Phonograph Monthly Review, Vol. 5, No. 2 (1930-11)

42 The Phonograph Monthly Review From the Rio Grande to Cape Horn By W. S. MARSH II. The recorded music of Caribbean and South American Countries (Mr. Marsh’s survey of recorded Mexican music appeared in the September 1930 issue.) C UBA (from Cubanacan, the native name of its central region) is the largest, the most advanced, and the most progressive of the West India Islands. English is quite largely un- derstood in the larger cities; and its nearness to the United States, the number of North Ameri- cans residing, or having commercial interests there, and the consistent friendliness of Presi- dent Machado have lead to an especially fine feel- ing between our two countries. As may be ex- pected, Cuba is very much alive musically, and there are many recordings of her popular music. Amado Roldan, composer and assistant con- ductor of the Havana Philharmonic Orchestra, says that “while most people think of Cuban mu- sic as being an adulterated form of Spanish mu- sic, it is something distinctive ... a blend real- ly of racial strains, the Indian, the Negro, and the Spaniard combining to give a rich- ness and complexity that not one of these people alone have. The Cuban music has all the languor and easy grace of the Negro, the bar- baric strength of the Indian, and the romance and fire of the Spaniard.” I know of no music that approaches the ingen- uity and complexity of rhythm of that of the West Indies. Those people who believe that jazz writers have reached the limit in that respect would revise their opinion after hearing some of the music of Cuba and the other Caribbean coun- tries. The Negro constitutes a large percentage of the population; and the Negro influence is re- sponsible for this rhythmical variety. This mu- sic, when transcribed for the piano, may look fairly simple; but it takes considerable practise for even the skilled musician to play it correctly. The left hand must play with precision, and the right hand must carry along the melody in exact conformance. Sometimes, for instance, we find alternate measures of 6/8 and 3/4 time; some- times the left hand will have 6/8 time, while the right has 3/4; and to correctly play the super- syncopation requires a very nice feeling for rhythm. The lyrics for the vocal music are in- clined to be verbose, without much thought un- derlying the words. The habanera is one of the oldest Cuban forms, and may be instrumental or vocal. The music is slow, stately, and oriental in character. There is usually a short introduction, followed by two movements of 8 or 16 measures. If the first part is minor, the second will be major, and serves as a refrain. This construction, however, is not in- variable. En Cuba —“In Cuba” (Victor 46669), sometimes called Tu, by Eduardo Sanchez de Fu- entes, follows very closely the construction de- scribed, and is a very attractive song that is known all over the Americas. The guaracha is a plantation song in triple time, as an example of which there is La Mulatica del Barrio —“The Mulatto of the District” (Co- lumbia 2476-X), in which the guitar is used in an interesting manner for the accompaniment. Cuba also has a bolero, in double time and quite different from the Spanish bolero in 3/4 time. Presagio Triste —“Sad Omen” (Columbia 2476-X) ; and Capullito de Azucena —“Little White Lily Bud” (Columbia 2689-X) are ex- amples of the Cuban form. Another Cuban plantation dance form is the rumba. The dance itself, when uncensored, is very sensuous, with much hip and body move- ment, portraying in pantomime the successful pursuit of the woman by the man. The record cannot show us the dance; but Dicharachos — “Common Words” (Columbia 2873-X) will give us an idea of the music, to which, in this case, words have been written Cuba’s most popular ballroom dance is the dan- zon. It is in rather slow 4/4 time, consisting of a series of one and two steps, the tango rhythm appearing in the accompaniment. At certain places the dancers stop, chat, and then resume the dance, although the orchestra plays continu- ously. It is said that in less modern times it af- forded the well-bred young people their only op- portunity for flirtation, the proprieties being sat- isfied by the pause in the dance, during which time the duehas might see that the formalities were duly observed. Mi Hermano Fernando — “My Brother Ferdinand” (Columbia 3239-X) is a danzon by Jorge Anckerman, prominent com- poser of popular music. Words are also written to the danzones, and in Cdnto Siboney —“Siboney Song (Victor 81213) (the Siboneyes were an ancient people of Cuba who have practically died out), we have a beautiful danzon by Ernesto Le- cuona, splendidly interpreted by the Mexican so- prano, Margarita Cueto. This composition has been extremely popular.