樂士浮生錄:記憶哈瓦那

Live from Buena Vista the Havana Lounge

基本資料

哈瓦那的布宜納維斯塔城區自1930年以來是古巴音樂傳統的聚點。有一些傳統作品的題材取自這個城區，這個城區激發了上一代音樂人的創作靈感。「樂士浮生錄一記憶哈瓦那」多方面展現了豐富多彩的頌樂(Son)傳統風格，它來自布宜納維斯塔當地或附近，並將多種音樂風格融為一體。

在音樂會中，他們以大型、正統的演出陣容演出Chan Chan以及其他較不為人熟知的經典頌樂和傳統風格的新作品。哈瓦那沙龍是哈瓦那傳統音樂的超級明星的集合，其中包括很多大家熟悉的明星。

參與的超級明星有：歌手胡利奧‧阿爾貝托‧費爾南德斯(Julio Alberto Fernandez)，他在「記憶哈瓦那」(Buena Vista Social Club)專輯中與康貝‧塞康多(Compay Segundo)共同演唱了Amor de Loca Juventud，並與康貝‧塞康多(Compay Segundo)有多年的合作關係。作為「記憶哈瓦那」 (Buena Vista Social Club)專輯中最年輕的成員，朱利安‧奧維多(Julienne Oviedo)也作為打擊樂和廷 巴樂(Timba)的非凡高手參與演出。

歌手泰瑞莎‧加西亞‧卡圖爾拉(Teresa Garcia Caturla)是「非裔古巴全明星」(Afro Cuban All Stars)中唯一的女明星，兼具閃耀火花和清香花朵的特質。她也和伊布拉印‧飛列(Ibrahim Ferrer)、康貝‧塞康多(Compay Segundo)以及其他古巴音樂界的明星合作多年。此外還有世界著名的文‧温德斯(Wim Wenders)的音樂電影「記憶哈瓦那」中小號演奏者顏科‧皮察科(Yanko Pizaco) 以及傳奇的「熱帶風情」(Tropicana)中鋼琴演奏者羅道夫‧佩如辛‧阿古丁(Rodolfo "Peruchin" Argudin)等參與演出。

這個組合中也包括全身心致力於傳統音樂、技巧卓越的年輕音樂家。「樂士浮生錄─記憶哈瓦那」讓觀眾感受到精妙的音樂。此音樂體現絕無僅有的魅力，不同的文化影響完美融合在一起，整體突顯了古巴的特徵。

Live from Buena Vista—The Havana Lounge CUBAN MUSIC AND POETRY FROM THE LEGENDARY QUARTER OF HAVANA The Old Heroes of Son Are Back Since the 1930s, the Buena Vista district of Havana has been a synonym for a focal point of Cuban musical tradition. There are a few traditional compositions which deal with this district and its inspiring effect on the musicians of past generation.

LIVE FROM BUENA VISTA—THE HAVANA LOUGE—gives an insight into the wide range of the traditional styles of the Son which came together again in a kind of meting point in and around Buena Vista. Chan Chan as well as Son classics and other new compositions yet unknown in Europe are performed in a large original line up.

THE HAVANA LOUNGE is an union of Top Stars of Havana’s traditional music scene, many of them are also well known in Europe already. The top starts are: the singer Julio Alberto Fernandez who, together with Compay Seguno, sang the title “Amor de Loca Juverntud” on the famous album and worked with.

With Julienne Oviedo participates the youngest member of “Buena Vista Social Club” and a “wizard” of Percussions and Timbales, The singer Teresa Garcia Caturla is the one and only woman from the ”Afro Cuban All Stars” brim-full of this special esprit between a sparkling flame and a tender smelling flower. She also worked with Ibrahim Ferrer, Compay Secundo and many other Top Stars of the Cuban music scene for many years. In addition there is Yanko Pisaco, trumpeter from Wim Wenders’ world-famous music film, as well as Rodolf ”Perchin” Argudin, pianist of the legendary “Tropicana”. This constellation is joined by young musicians who have dedicated their musical skills to traditional music. On balance the spectator who listens to the ”LIVE FROM BUENA VISTA—THE HAVANA LOUNGE” experiences the ultimate in acoustic, handmade music.

The particular appeal of the music seems to be the blend of cultures forming the Cuban identity which are mirrored in Son and woven together in the most virtuoso fashion. The Son Noone is quite sure about the origins of this Cuban sound called ”Son”. The musical historian Danilo Orozco’s research has indicated its origin in the scattered settlements in the mountain ranges of the island’s east: In Sierra Maestra, which runs along the southern coast between Cabo Cruz and Santlago Harbour bordering in the north on Cauto River Valley and in Sierra de Cristal, stretching out further east between Mayari, Guantanamo and Baracoa. As the music, which later became known as “Son”, reached the region’s suburbs at the end of the 19th Century instrumentation and vocals were already unmistakable coined by the influence of Spanish and African cultures. Many factors explain why or how this unique mix of Hispanic and African cultures came about.

The most of the first settlers in the eastern part of the island were Hispanic—from Andalusia or the Canary Islands. In the solitary regions of the mountain ranges and mines far from the cities used to settle Africans from the Bantu and Dahome tribes. The “Cimarrones” retreated to the mountains and spread out over the entire region as the plantations were ruined during the Ten-Year-War. The two Independence Wars in the 19th Century Iead to a deeper mixture of released blacks, mulattos and whites, all of them followers of the national freedom movement.

Social and geographical factors damaged the close environment in which the Son arose and had been established from generation to generation. Some family members moved in the cities and some stayed in the country, but they still kept contact. The word “Son” originally expressed the entire experience of a common festival with its songs and dances. Mostly probably, however, “Son” was a simultaneous development of traditions in many different regions-but grew especially strong where was bustling exchange country and city and where was a lot of contact between black and white. The Son Montuno As the son reached the suburbs of Santiago de Cuba, the population dubbed it, “Son montuno” or ”mountain Son”, revealing its rural nature. As the story goes, a tres player named Nene Manfugas introduced Son during the Parade in 1892. At that time the instrumentation consisted of tres, guiro and bongo.

The Havana Son Eatly in Cuba’s musical history, performers basically came only together for an appearance when a festival contract or a pressing engagement arose. At this time the Son was still considered as primitive. In fact, a court report denounced the Son due to the”… performance of sinful dancing with African instruments”.

Despite their early skepticism, the local bourgeois soon came to accept and even love the new rhythms that the Son brought with it. In the year 1916, the nephew of President Mario Garcia Menocal, hired the Son performers known as “Los Apaches”, who originated from the core de guaguanco Paso Franco, to play at a festival. Son cubano: In the Past, Present, and Future The Cuban Son, as it is known today, born at the dawn of 20th Century in the heart of the island’s eastern mountains, reveals a patchwork made of African Bentu rhythms and traditional Hispanic music. Performers from Guantanamo, Manzanillo, Santiago de Cuba and Baracoa, coax this traditional sound from the string of the Cuban Tres, an instrument vital to producing the Son’s unique essence.

Program
Chan Chan
Maria Cristina
Perla Marina
Yo soy el punto cubano
Besame mucho
Alegria y Tristeza
20 anos
Layra y Camila
Dos Gardenias
Lagrimas negras
Y tu que has hecho
El cuarto de Tula
Aurora
Bilongo
Son de la loma
Guantanamera

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