BY RAFAEL LAM -Special for Granma International-

IN his youth José Martí, like all artists and creators, explored and experimented with different art forms: painting, literature, and music, which was like an Ingres violin to the national hero throughout his life.

It is known that when Martí reached 15 years of age he dedicated himself to the study of music theory for a brief period. Combing the annals of the National Library, which today bears his name, one can find a little volume entitled “On Music Theory,” by Narciso Téllez y Arcos. The edition is dated Havana 1868. This historic book carries the unmistakable signature of José Martí, printed in black ink.

Clearly, the book belonged to Martí and was classified for many years, although for a long time librarians never noticed this very important detail. The well-preserved volume demonstrates that he had studied it closely. The sure strokes of the pencil, underlined phrases and hand-written corrections of textual errors reveal an attentive read by the young José Martí.

This interesting discovery was made by Cuban writer and musicologist Alejo Carpentier, when he carried out research into Cuban music at the National Library of Havana. It was March 4, 1953 (the centenary of Martí’s birth) when Carpentier published the discovery of the book and Martí’s insertions in El Nacional newspaper in Caracas where he was writing features.

The language and spirit of music brought sensitivity to Martí throughout his life. “The sound of the lyres, with which the inhabitants of that remarkable Arcadia celebrate the proximity of Heaven can already be heard!” he wrote in a foreword in 1883.

Between May 21 and June 4, 1875 Martí, writing under the pseudonym of Orestes, published three articles on José White which appeared in the Mexican magazine Revista Universal.

“There is a splendid language, which vibrates in the voice of the melody and speaks to you in the beating of the heart; it is like a promise of fortune, a glimmer of certainty, a pledge of clarity and plenitude. Its color has limits: the word, lips: the music, heaven. The truth is that it does not end: and the music rings perpetually throughout space.”

Martí had no formal training in music, he wrote in an impressionistic style but with a sensitive and considerate language. He believed that music was something to be enjoyed, felt and intuited in order to do it justice. “Here, music is felt: there is another world where music is spoken.”

“There is a common language, so soothingly delightful, that allows sweet sounds to open up and ennoble the heart: the music is heard, joy lights up, the eyes fall in love: there is not one chest that does not rise and fall; there is no feeling in the spirit that does not murmur sentiments of delight and love. Music is the most beautiful form of beauty: to lull one to sleep, to make drowsy, to arouse, to moan, to cry: the soul that yields to an arch: the sound that captivates, that enraptures, that binds together.”

In reality, music is a highly ecumenical language that can be described in many different ways: scientifically, legally, medically, educationally, ideologically, culturally, artistically, psychologically, philosophically, magically, poetically and so on. Embracing all those areas is impossible. Martí, who involved himself in so many aspects of life, chose to write how he felt about music and nobody has left us with words as beautiful as his. “The afterlife: what music describes to us in magical words.” (José Martí) Revista Universal, June 1, 1875.

(Granma)  January 20, 2003