Amadeo Roldán, composer, teacher, violinist, and conductor, was born in Paris, France, in 1900. He was of Creole descent; his father was Spanish and his mother Cuban. His musical education began and continued at the Madrid Conservatory, where he achieved numerous successes as a student.

In 1919, he moved to Cuba and settled in Havana. In 1922, he joined the Havana Symphony Orchestra as a violinist, conducted by Gonzalo Roig. In 1932, he was appointed director of the Havana Philharmonic Orchestra, which he conducted until his death. In 1936, he assumed the direction of the Municipal Conservatory and implemented a new structure for its curriculum. He succeeded in making the conservatory the most prestigious center for musical education in the country.

He joined Fernando Ortiz in disseminating our folkloric values, highlighting the contributions of cultures of African origin. As a member of this Afro-Cuban movement, he used African rhythms and melodies in his concert music. A representative of symphonic music, he was the first to include Cuban percussion instruments in the symphony orchestra and created a special musical notation for them.

His prestige led to the premiere of his works in Europe and America, which brought him into contact with cutting-edge musical circles, allowing him to experience the latest creations, whose scores he sought to obtain for their premiere in Cuba. His concert programs were of high quality, featuring numerous Cuban performers alternating with top-quality foreign soloists and conductors. Roldán always had a keen interest in promoting contemporary music and participated in the New Music Concerts organized by Alejo Carpentier. He gave lectures and music appreciation courses at the Pro-Arte and Lyceum societies, among others.

Among his most notable works are The Three Touches, Motives of the Sound, the two ballets “La Rebambaramba” (1928) and “The Miracle of Anaquillé” (1929), Rhythmics V and VI.

His sudden demise came in 1939. Today, the figure of Amadeo Roldán is exalted and appreciated in its true worth, becoming an everlasting part of the history of our musical development. His name is a symbol in the tradition of our Cuban national culture.