“The nostalgic endeavor within music rekindles the memories and hopes that we reverently guard in our hearts. The irony of sadness is that it can be sweet.” -- George V. Adiós a Cuba is one of 45 Danzas Cubanas that Ignacio Cervantes wrote for piano. Conceptually, it is more a tone poem than a dance. His music is a hybrid between the European romantic style and the rhythm and songs of his native Cuba. He was also keen on implementing creole elements to Cuban music. In 1895, he was forced into exile from Cuba. During his exile he composed the nostalgic and melancholic Adiós a Cuba. The tempo is marked adagio tragico. There may be several editions of this piece, and in my edition the da capo al segno is missing, and so were the E-flat octaves in the bass. I have chosen to play the repeat, add the E-flat octave in the bass. The coda is marked una corda al fine and play it as an echoing sentiment fading into the distance. I discovered Adiós a Cuba somewhat serendipitously with the hope of finding music online that avoided the F-natural above middle C, as I was waiting for the F-n agraffe to be fixed on my piano. Sometimes pleasant surprises can happen when you least expect it. I knew I had to learn the piece when I couldn’t get the music out of my head. I recorded it a week ago. If the piece is worthy of submission, I've also enclosed a bio. If the bio is OK, please post it anonymously. Thank You... I hope you enjoy listening to the music as much as I enjoyed playing it... George V. Cervantes - Adiós a Cuba Biography: Ignacio Cervantes (July 31, 1847 – April 29, 1905) was born in Havana, Cuba. He was a virtuoso pianist and composer. Cervantes was notably influential in the creolization of Cuban music. His music is essentially a hybrid between the European romantic piano style of the composers he admired (i.e. Chopin, Schumann, Beethoven, Weber, Mendelssohn and Liszt), and the rhythms and songs of his native Cuba. He was one of the first composers in the Americas to regard nationalism as the consequence of a people’s distinct character and temperament. He was the precursor to composers who later followed in this trend. His first notion for piano was from his father. As a child prodigy, he was taught by pianist Juan Miguel Joval, and by composer and tutor Nicolás Ruiz Espadero in 1859, and later by the visiting American composer Louis Moreau Gottschalk. Gottschalk encouraged Cervantes to study at the Conservatoire de Paris (1866-1870) under Antoine François Marmontel and Charles-Valentin Alkan, where he was awarded first prizes in composition (1866) and harmony (1867). In Paris, he also met Liszt who admired his playing. He also received accolades from Rossini, and Gounod. He returned to Havana in 1870 and began his artistic labor. He gave regular piano recitals and concerts, and began to conduct operas. In 1875 Cervantes and the Afro-Cuban violinist José White left Cuba when warned by the Governor-General: he had found out that they had been giving concerts all over the country to raise money for the rebel cause in the Ten Years' War. In the USA and Mexico, Cervantes continued to raise money by giving concerts until the Pact of Zanjón brought a cease in the conflict. He returned in 1879 and took up the baton, and began to take on students, one of whom was Eduardo Sánchez de Fuentes, who would become one of the more important Cuban composers of the twentieth century. He left again in 1895 when the Cuban War of Independence started, being forced into exile for political activities. During his exile, Cervantes toured the United States extensively (1875-1879), and also began composing his long series of Danzas Cubanas. This exile led to one of his most beautiful piano compositions, the melancholic and nostalgic Adiós a Cuba. Throughout his life, Cervantes' musical output remained light as he wrote two operas Maledetto, (1895) and Los saltimbanquis, (1899), various chamber pieces Scherzo cappricioso, (1885), zarzuelas, El Submarino, (1889) and the famous forty-five Danzas Cubanas, (1875-1895). He wrote his one symphony, the Symphony in C, (1879). He also conducted for the Opera company at Havana's Payret Theater. His Fusión de Almas was written to his daughter, María Cervantes (1885-1981), who became a well-known pianist. The later work dates to the period when Cervantes lived in Mexico (1898-1900). Cervantes returned to Cuba in 1900 and died there in 1905.