Remedios: shared concerts, with firecrackers and other luxuries

Last July 6, I embarked on a trip that would result in a compendium of wonderful memories... and a little pain in my neck. In the morning I left for Villa Clara with my grandmother and some friends. We are on vacation and what better excuse to visit Remedios than a Raptus concert accompanied by Barbarita Llanes and Niurka Gonzalez (my mom). Chauvinism? Maybe; but I could not fail to tell the story of a splendid evening.

We arrived in Remedios late in the afternoon, after having spent the whole day touring Santa Clara; tired but happy.

In the evening we left the Hotel Barcelona, walked quietly around the Church of San Juan Batista -which sadly we could not enter "because the priest was not there"- and arrived in a few minutes at the Casa Bausa, epicenter of the concert. This is one of the beauties of this city: everything is within walking distance.

Photos: Lilien Trujillo.

From the sidewalk we could already see the seats and chairs carefully placed inside, the "room" was completely open. As we sat down and looked to the right we had a view of José Martí Park and the church. The chandeliers hanging from the ceiling were surrounded by sparrows flitting back and forth. I have been to many concerts, but, as far as I can remember, this is the first time I have sat in the front row, right in the middle; which allowed me to have a completely symmetrical perspective and no visual distraction which I loved.

The presentation of Raptus Ensemble, led by its founder Alejandro Yera Tejada (clarinet) along with Niurys Moreno del Pozo (bassoon and arrangements), Williams Machado Montenegro (clarinet), Osbel Vizcaino (flugelhorn), Jonattan Castillo (trombone), Axel Yera Tejada (drums), Alexei González (batá drums) along with Niurka González (flutist) and Bárbara Llanes (singer) was the third of four that took place as part of the Conciertos Compartidos project. This is an initiative of Eliot Porta, who in addition to taking care of the organization always personally ensures that the musicians are well cared for before, during and after the presentations.

Photos: Lilien Trujillo.

He was the one who kicked off the event with words full of affection and admiration for the performers - Raptus' home province is Villa Clara, so all the development of his rising career is celebrated and treasured with special affection in the area. He introduced the soloists of the evening, making particular emphasis on the pedagogical work of the performers, and is that Barbara and Niurka are not only great professionals in their respective subjects, but have always contributed to the education of younger musicians. Receiving lessons from an active musician whom they admire is always extremely enriching for the students.

At around nine o'clock in the evening, Barbara Llanes and the ensemble broke the silence with the Motet Exsutate Jubilate, by the Austrian composer W. A. Mozart. This work is originally for orchestral format and singer; in this case the orchestra part was adapted for Raptus. Those who are familiar with the soprano's work would not be surprised to hear what a waste of technique and expressiveness this performance was. Every part of her body was in function of conveying the intentions of the music. Watching it, you don't need to know Latin to understand the joy that the piece invokes.

Photos: Lilien Trujillo.

Then came a beautiful arrangement of the work Reencuentrooriginal for piano by Ernán López-Nussa, by the ensemble alone. As a pianist myself, I always find it interesting to listen to works from our usual repertoire taken to other instruments, since the diversity of timbres that can be achieved in a varied ensemble allows us to perceive details that we would not normally notice. Exploring and getting to know new ways of interpreting, not only because of the different world that each musician is, but also because of the very possibilities or limitations of his instrument, is a necessary experience.

Later, Niurka González joined the stage to perform a unique version of the Sonata in Bm BWV. 1030 by J.S. Bach, not only for the sublime sound of his flute, but also for the huge arrangement. From the adjustment to the format to the creative licenses and variations, they made us delight with an I. Andante enriched with the flavorfulness of Cuban son, a II. Long and dolce that transports us directly to New Orleans and a III. Presto with African and Latin American influences. Niurka and Raptus showed us a fresh and interesting Bach, nourished by new influences, but without losing his essence. The flute performed with precision and lyricism, indispensable for the final result to be an expression of the highest artistic value.

Coincidentally, the anniversary of the city had taken place the night before. These remedial celebrations are marked by a traditional fireworks display, so the streets were still littered with their remnants, which children used as firecrackers. On more than one occasion the small booms of the explosions - which sounded between pieces and during - disconnected us from what we were listening to. I specifically remember the surprised look on the musicians' faces when one went off at the beginning of Bach's first movement, although they did their best to continue playing as if nothing had happened. I found this truly admirable, because the sound of firecrackers was frightening. It wasn't the kind of ambient noise that you get used to to the point where you hardly notice it; it sounded like a gun was suddenly being fired in the dark of night.

Photos: Lilien Trujillo.

In closing, Niurka joined the ensemble in the Epilogue by Aldo López-Gavilán And, just when we thought there could be no more surprises, Barbara's voice was added, who sang leaning out of the window from the sidewalk. The arrangements of each of these works, by Niurys Moreno del Pozo, were simply spectacular, of an incredible creativity and -from my subjectivity- a very good taste. She knows how to take advantage of the format and make each instrument shine at the right moment, always in function of the music. Raptus achieves a finish in their proposals that gives them a characteristic stamp, where the good taste and the notorious work of chamber music stand out. Undoubtedly they deserve all the recent successes and those to come. 

The last chord is lost in the echo of applause. Barbarita turns around and runs back into the room to greet her companions (despite Eliot's willingness to help her climb out of the window). The flowers arrive followed by a final salute, and so the evening concludes.

As I was walking back under the remedian moon I could only think: in moments like this, for concerts like this, I feel lucky. It is not every day that one has the opportunity to walk through the streets of this beautiful and historic city and, almost by chance, by the inevitable attraction to music, enjoy these wonderful beings sharing what they do.