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Texto Completo (Ver PDF) 9 EZEQUIEL MALDONADO LÓPEZ* Alejo Carpentier y la música popular Alejo Carpentier and the folk music Resumen Abstract En este artículo analizo el papel fun- In this essay I analyze the funda- damental de Alejo Carpentier como mental role of Alejo Carpentier as musicólogo, no sólo de operas, con- a musicologist, not only of operas, ciertos y recitales cultos sino tam- concerts and highbrow concerts, bién de la música popular cubana y but also as a musicologist of folk latinoamericana. Contemplo un pa- Cuban music and Latin American norama desde el siglo xix hasta popular music. I contemplate an out- mediados del xx, donde los músicos look from the xix century until the negros, compositores, cantantes, mid xx, where the black musicians, bailarines, llenan el gran escenario composers, singers, dancers, fill nacional e internacional de la rumba the great national and international y el biguine, la guaracha y el son scene of rumba and beguine, pas- montuno. Las disqueras yanquis, sing from guaracha to son montuno. auténticos monopolios, dan a cono- The American´s record Companies cer esta música pero también im- authentic monopolies, make known ponen notaciones simples, ritmos this music but also impose simple nada complicados, estilos más co- notations, uncomplicated rhythms, merciales y un tiempo de duración more commercial styles and a du- de las melodías. ration of melodies. Palabras clave: Música popular, Key words: Folk Music, black people, negros, sones, congas, rumbas, Cuba, sones, congas, rumbas, Cuba, Alejo Alejo Carpentier, salones de baile, Carpentier, ballrooms, Cuban folklore folklore cubano Fuentes Humanísticas > Año 30 > Número 56 > I Semestre > enero-junio 2018 > pp. 9-16. Fecha de recepción 18/02/17 > Fecha de aceptación 31/01/18 [email protected] * Universidad Autónoma Metropolitana, Unidad Azcapotzalco. 10 Alejo Carpentier y la música popular La rumba En La música en Cuba, Carpentier re- revuelve su música espesa seña las diferenciaciones clasistas en el con un palo. siglo xix que desde la Conquista y colo- Jengibre y canela… nización española y europea se habían ¡Malo! acentuado. Por ejemplo, las ocupaciones u Malo, porque ahora vendrá el negro oficios de los negros son muy precisas, la chulo con Fela. carga de prejuicios imperante en la época Pimienta de la cadera, los limita laboralmente a la sastrería, car- grupa flexible y dorada: pintería o como albañiles y músicos even- rumbera buena, tualmente; a diferencia de la población rumbera mala. blanca, que aspira a la judicatura y medi- Nicolás Guillén, Sóngoro cosongo cina, la Iglesia y la carrera de las armas. En ese contexto, dice Carpentier: “La mú- sica constituía para el (negro) una profe- sión muy estimable, por haberse situado os célebres ensayos-artículos de Alejo en el tope de sus posibilidades de ascen- LCarpentier nos permiten entrar a un so en la escala social” (Carpentier, 2011, espacio en que se conjugan culturas, tra- p. 316). En su condición de negro y pobre diciones, festividades, rituales populares: tiene abiertas las puertas del teatro, de un sitio excepcional en que se canta y se la farándula, oficios desdeñados por una baila, pero también se sufre y se goza, creciente burguesía, y también del baile: y se entra a dimensiones insospechadas. Son contados los autores para los que las El baile, que los criollos de principios del referencias musicales son notables. Por siglo xix alentaban con increíble constan- ejemplo, en El reino de este mundo, El aco- cia, por constituir su diversión preferida. so o El siglo de las luces, utiliza en su es- El baile, donde se volcaban danzas es- trutura formas musicales en su interno pañolas, francesas y mestizas para dar devenir espacial. El acoso es una novela origen a los giros y ritmos nuevos, que en forma de sonata: primera parte, expo- acabarían por dar un carácter peculiar a sición, tres temas, diecisiete variaciones la música de la isla… se estima que en y coda o conclusión. En Los pasos perdidos, 1798 hay unos cincuenta bailes públicos, el personaje central es un músico, como el cotidianos, en la Habana… se abría la propio Carpentier. En Concierto barroco, fiesta con un minué… concluido el baile Carpentier nos descubre a un Antonio Vi- serio, se daba principio a las contradan- valdi compositor de la obra Moctezuma zas… A la tercera contradanza, los bay- o Motezuma, “primera ópera americana, ladores habían dejado a un lado todo es decir Latinoamericana” Y en su última juicio y cordura… Por no dejar el cuerpo novela La consagración de la primavera quieto, en los intermedios se bailaban resuenan los acordes de I. Stravinsky. En zapateos, congós, boleros y guarachas. este artículo me refiero principalmente a Cuando la fiesta no era de asistencia las charlas, ensayos y artículos que escri- muy distinguida, se coreaban cancio- bió en gran parte de su vida sobre la mú- nes arrabaleras, hijas o contemporáneas sica popular, cubana y latinoamericana. del chuchumbé, ricas en retruécanos y en 11 Fuentes Humanísticas 56 > Fiesta y fandango > Ezequiel Maldonado López alusiones libertinas… como ese ¿cuándo?, Les añadían un acento, una vitalidad, un impaciente y enardecido, “¿Cuándo, mi algo no escrito que levantaba… El negro vida? ¿Cuándo? (Carpentier, 2011, p. 317). se escurría, inventando entre las notas impresas… Gracias al negro comenzaban Al respecto sobre los bailes públicos, Julio a insinuarse, en los bajos, en el acompa- García Espinoza, el excelente cineasta cu- ñamiento de la contradanza… una serie bano, expresa amargura y malestar ante de acentos desplazados, de graciosas la indolencia de asumir culturalmente el complicaciones, de maneras de hacer, que significado de la música popular en Cuba crean un hábito, originando tradición […] y, lo peor, el haber relegado el baile don- (Carpentier, 2011, p. 320). de el pueblo participa con un espíritu creador. Afirma el cineasta: En un medio plenamente hostil y racista, con una aristocracia con signos decaden- […] el músico necesita del bailador, que su tes, la naciente burguesía azucarera y ca- público baile y participe. Antiguamente fetalera asiste a los salones y no tiene era a las cervecerías La Tropical, la Polar, empacho en contratar orquestas negras, a donde la gente iba a bailar, y el grupo bailar y cantar los recientes ritmos donde musical que mejor hiciera bailar era el que se iba desarrollando. O sea, que los […] se fundieron, al calor de la invención bailadores formaban parte de la evolución rítmica del negro, los aires andaluces, de la música popular… hemos acabado… los boleros y coplas de tonadilla escénica con todos los salones de baile de este […] la contradanza francesa para originar país… El desarrollo de la música cubana cuerpos nuevos. (Carpentier, 2011, p. 322). ha sido posible porque este es un pueblo creador de bailes. No son los coreógra- Estamos hablando de orquestas con flau- fos los que han inventado la forma de tín, clarinete, tres violines, un contrabajo, bailar de los cubanos; es el pueblo crea- un par de timbales, a veces con güiros dor de bailes. (Fornet, 2000, p. 166). y calabazos. Ya en ese siglo xix los negros son Remata sobre lo que el negro ha signifi- una franca mayoría dentro de la música cado como símbolo de resistencia cultural profesional de la isla, pero también en su de nuestros pueblos tanto en la música entrada a escena como bufos cubanos. como el baile populares. En ese siglo xix, En ese teatro bufo, tienen mayor pre- los jóvenes de buena familia de calesa, sencia los géneros musicales de la isla chistera y leontina prefieren los salones y, a la vez, se satiriza el Minué de Corte. de baile de “mala muerte”, pues ahí ame- Acota Carpentier, Mamá Rosa habla en nizan orquestas de negros con un carác- negro pero también canta en negro. En el ter y una fuerza rítmica que adolecen las escenario, la seguidilla, el villancico, el aria orquestas perfumadas de músicos blan- tonadillesca ceden su puesto a la guajira, quitos. Ciertas contradanzas gustan más la guaracha, la décima campesina, la can- con orquestas de negros pues: ción cubana. Corren por las calles de La Habana guarachas con verdadera gracia y buen sabor popular: 12 Alejo Carpentier y la música popular Una mulata me ha muerto. Enunciado por Saumell, dice Carpentier, ¿Y no prenden a esa mulata? el danzón quedaría consagrado como ¡Cómo ha de quedar hombre vivo nuevo tipo de baile por el músico matan- si no prenden a quien mata! cero Miguel Faílde, que compuso en La mulata es como el pan; junio de 1877 cuatro danzones titulados se debe comer caliente, El delirio, La ingratitud, Las quejas y que en dejándola enfriar Las alturas de Simpson […] en un princi- ni el diablo le mete el diente. pio, el danzón apenas si difirió de la con- (Carpentier, 2011, p. 396). tradanza, en lo que a música se refirie- ra. Llamóse danzón al baile de parejas En esa época, no se investiga, no hay el enlazadas, que venía a sustituir el baile menor interés en las raíces y proceden- de figuras que era la contradanza […] cias del folklore negro de Cuba. No preo- El danzón habría de ser, hasta cerca de cupa diferenciar un himno lucumí de una 1920, el baile nacional de Cuba. No hubo invocación ñáñiga o un ritual yoruba. Me- acontecimiento, durante cuarenta años, nos interés provoca ni los orígenes ni las que no fuese glosado o festejado por supervivencias de ritos ancestrales. medio de un danzón… Danzones pa- trióticos, como el sacado de la clave de Negros eran todos, aunque fueron yoru- Martí no debió de morir. (Carpentier, 2011, bas, carabalíes, fulas, minas, congos o pp. 400-402). mandingas. El 6 de enero se mezclaban. Tocaban tambores, agitaban sonajas, El son, dice alejo Carpentier, constituyó entrechocaban las claves… En esa fase, una extraordinaria novedad para los ha- la contradanza toma al negro lo más epi- baneros.
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