Troubadours’ tour of the City of Bridges: a crisis of the Movement in Matanzas?.

It is evident that the Cuban Trova style, its compositions and forms of expression, need an analysis in Matanzas, which allows its revitalization from the base.

Perhaps some people do not agree, but I consider it urgent to deepen in the ways to stimulate the rise of the Trova Movement, traditional and contemporary, in Matanzas. And I express it because its existence leads to a particular vision of conceiving music at the time of appreciating the human being, nature and society, which are in line with the poetry and the arts that emanate from the Athens of Cuba.

The predominant criterion among the members of the Nueva Trova in Cuba is that it continues to be a movement that carries a song committed to poetry, social issues and love.

Many say that when they sing about the family, its harassments and vicissitudes, feelings, the environment and even loneliness, they reflect the country where they live. They are social themes of the present.

The realization of the tour Días de aniversarios, amores y patria (Days of anniversaries, loves and homeland), which circled Matanzas until the 26th of this year, filled a void that is felt in a province prodigal in singer-songwriters for more than 50 years, when the New Trova Movement emerged with unstoppable impetus.

It is worth remembering that important musicians have emerged in this land over the years, from the famous group Nuestra America, led by the relevant composer and singer Luis Llaguno, present in Cardenas, Varadero and Matanzas, to individuals such as Raul Torres, Rey Montalvo Vasallo and Tony Avila, residents of the capital, although the latter visits us regularly.

Others of great strength fulfill contracts in other countries and followers of the movement of the stature of Alfonsito Llorens Betancourt, Reynaldo Montalvo Carreras, Orlando Pérez Casuso, Olga Margarita Muñoz, among the consecrated ones, have diversified their repertoire to be able to respond to the demands of the musical universe of Matanzas and their own development.

The important, though brief tour, organized by the young Montalvo Vasallo, had the privilege of having in its cast the renowned composer and guitarist Marta Campos, one of the main female references of the Nueva Trova in Cuba, on the occasion of her 70th anniversary. Her wide-ranging repertoire includes works by Sindo Garay, Miguel Matamoros, Silvio, Pablo, Noel Nicola and Gerardo Alfonso, plus several other authors.

Also included were concert pianist Vicente Hernández; Daniel Montalvo (trumpeter); Roldany Hernández (violinist) and as performers Montalvo Carreras and the little ones Gabi and Sofi. In defense of the movement in the city, the troubadour Leandro García and the Duo Alborada performed.

It is possible that this tour, and others to be organized, motivate hearts and make us reflect, because it is evident that the Cuban Trova style, its compositions and forms of expression, need an analysis in Matanzas, which allows its revitalization from the base with the support of art instructors in the search for talents within the musical spectrum of Matanzas and a real response to their logistical needs during its growth.

The fight against neocolonization, banality and coarseness, against false art, carries with it the rise and promotion of authentic Cuban musical expressions. This is an irrefutable truth, which requires a forceful response from the Ministry of Culture, the UNEAC, the AHS and the Cuban media.

Written by María Elena Bayón.