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Chronicle Filip and Germán talk with their instruments. Photo: Lilien Trujillo

A courtyard to house the beautiful

When one lives music, one does not need the physical body to feel it. Thus, like a meeting of enlightened spirits, "the courtyard" opened and the music made us travel in space and time. Once again, the Theater Hall of the Museo Nacional de Bellas Artes is home to the beautiful, the confluence of sounds and lives, which comes to speak to us of history and our diversity as musical individuals.

The Fondo de Arte Joven continues to create memorable experiences. It was truly a lucid idea the gestation of this concert as part of the celebrations of the Month of Europe in Cuba. A way to let the creative exchange mature, to bring mirrors to look at ourselves, and to appreciate again how much we are alike and how plural we are, or how far we can disfigure the limits to create.

With the musical direction of saxophonist and professor Yosvany Terry and Lorenzo Suárez, the concert Open courtyard continues to deploy the cultural range, something that we could already appreciate since the last edition of the Habana Clásica Festival: the mixture of foreign styles and instruments with Cuban rhythm. The musical arrangements by guitarist and composer Dayron Ortiz leave that genuine flavor of someone who enters the other's house to rebuild it with the same passion as he rebuilds his own house.

Photo: Lilien Trujillo

The feast of sounds was sustained by the special participation of Croatian Filip Novosel and Spaniard Germán Díaz, the collaboration of maestro Ruy López-Nussa on drums, and the versatile performance of young Cuban interpreters, many of them winners of the FAJ's creation grants: Patricia Díaz on guitar, Gabriela Díaz and Wendy Oram on violin, Lianne Vega on piano, Olivia Caballero on double bass, Kadir González on saxophone, Samdor Ramírez on flute and Jorge Coallo on percussion.

The intention of linking the Caribbean with the Balkans, the medieval cadences and the traditional music of Croatia and Spain, was accompanied by long days of exchange at Estudio Mendieta 23 in El Vedado, a space that has become a recurring meeting point for rehearsals and recordings of the FAJ community. It was necessary to count again, to read, to learn phrases in another language, to put flavor and gesture to each piece, between the small breaks and the coffee prepared by Sandra and Dayris, the Studio's coordinators.

Photo: Lilien Trujillo

A well-designed concert is more than a succession of pieces, it is a work of art that creates a story and makes each character develop. A concert is no longer reduced to the four walls of a hall; technology has given us other privileges. That is what the audience felt while the music was also present in those who enjoyed the evening through the transmissions. on-line of some of the participants. This is how it continued to sound in the comments of the following days, the telephone messages and the memory. "The learning and the instant, the surprise that each repertoire nurtures", was the idea that Dayron commented to me, days after the event. "I can't help it, whenever I make an arrangement it's as if I were composing my own music." The euphoria in the travelers German and Filip, waiting for the moment to return to play in Havana, was also evident.

Photo: Lilien Trujillo

Irregular rhythms, Cuban rhythm, understanding on stage. Learning to feel each other's clave. The night begins with faint chords that will soon light up. Two old instruments on stage speak to each other without words. The pieces follow one after the other between The Bayamesa, the Sonata Za A Brač I Klavir, Der Liermann, Alalá de Muxía, Et la Roue de la Vie.... until Oj Savice. Filip sounds the tambura. His voice floods the space. With five plucked strings he comes from Croatia to name us the poetry of which he is heir. The step is tremulous, it reminds me of the Canarian bandurria; after all, the spirit unites them. Becarac music remains a living social practice, dynamic and renewed with each performance.

Samdor Ramírez plays the flute. Photo: Lilien Trujillo

There is a lot of emotion. The applause of the audience, who live the experience with all their senses, says it all. Photographer Lilien Trujillo captures the moment. Germán Díaz prepares the hurdy-gurdy, a medieval instrument reminiscent of the goliardos, those writings of Arcipreste de Hita or Valle Inclán. His innovations in the field of traditional music with jazz are widely known; today he proves his mastery with Cuban flavor. Time turns on his crank. Staggered sounds. Bright blues in the reflection of the curtains. The musicians converse without uttering a word. We follow the restlessness of the melody. We hear I closeGermán and "the music box" that awakens our curiosity. Gently the sounds remind us of our childhood; if we close our eyes we can see those clouds of which he spoke to us a few minutes ago, "the shape of the clouds around the world".

Germán Díaz performs Cierro. Photo: Lilien Trujillo

There is effervescence on stage. Olivia glides across the bass like a naughty child coupling the notes. Gabriela closes her eyes. Samdor spins the wind with the flute. Andy Quincoses, on the piano, with an impure tranquility that seems to transport him off the stage.

Utopias, like talents, go from promises to certainties. Where should young Cuban musicians go? Beyond virtuosity and the craft of mastering an instrument, I would dare to say, to dig into tradition to find the new. Opportunities like these make it possible to broaden the spectrum and grow. The beauty is in that space, on the stage and in the memory, between the walls and the patio, in this instant in which you taste the sound and learn to listen to its silence.

Photo: Lilien Trujillo

Giselle Lucía Navarro More posts

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  1. Ania Ortega says:

    Excelente crónica.

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