On January 1, 1879 at the Matanzas City`s Lyceum, the early accords of the first danzón entitled Alturas de Simpson by Miguel Faílde were listened.

Very soon the new musical tune and some other similar songs picked high in the preference list of all kind of publics and with the time, the new rhythm became a distinctive feature of Cubaness, evincing the nature of all inhabitants in the island thanks to the character and sensuality hidden in its compasses 2 for 4.

After a pletoric introduction in splendid notes during which dancing couples represent or sometimes are protagonists of courtship rituals, a first part arrives in which the melody is faster than in the second one because it is conceived for the agility of the clarinet, instrument substituted in charangas orchestras by the flute.

This genre -derived from the well known dancing of figures known as Danza and the famous Habaneras, both very popular during the second half of XIX century- allowed the flute player boast his skills and virtuosity in melodies written in quick configurations, precisely for this purpose.

The introduction is coming again, with its lower rhythm, being this time a bridge, a connection after which we can enter to metals time -violin in Charanga-.

The last time is frecuently featured by a faster movement closely related to rumba or son according to notes on Dictionary of Cuban Music by Specialist Helio Orovio.

Others famous danzones such as El bombín de Barreto, Marcheta, Siglo XX, Jibacoa, La flauta mágica, Almendra, Papá Montero, Tres lindas cubanas, Las perlas de tu boca, Flores negras, Si llego a besarte, Engancha carretero and El cadete constitucional, just to mention a few, entered alike with fine and peerless melody the exquisite salons of the Habana-based aristocracy and the modest houses of humble industrial operators.

José Urfé added to this genre tunes and influences coming from the son, and Antonio María Romeu -well known with the nickname of El Mago de las Teclas- elevated it to the category of National Dance of Cuba.

Cuban performers for the likes of Fernando Collazo and Barbarito Diez made of this beloved rhythm an institution above which they based the support of their deserved fame, assigning to each song a particular and unique tone and style.

With the climax of son around the last century`s 20s, danzón declined in popularity giving birth to a new rhythm known as Danzonete. In further years new musical evevts emerged changing the line up in the groups approaching them.

Danzón, apparently denuded of the former royalty it possessed, emigrated to Mexico, Puerto Rico, Dominican Republic, Venezuela and some other nations geographically related to the island waiting for better times.

Veracruz, one of the most joyful, elegant and prosperous cities from Mexico, opened its arms to danzón and, as it`s been said, it`s very usual to find it nowadays in almost any celebration, where couples simply fall to the enchant of its sweet melody.

Taken from Cubarte, El Danzón: De Simpson a estas alturas. 2004 by Madeleine Rodríguez Pernas.

More Cuban music in Discuba