Showing posts with label Camerata Romeu. Show all posts
Showing posts with label Camerata Romeu. Show all posts

Sunday, 25 September 2011

Sunday Mornings: Coffee, Reflections and Music

Back in the day when I was a child in Cuba, there used to be a television programme called San Nicolás del Peladero. The eponymous town at the centre of the sketch show was the fictional setting for the run-ins and tiffs between politicians from – at the time, probably late 1940s, early 50s – Cuba’s two main parties: the Conservatives and the Liberals. In addition to the government legislators, there were also characters deeply rooted in Cuba’s rich theatrical tradition: the mulatto woman, “el gallego” (literally, Galician, as that was the appellation given to most Spaniards who arrived in Cuba at the turn of the 20th century), the bent copper, the tough guy (accompanied by his inseparable knife) and the fashionable aristocrat. The programme launched the career of many actors and actress, whilst it developed the skills and craft of others.

Although the aim was to entertain, San Nicolás del Peladero always had an ulterior motive, and it made no secret of it: deep down inside, the message was, Conservatives and Liberals were the same. The two parties that dominated Cuban politics for half a century until the arrival of Fidel and his band of merry, bearded men in Havana, could hardly been told apart. Thus, I grew up with the idea that being a Liberal wasn’t so dissimilar to being a toff.

Yet, there was always a niggling feeling inside me that grew louder after I moved to the UK. I could, and in the end, did accept the “liberal” tag, but “Conservative”, even with a small “c”? No. That would have been a tad bit too much.

And yet…

They say that as you get older you start developing a more traditional and old-fashioned view of the world. Whereas before your vocabulary was peppered with words such as: evolution (and revolution!), progress and reform, now you feel more comfortable in the realm of terms such as preservation and restoration.

To which I say, where’s the harm in that? After my first decade in London I eventually realised that I was growing a conservative streak, albeit not one of a political nature.

No, my conservatism was rooted more on the original meaning of the Latin word "conservare" (to preserve). It was more related to the maintenance of some traditional attitudes than to an outright support for the status quo.

For instance, I’ve always believed that manners matter in society. How you treat others is just as important as, or, occasionally, more important than the clothes you wear or the car you drive. Opening doors for women, giving your seat up on public transport for someone who needs it more than you do, saying “good morning/afternoon/evening” or “hello” when you run into someone; these were the norms with which I was brought up. It brings out the curmudgeon in me when people try to make a causal link between boorish behaviour nowadays and the attention span deficit brought about by modern technology.

If exposure to bad manners makes me sound like a "Mr Disgruntled from Tunbridge Wells" on the pages of The Daily Telegraph, reckless government decisions lay bare my inner Eustace Tilley, The New Yorker’s long-standing front cover dandy. Take for example the plans earlier this year to sell off England's public forests. The sale would have expected to raise in excess of £150m over a ten-year period. The problem was that the leases being considered for tender were under what's known as "heritage sites" or "heritage forests", in short, woodland that has a very high conservation and recreation value. The government proposals were so ill-thought that opposition against them brought together groups that wouldn't normally be found consorting together like for instance, the Countryside Alliance (pro-hunting) and the Stop the War movement (self-explanatory, really). When it comes to defending the right to walk at one's leisure through one of the many wonderful woods that this nation can proudly boast about, especially on an autumn day, it seems that there's no left or right, but just "conservare".

Another issue where tradition gets the better of me is shopping centres and supermarkets. When I speak to people born and bred in the UK, they can't believe how fast the retail landscape has changed in the last twenty-odd years. The little cornershop, the local fishmonger's, grocer's and butcher's with their misplaced apostrophes. They have all given way to the Tescos, Sainsbury's and Asdas. They have been wiped out to make space for Westfield-style shopping centres in our brand-new, outside-the-box-thinking, cool Britannia. Never mind that with this new architectural approach (some would call it "onslaught") the soul of local communities has been gouged and hundreds, if not thousands, years of history erased. No, what's important is that hideous buildings like the Shard become the vision of the future in this country. Me, I'm happy with the two-up, two-down, red-tiled, standard British house and all its varieties. Keep London and Britain, by default, low-rise. We don't need Manhattan-style skyscrapers, m'lud.

As a forward-thinking and progressive person, I welcome the changes that have resulted in a social and racial melting pot in the UK. I belong to it. I have contributed to it. But I also love this nation's rich heritage. I enjoy walking through its forests, learning about its traditions and visiting its old estates. And no, that doesn't make me a Tory-supporting, wannabe-fox-hunter. It makes me an advocate for the values and morals that underpin our culture and history. I'm sure that even Plutarco, the maire in San Nicolás del Peladero, would agree with that.

© 2011

Next Post: “Let’s Talk About…”, to be published on Wednesday 28th September at 11:59pm (GMT)


Sunday, 8 November 2009

Sunday Mornings: Coffee, Reflections and Music


145,240. That's roughly the number of words I read in any given week. And that total does not include publications whose articles I could not access online in order to work out a more accurate estimate. The New Statesman, The Voice, Prospect, The New Yorker, The Economist, these are but some of the weekly or monthly magazines and newspapers I sometimes pick up from my local WH Smith. I also excluded, on purpose, mind you, Libération and Der Spiegel because my forays onto their websites are fewer now. But if I was to add it all up, the actual number would be close to the 270,000 words mark.

270,000 words. I could write a novel with that many vocables. Actually, I always forget that I did start writing one almost eighteen years ago and my tally so far is forty-seven pages. Forty-eight, I managed to finish another scene just now. But, what do these 270,000 words show? They show loyalty to reading certainly and they display a natural craving for knowledge since the bulk of that weekly score is made up by the two newspapers I buy regularly whilst a third is supplied by the novel I am reading at the time of writing this column, "Tess of the D’Urbervilles".

But above all, what my hundred-thousand-plus-a-week-word-count shows is that some people have been starved of information for so long in their lives that we'll just read for the pleasure of reading. It is almost as if we are making up for lost time, or in my case as a Cuban ex-pat, catching up with that past life that happened without me but which is essential in my understanding of the present and the building of the future in my country of destination. It is an attempt to find my way in the current space and time through the power of words.

Shortly after I arrived in London in November '97, I began to commute to West Hampstead. It was then that I acquainted myself with many British newspapers and magazines. Lying scattered on passengers' seats, these various publications turned out to be the litmus test for my subsequent love affair with the world of columns, features, opinions and comments. All of a sudden the 7:57 overground train from King's Cross to Bedford became my private library.

Parallel to this I developed a thirst for visiting bookshops. Whenever possible I would stroll into one of those old and impressive outlets on Charing Cross Road and stay for hours therein. Nearer my previous workplace there was an equally brilliant store as well.

So, twelve years on, what do these 270,000 words mean? Depth, shallowness, earnestness, facetiousness, hope and despondency are but a few of the messages the combination of these words conveys in the passages where they appear. However there's an over-arching sentiment that to me conjures up the need to sit down on the couch with my mate or my favourite mug steaming with hot coffee or mocha to read a newspaper or a book. It is a feeling akin to flying across a vast savannah. Or the equivalent to the emotion that rises up after the rain has stopped and the air feels like the plucked strings of a violin. These 270,000 words bring with them a peaceful kind of happiness that is contradictorily mixed with a type of sadness. Sadness because once I finish reading an article in a magazine or a passage in a book, my short-lived relationship with the author is over. I can go through the same scene or feature again, I can re-read it several times, but I cannot reprise the feeling of anticipation that overwhelmed me before.

Moreover, these 270,000 words are not all top-quality, highbrow (whatever that means these days) writing. There's plently of dross in the mix. And yet, I love how they arrive, many times unannounced, to mingle and rest in front of my eyes. And what would happen if I was to put them in a blender? What would the result be? If we apply the Keith Johnstone's method as seen in his book 'Impro' and which served as the basis for our very own drama group when I was in university, this would the outcome:

Person A (talking to Person B): You're high in the hills of Andalucia, enjoying the views and a rabbit stew, when...
Person B (responding): When Sadler's Wells director Alastair Spalding commissioned four of his associate choreographers to create danceworks "in the spirit of Diaghilev" to celebrate the centenary of the Ballets Russes, the results were always likely to be diverse...
Person A (nodding vigorously): Just use Velcro.
Person B (looking down): Well, it was a little embarrassing. For 40 years this has become my so-called life, and it's a complicated set of issues – the exploitation and genocide of a species, the duplicity of governments, the destruction of an ocean, the poisoning of consumers...

Person A: ...a wife and children, school fees, bills...
Person B (smiling): Ah, control – yes, it's a seductive delusion. Even so, I can totally understand your reticence.
Person A (looking ahead): We will gain more than we will lose by establishing an identity; my tendency would be to risk being more offensive.

And so on. Absurd? Yes, but so is reading 270,000 words per week. I would love to trade my words in the stock market or change them into real money (£270,000? Yeah, dream on!) to be able to visit as many other countries as possible, learn about as many other cultures as it is humanly feasible. But in the meantime, I will keep them with me. They are mine and they make up what I call my life's narrative.




Copyright 2009

Next Post: 'What Makes a Good Writer?', to be published on Tuesday 10th November at 11:59pm (GMT)

Sunday, 1 March 2009

Saturday, 21 June 2008

Road Songs (Vivace) 2nd Part

This is the second instalment in this three-part series 'Female Drivers and Female Musicians'. To read the first post, click here


Kristin Hersh is probably every marketing person's nightmare. How do you sell someone who breaks so many boundaries? For starters, there's the voice. Good, but hard to decipher. Then, there're the lyrics. Powerful and passionate, yet intrinsic. After that comes the style. Pop? Folk? Rock? I believe it is good pop, good as in Sinead O' Connor good, The Cranberries good, George Michael good. She exudes good quality and that is why she is here. Yes, and the guy on the video is REM lead singer Michael Stipe, yes, and I know that this is a post that is trying to highlight the pluses of female drivers and musicians. But, I think that Michael can remain there in the background, as part of the furniture. He is not bothering Kristin. Magnetic.

The second track is by Pavel Urquiza, yes, he of Gema and Pavel. This song is performed by Yusa, a singer I saw a couple of times at the Cafe Cantante in Havana, Cuba, many years ago and who, I am so pleased to see, has met with success in Europe. Like Kristin, Yusa is hard to label. I have got her album 'Breathe' and it's a powerhouse of various styles and musical lingoes. Excellent.

Banned by the Brazilian dictatorship in the 70s, 'Calice' became an anthem for its creator, Chico Buarque and my favourite song of his extensive repertoire. There's a video on youtube where both Chico and Milton Nascimento are pretending to sing the song whilst not really saying the words. Maria Bethania 'lives' this song through and through and it's such a powerful sight to see her holding the mike whilst her throaty voice utters the words 'Afasta de mim ese calice, pai' (Put that goblet away from me, land). The goblet is full of blood. Heartfelt.

The last track this week comes courtesy of the Camerata Romeu which I used to follow around in Havana. No, I am not a stalker. I just think that they produce some of the most beautiful music you can ever come across. On this occasion they have Polly Ferman on piano and the Camerata Romeu is accompanying her. Readers and fellow bloggers will probably remember the song by Mercedes Sosa many years ago and I have that version, too, on CD. I love the delicacy of this cover version, though. Tender.



Copyrigth 2008

Monday, 19 November 2007

Autumn Songs (coda)


And so this is the end... for the Autumn Songs. As the fallen leaves on the ground wait to hibernate under the white carpet that will (hopefully) cover this city in the weeks to come, this little section changes season too.

I want to start with a singer whom I discovered via Radio Paradise, an internet broadcaster that has become my main source to discover new music, even when it's a few decades old (as I write this they're playing Big Mama Thornton's version of 'Hound Dog', made popular by both Elvis Presley and John Lennon). This singer's name is Gabriel Rios and the funky sound of this track reminded me of treading on crunchy leaves as I walk to work every day. As I usually have my CD player on, I can only imagine that any passer-by strolling in my direction will be bound to run for cover thinking that the Fifth Horseman of the Apocalypse is coming to take them with him. It's a nice, slow to mid-tempo number that defies this rainy weather and puts a little smile on my face everytime I hear it. And yes, you bet I'll be getting the record soon.


Second track of this valedictory post comes courtesy of that Cuban jewel called 'Camerata Romeu'. Now, I have very vivid memories of this ensemble. The first time I saw them was in Old Havana, at the San Francisco de Asis Convent, a marvellous place near Havana Bay and where on Saturday evenings classical concerts were given. I even remember that the programme included Mozart's pieces for cello, violin and piano, Cuban composers such as Lecuona and a whole plethora of contemporary musicians like Lennon and McCartney. The piece I bring you today has been covered by just about everyone who's everyone in my neck of the woods, from 'La Negra de America', Mercedes Sosa to Paquito D' Rivera. Enjoy.

Call me schmaltzy, kitsch or whatever you can think of but when I was younger I was into Roberto Carlos. That was years before I became hooked on rock'n'roll, jazz, salsa and 'Trova'. Pre-teenage years I used to memorise the Brazilian singer's songs in order to perform them in front of my family and friends. Yes, I did possess a good voice then, which has since forsaken me. When I came across this clip on youtube.com (where else but?) a little lump appeared in my throat and for just one instant I wish I could have been next to my cousin as she was the one who introduced me to the Southamerican crooner. This will bring a tear to the eyes of those Latin people who grew up in the 70s and 80s listening to singers like Julio Iglesias, Manzanero and Lupita D'Alesio and whose childhood will be irremediably linked to this forgotten era. And I mean that with pride.
And to sign off I've got a singer whom I heard the first time around via a CD I borrowed from my local library. It goes to show the little treasures you're bound to find in your local library if you look in the right places. The CD was called 'Women in Jazz' and her song stood out from the word go. It was named 'Marriage Suite' and it felt exactly like that, a passionate homage to the one you love and are about to marry, a celebration of that love. I bought her record shortly after and was glad that Aziza Mustafa Zadeh's music did not disappoint me at all. On the contrary, it went beyond my expectations and restored my faith in music. This is the title track of that CD and I hope you enjoy it, too.
Thanks for your kind comments and feedback.
Copyright 2007

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