VAL­GA EL OTOR­GA­MIEN­TO DEL GRAN PREMIO CU­BA­DIS­CO 2018 CO­MO ME­RE­CI­DO RE­CO­NO­CI­MIEN­TO AL MAES­TRO ADOL­FO GUZ­MÁN Y A LA DI­VA BEA­TRIZ MÁR­QUEZ.

Arte por Excelencias - - Cuba -

THE DIF­FE­REN­CE BET­WEEN BEING A ONE-DAY AR­TIST AND BECOMING AN AR­TIST FO­RE­VER

We are be­fo­re one of tho­se duos con­for­med by two myths of Cu­ban song who­se aest­he­tic pro­po­sal is of such a sco­pe that it cons­ti­tu­tes an as­sess­ment im­pos­si­ble to sum­ma­ri­ze in a few words. Per­haps what first co­mes to the fo­re is the va­li­da­tion of the con­cept of the eter­nity of art when unal­te­ra­ble le­vels of qua­lity are reached with the pas­sing of .ti­me, as hap­pens with the re­cord that con­cerns us. Both, Adol­fo Guz­mán - who­se era of splen­dor as a com­po­ser took pla­ce bet­ween the fif­ties and six­ties of the last cen­tury - and Bea­triz Már­quez, who has had such a long-stan­ding and suc­cess­ful ca­reer that an­yo­ne could ha­ve the idea that, at this mo­ment, Bea­triz has not­hing new to say, in the CD Li­bre de Pe­ca­do they and the tho­rough pro­du­cer Jor­ge Ara­gón ha­ve ab­so­lu­tely clea­red any doubts.

And it is that an al­bum li­ke this one by Bea­triz Már­quez will be, un­der any cir­cums­tan­ce, so­met­hing beau­ti­ful des­pi­te the fas­hions and the ways of doing that flimsy ar­tis­tic “scaf­folds” try to im­po­se, sup­por­ted only by the illu­sion of a sup­po­sed fa­me in tu­ne with the com­mer­cial in­ter­ests of each his­to­ri­cal mo­ment.

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