The song is one of the most genuine manifestations of the Yucatecan soul, an expression that is inherently creole. One distinctive feature of Yucatecan songs is the beauty and literary correctness of their lyrics. The musical ensemble dedicated to accompanying the vernacular song consists of five instruments: two requinto guitars, two Spanish sexta guitars, and a guitarrón.
The trova history of Yucatán begins in the last third of the 19th century with Cirilo Baqueiro Preve, Chan Cil (1848-1910), a violinist, inspired troubadour, and composer of various romantic and festive themes. He is recognized as the father of Yucatecan song due to his fruitful musical production, which includes romances, waltzes, habaneras, mazurkas, and lively guarachas.
Later on, Yucatecan vernacular songs reached full identity and gained national and international recognition in the 1920s, rightfully called the Golden Age of Yucatecan Song. This was thanks to the invaluable musical contributions of Ricardo Palmerín (1887-1944), Pepe Domínguez (1900-1950), and Guty Cárdenas (1905-1932).
These composers had the poetic endorsement of Luis Rosado Vega (1873-1958), Ermilo Padrón López (1898-1978), Ricardo López Méndez (1903-1989), and other great figures of their time, who gave life to beautiful songs of magnificent craftsmanship. These songs aroused interest in major centers of music dissemination such as Mexico City, Havana, and New York. Through recordings, they spread throughout Latin America.
During this period, the clave and bolero, originating from the island of Cuba, as well as the bambuco, originating from Colombia and brought to Yucatán in 1908 by the Pelón y Marín duo, gained prominence and became part of Yucatecan trova.
The second half of the 20th century is characterized by the valuable compositions of Pastor Cervera (1915-2001). From 1954 onwards, he adorned his melodic themes with traditional rhythms such as bolero, clave, capricho, and bambuco, following in the footsteps of the greats who came before him. However, he added a novel and effective poetic text of his own inspiration to the majority of his songs.
Finally, in the 1960s, the prestige of Yucatecan songwriting was universalized with the emergence of the successful singer-songwriter Armando Manzanero (1935). Undoubtedly, he is the most prolific and widely recognized Mexican composer of our time and one of its most prominent international figures. Manzanero proudly hails from Mérida and grew up in a home where trova and traditional jaranas always held a special place in his daily life.
The trova history of Yucatán begins in the last third of the 19th century with Cirilo Baqueiro Preve, Chan Cil (1848-1910), a violinist, inspired troubadour, and composer of various romantic and festive themes. He is recognized as the father of Yucatecan song due to his fruitful musical production, which includes romances, waltzes, habaneras, mazurkas, and lively guarachas.
Later on, Yucatecan vernacular songs reached full identity and gained national and international recognition in the 1920s, rightfully called the Golden Age of Yucatecan Song. This was thanks to the invaluable musical contributions of Ricardo Palmerín (1887-1944), Pepe Domínguez (1900-1950), and Guty Cárdenas (1905-1932).
These composers had the poetic endorsement of Luis Rosado Vega (1873-1958), Ermilo Padrón López (1898-1978), Ricardo López Méndez (1903-1989), and other great figures of their time, who gave life to beautiful songs of magnificent craftsmanship. These songs aroused interest in major centers of music dissemination such as Mexico City, Havana, and New York. Through recordings, they spread throughout Latin America.
During this period, the clave and bolero, originating from the island of Cuba, as well as the bambuco, originating from Colombia and brought to Yucatán in 1908 by the Pelón y Marín duo, gained prominence and became part of Yucatecan trova.
The second half of the 20th century is characterized by the valuable compositions of Pastor Cervera (1915-2001). From 1954 onwards, he adorned his melodic themes with traditional rhythms such as bolero, clave, capricho, and bambuco, following in the footsteps of the greats who came before him. However, he added a novel and effective poetic text of his own inspiration to the majority of his songs.
Finally, in the 1960s, the prestige of Yucatecan songwriting was universalized with the emergence of the successful singer-songwriter Armando Manzanero (1935). Undoubtedly, he is the most prolific and widely recognized Mexican composer of our time and one of its most prominent international figures. Manzanero proudly hails from Mérida and grew up in a home where trova and traditional jaranas always held a special place in his daily life.
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