GUITAR

HAITIAN DANCES '

SUITE NO. I

Petro • Yanvalloux

Mascaron • Coumbite

Romance • Lullaby

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CASSEUS HAITIAN DANCES

SUITE NO.1 PETRO YANVALLOUX MASCARON COUMBITE

DESCRIPTIVE NOTES INSIDE POCKET

ETUDE ROMANCE LULLABY DANCE

FOLKWAY RECORDS FW 6822

FOLKWAYS RECORDS Album No. FW 6822 Copyright 1954 by Folkways Records and Servtce Cor~. U7 W. 46 St. NYC USA

FRANTZC 11 SSE U 5 GUITAR

HAITIAN DANCES

SUITE NO.1

Petro • YanvaJIoux

Mascaron • Coumbite

Romance • Lullaby

Etude • Sobo

Introduction by Carol Capraro

Frantz Casseus' Haitian Suite symbolizes the fruition of his dream of adapting Haitian folk music to the guitar.

In his early youth, he attempted to make music from a crude combination of box and strings which he himself built. Then, over­coming many obstacles, he started his self­study in earnest on a real guitar. He gave his first classical guitar concert in Port-au­Prince in 1941. In 1946 Casseus came to the United States. At that time he had become firmly convinced that the guitar could be de­ve loped in its scope for much wider use than Spanish Flamenco rhythms, with which it was commonly associated. Since his arrival here, his Haitian compositions and adaptations have been heard in many' mediums - at concerts, on radio and on recordings. He also success­fully toured South America.

Corn poser -arranger -teache r, Frantz Casseus has caught the heartbeat of Haiti. His long years of arduous work in folklore, harm ony, and technique have resulted in the creation of music that the Herald Tribune has described as "sensitive .. with a de licate ear and a delicate touch. His technical prowess too .. is considerable ... " Of his Haitian folk songs, the New York Times added its accolade, · "outstanding. "

The Haitian Suite is a subtle blend of the many pulse beats that bring Haiti herself to life. From the national rhythms of the Petro and Yanvalloux to the melodic Etude in D Major by Fernando Sors (1778 - 1839) is heard the flux and ebb of her breathing.

In the audible discovery of her moods and beauty is found the Mascaron, the carni­val dance, gay and charming. Then the Coumbite the harvest song - man and man dance their thanksgiving for the gathered crops.

Her look is chaste in the Lullaby and Romance arranged by Frantz Casseus from the tradi ~ tional Creole. Romance portrays her in womanly plaint at losing love to war.

Finally, in stronger accents is heard the underlying drumbeat in Ludovic Lamothe's Dance - the drumbeat which is the ever present reminder that Haiti lives.

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117 W •• I 4Oti. SI, •• I, N. Y. C . 36

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