409:, not only the wrong genre, but misspelled as well. On the published score both music and lyrics are attributed to Simons, though there is a persistent story that they were written by Gonzalo G. de Mello in Havana the night before Montaner was due to record it in New York. Cristóbal Díaz says "For various reasons, we have doubts about this version...
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was one of those rare cases in popular music where an author got immediate and substantial financial benefits... logically Mello would have tried to reclaim his authorship of the lyrics, but that did not occur." The second attack on the authorship of the lyrics came from none other than the great
239:
Simons did research into the history of Cuban music publishing his articles in newspapers and magazines. He wrote the scores for stage shows and even several films. He was president of the
Association of Musical Solidarity and the technical director of the Society of Wind Orchestras.
385:
was the singer. There seems to be no authoritative account of the number of 78rpm records of this recording sold by Victor; but it seems likely that the number would have exceeded the sheet music sales, making it the first million-selling record of Cuban (or even Latin) music.
31:
345:
Inc., and this netted $ 100,000 in royalties for Simons by 1943. Its success led to a 'rumba craze' in the US and Europe which lasted until the 1940s. The consequences of the Peanut Vendor's success was thus quite far-reaching.
247:, the time between World War I and World War II when the contributions of Afro-Cubans to Cuban culture were finally gaining recognition. Other celebrated composers during this Afro-Cuban awakening were
84:) which is considered by many to be the most famous piece of music created by a Cuban musician and has since been recorded by other musicians from around the world hundreds of times.
706:(2004 translation, p36, top) describes it as "selling a million copies for the RCA Victor label"; Don Azpiazú's son Raul suggested it sold 5–10 million copies: liner notes to
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on alto sax and flute, José Ramón
Betancourt on tenor sax, and Pablo O'Farrill on double bass. In 1928 while still at the same venue, Simons hired the famous
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236:, as well as vocalist and drummer, Enrique Santiesteban. These were top instrumentalists were garnered top fees in those times of $ 8 a day.
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in Paris in
September 1934. The work consisted of a series of extremely varied numbers punctuated by humorous comedy scenes. The Cuban-born
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418:. For Ortíz, the true author was an unknown Havana peanut seller, of the second half of the 19th century, who served as the basis for a
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438:, who toured with the band in the US as singer. According to Sublette, the English lyrics are of almost unsurpassed banality.
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Probably the latter date: the issue cannot be resolved from surviving records. Díaz Ayala, Cristóbal 1988.
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Later, Simons became a concert pianist and musical director of lyric theater companies. He worked at the
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musician, he started studying music with his father, Leandro Simón Guergué. By the age of 9, he was the
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Simons' musical compositions include lyric theater scores for the following operettas or zarzuelas:
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528:, Alejo Carpentier, praised Simons' excellent musical and technical accomplishment saying that
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453:. It was such a popular hit for Kenton that he would go on to rerecord it for a second time.
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broke out. He was finally able to return to Cuba in 1942. He then moved to the
Spanish
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and later to Madrid, Spain where he signed a contract to provide music for the film,
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of the Pilar church. At 15, he undertook advanced studies under various maestros in
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Si te quieres por el pico divertir: historia del pregón musical latinoamericano
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Si te quieres por el pico divertir: historia del pregón musical latinoamericano
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Si te quieres por el pico divertir: historia del pregón musical latinoamericano
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Si te quieres por el pico divertir: historia del pregón musical latinoamericano
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which played on the roof garden of the Plaza Hotel in Havana. It consisted of
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led to Simons' own worldwide recognition. It sold over a million copies of
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224:. With Simons on piano, other members included Virgilio Diego on violin,
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under contract to the
Spanish composer, Vicente Lleó, who directed a
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L'Encyclopédie multimedia de la comédie musicale théâtrale en France
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714:. However, this is not definitive, and the text is more reserved.
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Moisés Simons died in Madrid, Spain, on 28 June 1945. He was 55.
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Carpentier, Alejo 1934. Moisés Simons el los Bufos
Parisienses.
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506:‒ several of which were premiered in Paris during the 1930s.
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Noted compositions written by Simons include the following:
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Cubano be, cubano bop: one hundred years of jazz in Cuba
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373:. The band included a number of star musicians such as
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perhaps to represent the
Spanish pronunciation of 'u'.
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Cuba and its music: from the first drums to the mambo
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Simons' own account: see Díaz Ayala, Cristóbal 1988.
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The number was first recorded and released by singer
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Simons was renowned as a composer during the era of
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Moisés Simons was born on 24 August 1889 in Havana,
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Ortiz, Fernando 1954. In
Revista Bohemia, March 14.
283:For much of the 1930s, Simons lived and worked in
532:was by far the peak of Simons' creative career.
405:. On the record label, however, it was called a
621:Diccionario enciclopédico de la música en Cuba
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472:sang a fragment of the song in the 1954 film,
449:and his big band recorded and released it on
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636:. Cubanacan, San Juan P.R. p317–322.
468:, with Ernesto Lecuona as musical advisor;
680:. Chicago. Chapter 27: The Peanut Vendor.
361:came from the 1930 recording released by
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445:had a second life as a hit number when
393:were based on a street vendors' cry, a
161:company with whom he toured throughout
632:Listed in Díaz Ayala, Cristóbal 1988.
153:were performed. He then moved to the
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777:Encyclopedia of the Musical Theater
456:Several films included versions of
365:and his Havana Casino Orchestra in
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736:. Cubanacan, San Juan P.R. p238
835:20th-century conductors (music)
693:. Cubanacan, San Juan P.R. p235
662:. Cubanacan, San Juan P.R. p238
830:Cuban people of Basque descent
758:, La Habana, 23 December 1934.
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184:In 1924, Simons founded a
70:. He was the composer of
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820:Cuban conductors (music)
623:. La Habana. vol 4, p147
249:Alejandro García Caturla
704:Cuban music from A to Z
645:Acosta, Leonardo 2003.
397:; and the rhythm was a
496:Le Chant Des Tropiques
357:. The biggest hit for
45:Moisés Simón Rodríguez
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840:20th-century pianists
825:Musicians from Havana
549:Chivo Que Rompe Tambó
460:. It appeared in the
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845:Cuban male musicians
815:Cuban male composers
676:Sublette, Ned 2004.
619:Giro, Radamés 2007.
313:Today Like Yesterday
47:; 24 August 1889 in
335:(The Peanut Vendor)
113:of Jesús María and
775:from Kurt Gänzl's
171:Dominican Republic
51:– 28 June 1945 in
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68:orchestra leader
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293:World War II
287:, mostly in
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147:Teatro Martí
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127:counterpoint
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49:Havana, Cuba
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800:1945 deaths
795:1889 births
771:Article on
712:Don Azpiazu
557:Paso Ñáñigo
482:Other works
458:El Manisero
447:Stan Kenton
422:written by
411:El Manisero
379:Mario Bauza
375:Julio Cueva
363:Don Azpiazú
359:El Manisero
339:sheet music
332:El Manisero
324:El Manisero
279:Later years
234:Julio Cueva
214:double bass
175:Puerto Rico
119:composition
115:choirmaster
93:Early years
72:El Manisero
789:Categories
587:References
500:Niña Mercé
424:Gottschalk
403:son-pregón
343:E.B. Marks
165:including
710:HQ CD 10
708:Harlequin
537:Cubanacan
441:In 1947,
230:trumpeter
186:jazz band
88:Biography
756:Carteles
565:Vacúnala
432:Sunshine
301:Tenerife
222:timbales
159:zarzuela
107:organist
60:composer
464:movie,
428:Gilbert
123:harmony
82:English
64:pianist
579:, and
502:, and
407:rhumba
395:pregón
391:lyrics
285:France
271:, and
220:, and
194:violin
177:, and
169:, the
167:Mexico
141:Career
133:, and
111:barrio
103:Basque
66:, and
43:(born
649:. p28
569:Marta
420:danza
305:Bambú
289:Paris
218:drums
210:banjo
206:flute
190:piano
131:fugue
57:Cuban
430:and
389:The
341:for
200:and
198:alto
99:Cuba
462:MGM
399:son
369:on
299:of
80:in
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