FORTY YE­ARS, FROM MU­SIC TO POETRY

Arte por Excelencias - - Cuba -

Sin­ce I was litt­le I saw that in the world, spe­ci­fi­cally in mu­sic, the cult and the po­pu­lar we­re so in­grai­ned and so in­tertwi­ned that it ma­de me fe­el com­for­ta­ble when I be­gan to com­po­se, trying to con­ti­nue that relationship. I fe­el part of that kind of wa­ve of all that ge­ne­ra­ti­on to which I be­lon­ged and ac­com­pa­ni­ed me. That spi­rit was in the Gru­po de Ex­pe­ri­men­ta­ci­ón So­no­ra del ICAIC, in the best ex­po­nents of the New Tro­va, in the gre­at aut­hors of po­pu­lar mu­sic. It is that all the Cu­ban cul­tu­re has always be­en fu­sed mu­si­cally. When I was in­ter­vi­ewed to en­ter the Hig­her Ins­ti­tu­te of Art, I said that I wan­ted to be as edu­ca­ted as Sin­do Ga­ray and as po­pu­lar as Ig­na­cio Cer­van­tes.

I was very lucky. At first, I had a te­ac­her in the neigh­bor­ho­od in Ví­bo­ra, which had the pro­mi­sing na­me of Ce­ci­lia. A few ye­ars la­ter I went to the ex­ce­llent hands of Mar­got Ro­jas, con­si­de­red by many the best pi­a­no pe­da­go­gue at that ti­me. In the Con­ser­va­tory Ama­deo

Roldán,mas­ter Cé­sar Ló­pez to­ok char­ge of my ca­re­er and de­fi­ned me as a com­po­ser, un­for­get­ta­ble for all his stu­dents, an ar­tist. From the first mo­ment he fo­cu­sed on te­ac­hing us that mu­sic was con­nec­ted with all ot­her arts, with li­fe, so­ci­ety, and the sen­se of ser­vi­ce one owes to it.

At the end of my ca­re­er I met Silvia. A ye­ar la­ter we had Jo­sé Adrián. The day I ar­ri­ved at my hou­se with the child in my arms, was al­so the day of the first pi­e­ce I wro­te. For everyt­hing in li­fe it is go­od to be in lo­ve, but to com­po­se mu­sic is a sig­ni­fi­cant sti­mu­lus.

I wish that tho­se who ca­me be­hind had an image as sti­mu­la­ting as I felt with tho­se who pre­ce­ded me in my fa­mily, but that would be very dif­fi­cult to ac­hi­e­ve. Ide­ally, tho­se who co­me af­ter, chil­dren and grandc­hil­dren, fe­el that sti­mu­lus for so­me ti­me. They could fe­el that they had a Cu­ban pi­a­nist who bet their li­fe on three keys: Cuba, the se­arch for be­auty and fi­de­lity to their emo­ti­ons.

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