Contradanza
Encyclopedia
The Cuba
n contradanza (also called contradanza criolla, danza or danza criolla) was a popular dance music genre of the 19th century.
, which was an internationally popular form of music and dance of the late 18th century. It was brought to Santiago de Cuba by French colonists fleeing the Haitian Revolution in the 1790s (Carpentier 2001:146).
The earliest Cuban contradanza of which a record remains is "San Pascual Bailón," written in 1803 (Orovio 1981:118). This work shows the contradanza in its embryonic form, lacking characteristics that would later set it apart from the contredanse. The time signature is 2/4 with two sections of eight bars, repeated- AABB (Santos 1982).
During the first half of the 19th century, the contradanza dominated the Cuban musical scene to such an extent that nearly all Cuban composers of the time, whether composing for the concert hall or the dance hall, tried their hands at the contradanza (Alén 1994:82). Among them, Manuel Saumell (1817–1870) is the most noted (Carpentier 2001:185-193).
The contradanza, when played as dance music, was performed by the orquesta típica
, an ensemble composed of two violins, two clarinets, a contrabass, a cornet, a trombone, an ophicleide
, paila and a güiro
(Alén 1994:82).
The cinquillo is a syncopated rhythm whose introduction into the contradanza/danza began its differentiation from a strictly European form of music.
Carpentier (2001:149) states that the cinquillo was brought to Cuba in the songs of the black slaves and freedmen who emigrated to Santiago de Cuba from Haiti in the 1790s.
Although the cinquillo was introduced into the contradanza in Santiago at the beginning of the 19th century, composers in western Cuba remained ignorant of its existence:
A danza entitled El Sungambelo," dated 1813, has the same structure as the contradanza- the four-section scheme is repeated twice: ABAB (Santos 1982). In this early piece, the cinquillo rhythm can already be heard.
and the danzón
(Carpentier 2001:147).
The danza dominated Cuban music in the second half of the 19th century, though not as completely as the contradanza had in the first half. Two famous Cuban composers in particular, Ignacio Cervantes
(1847–1905) and Ernesto Lecuona
(1895–1963), used the danza as the basis of some of their most memorable compositions. And, in spite of competition from the danzón, which eventually won out, the danza continued to be composed as dance music into the 1920s. By this time, the charanga
had replaced the orquesta típica of the 19th century (Alén 1994:82- example: "Tutankamen" by Ricardo Reverón).
The music and dance of the contradanza/danza are no longer popular in Cuba, but are occasionally featured in the performances of professional or amateur folklore groups.
Cuba
The Republic of Cuba is an island nation in the Caribbean. The nation of Cuba consists of the main island of Cuba, the Isla de la Juventud, and several archipelagos. Havana is the largest city in Cuba and the country's capital. Santiago de Cuba is the second largest city...
n contradanza (also called contradanza criolla, danza or danza criolla) was a popular dance music genre of the 19th century.
Origins and Early Development
Its origins dated back to the European contredanseContra dance
Contra dance refers to several partnered folk dance styles in which couples dance in two facing lines...
, which was an internationally popular form of music and dance of the late 18th century. It was brought to Santiago de Cuba by French colonists fleeing the Haitian Revolution in the 1790s (Carpentier 2001:146).
The earliest Cuban contradanza of which a record remains is "San Pascual Bailón," written in 1803 (Orovio 1981:118). This work shows the contradanza in its embryonic form, lacking characteristics that would later set it apart from the contredanse. The time signature is 2/4 with two sections of eight bars, repeated- AABB (Santos 1982).
During the first half of the 19th century, the contradanza dominated the Cuban musical scene to such an extent that nearly all Cuban composers of the time, whether composing for the concert hall or the dance hall, tried their hands at the contradanza (Alén 1994:82). Among them, Manuel Saumell (1817–1870) is the most noted (Carpentier 2001:185-193).
The contradanza, when played as dance music, was performed by the orquesta típica
Orquesta típica
Orquesta típica, or simply a típica, is a Latin-American term for a band which plays popular music. The details vary from country to country. The term tends to be used for groups of medium size in some well-defined instrumental set-up.- Argentina :In Argentina, a típica is a tango orchestra...
, an ensemble composed of two violins, two clarinets, a contrabass, a cornet, a trombone, an ophicleide
Ophicleide
The ophicleide is a family of conical bore, brass keyed-bugles. It has a similar shape to the sudrophone.- History :The ophicleide was invented in 1817 and patented in 1821 by French instrument maker Jean Hilaire Asté as an extension to the keyed bugle or Royal Kent bugle family...
, paila and a güiro
Güiro
The güiro is a Latin-American percussion instrument consisting of an open-ended, hollow gourd with parallel notches cut in one side. It is played by rubbing a stick or tines along the notches to produce a ratchet-like sound. The güiro is commonly used in Latin-American music, and plays a key role...
(Alén 1994:82).
Cinquillo
Carpentier (2001:149) states that the cinquillo was brought to Cuba in the songs of the black slaves and freedmen who emigrated to Santiago de Cuba from Haiti in the 1790s.
Although the cinquillo was introduced into the contradanza in Santiago at the beginning of the 19th century, composers in western Cuba remained ignorant of its existence:
"In the days when a trip from Havana to Santiago was a fifteen-day adventure (or more), it was possible for two types of contradanza to coexist: one closer to the classical pattern, marked by the spirits of the minuet, which later would be reflected in the danzónDanzónDanzón is the official dance of Cuba. It is also an active musical form in Mexico and is still beloved in Puerto Rico where Verdeluz, a modern danzón by Puerto Rican composer Antonio Cabán Vale is considered the unofficial national anthem...
, by way of the danza; the other, more popular, which followed its evolution begun in Haiti, thanks to the presence of the 'French Blacks' in eastern Cuba (Carpentier 2001:150)."
Danza
According to Argeliers Léon (1974:8), the word danza was merely a contraction of contradanza and there are no substantial differences between the music of the contradanza and the danza. In fact, both terms continued to denominate what was essentially the same thing throughout the 19th century.A danza entitled El Sungambelo," dated 1813, has the same structure as the contradanza- the four-section scheme is repeated twice: ABAB (Santos 1982). In this early piece, the cinquillo rhythm can already be heard.
Later Development
The contradanza in 6/8 evolved into the clave, the criolla and the guajira. From the contradanza in 2/4 came the (danza) habaneraHabanera (music)
The habanera is a genre of Cuban popular dance music of the 19th century. It is a creolized form which developed from the contradanza. It has a characteristic "Habanera rhythm", and is performed with sung lyrics...
and the danzón
Danzón
Danzón is the official dance of Cuba. It is also an active musical form in Mexico and is still beloved in Puerto Rico where Verdeluz, a modern danzón by Puerto Rican composer Antonio Cabán Vale is considered the unofficial national anthem...
(Carpentier 2001:147).
The danza dominated Cuban music in the second half of the 19th century, though not as completely as the contradanza had in the first half. Two famous Cuban composers in particular, Ignacio Cervantes
Ignacio Cervantes
Ignacio Cervantes Kawanagh was a Cuban virtuoso pianist and composer. He was influential in the creolization of Cuban music....
(1847–1905) and Ernesto Lecuona
Ernesto Lecuona
Ernesto Lecuona y Casado was a Cuban composer and pianist of Canarian father and Cuban mother, and worldwide fame. He composed over six hundred pieces, mostly in the Cuban vein, and was a pianist of exceptional quality....
(1895–1963), used the danza as the basis of some of their most memorable compositions. And, in spite of competition from the danzón, which eventually won out, the danza continued to be composed as dance music into the 1920s. By this time, the charanga
Charanga
Charanga is a term given to traditional ensembles of Cuban dance music. They made Cuban dance music popular in the 1940s and their music consisted of heavily son-influenced material, performed on European instruments such as violin and flute by a Charanga orchestra....
had replaced the orquesta típica of the 19th century (Alén 1994:82- example: "Tutankamen" by Ricardo Reverón).
The music and dance of the contradanza/danza are no longer popular in Cuba, but are occasionally featured in the performances of professional or amateur folklore groups.
Discography
- The Cuban Danzon: Its Ancestors and Descendants 1982. Various Artists. Folkways Records - FW04066
Further reading
- Alén, Olavo. 1994. De lo Afrocubano a la Salsa. La Habana, Ediciones ARTEX
- Carpentier, Alejo. Music in Cuba. Edited by Timothy Brennan. Translated by Alan West-Durán. Minneapolis: University of Minnesota Press, 2001.
- Léon, Argeliers. 1974. De la Contradanza al Danzón. In Fernández, María Antonia (1974) Bailes Populares Cubanos. La Habana, Editorial Pueblo y Educación.
- Orovio, Helio. 1981. Diccionario de la Música Cubana. La Habana, Editorial Letras Cubanas. ISBN 959-10-0048-0
- Santos, John. 1982. The Cuban Danzón: Its Ancestors and Descendants, liner notes. Folkways Records - FW04066