{"id":206837,"date":"2021-02-01T00:22:38","date_gmt":"2021-01-31T23:22:38","guid":{"rendered":"https:\/\/tucuentavip.com\/es\/?p=206837"},"modified":"2021-02-01T06:13:25","modified_gmt":"2021-02-01T05:13:25","slug":"un-centenario-del-reinado-del-son","status":"publish","type":"post","link":"https:\/\/theprisma.co.uk\/es\/2021\/02\/01\/un-centenario-del-reinado-del-son\/","title":{"rendered":"Un centenario del reinado del son"},"content":{"rendered":"

La cultura cubana registr\u00f3 un hito cuando en los albores de 1920 un grupo de m\u00fasicos concibieron en un local de la calle Lealtad, entre Zanja y Dragones, hoy Centro Habana, la idea de formar un sexteto para interpretar el g\u00e9nero musical bailable conocido como \u2018son\u2019. Hoy son el \u2018Septeto habanero\u201d.<\/em><\/p>\n

 <\/p>\n

\"\"<\/a>Jorge Petinaud Mart\u00ednez<\/a><\/strong><\/p>\n

 <\/p>\n

Naci\u00f3 as\u00ed el Sexteto Habanero, conformado por Guillermo Castillo (guitarra y director), Carlos God\u00ednez (tres), Gerardo Mart\u00ednez ( voz prima y claves), Antonio Bacallao (botija), Oscar Sotolongo (bong\u00f3) y Felipe Nery Cabrera (maracas).<\/p>\n

Aquellos seis innovadores musicales de raigambre popular conquistaron muy pronto la admiraci\u00f3n, primero de los bailadores en la capital, y tras la irrupci\u00f3n de la radio en Cuba, en agosto de 1922, su fama y aceptaci\u00f3n se extendi\u00f3 a todo el pa\u00eds.<\/p>\n

Tal fue el \u00e9xito de la agrupaci\u00f3n, que pese a los prejuicios raciales y de clases de entonces, los m\u00e1s importantes salones capitalinos reclamaron su presencia.<\/p>\n

Entonces se hizo necesario en 1924 un cambio en la imagen con la sustituci\u00f3n de la botija<\/em> por el contrabajo yuna elegante vestimenta para los miembros.<\/p>\n

\"\"
Foto Prensa Latina<\/figcaption><\/figure>\n

Con ello el Sexteto Habanero<\/em> se convirti\u00f3 en la primera agrupaci\u00f3n de sones que se profesionaliz\u00f3 e impuso esta tradici\u00f3n de vestuario en Cuba.<\/p>\n

En 1925, con la obra \u201cTres lindas cubanas\u201d<\/em>, de Guillermo Castillo, ganaron el Concurso Nacional de Son, y ese mismo a\u00f1o fueron los primeros m\u00fasicos del mundo que grabaron una obra de este g\u00e9nero para la RCA V\u00edctor (\u201cLa maldita timidez\u201d<\/em>, de Carlos Vald\u00e9s Brito).<\/p>\n

Despu\u00e9s aparecieron en una de las primeras pel\u00edculas sonoras del planeta, \u201cEl Puerto del infierno\u201d<\/em>, para lo cual viajaron a Tampa, Estados Unidos, en 1929, y luego se convirtieron en Septeto Habanero<\/em> en 1927, al incorporar al trompetista Enrique Hern\u00e1ndez Urrutia, sustituido posteriormente por F\u00e9lix Chappott\u00edn.<\/p>\n

Comercializados por la RCA V\u00edctor<\/em> en todo el continente americano y el resto del mundo, los sus discos marcaron desde la d\u00e9cada de 1920 el inicio del reinado del son, a tal punto que el gran compositor Ernesto Lecuona escribi\u00f3 para esta agrupaci\u00f3n obras como \u201cSe fue\u201d<\/em>, \u201cAndar, andar\u201d<\/em> y \u201cPor un beso de tu boca\u201d<\/em>.<\/p>\n

\"\"<\/em>\u201cA la Loma de Bel\u00e9n\u201d<\/em>, \u201cCabo de la Guardia\u201d<\/em>, \u201cMujeres no se duerman\u201d<\/em>, \u201cLas cuatro palomas\u201d<\/em>, \u201cPap\u00e1 Montero\u201d<\/em> y otros cantos que eran la base del repertorio del Sexteto, se hicieron populares en un d\u00eda.<\/p>\n

\u201cFue as\u00ed como el septeto se convirti\u00f3 en escuela de soneros, y en distintas etapas figuraron en la agrupaci\u00f3n relevantes m\u00fasicos como Jos\u00e9 Interi\u00e1n, Manolo Fur\u00e9 (directores), Abelardo Barroso, Panchito Riset, Arsenio Rodr\u00edguez, Agust\u00edn Guti\u00e9rrez, Cheo Marquetti, La\u00edto Sureda, Alfredo ‘Chocolate’ Armenteros, Vicentico Vald\u00e9s y Jos\u00e9 Artemio Casta\u00f1eda (Maracaibo), entre otros\u201d, explic\u00f3 a Cuba Internacional en exclusiva Jaime Graci\u00e1n Hern\u00e1ndez, actual director art\u00edstico del grupo.<\/p>\n

En estos 100 a\u00f1os merece una referencia aparte Germ\u00e1n Pedro Ib\u00e1\u00f1ez, compositor, cantante, guitarrista y arreglista, quien fue su director musical por m\u00e1s de cuatro d\u00e9cadas (1964-2007).
\nEntre los aportes de Ib\u00e1\u00f1ez estuvo el rescate en 1983 del formato original de la agrupaci\u00f3n, que a partir de la d\u00e9cada de 1940 se hab\u00eda convertido en el conjunto T\u00edpico Habanero<\/em>.<\/p>\n

\"\"\u201cLa llegada de Pedrito Ib\u00e1\u00f1ez marc\u00f3 un antes y un despu\u00e9s, porque fue el artista que mantuvo y revitaliz\u00f3 el repertorio original, muchos de los temas que inicialmente se dieron a conocer a principios de la d\u00e9cada del 20 no fueron concebidos con la trompeta, instrumento que en sus inicios no tuvo el sexteto hasta 1927\u201d, subray\u00f3.<\/p>\n

Ib\u00e1\u00f1ez rescat\u00f3 el repertorio de los tiempos originarios, les puso mambos o intervenciones del instrumento de viento metal entre un coro y otro y lo increment\u00f3 con temas de su autor\u00eda. Seg\u00fan Graci\u00e1n, gracias a esta labor, a 100 a\u00f1os de su fundaci\u00f3n, el Septeto Habanero<\/em> deleita a los bailadores con la contemporaneidad y la fidelidad a la tradici\u00f3n de \u00e9xitos como \u201cEl orgullo de los soneros\u201d<\/em>, \u201cRevive la ilusi\u00f3n\u201d<\/em>, \u201cDesde el d\u00eda en que te vi\u201d<\/em> y \u201cAlerta a los bailadores\u201d,<\/em> entre otros. (PL)<\/a><\/p>\n

(Fotos: Pixabay)<\/a><\/em><\/p>\n

\n\t\t\t\t\tTweet<\/a>\n\t\t\t\t<\/div><\/div>","protected":false},"excerpt":{"rendered":"

La cultura cubana registr\u00f3 un hito cuando en los albores de 1920 un grupo de m\u00fasicos concibieron en un local de la calle Lealtad, entre Zanja y Dragones, hoy Centro Habana, la idea de formar un sexteto para interpretar el g\u00e9nero musical bailable conocido como \u2018son\u2019. Hoy son el \u2018Septeto […]<\/p>\n","protected":false},"author":9,"featured_media":158562,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14,10,12,21,16,7],"tags":[],"class_list":["post-206837","post","type-post","status-publish","format-standard","has-post-thumbnail","category-en-foco","category-globo","category-latinoamerica","category-migrantes","category-multicultura","category-opinion"],"yoast_head":"\nUn centenario del reinado del son - ThePrisma.co.uk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/theprisma.co.uk\/es\/2021\/02\/01\/un-centenario-del-reinado-del-son\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Un centenario del reinado del son - ThePrisma.co.uk\" \/>\n<meta property=\"og:description\" content=\"La cultura cubana registr\u00f3 un hito cuando en los albores de 1920 un grupo de m\u00fasicos concibieron en un local de la calle Lealtad, entre Zanja y Dragones, hoy Centro Habana, la idea de formar un sexteto para interpretar el g\u00e9nero musical bailable conocido como \u2018son\u2019. 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