65:(as we know it today or in one of its historical versions) has been present in Cuba since the discovery of the island by Spain. As early as the 16th century, a musician named Juan Ortiz, from the village of Trinidad, is mentioned by famous chronicler Bernal DĂaz del Castillo as “gran tañedor de vihuela y viola” (a great performer of the “vihuela” - a guitar ancestor - and the viol). Another “vihuelista”, Alonso MorĂłn from Bayamo, is also mentioned in the Spanish conquest chronicles in the 16th century.
89:
establish his permanent residence in
Santiago de Cuba. López composed many pieces and numerous transcriptions for the guitar, including one of the famous “La Comparsa” of Ernesto Lecuona. He was the professor of renowned Cuban guitarists José Rey de La Torre and Vicente González-Rubiera (Guyún). Severino López is considered the initiator in Cuba of the guitar school founded by Francisco Tárrega in Spain.
239:, Pedro Cañas, Leyda Lombard, Eduardo MartĂn, Walfrido DomĂnguez, Esteban Campusano, Francisco Rodriguez, Jorge Luis Zamora, Manuel Espinás, Alfredo Panebianco, Carlos Alberto LlorĂł, Jorge Luis Garcell, Alexis MĂ©ndez, RubĂ©n González, Freddy PĂ©rez, Rosa Matos, Iliana Matos, Rafael PadrĂłn, Amed Dickinson, Marco Tamayo, Ernesto Tamayo, Rene Izquierdo, Miguel Bonachea, Edel Muñoz,
95:
Clara Romero (1888–1951), founder of the modern Cuban School of Guitar, studied in Spain with Nicolás Prats and in Cuba with Félix
Guerrero. She inaugurated the guitar department at the Havana Municipal Conservatory in 1931, where she also introduced the teachings of the Cuban folk guitar style. She
76:
A disciple of famous
Spanish guitarist Dionisio Aguado, José Prudencio Mungol was the first Cuban guitarist trained in the Spanish guitar tradition. In 1893 he performed at a much acclaimed concert in Havana, after returning from Spain. Mungol actively participated in the musical life of Havana and
72:
Domingo and
Bartolomé Tamé offered lessons of guitar, singing and violin from 1819 to 1820 in Santiago de Cuba, where also professors Manegat and Bisbé, from Barcelona, taught guitar and singing. In the same city, the Catalan musician Juan Casamitjana offered guitar and singing lessons between 1832
24:
after the conch horns, flutes and drums that the original aborigines used to play; as it was documented by
Spanish chroniclers such as Bernal DĂaz del Castillo. Through the centuries, the guitar has continued to be one of the most important and cherished instruments in Cuba, both in the practice of
88:
Severino LĂłpez was born in
Matanzas. He studied guitar in Cuba with Juan MartĂn Sabio and Pascual Roch, and in Spain with renowned Catalan guitarist Miguel Llobet. He also studied musical composition in Barcelona. After returning to Cuba he founded a music academy in Havana, which he abandoned to
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Nicola proceeded to restructure his mother's method and also added much of his own. He established the basis for a comprehensive guitar didactical system that, including the contribution of many others, was going to be applied to the academic formation of several generations of Cuban guitarists.
68:
During the 17th century, SerafĂn
Ramirez mentions a guitarist named Juan Navarro; and in 1722 we find small groups of guitars and “bandolas” in Santa Clara to entertain the population. We also find around this period of time some groups composed by guitars, “bandolas”, flutes and “pĂfanos” in
153:, Marianela Bonet and Leopoldina Núñez were integrated to the national music schools system, where a unified didactical method was implemented. This was a nucleus for the later development of a national Cuban Guitar School with which a new generation of guitarists and composers collaborated.
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created the Guitar
Society of Cuba (Sociedad GuitarrĂstica de Cuba) in 1940, and also the “Guitar” (Guitarra) magazine, with the purpose of promoting the Society's activities. She was the professor of many Cuban guitarists including her son Isaac Nicola and her daughter Clara (Cuqui) Nicola.
168:(b. 1939). The grandson of Ernestina Lecuona, sister of Ernesto Lecuona, Brouwer began studying the guitar with his father and after some time continued with Isaac Nicola. He taught himself harmony, counterpoint, musical forms and orchestration before completing his studies at
133:(1925–1998). Both of them traveled extensively as guitar performers and established themselves in the US. Rey de la Torre settled in California, while Mercadal became a resident of Miami, Florida, where he founded the Guitar School at the University of Miami.
278:, that may be considered the most important Cuban composer for the guitar during the 20th and the 21st century, other composers have also written original compositions, didactical music and transcriptions for the instrument. A list of composers may include:
69:
Santiago de Cuba, which performed during the festivities of San Juan and
Santiago ApĂłstol. At the end of the 17th century (around 1680) Lucas PĂ©rez de AlaĂz, a guitarist from Burgos, Spain, served as Chapel Master of the Santiago de Cuba Cathedral.
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Since the 1960s, several generations of guitar performers, professors and composers have been formed under the Cuban Guitar School at educational institutions such as the Havana
Municipal Conservatory, the Escuela Nacional de Artes
197:
Leo Brouwer has defined the modern Cuban Guitar School as follows: “The Cuban Guitar School is the sum of technical elements, a repertoire and a sensibility from the guitarists and creators toward this instrument, the guitar.”
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Numerous Cuban composers, many of them guitarists themselves, have contributed to create a body of work that may support the didactic and aesthetic efforts of the Cuban Guitar School. Before 1959, some composers such as
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and 1836, and guitarists Francisco Peralta and Juan Antonio Betancourt (disciples of Manegat) acquired great reputation. Also Fabricio Calzado Portuondo became famous as a guitarist and singer in Santiago de Cuba.
103:(1916–1997) continued his training in Paris with Emilio Pujol, a disciple of Francisco Tárrega. He also studied the vihuela with Pujol and researched about the guitar's history and literature.
235:, Lester Carrodeguas, Mario Daly, JosĂ© Angel PĂ©rez Puentes and Teresa Madiedo. A younger group may include guitarists:Rey Guerra, FĂ©lix Puig, JosĂ© Armando Guzmán, Aldo RodrĂguez Delgado,
219:, a concertist of international renown, developed their careers outside the country. Among many artists related to the Cuban Guitar School, we can mention the following names:
41:
RiverĂłn, the Cuban guitar school has acquired an excellent international reputation since the 20th century, represented by important instrumentalists and composers such as
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Other guitarists that collaborated with the foundation of the modern Cuban Guitar School are: JesĂşs Ortega (b. 1935) and Idelfonso Acosta (b. 1939). The Cuban guitarist
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After returning to Cuba, Nicola engages on a period of performing activity which concludes in 1957, with a concert where he premiered the famous Danza CaracterĂstica by
179:, “Brouwer is an important part of this process, of the creation of today’s music, for which he has opened new ways and introduced the avant-garde in the guitar .”
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Other important Cuban guitarists from the first half of the 20th century were Ezequiel Cuevas, Francisqueta Vallalta and FĂ©lix Guerrero (Sr.).
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110:. From now on, he devotes himself entirely to teaching, assisted by other dedicated collaborators, such as professors
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Other Cuban guitarists from the 19th century are: JoaquĂn Inciarte (Santiago de Cuba) and Fernando Costa (Camaguey).
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224:
212:
567:
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186:, established in the United States since 1966, has developed an important career as a performer and professor at
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popular music as well as in the classical music tradition. Founded by renowned professors such as Clara Romero,
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126:
46:
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Gramatges, Harold. Presencia de la RevoluciĂłn en la mĂşsica cubana. Editorial Letras cubanas. 1983. P. 79.
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Giro, Radamés. Leo Brouwer y la guitarra en Cuba. Editorial Letras cubanas. La Habana, Cuba, 1986. p. 17
130:
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González Rubiera, Vicente. La guitarra y su técnica. Editorial Letras Cubanas. La Habana, Cuba, 1985.
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Maybe the most important contribution to the modern Cuban guitar technique and repertoire comes from
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20:(in the form of its direct ancestor, the “vihuela”) was the first instrument that was heard in
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Presencia de la Habanera, published in Panorama de la MĂşsica Cubana, Editorial Letras Cubanas
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After studying with his mother, Clara Romero, at the Havana Municipal Conservatory,
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After the Cuban revolution in 1959, Isaac Nicola and other professors such as
346:"RodrĂguez RuidĂaz, Armando: The origin of Cuban music. Myths and realities"
479:
RamĂrez, Marta MarĂa. Cuba: The Cuban Guitar School. SEMlac reports 7.
240:
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Orovio, Helio. Cuban Music from A to Z.Tumi Music Ltd. Bath, UK, 2004.
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17:
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Two other important Cuban guitarists from that period of time were:
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21:
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290:, Armando Rodriguez Ruidiaz, José Angel Pérez Puentes,
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was a professor at the Hubert de Blanck conservatory.
271:began composing music for the classical guitar.
541:Music in Miami. Meet the artists and musicians
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8:
175:According to renowned Venezuelan guitarist
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519:
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267:, JoaquĂn Nin Culmell, Natalio Galán and
231:, as well as: Armando Rodriguez Ruidiaz,
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118:(his own sister) and Marianela Bonet.
7:
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369:Leo Brouwer y la Guitarra en Cuba
57:From the 16th to the 19th century
282:, JesĂşs Ortega, Nilo RodrĂguez,
137:The modern Cuban Guitar School
1:
215:. Other guitarists, such as
49:, Juan Antonio Mercadal and
209:National Art Schools (Cuba)
84:The 20th century and beyond
584:
371:. Editorial Letras Cubana.
348:. academia.edu. p. 18
213:Instituto Superior de Arte
221:Carlos Molina (guitarist)
172:and Hartford University.
151:Carlos Molina (guitarist)
558:Classical music in Cuba
330:Lapique, Zoila (1998).
254:Compositions for guitar
241:Gerardo Perez Capdevila
367:Giro, Radamés (1986).
161:
159:
131:Juan Antonio Mercadal
53:, among many others.
288:EfraĂn Amador Piñero
225:EfraĂn Amador Piñero
147:Clara (Cuqui) Nicola
127:José Rey de la Torre
116:Clara (Cuqui) Nicola
47:José Rey de la Torre
31:Clara (Cuqui) Nicola
563:Cuban music history
202:The new generations
482:"SEMlac Reports 7"
237:Alejandro González
162:
223:, Sergio Vitier,
188:Tulane University
45:, Carlos Molina,
575:
568:Classical guitar
543:
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484:. Archived from
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269:Harold Gramatges
250:and AlĂ Arango.
170:Juilliard School
129:(1917–1944) and
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292:MartĂn Pedreira
284:Flores Chaviano
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233:MartĂn Pedreira
229:Flores Chaviano
217:Manuel Barrueco
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334:. p. 157.
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280:Carlos Fariñas
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245:JoaquĂn Clerch
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184:ElĂas Barreiro
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51:JoaquĂn Clerch
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488:on 2012-11-13
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312:Music of Cuba
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261:Amadeo Roldán
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490:. Retrieved
486:the original
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350:. Retrieved
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331:
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300:Yalil Guerra
296:Julio Roloff
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265:José Ardévol
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248:Yalil Guerra
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160:Leo Brouwer.
143:Marta Cuervo
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112:Marta Cuervo
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101:Isaac Nicola
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276:Leo Brouwer
274:Apart from
211:), and the
192:New Orleans
177:Alirio DĂaz
166:Leo Brouwer
108:Leo Brouwer
43:Leo Brouwer
552:Categories
492:2013-03-24
318:References
306:See also
352:July 4,
63:guitar
37:, and
18:guitar
354:2015
298:and
227:and
61:The
22:Cuba
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