"Silvio’s songs that have been applauded in great stages” – says the brief foreword of the record “Descartes” - also belong in popular squares, universities, factories and jails".
Argentinean writer Ernesto Sabato’s words have become a living testimony of the significance of a musical work of undisputed scope and permanence in the contemporary world.
The publication of Clara Diaz-Perez’s book titled “Silvio Rodriguez: cancion adentro” (Ediciones Union) is, therefore, not surprising. The book is an interesting and valuable study that analyzes, from sound theoretical basis, the poetic and musical strategy used by the troubadour in his compositions.
The research is structured in three sections. The opening is a historical-generic study of Silvio Rodriguez’s creations. The next is a musicological analysis of his songs, including, "Mientras tanto", "La era esta pariendo un corazón", "Ojala", "Rabo de nube" and "El necio."
The author saved a thorough and documented approach to the artistic phenomenon based on its poly-functionality for the closing pages of “Silvio Rodriguez: cancion adentro.”
Commenting on "Rabo de nube", one of Silvio’s best-known and acclaimed songs, the researcher pointed out:
“It was composed in 1977 (third period of creation), in one of his visits to Mexico, during one of his lengthy international tours. In this case, the universal humanitarian sense goes beyond geographical, political and strictly personal boundaries, to deliver a universal message inherent to any human being’s wishes. This piece; widely disseminated nationally and internationally, was very successful in the late 1970’s and 1980’s. It eventually became and remains a permanent piece in the composer's repertoire.”
This piece of work is based on extensive documentary sources, including interviews, journalistic reviews and testimonies of the singer-songwriter himself and his contemporary peers. Complemented by the musicological analysis, they deliver a title of essential knowledge on the creator's catalog.
Clara Diaz-Perez (Havana, 1956-2008) spent many years researching on Silvio Rodriguez’s life and work. Before this volume, she had already published two other titles on the author of "Cita con Angeles": “Silvio Rodriguez” (1993) and “Silvio Rodriguez, hay quien precisa” (1995).
With “Historia y analisis de la cancion de Silvio Rodriguez”, the author got, in 1989, her Musicology Degree from the Higher Institute of Art. In 1996, she got a Doctorate in Arts Science, with the study “Hacia un enfoque sistemico historicista en el análisis musicologico de la cancionistica de Silvio Rodríguez.”
In Diaz-Perez’s bibliography, there are other titles also related to personalities and themes of Cuban music, including “Sobre la guitarra la voz ...” (1994), “La Nueva Trova” (1994), “Pablo Milanes con luz propia” (1994), “De Cuba soy hijo” (1995) and “Jose Ardevol. Correspondencia cruzada” (2004).
In the author’s words, “Silvio Rodriguez: cancion adentro” opens up "new angles of knowledge not only about the artist, his work and society; but also about the links and connections woven into the intricate puzzle of an artistic phenomenon meant to deeply shake the sensitivity and awareness of an entire era.”
Awarded, in 1996, with the “Argeliers Leon Annual Musicology Prize”, this book is a source of information, knowledge and study. Its pages will be used to learn, and comprehend that figure of undisputed relevance that is Silvio Rodriguez.
Translated by Pedro A. Fanego
