Origins and Early Development
Its origins dated back to the European contredanse, 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).
Read more about this topic: Contradanza
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“Lucretius
Sings his great theory of natural origins and of wise conduct; Plato
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Of incorruptible wax to hive the Greek honey.”
—Robinson Jeffers (1887–1962)
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