Nostalgia of the Future

Abstract

Abstract Based on the poem by Cuban poet Nicolás Guillén, Sensemayá: Canto parar matar una culebra (Song for the Killing of a Snake, first composed for small orchestra 1937 and reorchestrated for symphony orchestra in 1938), Revueltas’ work by the same title embodies his desire to express political passion through music alone, setting aside the poetic word to communicate its message. Although the music is strongly associated with Guillén’s verses, they are not included in the score. It is not so much the communication of the verbally expressed imagery that concerns Revueltas, but the sounding of feelings associated with it. His choice of poem is significant for various reasons. Although drawn from a strongly political collection of Guillén’s poetry, West Indies, Ltd. in particular expresses its possible political intent in a non-programmatic, poetic way. The Cuban’s negrista poetry was also attractive for Revueltas because it is itself strongly inspired by musical language. Coauthored with Susana González-Aktories, this chapter queries first the musical identity in Guillén’s poetry, and then, in the case of “Sensemayá,” its “transition back to music,” and its possible interpretation as a musical allegory of liberation.