Cuban Choral Music: Historical Development and Modern Infl uences José Rivera

Cuba has a rich choral legacy full of musical traditions that extend across centuries, yet most choral conductors in the United States are not familiar with ’s choral tradition. This is due in part to the historical political tension between the two countries and limited professional exchanges. Fortunately, today’s conductors have more opportunities than ever to expand their knowledge of this rich tradition. In fact, Cuban choirs have delighted their North American colleagues with performances at various divisional and national conventions, and in 2012 con- ductors from both countries participated in the first Cuba/US Choral Symposium in , Cuba. The summit was a cross- cultural exchange between , José Rivera, Ph. D University of North Carolina at Pembroke directors, and students from the United States and Cuba, showcasing the distinct choral music styles of Cuban tradition and American genres.1

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Cuban Choral Music: Historical

In response to the opportunity to chapel of the Catedral de Santiago de collected works, which include pas- broaden the awareness of and familiar- Cuba in 1682. During that period, choral sion settings, cantatas, Stabat Maters, ity with Latin American choral literature, music was performed primarily by boys hymns, sequences, antiphons, psalm this article provides a brief overview and clergy.3 The performance practice of settings, canticles, motets, vespers, and of the development of Cuba’s choral choral music at the time was unaccom- villancicos (carols, primarily written for tradition, featuring the contemporary panied with the use of continuo. three voices).5 His music refl ects the folk and popular music elements from If one considers the early music be- European tradition of the Baroque style, an historical perspective. ing performed today, it stands to reason although in Latin America it is referred that Cuba’s choral history began with to as music of the Colonial period. The the arrival of Esteban Salas y Castro music of Salas was discovered in 1945 by Historical Developments (1725–1803), a Cuban musician, com- Alejo Carpentier, a Cuban novelist and The origins of Cuban ecclesiastical poser, and ordained priest who revital- musicologist.6 His complete catalogue music can be traced to the appoint- ized the decaying music conditions at of works is currently published in eight ment of Miguel Velazquez. Velazquez, the Catedral de Santiago in 1764.4 Salas volumes under the auspices of El Centro the fi rst Cuban-born choir master of the began working at Parroquia Mayor in de Investigación y Desarrollo de la Música Catedral de Santiago in 1544.2 Records Havana before being appointed to La Cubana and the work of musicologist from the second half of the seventeenth Catedral de Santiago, where he served Miriam Escudero. century show the contributions of Do- as chapel master for forty years until his Another notable whose mingo de Flores, who became the fi rst death in 1803. works were conceived on Cuban soil appointed Maestro de Capilla (choir- His legacy as one of Cuba’s fi rst was Juan (1759–1845). Paris fol- master) at the newly constructed music great composers lives through his 189 lowed Salas’s footsteps at the Catedral de Santiago (1805–1845), composing mostly sacred vocal music following the European tradition of the late Baroque and early Classical styles. Under Paris’s leadership, the church became a library, academy, a rehearsal and concert hall, and a venue for diverse musical events.7 Paris’s discovered choral works include: Misa a , con violines fl autas y bajos (Mass for three voices with vio- lins, fl ute, and bass); and several carols, including Respirad mortals, Parió María en Belén, Oid cielos piadosos, Produzca DISCOVER s ic la tierra, and Villancico de kalenda for orld of mu a nnewew worldw of music four voices, four violins, viola, bass, and hrough TRAVEL oboes or fl utes. Paris’s instrumentation ——throught n ether to pla changes from his predecessor’s (Salas) t’s work tog Let’sLe work togetherable tr toip planand times. unforgett In his villancicos Albricias Pastores and anan unforgettableform tripers andthe ve your ppeer Vamos Presto a Belén, Paris introduces givegi your performersf a lifeti mthee. eexperiencexperience ofo a lifetime. idiophones (cymbal and triangles) and membranophones (timpani) to sacred Meet us at your ACDA Regional compositions in Cuba.8 Paris’s fi rst sets Conference and enter to win of villancicos, written in 1805 and 1807, $200 of FREE were recently transcribed by the Cuban www.performingtravel.com/ACDA1 musicologist Claudia Fallarero. In the summer of 2013, a concert in Havana

8 CHORAL JOURNAL Volume 54 Number 8 Development and Modern Infl uences

featured premiere performances of mu- several symphonies and chamber music century, María Muñoz de Quevedo was sic by Juan Paris and Cayetano Pragueras, written in classical style. an infl uential choral fi gure who made two composers of Spanish origin born Later, Laureano Fuentes Matons signifi cant contributions to the devel- at the end of the eighteenth century (1825–1898) continued the sacred opment of choral music in Cuba. The who remained working in the island tradition in . Matons’s Spanish-born musician, educator, and through the nineteenth century. works refl ected the changing composi- cultural icon arrived in Cuba in 1919. Soon after Paris’s departure, Cratilio tional styles in the country. For instance, She eventually became a naturalized Guerra Sardá (1835–1896), consid- his Stabat Mater was written in a more Cuban citizen and was responsible for ered another important musician and classical style, while Misa de Difunctis founding and directing Havana’s Choral liturgical composer of the nineteenth for three voices and orchestra, two Re- Society, an important organization of century, followed in Paris’s footsteps quiems, and Liberame Domine for choir its time. at the Catedral de Santiago. Guerra’s and orchestra all resembled music of Muñoz’s choir performed classic works include a Mass in C and a Mass the Romantic style. The Misa Nupcial by repertoire of the western European in D, each for three-part chorus, fl ute, Gaspar Villate (1851–1891) and a Misa choral tradition and new music written clarinet, and strings (no viola). In addition, Solemne written by Cristobal Martinez by Cuban composers. Her vision for Guerra composed a Misa de pastorella Corres (1823–1842) were other impor- the art of choral music marked a new (mass for nativity), Misa sobre motivos del tant masses written during this period. era in the advancement of choral music Himno de Santiago, several Stabat Maters, It is almost impossible to ignore the in the island. She fi rst sought help from and carols. apparent disparity between the exist- her friend Alejandro García Cartula, an Much of what is known today about ing timeline delineation of the Baroque infl uential orchestral composer who Sardá’s music stems from the work and Classical periods in western clas- became the fi rst to write a polyphonic initiated by musicologist Pablo Hernán- sical music and the dates these styles work for choir in son style.13 dez Balaguer in 1961. Presently, Sardá’s of music actually reached Cuba (Latin The son is a sung and danced musical works are being performed because America). This chronological disparity— genre born in the eastern provinces and of the work of musicologist Franch- likely caused by the distance between transformed in Havana. Today, it is known esca Perdigón Milá. Her recent book on both continents and the time it took as salsa and is a widespread dance form Sardá’s sacred works reveal traces of to reach the masses—can account for practiced throughout the world. The popular rhythmic idioms in his Mass in the type and style of music being heard son exemplifi es the mixture of Spanish C, including mazurkas, vals, salon , in churches across Cuba during this infl uences (melodies and guitar accom- and operatic themes.9 This practice is still Colonial period. paniment and African rhythms) and is observed by contemporary composers, By the end of the nineteenth cen- considered one of the major types of including Villa-Lobos, Alberto Ginastera, tury, several sacred and secular musical popular music of Cuba. Cartula’s Canto Osvaldo Golijov, Roberto Sierra, and entities began to emerge in Cuba. These de los Cafetales and Caballo Blanco, along Cuba’s own José María Vitier in his Misa included opera and , religious with Amadeo Roldan’s Curujuey, were Cubana (Laudamus te).10 choirs, provincial Spanish choral societ- both premiered by La Coral de la Ha- Cuba’s sacred choral tradition contin- ies of Basque, Galician, Asturian, and bana in 1932.14 ued to fl ourish at other chapels in and Catalonian descent (dissolved by 1915), Cartula’s and Roldán’s unaccompa- around Havana, including the Parroquia and several amateur choirs organized nied compositions became the turning Mayor de la Habana and at the Capilla throughout Havana and the interior point in the evolution of Cuban choral de Música de Bayamo. One of the most provinces of the island.12 By the begin- music. Other composers to follow were recognizable nineteenth-century Cuban ning of the twentieth century, national- Harold Gramatges, Nilo Rodríquez, and composers, Antonio Raffelin (1776– istic infl uences began to make their way Gisela Hernández. Since then, many 1882), composed many sacred works, through music. There is a similar quest in folk and popular melodies of diverse including several masses, motets, and the music of Spanish nationalistic com- popular genres, originally conceived for hymns. According to Suzanne Tiemstra, posers (Albeñiz, Granados, and de Falla). popular music, have gradually become Raffelin’s compositions best represented We also fi nd these traits in the music of part of the standard choral tradition in the music of the classical period in Alejandro Cartula and Amadeo Roldán. Cuba. This is particularly the case if we Cuba.11 His instrumental works include In the fi rst half of the twentieth consider the current choral music being

CHORAL JOURNAL Volume 54 Number 8 9 Cuban Choral Music: Historical

performed in concert halls worldwide. thousand Afro- were living on of the music in Cuba. Other forms of vo- the island by 1534.15 cal musical expression were later carried As was the case in other countries, into secular music. African Infl uences slaves brought with them their language, The rich music of Cuba is a result of music, and traditions. Some African a merger of two distinct and infl uential slaves became an integral part of the Coros de cultures from the Old World on an is- church choral tradition, singing and play- were vocal groups land in the New World. African rhythms ing traditional European sacred music developed by Afro-Cubans in the late and Spanish melodies merged to cre- at music chapels. Others ultimately nineteenth century for the purpose of ate an extraordinary musical tapestry assimilated their native Yoruba systems celebrating major festivities. They were immersed in the island’s history and of worship, adapting old religious be- comprised primarily of male and female folklore. By 1513, African slaves began liefs with Catholic divinities known as vocalists who sang two- or three-part to arrive in Cuba, primarily from Nige- Santería (Reglas de Osha).16 Traces of songs in 6/8 time with simple European ria. It is estimated that as many as one African infl uences can be found in much harmonies, accompanied by instrumen-

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10 CHORAL JOURNAL Volume 54 Number 8 Development and Modern Infl uences

talists playing the “viola” (a banjo with Infl uence of Folk and Popular Styles infl uences from the eastern and western the strings removed and played as a in Cuban Choral Music parts of the island. percussion instrument), guitar, clave, and By the 1950s, Cuban popular mu- The genre became widely popular occasionally the botija, harp, or other sic—the cha-cha-chá, son-montuno, bo- with dance couples in the 1920s and 17 instruments. lero, , canción, guajira, mambo, 1930s. Soon after, it would permeate A clarina (lead female singer) would rumba, and conga—had already fl our- Cuba’s musical folklore. This music was typically begin with a solo, followed ished in mainstream popular culture. also felt in choral compositions, where by responses from the chorus. These Today it represents the heart of Cuban it fused the island’s native musical styles groups, comprised of up to one hundred secular choral repertoire. Some of with traditional European classical forms. fifty members, primarily performed Cuba’s most recognizable personalities The son, guaguancó, rumba, and other 18 lyrical songs. By 1902, there were be- in these popular styles include Manuel Cuban popular music genres have, in tween fi fty and sixty coros de clave in Corona (1880 –1950), a musician some sense, gradually become “choral- 23 black, working-class barrios. Numerous who wrote Mercedes; ized” over time. coros de clave developed in the late nine- (1893–1950); Emilio Grenet (1901– The catchy Chan Chan, originally teenth century and remained popular 1941), who composed Negro bembón, composed by bandleader Máximo Fran- throughout the following decade. Chivo que rompe tambó, and Tu no sabe cisco Repilado (aka ), African infl uences in contemporary Inglé; and Moisés Simons (1844–1944), is an example of a popular son arranged Cuban choral music settings refl ect who wrote El Manisero.20 for choir. This song revolves around two strong rhythmic and textural elements In addition, Miguel Matamoros is central characters: Juanita and Chan of Afro-Cuban musical idioms like Chivo considered one of Cuba’s most prolifi c Chan. The choral of this que rompe tambó by Moisés Simons and composers of the Cuban and song, written by Jorge Martínez, intro- arranged by A. Ramírez; Yambambó by son genres.21 Matamoros’s music has duces each vocal line in layered fashion, Emilio Grenet and arranged by Octavio been adapted to choral settings, many beginning with the basses’ repetitive Marin; Afroritmos by Yaniel Fernández; of which have become staples of the rhythmic motif. Sin Palabras by Wilma Alba; Babalú en Cuban choral tradition (such as Lágrimas This distinct syncopated pattern la Habana Vieja by Roberto Valera; and negras, Son de la loma, Dulce embeleso, features an anticipated upbeat (typically Tríptico de Cantos Yorubá and Misa para Juramento, Triste muy triste, and El que heard in the bass line in the instrumen- Yarini (Osun Requiem) by Calixto Alvarez. siembre su maíz). This last song features a tal version) followed by the tenor part In one of the movements (Lacri- trait commonly found in the Cuban son: carrying the clave pattern. The clave is mosa) of Calixto Alvarez’s Requiem, the a call-and-response section between the underlying rhythmic pattern heard composer juxtaposes two languages soloist and choir, accompanied by wood throughout the song. Later, the alto and sung simultaneously, representing the sticks playing a repeated clave pattern. soprano vocal lines imitate the guageo, duality between European and African a syncopated accompaniment pattern heritages. This duality is stated by jux- typically played by the guitar (tres). taposing the melody sung by a female The Cuban “Son” (Figure 1) voice in Yoruba—the language spoken The son has become the very expres- Together these voices create the by East African slaves—above the chant- sion of Cuban identity.22 This popular distinct rhythmic flavor of the son like mantra sung by the male voices in genre was developed in the eastern before the melody is introduced and 19 Latin. rural communities, where it was highly harmonized in thirds or sixths. However, One of the most important traits of infl uenced by the trova (a rural genre the most anticipated point in the song the Cuban choral performance practice that featured im- is that most music is performed unac- provisation) be- companied. Vocal lines contain a variety fore it migrated to of rhythms and musical nuances of this western Cuba. The type and other genres of popular or son also reflects . Therefore, one will seldom Cuba’s ancestral fi nd instrumental parts in choral works; African and Span- composers leave it to the director’s dis- ish infl uences and cretion for any addition of instruments.

CHORAL JOURNAL Volume 54 Number 8 11 Cuban Choral Music: Historical

occurs at the improvisatory montuno this particular arrangement is typical in Guaguancó section, where the soloist (typically a choral son , variations of The guaguancó is a derivative from tenor) alternates in a call-and-response styles and forms are found across the the rumba. Its Afro-Cuban secular music section with the choir, creating the cli- western Caribbean, Colombia, , roots stem from the regions of Havana max of the work. The intervention of , and Venezuela. and .24 The guaguancó’s rhythm the chorus in the refrain estribillo can Table 1 provides a sample of choral and instrumentation vary from the ones go from a single phrase to an entire compositions or arrangements in son utilized in the son. It uses the rumba verse. While the treatment of voices in style. clave instead of the clave used in the tra-

Table 1

“Son” Titles Style Arranger Composer

La Mujer de Antonio Son-Pregón Conrado Monier Miguel Matamoros Son de la Loma Son-Montuno Conrado Monier Miguel Matamoros El Que Siembre su Maíz Son Electo Silva Miguel Matamoros Canto de los Cafetales Son Alejandro G. Cartula Caballo Blanco Son Alejandro G. Cartula Curujuey Son Amadeo Roldán Son Mercedes Son Leo Brower El Manisero Son-Pregon Conrado Monier Moisés Simons Chan Chan Son Jorge Martinez Francisco Repilado Este Son Homenaje Son Conrado Monier A. Almeida Lágrimas Bolero-Son Conrado Monier Miguel Matamoros Todo a tus Pies Bolero-Son Graciano Gómez René Baños Chivo que rompe Tambó Son Amauris Ramirez Moisés Simons Me Bendo Caro Son Conrado Monier Laudamus te (Misa Cubana) Son José Maria Vitier Manisero Son in 5/4 Yaniel Fernandez Moisés Simons Tiempo para un Tiempo Son Conrado Monier Roberto Valera Negro Bembón Son Electo Silva Eliseo Grenet Iré a Santiago Son Roberto Valera Mulata Son Conrado Monier Todo a tus Pies Bolero-Son Rene Baños Graciano Gomez El Almuerzero Son Conrado Monier Pedro L. Ferrer Chanchullo Son Marialys P. Campos Ruben González y López Cuba, Que Linda Es Cuba Cancion-Son Eduardo Saborit Electo Silva

12 CHORAL JOURNAL Volume 54 Number 8 Development and Modern Infl uences

ditional son. A spirited example of this characteristics style is exemplifi ed in Roberto Valera’s of the Cuban Guaguancaglia or Quisiera (Guaguancó). bolero are of- Another prominent Cuban com- ten associated poser whose choral arrangements can with themes challenge any choir’s rhythmic and tech- related to nical skills is Guido López Gavilán. His love, betrayal, choral works are known for transcend- bliss, yearning, ing conventional popular musical idioms. rejection, or El Guayaboso (featuring the polyrhythms suffering. Electo Silva’s 30 Canciones Lágrimas Negras (Black tears) of a guaguancó), Pak-kin-kin, Pa ti Pa ti (in Populares de Cuba is considered an im- translated text: mambo style), Que Rico É (mambo), La portant collection of arrangements of Aporrumbeosis (inspired by rhythmic various popular genres, including Verse 1 (Section A) elements and melodic gestures of the such as Ausencia by Prat and Dulce Em- rumba) are some of his works. (Figure 2) beleso and Juramento, a bolero composed Although you have left me in the by Miguel Matamoros. Other choral set- abandonment tings include La Rosa Roja, arranged by Although you have killed all my The Cuban Bolero Oscar Hernández. (Figure 3) illusions The bolero derives from the Span- Over time, the bolero has evolved Instead of cursing you with fury ish seguidilla fi rst heard in Andalusia in into variations or combinations of In my sleep I fulfi ll you, 1780. It existed in Cuban salons from styles. Matamoros’s Lágrimas Negras, in In my sleep I fulfi ll you with the early nineteenth century; however, an arrangement by Conrado Monier, is blessings the bolero that arose in Santiago in 1883 a classic example of a bolero-son. Here, was a particular type that was danced two distinct musical styles are combined Verse 2 (A’) by couples in a simple 2/4 meter. The to create a new genre. The song begins I suffer the immense sorrow of Cuban bolero is more closely related in bolero style (A section) and begins its your loss to African dance rhythms and Cuban B section in son style. I feel the deep pain of your game melodic styles than to the Spanish bolero. This B section also serves as the re- And my crying Performed in duple meter (most often frain within a bolero-son. The bolero’s (A Carries black tears, 2/4, in contrast to the Spanish bolero in part) underlying rhythmic pulse is driven Carries black tears of my life 3/4) in a moderately slow tempo, the by repeated two-measure phrases bolero features passionate lyrics and containing a cinquillo pattern (Figure 3) memorable melodies.25 followed by four eighth notes, while the Son (Section B) refrain: Its melody and guitar accompaniment son (B part) rhythmic pulse is driven by You want to leave me were marked with the presence of the the son clave. The result is a song that Yet, I do not want to suffer cinquillo rhythmic pattern and was often begins slow and develops in a spirited, With you I go away, my saint combined with a pattern. The dance-like section. Even if it costs me death melody in the Cuban bolero is often heard harmonized in thirds. The textural Trova and Canción Trova is a genre of Cuban song closely associated with working-class singer- . Primarily self-accompanied on the guitar, its early form (known as vieja trova) was popular in the late nineteenth century. It is credited with the creation of the Cuban bolero. Com- posers including Pepe Sánchez, Manuel Corona, Chicho Ibañez, ,

CHORAL JOURNAL Volume 54 Number 8 13 Cuban Choral Music: Historical

and are considered the texts by Nicolas Gulién, founders of Cuba’s proponent of this Silvio Rodríguez, Jose Martí, genre. An example of a trova is best seen Mirta Aguirre, and Pablo in Electo Silva’s 6 Canciones de homenaje Milanés. Other notable a la Trova, a set of songs arranged for works include Suite Choral choir that pay tribute to the trova. Dur- by Gisella Hernández, with ing the latter part of the twentieth cen- text by Federico G. Lorca; tury, a new wave known as and Canciones amatorias by emerged as a popular genre, refl ecting Leo Brower, with text by the political “protest song” movement Federico G. Lorca and José throughout the Americas. Hernández. Canción is another popular genre of music heard throughout Latin America. Its roots stem from Spanish popular Cha Cha Chá El Bodeguero forms, Italian operetta and Neopolitan The cha cha chá originated from the songs, slow waltzes, and French romanza. danzón, a form related to the mambo. Always at her (his*) house, In Cuba, it was highly infl uenced by This genre of music has distinct rhythmic present are, the trova movement. This genre is best characteristics due to the fact that, unlike the grocer and the cha cha chá, known for its beautiful and memorable most other Cuban styles, it is not rooted Go to the corner and you’ll see him, lyric melodies combined with heartfelt in the clave. The text used in this style and in a friendly way he will lyrics. One of the most recognizable of music is typically of a humorous or always assist you, works in this genre include Mercedes by jovial nature. Richard Egües, composer go now, run over there, the grocer, Manuel Corona. of El Bodeguero and many of today’s the one with the money you will Today, the choral music of this genre classics of this style of music, was a well- fi nd him, is exemplifi ed in Beatriz Corona’s works, known Cuban musician and fl autist. El on the other side of the counter, including Corazón Coraza, Penas, Entre el Bodeguero, nicknamed by Egües as “the helpful and service oriented Espanto y la Ternura, Solo de Guitarra, No magic fl ute,” became a popular song in es Preciso, Triptico, and Aire Nocturno, with the 1950s.26 (Figure 4) Grocer what’s going on, why so happy I think it’s a result, of what is in the grocer, dancing he goes in the store the dance goes like this, with beans there is potato here, the new rhythm of the cha cha chá he drinks chocolate, he pays what magine … Sing Where Inspiration Was Born. he owes I singing in the venues in the store the dance goes like this, of the great composers, in awe with beans there is potato here, inspiring cathedrals and charming village churches, in the store the dance goes like this… for appreciative audiences around the world. Let us take you there. Movement and Dance For years, Cuban professional choirs have been international ambassadors of their native folk and popular musical CULTURALULTURA TOUR CONSULTANTS It Starts With An Idea... forms. In Cuban popular music genres, movement and dance are natural re- (866) 499-3799 |www.CulturalTourConsultants.com | [email protected] | 259 E. Michigan Ave., Kalamazoo MI 49007 sponses to music and are considered

14 CHORAL JOURNAL Volume 54 Number 8 Development and Modern Infl uences

symbiotic. It is almost impossible to listen V; and the well-recognized unaccom- international recognition include Electo to songs as Afroritmos, El Guayaboso, panied work by Calixto Alvarez, Osun Silva, Conrado Monier, Beatriz Corona, Chanchullo, Chan Chan, or Guantanamera Requiem. and Frank Fernández. Today, a wave of without allowing the body to move to Other infl uential choral composers emerging choral composers such as the highly syncopated rhythms of this and arrangers whose music has won Monica O’Reilly, Keila Orozco, Yaniel music. In recent years, several profes- sional Cuban choirs—including Schola Cantorum, Vocal Leo, and Entrevoces— have introduced creative and innovative choreographies to performances of their native music.

Other Popular Genres There are other distinctive genres within the popular music spectrum in Cuba. Cuban secular choral music is fi lled with the musical fl avors found in popular styles, such as the conga, guara- cha, bilongo, and guajira. A variety of dance rhythms and contemporary har- monic sonorities are featured in works such as Cimarrón (a conga) by A. Agra- monte/arr. Calixto Alvarez; Conga by Announcing the new Guido Lopez Gavilán (specially written for the VI World Symposium of Choral Weston Noble Endowed Music in Minneapolis); Guantanamera (a guajira) arranged by Conrado Monier; Chair in Music and Variaciones sobre la Guajira Guanta- namera arranged by Electo Silva. Other Allen Hightower (center), Luther College of music and director works within these genres include Me of choral activities, has been installed as the Weston Noble Endowed Quiero Casar Contigo () by An- Chair in Music. The Weston Noble Chair is named in honor of Weston Noble ’43, professor emeritus of music, whose service of teaching and gel Aldae/arr. Monier; La Negra Tomasa conducting at Luther influenced the lives of thousands of students for (bilongo) by Guillermo Rodriguez/arr. more than 50 years and whose dedication and service to the college also Monier; Rumbamban (danzón) by Rafael witnessed to the Gospel. Established by Ervin and Phyllis Johnson, the Inciarte/arr. Miguel García; and Cofrecito award recognizes the value of Christian higher education and the quality de dudas (habanera) by Roberto Valera. of the academic and music programs provided by Luther. The Luther campus is alive with the sounds of six choirs, three bands, Contemporary Choral Works three orchestras, two jazz bands, and nearly 1,000 student musicians. Within the last twenty years, there Our student musicians participate in large ensembles, faculty-coached has been an emergence of extended chamber groups, private lessons, and master classes. More than 300 music majors study music theory/ear training, history, education, choral works by Cuban composers, in- composition, jazz, church music, and performance. It all adds up to one cluding works by Güido López Gavilán; of the largest collegiate music programs in the world! Leo Brower’s Salmo de las Américas; Ro- berto Valera’s Cuantro Poemas de Nicolas Photo: Luther choral conductors Jennaya Gullien; José Maria Vitier’s Misa Cubana; Robison; Weston Noble, professor emeritus; Allen Hightower; Linda Martin; Electo Silva’s Misa Caribeña and Misterios and Andrew Last www.luther.edu de Nuestra Señora; Beatriz Corona’s Misa

CHORAL JOURNAL Volume 54 Number 8 15 Cuban Choral Music: Historical

Fernández, Luis Ernesto Peña, Tania Leon, choral tradition stems primarily from these infl uences merged with Spanish and Wilma Alba continues to delight early sacred European infl uences and and native secular idioms, giving birth audiences with new choral works. the musical rhythms brought by African to new musical genres such as son, The rich history of choral music of slaves (syncopated rhythms, ceremonies, guaguancó, cha cha chá, guajira, danzón, Cuba spans over four centuries. Their and musical instrumental). Consequently, trova, bolero, and canción. Since the turn of the twentieth century, choral music has given a voice to these native musical genres, and they continue to live in the mass settings, song cycles, sacred, and secular compositions written by Cuban composers in unaccompanied style.

NOTES

1 José Rivera, “Choral Symposium 2012: Building Cultural Bridges in the Twenty- First Century,” Choral Journal 53, no. 9 (2013): 69. 2 Alejo Carpentier, Music in Cuba (Minnesota: University of Minnesota Press, 2001 [1945]): 71. Ed. Insituto de Libro, Havana, Cuba. 3 Pablo Hernández Balaguer, Breve Historia de la Musica Cubana (1964), 6. Ed. Universidad de Oriente, Santiago de Cuba 4 Pablo Hernandez, “Panorama de la Musica Colonial Cubana,” Revista Musical Chilena 16, no. 81– 82 (1964): 202. 5 Miriam Escudero, Esteban Salas: Maestro de Capilla de la Cathedral de Santiago de Cuba (1764–1803). Eighth Book. Ed. Boloña, Universidad de Valladolid, España, 2011. 6 José Ardevól, Introducción a Cuba: La Musica. Instituto del Libro, Havana, Cuba (1969). 7 Alejo Carpentier, Music in Cuba (Minnesota: University of Minnesota Press, 2001 [1945]): 181. 8 Claudia Fallarero, Juan Paris; Maestro de Capilla de la Catedral de Santiago de Cuba, Villancicos de Navidad, Habana, Cuba (2011). 9 Francesca Perdigón, Cratilio Guerra Saldá; Santiago de Cuba (1835–1896) Repertorio Religioso. Ed. Cidmuc (Havana, Cuba, 2011). 10 José Rivera, “Roberto Sierra’s Misa Latina (Pro Pace).” Choral Journal 50, no. 8 (2010): 6.

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1989). 24. 11 Suzanne Tiemstra, The Choral Music of Latin Jersey: Weiner Publishers, 2002). 17 23 Iliana Garcia, Lo coral y lo popular, un vincuo America: A Guide to Composition and Helio Orovio, Diccionario de la Musica necesario. (Revista Clave, 1999): 13. Research (New York: Greenwood Press, Cubana, Biografi co y Technico Ed. Letras 24 Maya Roy, Cuban Music. Markus (New 1992). Cubanas, Havana, Cuba, 1992. 18 Jersey: Weiner Publishers, 2002). 12 Tamara Martin, La Musica Choral en Cuba. Helio Orovio, Diccionario de la Musica 25 Beth Gibbs, Exploring Cuban Music through Editorial Pueblo y Educación, Havana, Cubana, Biografi co y Technico Ed. Letras the Choral Arrangements of Electo Silva. Cuba (1987). Cubanas, Havana, Cuba, 1981. 19 (Florida: Open Access Dissertation, 13 Irene del Rio Iglesias, María Muñoz Portal: Calixto Alvarez, Misa de Osun (Requiem University of Miami, 2010). Su Obra Musical en Cuba. Ed. Arte y por Yarini), Havana, Cuba (1988). 20 26 Gerardo Arreola, “Nunca Creí que El Literatura, Havana, Cuba (2009). Helio Orovio, Diccionario de la Musica Bodeguero fuera a tener tanto éxito: 14 Ibid. Cubana, Biografi co y Technico Ed. Letras Richard Egues,” La Jornada (October 15 Alejo Carpentier, Music in Cuba (Minnesota: Cubanas, Havana, Cuba, 1992. 21 23, 2005). Accessed September 12, University of Minnesota Press, 2001 Ibid. 22 2012. 16 Maya Roy, Cuban Music. Markus (New Habana. (Havana: Pueblo y Educación,

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