Nueva
Trova Movement is formed when La Casa de las Américas, organized in
1967, the ''Primer Encuentro de la canción Protesta'', with
the attendance of Silvio Rodríguez, Pablo Milanés and
Sara González, who already had hymn-like compositions, popular
among the youth. New Trova´s members recognize a varied influence
of Beatles, Bob Dylan and Joan Baez; Daniel Viglietti and Violeta
Parra -with the inclusion of South American rhythms and instruments-
also Joan Manuel Serrat. Songs are based in its content, generally
very elaborated, poetically speaking, running from political to love
themes.
Having origins in the feeling environmnet, the young Pablo Milanés made his bow, whose work ''Mis Veintidos'', in some expert's opinions,
added essential hints to the Nueva Trova Movement's further production,
featured around the 70s, which faced little previous contradictions
due to the subsistence struggle of the former decade. Owner of a beautiful
and well-equipped voice, Pablo springs through his works the lyric
potentiality of the Cuban song.
His creations present frequent traditional airs, giving to the music,
morph-syntactic and entonational alternatives that amazed many followers
of other compositional works. His songs acquired, in addition, a special
attraction for foreign singers. Pablo's guitar is expressive
and ductile to the stylistic changes, but the new formulations contained
in most of his works, plus the joining to other musicians of varied
genres, achieved combinatory pieces that radically transformed function
and speech of partner musical groups working with him and it happened
in such a deep way that his musical sheets offered to the group very complex
concert functions.
At the same time, Silvio enters directly in the new stylistic Trova
stage. His poetry shakes dream-like visions that were keeping some
sectors of the Cuban song in a contemplative atmosphere. He deprives
the words from pink shades and refined intentions, considered so far,
as the proper intonation of the prose's speech, substituting shying
similes by sharp metaphors and printing, with parabolic language,
a mystic tone of events to the new Movement.
The musical innovations of Silvio Rodríguez, are closely related to his literary
intentions, his guitarist creation acquires an enhancing that for
moments goes far beyond the natural references of the instrument to
suggest atmospheres of other sonorous worlds, or became simple like
the text when the idea demands it; he also recomposes alternatives
of what is singable, dimensioning the ornaments to give them thematic
quality, included in his self cosmovision of song, assuming the rupture
of certain rhythmic conventions. The melody overflows its habitual
beds in this kind of song, so, in this way, the voice is moving around
unexpected and complex surroundings, designing issues of singular
beauty.
This movement is integrated by numerous and interesting cultivators,
highlighting creations of Noel Nicola, Eduardo Ramos, Sara González,
Vicente Feliú, Lázaro García, Amaury Pérez among others, who score classic variants of novel resources regarding
to conception and interpretation. A multifaceted bundle of more
recent songwriters multiplies creative efforts and retraces undiscovered
roads. Some names began to flash rays of fame.
The Nueva Trova impact provokes resounding around the Hispanic and
Latin American environment. The also called new song, Chilean, Brazilian,
Uruguayan or Argentinean, receive and give echoes from ''that one'',
in its particular way of creation. For the popular Spaniard song,
it meant a new breath that formed a great part of its early twenty
years production. In our country, genres related to this aesthetics
are spreading through young interpreters, some of them became classic
already, others prefer to try on seemingly distant genres like Rock.
Remarkable musicians having no troubadours roots, have rendered
tribute to the Cuban Trova, among them we can highlight Benny Moré,
Bola de Nieve, Frank Fernández, Juan Formell and Leo
Brouwer.
Through initial recreations of Electo Silva, our Trova went deep
into the choral scene, featuring rooty figurations and a poetic-musical
metaphor that leads plenty of the best music for chorus in the second
half of the XX century.
Courtesy of the musicologist Jesus Gómez
Cairo.
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