Danzón No.2 a la Cubana is a fun and vibrant work which offers much to performers and audiences alike. Its rhythmic energy propels the music from beginning to end, with music which is colourful and spirited, alongside musical and technical challenges for both bassists. In one extended movement, Danzón No.2 a la Cubana is easy to programme and suitable for any audience or occasions, lasting around five minutes, and is also available with string orchestra accompaniment.

This edition includes piano accompaniments for both solo and orchestral tunings.

Danzón No.2 a la Cubana was premiered at West Stockbridge Congregational Church (West Stockbridge, MA USA) on Saturday 27 April 2024 by Susan Hagen, David Heyes and Lourdes C. Montgomery.

I was recently privileged to have been invited by two esteemed colleagues, bassists Susan Hagen (Boston, MA) and David Heyes (UK), to compose a duet for two basses with string accompaniment for performances in Boston and England. Both David and Susan felt that I should draw upon my Hispanic heritage to incorporate Cuba’s exotic rhythms and textures. Mindful of their suggestions, I decided the Cuban

Danzon style would lend just the right touch, uniquely exotic, to the composition. This classic genre of music and dance originated in the Cuba of the late 1800s, a combination of the European contradanza and African rhythms. The typical Danzon Cubano is known for its graceful and refined movements, and I hoped it might find comfortable expression in the bass duo format.

The dance is usually performed by couples, the man leading, the woman following. The interaction between the two bassists mirrors that of the dancers as they take turns leading and following one another’s cues. The two soloists’ parts, however, are of equal importance, neither being secondary or simple accompaniment.

The main theme of the composition, a rather melancholic melody set in the key of C minor, is played twice, the second iteration being a somewhat syncopated variation of the first. A second melody, of lighter tone and in the relative major key (Eb), is presented before our main theme returns a third and fourth time. At this point the “shout chorus” is introduced:

Of deeply ethic origins, the shout chorus has its roots in the popular song “El Bodeguero”, concerning the grocery store worker who encourages his clients to “Drink chocolate and pay what you owe!” (“Toma chocolate, paga lo que debe”) over and over and over and over!

The string accompanists might, at this point, for added effect, wish to consider singing this repetitive “shout” (in Spanish) as the two bassists
solo (or improvise) over the montuno. Following the shout chorus, the main theme returns, followed by a brief final section which gives a nod of thanks, with a haunting echoing of their song, to the long ago black slaves responsible for the “Afro” in the Afro-Cuban sound.

In recent years there has been a renewed interest in Danzon Cubano, with performances at cultural events and festivals both in Cuba and around the world. Its popularity has spread beyond its Cuban origins, captivating audiences with its infectious rhythms and melodies. By incorporating Danzon Cubano into this bass duet I hoped to not only showcase my Hispanic roots, but to also pay homage to this beautiful and vibrant dance form. I am excited and honoured to present this composition to Susan Hagen and David Heyes, and I am confident that it will add a unique and exotic element to their performances.
[Programme note by Lourdes C. Montgomery]