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“Flores nocturnas” (“Flowers of th Night ,” 1991); in
Rodríguez, 1994

This song refers to the growth in prostitution that accompanied Cuba’s economic problems and aggressive pursuit of tourism following the collapse of the Soviet Union. Using the literary metaphor of nocturnal flowers for the prostitutes, Rodríguez refrains from judging the women themselves but expresses sympathy for their potential difficulties (“Flores que saben lo que no sabré,” “Dicen que es duro el oficio de flor/Cuando sus pétalos se ajan al sol”). He also raises questions as to why so many women have taken this route (“¿Qué jardinero ha sembrado la Quinta Avenida/ Con variedad tan precisa de nocturnidad?/. . . ¿Qué fino abono nutrió su raíz?”).

Fig. 16-“Flores nocturnas,” Lyrics and chord chart

The verse (Ex. 16A), in A mixolydian, begins in an alternation of I-IV that is interrupted by a turn to the G (VII), emphasizing the last word in “Para esos pobres señores que van al hotel.” A turn to B minor (ii) delivers the most sympathetic and questioning lines of the verses (“Flores que rompen en la oscuridad,/Flores de guiños de complicidad,” “Dicen que es duro el oficio de flor/Cuando sus pétalos se ajan al sol”). A Neapolitan Bb major chord acts as a pivot back to D and, in turn, A major. As a final surprise in the verse, an F major chord (Neapolitan bII/V) is inserted before the perfect authentic cadence back to A major.  Both the Bb and F, which do not occur in A mixolydian, are passing chords approached by common tone changes, coloring the words “complicidad” and “fatal.”

Ex. 16A-“Flores nocturnas,” Voice leading in verse

The chorus contains two sets of four-line phrases (“Flores que cruzan las puertas prohibidas” and “Flores de sábanas con ojos”). In the first phrase, a deceptive cadence to G# minor (iii/V) emphasizes the word “sabré” (“Flores que saben lo que no sabré”), while “Flores que ensartan su sueño de vida/en guirnaldas sin fe” is punctuated with an imperfect authentic cadence. The first three lines of the next phrase are similar descriptions of the prostitutes and are set in the A major-D major alternation of the beginning of the verse; this phrase, too, ends with a perfect authentic cadence at “Flores comiendo sobras del amor.” 

Hence, Rodríguez uses deceptive cadences to minor keys and common tone shifts to chords outside of the scale to color key phrases in this song, without ever straying too far from the tonic. They are momentary diversions, just as the prostitutes are to their customers. As if to drive home the point, the song’s key and lilting 6/8 render it reminiscent of a folk dance, making it as deceptively cheerful as the subjects themselves. 

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