He was born in Matanzas in September 26th, 1841. Painter and scenographer escenógrafo matancero, sobrino de Ramón Américo Morales (1807-1884). He painted several ornamentations and the main theatre curtain of the Teatro Principal in Alicante,Spain. In 1882 he came back to Cuba and worked as scenographer in several Havana theaters, and illustrated El Fígaro magazine. Painter of historical and mythological themes as well as landscapist.

He was born in Bayamo, former Oriente, Province, in May 7th, 1797 and died in September 26th, 1879. He studied elementary school in his hometown. In 1814 he started in the Colegio San Basilio, in Santiago de Cuba, where he studied Laws and Philosophy. In 1816 he moved to Havana in order to study Philosophy with Presbyter Félix Varela in the Seminario de San Carlos, where he became Bachelor in Civil Laws in 1819. In 1821 he graduated in Philosophy in the University of Havana and became professor of this subject, substituting Varela in the Seminario de San Carlos. There he also was in charge of the Professorship of Physical Sciences. In 1824 he moved to the United States of America for studying. From 1826 to 1828 he lived in Cuba. Later he came back to the United States where he settled with Varela El Mensajero Semanal (1828-1831), being his editor and collaborator. In a contest summoned by the Real Sociedad Económica de La Habana, (Royal Economic Society of Havana) in 1829, he won the First Prix, that included the oficial title of Merit Associate, by his work: “Memoria sobre los caminos de la isla de Cuba� (Memory on the Roads of the Island of Cuba). In 1831 the same Institution awarded him with the �Memoria sobre la vagancia en la isla de Cuba� (Memory on Vagancy in the Island of Cuba). Again in Cuba, in 1832, he is appointed Director of the Revista Bimestre Cubana, where his “Memoria sobre la vagancia en la isla de Cuba� (Memory on Vagancy in the Island of Cuba) was published by the Comisión Permanente de Literatura de la Real Sociedad Económica. (Permanent Commission on Literature of the Royal Economic Society) that very year. Ater the debate concerning the Academia Cubana de Literatura (Cuban Academy on Literature), vigourously defended by Saco, he was banished by order of General Tacón. Saco went to Great Britain then to France and later to Madrid, where he joined the Club de Habaneros (Club of Havanese). He wrote works, about problems which scourged Cuba, publishing forbidden, by the censorship. In Paris, in 1835, he followed courses on chemistry at the Sorbone University with professors Thenard and Dumas. In 1836 he is appointed three times by his province, Oriente, Diputado a Cortes (Delegate to Courts), but he could never be in charge of it for different reasons. From 1837 to 1845 he travelled through Portugal, France, Italy, Austria and Germany. El Ateneo Democrático Cubano, of New York, granted him the title of Honorary Associate in 1854. He held a debate against the annexion of Cuba to the United States, where he Cirilo villaverde was among his opponents. He returned to Cuba at the end of that year. In 1861 Saco was appointed correspondent to the Liceo de Matanzas and Remarkable Academic to the Royal Academy of Medical, Physical and Natural Sciences of Havana. That year he returned to Europe. In 1865 he, together with other fifteen, was appointed Commissioner, from Cuba, to the Information Board, created to settle the basis upon which will lay the laws in favour of Cuba to be submitted to Spanish Courts. In 1866 he actively took part in the sessions of the Board, but it became a failure. His works were published in the Diario de La Habana, Revista de Cuba and Revista de la Sociedad Geográfica de Cuba; La Verdad, and Nuevo Mundo, from New York, and in El Abolicionista, La América, Crónica Hispano-americana, Revista Hispano-Americana, La Política, Mundo, La Discusión, de España, along his life. He translated from latin Elements of Roman Laws by Johann Gottlieb Heinecke; at the same time his works were translated, mainly to French. Shortly before his death he has been appointed Deputy to Courts, that he could not fulfill. The Revista de la Biblioteca Nacional José Martí has published several of his letters and works. He made use of the following pseudonyms: Un socio quejoso, Un patriota, El editor de la Revista Cubana, Los cubanos, Un amigo de la Academia, El amante de la ilustración, El amigo del orden, Un académico.

His musical career started from his earliest years, and in 1923 he graduated as Professor of guitar. In 1928 he travelled to Havana, together with Valeriano Daughterty and Pepe Figarola, performing at the Campoamor theatre. In 1932 , together with Raúl Domínguez, Jorge Mauri and Manuel Fontanals, he joined Los Trovadores Líricos quartet, travelling with it to New York for the first time. Later, he joined the Carlos Spaventa, thus enterin into the world of tango. In 1933 he joined Carlos Gardel guitat group, working in the films : Tango Bar, El día que me quieras, El tango en Broadway, and made a lot of recordings. In 1937 returned to Cuba, and two years later he started a tournee in South America. Finally,in 1946, he settled in his country, and became professor of guitar. After the Revolution (1959) he became professor in the School of Arts and kept performing as guitarist and Cuban songs traditional. Among his compositions are: Labios de Amapola, Mujer querida, No intentes corazón etc. He died in Havana, in January 27th, 1971.

Cipriano Isidrón Torres, known as Chanito Isidrón, was born on September 26, 1903 in Calabazar de Sagua and died in Havana on February 23, 1987. He became a popular repentista(improviser) in Cuba.

Thanks to his work carried, next to that of other interpreters, a resurgence and regained popularity of décima (ten-verse stanza) took place in Cuba.

Chanito was actively involved in diverse controversias (improvisation between two or more singers) and performed in several radio and television shows. He stood out by the use of the characteristic sense of humor of Cubans in his improvisations.

He also published verses and works in prose related with the countryside and peasants theme.

He was born on September 26th, 1918. He started his piano studies with Dulce Maria Serret, in the Provincial Conservatory of Oriente; later he increased them with Flora Mora in the Municipal Conservatory of Havana, where he also studied Harmony, Composition, Aesthetics and History of Music with Amadeo Roldán and Jose Ardevol. In 1942 he moved to the United States to study in the Bershire Music Center, under the guidance of Aaron Copland and Serge Koussevisky. In 1945 he settled and conducted the orchestra of the Municipal Conservatory of Havana, where he was also professor of harmony, Composition, Aesthetics and History of Music (1944-1958). In 1958 he received the Caribbean and Central America Reichold Award granted by the Detroit Orchestra, with his Sinfonia en mi. He was member of the Grupo de Renovación Musical, since it was settled in 1951. Until 1960 he presided the Sociedad Cultural Nuestro Tiempo. He participated in a congress of the Inter American Association of Music held in Mexico, and in the Congress for Peace, in Stockholm, 1958. At the Triumph of the Revolution, in 1959, he was appointed advisor of the Departament of Music of the General Direction of Culture, taking part in the reform of music teaching, and in the creation of the Orquesta Sinfónica Nacional. In 1959 he participated as a jury of music in the Youth Festival held in Vienna. From 1961 until 1964, he was Ambassador of Cuba in France. From 1965 to 1970, he was in charge of the direction of the Departament of Music of Casa de las Américas. In 1970 he was appointed advisor of the National Direction of Music on the National Council of Culture. Among his numerous and diverse compositions are compositions for mixed choir and soloist voices on texts by Juan Ramon Jimenez Gongora, Rafael Alberti and Justo Rodriguez Santos, 1940-1942; Icaro, for percusion and piano (ballet, ordered by Alicia Alonso); Sonata para piano, 1943; Duo for flute and piano; Trio for clarinet, violoncello and piano; Prelude to Mensaje al futuro ballet, 1944; Sinfonia en mi; Caprice for flute, ciarinet, viola and violoncello; Concert for piano and wind instruments, 1943; Serenade for string orchestra, 1947; Two Cuban Dances (Montuna, Sonera), 1948; Sinfonietta for orchestra, 1955; Triptico para voz y piano (texts by Jose Marti); Quinteto de viento; Divertimento para Cuarteto de metales, 1957; Tocata para bandoneon; In Memoriam, homage to Frank Pais, 1961; Death of the Guerrilla fighter, for reciter and orchestra, 1968; Movil I for piano, 1969; Movil II for flute, corno, piano-celesta, vibraphone, xylophone and percussion, 1970; Cantata para Abel, 1973; Concert for guitar and orchestra, 1974; Designs 1976.