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Does the laud have the recognition that really deserves or is there much left to place it in the place it deserves? What are the most common prejudices about their role?<\/p>\n
“It will still take time to take the place it deserves. It remains a deficit and unrecognized instrument. The main prejudice is typecasting by classifying it only as an instrument of peasant music. But it turns out that the limited ones are us, the musicians, not the instruments. With the la\u00fad you can participate the same in a song in the countryside, as in the television program ‘Palmas y ca\u00f1as’ or in a concert to play the music of the greatest composers of Cuba and the world: that of Leo himself, those of Debussy, Vivaldi, Bach, Mozart, Joaqu\u00edn Rodrigo, Paco de Luc\u00eda”.<\/p>\n
I know your son has been an excellent continuator of your work.<\/p>\n
“My son Erdwin, thank God, followed in my footsteps. and very talented. I have also had many adoptive children of whom I have been a reference.”<\/p>\n
We recently witnessed the emergence of a conjunctous text of your authorship in Amazon’s space, on the Internet. Is the book intended exclusively for musicians or can the common reader find something of interest?<\/p>\n
“It took me several years to write it, but I managed to complete a very serious research would be in Harmonic Study of the Cuban contralto, which can serve as the same as referred to a musician as it is not, since usually the vanities of this instrument have been empirical and will now have in their hands a material of development”.<\/p>\n
Living in Corralillo, village of Bauta, a luck or a misfortune?<\/p>\n
“I was born in Coralillo, on the dining table of my house, and it has not been a problem in my career to live there.”<\/p>\n
Tell me again the anecdote of the charango.<\/p>\n
“The charango is an Andean instrument, very similar to the Canary tiple. One day Rafael Guedes, former director of the Mayohuac\u00e1n group, invited me to play it, with the Matanzas Symphony, in a work of his authorship called Latin American Concerto. I didn’t really master it at all, but I didn’t refuse. I went and asked Alberto Falla, former vocalist of the group Moncada, for help, and he lent me a manual with instructions to play it. I studied it day and night. Finally, after a fortnight of intense study, I took the stage with the Matanzas Symphony… and the Concert was stellar.”<\/p>\n","protected":false},"excerpt":{"rendered":"