Salvador Adams Cisneros

Composer and guitarist. He studied music theory, music theory, guitar technique and as a trovador he trained through contact with Pepe Sánchez, Sindo Garay, Manuel Limonta, Emiliano Blez, Pepe Bandera and Manuelico Delgado.

He was born in Santiago de Cuba, the old province of Oriente. He received music lessons from Mariana de la Torre, and concluded, in 1914, his theoretical training and guitar technique with Ángel Palacios Colás.

The first musical group to which he belonged was a quartet made up of Ángel Palacios, Julián Garbey (Suñita) and Sabás Hechavarría; around 1920 he formed a trio with Miguel Bisbé and Miguel Matamoros; later, one with Alberto Aroche (later replaced by Gerardo Caballero) and Ñico Escudero; and another with Juan Mustelier and Elpidio Mancebo.

In the 1930s Salvador Adams founded the Toronto-Adams trio, with Salvador Adams as director and guitarist; José Toronto (Che), lead vocals, and Rufino Ibarra, second vocals.

About his way of composing he notes: «...Many times I begin with the lyrics, other times what is churning in my brain first is the melody, then having to wait some time to compose the text, you must take into account that not every time the composer is inspired by an everyday life event, the language can be real or figurative, this determines that many times the author, when creating his work, does not start from a real fact; but from something that is the product of his inspiration, and this is how the lyrics and melody emerge [...].»

A virtuoso of the guitar, as a harmonist, according to Vicente González-Rubiera (Guyún): «He knew how to link the chords and the way to adorn them with the effects that high guitar technique offers us. He achieved these effects through ligados, mordents, gruppettos, drags, et cetera, which he achieved with great clarity. These guitar filigrees made his stature as an accompanist and as a soloist very remarkable.

When analyzing certain topics in trovadoresque song, Margarita Mateo Palmer considers that: The kiss becomes one of the most desired favors that the lover aspires to, which links this theme with the gallant song. The trovador not only implores and pleads, but feels capable of pleasing any request of his beloved woman—even offering her his own life—in order to obtain his desired purpose:

[Song lyrics included in original]

The idea of death from love does not enjoy popularity, nor even moderate acceptance, in traditional trova, although, by the way, the trovador seems to know the tried and tested effectiveness of this resource in the gallant tradition. [...]. A rather singular way used by trovadores in their song is one that starts from the comparison between the heroes of the homeland. Two figures stand out in these compositions: Antonio Maceo and José Martí. Strange as it may seem at first glance, the contrast between the places of birth and death of both often becomes the essential axis of the parallel between them:

[Song lyrics included in original]

Note how here, in a subtle way, unconsciously perhaps, an echo of old problems from the war is reflected—regionalism—which weakened the Cuban army. Once we observe hidden nuances, it is inevitable to recognize that the song also contains a deeply felt desire for true unity among Cubans in the homeland, beyond the differences and racial prejudices that these two great men knew how to overcome.» But love was the center of Salvador Adams' work.

Another notable aspect of this trovador's life was his concern for transmitting his knowledge of the instrument. Thus, his students were Ubaldo Muñoz, Felipe Miranda, Luis Gálvez and Lorenzo Mustelier.

Works

Bolero
Enough of doubts.
Kiss of consolation.
Mockery of fate.
When you understand.
In my last serenade, The girl.
The last serenade, lyrics: Ofelio Guevara.
The torments I endured.
It makes me jealous.
My crazy obsession.
Black abyss.
Poor Leonor.
First Moorish girl.
It turns into a curse.
Second Moorish girl
Everything is indifferent to me.
A sublime illusion.
Zoila.

Song
Song of the sad afternoon, lyrics and music: Salvador Adams and Ángel Castro.
The goldfinch.
You are a child in love.
Black gypsy.
Lonely guitar.
Traitorous Mercedes.
My last lament.

Criolla
Two patriotic palms.
The proud palm.
The beautiful creole.
We weep too.
Woman and Saint Cecilia.
Prodigious nature.
Hate in my soul.
Omens.
Remembrance of José Bandera.

Son
Even if a priest asks me to.
They say I loved you a lot.
Nobody sees us.
Strolling through the Yarey.

Other genres
Mother's love. Waltz in A major.
Tears. in D minor.
Sonatina, in G major.