.
"Rompiehdo fa RCitfn'a" ("Getting out of the Rut") (1929). the first Cuban danzonete. written by A'nlceto Diaz, (1887-1964) and "La Enganadora" ("The Deceiver"), the first chachachi. composed by Enrique Jorrin (1926). complete the classic circle of the duniOn and its direct descendants.
This packed anthology also contains samples of Cuban folk music (the guaguancO. Columbia, car-naval parade music, songs for political rallies), of the traditional (rove our troiibador-style of music which included the trove do la canclbn led by Sindo Caray. the /rove del son. whose neatest exponent was Miguel Matamoros (1694-1671), the /rove del (llln ("feeling', a reference to its "soul” or ballad style), of singer-pianists, of the Son complex from the Sexteto Habanero up to its
Greatest personality. Benny More 1920-1963); of distinctive compo-' sers like Ignacio Villa. "Bola de Nieve" (1911-1971) and MOisds Simons (1669-1945). and even from the so-called "vernacular" (ie„ as opposed to the dramatic or classic) theater, where J. Ancker-man (1676-1941). Gonzalo ROig (1680-1963) Rodrigo Prats (1909) and World-famous Ernesto Lecuo-oa (1895-1963) were outstanding.
Concert music is also represented in this album, the composers whose works are sampled being Cervantes. Lecuona. Garcia Caturla (1904-1940), Amadeo Roldan (1900-1939) and Leo Brouwer (1939).
The development shown by our music from the triumph of the Revolution in 1959 up till the present would require several records merely tp give and idea of its level, both in quality and in quantity. This development is plainly evident in all die instrumental and lyrical forms of our music, as well as in the new paths being taken by and impresive number of creators, amateur and professional, young and old.
Composers of deeply rooted popularity, among whom may be mentioned Eduardo Sabont (1912-1963), Adolfo Guzman (1920-1975). Tania Castellanos, Girardo Piloto (1929-1967). Portillo de la Luz (1922-). Jose A. Mendez (i92i-). fiosendo Ruiz Ouevedo (I920-). Gonzalez M4ntici (1911-1974) and Carlos Puebla (1910-) were to see. with profound revolutionary satisfaction. how our musical heritage, is being constantly enriched, specially as regards songs in the revolutionary and patriotic tradition. by young creators, like Pablo Mifands. Martin Roias. Juan Formeil. Jesus "Chucho Valdes. Alejandro Garcia and Silvio Rodriguez. to name bit a few of the better known.
The artists chosen for these re- . cords are among the most outstanding m their respective fields. Names like Ernesto Lecuona. "Sola de Nieve". Esther Soria. Maria Cervantes. Joseito Fernandez. Sony Mori: groups like PiYleiro’s Sepieto Notional, the Aragdn Orchestra. Enrique Jorrin's Orchestra. the Charanga National de Cdnderto (National Concert Brass Sand), the Chapottin Group: Frank Emilio. Chucho Vald6s. Iris Burguet. Elena Burke, Omara Por-toondo, the National Symphony Orchestra under Manuel Duchesne and Leo Brouwer, among others, guarantee the quality of the performances on these records. Which as we said above, cover in . a tightly - packed summary 100 years of Cuban music.
Odilio Urfe
Внимание! У Вас нет прав для просмотра скрытого текста.
Скачать mp3:
Внимание! У Вас нет прав для просмотра скрытого текста.
Новость отредактировал: plastinka - 27-02-2021, 12:14
Причина: Обновлена ссылка для скачивания!
Комментариев 5
Посетители, находящиеся в группе Гость, не могут оставлять комментарии к данной публикации.