Portrait of Aimara

'Latin Perspective': a feast of Latin American music.

2012-02-14T10:17:00.000-08:00

The latestrelease by Ahmed Dickinson and the Santiago Quartet offers an enjoyable journey through Latin America. This is powerful music, full of colour and flavour - an interesting proposition for today's audience.

'Quintet for Guitar and String Quartet' dates from 1957. Writtenearly in Brouwer's career, it shows a high regard for the basics ofform. There is a presence of Afrocuban rhythmic elements, which are approached in an abstract manner, reflecting the innovative times that Cuban classical music wasexperiencing. It is a piece in which the essence of chamber music iswell accomplished as all the instruments are equally important.However, Brouweruses the musical structure of the Sonata form to define the guitar'srealm in the midst of the intricacies of the strings; resulting in clearer boundaries between solo and tutti.

Forthose of us who have followed closely Dickinson's career, theperformance of this piece has no precedent. He displays an extensivepalette of timbres and colours, as well as a superb sound quality.His technique allows him to overcome what is generally regarded as a limitation for thepulsed strings instruments: to play legato. This is preciselywhat singles Dickinson out as a highly accomplishedguitarist.

'PrestoII' is an enlargedversion of the Finaleof Miguel del Águila's'Second String Quartet'. He composed it whilst living inVienna, where the musical form is considered to be sacrosanct. Inthis high energy ostinato-driven music, Águila'sLatin American roots are obvious. Avant-garde technical elements such as collegno and sulponticello effectsare used. The undeniably humorous approach appears combined with thetraditional virtuosity of the string quartet.Águilaalso found time to turn towards 1920s' jazz; no wonder itsperformance was reviewed as 'not serious' by the Viennese press.Played skilfully and with infectious high spirits by the SantiagoQuartet, this music simply defiescategorization, except perhaps 'great fun'.

With'Beatlerianas', we are presented with Brouwer's tribute to someEuropean composers of the 20^th century such as Bartok,Hindemith and Stravinsky. By recreating elements of theircompositional styles, Brouwer joins together their legacy with a morepopular side of Western culture through songs by the Beatles. This is essentially a concerto for guitar and orchestradivided in seven parts. On this occasion, Dickinson has approached themusic from a 'less classical' point of view. The objective here isnot to highlighttechnical difficulties - always present in Brouwer's music; but to gift the listener with a refined version of thesefavourites, so that they feel identified with the songs themselves.The quality of this performance suggests thatmany hours have been spent in the understanding and 'digestion' of this music, making italmost impossible to think about technique when listening to thispiece. The only thing left is to relax and enjoy the musicalexperience.

Atthe end of this musical journey, we are brought back to the continentwith Javier Álvarez's 'Metro Chabacano'. It was commissioned by visual artist Marco Limenes, toaccompany his art installation at the metro station of the samename in Mexico City. The art work in question is a kinetic piece inthe form of a working escalator. Suspended high above thepassers-bys, mannequins ride it endlessly up and down in a longcycle. The constant and rapid pulse of the music, and the tendencytowards circular patterns certainly make the perfect complementto the installation piece. 'Metro Chabacano' is an accomplished counterpoint forfour, which due to the use of minimalist tecniques, makes a perfectportrait of the cyclical character of a tube journey. TheSantiago Quartet managed to capture the sense of movement andcontinuity of the music, not only expressing its rhythmiccharacter, but also the nuances of the melodic lines.

'LatinPerspective' is indeed a feast of Latin American music. A fine selection of pieces, performed at its best, makesfor one of the most appealing music productions of today.

Where Classical music happened

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It is not possible to recount the history of Cuban Classical musicwithout mentioning the role that the different societies, orchestras and otherinstitutions had on its development. Their presence in the cultural panoramawas vital for the generations of intellectuals and composers’ work. From theend of the 19^th century, Cuban society organized itself in differentassociations to satisfy necessities of different natures. The first fifty yearsof the 20^th Century were rich in cultural associations, which couldbe classified in educational, intellectual and purely artistic.

Pro-Arte Musical Society's program

The Pro-Arte Musical Society had an important place in thedevelopment of Cuban culture. Founded in 1918 by a group of women with María TeresaGarcía Montes as president, it was the most consolidated artistic society ofthe republic and it was known at an international scale. The first concertsorganized by the society took place at 'Sala Espadero', and after ten years, itwas able to build its own venue: the 'Teatro Auditorium', nowadays the 'AmadeoRoldán' Theatre. Pro-Arte Musical brought to Cuba orchestras, opera companies,ballets, choirs, many chamber music ensembles as well as top performers in theworld at the time. For example, performers such as Jascha Heifetz, VladimirHorowitz and Arthur Rubinstein(1) visited Havanaas honourable guests of the Society. They also generated its own magazine,which was edited between 1924 and 1959. Its work expanded throughout thecountry and the main provinces besides Havanawere Camaguey, Santiago de Cuba and Guantánamo.

Pro-Arte Musical Society's magazine. February 1930

Another important society was the Lyceum and Tennis Club, whichwas aimed at cultural education in general. One of its most important features wasthe Social Library and the Public Library of Vedado. It also had its ownmagazine. The choral movement in Havanawas backed actively by the Lyceum. Later in 1931, the Sociedad Coral de laHabana, which brought to Havanathe international and national repertoire for any choral format, was founded.

The Nuestro Tiempo Society, presided by the composer HaroldGramatges, joined painters, intellectuals, film directors and researchers tocreate a strong movement of cultural action and thought. It had a wide culturalprojection, which was influenced by a socialist line of thought. They activelyorganized and promoted musical activities as well as literature, theatre,cinematography, plastic arts and philosophy produced by the artists of thatgeneration. All this work was done without the support of the government, aswas the case with the Pro-Arte Musical and the Lyceum societies, but purely thejoint desire of intellectuals and artists that integrated it to bring to thelight the best of Cuban culture.

Philharmonic Orchestra of Havana's program

Sinfonism asa movement in Cubastarted in the decade of the 1920’s with Gonzalo Roig as the initiator. Thismovement had its precedents with Guillermo Tomás (1868–1933) in the firstdecade of the century. In 1921, Roig joined a group of musicians that used toplay in cinemas and were on a strike during those days due to their lowsalaries, to form an orchestra that played at the Central park in Havana. This evolved intothe Concert Society in 1922. Following this, the 'Symphony Orchestra of Havana'was born. Founded by Roig and Ernesto Lecuona, it was active until 1942, whenit stopped functioning due to financial problems and in May that year it gaveits last concert. In addition, another fact that contributed to itsdisappearance from the spectrum was the popularity that the 'PhilharmonicOrchestra of Havana' reached.

Teatro Auditorium

Founded in 1924, the Philharmonic Orchestra was an eternal rival of theSymphony Orchestra, even when both had different aesthetic projections. Thisorchestra was the starting point for the performance of pieces of our greatestcomposers. The history of this orchestra has not been very well researched, butit is known that César Pérez Sentenat (1896 - 1973) had an active role in itscreation process. Also Pedro Sanjuán (1886–1976) worked on the musicaldirection and Amadeo Roldán played first violin. Later on, in 1930, he becameprincipal conductor until his death in 1939. During the period between 1939 and1949 the place of principal conductor was occupied by Massimo Frescia, ErichKleiber and Arthur Rodzinsky among others. Also during this time the'Philharmonic Choir' was founded, which permitted the performance of some ofthe great symphonic works. The Teatro Auditorium housed the PhilharmonicOrchestra. This was, probably the most important orchestra in terms of anupdated program. As Havana City remained on thetouring itinerary of various opera, ballet and zarzuela companies; musicianssuch as Juan José Castro, Koussevitzky, Monteux, Ansermet and Stravinsky(conducting mainly his own works) were all invited to conduct the PhilharmonicOrchestra of Havana.

In 1934, José Ardévol (1911-1981) founded the 'Chamber Orchestra ofHavana'. For over 20 years, it performed baroque and classical music, but aboveall numerous 20th-century works, especially music by Cuban composers.

Conservatorio Municipal de La Habana

The first systematically organized conservatory in Havana was founded in 1885 by Hubert deBlanck. Later in 1899, Carlos Alfredo Peyrellade founded the Conservatoriode Música y Declamación to compete with the one De Blanck had created. Thisinitiated a kind of ‘war of conservatories’ that ended only in 1935 with thereformation of the Conservatorio Municipal de la Habana. Guillermo Tomáshad founded the Conservatorio Municipal de La Habana in 1903, and until1959, it was the only free music school in the country. In the 1940s, it sawthe foundation of the Grupo de Renovación Musical (Musical RenovationGroup), directed by José Ardévol; the birth of the specialized magazines 'Conservatorio'and 'La Música'; and the creation of the Sociedad Cultural NuestroTiempo (1951–1961), under the presidency of Harold Gramatges. It alsoformed many composers and performers whose work was very important for thedevelopment of music teaching in the post revolutionary period. After the Cubanrevolution in 1959, this conservatoire adopted the name of one of the greatestcomposers of Cuban music history: Amadeo Roldán.

(1) Other composers and performers that visited Havana during the decadesof the 1940s and 1950s because of the labour of Pro Arte Musical were SergeiRachmaninov, Pablo Casals, Ignace Jan Paderewski, Sergei Prokofiev, IgorStravinsky, Andres Segovia and Claudio Arrau.

The musical avant-garde of the 1920s and 1930s [Part 2]: Alejandro García Caturla

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(continues from the previous post)

A young Alejandro García Caturla

Alejandro García Caturla: the essence of Cuban music brought into the concert hall.

Alejandro García Caturla (1906-1940) was one of the most interesting figures in the history of Cuban music. He was amaster in harmony and theory. He studied with Nadia Boulanger inParis, and after his return to Cuba, he turned into the Afrocuban cultures and the 19th Century Cuban Composers. In his music there seems to be no limit, no measure, everything seems almost pure. When one looks atone of his scores, one can find that he made no concessions for the performers; the orchestral parts can be of great technical difficulty.

Like Roldán, he included Afrocuban percussion instruments in theorchestra. However, in his music he expressed the pure essence of the Afrocuban genres. In his rumbas he expressed the wild,and the sensuality of dances and songs. His style was guided by his impulsesand emotions, just as it happens with Afrocuban music.

Alejandro García
Caturla

For Caturla, being a composer was nota profession, he composed because it was his passion. He was a judgeand the author of one of the most important studies in juvenilecrime, which is still used as a reference point. His work as a judge causedhim his life. Throughout his life he made important contributions in different areas, but especially in music. He is perhaps one of the most versatile characters in the history of Cuban music. Besides being a prolific composer, he was also a pianist, violinist, music critic, teacher and conductor. He even went into the popular music terrain with his danzones and his small jazz band.

Caturla did not settle inHavana. His labour was done mainly in Remedios, in the central part of thecountry. He organized many orchestras and musical societies in most places where his work as a judge took him. Probably the most important of those was the SociedadOrquestal de Caibarién.Hewas in love with the African traditions and became a polemic character in Cuban culturalhistory. His figure generated a big polemic around his personality and private life (1).

All his work shows compositional techniques withinfluences from Claude Debussy and Igor Stravinsky, although adjustedto modern textures.This way he unified a picturesque symphonic style with a new sense ofcolour, rhythm and harmony. He did not start to compose based onEuropean models like Roldán. Instead he focused his studies on the 19^th century Cuban composers and from that, he developed hisown characteristic style. Caturla used mainly for his songs' lyrics, verses bythe Cuban poet Nicolás Guillén and the writer Alejo Carpentier. Among his most important pieces are La Rumba (1927), Bembé (1930), Obertura Cubana (1938), his Danzas para piano (1928), and El Canto de los Cafetales (1937)

First page of the manuscript of the 'Berceuse Campesina'

At the end of his life, he composedone of the most interesting pieces of Cuban music literature: the Berceuse Campesina (1939). This piece is nothing like the previous pieces, all the feelings,and impulses appear restrained, and the piece is very simple. The BerceuseCampesina features a surprisingsynthesis of two very different styles: it integrates the melodic elements ofthe guajira (2) and the rhythmic patterns of Afrocuban music. By placing the African rhythmic pattern in supportof the melody, Caturla achieved the impossible. He joined themain elements from the music of these two cultures that never hadanything in common or ever withstood the least fusion in severalcenturies of cohabitation in the same land. It is thought that this wasthe first time that this combination appeared.

Roldán and Caturla's legacy marks one of themost important periods for Cuban Music. Theirlabour promoting the performances of important pieces of the symphonicrepertoire in Cuba was very important. Their work reveals a mixture in between the universal and the Cuban aspects of music. Itis significant that neither of them used any of the Europeangenres such as fugues, sonatas, symphonies, or concertos for any oftheir most important pieces. Roldán and Caturla are the pioneers of the Cuban symphonic movement.

(1) For the society of the time, he was an upper class white man, who studied in Europe and had a reputable profession. He broke the boundaries of race which were very fresh and tender when he married a black woman. He also had relationships with a number of black women and had eleven children by them, which he adopted and supported.

(2) Theguajira isa genre that was born in the mountains in the eastern part of the country. Itis the music of the peasants and has Spanish roots. It shows noindication of any African influence and it is the main genre ofmúsica campesina.

The musical avant-garde of the 1920s and 1930s [Part 1]

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Amadeo Roldán: the genesis of the Cuban symphonic movement.

‘...Not all Cuban music has Black influences, part of it is formed by the inspiration and style of the so-called Western music, which some inaccurately catalogue as universal music...’

Fernando Ortíz, Bimestre Cubano magazine. 1952. (1)

The 1920s in Cuba were characterized by the innovation in intellectual and artistic concepts. These were the times of the 'discoveries' of Stravinsky and his 'Rite of Spring', Joyce, the Esprit Nouveau and all the 'isms'. The works of Diego Rivera and his way of expressing his cultural values had impressed many Cuban intellectuals. Also the political unrest that thecountry was experiencing together with the creation of the communist party,added to the revolution on the cultural side with the creation of the GrupoMinorista and the publication of theRevista de Avance.It is also during these years that Nicolás Guillén, the Cubannational poet, wrote ‘Motivos de Son’:probably the most important among his works.

Amadeo Roldán

On every field in thearts, it was evident that a revolution was starting. With the writings of Fernando Ortiz, and the discovery of afrocubanismo, came the turningpoint for Cuban music. It was then when Amadeo Roldán appeared in the Cuban musical scene.

Amadeo Roldán was a prodigy. He won theSarasate Prize for Violin after finishing his studies in Paris. Whenhe returned to Cuba he was appointed concertino of the newly createdPhilharmonic Orchestra. Most of his works for the big format werefirst performed by this Orchestra. Roldán’s first works show a moreEuropeanised product without any defined musical-aesthetic direction.

His composition style was very measured; he usedrhythmic motifs that were subsequently developed into big textures inthe orchestration. He wanted to recreate the elements of theconstruction patterns of the rumbaand those of the music that was played in the Afrocuban religiouscelebrations. He was a master of counterpoint and knew how to expressthe rhythmic richness of Afrocuban music. However, it was not until 1926, when he composed his TresPequeños Poemas, that his starting point for amuch more defined style was marked.These were also his first works in which Afrocuban elements and thelyricism of the 19th century Cuban music were intertwined.

Fiesta Negra: beginning of the final tutti.
(courtesy of Maestra Ma. Elena Mendiola)

In Roldán's TresPequeños Poemas (Oriental,Pregón, and FiestaNegra), there isan almost hidden treatment of the folkloric material throughout thefirst and second parts, but in the third, the motif elaborations,through repetition achieve an atmosphere evocative of the rumba. Pregón wasinspired by the street merchants, who used to advertise theirproducts, mostly food, sweets and delicacies in the street in the wayof sung verses. Pregoneswere melodically elaborate, which is a direct influencefrom the Italian arias of opera. In Roldán’s Pregón,there is a slight remembrance of Impressionism, whichcharacterized the first part of his works.

The third poema,Fiesta Negra,is considered his first truly accomplished work.Here Roldán openly recreated the Afrocuban musicalelements. The orchestration technique iscrucial to create the atmosphere of the rumba,which is the main aim of this piece. The middle section features a peculiar instrument: claves (2). A percussion instrument that had never been used in another kind ofmusic that was not popular now appears for the first time,incorporated in the symphony orchestra and with its written notation.This piece’s main protagonist is rhythm,which is the strong and most characteristic element in Afrocuban music.

This was the first accomplishedpiece that showed a direct Afrocuban influence not only because ofthe fact that Roldán used the rhythmic patterns in a successful way,which enabled him to achieve the poly-rhythmic character of Afrocubanmusic. In this way, he recreated the atmosphere of religiousparties in honour of the orishas (gods of the Yoruba religion). Also important, is the incorporation of instruments that were used onlyto play Afrocuban religious music.Nobody had done this before him. Thisis why Amadeo Roldán is considered the father of the Cuban symphonicmovement.

Last page of Rítmica V

Roldán’s legacy lies in the fact that he was thefirst one to incorporate instruments of the Afrocuban percussion setsinto the Symphony Orchestra as a section. He also succeeded increating and establishing an effective notation for the percussioninstruments in general. These notations were used later on by hisfollowers, and not only in Cuba. Among his principalworks are, besides the Tres PequeñosPoemas, SeisRítmicas for different formats (the last two are only for percussion instruments), and the ballet LaRebambaramba.

These pieces provide evidence thatCuban music was being updated for the first time.There was, besides the slight influence of Impressionism, aninsistence on cultivating the Afrocuban tendencies. By the end of this period, there was no more sense inseparating ‘white music’ from ‘black music’: it became ‘Cubanmusic'. This process, starting with the afrocubanismo movement, and having its culmination with the work of Roldán and another giant of Cuban music: Alejandro García Caturla.

1. '...No toda la música cubana tiene acento negro,parte de ella está compuesta bajo la inspiración y al estilo de lallamada “música occidental”, de la que algunos, con impropiedad,dicen “música universal...' FernandoOrtíz. Revista Bimestre Cubana. 1952.

Claves

2. This instrument keeps the rhythmic pattern in genres such as rumba, sonor guajiras.Its function is to play a rhythmic pattern that is kept as a base throughout the piece.

'Afrocubanismo': Fernando Ortíz

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(continues from Part 2)

‘There are two authentic legacies that the Cuban people have given to the world and have been gladly received; andnone of those is owed only to white people, because they have been born fromthe embracing hug between different cultures: tobacco and music [...] Anothergift from Cubato the world has and still is its popular music. Hybrid of blacks and whites; mulatto product. And this is, from both, the mostgenuinely Cuban, because whilst tobacco and the way of smoking it were not unique of the aboriginal cultures, this mulatta music, that thrives in Cuba like theroyal palm tree, is an exclusive creation of the Cuban people´s genius’. Fernando Ortíz in‘Afrocuban Music’. [1]

Themusical phenomenon that started at the end of the second decade of the 20^thCentury was first seen occurring in other artistic manifestations. Artists in generaldiscovered an almost virgin source of material and inspiration in the blackcommunities that were being marginalized by the Cuban society. Painting and music werethe artistic manifestations that were benefited the most from this discovery. This was mainly due to the work of Don Fernando Ortíz (1881–1969), one ofthe most prominent figures in Cuban musicology. His work is still obligatedreference to those who study the Afrocuban cultures. He lived among the blackcommunities, transcribed most of their music and most importantly,provided the world with a deeper understanding of their culture through hiswritings.

Fernando Ortíz

His work was definitive for the shaping of Cuban identity and thecrystallization of afrocubanismo (afrocubanism), aterm that was created and introduced by Ortíz himself. He recognized the importance of the Afrocubanelements as one of the two main roots in the shaping of an authentic Cuban culture.According toOrtíz, theexplanation of the peculiarities of authentic Cuban music can be found in theconfluence of the several cultures that contributed to form it. Cuban music’s formation process joined two great currents: theone from Europe, Western culture; and those that came from Africa,the black cultures. Fernando Ortíz was also the creator of worldwide known concepts such as transculturación (transculturation: the process of absorption of elements of one or more cultures into forming the culture of one place or country. The transculturation process that took place in Cuba incorporated elements mainly from African and Spanish cultures).

When we talk about Afrocuban music, we refer to the one that Cuban people inherited from theAfrican slaves. Because African traditions were transmitted and learnt orally,sometimes they were adopted by the younger generations with certain modifications. For example, when the African slaves arrived in Cuba, they had to adapt theirhabits to the new land in order to keep their traditions alive. They had tomodify their religion and worship manners. Also because they were forced to convertinto christianity, they had to go to church and worship a white god and saints.They were able to associate the images of the Spanish religious saints to theirown deities or orishas. This was done mainly in a visual manner, by using the most representative colours of the saints. This process is called sincretismo.Certainly to play their music, the slaves had to find new instruments, and later this musicwas mixed with European harmonies and influences.In addition, the music created in Cuba under the influence of theseAfrican traditions was combined with others, that in turn were originated in diverse places.

'La Jungla' by Wilfredo Lam

To say that in Cuba there is no Afrocuban music isa totally mistaken idea. Afrocuban music, born in Cuba, even when it integratesEuropean and African elements, is by default Cuban.Just as Edgardo Martín said of ‘La Rumba’, a piece by Alejandro García Caturla: ‘This ['La Rumba']is simply Cuban music, with the Cuban element already there, integrated asa new product from the union of two cultures […] there is only ‘the Cuban element’, thetotality that distinguishes us as a nation, and gives us a unique identity in the more or less abstract universality’.

Afrocuban music is undoubtedly Cuban, and it started to influence classical andpopular music during the 1920s. Also at the same time it received influences from this one. The term was used sincethe first decades of the 20^th Century to differentiate traditional,folkloric, and classical music in Cuba from the fusions and genresthat were born afterwards, which had African influence.

'El Rapto de las Mulatas' by
Carlos Enríquez

From the 1920s on, a much-accelerated processof transculturation takes place.This was called afrocubanism (afrocubanism). Artists and intellectuals started to look at the dances, music and religiousceremonies of the black communities. Their aim was to extract some of theessence of these cultures and use it as new material for their artistic creation. Itstarted to be used consciously not only in music, but also in painting. Examples of this can be seen in some of the most accomplished and famous paintings of artists such as Wilfredo Lam and Carlos Enríquez.

Somescholars believe that afrocubanism as a process started as a white middle class artistic movement,which took inspiration straight from the cultures of the black working class. Theartistic avant-garde of the time took it in eagerly. It was an almost virginsource of inspiration and material for their works. In addition, the mysterious element thatwraps up like a halo around the Afrocuban culture gave it a more interestingcharacter to their works.

Inthe first decades of the 20^th Century, Cuba had a very difficult situationin the social, economic and politic spheres. During this period, art became apowerful metaphor of life, which was vital to the creation of our national identity.The music that was created during that time had a new feeling, a new vitality thateven today keeps influencing and stimulating the rest of the world. These first decades were very important for what came next in artistic terms. The Afrocuban phenomenon and its recognition as vital part of our national identity provided the perfect environment for the revolution that took place in all the arts, but especially for the new generation of composers that brought it into the concert hall.

[1] ‘Dos son las cosas típicas queel pueblo cubano ha dado al mundo y han sido recibidas con beneplácito; yninguna se debe solo a los blancos, habiendo nacido ambas del abrazo cruzadorde distintas culturas: el tabaco y la música [...] Otro don de Cuba al mundoha sido y es su música popular. Engendro de negros y blancos; producto mulato.Y esta última es de ambas cosas la mas genuinamente de Cuba porque, mientras eltabaco y el modo de fumarlo no fueron privativos de los aborígenes, esas músicasmulatas, que se dan en Cuba como las palmas reales, si son creacionesexclusivas del genio de su pueblo’. Fernando Ortíz, La Música Afrocubana.Madrid. Ediciones Júcar, 1974.

The Music of the New Republic

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(Continues from Part 1)

At the end of the independence war against Spain

Beforepresenting this brief history of Cuban music from the 1900s onwards, it is worthmentioning a series of historical facts that took place in Cuba just before the beginning of the 20thCentury: Slavery was abolished in 1881, and the second and last of theindependence wars against Spainended in 1898. By the very end, the United Statesdecided to intervene in the War against Spain. They offered their militaryhelp, but just before they could do anything, the war ended and the Cubans werethe victors.

Then the United States’ government decided to putexplosives in a ship called ‘the Maine’ in Havana’s bay. Theypresented this as a Spanish terrorist attack to the global media and demandedindenisation. Later on, the Treaty of Paris of 1898 was signed, where amongother things Spainrelinquished its claim to Cuba.This happened without a single Cuban representative. Just after this, the US army intervened in the island, a new Republic of Cubawas declared, and a Constitution was written giving the US privileges over the Cuba - Guantanamobay is an example of this.

Thefirst decades were very unstable times; a brand new country was forming. Therewere many new notions in place such as the new political system. Cuba was nolonger a Spanish colony and they were entering a new era. Socially it wasvery agitated as well, with the newly freed slaves a sudden awareness and evenfear of them, fuelled by the media, resulted in a kind of segregation and evena race war. In the intellectual circles, many artists started to introduce newconcepts that were crucial in the shaping of a national identity. We went frombeing either criollos (creoles) or descendants of Spanish or Africans, to being 'Cuban'.

Themusic of the first decade of the 20th Century was not very rich in innovativeterms compared to the previous period. It was a continuation of what had beenhappening in the 19th Century. The pieces written during this time followed anationalist tendency that had been started by Manuel Saumell (1817-1870) andIgnacio Cervantes (1847-1905) in the second half of the 19th Century.

Duringthe first decade of the 20th Century, Guillermo Tomás (1868-1933) and EduardoSánchez de Fuentes (1874-1944) were the important figures. Tomás’ work had moreimpact in the creation of musical institutions such as the Havana's Wind Band and the Musical Academy ofHavana. His work as a promoter of the symphonic repertoire was very important,and thanks to him many pieces by the great European composers such as Beethovenand Mozart were performed in Cubafor the first time.

Cubanclassical music up to this time happened mainly in the ballrooms, that is tosay, in the houses of the nobility. There were some chamber music concerts, butthere was no regular orchestra. The women were the main performers of the songswritten during that time. For this reason, many important European Classicalmusic works were unknown in Cuba.

EduardoSánchez de Fuentes

EduardoSánchez de Fuentes was a songwriter and the author of the habanera ‘Tú’(You), one of the more popular pieces of Cuban music. He also did an importantwork as a musicologist. Since very young he started researching into theaboriginal cultures and its music. He even composed an opera called ‘Yumurí’based on aboriginal myth. He was one of the first scholars who tried toexplain the origins of Cuban Music. His big mistake was the total denial of theAfrican elements in the Cuban culture. He believed that Cuban music was aproduct of the mixture between Spanish and aboriginal elements. Sánchezde Fuentes was a prominent figure in the Cuban cultural panorama of the firstquarter of the century.

The rejection of the idea of African rootsin Cuban culture is a reflection of the general feeling of the populationtowards the recently freed slaves. This conception, added to the politicalsituation in the country, had a big influence in the behaviour of the uppersocial classes towards the now liberated slaves and their culture. The blackpeople were now free, but still neglected, and relegated to the poorest livingconditions.

Duringthis period, a musical genre was born in Europe and flourished in Cuba until itbecame one of the most representatives of Cuban culture: the zarzuela. The zarzuela is aSpanish lyric-dramatic genre that alternates between sung and spoken scenes. Itincludes operatic and popular songs, as well as dance. In Cuba, thelabour of composers such as Gonzalo Roig (1890-1970), Rodrigo Prats (1909-1980)and Ernesto Lecuona (1896-1963) created the best of what has ever been composedfor this genre.

Ernesto Lecuona

Probablythe most important was Lecuona because of the character of his pieces; heincorporated African elements in his music. He is considered a composer ofpopular music as well, because he wrote a big number of songs only forentertainment. His music was mainly for piano, his Danzas para piano being the most important. Among his works, we canmention the ‘Andalucía Suite’, ‘Siboney’ (for piano and voice) and his zarzuelas ‘Maria la O’, ‘El Cafetal’and ‘Rosa la China’.

Lecuona’slabour, alongside the completion of the first Cuban opera by Jose Mauri(1856-1937), were among the most important events that happened in terms ofmusic during this decades. Mauri's opera was called ‘La Esclava’ (The Slave). The title says a lot, and its importancelies in the fact that gradually, Cuban composers started turning into newsources of inspiration and material to write their music: The Afrocubancultures.

Endof part 2. To be continued...

©Aimara Magana 2012

An Introduction to Cuban Music on the 20th Century

2012-01-16T13:01:00.000-08:00

'In recentyears, as in the last centuries, Cuban music has reached an age of fame acrossthe seas. We Cubans have exported with our music even more fantasies and dreamsthan with tobacco, more sweetness and energy than with sugar. Cuban Music isfire, richness and smoke; it is syrup, ‘sandunga’ and relief; like sonorous rumthat is drunk through the ears, that brings people together, that makes lifemore dynamic’. Fernando Ortíz, Afrocuban Music, 1952.

CubanMusic is like an ajiaco - special Cuban stew that has literallyeverything in it - but made of many different rhythms, colours, timbres andinfluences. People from different parts of the world, as they were arriving inthe island, were adding to this 'stew' their own secret ingredient - which ofcourse, is always the best! This started to cook at a very low fire in the1500's and still today it keeps being enriched, because as a good ajiaco,it absorbs everything that is added to it. Needless to say that with every daythat goes by, it gets better. Cuban culture is the product of more than 400years of slow evolution and one of its most amazing and powerful products isits music.

All the composers and pieces that I am goingto talk about in this series of articles are among the most important for Cuban classical music, and are paradigm of the Cuban culture. One of my aims with this work is to show that Cuba,apart from producing popular genres of great force and reach in the wholeworld, can produce as well the highest quality music for the Concert Hall.

The20^th Century was perhaps the most important period in culturalterms. These were the times that came after the independence wars against Spain, when Cuba was declared a Republic. Atthe same time, the United Statesintervened in the Island, creating a veryunstable political period. These years were important in cultural terms becauseit was then, when the Nationalist spirit that was shaped during the NineteenthCentury, entered the concert halls. It was then when the Afro-Cuban elementswere recognized as part of Cuban culture and started to be an important elementin the palette of composers of Classical music.

Thiswas a time of development for the country. Many aspects of Cuban culture thatwere overlooked or cast aside during the 18th and 19th Centuries, started to berecognized as part of the Cuban identity, and it was during this time that itcompleted its formation process. The 20th Century was one of the most prolificperiods for the island’s culture: a generation of great painters introduced newtechniques and the literary production was of high quality. It was also a goodtime not only for Classical music, but for popular music as well; Latin Jazzwas born and the Cuban song started its development process from thetraditional to the filin. The danzón evolved and the son was born.

Cuba, with its privileged geographic position, neverstopped being the door to the New World.Everything that came to Americain artistic terms made a stop in its journey and left its print on the island.That is why it is impossible to separate the influence of Italian and Frenchoperas on our songs, or the ascendance of the great romantics of the moment inManuel Saumell’s or Ignacio Cervantes’ music.

Thegrowing artistic and intellectual activity that started to flourish in theCuban ballrooms in the last quarter of the 18th century and reached its maximumsplendour late in the 19th century has special significance for the developmentof Cuban culture. It is in the strength of the literary movement that, for thefirst time, appears the thought of the ‘national’ as a concept in conjunctionwith international aspects. The phenomenon that begins in Cuba, withliterature, extends to other arts and especially to music. It was in fact inthe musical activity of ballrooms that many of the valuable components thatidentify Cuban nationalism in the 19th Century came to be.

The‘national’ aspect in Cuba,like in all Latin American countries, was characterized by the contradictionbetween the imitation of European schemes and the valuation of nationalelements, which implied a new aesthetic attitude in the artistic creation.Specifically in music, this begins to show towards the first half of the 19thcentury and is represented with more authenticity in the following fifty years.

Inpopular music, the traits that characterized the new language that can bedescribed as criollo or Creole started to integrate andtranscend since the beginnings of the colonial period to the late 18th Centuryfolkloric music, and remained in place all across the 19^th Century.

Theintegration of Cuban music is the result of the synthesis of numerous culturalelements from thousands of immigrants, mainly European and African that arrivedin Cubaduring the colonial period. This process established a cross-influence dynamicbetween folkloric-popular music and professional music in which the musicianplayed a leading role by transferring elements from one to another sphere. Inthis way it contributed to the integration of Cuban music throughout the 19thCentury - to its formation and synthesis.

Endof Part 1. To be continued...

© Aimara Magana 2012

Between güiro and drum. 'The Havana Suite', an album by Ahmed Dickinson's Mestizo Ensemble - review by Aimara Magana.

2012-01-16T09:27:00.000-08:00

An enjoyable exploration of Cuban traditional and popular music.

That is what 'The Havana Suite', one of the latest releases by the Cuban guitarrist Ahmed Dickinson offers. A journey through a day in Havana:warm, open, but also melancholic, and at times inviting the listener to dance. On thisoccasion, Ahmed Dickinson's Mestizo Ensemble – featuring Cuban percussionist HammadiRencurrell, presents us with a fresh and modern approach to Cuban popular musicthrough the works of Eduardo Martín.

With this album, intended to reach a wideraudience, we find ourselves challenged with a different idea. The presence of percussion instruments has been a first for Dickinson, and the way it has been accomplished shows how much thought went behind Rencurrell's approach to this music. But not because it recreatesthe more social side of Cuban culture, does it lack the refinement and good taste that characterizes Dickinson's performances.

From the beginning, the listener gets thrown into an delectable mix ofvirtuosism and traditional rhythms with Martín's tribute to Ñico Rojas. Itwould have been impossible to choose a more befitting performer for thesepieces than Dickinson, justly considered Rojas' heir.

'Calendario' takes the listener off the streets of central Havana, leaving thehum behind, and treating us to a space for reflection. Successfullyaccomplished by Dickinson, it is possible to just sit back, and enjoy thepleasant experience. It is very difficult not to imagine that one is sitting in a terrace overlooking the Malecon, and beyond the calm and warm waters of the Caribbean Sea. Listening to these pieces, we can truly appreciate Dickinson's innnate gift of creating powerful musical experiences through his impecable technique.

However, it will not be long before we are shown thecontrasting styles of Martín's music, with one of the most interesting piecesof the album: 'De la Rumba Son'. This is perhaps the most challenging piece of the album interms of technique. Its rhythmic richness is of such exuberance, that it iseasy to get lost in its complexity. Here, Dickinson and Rencurrell gift us withthe perfect combination, skilfully capturing the essence of Cuban music.

The final quarter of an hour, or so, introduces the violinist Emma Blanco. Thelistener is powerfully lead through the evocative 'Suite Habana', to finishwith a rumba straight fromthe solares (slums) of Havana: 'Hasta Alicia Baila'. This piece features special guest Gerardo de Armas, percussionist and former singer of 'Yoruba Andabo', one of the most important Cuban ensembles that specializes in Cuban rumba. De Armas alongside Rencurrel create the perfect combination, bringing out the flavour and soul of this rumba, resulting in an authentic and powerful guaguancó.

'The Havana Suite' is an honest offering of authentic Cuban music.Performed by Cubans, it certainly makesfor a captivating proposition for the modern public.

© Aimara Magana 2012

On expectations...

2011-12-30T15:42:00.000-08:00

'Expectations' (and not precisely the Keith Jarrett album) is a word that I have come to dislike a lot lately. I used to think it wasn't bad to have them because it gave you an idea of what to do, or how to prepare to reach a goal - whatever that might be. Also it could serve us as a powerful tool, but it has its dangers, especially when you are on the wrong side of it. I am taking about expectations that others might have about you.

I heard once that everybody has an opinion about everyone. Even if you don't really know who that person is. People always have an opinion about you. That is a fact, and it doesn't matter if they know you or not. It is always there, and will always be. If in doubt pay attention to your thoughts when you are in a public place and looking at somebody you don't know at all. There will always be that voice in your head criticising and judging. It becomes worse when you actually do know the person, even more when you are close to them and especially if you know what their talents are. That's when you start to have expectations, unintentionally perhaps, but they are definitely there.

'Expectation' and 'Disappointment' are linked together. One comes after the other, and that process is not at all pleasant for any of the sides involved. When one fails to meet the other person's expectations, or even when the result is less than what they had anticipated, is when disappointment happens. One comes after the other, and those moments are not at all pleasant for any of the sides involved. It is not nice when you feel disappointed, but it is even worse if you are the reason for that disappointment. You feel like you have let someone else down and there is a space that is never going to be filled.

I am in a moment in which absolutely everyone around me is starting to feel disappointed and even close to give up on me. I haven't actually done anything, but that's the way it is being for me. The people that I love the most in this world are feeling disappointed with me because I have failed to meet their expectations. They are having a hard time understanding that my life doesn't have to be exactly how they had envisioned it. I am entitled to make mistakes and have moments of reasonable doubt in which I can be confused and not know where I want to be. I don't know where I want to be or what exactly I want to be doing at this time in my life. I want to explore different paths and I am having a hard time deciding anything, especially now with everyone looking over my shoulder and breathing down my neck.

They all seem to know exactly what I should be doing, and how can I be happy. They have seen what I am capable of and they love me - of that I have no doubt, that's why they behave in such a way. Perhaps they know best, it definitely sounds like that. But I can't stop wondering how can that be possible if not even I know the answer. I consider myself an expert on Aimara Magana, with full access to her mind and the unreachable and darkest corners of her heart, and not even I know.

It feels just bad and wrong that I am the reason for this massive disappointment, and its all around me. It was never the case, not even when I was a child. Maybe I have spoiled them too much in the sense that I have always delivered results, good results, of the kind that are liked and appreciated. Now those results are not at the same level, and are not of the same kind, and so what? I don't care because I know that I am in the process of figuring out what I really want, and that is very important to me. Once I know that I will go for it like I have gone for every single thing I have wanted in my life: powerfully, at full speed and with all the energy I am capable of. It is a shame that they do not see it like that. The results are wanted now, and they are not being delivered, therefore all that is left is disappointment.

I can't be more sorry about that. I apologise, but I sincerely don't know what I can do about it. Maybe the new year will bring me that answer that I am looking for. What I have decided in the meantime is to look thoroughly inside, take on that blank canvas and throw myself into it without any fear. Mistakes? well they will always be made and of course, the opinions and criticism will be there - hopefully it will all be constructive. 'Move forward in a positive way' is going to be one of my mottos from this moment on, and the rest? Well, the rest will come and the blanks will be filled, I am sure of it, but all in my own time.

On 2011...

2011-12-26T04:23:00.000-08:00

Now that we are at the end of another year, I am reflecting on what has happened in the last 12 months, and... hm, not much to add here I am afraid. Here is the report anyway:

2011 has been a good year for me, I cannot say otherwise. Not much can be said on the professional field, although I have seen progress. I have set up my website, and showcased my project on several important networks for artists.

It has also been good on the emotional side. I feel that I have grown a lot intellectually and emotionally, and now I am a much better person for it. I have been very happy, immensely happy and I did not think I was ever going to be able to feel that good again. On the other hand, I have also been very sad, to the point in which I felt like I was looking at the world from the bottom of a well. The good thing is that this time, although it hurt a lot, I did not dig - I managed to look up and climb out. Now I truly feel that I am in front of a blank canvas, I have choices, and I have earned that right.

I have made good decisions too: I started exercising regularly and now have a routine in place where exercise is up there together with water and food. I have kept going to BMF, and took on running. Since August I have only missed three weeks of training, I have kept running even when it has been quite cold here - and that was unthinkable before! Thanks to that, my health has improved a lot. I haven't had an asthma attack since August. No other problems, and I am happy to report that not even colds like me anymore! The only one I got was bad, but it lasted 3 days. That is a huge improvement.

I have proved to myself that I am closer to know exactly what I want. Now I know what I don't want and I won't have it my life - there's no space for it. The ideal of what I want my life to be is taking shape, at a slow but sure pace. And despite the setbacks, and the pain - because it has been painful at times - I keep moving forwards. I have time for everything, and I intend to make the most of it.

My friends keep being amazing. Again, they had the chance to prove themselves in several occasions and have passed every time! That is quite an achievement because I am not at all easy to handle. I don't know what I would have done without them, and frankly I don't think I could live without any of them in my life. I would do anything for them, no doubt about it. I have also made new ones, in different circles which is refreshing, and I hope that those relationships keep growing.

My family keeps being very strong, although we are less people. Its a small family, but thanks to a higher power my grandmother is still here - leading. My mother has had good breakthroughs, and my sister is still the little child but I am very proud of her anyway and will always be. My adopted family is also fantastic and I love them all. It would have been impossible to live here without them. I am very lucky to be surrounded by them and to know that they are here for me.

And last, but not least - how could it be anyway! Music, my music, as always, is my constant. I have been to amazing concerts, two of them that have touched me deeply and I will never forget that feeling. My playing has not been the same after those evenings. I feel that I am moving forward, moving up really. It feels like I am about to enter another dimension musically - intellectually very enriching. I am truly happy to re-discover every now and then, that it does affect me on different levels. From the most deep to the superficial, it moves me from deep within, and for that I am immensely grateful.

On the men of my life...

2011-10-02T15:48:00.000-07:00

[This one is for them...]

This weekend I havebeen thinking about my past, and I realized that there have beenthings, important things, that I never said to any of you and Ishould have. That is something I always come back to from time totime. So this is going to be a strange one to write. I am having atry at organizing my thoughts so that I can acknowledge you for whomyou have been in my life. It is awkward, and at times confusing, buthere it goes in the most straightforward way I could find.

To the musician and myfirst boyfriend: for your music, for sharing your love for the piano– and such a good pianist you are! For the introduction to KeithJarrett, and for getting me to listen to jazz. You cannot possiblyrealize how life changing that has been to me.

To the trombone playerI want to say – and I think I did tell you when we last saw eachother, years ago – that I am truly sorry. You were amazing with me,and still to this date, I have no idea about why I freaked out likethat on you and disappeared time after time. You have always beengreat at finding me again though, and I thank you for that. It was sogood to have you there for me, and to have spent all that timetogether, along with good films and music. You are responsible forall I know about Cuban songs. I absolutely loved those times withyou.

To the artist, thepainter, and for sure one of the strangest adventures I have had: forthe introduction to the visual arts, exhibits and visits to artgalleries I can't thank you enough. You probably know that thosetimes brought into my life rebellion and plenty of new, and sometimesdangerous, things to try. It was then when my passion for modern artstarted, along with my discovery of rock, whiskey, cigarettes, sex,love and many other things that come with all that. Those wereprobably some of the most tumultuous years. I was one of the 'goodgirls', and after having met you, I found myself mixed up in way toomany crazy things. It was great though, all full of energy, and veryeducational I must admit. Most of the tastes, habits and importanttraits of my personality were shaped during those years. You reallyhad a very strong influence on me, although I am not sure if you everrealized it.

To the ones that didnot stay long, I thank you too. For dealing with my broken heart, andfor making me smile so many times. For the Tai Chi - that did stay onmy life for years; for the incredible amounts of attention, forsharing with me your passion for design, architecture, and tennis.

To the Englishgentleman: for all the music and passion for sound, and for all thetravelling. For the introduction to Sokolov, and for all that weshared together. I miss the never ending conversations and the quiettimes with you. You made me feel very happy, like the most spoiledgirl on the planet. And know that you are present whenever I listento music. Smart way of making sure I could never forget you – notthat I would want that anyway.

To the Spanish years:for really caring for me on your own way – it would have been veryhard otherwise. For sharing the passion for flamenco. For theexceptional support, especially through the hard times. For theextended family, and for all the rest of it. I am happy that we aregood friends, and grateful that we could manage that, because youare one of the best I have. I know you are there for me – and tohave that certainty is incredibly important these days.

And to all of you: I amreally grateful to have known you, and for our times together. I knowI have done stupid things, and that sometimes it has been more thanyou could handle at the time. But one thing I know for sure is that Ihave loved you in the best way I knew how, and shared a lot of myself– no regrets there. But I have also been given a lot in return too,and I want to acknowledge that. So, this one is for you. And I dorealize there are no names involved here, but there's no need, youknow who you are.

On solitude with a capital 'S'...

2011-09-25T17:02:00.000-07:00

There is a poem by Mario Benedetti - and it is actually, one of my favourite poems: 'Soledades'. If you translate that word into English, it would be 'Solitudes' - as in more than one. It talks about solitude as a constant in life. Benedetti starts by saying that happiness, with a capital 'H' doesn't exist. But if it did exist, with a lower case, it would be very similar to our 'pre-solitude'. After happiness, fulfillment and love, there is always solitude to go back to. And how, when you truly feel alone, there is nothing else - nothing to hold onto, no excuses, not even grudges: only nothingness.

I remember reading this poem for the first time in happier times, and thinking it had some similarity to the way I think about music. Silence, or silences (because there are several kinds of silences too, and they even 'sound' different) are the only constants whenever I think about sound. There is always silence first, and for me, the act of music playing is all about how to fill that silence in. There has to be something meaningful, worth expressing, and that is what I always try to do whenever I play. Otherwise it would be an absolute waste of time, space and energy. How philosophical of me. However, there is some truth to all this.

Solitude, silence...they are inseparable, and they are both constants in our life. And the way we live them, so fast - and most of the time, we only scratch the surface of things - doesn't let us appreciate them. I have always been a person who needs silence, space, every now and then. It is very important to me, and in normal circumstances I enjoy those moments of solitude, which I call 'me time'. The problem comes when I don't have to go looking for them. That's when the conversations with myself rule my days, and there seems to be that emptiness in space, all the time, like a black hole that swallows me whole. That is what I call solitude with a capital 'S'.

The view from my favourite spot to spend my 'me time'. The Caribbean Sea, seen from the wall of Havana's Malecon.

The trouble with this Solitude is that, like a person would, it shows different sides. At the beginning it feels like a presence, like someone else there who moves with you, looks at you, and even sleeps in the same bed with you - and it gets overwhelming. But when this goes on for a while, it starts to feel toxic, like some disease you have that is going to spread the moment you encounter people in your path. And so, when this happens, I stay in my tower until I feel better. Basically, I become a hermit in my own mind, even when I am surrounded by people I feel like I am in an island - alone. When you hang out with Ms Solitude for too long you start to feel the side effects.

Some of the symptoms include me being over sensitive to everything, and of course, doing stupid things that I know I will regret later. I listen to excessive amounts of Brahms' Chamber music, Radiohead when I am feeling almost suicidal, and in extreme cases, some music that can be catalogued as 'cheesy' - and that seems to briefly comfort me. I have a friend that calls this 'part of my humanization process', and she thinks that it is normal that an artist should go through it from time to time, and that I should embrace it. She is a wise woman, so perhaps I should listen to her and just let it be.

However, this level of intensity is new for me. This time, Ms S has really overstayed her welcome into my space, so I have been trying to drive her out. Obviously, I am not succeeding, and honestly, I can't think of anything else I could do except for taking her in, let her come with me, and treat her like the stubborn friend who doesn't leave your side as you go through good and bad times. Because that is how she really behaves, as the good constant she is. And that could be the great thing about her - her predictability. She will always be there when everything else fails.

Another favourite spot, but this one is in the south coast of England. Seven Sisters, beyond that little gate is the sea.

Benedetti is right. Solitude is something, or someone, worth thinking about. So here I am, acknowledging her everlasting presence in my life - not sure if for good, or bad - because the Ms S that I have been spending most of my week with, is starting to feel like a friend. Like an immutable constant in my life, she will always be there, before and after everything.

On West Norwood...

2011-09-23T14:45:00.000-07:00

This is definitely something I thought I would never say, but life in South London isactually not bad, I am preferring it to my old life inthe North. And that is a lot to admit for an ex-North London snob whoused to live at the Barbican and Barnsbury - possibly one of the nicest partsof the city, and although I liked it there, it did not quite made itfor me.

OK, this is far away,exactly where the Devil himself used to come to blow out some steam and scream, or maybe a bit further away... but who cares! I have someof the most amazing parks nearby, my favourite exercise group,pools... and most importantly, plenty of space to make my own way, both physically and emotionally; and the absolute certainty that nobody is going to comeand mess up with it – unless it is by invitation of course.

There is somethingspecial about living here, and the stage where I am at in my liferight now. Maybe it is because of the fact that I have made thisreality I am living now, completely from scratch, and it is beingshaped to my needs - even the most capricious whim is represented. For the first time in a long time, Ifeel like the owner of my own life, autonomous and free. Actually, I don'trecall having felt like this ever before, and I am a bit scared because I don't know if I willbe able to keep this up for much longer.

A view of Brockwell Park

The main street isnothing special, just a very busy street. We have four supermarketshere, a bank and a varied crowd outside. There is a theatre whichalmost always has something good on. The library and the cemetery,which by the way, is one of the most interesting in London, are twominutes away. The neighbourhood is changing for the better, therehave emerged charming little shops selling organic products andflowers. Also, probably one of the strangest and most originalundertakers in London is here - which, I realize, is an odd thing to put on this list. Anyway, I think he is interesting, you find displays on his windows withdifferent themes that change with the seasons and holidays, just likea fashion shop; and unbelievable enough, he even has offers. I haveto stop and look at the flowery coffins or stuffed bunnies whenever Igo by, and it is just hilarious.

During the past weeks,I have been going to new places, exploring the surrounding areas bybike – yes, I am turning into an exercise junkie. And well, so far,I have liked what I have seen. Absolutely love Dulwich, the walk fromhere towards Streatham Common and the view from the top of the 'WhiteHouse' on that path, and Crystal Palace park. Brockwell park was oneof the first favourites, and I am even liking Brixton, with its Village,windmill, market and Electric Avenue.

My violets catching the sunlight in the morning.

But my number one hasto be my room, especially the view from my window, over the bloomingviolets. I can see Dulwich from here, and it always makes me smile,because it is my pad. It feels truly mine, it is my refuge, safe, like atower high above the troubles of the world below – it is really high up. I have decorated it with fabrics and textures I love, andit has been arranged to have the perfect balance. Hanging from thewalls are rare but good works of art – I even have a starry ceilinghere with my favourite constellations represented. A custom-builtlittle cave, for my custom-built life, and it is just right.

The house is an oldVictorian house on three levels. Outside it is surrounded by redroses and a rosemary bush. Inside, it has a strange layout, but thegreat thing is that I am at the top and I get the quietest andlightest room. All the walls of this house are covered in works ofart. There are some of the most impressive posters ever, and originalpaintings. The sculptures and the books are also dominant here. Thehouse has as many collections as a little museum, but it does notfeel smothering or cluttered in any way. On the contrary, it is apleasure to walk through a house like this one, with history, andfeel part of it. I feel lucky that I live in such a place.

My flatmate is theowner of the house, and I couldn't wish for a better person to livein a house with. He is one of the people I respect and admire themost. Among the things I feel fortunate to have are the great senseof humour and all the wisdom - every single conversation finishes inan up tone, with this really clever joke that is never repeated.Besides the never ending stream of music, the red wine, the ryebread, the old pots and pans, the cherry pies and the completetechnological denial are part of life here. It is like stepping backin time. Here you can find typewriters that work, handwritten letters and pens,old telephones, books as the only source of information; and the mostadvanced piece of equipment, excluding my room, is the TV.

One of my beautiful african violets

One, or actually 'the'best way of winding down from anything is to lock myself in my roomand listen to music out loud. I have an amazing sound system, thanksto a very dear friend - that is one of the best things that have happenedto me. And I lay down on the rug with my eyes closed for hours andhours on end, with my favourite music, in my favourite space in theworld, living the best time of my life, feeling truly happy. Whocould ask for anything more?

This is definitely one of the best periods of my life. It is where I started the healingprocess from the super crappy time that ended in 2009. Here is whereI have, slowly, started a new life at the end of my 20s, on my own. Andhopefully, it will be here where new chapters will start anddevelop into interesting and happy ones – or at least I expectso. Here is where I live, and where I am truly happy, in this momentin time. Me, myself and I.

On the 'magic' of roses...

2011-09-19T14:44:00.000-07:00

Today was not a very good day for me in general. It has been one of those days that you wish you have stayed home. One of those days in which you spend most of your time looking at your watch, and cursing the very slow speed at which time seems to go by.


Took this photo on the bus, straight after I was given it.

Finally, evening arrived and it was time to go home. As I was waiting for the bus at Baker Street, a woman came up to me with a beautiful red rose, and said: 'You look like you need this, and you deserve it. So, this is for you'. I managed to mutter a 'Thank you', and just like that, she turned around and went on her way. It is a beautiful flower, and it actually smells like a rose - which has become something very rare nowadays, because flowers do not smell anymore.

This woman turned my whole day around, and all the rubbish that happened before, the bitterness and general feeling of torture, just disappeared. With that simple and very kind gesture, she managed to put a smile on my face and made me go back to the many times in which I have felt truly happy. Flowers have that effect on me, they make me happy, and they put me in that state of reminiscence. Normally I buy them for other people, very rarely I am given flowers - this sentence sounds like a short version of 'The ugly duckling'.

I also feel lucky, because that is not something you see happening everyday, especially in a city like London, where everyone goes about on a power-walk mode and with tunnel vision. It is very hard to make simple eye contact with a random person in the street, and talk?! oh no, that would be almost unthinkable!! I don't know if it is shyness, or that English people are in general, introverted. It almost seems that if they talked to you, then they would feel obligated, out of politeness - which by the way, exists here in abundance - to talk to you... always! Otherwise, it would be considered rude.

This is my opinion anyway, and by no means I am even implying that this is 'the case'.

From this point of view, it is a very different culture to mine. I am used to feel free wherever I am, free to look at people, to say 'Hello', and even to not reply if I don't feel like it - and it is not considered rude. Nobody is going to think less of you if you don't. They would actually shrug their shoulders, and think that perhaps I am having a bad day. Some would probably try to tease me or joke with me, just to make me smile - which is always nice.

And this is how it looks this morning...

Anyway, I don't mean to say that in general, English people do not talk at all, or interact in any way. I have noticed that there is some sort of 'ritual' to go on about breaking the ice, and talk to strangers in the street, and that almost always starts with a conversation about the weather. I learned a few years ago, that when someone approaches you here, and comments on the weather, it doesn't mean that they want to talk about 'the weather' - not really! It means they just want to talk, and once you agree with them about whatever they said, they would change the topic and go on happily to talk about something else - which is obviously what they wanted to talk about in the first place! Again, my opinion.

I am just realizing that this post is getting sort of confusing. This blog is, after all, about random thoughts that cross my mind. But this is now getting too far, and turning into an anthropology session - I can assure you, this is not at all my intention!

The whole point of this post it to thank and acknowledge this woman, who unknowingly changed my day with one of the simplest gestures a human being can have towards another. With that rose, thoughts of torture and bitterness were transformed into happiness and good memories. My whole day was suddenly worth living.

On BMF...

2011-09-16T15:56:00.000-07:00

Dulwich Park - lovely, isn't it?

'Left, right, left, right... breathe... concentrate you idiot!... OK, this is a good pace... Ufff, who am I kidding? I am already panting... this is pathetic! I hate being an asthmatic! But this is good for me... Oh, rubbish, this is torture, what the hell am I doing here?! Good thing I can't see myself at this, because it truly is embarrassing...'

I am thinking all this rubbish when Louise turns and asks with a concerned tone if I am OK. Shortly after, she points out that I have been running all the time throughout the class – which is considerably better than what I was capable of doing three weeks ago, and it is true. The next minute, I am being cheered by the whole group as I run, last of all, towards them, already gathered around Ryan for the water break.

Well, this is my morning three times a week since the beginning of August, and I am loving it. I get up at 8.30 am – which two months ago was unheard of, and many people can confirm that - get on my bike and cycle to Dulwich Park, where I take the BMF class.

BMF stands for British Military Fitness, and they provide outdoor fitness classes in parks throughout the UK. The instructors are former or serving members of the army, and they are highly qualified fitness instructors, so I am in good hands. The park where I train, Dulwich park, is just lovely. It is a pretty intense workout every time, and varies from day to day depending on the instructor, so you never get bored - and I dare to say it is even fun sometimes. I always finish with the feeling of having been pulling a whole freaking whale out of the ocean, and the certainty that it is going to hurt the next morning. But the curious thing is that there's a strange satisfaction after every session. Well, obviously, because I keep going back for more.

This is how the park looks early in the morning.

This masochistic feeling probably has a scientific explanation that has to do with hormones, the adrenaline, or endorphins, or whatever they are called, that are released during exercise. But for me, is the people with whom I share that hour three times a week – instructors and fellow BMFers. Although for them, my being there must feel like a pain, literally, and I am truly sorry for them – I do know what it is to have to deal with me. Anyway, I know for a fact that it would be a hundred times more difficult if I was doing all of that on my own, so the fact that I am not alone is very important.

I am an asthmatic. My asthma is pretty bad, and it affects me most days of the week. Although it is very much under control, I still have to carry my inhaler everywhere I go. Another problem I have is a back injury I suffered four and a half years ago that left me in bed for quite a long time, and of course, kept me from exercising three and a half of those years I was recovering. The last year has been all about trying to get back on track. I had a whole lot of serious stuff going on that has shaken my world really badly. The last thing that happened was that I lost my job as a music teacher, and right now I am freaking out about the lack of work and, naturally, the speed at which the balance in my account goes down.

So, naturally, I now have plenty of free time, and the only thing that has kept me from desperation and depression is exercise – and the full credit for that goes to BMF: the team of instructors, and the really cool people I get to train with at the park. I am enjoying it, although I am not going to deny that I suffer, but it is all worth it. The benefits are seen everywhere, in many areas of my life: eating, daily routines, sleep patterns, my fitness of course; and because I am now spending a lot of time outside, I get to work on my tan – which is something I never thought I would say whilst I lived in this island.

The classes include a warm up that always starts with a run and then we do different exercises whilst we jogging slowly. Then, we do circuits that include strength exercises and endurance. We have a water break in the middle of the class, and by the end of the session you are guaranteed to have worked all the muscles in your body. I have never done more sit-ups and press-ups in my life, and although it sounds insane, I am finding myself liking them, because the real killers are the burpees and the bear-walking, duck-walking and caterpillar routines... and especially for me, the running.

Cardiovascular exercises are difficult for me because of my struggle with asthma. My heart is not strong enough - yet, and my lungs literally freak out at the slightest though of running. That's why I am always blue in the face by the end of the class. Not that anybody would see the change in colour, but the unmistakeably symptom is that I cannot speak until the end of the stretching – which, naturally, happens at the end.

Then there is coffee at 'Au Ciel', a small but charming coffee shop in Dulwich Village. They always take ages to bring the coffee, and that is when they remember what to bring the first time you order! There, it is always Louise, Carolyn, Belinda and me sitting around a table with our respective lattes and cappuccinos while Louise rolls and smokes a cigarette. Naturally we always talk about the session we just had, sports, and the next triathlon. My crazy hair always comes into the conversation at some point, and then we plan a running or swimming session for the day we have off in between classes. These three women have become training partners and, I hope we can get to be good friends someday.

This BMF business has really surprised me. I didn't think I would get so much out of it from many points of view. I don't even think about the money I am paying every month for the membership – although I can't really afford it right now. It is definitely well spent. The support I am getting in every session, from the people who train with me, and from the instructors - Ryan in particular - who are always pushing me out of my comfort zone, is really great.

I am definitely declaring this a 'must' in my life from now on, because it makes me feel really good and I enjoy it. I get to interact with new people, and I am making new friends outside the boring circle of classical musicians I am used to – no offence meant, you know I love you all. It also has the added benefits of the healthy lifestyle that comes with it. Your body does not want more chocolate ice cream, not really!! And of course, the fitness level is increasing. It is very pleasing to run after the bus, catch it, and get to the upper deck pretty fast without feeling breathless. So, the stupid asthma is definitely being kicked out of my way.

And oh, and as an added benefit, I am going to look gooood in a few months – and I'm seriously looking forward to that one!!!