El Himno de Bayamo

English: The Bayamo Anthem
File:La bayamesa.gif
National anthem of  Cuba
Also known as	La Bayamesa English: The Bayamo Song
Lyrics	Perucho Figueredo
Music	Perucho Figueredo (Antonio Rodriguez-Ferrer musical introductory notes), 1867
Adopted	1902
Music sample
La Bayamesa (Instrumental)

El Himno de Bayamo (The Bayamo Anthem) is the national anthem of Cuba. It was first performed during the Battle of Bayamo in 1868. Perucho Figueredo, who took part in the battle, wrote and composed the song. The melody, also called La Bayamesa, was composed by Figueredo in 1867. On October 20, 1868 the Cuban forces obtained the capitulation of the Spaniard authorities in Bayamo, the jubilant people surrounded Figueredo and asked him to write an anthem with the melody they were humming. Right on the saddle of his horse, Figueredo wrote the lyrics of the anthem, which was longer than the current official version. Figueredo was captured and executed by the Spaniards two years later. Just before the firing squad received the Fire command, Figueredo shouted the line from his anthem: Morir por la Patria es vivir. Officially adopted in 1902, the anthem was retained after the revolution of 1959. The arrangement commonly used, without credit in Cuba, is believed to be that of José Norman, author of Cuban Pete [1]. The Cuban composer Antonio Rodriguez-Ferrer, was the author of the musical introductory notes to the Cuban national anthem.^[1]

In addition to the Himno de Bayamo, there are two other well-known Cuban songs called La Bayamesa. The first Bayamesa was composed in 1851 by Carlos Manuel de Céspedes and José Fornaris at the request of their friend Francisco Castillo Moreno, who is sometimes also credited with the lyrics. Many years later, in 1918, the composer and trovador Sindo Garay, from Santiago de Cuba, composed a song that he called Mujer Bayamesa; popular usage shortened the title to La Bayamesa.

Lyrics[link]

Originally the song had six stanzas. The last four stanzas were excluded in 1902. First, because it hurt the pride of the Spanish. Furthermore, it was well seen in the lyrics of one nation to another is not respected. Another important aspect is that it was too long compared to most of the hymns.

References[link]

1. ^ Symbols of the Cuban nation

External links[link]

Cuba portal

• Cuba: La Bayamesa - Audio of the national anthem of Cuba, with information and lyrics
• Cuban National Anthem Website Cuban National Anthem interpreted by Cuban artists with music and voice.
• http://www.nacion.cult.cu/en/musica.htm Cuban site with different Mp3 files
• Las Bayamesas Article in Spanish on the three songs named La Bayamesa
• http://www.nacion.cult.cu/en/sobrehimno.htm

Esther Borja Lima (b. Havana, 5 December 1913)^[1] is a Cuban soprano.

Borja was trained in solfége and music theory by Juan Elósegui, and in singing by Rubén Lepchutz. She graduated as a teacher in 1934, and began her career in 1935; that year she performed, with Ernesto Lecuona on piano, at the National Theatre (now the Gran Teatro de La Habana), and at the Auditorium Amadeo Roldán. The same year she sang the waltz Damisela encantadora in the operetta Lola Cruz by Lecuona.^[2] Her voice was described as a "beautiful mezzo-soprano with clear diction and a good feel for melody".^[3]

At the time Borja started her career, and for years after, Rita Montaner was the leading stage musical star in Cuba. However, Montaner (who was also a fine pianist) gradually shifted her career from operatic-style singing towards Afro-Cuban character roles and films, and then began some remarkable radio shows with biting humour and political satire. Borja, on the other hand, remained primarily a singer, and later took over some of the soprano parts that Montaner had previously dominated.

Borja made her first overseas tour to Argentina in 1936 with Lecuona, his sister Ernestina, and Bola de Nieve. The quartet made a film, Adiós, Buenos Aires, in 1937, and Esther stayed there until 1943. From her new base in the Argentine, Borja sang and performed zarzuelas by Lecuona and other composers, and toured Chile, Peru, Brazil and Uruguay. In 1943 she returned to Cuba to work in concerts organized by Eliseo Grenet, and left again to go to New York. There she appeared with Lecuona in the Steinway Hall until Sigmund Romberg put her under contract to appear with his orchestra at the Carnegie Hall. She completed five tours of the U.S.A. with this band. Eventually,^[4] she returned to Cuba, and continued her career in operettas, zarzuelas and on radio. Her last appearances in the lyric theatre were in Madrid and Barcelona in 1953.

For twenty years on Cuban television, from 1961, she fronted^[5] the show Álbum de Cuba, and sang in venues throughout Cuba.^[6][7]

CDs[link]

All CDs are compilations of earlier recordings.

Canta a varias voces 1991.

Rapsodia de Cuba 1992.

Musica de Lecuona 1993.

Canciones cubanas 1994.

Longina 1999.

Canta a dos, tres y cuatro voces 2004.

References[link]

Sindo Garay
in front of huge tree

Sindo Garay was born Antonio Gumersindo Garay Garcia (Santiago de Cuba, 12 April 1867 – Havana, 17 July 1968). He was the first, the smallest,^[1] and perhaps the longest-lived,^[2] of the trova artists taught by Pepe Sánchez. Garay was one of the four greats of the trova. Sindo Garay was Spanish & Arawkan descendant. He was Indo-Cuban.

Life & work[link]

Garay was the most outstanding composer of trova songs, and his best have been sung and recorded many times. Perla marina, Adios a La Habana, Mujer bayamesa, El huracan y la palma, Guarina and many others are now part of Cuba's heritage. Garay was also musically illiterate – in fact, he only taught himself the alphabet at 16 – but in his case not only were scores transcribed by others, but there are recordings as well.

Guarionex and Sindo Garay, 1906

For a long period he sang in a duo with his eldest son Guarionex; he had two other sons and a daughter, and gave them all Indian names.

In the 1890s Garay got involved in the Cuban War of Independence, and decided a stay in Hispaniola (Haiti and Dominican Republic) would be a good idea. It was, and he came back with a wife. Garay settled in Havana in 1906, and in 1926 joined Rita Montaner and others to visit Paris, spending three months there singing his songs. He broadcast on radio, made recordings and survived into modern times. He used to say "Not many men have shaken hands with both Jose Marti and Fidel Castro!" Carlos Puebla, whose life spanned the old and the new trova, told a good joke about him: "Sindo celebrated his 100th birthday several times – in fact, whenever he was short of money!" ^[3][4]

References[link]

1. ^ photographs of him close to others show him to be 5’ at most
2. ^ Chicho Ibáñez lived longer, though he was probably not taught by Sánchez
3. ^ Sublette, Ned 2004. Cuba and its music: from the first drums to the mambo. Chicago. p298
4. ^ de Leon, Carmela 1990. Sindo Garay: memorias de un trovador. La Habana. Garay's life story as told in his nineties; includes a 16-page appendix listing his compositions.

Pablo Milanés Arias (born in Bayamo, Cuba on February 24, 1943) is a Cuban singer-songwriter and guitar player. He studied at a conservatory in Havana. He is considered one of the founders of the Cuban nueva trova, along with Silvio Rodríguez and Noel Nicola. He is a pianist and guitarist whose Brazilian-like melodies set him apart from the raw style of Silvio Rodríguez.

Biography[link]

Once aligned with the government, Milanés has since distanced himself from the official line, to the point of, during the seventies, being sent to a reeducation prison; he has since taken a more discreet line, even occupying political posts in times of greater political freedoms. In the current persecutory environment, he keeps himself mostly quiet, but still avoids participating in pro-government campaigns;^[1][2] but on January 26, 2006, he signed a petition supporting Puerto Rico's independence from the United States of America^{[citation needed]}.

A number of artists have performed with him; among them Silvio Rodríguez, Joaquín Sabina, Ana Belén, Lilia Vera, Joan Manuel Serrat, Víctor Manuel, Compay Segundo, Raul Torres and Chucho Valdés stand out^{[citation needed]}.

Among his songs, "Yolanda", "Yo me quedo", "Amo a esta isla", "Yo pisaré las calles nuevamente", "Para Vivir", and "El breve espacio en que no estás" are especially well-known^{[citation needed]}.

Discography[link]

• 1973 - Versos Sencillos de José Martí
• 1975 - Canta a Nicolás Guillén
• 1976 - La Vida No Vale Nada
• 1977 - No Me Pidas
• 1979 - El Guerrero
• 1979 - Aniversarios
• 1982 - Filin 1
• 1982 - Acto de Fe
• 1983 - El Pregón de las Flores, with Lilia Vera
• 1983 - Años 1, with Luis Peña
• 1984 - Ao Vivo No Brasil
• 1985 - Linda y Leo
• 1985 - Comienzo y Final de una Verde Mañana
• 1986 - Años 2, with Luis Peña, Cotán
• 1987 - Buenos Días América
• 1987 - Trovadores, with Armando Garzón
• 1988 - Proposiciones
• 1989 - Filin 2
• 1989 - Filin 3
• 1990 - Identidad
• 1991 - Canto de la Abuela
• 1991 - Filin 4
• 1991 - Filin 5
• 1992 - Años 3, with Luis Peña, Cotán, Compay Segundo
• 1993 - Querido Pablo
• 1994 - Canta Boleros en Tropicana
• 1994 - Evolución
• 1994 - Igual Que Ayer, con Caco Senante
• 1994 - Orígenes
• 1994 - Plegaria
• 1995 - Si Yo Volviera a Nacer, with María Felicia, José María Vitier
• 1995 - En Blanco y Negro, con Víctor Manuel
• 1997 - Despertar
• 1998 - Vengo Naciendo
• 2000 - Días de Gloria
• 2000 - Live from New York City
• 2002 - Pablo Querido
• 2005 - Como un Campo de Maíz
• 2005 - Líneas Paralelas, with Andy Montáñez
• 2007 - Mas Alla De Todo (with Chuco Valdes)
• 2008 - Regalo
• 2008 - Feeling 6
• 2008 - Raul y Pablo (with Raul Torres)
• 2010 - Palacio Municipal de Congresos de Madrid (live DVD with Chucho Valdés)

References[link]

External links[link]

• Songs and Discographie by Pablo Milanés in CANCIONEROS.COM
• Che, Guía y Ejemplo: - Song of Pablo Milanés dedicated to the Che Guevara
• Evento en New York - Evento de Pablo Milanés en New York Sept 09 2011

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Luis Peña (20 June 1918 in Santander – 29 March 1977 in Madrid) was a Spanish actor.

Peña came from a family of actors and performed in films and theater. In 1946, he married Luchy Soto; the two formed a stage company. He worked on filmed plays for television which were shown on TVE in the 1960s. At the end of his career, he acted for Carlos Saura.

Selected filmography[link]

• Ella, él y sus millones (1944)
• Surcos (1951)
• Calle mayor (1956)
• Amanecer en puerta oscura (1957)
• El jardín de las delicias (1970)
• A House Without Boundaries (1972)
• La prima Angélica (1974)

External links[link]

Biography portal

• Luis Peña at the Internet Movie Database
• Luis Peña at Find a Grave

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