Antonio Gumersindo Garay García

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This man from Santiago is one of the greatest troubadours and composers of Cuban music. Without prior academic knowledge, and with the rare capacity to synthesize sound facts, he achieves harmonic sequences that surprise more than one scholar, breaking the canons established by the great schools of music. He was an authentic popular genius.

He was born in Santiago de Cuba. He was the highest exponent of traditional Cuban trova.

At ten years of age he composed his first song: Quiéreme trigueña. As an adolescent, he worked as an acrobatic clown in circuses.

He served as a liaison between insurgents during the independence war against Spain. He gave all his children Indian names, in memory of the aboriginal peoples.

He began in the troubadour movement in Santiago de Cuba, alongside the master Pepe Sánchez and others.

He traveled at the end of the 19th century through Santo Domingo, Puerto Rico, and several South American nations. In 1906 he moved to reside in La Habana, where he dedicated himself to singing accompanied by his guitar.

Self-taught, he possessed extraordinary intuition. He made frequent use of chromaticisms, in a manner as accurate as it was surprising. He formed with Villalón, Ruiz, and Corona, the group of the greats of trova.

In 1928 he traveled to París, along with Rita Montaner and other Cuban musicians, where he remained three months doing habanera programs. He recorded countless records. His lyrics reveal poetic beauty.

He was the creator of more than 600 works that portray Cuban idiosyncrasy; among his themes stand out his admiration for his native land, the landscapes, women, and love.

He was a notable second voice. He received countless tributes and recognition after the triumph of the Revolution.

Among his most important compositions are "La tarde", "Perla marina", "Rendido", "Labios de grana", "Clave a Maceo", "Retorna", "La baracoesa", "Adiós a La Habana", "Mujer bayamesa", "La alondra", "El huracán y la palma", "Fermania", "Rayos de oro", "Tardes grises", "Ojos de sirena", and "Guarina".

In 1990, the Letras Cubanas publishing house published the essay Sindo Garay: memorias de un trovador, carefully written by Carmela de León, who in her book says: "Being close to Sindo was like breathing Cuba with full lungs".

On April 12, 1967, celebrating his centennial, the artist expressed: "Now that I am turning one hundred years old, I understand how brief life is!"

He died at the age of 101.