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[[File:José Marín Varona.jpg|thumb|130px|right|José Marín Varona.]]
[[File:José Marín Varona.jpg|thumb|280x280px|right|José Marín Varona.]]
'''José Marín Varona''' ([[Camagüey]], March 10, 1859{{snd}}[[Havana]], September 17, 1912) was a Cuban composer, conductor, pianist and professor.<ref name="Orovio">Marín Varona, José: Orovio, Helio: uban Music from A to Z, DukeUniversity Press, Durham, U. S., 2004</ref>
'''José Marín Varona''' ([[Camagüey]], March 10, 1859{{snd}}[[Havana]], September 17, 1912) was a Cuban composer, conductor, pianist and professor.<ref name="Orovio">Marín Varona, José: Orovio, Helio: uban Music from A to Z, DukeUniversity Press, Durham, U. S., 2004</ref>


==Biographical note==
==Biographical note==


José Marín Varona was born on March 10, 1859 in the city of [[Camagüey]], where he began his musical studies with professor Mariano Agüero. At a later time, Varona established his residence in [[Havana]].<ref name="EcuRed">EcuRed: José Marín Varona: https://www.ecured.cu/Jos%C3%A9_Mar%C3%ADn_Varona</ref>
José Marín Varona was born on March 10, 1859, in the city of [[Camagüey]], where he began his musical studies with professor Mariano Agüero. At a later time, Varona established his residence in [[Havana]].{{citation needed|date=August 2022}}


In 1896, the composer included in his [[zarzuela]] "El Brujo" the first Cuban [[Guajira (music)|guajira]] which has been historically documented.<ref>Rodríguez Ruidíaz, Armando: La guajira, la clave y la criolla de Cuba: academia.ed: https://www.academia.edu/32604047/La_guajira_la_clave_y_la_criolla_de_Cuba</ref><ref name="Orovio"/>
In 1896, the composer included in his [[zarzuela]] "El Brujo" the first Cuban [[Guajira (music)|guajira]] which has been historically documented.<ref>Rodríguez Ruidíaz, Armando: La guajira, la clave y la criolla de Cuba: academia.ed: https://www.academia.edu/32604047/La_guajira_la_clave_y_la_criolla_de_Cuba</ref><ref name="Orovio"/>
Line 10: Line 10:
About this piece, composer [[Eduardo Sánchez de Fuentes]] said: "The honest critique of a not very far day will bestow the author of the immortal guajira of "El Brujo" the honor to which he is undoubtedly entitled at any time".<ref>Sánchez de Fuentes, Eduardo: Artículo en “Folklorismo”editado por Imprenta “Molina y Compañía”, Ricla, Num 55-57, La Habana, 1928.</ref>
About this piece, composer [[Eduardo Sánchez de Fuentes]] said: "The honest critique of a not very far day will bestow the author of the immortal guajira of "El Brujo" the honor to which he is undoubtedly entitled at any time".<ref>Sánchez de Fuentes, Eduardo: Artículo en “Folklorismo”editado por Imprenta “Molina y Compañía”, Ricla, Num 55-57, La Habana, 1928.</ref>


Shortly after the premiere of "El Brujo", Marín Varona travelled to the [[United States]] because of threats received from the Spanish government because of his support of the Cuban independence movement. During his exile he continued hia musical activity and offered presentations with the purpose of collaborating with the national independence cause. In Key West he contributed to the local media with news articles and musical critique.<ref name="EcuRed"/><ref name="Orovio"/>
Shortly after the premiere of "El Brujo", Marín Varona travelled to the [[United States]] because of threats received from the Spanish government because of his support of the Cuban independence movement. During his exile, he continued his musical activity and offered presentations with the purpose of collaborating with the national independence cause. In Key West, he contributed to the local media with news articles and musical critique.<ref name="Orovio"/>


Upon returning to Cuba, Marín Varona was married to the Spanish singer Amalia Rodríguez and travelled through the Americas with [[zarzuela]] and [[operetta]] companies.
Upon returning to Cuba, Marín Varona was married to the Spanish singer Amalia Rodríguez and travelled through the Americas with [[zarzuela]] and [[operetta]] companies.

In 1913, Cuban composer José Mauri offered a lecture about his work at the National Academy of Arts and Literature; and in 1916, the Infantry Band of the Army recorded four of his caprices called "Tropicales" (Esperanza, Ensueños, Novelita and Íntima) for the VIctor Recording Company.<ref name="EcuRed"/>
In 1913, Cuban composer José Mauri offered a lecture about his work at the National Academy of Arts and Literature; and in 1916, the Infantry Band of the Army recorded four of his caprices called "Tropicales" (Esperanza, Ensueños, Novelita and Íntima) for the Victor Recording Company.{{citation needed|date=August 2022}}


==Professional activity==
==Professional activity==


The work of José Marín Varona links the musical actiivity of the end of the 19th Century and the beginning of the 20th Century in Cuba.
The work of José Marín Varona links the musical activity of the end of the 19th century and the beginning of the 20th century in Cuba.


After his arrival to [[Havana]] at a very young age, Marín Varona worked as a [[sight singing]] and [[piano]] at the Municipal Conservatory;<ref name="Orovio"/> and after the Republic inauguration, in 1902, he founded the Army [[Staff (military)]] Band. In 1905 Marín Varona also organized the Artillery Band, for which he composed and arranged numerous pieces, such as the Tributo al Maine, Himno para el Yara, Huérfanos de la Patria, Gobernador Magoon and La Independencia, among ohers.<ref name="EcuRed"/><ref name="Orovio"/>
After his arrival to [[Havana]] at a very young age, Marín Varona worked as a [[sight singing]] and [[piano]] at the Municipal Conservatory;<ref name="Orovio"/> and after the Republic inauguration, in 1902, he founded the Army [[Staff (military)]] Band. In 1905 Marín Varona also organized the Artillery Band, for which he composed and arranged numerous pieces, such as the Tributo al Maine, Himno para el Yara, Huérfanos de la Patria, Gobernador Magoon and La Independencia, among others.<ref name="Orovio"/>


José Marín Varona created the "Cuba Musical" magazine where he exerted musical critique and published numorous articles abour the Havana artistic activity during the first years of the Republic. He also collaborated as a journalist to other local publications. Marín Varona was a professor at the Municipal Conservatory of [[Havana]] and a member of National Academy of Arts and Literature, where he participated as President of the Music Section for many years. He also wrote "Complete treatise on music theory".
José Marín Varona created the "Cuba Musical" magazine,, where he exerted musical critique and published numerous articles about the Havana artistic activity during the first years of the Republic. He also collaborated as a journalist to other local publications. Marín Varona was a professor at the Municipal Conservatory of [[Havana]] and a member of National Academy of Arts and Literature, where he participated as President of the Music Section for many years. He also wrote "Complete treatise on music theory".


Marín Varona served for a long time as conductor of the Albisu Theater orchestra along with Spanish conductor Modesto Julián. He also regularly collaborated with the famous Alhambra Theater (since its foundation to 1912), for which he composed pieces such as the [[zarzuela]] "La Guaracha". He shared the podium at that venue with Maestro Rafael Palau.<ref name="Orovio"/><ref name="EcuRed"/>
Marín Varona served for a long time as conductor of the [[Albisu Theatre|Albisu Theater]] orchestra along with Spanish conductor Modesto Julián. He also regularly collaborated with the famous Alhambra Theater (since its foundation to 1912), for which he composed pieces such as the [[zarzuela]] "La Guaracha". He shared the podium at that venue with Maestro Rafael Palau.<ref name="Orovio"/>


==Composer==
==Composer==


José Marín Varona was a prolific composer of musica that included [[zarzuela]]s, romanzas, children music for piano, pot-pourris and [[danza]]s. His work belongs to the most significative output within the Cuban nationalist movement from the end of the 19th Century. The first piece he composed, the "Consuelo" waltz, was created by him when he was just twenty years old.<ref name="Orovio"/>
José Marín Varona was a prolific composer of music that included [[zarzuela]]s, romanzas, children music for piano, pot-potpourris and [[danza]]s. His work belongs to the most significant output within the Cuban nationalist movement from the end of the 19th century. The first piece he composed, the "Consuelo" waltz, was created by him when he was just twenty years old.<ref name="Orovio"/>


The "Tropicales" pieces (subtiled tropical caprices) from Marín Varona, which received an award at the Paris Universal Exposition in 1900, were defined as "real concert dances, marked by the end of the Century creole style".<ref name="EcuRed"/>
The "Tropicales" pieces (subtiled tropical caprices) from Marín Varona, which received an award at the Paris Universal Exposition in 1900, were defined as "real concert dances, marked by the end of the Century creole style".{{citation needed|date=August 2022}}


In his songs it is possible to notice a notable relation between elements characteristic of [[popular music]] and those of [[Concert|concert music]]. "Siempre tú" and "Ilusión" – denominations that correspond to certain "Tropicales" pieces for, voice and piano- show an evident influence from Italian lyric style and the technical melodic difficulties of the operatic [[aria]]; while the accompaniment rhythm presents the most popular characteristics of Cuban music. Such treats may be perceived in many other of his pieces.
In his songs it is possible to notice a notable relation between elements characteristic of [[popular music]] and those of [[Concert|concert music]]. "Siempre tú" and "Ilusión" – denominations that correspond to certain "Tropicales" pieces for, voice and piano- show an evident influence from Italian lyric style and the technical melodic difficulties of the operatic [[aria]]; while the accompaniment rhythm presents the most popular characteristics of Cuban music. Such treats may be perceived in many other of his pieces.


José Marín Varona passed away in [[Havana]] on September 17, 1912. During the funeral service the Infantry Band interpreted his song "Acuérdate de mí", and that same year the famous Cuban soprano Chalía Herrera recorded some of his works in [[New York City|New York]].<ref name="EcuRed"/>
José Marín Varona passed away in [[Havana]] on September 17, 1912. During the funeral service the Infantry Band interpreted his song "Acuérdate de mí", and that same year the famous Cuban soprano Chalía Herrera recorded some of his works in [[New York City]].{{citation needed|date=August 2022}}

==Woroks==

⚫
'''Zarzuelas'''


==Works==
⚫
;Zarzuelas
* Ábreme la puerta, F. Villoch
* Ábreme la puerta, F. Villoch
* El 10 de Octubre, décimas, 2V, A. Díaz
* El 10 de Octubre, décimas, 2V, A. Díaz
Line 49: Line 48:
* Tute arrastrado, M. Zardoya
* Tute arrastrado, M. Zardoya


'''Himns y marches'''
;Himns y marches
* General Rojas; Gobernador Maggon's, Bnd (Ed. Artillery Corps Printing, 1908)
* General Rojas; Gobernador Maggon's, Bnd (Ed. Artillery Corps Printing, 1908)
* Himno de Bayano, Himno invasor, 1899
* Himno de Bayano, Himno invasor, 1899
Line 61: Line 59:
* Tributo al Maine
* Tributo al Maine


'''Voice and piano'''
;Voice and piano

* A ti
* A ti
* A una mascarita
* A una mascarita
Line 108: Line 105:
* Ven vida mía
* Ven vida mía


'''Piano'''
;Piano
* Ábreme la puerta
* Ábreme la puerta
* Borincana
* Borincana
Line 138: Line 134:
* Recuerdo
* Recuerdo
* Tú ves como Cuba es libre, danzón
* Tú ves como Cuba es libre, danzón

Para recordar a José Ángel Marín Varona. Radio Musical Nacional, 22 de agosto de 2012.


== See also ==
== See also ==
[[Music of Cuba]]
* [[Music of Cuba]]


==References==
==References==
Line 158: Line 152:
[[Category:Latin music composers]]
[[Category:Latin music composers]]
[[Category:1912 deaths]]
[[Category:1912 deaths]]
[[Category:19th-century Cuban people]]

Latest revision as of 15:31, 10 August 2024

José Marín Varona.

José Marín Varona (Camagüey, March 10, 1859 – Havana, September 17, 1912) was a Cuban composer, conductor, pianist and professor.[1]

Biographical note

[edit]

José Marín Varona was born on March 10, 1859, in the city of Camagüey, where he began his musical studies with professor Mariano Agüero. At a later time, Varona established his residence in Havana.[citation needed]

In 1896, the composer included in his zarzuela "El Brujo" the first Cuban guajira which has been historically documented.[2][1]

About this piece, composer Eduardo Sánchez de Fuentes said: "The honest critique of a not very far day will bestow the author of the immortal guajira of "El Brujo" the honor to which he is undoubtedly entitled at any time".[3]

Shortly after the premiere of "El Brujo", Marín Varona travelled to the United States because of threats received from the Spanish government because of his support of the Cuban independence movement. During his exile, he continued his musical activity and offered presentations with the purpose of collaborating with the national independence cause. In Key West, he contributed to the local media with news articles and musical critique.[1]

Upon returning to Cuba, Marín Varona was married to the Spanish singer Amalia Rodríguez and travelled through the Americas with zarzuela and operetta companies.

In 1913, Cuban composer José Mauri offered a lecture about his work at the National Academy of Arts and Literature; and in 1916, the Infantry Band of the Army recorded four of his caprices called "Tropicales" (Esperanza, Ensueños, Novelita and Íntima) for the Victor Recording Company.[citation needed]

Professional activity

[edit]

The work of José Marín Varona links the musical activity of the end of the 19th century and the beginning of the 20th century in Cuba.

After his arrival to Havana at a very young age, Marín Varona worked as a sight singing and piano at the Municipal Conservatory;[1] and after the Republic inauguration, in 1902, he founded the Army Staff (military) Band. In 1905 Marín Varona also organized the Artillery Band, for which he composed and arranged numerous pieces, such as the Tributo al Maine, Himno para el Yara, Huérfanos de la Patria, Gobernador Magoon and La Independencia, among others.[1]

José Marín Varona created the "Cuba Musical" magazine,, where he exerted musical critique and published numerous articles about the Havana artistic activity during the first years of the Republic. He also collaborated as a journalist to other local publications. Marín Varona was a professor at the Municipal Conservatory of Havana and a member of National Academy of Arts and Literature, where he participated as President of the Music Section for many years. He also wrote "Complete treatise on music theory".

Marín Varona served for a long time as conductor of the Albisu Theater orchestra along with Spanish conductor Modesto Julián. He also regularly collaborated with the famous Alhambra Theater (since its foundation to 1912), for which he composed pieces such as the zarzuela "La Guaracha". He shared the podium at that venue with Maestro Rafael Palau.[1]

Composer

[edit]

José Marín Varona was a prolific composer of music that included zarzuelas, romanzas, children music for piano, pot-potpourris and danzas. His work belongs to the most significant output within the Cuban nationalist movement from the end of the 19th century. The first piece he composed, the "Consuelo" waltz, was created by him when he was just twenty years old.[1]

The "Tropicales" pieces (subtiled tropical caprices) from Marín Varona, which received an award at the Paris Universal Exposition in 1900, were defined as "real concert dances, marked by the end of the Century creole style".[citation needed]

In his songs it is possible to notice a notable relation between elements characteristic of popular music and those of concert music. "Siempre tú" and "Ilusión" – denominations that correspond to certain "Tropicales" pieces for, voice and piano- show an evident influence from Italian lyric style and the technical melodic difficulties of the operatic aria; while the accompaniment rhythm presents the most popular characteristics of Cuban music. Such treats may be perceived in many other of his pieces.

José Marín Varona passed away in Havana on September 17, 1912. During the funeral service the Infantry Band interpreted his song "Acuérdate de mí", and that same year the famous Cuban soprano Chalía Herrera recorded some of his works in New York City.[citation needed]

Works

[edit]
Zarzuelas
  • Ábreme la puerta, F. Villoch
  • El 10 de Octubre, décimas, 2V, A. Díaz
  • El alcalde de la Güira, dúo amoroso, J. Robeño
  • El Brujo, J. R. Barreiro
  • El hijo de Camagüey, A. del Pozo
  • La guaracha, F. Villoch, 1902
  • La víspera de san Juan, Gua, J. B. Ubago
  • Las excursionistas en la Habana, F. Villoch
  • Tute arrastrado, M. Zardoya
Himns y marches
  • General Rojas; Gobernador Maggon's, Bnd (Ed. Artillery Corps Printing, 1908)
  • Himno de Bayano, Himno invasor, 1899
  • Himno para el Yara
  • Hermanos de la Patria
  • José de la Luz y Caballero
  • La independencia
  • La Paz; Néstor Aranguren
  • The Havana Post
  • Tributo al Maine
Voice and piano
  • A ti
  • A una mascarita
  • Acuérdate de mi
  • Amar es la vida
  • Amor y odio
  • Anhelos, 1903
  • Any Name
  • Banquete, concierto y baile
  • Canto de amor
  • Dame un beso
  • Desde el mar
  • El desobediente
  • El desvalido
  • El día
  • El dulce beso
  • El estudio
  • El libro
  • El Maestro
  • El mar de Levante, 1912
  • El mendigo
  • El recuerdo de la infancia
  • El veinte de Mayo
  • Es el amor la mitad de la vida
  • Ilusión
  • In memoriam
  • La flor marchita
  • La guaracha
  • La oración
  • la puerta de mi Bohío
  • Los caleseros
  • Mi bandera
  • Mi dulce amor
  • Mi patria
  • Perla de las Antillas
  • Piedad
  • Recuerdos del Bloqueo, rumba
  • Serenata criolla
  • Siempre tú
  • Solo tú
  • Tristezas
  • Tu amor es mi aventura
  • Tu recuerdo
  • Tu canción
  • Ven vida mía
Piano
  • Ábreme la puerta
  • Borincana
  • Camagüeyana
  • Dulce anhelo
  • En el circo me verás
  • Florimel
  • Gitanilla
  • Íntima
  • Juguete español
  • La guajira, danzón
  • La hija de Oriente
  • La Yuquita
  • Lola
  • Mal de amor
  • Mi niña
  • Mignon
  • Misteriosa
  • Nocturno
  • Nostalgia
  • Novelita
  • Page of life
  • Para ti
  • Petit Minuet
  • Piña mamey y zapote, danzón
  • Por ti,
  • danzón
  • Recuerdo
  • Tú ves como Cuba es libre, danzón

See also

[edit]

References

[edit]
  1. ^ a b c d e f g Marín Varona, José: Orovio, Helio: uban Music from A to Z, DukeUniversity Press, Durham, U. S., 2004
  2. ^ Rodríguez Ruidíaz, Armando: La guajira, la clave y la criolla de Cuba: academia.ed: https://www.academia.edu/32604047/La_guajira_la_clave_y_la_criolla_de_Cuba
  3. ^ Sánchez de Fuentes, Eduardo: Artículo en “Folklorismo”editado por Imprenta “Molina y Compañía”, Ricla, Num 55-57, La Habana, 1928.
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