Here's a little contribution which I hope you'll like, guys. There was an introductory text which the scanner just wouldn't get right, but since it was in Spanish anyway, I decided to write it down here, in my own (non-professional) English translation, if anyone's interested in it:
Ponce wrote the Suite Cubana during his stay in Cuba, from 1915 to 1917. A strong Spanish influence, as well as elements from African music present in the Caribbean island, are to be found in Ponce's work in the form of dance rhythms, melodic and harmonic figures, typical of Cuba's musical mixed-race heritage.
The Serenata Marina (Marine Serenade) is framed by a prelude and a coda in which the author suggests the tuning up of a guitar by means of sounds that evoke the harmonics of this instrument. In the first part of the work, the author interpolates, among the melodic phrases, a "soleares" rhythm that reminds us of Andalusian dances. The middle section is written in the relative major and makes use of procedures characteristic of the Impressionist idiom. The reexposition is a note-by-note repetition of the first part of the piece.
The second piece, Plenilunio, is a dance in two sections, each of which is, in turn, of binary structure. The last repetition of the work's main theme is profusely ornamented, in the style of the music of Enrique Granados and Isaac Albéniz. The Phrygian turns of phrase in the cadences that close the middle part of both sections emphasize the Spanish character of the piece. The languor of the "hamaca rhythm" has, however, a strong Cuban flavor.
The third piece of the suite, Paz de Ocaso, is an example of the author's Impressionist style. The same atmosphere, inspired by the banks of the Damují river, is preserved in its three sections."
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"ʻO ke alehulā ia, a ʻo ke kemowi ʻakekelo,
Ua kalaʻai a kāpoʻopoʻo ma ka makie,
Ua malāoa nā pōkūkū,
A kūhīhō nā poʻakaina ʻāiʻa."