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Agustin Lara
Known as “El Músico Poeta” (“The Musical Poet”), and considered to be one of Mexico’s most important songwriters in the pre-World War II era, Agustín Lara was born October 30, 1897, in Mexico City, although later in life, Lara claimed Tlacotalpan, on the banks of the Papolapan River south of Veracruz, as his birthplace. There are several statues erected in his honor in Tlacotalpan. Lara’s father was a doctor who enjoyed playing the piano, and he introduced the instrument to his son at an early age. Agustín’s aunt paid for his piano lessons, but teacher and student were frustrated with each other as Agustín wanted to play the improvisations he heard in his head. His family consulted another piano teacher who told them the youngster did not need lessons; he already knew how to play. His father bought a piano for Agustín to play at home, although whenever the child misbehaved, he was forbidden to go near the piano as punishment.
At his father’s insistence, Agustín was sent to a military school, but the teenager rebelled and left. He told his family he had a night job in a government office; in truth he played piano in a bordello. Through his work, Lara met other musicians and began to write songs for the first time. The first composition to be recorded was “Imposible,” by Adelaido Castelleda’s Orchestra, in the autumn of 1928. That same year, the Ascencio Trío recorded another of Lara’s works, “Clavelito.”
Lara played piano in the movie theaters of Mexico City. During intermissions, he would provide musical backing for popular singers such as Maruja Perez and Juan Arvizu. It was during this time that Lara composed two of his best-known songs, “Rosa” and “Mujer.” In 1929, Lara was hired to perform on “La Hora Intima,” a show broadcast on XEW, a radio station located in Mexico City. Eventually he had his own daily show, “Agustín Lara’s Hour,” later known as “La Hora Azul” (“The Blue Hour”). It was radio announcer Pedro De Lille who proclaimed Lara “El Músico Poeta.”
The years 1930-1950 are known as the “Golden Age” of Mexican cinema, and Lara played an integral role. He began a lifetime association with the movie industry in 1931 when he composed the music for the film “Santa,” one of the first motion pictures with sound produced in Mexico. Lara also wrote the music for films such as “Noche de Ronda,” “Pervertida,” and “Revancha.” Lara also acted in some of these films – he played a tragic pianist in “Revancha” and a blind, alcoholic musician in “Coqueta.”
As movies produced in Mexico became more commercial in the 1950s, Lara continued to compose film scores and appear in some productions. A film about his own life, “La Vida de Agustín Lara,” was released in 1959. These films helped spread his popularity around the world, especially in Spain. In 1954 he made what was, in his own words, “an unforgettable trip” to Spain, where the public expressed appreciation for his music.
In the 1950s Lara was given a modest beach home and the keys to the city by the Mayor of Veracruz. Lara also performed in theaters and night clubs and on radio and television. His songs were recorded by many artists, including Las Hermanas Aguila, Pedro Vargas, Elvira Rios, and Carmela Rey.
One of the greatest examples of Lara’s romanticism is his best-known work, “Granada,” a city he had never set foot in when he wrote the song. Still, he was able to capture the sights and sounds of one of the world’s most beautiful cities, evoking the excitement of a bullfight and the passion of flamenco. “Granada” was one of Lara’s masterpieces recorded by Plácido Domingo on “Por Amor,” an album of Lara compositions released in honor of Lara’s centenary.
Lara died of a heart attack on November 6, 1970. A minute of silence was observed throughout Mexico during his funeral, while at the service, Toña la Negra sang one of Lara’s most powerful songs, “Noche de Ronda.”
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Granada
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Placido Domingo
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Noche De Ronda
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Placido Domingo
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Solamente Una Vez
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Placido Domingo
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Granada
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Carreras, Domingo, Pavarotti
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