Cuban Trova generated, during its development, typologies having a wide generic and stylistic spectrum within the song, placing in its environment works of great musical value and high poetical quality.

Pepe Sánchez, composer and guitarist, born in Santiago de Cuba, March 19, 1856 and died on January 3, 1918. Considered as Father of the Cuban Trova and Professor of troubadours.

Is the first of the songwriters crystallizing works on this stream, which was already flourishing within the XIX century`s anonymous popular song, adding afterwards such notable names as Sindo Garay, Rosendo Ruíz Suárez, Alberto Villalón, Patricio Vallagas, Manuel Corona, Miguel Campanioni, Rafael Gómez (Teofílito) and many others, bequeathing an ample repertoire of boleros, songs and guarachas on the first stages of the so-called Traditional Trova, powerfully strengthened in the following century. Through them, the image of smoky, bohemian singers as reflexive chroniclers of human topics and love in all its edges was printed forever in Cuban culture memory.

Around 1925, Trova linked to Son, playing the leader role Miguel Matamoros´s creations and his paradigmatic trio, plus other remarkable artists leading Trova's speech towards new formal and stylistic streams, contributing its popularization and international spreading, we can highlight unforgettable duets: María Teresa Vera and Rafael Zequeira, María Teresa Vera and Lorenzo Hierrezuelo, the latter joining also Francisco Repilado first and his brother Reynaldo afterwards, in the anthological Duet Los Compadres, among other peerless unions.

Courtesy of the musicologist Jesus Gómez Cairo.