The Dan-son is a piece that was originally written for danzonera, and its initial structure was that of the traditional danzones: a refrain, a melody, the refrain again and a son montuno at the end. When I was commissioned by Álvaro Bitrán to write a version for cellos and percussions, I found it convenient to give more rhythmic variety to the composition, for which I included a Cuban son after the second refrain and a son istmeño at the end. By doing this I violated the traditional danzón structure, and since it had become a mixture of danzón and son, I named it: Dan-son.

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In order to extract from nine cellos, the variety of sounds that a danzonera offers, it was necessary to expand the palette of instrumental colors to the maximum and to draw on the full register of the instrument, well known for its ability to sing with the most diverse voices, from the low pizzicatos of a bass, to the shrill cries of the trumpets, to the harmonic base of the saxophones.

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This piece is dedicated to Álvaro Bitrán, in gratitude for his trust and support.

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The danzón begins, the refrain that summons the dancers is heard loudly. The couples, arm in arm, gather on the dance floor from the corners of the square, to begin in unison the step of the little square at the signal of the repeated theme. During the soft melody, they shine their elegant shoes on the stage, taking care not to waste space or skimp on sensuality...

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The refrain returns, and the mosaic of squares dissipates among ladies in fans and gentlemen's handkerchiefs. After elbowing each other for eight bars, they simultaneously retake the waist, and together they rest their hand on the shoulder. Then restarts the choreography of heels chased by charoles, which rest every eleven counts their coordinated dragging. Disguised in a flirtation of ephemeral blinks, they carve the soles and adjust the waist to the arrival of the Cuban son of accelerated pulse. It's about time to polish the repertoire, to show off showy steps pretending to ignore another people's brilliance?

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Then the very strong son montuno of fast tempo is played. At this rhythm, the "cuadrito" becomes tiny, so as not to lose the step nor to compromise the breath. It is then that one knows from which leather more straps come out, from which material the dancers are made...

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They walk them, they flourish them, they turn them, they swing them, they zigzag them, taking care never to ignore the clave, nor to lower the chin, nor to slacken the elbows.... While they neither smile at them, nor look at them, nor wink at them, taking care not to contaminate the purity of the danzón with inappropriate and obvious flirtations...