{"id":1227,"date":"2018-08-10T09:58:36","date_gmt":"2018-08-10T13:58:36","guid":{"rendered":"https:\/\/magazineampm.com\/?p=1227"},"modified":"2022-03-14T17:58:45","modified_gmt":"2022-03-14T21:58:45","slug":"la-prehistoria-del-videoclip-cubano","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/la-prehistoria-del-videoclip-cubano\/","title":{"rendered":"The prehistory of the Cuban video clip"},"content":{"rendered":"

The desire to graph music, to share the way they prefigured it in moving images, was very early in the minds of the precursors of sound cinema in Cuba.\u00a0<\/span><\/p>\n

They shared the same imperatives of their predecessors in other parts of the world, because the need for music in the audiovisual does not arise, in reality, with sound films, but comes from the silent cinema when by different means it was to sound the images that were projected on the screen. Remember the role played by pianists and other musicians who accompanied the screenings with their own interpretations <\/span>in situ<\/span><\/i>, filling the rooms and theaters with sounds where a cinematographer was able to show a life beyond reality.<\/span><\/p>\n

In Cuba, those who took the first steps in this direction, probably knew of the appearance of some Cuban musicians in small filmic material made in the United States as early as the twenties, dedicated to them and produced by Vitaphone, the first film system sound created in 1926. It is remarkable that two years after Vitaphone was created, in those first attempts, it appeared in the short <\/span>The Cuban Nightingale<\/span><\/i> the Cuban soprano Carolina Segrera singing the habanera <\/span>Your<\/span><\/i> (Eduardo S\u00e1nchez de Fuentes) and <\/span>An old love<\/span><\/i> (Alfonso Esparza Otero-Adolfo Fernandez Bustamante), backed by the Buenos Aires ensemble <\/span>Don Alberto and His Argentines<\/span><\/i>. Probably, the one of Carolina Segrera is the first appearance of a Cuban musician in a musical sound short. This hypothesis should be revised when it is possible to find the musical short that, also for Vitaphone recorded the Matamoros Trio between 1928 and 1929. The Cubans had traveled to New York in May 1928 to record 21 songs for the Victor label, among them those that they sing in the short, according to the testimony they gave in 1952 to the magazine <\/span>Bohemia<\/span><\/i>: the song <\/span>Promise<\/span><\/i> and the world famous <\/span>They are from the hill<\/span><\/i>. According to Ciro, Cueto and Miguel, they, the Tr\u00edo Matamoros, would be the first Cuban musicians to appear in a short film produced in the USA and where, according to them, was the Segrera and the comedians <\/span>The Four Fools<\/span><\/i>.<\/span><\/p>\n