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primitive tunes; as a result, some of his works show surprising juxtapositions of chords and moods. He composed
Concierto de cámara, Obertura cubana, Danzas cubanas, and a suite for orchestra (1938). Many vocal works were inspired by Cuban poets such as Alejo Carpentier and Nicolás Guillén; other works include one string quartet (1927), Bembé, for fourteen instruments, and Primera suite cubana (1930) among others. He produced numerous piano works, among them Danza lucumí (1928) and Sonata (1939).
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was the concertmaster. He started to write music since he was a teenager, while studying both music and law. He felt attracted to Afro-Cuban rhythms since he was really young, and this became a common denominator in his compositions in a time when the division between art music and popular music did
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Together with composer Amadeo Roldán, Caturla became the leader of Afro-cubanismo, a nationalist musical trend, which mixed elements of white and black culture, incorporating Afro-Cuban songs, rhythms, and dances. Later on he used advanced techniques and French
Impressionist styles combined with
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García
Caturla left two legacies: One as an universal musician who combined classical and folkloric themes with modern musical ideas through his compositions and knowledge of at least seven different instruments. His career paralleled with
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Caturla was born in the town of
Remedios, Villa Clara, Cuba. With only sixteen years old, in 1922, he won a position as part of the section of the 2nd violins of the newly formed “Orquesta Sinfónica de La Habana”, where
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After finishing his musical studies, Caturla returned to his home town, where he continued his composition career and started practicing law to provide for his growing family. His
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A biographical dictionary of Cuban music, artists, composers, groups and terms. Duke
University, Durham NC; Tumi, Bath. p90–91 gives more details of his career.
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premiered in Havana the same year. In 1932 he founded the
Caibarien Concert Society, whose orchestra he conducted on many occasions, making known the music of
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won first prize in a national contest in 1938. García
Caturla was also a multi-instrumental performer and a baritone of some quality.
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not influence Cuban composers. From 1925 to 1927 he continued his musical studies in Paris as a student of
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Caturla: a Cuban composer in the twentieth century
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for symphony orchestra was first performed in Spain in 1929.
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No quiere juego con tu marido (Danza cubana no. 1), 1924
262:. Scarecrow Press, Lanham MD. Accompanied by audio CD.
196:Encyclopedia of Latin American History and Culture
187:(New York: Thomas Y. Crowell Company, 1945): 184.
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137:La número tres (Danza cubana no. 3), 1924
277:International Music Score Library Project
164:Berceuse para dormir a un negrito, 1937
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273:Free scores by Alejandro García Caturla
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134:La viciosa (Danza cubana no. 2), 1924
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167:Berceuse Campesina, 1938
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288:Alejandro García Caturla
258:White, Charles W. 2003.
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