A child prodigy turned concert pianist, composer, conductor
and teacher, Cervantes studied in Paris, but thereafter his
life was centred on Cuba. This set of Danzas Cubanas
is his best-known work. It can be heard as a collection of Latin
ragtime, ranging from jazzy to lyrical, from humorous to deeply
emotional. Certainly the habanera, this most famous of the Cuban
dances, was the seed of the tango - so this is the proto-tango,
which would eventually lead to the sweet creations of Carlos
Gardel - think of Mi Buenos Aires querido, or Por
una cabeza. Also, you might recognize echoes of the witty
piano music of Louis Moreau Gottschalk.
The numbers are sensual, sentimental, even melodramatic, but
one thing they are not is boring. This is light music without
pretence, but light as Chopin’s mazurkas or Schubert’s
waltzes are: predictable yet inventive. It’s like attending
a Cuban Schubertiade! The music is built on quite standard
moves, and each piece has a standard structure of two 16-bar
sections. The rhythms are infectious; even the title Danzas
cubanas (say it aloud!) sets a torn, swaying rhythm. The
sunny, carefree atmosphere of La Isla Grande rules. The
ordering of the pieces sustains the interest throughout; this
is not one of those collections where the most attractive numbers
go at the beginning and end, and the middle stows all the boring
rest!
I doubt that many of these melodies will sink into your heart
forever, but all are good while they last. The emotions never
go too deep - it is all a little theatrical. The names of the
pieces are colorful and descriptive: Yes, forever; It has
to be; Weep no more; Cold showers; Don’t touch me
and so on. Knowing the name often gives a new view on the music.
The names set up the plot; the music becomes like an accompaniment
to a silent movie. At first I supposed that all these were originally
songs with words, but the booklet says they were written for
piano. I have the feeling that if you shuffle the names differently,
they will still all fit - there will just be different scenes
in this movie.
The playing is idiomatic, embossed, aristocratic and well-judged.
The pianist excellently conveys the smile in the music and the
subtle humor of the composer. You’ll feel the sadness
of Farewell to Cuba, the wit of Cri-cri (Rustling
of Petticoats), the reluctance of Decision, the serenity
of Amen. Spiritual union is almost a romance by
Tchaikovsky. The playing is well articulated and expressive
without overloading.
All in all, I find this an excellent background disc, as cheering
as a good tropical cocktail but this is not a disc for concentrated
listening, at least not for its entire length.
Oleg Ledeniov
see also review by Brian
Reinhart
Track-listing
Los tres golpes (The 3 Blows) [1:16]
Cortesana (Courtesan) [2:54]
El velorio (The Wake) [1:41]
La encantadora (The Enchantress) [1:31]
Adiós a Cuba (Farewell to Cuba) [2:02]
Vuelta al hogar (Coming home) [1:07]
Cri-Crí (Rustling of Petticoats) [1:25]
Ilusiones perdidas (Lost Dreams) [2:12]
La carcajada (Laughter) [1:42]
Homenaje (Hommage) [1:44]
La glorieta (The Carousel) [1:48]
Almendares [1:31]
Improvisada (Improvised) [1:21]
No bailes más (Dance No More) [1:27]
Decisión [1:37]
Mensaje (Message) [1:55]
Picotazos (Lovebites) [1:20]
Un recuerdo (A Memory) [1:40]
Soledad (Solitude) [1:53]
Amistad (Friendship) [1:33]
Invitación (Invitation) [2:38]
Interrumpida (Interrupted) [0:41]
La celosa (The Jealous Woman) [0:59]
Amén [2:02]
¡Pst! [1:40]
Siempre sí (Yes Forever) [1:15]
Tiene que ser (It Has To Be) [1:27]
No llores más (Weep No More) [2:18]
Duchas frías (Cold Showers) [1:39]
No me toques (Don't Touch Me) [1:17]
Zigs-Zags [1:32]
Gran señora (Grande Dame) [2:00]
Intima (Intimate) [1:52]
Lejos de ti (Far Away From You) [2:17]
Se fue y no vuelve más (Gone Never To Return) [1:47]
Fusión de almas (Spiritual Union) [3:53]
Te quiero tanto (I Love You So) [2:24]
¿Por qué, eh? (Why, Huh) [1:00]
Álvaro Cendoya (piano) 